# Embroidery and Fancy Work/Embroidery

EMBROIDERY.
In selecting materials for embroidery it is well to remember that, as this kind of work is very durable, the best are always the cheapest.
The foundations usually employed are linens of various makes, including crash, Bolton sheeting (an English fabric whose place can be supplied here by an unbleached cotton knit called Wamsutta twill), Momie cloth, both in wool and cotton, canton flannel, serge, felt, satin, velvet and plush.
The materials with which the work is done are as varied. Marking cotton, crewels, the many varieties of embroidery silk, arrasene (a kind of chenille), gold and silver thread, and bullion, are all used.
In planning a piece of work there are several things to be taken into consideration. The use for which the article is designed must govern largely the choice of the material. It would be absurd to use silk or velvet for a bureau cover, or crash for a banner screen. For this reason the tidies, which have been so fashionable of late, formed of squares of painted satin, set together with lace always strike me as in bad taste. Darned net, drawn work, fine linen sketched with indelible ink or worked in outline, would make equally dainty tidies, while the fact that they can be easily laundried makes their name seem no longer a misnomer. Again, the material with which we work must be adapted to the foundation. Crewel would be out of place on handsome silks and satins, but is very suitable for all the varieties of ​linen, cotton, and woollen goods. A judicious use of a few stitches of silk will often add wonderfully to the brilliancy of crewel work.
Filofloss and etching silks are both admirable for working outline designs on linen.
Etching silk works best when you use it as it comes from the spool: that is, thread your needle before
Fig. 1.
cutting off the silk. Used in this way, it is not so apt to untwist or knot.
There are quite a number of stitches employed in embroidery, but only a few are generally used. Of these ​the most important is what is generally called outline or stem stitch. It is extremely simple, being merely a kind of back-stitch, which can easily be understood from the designs in this stitch—as in Figs. 1 and 2. Very fine lines are sometimes worked in what is called split stitch, in which the needle is brought out so as to split the thread instead of coming to one side. The main beauty
Fig. 2.
of outline work consists in the design, which should be well studied and drawn, and in the perfect neatness of the execution. Although a diversity of colors are sometimes employed, as a rule, one or two shades of a single color will give the most satisfactory results. It is very important in outline work to keep the stitches as far as possible of the same length, and to follow the outline ​exactly. An irregular, waving line has as disagreeable an effect as a weak line in drawing. Judgment also must be exercised in turning corners, working foliage, etc. The distance must be measured with the eye, and the stitches so adjusted as to avoid a sudden shortening or lengthening of the stitch. Care must be taken, too, to have the outline lie perfectly flat. Too loose a stitch will give a slovenly appearance; too tight a one will draw up the material. Always work with a short thread, as otherwise the silk or crewel will inevitably become rough. Avoid making knots in the back; a little practice will enable one to begin and end a line so as to look neatly in the back. Never work with too small a needle, as it will drag the material, and produce an unpleasant effect. A Kensington needle is the proper one to use.
One great advantage which outline work possesses is its adaptability to so many articles of every-day use, and the good results which are attainable with a comparatively slight expenditure of time and money. For outline work the less expensive materials should be selected for foundations.
A good piece of work to begin with is a set of d'oylies, for which designs like Fig. 1 are well adapted. They may be worked in linen sheeting — that a yard and a half in width cuts to the best advantage. For a dozen d'oylies you will need half a yard and one inch. It is far better always to shrink washing material before working it. This is best done by washing it in hot suds, rinsing it through two waters, and then boiling it for ten or fifteen minutes. Rinse again in cold water, dry, and iron until it is perfectly smooth. Cut by a thread into small squares, a quarter of a yard each way. They should be fringed all around about seven-eighths of an inch deep, but it is best to do this fringing when the rest of the work is completed. The edges of the d'oylies should be hemstitched, so as to hold the fringe in place. A ​narrow border of drawn work, the directions for which will be found under the head of drawn work, will be a great improvement.
Having transferred the pattern (which in case of the fans should be placed in the corner, according to one of the methods given elsewhere), the next question is, "With what shall it be worked? " If the linen is heavy crewels may be used, although a better effect will be obtained by using etching silk or filoselle, a kind of silk which is inexpensive, works easily, and has the merit of not fading. Marking cotton is also sometimes used. As to color, that must be left, in great part, to the taste of the worker. Monochrome, that is, work in one or more shades of a single color, is always a safe, and to many tastes, the more truly artistic treatment. If, however, several colors are used, one rule is imperative, never use more than three bright shades. The more sober tints may be used in greater profusion.
