AN EMBROIDERY BOOK

ANCIENT EGYPTIAN, ASSYRIAN,
AND PERSIAN COSTUMES AND
DECORATIONS.

By Mary G. Houston and Florence S. Hornblower.

Containing 25 full-page illustrations, sixteen of them in colour, and 60 line diagrams in the text.

Small crown quarto.

In this volume the history of Costume is traced from the earliest ages. The illustrations (which are taken chiefly from the British Museum) are given in facsimile from the drawings of the artists of the period, and, where the drawing is too primitive to be easily understood, a garment is also shown drawn in modern style; in addition, every type of garment illustrated is accompanied by a flat pattern showing the cut. Information of this special character on Ancient Costume is usually very difficult to obtain, and it is anticipated that the volume will be of first-rate importance to dress designers, to theatrical designers, and also to the schools in which historical costume and the history of the progress of the human race are subjects for study.

Published by A. & C. BLACK, Ltd., 4, 5 & 6, Soho
Square, London, W. 1.

AGENTS

PLATE I.

A TABLE MAT. ([See page 41.])

AN

EMBROIDERY

BOOK

BY

ANNE KNOX ARTHUR
GLASGOW SCHOOL OF ART

CONTAINING SIXTEEN FULL-PAGE ILLUSTRATIONS
—EIGHT OF THEM IN COLOUR—AND EIGHTY-
SEVEN LINE ILLUSTRATIONS IN THE TEXT

A. & C. BLACK, LTD.
4, 5 & 6, SOHO SQUARE, LONDON, W. 1.
1920

“Go, little booke; God send thee good passage”

TO
MY MOTHER

NOTE

The Author’s thanks are due to the owners of the pieces of embroidery illustrated in this book who kindly lent them to her for reproduction:—Miss Beatrice Brooks, Miss Marion Boyd, Miss Janetta S. Gillespie, Miss Mary A. Gill, Miss Martha Stevenson, Miss Elspeth Stewart, Miss Jessie Gibson (students of the Glasgow School of Art); also to Miss Kay, Parkhurst, Cedars, Derby, for the loan of three pieces worked by her pupils.

FOREWORD

Now that many of our busy working people have better regulations as regards the hours of the day’s work, there is great need to provide occupation for the day’s leisure; and needlework, as a leisure craft, is one of the most refreshing and pleasant and profitable sources of entertainment—provided always, that those who undertake it realise that, with right thought and consideration on the part of every worker, each should become, as it were, a law unto herself, so that she should realise also that she need, under no circumstance, be the slave of old traditions, if she can give fitting reasons for making a change which is to the purpose of her work.

To be in a healthy and living state, our art should be constantly changing its fashion; if it stands still, it is retrograde, and for some few generations we may say this of British embroidery. What changes it has undergone are due almost entirely to the commercial enterprise of manufacturers of printed patterns—usually foreign ones. The importation became very considerable with the introduction of so-called Berlin woolwork, and since that period the British needlewoman has set aside her own ingenious arrangements and follows blindly where the merchant leads, and British design for needlework, as an expression of its people, is almost a dead thing.

Most people have a superstition that in knowledge of a multitude of stitches lies the whole mystery of needlework. This is emphatically not the case. There really is no mystery about stitches; they are but the letters of the needleworker’s alphabet, and the words of her language—to be used according to her own ideas. One may embroider poems; another may embroider prayers and praises for her church; another may beautify a fair woman’s garment or sing a little song in stitches for a baby’s robe; yet another may be like a treatise on surgery, repairing and restoring that which has been damaged. But needlework does not exist for the stitches. It is the stitches which—as they are well or ill-used—express the worker, and, if she is a wise worker, she can find out for herself most of the stitches she needs. Nor is it necessary to be at great expense in needlework, indeed, for those who take it up as a recreative craft half the interest may lie in the fact that no material is too common or too homely to be made into something fitting and, therefore, beautiful—since the truest art is to make a thing pleasing to the eye and yet entirely suited to the purpose.

The commonest failing of the designers of this country is that they think that beauty lies in the elaboration of ornament, and this is why the fashions of British dressmakers fall short of those abroad. It is the little simple contrivances, that are almost no more than a sort of loving finish to the actual construction of a piece of work, that give the highest standard of style in garments: and the best training a needlewoman can have is to make her seams, hems, openings and fastenings of garments or household fitments things of beauty, while, at the same time, she considers the uses and purpose of her work. It is as a piece of engineering we should consider the construction of our household hangings and covers of our garments—planning that decoration should be coarse or fine, as fits the material, and taking thought also for the washing and wearing of it.

The fashions of to-day show a very marked tendency to decorative construction, due in great measure to a change in the needlework for school children introduced a few years ago. The tendency shows most interesting results, especially in the fact that the shaping of clothing has become very simple and that garments depend almost entirely on stitchery for their decoration, rather than on manufactured braids and trimmings; and the styles and shapes are infinitely less stereotyped, so that clothing for women tends to express more nearly the personality of the wearer than it has done for many generations.

The work of the hand—as apart from that of the machine—is more and more in demand, and decorative needlework, even in our shops, is becoming more to be desired, for unique and personal characteristics and expression, than it has been for a very long period. This being the case, let our needlewoman take courage and realise that in each mind there are possibilities of new ideas and new inventions—that all materials open up new opportunities, and that with little labour she may greatly enhance and beautify the things she works and find appreciative opening for her skill. Never was there such universal demand for handwork of every kind, and for such household fittings, which tend towards economy and labour saving in particular, the need is almost unlimited. Some of the most interesting embroideries done during the last few years have been planned and carried out in some of our Scottish schools by untrained workers—designs so simple that the workers do not realise that they are designing at all—since they draw largely with needle and thread alone, and have little assistance from chalk and other markings. And it is this type of work, usually sewn in coarse yarns and on rough canvas, flannel or homespun, that is perhaps the most happy and most stimulating for a designer of needlework to begin on. The work is so quickly achieved—so gallant and bright in colour—so utilitarian in purpose and of so little cost in outlay, that it is above all others to be recommended. It needs no experience in stitchery to work in bright wools, if the material is firm and strong, and the writer has pleasant experience of maid-servants and village wives in the north country making admirable rugs, garments, and other embroideries, which command good prices at the Artificers’ Guilds and other places where a high artistic standard of design is required.

It is only by means of such counter attractions in stimulating leisure crafts, which pay their way as well as give pleasure to the workers, that we can contend with the spirit of restless excitement and craving for mere pleasure-giving that is so marked a sign of the early days of peace, and reconstruction can only come by countering this mischievous tendency in young people by giving them something that gives stimulus to their longing for brightness and yet does not unduly tax those whose days may be occupied in strenuous employment.

How desirable it is that such gatherings of women and girls as church sewing meetings, guilds and clubs, should take up such new ideas in needlework and apply for a competent instructor. How almost more desirable is it that men might realise the pleasure a needle can give if applied to bold construction and original work.

It is by no means universal over the world that needlework is a women’s craft; in many countries it is done quite as much, if not more, by the men, and it is probable that if our men took up this craft, it would show a very marked tendency to individual and original expression.

The power of invention is so great and serious a factor, that it is almost too big a thing to touch upon here. We do not exaggerate its importance when we say that this faculty in human beings is what we can justly call the Holy Ghost, for it is that in us which comes, not of ourselves, but from direct inspiration, and the first principle of education ought to be to open our minds to it, in howsoever small and humble a fashion it comes, and to make clear the way for its development and growth towards greater things.

Ann Macbeth.

Glasgow School of Art.

CONTENTS

LIST OF ILLUSTRATIONS

AN EMBROIDERY BOOK

CHAPTER I

INTRODUCTORY

“Give her of the fruit of her hands; and let her own works praise her in the gates.”

Needlework, as an artistic and practical craft, is highly interesting from a decorative point of view, and well within the scope of any intelligent worker. It has distinct advantages over most crafts—it neither requires great initial outlay for apparatus or materials, nor does it demand a special workshop; thus, as a domestic art, it commends itself to many of us on account of its adaptability to the conditions of life, as well as for its decorative value—as a means of adding grace and beauty to our daily surroundings.

During the thirteenth and fourteenth centuries England was famed for the beauty and magnificence of its ecclesiastical embroideries. These wonderful works found their way into many countries and were eagerly sought after by patrons of the beautiful; many pieces still exist, preserved in our museums, churches, or in private collections, to show us what extraordinary ability and invention these ancient embroiderers must have had. After the Reformation, when there was no longer the great demand for ecclesiastical work—embroiderers turned their attention to the decoration of garments to be worn by the wealthier classes. In the “Golden Days of Good Queen Bess,” and for some time later, all the ingenuity and skill formerly applied solely to church work was bestowed on the decoration and beautifying of personal clothing—dresses, cloaks, coats, waistcoats, caps, gloves, etc.; neither time, labour, nor expense was spared, the worker’s ideal evidently being to obtain the highest result of which he or she was capable. Some of the quaint pattern books of those days still exist, and they consist mostly of elements—dainty flower sprays, sprigs, fruits, birds, animals, fishes, border patterns and geometrical forms—all intended to assist the workers in the composition and building up of their designs and patterns.

In the busy world of nowadays, we cannot hope ever to attain to such perfection, nor to regain for embroidery the high position it once held in this country; but we still have many clever needlewomen who could produce beautiful work provided they had a better knowledge of how to set about it.

This book has been planned with the hope that it may be of use to many, and that it may create in both girls and women the desire to construct and decorate for themselves those simple articles of daily use which cost so much to buy and which can be made and embroidered, in simple patterns, with a little knowledge of construction and stitchery, at a moderate expenditure of time and money.

Perhaps the reason why so many workers buy their materials already stamped with a design, which often proves unsuitable to the purpose for which it is intended, and which gives small satisfaction when embroidered, is because of a certain distrust of themselves, a want of knowledge of their own powers of invention and ingenuity; or it may be a lack of energy and initiative, a reluctance to plan and create for themselves, due to the fact that they have never been taught to express their own ideas, but rather to depend on those of others. Nevertheless, the sense of beauty is, in a greater or less degree, common to us all. Why, therefore, should a needleworker not develop her own ideas rather than those of other workers? The designer, for example, who may have as little knowledge of stitchery as the needlewoman has of design, and who, therefore, cannot realise the labour involved in its execution, may lose much of his effect and may waste the time of the embroiderer. It is generally agreed that no two people have the same ideas; it is surely, then, of considerable importance that each one should at least make some attempt to express his or her own. If scope is given to the creative and inventive powers they, like other faculties, will grow in a most inspiriting manner; new ideas, inherent instincts, perhaps dormant hitherto, will spring up like flowers to encourage the beginner on the upward path, and as interest becomes keener and confidence grows, difficulties which at first appeared insurmountable will quietly disappear as the worker plans and thinks out a piece of embroidery from the foundation. How interesting and attractive it will be to execute such a piece of work, which will express the personality of the worker in all parts, design, colour and stitchery. Greater technical excellence, as well as charm, must accrue; the embroideress will work with more judgment and understanding, and because it has gained so much in interest to her, she will be able to express herself more freely, and her work will convey and suggest more to others.

CHAPTER II

THE ART AND CRAFT OF EMBROIDERY—THE SIX POINTS

“Chaires, Stooles and Screen, the same, all of Satten Stitch done in Worsteads.”

We shall now consider the six important points of design.

Art and Craft.—Many women have an inherent instinct for needlework—that is, the craft of the needle—for the knowledge of how to use a needle and thread is generally easily acquired; but it is quite otherwise when the design, the artistic or imaginative part, has to be carried out, as it ought to be, by the worker. Then all sorts of difficulties arise, mostly imaginary, as those who make an attempt may find.

Let us here consider the design as a necessary part of the workmanship. We shall be ambitious enough to study embroidery from an artistic point, for the art and the craft ought surely to go hand in hand.

The Habit of Design.—A special knowledge of drawing is not essential for pattern making—a child will make delightful patterns—nor for simple designs composed of straight lines and geometrical forms, such as might be happily applied to borders for articles of daily household use or for personal wear. A ruler, a compass and a sheet of squared paper are sufficient for initial efforts: and once the habit of simple designing is acquired it can become a wonderfully absorbing pastime, for eyes that are opened to see will find designs on every side.

Good Taste and Common Sense.—To carry out a piece of work successfully, however, the embroideress must possess good taste and common sense; these are indeed important qualities, the possession of which will help the beginner enormously: add to these an eye for colour and form, a practical knowledge of the stitches commonly in use, some acquaintance with materials, their utility and adaptability, and the worker will find herself fairly well equipped to start her design.

The Six Points.—There are about six points to be considered in connection with a piece of embroidery:—

The Object and its Use.—We must decide this, bearing in mind the position the work will occupy when finished; choosing a material suitable for the purpose, and with due regard to the restrictions of economy.

The Colour Scheme.—Consider the environment, and let the scheme be in harmony with or in contrast to the background and surroundings.

The Construction.—Plan carefully and arrange for the decoration, which should never interfere with the usefulness of the finished work.

The Building up of the Pattern.—This should always be done with a view to the limitations of the material.

The Stitchery.—This must also be adapted to the material—with bold, effective types for the coarser woven stuffs, and daintier, closer stitchery for the firmly woven textiles.

Finishing Touches.—A beginner rarely realises the importance of these, yet it is well worth while bestowing thought on them; interest may be considerably heightened by such additions or an otherwise good piece of work rendered less attractive by lack of care and thought at the final stages.

It will now be seen that the design—the least mention of which strikes terror to the soul of the uninitiated—does not consist in the drawing or the making up of the pattern alone, and that there are important preliminary stages to be gone through. Indeed the design is well on its way by the time the worker reaches the fourth point, i.e., the building up of the pattern.

The First Point: On the Choosing of
Materials, Threads, Tools, Etc.

Materials.—Materials, threads, and needles are important items, and should be chosen carefully; to spend time and labour on embroidery on a poor foundation is an extravagance rather than an economy—the tendency being to make up for the poorness of the quality by the profuseness of the decoration. Materials need not be costly, but they should be good of their kind.

Homely Materials.—Charming things can be made out of homely cloths, remnants and oddments. Texture, tone and colour should be considered, both from a practical and an artistic point of view; a background that is pleasant to work upon is always an advantage. Linens, of varying quality and texture, can be relied upon for domestic purposes—they make for good stitchery, they wash well, and are very durable. (Plate VII.) Some unbleached materials are extremely economical.

Greenhouse Shading.—A soft creamy netting used for greenhouse shading, which may be obtained from any of the large seed merchants, is made in different widths from 54 inches to 72 inches. It has an open mesh and lends itself to all types of darning and needle-weaving—the narrow widths make excellent semi-transparent sash curtains, which may be brightened by applied bands of coloured linen or chintz, and finished with rows of simple running or tacking stitch in wools or in some of the coarser makes of embroidery cottons. (Plate VIII.) The thicker quality has a closer mesh and is admirable for coverlets and hangings. These, when edged and decorated with lines of bright-coloured washing braids, and wide borders of coloured cretonnes—which again may be connected with bars of needle-weaving or darning, or any simple stitchery—make charming and economical articles, such as any housewife might well be proud to possess. (Plates V. and VI.) Covers and runners to match might complete the set. This would be a pleasant and instructive work for a girl’s leisure hours; she might make just such a set for her bedroom, with the addition of chair covers and cushions, adorning them beautifully with some simple design and a colour scheme of her own choosing.

Damask and Huckaback.—Damask linens, with simple-patterned backgrounds, twilled sheetings, of various makes, and huckabacks, can be used most effectively for runners, mats, and luncheon sets; the soft, warm, creamy tone of the unbleached material blends harmoniously with bright-coloured threads and wools.

Titian Canvas.—Many coarser and more loosely woven textures make most charming and desirable backgrounds for bands of needle-weaving. (Plate VI.) Coarse canvas in various colourings, woollen hopsacks, floor-cloths, etc., are adaptable for many household articles.

Russian Crash.—A common roller towelling, or Russian crash, as it is also called, is a delightful material (Plate III.), and may be had in narrow widths, varying from 12 inches to 24 inches; it is woven by the Russian peasantry in small handlooms and varies considerably in texture and quality—but in all cases it is a most durable and suitable linen for domestic purposes.

The Scottish Blanket.—Another pleasing material for wool decoration is the well-washed, worn-out Scottish blanket; with the smaller pieces one can make hassocks and cushions which look wonderfully well in strong colours in any flat stitch; the larger single blanket can be used for coverlets or hangings—with applied decoration where the material is too frail for general hard wear. Decorated with edgings of woollen braids, etc., these will look almost new, and certainly will give immense satisfaction to the worker.

Threads are to be had in great variety and in different makes, many of which are excellent for embroidery. Cottons and flaxes in various sizes and thicknesses in a large range of colours can be combined most successfully.

Embroidery Wools.—Wools and yarns, particularly the types known as fingering, in three, four, and five-ply, are reliable both in colour and quality. It is always advisable to shrink wools before using them for embroidery if they are to be applied to articles which require frequent washing. Crewel and tapestry wools, to be had in hanks, “white heather” mending in balls, are very convenient for needle-weaving and canvas work, and they may be had in beautiful colours.

Silks.—Silks of different makes, embroidery or knitting, filosel, filo-floss and a soft, thick variety known as “Tyrian,” are all good for various purposes. The latter is particularly useful for couching lines; filo-floss—a bright, glossy silk with no twist in it—requires some skill in the manipulating of it, therefore filosel or mallard floss, each of which has a slight twist on it, is better for the less-skilled worker. Carpet chenilles in colours, both cotton and woollen, applied to coarse canvas or sacking, are used for the making of mats and rugs. Woollen and mohair, cotton and brush braids of the common skirt type, carpet and binding braids, cords and French tapes, coloured and washing gimps, all may be used with advantage for embroidery. It is better to shrink some of the loosely woven skirt and carpet braids before applying them to the material, or they are apt to pucker the material after washing.

Good needles should always be used, with well-drilled, good-sized eyes. Care should be taken to choose them so that they may be exactly suited to the thread and to the material; the eye should be large enough to hold the thread easily, in which case it will make a hole in the foundation of a sufficient size to allow the thread being pulled through without roughening it. Scientific sharps are very pleasant to use—numbers four, five and six, are suitable for cotton and flaxes, crewel and chenille, and long-eyed sharps for general embroidery and needle-weaving. For openwork backgrounds such as are shown in Plate XI, H, I, J, K, L, where no threads are withdrawn from the material, a special needle with a large thick stem and a small eye is used; it separates the threads of the material and makes them easier to gather into groups by means of the tightened thread.

In working on loosely woven materials—such as canvases—and for weaving patterns, tapestry, chenille, or rug needles with blunt points are the most comfortable to use; if these are not to hand, work with the eye of the needle foremost.

A well-fitting thimble, preferably vulcanite or silver lined with steel, is necessary. It should be deeply pitted to catch the eye of the needle and well finished, so as not to roughen the thread. Scissors of different sizes are required: a large pair with one sharp and one rounded point—these for the cutting and preparing of the material; a small sharply pointed pair for the snipping of threads; a special pair with a little square knob on the one blade and a sharp point on the other for cutting out threads and sections between embroidered and openworked parts; these are a safeguard and prevent the snipping of the work.

Frames are not necessary for the simpler types of work, but for wide borders in needle-weaving, particularly for the novice, a frame will fix the warp threads by keeping them taut, and prevent puckering of the material—little tambour frames which consist of a couple of rings, the one fitting into the other, will serve the purpose.

Finally, a small emery cushion, for polishing the needle should it get sticky or rusty, a piece of beeswax is useful for flax threads, a stiletto for piercing eyelet holes, a yard measure, a bodkin, and some small pins, are all necessary items, which should always be at hand when wanted.

The Second Point: The Colour Scheme.

Colour lends an inexpressible charm to our daily life—it is in nature that it exists in greatest beauty. The wonderful robe of colour which she displays for us throughout all seasons and in all countries, through the flowers and fruits, trees and foliage, sea and sky, the birds, animal and insect life, all under different aspects and ever-varying circumstances, increase our admiration and pleasure. We reflect and gratify our need for colour in our intimate surroundings—dress, hangings, furniture, carpets, pottery and pictures. The embroideress who has a fine instinct for colour will arrange a scheme wherein beautiful combinations of hues, tints, and shades will mingle and produce a harmonious whole. It is for those less favoured that the following hints are given. A knowledge of the principles of colour will serve as a guide, while the use of a chromatic circle, i.e., a colour circle, will be invaluable to the beginner. This convenient arrangement wherein successive strips of all the colours are placed concentrically in their due proportions—as in the prismatic spectrum—will enable her to study the varieties, the relations and the peculiarities of colour and help her to arrange and select those hues, tints and shades which will combine well together; it will aid her to obtain happy effects with some appreciation of its harmonies and contrasts.