Outline embroidery can be varied by using it in connection with applique work. For a watch pocket or small banner screen for a lamp, the design could be worked in outline on silk, then cut out and appliquéd on a piece of felt, the edges being button-holed or chain-stitched with gold thread.
As an instance of what may be done in this way, I quote a description of a tidy which an eminent authority on decorative work describes as "simple and unassuming, but in its way artistic."
​Designs for outline work may be found in great numbers in the periodicals of the day. "St. Nicholas is," as an enthusiastic young friend once said, "a perfect mine!"
Powdered designs have been very popular. In this style of work a plant form is taken as the foundation of the design, and varieties of this form are scattered apparently carelessly over the entire material. Take the rose as an instance. Here will be a leaf, there again a small spray; a rose-single, for double flowers are out of place in outline work—or perhaps a bud, will be worked at seemingly irregular distances; but these must all be arranged carefully so as to balance one another, and present a harmonious effect. It is just the difference between disorder and "pleasing confusion."
Lately a modification of this design, called "crackle work," has become popular. In this work the powdered flowers, leaves, or fruit, are connected by straight lines meeting each other at various angles. I saw at the rooms of the Society of Decorative Art, the other day, a set of charming doileys, worked in shades of silk in this way: They were worked on exquisitely fine linen, and bordered with drawn work. Bureau and buffet scarfs may be decorated in this way, either by working the crackle work over the entire surface, or with a border of work at either end. Care should be taken not to draw the lines too closely together, as boldness is an essential in these designs. The idea, like so much of our decoration, comes from Japan, and is said to have been suggested by the effect produced by plum blossoms, nipped by a late frost, falling on thin and cracked ice. It is an illustration of how Nature, closely studied, will reward her votaries with many an unexpected gift.
A useful present for a gentleman is a pipe rack. It is made of a piece of linen lined with some brightly colored silk, and suspended from the wall by three ribbon loops. ​At the top outline two interlaced pipes, and below, quite in the centre, fasten on a hand of some stiff material, divided into compartments hy rows of strong stitching.
To protect a handsome sofa pillow, a charming and serviceable cover can be made of a square of linen, edged with lace, and bordered below the bem with a drawn work design. Divide the centre into smaller squares by bands of drawn work. Powder the small squares with tiny clover blossoms and sprays. A good effect is sometimes produced by working the blossoms solidly (directions for which work will be found in the chapter on that subject) and outlining the leaves.
Bands of Turkey red or blue denim, form good backgrounds for etchings, in white linen floss. The band can be feather-stitched on fine unbleached crash. Kate Greenaway figures are very appropriate. Sometimes two of these bands are used, the space between being finished in drawn work, or in darned work in red or blue washing cotton.
A tea tray cloth is a pretty addition to the tea table, and is also useful when the tea tray is brought into the parlor. They may be made like scarfs, worked only at the ends, or designs can be worked in the corners or the centre. Drawn work is often used in these cloths. Appropriate designs are cups and saucers, tea-pots, etc. Decorative patterns should be sketched on the cups, etc. Floral and geometrical designs are also used. Those who do not venture on designing, may find damask tea-cloths and doileys with pretty woven borders. By outlining the pattern in silk, a handsome set may easily be furnished.
A case for a night dress may be made of gray or creamy linen. Divide the lower half of the front into two panels by a row of ornamental stitches. In the left-hand division draw a figure in night clothes, candle in hand, and yawning. In the second a reclining form, ​with pillowed head, and closed eyes, with insects, beetles, moths, etc., whirling in the air. On the flap, outline in Roman letters, or in simple round text, "To sleep, perchance to dream." Finish with a bow of ribbon. Or the case, which is made in the shape of a large envelope, might be powdered with poppies and their leaves.
A bed-spread may be made of the same material (the cream color being preferable), decorated with an outline design of poppies powdered over the material, flowers, seed vessels and foliage all being used and connected together by conventional or flowing stem work. Indian red is a good color in which to work this. The Egyptian water lily or lotos is also emblematical of sleep, and may be used in the same way. Dull blues would be appropriate for this design. Pillow shams should be made to match. Should this seem too great an undertaking, the decoration of the spread could be limited to a diagonal band of proper width, defined by rows of chain or outline stitch, the space within the band being powdered as described, or the flowers and foliage could be formed into a continuous design, more or less conventional.