The three primary colours, green, red and blue—green being now generally accepted as a primary instead of yellow—offer the greatest contrast to each other. They are the strongest and most powerful and exercise a greater influence on the mind than any of the others; add to these, orange, yellow, violet, white and black—the sum of these six colours constitutes white, and the absence of all, black—and we have the eight from which all the other colours and their modifications can be made, easily and systematically.

Red (Complementary Colour, Bluish-Green).—Red, the strongest and most powerful, excites and stimulates the eye. It was the first colour to be used for decorative purposes by primitive man, and the first to receive a name: it is the most predominant of the warm colours, and on account of its fresh, bright, cheerful character, is much used by beginners; but this very assertive quality makes it rather difficult to combine with other hues, therefore it is well to use it in small quantities for general purposes. Red, in different hues, has always been the symbol of power and distinction. Scarlet has been used for regal robes and state ceremonials, as well as for military purposes—it indicates bloodshed and war, fierceness and courage. Red of a rosy hue signifies divine love. It has been a favourite colour with the poets from the days of Homer to our own time. The complementary of red is bluish-green.

Blue (Complementary Colour, Yellow).—Blue followed red—it is of a quiet retiring nature, soft and soothing in effect, imparting the same quality to all the hues in which it predominates. It is one of the cool colours and is symbolically emblematical of heaven, piety, and intelligence. The complementary of blue is yellow.

Green (Complementary Colour, Purple).—Green, the most prevalent colour in nature, and the least stimulating, has a remarkably distinct and striking effect on the eye. It is highly refreshing as well as soothing, and is the necessary restful colour, the opposite of red. Yet the nervous power of the eye is sooner exhausted by strong greens than by any other hue; thus, a piece of work with a preponderance of green is not so pleasing to look at constantly as the piece where blue predominates. Symbolically, green is the emblem of bountifulness, youth, happiness and prosperity. The complementary of green is purple (violet-red).

Yellow (Complementary Colour, Blue).—Yellow approaches white, and is therefore a brilliant and advancing colour. It possesses the greatest power of reflecting light; is rather difficult to combine unless modified. Bright yellow has been used emblematically, to express charity, joyousness, plenteousness and old age—greenish-yellow is the symbol of jealousy and envy. Its complementary is blue.

Orange (Complementary Colour, Greenish-blue).—Orange, coming between red and yellow, partakes of the nature of both—it expresses warmth, fruitfulness and wealth. The complementary colour is blue with a tinge of green.

Purple (Complementary Colour, Green).—Purple is the quietest of the rich colours, being composed of red and blue. It varies in tone according to the amount of its constituents. When blue is predominant it is symbolical of mourning, expressive of sorrow, sadness, and is called violet; when inclining to red it becomes warmer and richer. It expresses dignity, pomp, and regal power. Its complementary colour is green.

These six bright colours, when used in conjunction with black and white, with each other, or with their complementaries, will strengthen, intensify and enrich each other without altering their true value—when such vivid effects and sharp contrasts offend the taste of the worker, when they appear too crude, too conspicuous and too obtrusive—which they are apt to do—they may be harmonised quite simply, either by modifying the complementaries or by using a tint or a shade, that is, a lighter or a darker tone of the same colour. The strength and potency of these startling contrasts are in this way tempered; they become less glaring, less assertive, pleasanter and simpler to arrange, and lose the jarring effect they might have if used in their full brilliancy. For simple household articles with little decoration these bright colours may be used with charming effect. It is well to remember, in choosing the tints and shades of a colour, that the foundation material will have a considerable influence on them. On a white ground they will appear stronger and brighter, their tone being heightened by the white or light background, while on a black ground they appear more distinct and brilliant, particularly light ones, the contrast being greater. Dull hues gain in brightness when used with black and lose accordingly when combined with white.

Juxtaposition of Colour.—Colours, then, when associated, influence each other simultaneously in various ways, darkening and lightening, adding to or detracting from, as the case may be—thus, by placing a light and dark one in contact, for example, black and white, the former looks blacker, intenser, while the latter looks more startlingly white on account of its dark neighbour.

It is advisable, also, in arranging the colour scheme—after taking materials and positions into consideration—to determine at the very outset what the leading features are to be, and to have one colour in the scheme more predominant than the others, either in intensity or in area. There should be some central point or points of interest which will attract the eye to certain parts of the construction.

PLATE II.

SOME USEFUL STITCHES ([See p. 29])

A Dominant Colour.—A liberal use of a dominant colour, by conveying a definite impression, will give decision of character as well as beauty of tone to the work, while a vague, uncertain, or too equally distributed arrangement will leave an unsatisfied and indefinite impression on the mind.

There are abundant suggestions to be had from fields, hedgerows, flowers, plumage of birds, etc., for the embroideress who can adapt them to her purpose, but a simpler plan for the beginner is to choose her colour scheme from a good picture, a coloured illustration, a piece of chintz, cretonne or good brocade, or, when possible, to study the various pieces of old embroidery preserved in our museums, as a record of the time when we could compete with other countries, when embroidery was almost the sole occupation of women of rank, as it was of the occupants of the convents.

Green.—If we were to use one of the primaries as a dominating colour, say green, a bluish-green, we might have as a background a deep pomegranate red, the design could be worked out in bluish-greens, grey-greens, soft blues and purples, with touches of pale chamois yellow here and there; all the colours should have a tinge of bluish-green, the combining colour.

Blue.—Or we might choose blue, the pleasantest, simplest and most harmonious combining colour, and select as a background a warm white or cream. The decoration could be carried out in various tones of blue, deep rich blue, turquoise, deep and pale orange, and a blue grey—much would depend on the tones used in combination and the manner in which they were employed. Always avoid a spotty effect, and do not contrast colours too suddenly in an endeavour to emphasise special points.

Red.—Red, when used as the predominant or combining colour, looks best on a dark blue or a cream background. With a dark blue ground, white or cream, bright greens and a touch of dull orange will work in well with the reds, the former combining to make the latter less assertive. With a white ground and the same colours, the work becomes suggestive of some of the beautiful Bokhara embroideries in which reds, greens, blues and yellows—the latter used sparingly—are combined so gaily and instinctively.

CHAPTER III

CONSTRUCTION AND DESIGN

“A cunning workman, an embroiderer in blue and in purple and in fine linen.”

We shall now discuss the decorative points.

The construction and the building up of the pattern may be taken together.

A Simple Pattern in Needle-weaving.—The simplest design for an initial effort should be one which could be executed in needle-weaving such as is illustrated in Plate I. Here the spaces for the decoration are marked off on the material, there being no necessity to put any design on to paper—the weaving may be done in any simple primitive pattern, or from some of the more interesting darning pattern samplers, or it may follow some idea or fanciful invention of the worker. It should be more or less symmetrical in colour and form, and provided that sufficient thought is taken in arranging the colour scheme and that the technique is good, the result should be both pleasing and decorative. (See [Chapter V]. on needle-weaving.) Supposing the material and the colour scheme to have been already decided, and that a loosely woven texture—which demands a simple conventional pattern with bold stitchery and bright colour effects—has been chosen (let it be a runner, table cover or any article suitable for household use). It would be best, as simplicity must be the keynote, to have a marginal or border design, built up entirely on straight lines and geometrical forms. First plan out the material and arrange for the decoration; decide whether the pattern is to be placed on to a wide hem, or inside a narrow one, or whether it is to be applied as wide bars at the ends and edges of the runner. The limited space at the disposal of the designer will often aid and suggest the pattern.

The decoration should, when possible, strengthen the construction. Be careful at all times to place it where it will not interfere with the usefulness of the object. A cushion, for example, ornamented with raised embroidery or with large beads, conveys the idea of discomfort rather than of comfort, which is, after all, the raison d’être of a cushion, the addition to a room, by means of colour and decoration, being a secondary point.

In the early days, when decoration was so freely applied by primitive peoples to seams, hems, shoulder-straps, indeed to all objects, it was their aim to increase the usefulness of the article rather than to decorate it.

A Border Pattern.—When the above-mentioned points have been decided, take squared paper, ruler, and pencil, and draw a few nicely spaced lines; duplicate the outer ones to give weight to the edges. All these lines crossing at the corners will form the framework of the design. Regularity and order are as essential in needlework as in most crafts, therefore the care and precision taken in the earlier stages will aid in the working of the later.

The Construction.—Plan carefully and arrange for the decoration, which should never interfere with the usefulness of the finished work.

The Corners.—The treatment of the corners presents the greatest difficulty. In a frame they are structurally the weakest parts; for this reason the ornamentation is placed at these parts to bind and strengthen, as well as to decorate them. In a piece of needlework with a simple border design they are again the most important. One expects to find unity, enrichment and massiveness there where the lines cross; we add, therefore, a few extra lines or chequers to the corners. By this means we enlarge them, and by so doing append dignity and importance. Still greater emphasis and the necessary note of interest will be given by the colour and the stitchery—the treatment of which should always be in the foreground of the mind of the designer.

Principle of Repetition.—Do not aim at great variety of form; repetition is one of the first principles of design. The beginner will save herself much worry and labour if she keeps this principle before her, instead of striving—as she invariably does—after variety. She should make her form—a square, an oblong, or whatever simple element she may have chosen—recur at regular intervals, and all corners should be alike.

Masses connected by Lines.—Masses should be joined by connecting lines and the spacing so arranged as to give value to the rest of the work.

Value of Spaces.—A form or element should never be cramped into a space nor stretched out unduly in order to fill one; it should be planned and balanced to look as if it just belonged to it. A design is well balanced when the elements are so adjusted that they are neither too monotonous by over repetition nor confused by too much variation.

Diagonal Lines.—It is safer at the earlier stages to avoid diagonal lines, or forms made up of such lines, for several reasons: they give a restless effect which should be avoided if possible, they present to the embroideress considerable difficulty of manipulation—coming, as they must, on the bias of the material, which may easily be tightened, puckered or pulled out of shape in the working by the inexperienced hand.

The Game of Design.—There is really no limit to the possible patterns which may be built up on straight lines and geometrical forms. The needlewoman has only to try with a ruler, pencil and squared paper in order to discover that she may, after some little practice, make most elaborate designs with interesting results. There are, of course, certain fundamental principles which will help her, but they are not many, and with the suggestions already given she should be able to arrange many simple designs suitable for her own use. It might be quite a pleasant occupation for the younger members of a household, on a winter’s evening, to start and play at design. A time limit, perhaps a quarter of an hour for the first effort, and a longer period as the patterns became more elaborate, might be given; afterwards all the designs could be exchanged, compared, criticised, and then judged by an older member. In this way a “habit” of pattern making might be cultivated. Many of the designs should prove valuable to the craft worker as well as interesting to the youngsters.

Circles.—From the making of patterns with straight lines we go on to circular forms, with radiating lines. This opens up a wide field to the embroideress, allowing her to extend and vary her simple designs indefinitely.

With this new element, the circle, she can formulate some of the more definite floral shapes, and arranging them in an orderly manner, symmetrically, can make a geometrical pattern suitable to her purpose; she can make use of compasses, or if these instruments are not at hand, any circular form, such as a plate or a coin, will suit admirably. Should these prove too small, there is always the simple device of the fixed pin encircled by a thread, with the pencil at the opposite end, which, when the pin is held firmly in the centre of the space—as the thread must remain taut—will form a circle, the size being fixed by the length of the thread.

Circles at once suggest natural forms and growth, but to begin with the young designer must keep to the geometrical side of Nature; natural floral forms will come later. If she examines carefully a number of the flowers of the field or hedgerow she will find that many of these beautiful forms are built up on a geometrical basis—she will note the radiating lines of the flowers, the sepals, petals and stamens, the venation of leaves, the manner in which the mid-rib gives off, gradually, the beautiful curving lines which flow into the outer edges, and the wonderful orderliness of the little seeds clinging to the sides or centre of the seed vessel, and thus she will realise that all curving lines are but segments, or parts of circles of various sizes.

To aid the designer in her first efforts let her turn to an elementary text-book on botany—she will probably find there a number of diagrams of horizontal sections of the commoner wild flowers. These give the plan of each flower typical of the family to which it belongs—all the parts are arranged symmetrically in circles or whorls, and show how the flower is built up. The embroideress should find these sections full of suggestions; she might take the simpler forms to begin with and elaborate them, adding fresh details where necessary for the development of her design. By comparing the sections of one flower with another—of the wild rose with the poppy, the purple loosestrife with the forget-me-not, the primrose with the daffodil—she will be able to obtain variety with simplicity and balance; then she will connect and join all the masses with straight or curved lines, and thus give completeness to her design.

With increased knowledge of the structure of flowers the embroideress will gain a keener sense of observation which will be of great value when she studies the natural forms.

Setting forth once more on the high adventure of making her own design, she will bring to her aid the principles already learnt in the making of straight lines while she was building up her patterns and designs.

The Fifth Point: The Stitchery.

We express ourselves and our ideas in embroidery by means of stitches and colour.

To have pleasure in the craft, the needlewoman must have a fairly accurate knowledge of the technique. Stitchery should at all times be as simple as possible, and carefully adapted to the material and the design.

Simpler Types of Stitchery.—The commoner types, those which by experience and long use have been proved to be the most beautiful or the most practical, are the best. All the more complicated forms are merely modifications or combinations of these simple types, many of which are used in “plain” needlework. There are, in fact, few stitches which a careful worker cannot master in a very short time.

Stitchery not the Most Important.—It is wise to remember that stitchery is not the most important factor, but only one of the many which go to the making of good and artistic work. Beauty, in needlework, consists, not in the variation and elaboration of stitch, but in the harmony of material and technique, as well as of form and colour.

Unity of Stitch.—Where coloured threads are used it will often be found advantageous to adopt one stitch only. Many of the charming pieces of embroidery stored up in our museums give us an idea of what can be done in this way, and though we lack, perhaps, both time and patience nowadays, there is no reason why we should not, by cultivation of our tastes, raise the level of the art considerably above its present standard and prove that we can still produce embroidery—of the modest, reticent type—adapted to our own conditions of life, which will reveal both refinement and artistic delight.

To execute a piece of work in one stitch would be excellent practice for the young embroideress, whereby she would learn to know and use a stitch in all its varied aspects. She need not fear monotony—the coloured threads will give sufficient variety. Let her take the simplest of all stitches to begin with—the tacking or basting stitch—and keeping it and its many varieties in her mind when planning out the pattern, she will find that she has many delightful ways of executing it. Tacking or basting stitch, worked in rows, becomes simple darning, a background stitch with which she may make charming patterns and fillings, ad libitum. (Plates II. and XII.) Worked closer, it is a running stitch, wherewith braids may be tacked in place (Plate IV.), frills gathered up, seams of frocks connected, or smocking prepared. Finally, when worked with the same quantity of thread on the under and upper surfaces of the material, it attains a new dignity, and becomes satin stitch—the stitch beloved of the young modern needlewoman, who is generally inspired and stimulated by the wonderful skill and precision of the Eastern needleworkers.

White Backgrounds.—White backgrounds, when embroidered in white or with only a little colour, may have much greater variation in stitchery; it is a relief to the worker and an improvement to the work—indeed, should the embroideress feel so disposed, she has here the opportunity of displaying her knowledge of stitchery to a considerable extent, always keeping, of course, within the limits of good taste.

She should endeavour to suit the stitchery to the work, to produce the desired effect without too much labour—not that work should ever be done in a hasty or untidy manner—but, as said before, she should adapt it to its purpose. It is well to remember that large pieces of embroidery, generally seen from a distance, demand bold, effective treatment; detail is lost, so can be omitted; smaller pieces, seen at closer range, should bear inspection, therefore more delicate treatment may be applied; detail and finer stitches can be seen to advantage. (See [Chapter XII]. for stitches and the method of working.)

The Sixth Point: The Finishings.

The aim of the embroideress is to make her work beautiful, as well as suitable for her purpose. If she has the gift of originality she will also make it distinctive, possibly unconsciously, by adding here and there those little touches of individuality which will mark the work as characteristic of herself.

It is in the finishings that she has most scope for these dainty devices; for by their means she may add interest and artistic detail to the simple garment or article of domestic use and render them charming things to look at. She may attain this end, not by obtaining expensive fitments, rich cords and silk tassels, such as are sometimes applied, most unsuitably, to embroidered cushions, table squares, and other objects that require frequent washing, but by the use of braids (Plate VI.), and bindings (Plate VIII.), and bands (Plate IV.), hand-made cords and tassels, linings, edges, fringes, beads and buttons, raffia and plaited straw.

Thus, the amateur will find it well worth while giving some thought to the making-up and finishing off of her embroidery. She will soon realise, too, the possibilities of making many of these ingenious devices herself wherewith to adorn her work, and she will feel well repaid in the end when she has contrived some simple embellishment at little extra cost.

Hand-made cords and tassels (Figs. 38A and 41), fringes and edgings (Figs. 34 and 42), may soon be made by skilful fingers; bright-coloured skirt braids and carpet bindings and hand-made cords of dyed string or wool give a decorative effect to hems and borders—a wide hem looks well with a heading of brush braid or a piping of coloured galoon or narrow Russian braid oversewn with wool, or a narrow band of needle-weaving. Material and edges may be joined, chair backs and runners may be brightened, dress fitments may be completed simply, artistically and economically, by means of these braids, connected with dainty joining stitches (Figs. 26 and 29).

Wools of various qualities may be brought into service to make fringes and cords for cushions, etc.; seams may be decorated and joined with insertion stitches, worked by hand (Fig. 25), or by the crochet needle (Fig. 63); fastenings may be secured by latchets of wool, thread, or silk, or cord, all of which are easy of manipulation and much prettier than machine-made articles.

By referring to Plate XIII., it may be seen that much may be achieved by means of braid in the decoration of a useful bag; for description, [see page 153].

Charming hand-made braids which may be used for many purposes, such as waist cords, latchets, ties, belts, hat bands (Fig. 40), may be made by means of an embroidery frame, a lace cushion or a small hand loom.

For the handles and joinings of bags, see chapter on needle-weaving.

Beads and buttons are useful for ornamentation—they give richness and weight wherever they may be placed; and as an addition to fringes (Fig. 35), tassels and ties, they are most effective. Flat beads and buttons may be applied to embroidery provided they do not interfere with the use of the object; this they would do if it were in such constant use as to require frequent washing.

Small beads may often take the place of French knots, giving much the same appearance to a border or hem.

Washing galoons and gimps, bindings and trimmings, may be effectively applied to dainty little tea and luncheon sets, as well as to children’s dresses and overalls, they may be further embellished with narrow borders of needle-weaving worked in coloured cottons or in flax threads.

For method of making fringes, tassels and braids, etc., [see Chapter XI].

CHAPTER IV

DARNING STITCHES—BACKGROUNDS AND FILLINGS

“The needle’s work pleased her, and she graced it.”

There is an infinite variety of pattern to be made with darning stitches, and fortunately many needlewomen have sufficient originality to invent little variations to suit their work and material. Most of the patterns on Plate II. are intended to be worked on a loosely woven foundation where the threads are easily counted, such as some of the coarser linens, single thread canvases, greenhouse shading, and tammy cloth for finer work. These darning patterns are better worked with a blunt needle and a long thread, as it is rather awkward, at times, to join new threads in the middle of a pattern, especially an openwork one (see [Fig. H]). Simple fillings like these may greatly enhance the effect of a piece of embroidery. It will be seen by referring to Plate II. that they might be worked so as to form quite a number of patterns in straight lines (Fig. A), in waves or chevron pattern (Fig. C), in clusters or stars (Fig. F), in lines of slanting stitches (Fig. D), in groups of squares or chequers (Fig. E), in vandykes (Fig. G), or in any of the openwork stitches as Figs. J and L.

A Simple Openwork Filling.—Fig. J is a pretty little pattern suitable for a border, for the foot of a child’s frock, for a jumper, for table mats, or for any article where a dainty openwork appearance is wanted. It consists of straight lines in a vertical overcast stitch, worked in rows, from left to right and from right to left.

These upright stitches are in groups of two, worked over four threads of the material; each row is separated from the other by two strands of the material.

To Work Fig. J.—Unfortunately the Fig. J does not show this filling to advantage. When the pattern is worked it will be seen that the intervening strands, in conjunction with the open spaces, form tiny little crosses, which add transparency to the work.