Here is an idea for another counterpane, say for a crib. Divide the linen into squares with some pretty fancy stitch, working in the centre of each square a flower, or one of the many appropriate pictures to be found in the Kate Greenaway books or in Walter Crane's "Baby Opera." You need not reproduce every line; only those that are necessary to tell the story completely.
Fig. 4 is a screen in which the work is of rather a novel character, being a combination of painting and embroidery, and is much more quickly worked than one would think. Sketch the design, enlarged to suit your screen, on the material, which in the original is olive satin, making the outline delicate. Have your work stretched firmly in an embroidery frame, which may be made on the same principle as an old-fashioned quilting frame. Figs 4a and 4b give enlarged details which will enable the worker to clearly understand the directions. Gold, silver, copper, and black paints are used, mixing them when they need diluting with gum water. Paint the ​stones, grasses, leaves, flowers, and the stalks of the cactus in gold, shading lightly with black or copper color. Make the thorns of fine strokes of copper color, and then worked with a loose lying stitch of moss green filoselle or floss. Gold thread can also be used with effect. Where there are well-defined leaves as in Fig. 3,
Fig. 44.
they are painted in silver and veined with stitches of green. The flowers are worked with two shades of dark red in a close satin stitch, the calices being in white or yellow. The bird's beak is painted in gold, as also are the upper part of the wings, the lower feathers being painted in silver and bronze, divided by stitches of white ​silk. The breast is covered with button-hole stitches in claret red silk, so worked as to catch into each other, imitating the plumage. The upper part of the wing is also worked to show the markings of the feathers. The long tail feathers are worked in gold thread.
A cover for a parlor organ can be made of linen, with the design either worked on a band of blue denim, which is afterwards feather-stitched on to the cover, or else worked on the material itself. Bars of music with lines
Fig. 4a.
and notes in gold silk, and the words "Hal-le-lu-jah! hal-le-lu-jah! A-men!" worked in the same silk would form an appropriate border; or one composed of musical instruments, such as lyres, reeds, trumpets, and cymbals, intermingled with scrolls, might be used. Symbolic flowers, such as the palm, lily, or passion flower, would also be appropriate. Finish with a deep hem-stitched hem, with a line of open work above, or with a knotted ​fringe in which blue and gold silk are mixed with the linen threads. Line with deep blue silesia.
Chain-stitch is not much used at present; but for some purposes it is very convenient. It is made by taking a
Fig. 4b.
stitch from right to left, and before the needle is drawn the thread is carried under the point of the needle from left to right. The next stitch is taken from the point of the loop thus formed forward, and the thread again kept under the needle, each link thus forming a link in the chain.
Twisted chain stitch (Fig. 5) is useful for outline work
Fig. 5.
on coarse materials such as felt, and other heavy woolen ​goods. Instead of beginning the second stitch inside the point of the first, both threads of the first are pushed a little aside, and the needle is inserted about halfway up the first stitch, thus securing a rope-like effect. It should be worked with double crewel or tapestry wool. It is also very effective worked on gold-faced felt, in double silk, and both chain stitch and twisted chain are useful for edging appliquéd patterns.
DARNED WORK.
In combination with outline stitch, the darned work so popular in Queen Anne's time has been revived, and is remarkably effective. The stitch is, as its name implies, the one used in darning cloth or stockings, only that it is made purposely irregular, being quite long on the right side and very short on the wrong side. It is used not only for backgrounds but also for filling in boldly outlined designs. Says a writer in the Art Interchange:
"Judiciously used, it is capable of producing almost iridescent effects, and adding greatly to the richness of the embroidered work. Done in heavy filoselles — and linen takes these admirably — in two shades of one color, in two colors, or else in a shade lighter or darker than the fabric, it will produce several color effects. The colors may be introduced irregularly or alternately, by stitches of varying length. A combination of dull green or dull gold filoselles, will produce three, if not four color effects, according to the ground, and the light in which the work is shown; in one light there will be a shading of dull green, in another a touch of old gold, in a third a glimmer of bronze green. When deeper, fuller coloring is employed—for instance, in rich antique blues, and old bronze—the changing sheen of peacock's feathers will be seen. In two shades of gray silk, silvery and steel effects are attainable; in dull pinks and ambers, ​purple and citrine, green and russet, pale violet and lemon, and other combinations, the most lovely transformations are wrought by this simple grounding. Where darned work is used for filling in outlines, the design should be so composed that the unworked spaces may present ornamental shapes, for they will attract the eye, and hold as important a part in the finished work as flower and leaf spaces on a darned background. In darning within the outlines, it is not necessary to darn the whole composition, though it may thus be treated and stand boldly out on a plain background with artistic effect; certain portions all through the design, say the blossoms of an apple or cherry design, may be simply outlined and veined in silk or crewel, while the fruit and leaves are darned in one or two colors, or shades of color. Care must be taken to so distribute the darned or open spaces as to avoid striping or spottiness. As it not possible to follow nature in round effects by darned work, which is conventional, it is best to use conventional coloring, or else, low tones of the natural color of the subject. Light grounds look best with a well diffused design, and dark grounds well with the design wrought in silk of a lighter shade than their own color."