A filling more tedious to work, but with a more open appearance, is got by overcasting every stitch on the advancing row, and on the return row working the upper part of each stitch into the lower space of the row above, thus leaving no strands between the stitches or rows.

Vandyke Border, Fig. G.—This pointed pattern, worked in a single row, makes a good finish for a border or hem.

To work as Fig. G, each group requires seven stitches to form it, the shortest covering four threads and the longest twelve; the last stitch of each group forms the first of the next one.

Pyramid Filling.—The size of the groups may vary; large and small vandykes may alternate. Another filling somewhat similar may be made by taking the stitches horizontally instead of vertically; in this way groups of little pyramids are formed. Each row should be worked with alternating pyramids. The simplest method is to begin at the top with a short stitch over two threads, work five more horizontal stitches, increasing in width, right and left, by one thread, so that the sixth stitch covers twelve threads of the material. Work in oblique rows.

Strips of vandyke pattern may be worked over large backgrounds with good effect. Make five horizontal stitches over five strands of canvas, each stitch being below the other, but one thread to the right of the last; then work four stitches beneath these, each stitch being this time one thread to the left of the one above it; continue for length required. Start the second row on a level with the first and six or seven strands to the right of it.

Fig. B, Arrow-head Filling.—This is a useful stitch for covering the ground quickly. The three stitches are here formed over six vertical and ten horizontal threads, but, of course, the number must always depend upon the quality of the material. The vertical stitch is worked first, then the left slanting stitch, followed by the right. In working with loosely woven cloth, it is necessary to carry the working thread up behind the material to the top to start each stitch. This uses rather more thread, but the stitches lie better and the work is not puckered.

Fig. F, Star Filling.—Here, a number of stars are worked in successive rows. To make them quite regular, each one should be begun at the same point. In the Fig. F they are worked over sixteen strands: start at the top left corner with a double stitch, then make the horizontal stitch below, and so on till complete. By tightening the working thread a little a hole is formed at each corner, and in the centre of each star, which makes the pattern an open one, provided the working thread is not too thick, in which case it would fill up the hole.

An equally good background for a firmer material is to work stars in two rows, diagonally, one up, one down, leaving always an equal number of strands between each star. In this way the material itself is formed into little diamond-shaped panels or lozenges.

Fig. C, Wave Pattern.—This is one of the more elaborate darning patterns. It makes a more solid filling and takes rather longer to work than some of the others. Many pleasing variations may be formed with darning stitches, where the background weft or warp threads are utilised to form the pattern.

Damask Darning.—Materials may be repaired by a linen, twill, or damask darn, in which case the weft threads have to be put in first by the worker before the pattern can be woven.

Work Fig. C by lifting two weft threads in descending rows and passing over seven; after working six rows the pattern is changed by the two weft threads being lifted in ascending rows, the last of the descending counting as the first of the ascending row.

In a twill darn, the pattern of weft threads descends all the time in regular diagonal lines.

It is quite worth while copying some of these damask patterns from table napery, and reproducing them on a larger scale in bright colours—in order to see what effective designs they are; they might well be utilised as fillings for squares, stools, or cushions.

PLATE III.

A RUNNER IN CRASH ([See p. 63])

Fig. A, Single Darning.—A simple grounding pattern, such as that of Fig. A, is useful; it is quickly worked, too, a number of threads being lifted by the needle at each stitch. Start at the left corner; pass over four and lift two weft threads alternately for the first two rows; for the next two rows, lift the two weft threads in a line with the centre of the long stitch, and so on.

Basket Pattern.—A basket or brick pattern may be got by working four rows with the lifted threads in a line, instead of two, as Fig. A, before changing the stitch. This pattern looks very well when the chequers are worked with contrasting colours. Work four vertical stitches first, in lines, and in one colour, over eight strands; then take the contrasting colour and fill in all the horizontal stitches. If one colour only is used these squares may be worked in rows, the vertical and horizontal sections alternately.

Fig. H.—This type of work makes a rather more open background than some of the others; it is very suitable for filling in small spaces, for handkerchief sachets, nightdress bags or borders for collars or handkerchiefs.

It should be worked with a fine coloured or white lace thread, sufficiently strong to draw the strands firmly together, yet fine enough to leave the spaces as clear as possible. As a filling it is easily and quickly worked, as no threads are drawn out, which is a recommendation.

The pattern is worked over six threads both ways—with the exception of the first stitch—and in two horizontal lines. It will be noted that the stitches are not quite vertical, being inclined towards each other in twos.

A Good Filling.—To form the first stitches, bring the needle out at the top left corner; count down over six strands and three to the right; insert the needle and take a horizontal stitch under six strands to the right. The slanting stitch is now formed by inserting the needle into the hole on the upper line made by the first stitch, and taking a horizontal stitch under six strands to the right on that line—the upper one; proceed in this way to the end of the space. The next row is worked from right to left. The thread should be tightened after each stitch to increase the open space.

Fig. D, Diagonal Filling.—This grounding pattern consists of rows of slanting stitches, worked downwards over six strands of material; the working thread is taken across from corner to corner of a square, each successive stitch being taken three strands below the upper one; a strand of the material forms a mid-rib between the inverted rows. If preferred, these rows might be separated by a line of backstitching, in which case two threads should divide each row of slanting stitches; this gives a clear line for the backstitching.

These backgrounds and darning stitches described above are well suited for working on coarse materials with thick threads—as well as with finer ones; although the patterns for the majority of workers are too laborious for very fine stuffs, they may be used for small spaces in linen embroidery such as fillings for flowers, or initials.

Charming open groundings may be worked without removing the threads of the foundation material, but by drawing them in clusters tightly together, by means of stitches. Compare Plate II., where the fillings, Figs. H, I, B, K, L, and M, are worked in this way.

These patterns can be only shown properly on a loosely woven cloth, such as canvas, linen, or cambric. For fine material a fine lace thread is required.

Fig. I.—This pattern consists of little squares and crosses. In Fig. I it has been worked with a thick thread and the strands have not been pulled together—in order to show the method of working; but as already explained, it requires a fine thread and tightened strands to show to advantage.

A Filling in Squares.—Begin the pattern with vertical stitches, in horizontal rows over six strands, exactly as in Fig. 10, until the required space is filled, drawing each group of threads tightly together; then work the horizontal stitches over five strands to complete the squares, tightening them also, but not to such an extent as to pucker the material. The squares may be made smaller and the open spaces larger if each stitch is worked over twice with a very fine thread.

Fig. K, Squares and Stars.—Here, each square takes up sixteen strands of linen, and each one is completed before going on to the next. Work by overcasting all round the outside of the square over four strands, and make an inner square, as Fig. I, with a cross stitch in the centre, taking care to finish with the needle in a position to begin the next square.

Fig. L, Square Stitch and Rhodian Embroidery.—This pattern is made up of rows of square stitches separated by vertical ones. It is usually worked without removing any threads from the material, although with a very firm cloth it is rather an advantage to do so when an insertion is wanted; in the latter case the vertical threads connecting the rows of square stitch are left out.

This is a stitch one frequently finds in old linen embroideries, particularly of old German and Italian work—where it is used either as a border or insertion, or as a separating line between squared or diamond-shaped forms; there is a similarity in the working of it to the stitches used by the people of the Island of Rhodes—latterly known as Rhodes embroidery or punch work—the only difference being that it covers the entire background in Rhodian embroideries and the threads are more closely drawn together. In these Rhodian embroideries the rose is frequently to be met with. It is the symbol which invariably accompanies the head of Helios on its coins, and to which the classic isle owes its name. Square stitch can be worked in straight or in slanting lines, see [Fig. M]—the former is the simpler, as each square is completed in one row, while the latter requires two rows to complete it.

To work on horizontal lines, Fig. L, begin at the right-hand side and make an upright stitch over six threads; take a slanting stitch at the back and bring the needle out six threads to the left at the base. Take a horizontal stitch to the right, inserting the needle at the foot of the vertical stitch; take an upwards slanting stitch at the back to the left and insert the needle into the top of the first stitch. This forms three sides of the square. Now bring the needle out in position to start as for the first upright stitch. If properly worked, the reverse side forms a series of crosses. Fig. L has a row of these square stitches with an alternate row of upright stitches worked from left to right between them. This is a pretty and unusual combination of stitches, and it makes a charming border worked in colour on a loosely textured material for a collar or other small article. Another variation of the same type, and still more open, is to have double rows of square stitch between each row of vertical stitches, the lower row of little squares coming between those of the upper row.

Fig. I, Square Stitch in Slanting Lines.—To work this stitch in slanting lines is rather a slower process. The first row forms a series of zig-zags or little steps on the right side, while on the wrong side it forms two single lines on the bias of the material. Begin at the right-hand side of the work; take a horizontal stitch from left to right over six threads; a slanting stitch at the back to the left brings the needle out six threads below the starting-point. Take an upright stitch and put the needle into this point—two sides of the square are now formed. Take a slanting stitch at the back and bring the needle out six threads to the left of the base of the upright stitch and continue for the distance required. This slanting line of square stitch is easily acquired if the worker remembers the appearance of the stitch, on the “wrong” side as well as the right.

A Table Scarf in Russian Crash.—This design is another of the direct type in which the needle-woven border forms the principal subject. The material is very pleasant to work—it is of a soft greyish-cream colour, which combines well with the wools and braids, and the texture is sufficiently open to allow of the threads being easily removed, which is a recommendation when preparing for the needle-weaving and the fringe. The stitchery is all done in wools, and the colours are dark heliotrope with two lighter tints, blues (two tones), greens, a dark and light emerald, and deep orange. The broad braid is of soft blue, the narrow of straw colour. The design forms a deep border divided into panels by bands of braid; the bands are tacked into place by short button-hole stitches in the darker shade of emerald green, between which are tiny little loop stitches (Fig. 3), in orange. The centre panel has a wide band of needle-weaving, about three inches deep, which is divided up into five groups; the groups are worked from the outside, inwards, as in Plate I., and the various colours are introduced into them. The most prominent colour in the scheme is blue, accentuated in this case by the blue braid, the blue edging, and the second and fourth groups of weaving, which are worked in two shades of blue. The first and fifth groups are woven in heliotrope with orange in the centre; the middle group has light heliotrope on the outer parts and pale green on the inner. This same green is worked in oriental stitch on each side of the central 3-inch bar, while the stitchery between the rows of wide blue braid is in the lightest tint of heliotrope, tacked down with tiny stitches of the darkest shade. The two side panels are worked in satin stitch in two tones of heliotrope, each row of chequers being connected by small chequers in light green—they also are worked in satin stitch. The lines of straw-coloured braid are sewn down with French knots in heliotrope (Figs. 22A, 22B). The pattern of the stitching on the bands of braid which border the design is worked in the same way as loop or oriental stitch; the needle is brought out on one side of the braid and inserted on the other side, just opposite, then brought out again in the centre to the right, where the wool is tacked down with a tiny stitch; the needle is again brought out on the edge of the braid, about half an inch further on, inserted on the lower edge and brought out in the middle again in order to tack the wool down. These two stitches reversed give the diamond shape of the insertion; three satin stitches in orange give a bright little note to the edging. These looped or petal stitches worked in different ways can be used to form many pretty headings. The narrow edging on the selvedges between the lines of blue braid is charming; it consists of two loops of heliotrope in two shades—the one worked within the other—with a closed looped stitch in orange between each pair. When all the embroidery is finished, the weft threads are withdrawn from the remaining ends of the material, which have been left for the fringe. Sometimes a fringe of a closer texture or of a different type is worked, or the material may be too short to allow of one—in all of which cases a strip of cloth could be inserted under the braid and sewn down with the pattern, then fringed.

It is generally advisable when working with narrow braids to take the ends through the material where they can be stitched firmly in place; wider ones are often tied at the ends to prevent spreading, then turned in and stitched.

CHAPTER V

NEEDLE-WEAVING—RUSSIAN OPEN-WORK—
LINKED STITCHES

“A web made fair in the weaving.”

Needle-weaving is a form of decoration common to all countries; it was practised by primitive peoples and must have preceded embroidery. It was a means of adding richness and colour much in favour with the early Egyptians, who decorated their garments with fringes and bands of needle-weaving. Mummy cloths treated in this way are to be seen in the British Museum; also specimens of early Coptic work, preserved in the Victoria and Albert Museum, show that they were in the habit of weaving little panels and borders with the needle, with which to decorate their garments. This desire to enrich and decorate with the needle, by means of colour and pattern, the more important parts of their apparel followed on the discovery of how to weave cloth, and so we find that these early workers frequently left out the weft threads and wove in beautiful patterns, rich in colour, with the needle into these spaces. Later, little panels, bars and medallions were worked in this way and inserted into their garments. This needle-weaving, which is practically tapestry with the needle, seems to have reached a great degree of perfection in the fifth century. There is very little to distinguish needle-weaving from tapestry, except that the latter is done with the shuttle instead of the needle.

This weaving of patterns directly on to the material is fascinating work. It is so effective, so rich in result, and so charmingly appropriate to the material; there must always be a certain stiffness and rigidity in the pattern, caused by the upright warp threads, which demand simplicity of treatment. Weaving, whether done with needle, bobbins or shuttle, is just a method of interweaving the warp threads with the weft; these weft-threads may consist of wools, silks, cottons, or—decoratively, of raffia, or even gold and silver threads.

This type of work may be applied to all kinds of useful household articles—table linen, bed linen, cushions, bags, chair backs, footstools, book covers; also bands and insertions for garments. There is room for such simple pattern, combined in some cases with other stitchery, on these and many other articles, where a marginal decoration is appropriate.

Description of Frontispiece.—Plate I. shows a table square worked on “Titian” canvas of a soft brown tint. The original was 36 inches by 18 inches. The edges of the canvas should be turned up and the spaces arranged for the needle-weaving and coloured bands before the weft threads are removed. Allow about 3 inches for the open-work. Cut the weft threads and pull them out. Fig. 31 shows method of working; begin at the right-hand corner and weave the pattern over six groups, three strands in each group—these are worked in gold and yellow; repeat the same pattern on the opposite side—it simplifies the work and saves time and trouble if the weaving is done from the ends, working inwards; thus two similar patterns are woven, one after the other. If the band of weaving is carefully examined, it will be seen that the gold-coloured threads form a definite pattern on the background; if these are woven in first, it will aid the worker and act as a guide for the interlacing of the other colours. The next group, in lemon and purple, is worked on nine groups of threads: throughout all these patterns a group consists of three strands. The purple lines are sewn in with a back stitch. The third group is formed of a large cross in orange surrounded with gold-coloured squares, which in turn are completed with blue squares at the corners.

The fourth, or central group, has two narrow bars on each side, worked in soft green, blue, purple and gold.

The inner cross of lemon wool with purple and gold can be easily followed from the plate.

The broad band of needle-weaving is edged by rows of variegated chain stitch in brown and cream (for the working of which, see [Fig. 1], p. 46), and followed by rows of button-hole in orange (Fig. 11).

The wide braid-like line in oriental stitch, along the top, is worked very closely; along the sides the same stitch is seen with wider spacing. This stitch is of the herring-bone type—the needle is inserted vertically, instead of horizontally, as in the case of the commoner and better-known stitch. It is effective and economical, as the bulk of the thread is on the surface.

The tassels are of soft brown and bright blue wool hung on to button-holed loops, for the making of which, see [Fig. 57], Chapter XIII.; and for the tassels, [Fig. 41]. The ribbon border is worked in gold and purple silk.

A sideboard runner worked similarly, but with two wide bands of needle-weaving at each end and rather wider lines of stitchery at the sides, was made to match this table runner; the light colours of the border gave a very gay touch to an otherwise sombre room.

Plate II., Fig. N, illustrates another type of open-work which is practised by the peasantry of Russia. It is interesting and quite different in appearance from some of the other peasant work. One distinguishing feature is that two rows are worked in conjunction, and another is the number of rows and the manner in which they are worked. This form of open-work deserves to be better known in this country. The pattern is formed by means of blocks of stitches, which are not worked in the ordinary darning or weaving stitch but by the overcasting of laid threads; indeed, with the exception of the first and final rows—which are hemstitched—the entire work consists of the overcasting of threads; bars, strands or groups, all are worked from right to left. The Russian peasantry work most elaborate borders on handsome linen of an open texture; these borders vary in width from 2 inches to 18 inches, and are applied to all kinds of articles for household and personal use. This form of open-work is more durable than the type usually done in this country; indeed, the material is strengthened by the stitchery rather than weakened, as is frequently the case with the usual method of treating drawn-thread work.

To work a border similar to Plate II., Fig. N, begin by removing two threads; work a row of single hemstitch into the space, over four threads, dividing the material into clusters with six warp threads in each—the hemstitching is done from left to right in the usual way. To prepare for the next two rows, leave a narrow bar of five weft threads and draw out six threads—the number of threads to be removed will, of course, vary according to the quality of the material, but the horizontal intervening bars are always narrower than the open spaces. Begin at the right hand; make the number of upright stitches necessary to carry the thread to the left of the group, which is to be worked into a solid block; lay the thread across this group, and returning, bring the needle out between the first and second cluster of threads, on the right of the cluster; now put the needle over the laid thread and bring it out under the laid thread at the next group. Put the needle over the thread again and bring it out at the left of the entire group; in other words, overcast the laid thread from right to left of the group—always pass the needle behind a cluster of threads between each overcasting stitch; continue to lay the thread and overcast back until the space is filled, then work one straight stitch over the upper horizontal bar; overcast one vertical cluster; slip the carrying thread up behind; work another upright stitch; overcast the second vertical cluster; again slip the thread up through the back of the stitchery; then work the upright stitches and repeat the laying and overcasting to make the solid pattern again. Once the method is acquired, it will be a simple matter to arrange these solid masses in such a way as to form a pattern. It is better to prepare and cut the threads of each row just before working it; there is, in this way, less risk of making mistakes by cutting the wrong threads. Another reason for preparing the rows step by step is that the material is easier to hold before the removal of the weft threads than it would be after they have been withdrawn.

Linked Stitches.

Chain and Tambour Work (Fig. 1).—Chain stitch, which is said to have come to us from China, has been for a long time little used in this country. Tambour stitch—in high favour and greatly used by our grandmothers—was produced later by the machine in such quantities and in so mechanical and inartistic a manner that it fell into disfavour, and unfortunately chain stitch—which is practically the same, except that it is worked with the needle instead of with a crochet hook—fell with it. Nevertheless, it is a stitch which is most useful and charming in its even and somewhat monotonous regularity, especially where a great variety of colour is used and a broad effect is wanted. A particularly adaptable stitch, it lends itself, on account of its linked nature, to the following of curves and spirals, outlines and the filling of circular and oval forms. It can be worked singly—as a powdering—or in a zig-zag pattern—with two colours at once—which produces an interesting result (Plate I.), or with a twist. Worked openly with the needle inserted first to the left then to the right to give a broader line, it is known as ladder stitch, while twisted chain, worked closely, is known as rope stitch. Linked chain and cable chain (Fig. 8) are more elaborate forms of the same stitch. Much of the beautiful Persian quilting done on linens is worked in chain stitch on the wrong side, which gives the “quilting,” or back stitch, on the right side.

The Working of Tambour Stitch.—Tambour stitch, though of little use for small work, might still be employed very effectively as a quilting stitch, and for large pieces of work, such as table covers or hangings; it is worked on a frame, and one can quickly acquire facility with the hook and accuracy in the working of it.

Method:—The material is put in a frame; the thread is kept underneath, where the left hand guides it; a sharp-pointed hook is kept in the right hand and passed through the material from the surface; it catches the thread from the under side and bring it up in a loop; the hook is inserted again and the thread is again brought up in a loop through the preceding loop.

Fig. 1.

To Work Chain Stitch (Fig. 1).—To work chain stitch, bring the thread out at the beginning of the line; hold it down with the left thumb; place the needle into the hole, which the thread already occupies, and take up a small piece of the material—this will vary from one-sixteenth to one-eighth of an inch according to the thread and material; draw the thread through, and the first link of the chain is complete; insert the needle again at the spot where the thread comes out and proceed as before. A cord-like effect may be got by overcasting each link of the chain with another colour: the eye of the needle should be used, as the overcast stitch is taken over the links only.

Chain Stitch in Two Colours.—A variation to a border may be given by working alternate links of different colour.

Method:—Take two threads in the needle, a black and a white, or a blue and a green, or any two contrasting colours; bring the needle out at the starting point; hold the black thread, which should be to the left, under the thumb—the white thread is placed aside out of the way; insert the needle, as for chain stitch, beside the held thread and draw through—a chain stitch of black has been formed. Next, hold the white thread under the thumb, and form the white link, the black thread being placed aside to the right this time. Work in this way alternate black and white links; a little manipulation is sometimes required to keep the thread not in use out of sight (Plate I.).