The Art Amateur thus describes a remarkable table-cover worked by the Decorative Needle-Work Society in London:—
"In looking at the picture, many persons imagine that the cloth is embroidered with silver; but this is not the case, the beautiful, bright effect being produced by very simple means. The material is cream satin, and the design is outlined in blue and green silks, while the ground of the pattern is filled in with darning, in shades of pale gold filoselle, thus leaving the satin to catch the lights. The border is of green plush, on which is embroidered a handsome antique pattern, harmonizing with and relieving the centre."
​Pongee is a beautiful material for darning. It is much used for tidies or chair backs, as they are now called.
Fig. 6.
An exceedingly pretty one at the Decorative Art Society had a border formed by a floral design outlined in pale ​green, with yellow berries, the background being darned in a darker green. In another, the outlining was done in old gold, and the darning in shades running from a dull red to pink.
A remarkably pretty and simple border can be worked on fine burlaps in red. Sprays of the sassafras form the design, which is outlined in a dark red, with a background darned in a brighter shade of the same color. This scarf was finished with a knotted fringe, while above the border was an inch wide strip of drawn work. The same idea would be very pretty for a heading for curtains. The modern darned work is principally used as a background in straight, horizontal stitches, but these may be varied according to the inclination or taste of the worker. It is sometimes used to represent a diapered ground; thus, it may be worked in an open diamond pattern. Again, it may be worked in rows of circles of either varying or uniform size, or in a succession of wave-like lines. Instead of the darning stitches, some fancy stitches may be used for filling in a background. Water, clouds, etc., are generally rendered by darning stitches.
Fig. 6 is a curtain of Queen Anne's time done in outline with a darned background. A very handsome quilt may be worked from the same design on huckaback towelling. The easiest way to manage it is to work a square for the centre and join side pieces all around. The darning stitches have a very fine effect run under the threads of the towelling.
Fig. 7.
FILLED IN EMBROIDERY.
Under this head a number of stitches and various modes of treatment are included, but the stitch chiefly used is the one already described under the head of outline work, being merely a modification of stem stitch, the whole design, however, being covered with needle work appropriately colored and shaded. Much of this work is done in conventional designs, the coloring of which is also conventional, but for the beginner the semi-realistic or natural designs are much easier and as a rule more satisfactory. There are a variety of stitches that may be employed in this work, which I will briefly describe. Of these, one of the most important is feather stitch, which is the one generally employed in shading- flowers, etc. It consists of an alternate long and short stitch. The stitches must not, however, terminate in regular lines, as this would give a stiff appearance to the work. In working the petals of flowers, you must always work from the outer part of the petal toward the centre (Fig. 8), and so directing the stitches as to
Fig. 8.
follow the lines of the petals. It is a good plan to keep two or three needles threaded with the different shades, and work them in as required. It is often a good plan to work the whole of a leaf or petal in the shade that is predominant, making the stitches a little spreading, so ​that the other shades can be worked in afterward. When finished, the shades should blend into each other, showing no harsh outlines. It is much better to begin working in the middle of a leaf or petal, and throw your thread to opposite sides of your needle in the two halves. In working leaves, study their formation and direct your work accordingly. In a chrysanthemum or oak leaf, for instance, it is easier to treat each division as a separate leaf, beginning at the top of each and working down toward the main stem, so directing your stitches meanwhile as to join the parts harmoniously. It is an excellent plan to keep a sampler on which to try stitches and effects of color. In working flowers with petals closely set together, as the chrysanthemum, corn-flower, etc., it is sometimes necessary to divide the petals by a line of a darker shade. This should be put in the last thing, as otherwise it is liable to be lost in the work. This holds true of veinings also. It is well to remember that needle-work is decorative mainly, and should not be elaborated like a painting. Two or three shades, are as a rule, sufficient in leaf or flower, and where either is small a single shade may answer. Narrow leaves look best worked in satin stitch. The centres of many flowers are worked in what is called the French knot. It is also used for working the anthers to some flowers. To make it, having brought your needle through the material at the spot where your knot is to be made, wind the thread three times round the needle close to the spot where the thread came through. Then turn the point of the needle down through the place where it first came up, holding the thread firmly in the left hand until it is quite drawn through (Fig. 9). The twisted threads must be held very close to the work, or the knot will have a loose, untidy appearance. When the work is coarse, the thread can be doubled or the number of knots increased. In filled in embroidery, as ​with outline work, the materials are very much the worker's own choice. Crewels and silks are chiefly used for working, and may both be used to great
Fig. 9.
advantage in the same piece of work, the design being for the most part worked in crewel, the high lights put in with silk. Fine chenille also can sometimes be used with great effect, as, for instance, in working golden-rod, which can be worked very effectively and expeditiously in two shades of yellow chenille. A new thread should always be begun on the right side of the work and finished there also.
Fig. 10.
Fig. 12.
Fig. 13.
side to side without a break. The stitch, if worked properly, produces a plait down the centre which is the chief feature of the work. When worked, the design should be outlined with rope stitch, which is a short stem stitch. The outline should be of an uniform color, slightly contrasting with the colors used for the design. Thus, ​if the design be worked in yellow-greens and brown-reds, the outline might be dark peacock blue. Orange shades in the design might be outlined with greens or russet browns. An appropriate border would be one of drawn work using the same silks as were employed for the embroidery. This stitch or a modification of it was used largely by the New England dames of old, and is sometimes called from that circumstance, Grandmother's stitch.
A beautiful sofa cushion worked in this stitch, is shown in Fig. 13. The pattern for the border is given in full size in Fig. 12.
Another stitch for working narrow leaves is shown in Fig. 14. It has, like Janina stitch, a formal look, and should be chiefly used for conventional designs.
Fig. 14.
In working the different stitches so far described it will sometimes be found that the work is puckered or drawn. This is particularly liable to be the case with beginners. In some cases it will be sufficient to cover the right side with a clean cloth, and then stretch it tightly right side down by means of pins on a table; and then thoroughly dampen it on the wrong side. If very badly wrinkled, it may be advisable to pass a hot flat-iron rapidly over the wrong side. Of course, care must ​be taken to only dampen, not wet, the material. I have generally found it most satisfactory to wring a thin cloth very tightly out of clear water and pin it over the wrong side of the work. If an iron is used great care must be taken not to have it too hot, so as to scorch the work.
Couching or laid embroidery is chiefly used for ecclesiastical or conventional designs, and must be worked in a frame. The leaf or petal is first covered with lines resembling satin stitch, but lying almost entirely on the right side. Over this, lines are laid at regular intervals and caught down by a few small stitches from the back.
Couching can be varied in many ways, either by laying the couching lines at different angles, or omitting them altogether; the fastening threads can be made to form numerous figures, such as diamonds, squares, zig-zags, etc. This is called diaper couching. Gold thread is used with great effect in this style of work. When the couching lines are made of a heavy material, such as cord, ribbon, or coarse wools, a stiletto must be used to make the holes through which the lines are taken to the back of the work.
Couching must always be done in a frame. Convenient patented frames can be procured in many cities, but very satisfactory ones are made of four pieces of wood fastened together at the corners by pegs. The work is fastened to the end pieces by sewing it to strong linen securely attached to the wood. These end pieces are then fastened in place by means of the pegs, and the sides of the work tightly and evenly fastened to the side pieces of the frame. The work must be very tightly stretched or it will soon become difficult to work it nicely. Should the material be too light to admit of stretching it firmly, stretch a piece of strong linen, and pin the work firmly on it. Both hands are employed when working in a frame, one above and the other below the ​work, and practise will enable you to work with either. Care should be taken to keep the frame in such a position that the worker will not be obliged to stoop.
Very much of the beauty of all varieties of embroidery depends on the harmonious arrangement of the colors, and this cannot be taught in any manual. To some, the color sense seems utterly, or in large part, wanting. Such can only copy. But with many a few hints will start them on the right road. In embroidery, the coloring must always be largely modified by the surroundings of the design, the background, etc. While the design should always be so far conventionalized as to be perfectly flat, the colors must often be still further conventionalized. The following remarks from the Art Interchange Manual on "Filled in Embroidery," will prove suggestive:—
"In coloring in decorative embroidery, unity and harmony are more desirable than contrast. For a beginner especially, unity should be the aim; contrasts are very fine, but they can only be correctly carried out by those who are skilful with the needle, and who have a natural talent for, or have had experience in, the use of colors. It is better to begin with two shades, and to use those correctly, than to attempt the mixture of a variety of shades and hues."