Split Stitch.—Split stitch may be used for very fine work, or for fixing down laid stitches, for which it is particularly suitable; it has the appearance of a fine chain stitch, but is in reality a single stitch which is split, in the process of working, by the needle. Up to the fourteenth century, it was generally used in figure embroidery to express form, folds of drapery, and features, and was a stitch well adapted for the purpose; but as figure embroidery is quite beyond the scope of this book and the simpler pieces of embroidery it advocates, it is sufficient perhaps to explain the method of working, rather than go into the particulars of its history. It is worked from left to right.

Method:—Bring the thread to the surface at the left; take a stitch, one-sixteenth of an inch, to the right with the point of the needle towards the left; pierce the thread which covers this space and draw the needle through it, splitting the thread and forming a link-like stitch.

Fig. 2.

Coral Stitch (Fig. 2).—Coral stitch is a good decorative line stitch, easily and quickly executed. It is known under several names, such as snail-trail and knotted stitch, etc. It is composed of single knots, worked with the connecting thread on the surface; sometimes the knots are worked so closely together as to have the appearance of beads, or they may be worked half an inch apart, and in rows, when they make good lines for filling large spaces or borders.

Method of working:—Bring the thread through to the front; place the left thumb on it, beyond the point where the knot is to be made; take a stitch under the held thread and at right angles to it; draw the needle through, still holding the thread under the thumb, and tighten. This stitch is suitable for working with wools on fine material.

PLATE IV.

A PORTIÈRE.

Petal or Loop Stitch (Fig. 3).—Another useful stitch is shown in Fig. 3. It is invaluable for the making of small flowers and borders, for picking out edges, and for emphasising lines (Plates IV., XIII.). The working of a small flower is shown in Figs. 3 and 3A.

Fig. 3. Fig. 3a. Fig. 3b.

Method:—Bring the needle out in the centre of the space; insert it again at the same point; bring it out near the tip of the petal, as in Fig. 3A, and tack it down with a small stitch.

Larger flowers can be quite artistically worked by beginning with a small stitch at the foot of the petal, and increasing by successive stitches until the outline is reached (Fig. 3B). The outer stitch can be worked in a different colour or tone with pleasing effect. One of the large conventional flowers in Plate XI. has an outline of these stitches, while another has the inner circle worked in the same way (Plate IV.).

Fig. 4.

Feather Stitch (Fig. 4).—One of the feather stitches, all of which are composed of button-hole stitches, is illustrated in Fig. 4. It is worked vertically, a stitch being made alternately from left to right. The width of the stitch may vary, but it must be regularly worked and uniform in size, to look well, when it presents a braid-like appearance which is most ornamental for underlinen and other purposes. The diagram explains the method of working.

Fish-bone Stitch (Fig. 5).—Fish-bone stitch is another of the feather or button-hole type. There are so many variations of those stitches, which are well known to most needle-women—having been used for the decoration of underlinen for the last generation or two—that only a few need be mentioned here.

Fig. 5.

Quite a pretty and uncommon variety (Fig. 5) is useful for the filling of leaf forms, as well as for borders. The stitch appears to be made up of two long outer and two short inner ones, but as will be seen by looking carefully at the diagram, there are only two movements. It is worked just as in Fig. 4, from left to right. It is very easily worked on loosely-woven material, but where the texture is close, it is simpler and safer to mark four lines on the material for guidance, two outer and two inner, the latter closer together.

To work Fig. 5.—Begin to work from one of the central lines—the one to the right; insert the needle on the left outer line and bring it out on the left inner line, keeping the working thread under the needle; continue in this way, working vertically and keeping the stitches regular and equally spaced. The outside stitches may be made still longer and closer than those in the diagram with good effects, particularly when used for a filling for petals and leaves.

Cretan Stitch.—A still more pleasing variety, known as Cretan stitch and frequently seen on Cretan or Eastern embroideries, is worked similarly in horizontal lines, but the outer and longer stitches are small, straight and closely worked together, so that it makes an excellent solid border stitch, which looks very handsome when worked in metal threads.

To work Cretan or Oriental Stitch.—Draw four lines on the material; start as in Fig. 5, on the right inner line; insert the needle on the left outer line, and bring it out on the left inner one with the thread under the needle; take a stitch on the right outer line; bring it out on the left inner line with the thread under the needle; continue alternately from left to right, taking care to keep the stitches exactly below each other. The appearance of the line can be slightly varied by increasing or decreasing the outer stitches. The inner plaiting is regulated by the size of the stitches taken on the outer edges. See [Plate I]., where the solid blue line enclosed within the chequered chain-stitched lines is worked in this way. The lines on either side of the runner show the stitch worked more openly.

Fig. 6.

Link Stitch (Fig. 6).—This is rather an unusual stitch, being formed of links connected by short stitches. To be effective, it should be worked with thick twisted thread. It is easily done on a ground where the warp and weft threads are sufficiently open to guide the worker, otherwise two lines parallel should be marked from a quarter to half an inch apart.

Fig. 6a.

To work Link Stitch (Fig. 6a).—Begin with the smaller stitches (Fig. 6A); bring the needle out in the middle of the space to be covered; insert on the upper edge to the left, and bring out still further to the left on the lower edge. Pass the eye of the needle down through the small stitch and insert again on the lower edge slightly to the left of the previous one; take a vertical stitch upwards and a little beyond the centre, having the thread under the needle as in Fig. 6; pull the needle through. These three movements complete the stitch, the thread being now in position to make the first small stitch again. This stitch is called linked, or knotted chain.

Fig. 7. Fig. 7a.

To work Tête de Bœuf (Fig. 7).—Another variation of the loop or petal stitch is called Tête de Bœuf. Work a loop stitch as Fig. 7A, then take a stitch across from left to right; bring the needle out above the stretched thread. Make another loop stitch, which fixes this in place. This stitch is often used as a powdering. It makes a good border stitch.

To work Cable Chain (Fig. 8).—Cable chain can be worked in two ways. Two guiding lines will be of assistance. Bring the needle out at the starting point in the middle of the space; form a small loop by throwing the thread round as Fig. 8; insert the needle in the centre of this loop, which will vary in size according to the thickness of the thread and the size of the cable wanted; bring it out about a quarter of an inch lower down, taking care to keep the thread under the point of the needle; tighten the small loop to the proper size with the right hand, then, placing the thumb on the stitch, pull the thread through. This forms both the small and large link and the thread is in position to start again. When worked in a firmly twisted thread, such as Knox’s linen “cord” floss thread, it makes a pretty border or line stitch. A row of couching makes a good edging and emphasises the line if required.

Fig. 8.

By the second method, the small stitch is made first, and the needle brought out to the surface about a quarter of an inch lower down; put the needle through the small stitch from left to right and place the thumb on it; put the needle through the large loop in process of making from right to left and tighten the thread sufficiently. The small stitch has now to be made.

Fig. 9.

Braid Stitch (Fig. 9).—When a fairly heavy line is necessary, Fig. 9 can be used. It has a braid-like appearance, and for that reason is generally known as braid stitch. Work from right to left and start on the lower edge. Bring the thread out and place the thumb on it, and twist the needle round the held thread, so forming a loose twist on it (Fig. 9A). Then insert the needle in the upper line, a little to the left of the starting point; bring it out on the lower line, exactly beneath; place the thread under the needle, and draw through, keeping the thumb on the stitch till tightened sufficiently to form the link.

Fig. 9a.

CHAPTER VI

BUTTON-HOLE AND BORDER STITCHES—HEMSTITCHING
AND OPEN FILLINGS

“And she that is wise, her time will pris.”

Part of a Curtain.—This illustration (Plate IV.) gives a part of a curtain, which is a fine piece of work. The design has been well considered. The simple masses are admirably juxtaposed; they have been skilfully arranged in a manner singularly appropriate to the work. As a piece of embroidery that would generally be looked at from some distance there has been no time spent on minute detail which would involve unnecessary labour. The bold, yet dainty treatment of the needlework is first-rate, and the whole arrangement of the design, colour and stitchery show that the purpose for which the embroidery was meant must have been continually in the mind of the worker.

The circular massed forms in rich reddish-orange are set, most successfully, the one against the other; the green masses, so simple in shape and satisfactory in colour, are clearly silhouetted against the dark background; the white oblongs with the little orange circles, the applied hem and bands in vivid blue, the interesting variation in stitchery, all go to make a charmingly harmonious piece of simple decoration. Work of this type can be made from materials which are quite inexpensive, and its value on that account is increased tenfold. In the illustration, the various parts of the design, colour and stitchery are so clearly brought out that a detailed description is not required. The background is of linen of a firm quality; the applied forms may be of linen or of any firm material in wool or cotton; the embroidery is in wools, cottons and silks. For the method of working the button-hole filling, see [Fig. 11]. The large circular forms are fixed to the foundation with a row of chain stitch; the little orange circles on the white ground are in the same stitch (Fig. 1). The blue bands are applied with darning or tacking stitch outlined with coral stitch (Fig. 2), the hem with button-hole stitch. The effective little groups of white on the green ground are in petal stitch (Fig. 3). All the little square blocks are in satin stitch. How interesting this constructional design can become to the needlewoman who uses her powers of mind and brain, and who applies her ideas to decorate all manner of things. She would no longer be content to work detached sprays of flowers and leaves, strewn promiscuously over her work, once she discovered what good patterns she could make with simple shapes and with the aid of small pieces of bright-coloured patches and short lengths of material, which she might adapt and use for many purposes.

Various Button-hole Stitches.—Button-hole stitch is one of the most useful of stitches, owing to its construction and adaptability, and the decision with which it marks a line. It can be used equally well for plain needlework, embroidery, or needle-point lace; for borders or fillings, either open or solid, for the covering of raw edges, the outlining of appliqué forms, or the working of flowers or leaves. The direction, spacing and grouping of the stitch may be arranged to suit the work and curved lines may be followed with the utmost facility.

Indeed, the interesting variations and combinations which may be obtained by an ingenious worker are endless.

Fig. 10a.