"There can be as well defined unity in coloring as in designing an ornamental pattern. One scheme of color can run through an entire design. As a flower or leaf in the drawing is taken as a centre around which others cluster, so a color can be selected as the central point to which all the shades must relate. To follow out this idea, we will suppose curtains are to be made of a peacock blue fabric. Blue in this case would be the ruling color, and all the greens used in working on it must be bluish in hue; if a flower be added to the pattern, it must represent the primary in its purity, and no colors ​formed of red or yellow must be introduced. If maroon is the ground tone, the greens must have a russet hue, and the flower must be red. This method of coloring is capable of varied and exquisite treatment."
When a closer imitation of nature is attempted, the natural colors must be used in working them, and great care must be exercised in choosing a background, as carelessness in this respect may ruin a piece of work otherwise well designed and wrought out. A friend, wishing to ornament a dark blue flannel dress inexpensively, bethought her of working a simple design in crewels on revers and cuffs. She worked a small flower in orange shades, and the result was—well, the reverse of refined; substituting shades of dark red, her embroidery became an ornament, as it was intended to be, instead of attracting the eye by its "loudness." The authority already quoted says on the subject of a background:—
"There are a few other facts in the science of color which can be an assistance in the selection of a background. We are told that no 'one color can be viewed by the eye without another being created.' This is because the eye requires that all three primaries should be present; and, when this is not the case, it will of itself supply the deficiency. To exemplify this, let us suppose we worked a blue pattern on a neutral gray ground. The eye, in looking at it, would create the missing red and yellow; and as these in combination form orange, the grayish ground would have an orange hue. This is an important fact, and inattention to it will result in very serious defects. We often wonder why a piece of work which has for its foundation color black, looks rusty or dingy, when we may have taken great pains to select a rich, perfect black. The reason is, that if the design is worked in blue, orange is reflected on the black; if in red, a greenish hue is given; and in yellow, a purplish ​hue is the result. This difficulty is obviated by selecting for the ground work a dark shade of the same color as the pattern; and when this is almost invisible, its color becomes neutralized by the tints thrown upon it, and it gives the effect of black. When the pattern is variegated in color, this difficulty will not occur."
Great care must be used in working designs containing different colored flowers, to choose such as will harmonize with each other. The greens of the leaves also must be selected with regard to both the background and the colors used for the flowers. Thus, yellow and blue flowers should have the leaves worked in russets and brown-greens.
In shading, as has been intimated, no attempt should be made to give a rounded or realistic representation of the flower used in the design, but merely an indication of the varied shades of color, as in the rose for instance, which often varies from a deep pink to so delicate a tint that it is almost white. Great care must be taken to have whatever shading is employed, worked so that in no place can the point where one shade begins and another ends be perceived. In this matter everything depends on the skill and taste of the worker.
It is well in beginning such work to undertake only small pieces, such as chair backs, table scarfs, etc., so that discouragement may be avoided, and failures may not be so disastrous. But to a skilful and persevering worker it is well worth while to put the time and pains into one large piece of work, which is often frittered away on a vast number of smaller undertakings. The work is so durable, in fact improves so with age, the colors becoming mellow with time, that an enthusiastic work-woman may well feel she is working for posterity, as she bends over her portière, screen or curtain.
For convenience sake borders are often worked in strips, and afterwards applied to the foundation. In ​this case a number of fancy stitches are often employed, not only to conceal the line of junction, but also to emphasize the design or to bring into harmony the two colors of the strip and the real foundation. Several of these stitches are described later on, and many more can be found by carefully noticing borders on embroideries, china, or any other decorative work. Herringbone and coral stitch are both used for this purpose. Mrs. Glaister says concerning these stitches:
"A great deal of the finished effect of all decorative needle-work depends on the apparently unimportant lines and borders with which the patterns are bounded and kept together—often they have to be put in after the work is otherwise finished; a thick line and a thin one, a little zigzag or herringbone between two lines, a row of dots or sloping stitches beside a line, will often make a marvellous difference to the finish and completeness of a pattern which without them gave a vague dissatisfaction. These lines sometimes serve to give a balance of color that was wanting without them. Speaking very generally, middle tints of the ornament will serve for the color, but if, as happens sometimes, the color of flowers is felt to be a little strong in the general effect, a few stitches of their color in the bordering lines between or beside, say the green of the leaves, may greatly improve matters. Lay some threads of the worsted or silk you may be using on the cloth beside the pattern, and you will readily judge the effect."