There are two ways of working the stitch, single button-hole (Fig. 10A), and double or tailor’s button-hole; the former, when worked with rather a wide space between each stitch, is generally known as blanket stitch. Fig. 10A gives a corner for a border, which will also make a suitable finish or heading to the neck of a dress or blouse; it may be spaced in various ways, worked in slanting lines, or with stitches of equal lengths, worked over threads or narrow braids of a different colour or tone. When the heading forms a close line, it is usually considered as a button-hole stitch. Plate I. shows two lines of button-holing worked in groups of three, in orange wool, between two rows of chequered chain stitch, where they serve to connect the broad bands of orange which surround the border of the runner.

For the making of an actual button-hole, or where a firmer and more decorative heading is wanted, it is better to use the variety known as tailor’s button-hole, which has an extra knot added to it; it is this knot which gives greater firmness as well as beauty to the stitch.

To work Blanket Stitch (Fig. 10a).—Blanket, or single button-hole stitch, is so well known that it is hardly necessary to describe it. Bring the needle out at the left end of the line or border; place the thread under the left thumb and insert the needle as shown in Fig. 10A; draw it through, still keeping the thumb on the thread—the needle is thus brought out over it.

Tailor’s Button Stitch.—Tailor’s button-hole—the method of working:—Put the needle into the same position, with the thread under it, as for the single stitch, then take the thread, near the eye of the needle, in the right hand and pass it from right to left again under the needle; draw the needle through both loops and the stitch is complete.

Fig. 10.

Crossed Button-hole (Fig. 10).—Fig. 10 shows another variety of the stitch. The threads are crossed by sloping the needle to the right for the one, and to the left for the other. When worked on a loosely-woven material they can easily be kept exact. The knotted edge may be further strengthened by a row of chain stitch, which always improves the line. As may be seen from the figure, either the under or upper stitches may be the longer, but they should not be varied on the same border, otherwise the regularity of the work will be impaired.

Flowers in Button-hole Stitch (Plate XIII.).—Fig. 11 may be used for a solid or open groundstitch; it makes a charming filling when worked over the material for the petals of large flowers, each petal being outlined with chain stitch, couching, or back stitching (Plate XI.). When working over a foundation, the first row and the last only are fixed to the material; the intervening rows are worked into the headings or loops of the preceding rows. When the spaces to be filled with stitchery of this type are not of such a form as to allow of working continuously, each row of stitchery must be attached to the material at the sides, to keep it in position; the rows are then worked to and fro from right to left, or vice versâ.

“A Portière” (Plate IV.).—In this piece of work an excellent example of this method of filling is seen; the groups of five stitches worked in lemon wool, on a black linen background, make a bright chequered effect, which adds both interest and distinction to the design.

Fig. 11.

Button-hole Filling of a Space (Fig. 11).—Fig. 11 shows clearly the method of filling an open space in this way. The edges must be button-holed in the manner described for white work, unless a braid is used, when the firm edge which it gives is sufficient without extra stitching. Begin at the right upper corner; make three small overcast stitches to carry the thread into position for working the first row, which consists of groups of three button-hole stitches worked loosely into the edges of the braid or material; at the end of the row fasten the thread to the braid; again overcast three stitches; work the second row of button-hole into the loops or spaces of the previous row; continue in this way until the space is filled; the last row should be worked into the braid, in order to keep the others in position.

Plate X. has the central portion enriched by a filling worked in button-hole in blue flax thread. It is commenced from the centre; the lines of the pattern are then followed towards the outer edges (see description on [p. 112]). Plate XI. shows a similar filling, in the flower at the corner, which is also worked in colour and finished on the inner row of button-holing by a line of back stitch.

Fig. 12a.

A Diapered Border (Fig. 12a).—Quite an interesting solid diapered background may be obtained by working these stitches in rows, in groups of three or five. The clusters are worked closely at the top; the second row has the apex of each cluster fitting into the base of the preceding one. A very pleasing border in contrasting colours may be obtained in this way; the two firm lines of button-holing will, of course, form the outer edges.

Fig. 12b.

Double Button-hole (Fig. 12b).—Double button-holing has two rows of button stitch (Fig. 12B). The first must have the stitches spaced so as to allow of the second row of stitches dovetailing into those of the first. This variety can be applied very successfully to braid or galoons, in which cases the stitches need not reach to the opposite side as in Fig. 12B.

Leaves in Button-hole Stitch.—A very good method of filling leaves is to work them in two rows of button-holing, back to back, the firm central line forming the mid-rib of the leaf and the rather broken outer line suggesting the serration of the edges. Small flowers, flower centres and berries are frequently worked in this way (Plate XIII.). The heading of the stitch forms the outline. An old-fashioned, but quaint variety of ground-filling to be seen on some of the earlier samples consisted of successive rows of these little eyelet stitches. The material was first pierced by a stiletto at regular intervals; each hole was then button-holed or overcast round. The insertion of the needle into a common centre formed an opening which gave a lighter effect to the background.

Fig. 13.

Decorative Back Stitch (Fig. 13).—This figure is simply back stitch. To be effective and to make room for the interlacing thread, it should be worked rather larger than usual, and with a thicker thread, from one-eighth to a quarter of an inch in length. A thread of a contrasting tone is then laced through, eye of the needle foremost, the loops of each stitch being regulated before passing on to the next. Back stitch was greatly in use in the seventeenth and early eighteenth centuries, for the adornment of all sorts of articles. Quilts, hangings, and personal clothing were ornamented in this way with bands and patterns. These were sometimes produced by chain stitch worked on the wrong side of the material, which, as an embroideress knows, forms a row of back stitching on the reverse side—the right side in this case.

Reversible Back Stitch.—Sometimes these patterns were worked in reversible back stitch, in order to make both sides of the stitching alike, for in those days needleworkers did not grudge either the time or the patience spent on their embroideries.

Reversible back stitch, so-called, is a running or darning stitch. All should be regular and equal in length, or the appearance of the work, when finished, will not resemble back stitch. The “back” stitch is formed by going over the line a second time with a running stitch, which fills up the spaces on both sides of the material and renders it reversible.

Fig. 14.

Honeycomb Filling (Fig. 14).—This pattern has an advantage over some of the more elaborate background stitches; it is easily and quickly worked, and most of the thread is on the surface. It is known to some needlewomen as honeycomb stitch, to others as Mexican stitch.

To work Honeycomb or Mexican Stitch.—To obtain the best result work the small foundation stitches in one tone and the interlacing in another. If worked on a material where the warp and weft threads are distinct the small stitches may be kept quite regular without difficulty, otherwise it is better to mark their position by means of a ruler and pencil. The spacing will vary according to the material and the thread used; about half an inch should be left between each small stitch for bold effective work, and the second row should alternate with the first. When all are in position, a long thread is taken for the interlacing, which is done in rows. Fasten the thread at the right top corner, and, eye of needle foremost, pass through the first stitch in the top row, down to the second, up to the top row again, and so on, as shown in Fig. 14. As the edges are undefined, this stitch requires a good firm outline round it.

Table Runner (Plate V.) of cream cotton canvas, or netting, is of a very open texture; it is treated in a simple direct manner, which is both pleasing to the eye and interesting to the worker.

It may be made of half-a-yard of material, 54 inches by 18 inches. The pattern is worked in wools and thick cottons, in stitchery eminently suited to the loosely-woven texture.

Method of working:—Turn over on to the front surface a single fold of about 1 inch on each side and tack in place to prevent fraying; later on these raw edges will be covered with galoon or braid. Allow about 12 inches at each end for the wide hem, and from there about 14 inches for the needle-weaving. Get the centre line by means of a measuring tape; cut ten warp threads at each end of the bar, which in this material is about three-quarters of an inch. Great care must be taken in cutting the top threads to see that they correspond exactly with those already cut. It is a good plan to draw the two outer threads a little, the tightening of which will indicate the exact place to cut the upper ones. This bar should be worked before the adjacent bars are cut. Leave a strip of material about half an inch wide on either side, then proceed to cut the weft threads, as before, for the broader bands—each is about one-and-three-quarter inches wide, so that twenty-four threads are withdrawn.

PLATE V.

A BUREAU SCARF.

In weaving these wide strips, a frame is of assistance on account of the very soft nature of the material: the pattern should be easily followed from the illustration, but perhaps a few suggestions might help the beginner. Fig. 31 gives the method of weaving. Start with cream cotton or flax; run a few stitches on the under side; bring the needle to the point and weave, by passing over three of the double warp threads and under three, backwards and forwards, until these upright threads are completely covered—it is necessary during this process to press down the threads closely from time to time, and care must be taken not to tighten the groups too much or the material will get puckered. Repeat these woven bars in different groups of colour to the end of the strip, which gives five groups in cream flax and three in colour, jade green, reddish-purple, royal blue. Cover the half-inch bands of material with a herring-bone or oriental stitch, worked in cream linen floss embroidery thread. Take up the strands in groups of three on either side—this separates the threads into groups and simplifies the weaving of the next strip. Proceed now with the more elaborate weaving. It will be noticed that the weaving moves in a step-like manner, and that the pattern changes three times in each ascending or descending line, so that each line from edge to edge is divided into threads. Begin with the green group and pass under and over four groups of thread (in Plate V. the group worked in purple is the most distinct). Each group, as before, consists of three double warp strands; weave one-third of the space, then leave out the fourth group; continue to weave on three groups for another third of the space; leave out the third group; finish with two groups. Overcast one stitch into the canvas and weave over two fresh groups downwards for one-third of the distance, then over the next two groups of the second third; then take up the two next groups and weave to the edge of the threads—thus weaving diagonally in groups of two from the bottom of the bar, this last row produces a series of steps. Repeat the same in ascending groups; finish exactly in the same manner as before, with the exception that the weaving over four groups is this time at the top of the bar—these masses of weaving are separated by plain bars of cream, woven over four groups. The cut threads at the top are button-holed to keep them secure. Lines of darning stitches connect the edges with the woven bars. The bands of galoon are now laid over the turned-over folds, hemstitched on the one side and button-holed on the other, with dull blue; a line of tacking stitch in cerise gives a touch of bright colour to the outer edge.

Turn up about 6 inches at each end to give weight to the hems; fill the central parts with darning stitches worked in rows—it is best to mark off the central unworked space with lines before beginning this darning; this serves as a guide and prevents the stitching from encroaching on the space.

The galoon on either side is attached with button-holing and French knots—the spaces being filled with laid threads in cream, couched in the same colour. Latchet darns give emphasis and connect the green bars. Finally, the band of green is placed over the hem to finish it. The edges of the galoon are button-holed with blue to correspond with the rest of the runner.