As I have said at the beginning of this chapter, very many more stitches might be enumerated, but they would add nothing to the practical value of these directions and might serve to embarass. Every worker in decorative needle-work is at liberty to adapt and modify her stitches to suit herself, studying only the result she is aiming to produce. ​ As a rule, borders are the most desirable decoration for table covers, as the folds into which they fall are apt to break or conceal entirely a corner piece, while a group of flowers is apt to be disagreeably obtrusive if worked in the middle of each side. Generally a square table cover is preferable, but I have seen very pretty covers fitted to round tables. One of these was of sage green felt, on which were embroidered at equal distances,
Fig. 14a.
on the round piece fitting the top of the table, sprays of simple wild-flowers in small vases. The vases were cut from black velvet and applied to the cloth, the outline and ornamental lines being worked in gold colored silk. Almost any book on antiquities will give a good model for such vases. The border of the cover was worked in a running floral pattern on a straight piece of cloth, and sewn on to the top. It is well to line this straight piece ​with a lightly quilted piece of thin muslin, having a light piece of wire attached to the lower edge. Finish with a fringe containing the colors used in the work,
Fig. 14a illustrates a waste-paper basket trimmed with a lambrequin or drapery of felt, satin or plush, worked with a floral design. The lambrequin is finished with a border crocheted in wool, from one of the patterns given in the chapter on crochet, and with tassels.
Fig. 14b.
Another style of basket, which will be found useful for holding newspapers and magazines, is shown in Fig. 14b. The sides are covered with a puffing of silk or satin, and decorated with a panel of either of these materials, on which a floral design is worked or painted. An expeditious way is to paint the design in flat tints, (that is without shading) in water colors, and to edge the outlines with silk in cording stitch.
​Reference has been made to appliqué work. As its name implies, the decoration is produced by cutting the design or its main features out in one material, and then fastening it on to a ground work. The edges are then concealed by chain, button-hole, couching, or some other fancy stitch. Sometimes it is advisable to back the appliqué design before fastening on the ground-work, in order to insure its being perfectly flat and unwrinkled. In this case the material used for the ground should be tightly and evenly strained, and the design having been traced on the backing material (which should be of unbleached linen evenly stretched), the cut-out pieces to be used in the work are pasted on this linen ground, care being taken that the stuff goes in the same direction in both the pieces for the design and in the backing. The following paste is used for appliqué work, and also for pasting the backs of some pieces of embroidery designed for screens, etc.
Embroidery Paste.
"Three and a half spoonfuls of flour, and as much powdered resin as will lie on a half penny. Mix thoroughly with half a pint of water. Pat in one teaspoon essence of cloves, stirring till it boils. Boil for five minutes."—Lady Marian Alford's Manual of Embroidery.
A new way of making up a sofa pillow is shown in Fig. 14c, the covering of which is of plush, lined with satin, cut about fourteen inches longer than the pillow, and confined at either end by a cord and tassel. The decoration consists of sprays, worked on linen in filled-in embroidery, and applied to the plush. These sprays can be bought ready worked.
When appliqué designs are cut from plain colored material, such as felt or satin, they may be much ​improved by working them in crewels or silks, veining the leaves, shading a little, etc.
Fig. 14c.
Fig. 14d illustrates a brush or broom holder or small catch-all, ornamented with a spray of appliqué work, and finished off with gimp, wool, balls and tassels. The way to make these balls is given on under Crochet.
A quickly executed and effective kind of embroidery is called Broderie Perse, and is very pretty for table-scarfs, bedroom curtains, etc. For a table scarf use a good quality of cream-colored linen. You will need besides some cretonne in bright, artistic, flower designs, together with some filoselles and crewels. From the cretonne cut a sufficient number of flowers, and arrange them in a graceful border pattern on the linen, connecting them with stem lines in pencil. Having arranged your pattern, mark lightly round each flower so as to insure your rearranging them correctly. Then stretch your linen by means of stout pins or thumb-tacks smoothly on a drawing-board (the kneading-board will answer), and with nice smooth starch, paste each flower ​in its place. When thoroughly dry take the linen off the board and buttonhole the cretonne lightly round the
Fig. 14d.
edges, having the stitches seen as little as possible. Veinings of leaves, high lights and the deepest shadows can be worked in with filoselles, and the stems are worked with crewels. Nice cheese-cloth can be decorated in this way for curtains. As to outline work, the present fancy is to work it in conventional colors, using three shades of a color. Thus, in a floral design the leaves are worked in three shades of green, and the flowers in shades of blue, pink or any other color. Another way of varying this work is by the use of "double outline." Instead of working the outline as usual, what is generally called Kensington stitch is used; that is, the edge of the flower is done in alternate long and short stitches, just as if the whole flower was going to be filled in. The effect is very pleasing. ​Old fashioned or partially worn out broché shawls can be used very advantageously for this appliqué work, by cutting out the principal figures of the design, and applying them to an appropriate ground-work.
Very pretty mats can be made of appliqué work. Use burlaps or brown Turkish towelling for the mat, and
Fig. 15.
on that apply leaves cut from green, brown, and red flannel, or merino. Germantown wool or zephyr may be used to work them. Either powder the mat with the leaves or arrange them in a set pattern. Button hole them down, and work veins, stalks, etc., with long stitches. Finish at the ends with red flannel ornamented with Point Russe stitches, and line the whole with a piece of hemp or old Brussels carpeting. I have seen such a ​mat, in which the colors were well chosen, used to cover up an unsightly window. On each side was hung a brilliant Japanese panel, and the whole was crowned with Japanese fans, making a pleasure of what had been an eyesore.
Figs. 15 and 16 are designed for screen panels to be worked in crewels or silk; or they may be painted.
Fig. 16.
Combined, these designs would be very appropriate for a wall protector, to be worked in outline.
Embroidery in crewels or silk should be washed in bran water, and well rinsed.
Many recommend washing silks before working. To do this they should be cut into lengths and boiled in soft water for five minutes, then skimmed out on to a ​soft towel to dry; sufficient crewels or silks should be purchased to last through the work as it is often extremely difficult to match the shades exactly.
A very pretty "all over" design for a chair-back or tidy is shown in Fig. 17. It can be worked in outline on a darned background or in filled in embroidery.
Fig. 17.
But few patterns are given in this chapter for the reason that the space is too limited to give working designs, and new patterns ready for working are so easily procured. Originality is a great beauty in such designs, and when they are met with in a manual, the eye soon becomes weary of them.
Perforated patterns with the materials for stamping can now be bought for a mere trifle, and the work done from them will prove more satisfactory than when your design stares you constantly in the face from the pages of a book.
HOLBEIN STITCH, POINT RUSSE, TICKING WORK, ETC.
Fig. 18.
Fig. 19.
divide it into two or three equal lengths and work each division as a single line.
The peculiarity of all the real Point Russe is that it presents the same appearance on both sides of the work, which makes it a very useful stitch for decorating towels, and other objects which are seen from both sides. Designs for Holbein stitch must always be arranged as for cross stitch, and if worked on material in which counting the stitches is difficult or impossible, must be worked over canvas basted on the material. The principle on which this stitch is worked, is that of ​working over two threads and under the two following, reversing the arrangement as you come back. Sometimes the design is worked so as to present the effect of ordinary cross stitch, sometimes the stitch follows the outlines of a small square. The designs (Figs. 18-20)
Fig. 20.
show in what direction these stitches are to be taken, but the principle is always the same; where the thread comes on the right side in the first working, it must be on the wrong side in returning.
Strong reds and blues are the most appropriate colors ​for this work, black being' sometimes combined with them. Any good cross stitch border will give a pattern, and as the work is done over threads no stamping is needed. Holbein stitch is generally used in connection with drawn work. In fine material baste a piece of canvas on, and work over it, drawing out the threads when the work is completed.
RAILWAY STITCH.
Designs for this stitch should always be of small flowers and leaves, such as daisies, etc., arranged in detached sprays. Trace them lightly. Commence to work from centre; and make each petal with one stitch. Bring the needle up from the back and put in close to where it came out, holding thread down with left hand, and bringing it out at the point of the petal. Draw up, making a long loop held in centre by the drawn up thread. Put the needle down again just outside the loop, thus making a very small stitch at the end of the petal: run the needle out at the middle of the flower, and repeat. Finish the centre with French knots or button-hole stitch, or pierce with a stiletto. The leaves should be made with a single railway stitch. Fig. 21 shows the manner of working this stitch in connection
Fig. 21.
with herring-bone. The centre of the flower is worked in French knots.
A SHOE BAG.
Cut two pieces of ticking, one seventeen and a hall inches long by fifteen wide, the other eleven inches long by twenty wide. On the longest piece, which is the back of the bag, the braid need only be put on for seven or eight inches, as the longer part is hidden by the front piece. Having stitched on red braid on the alternate white stripes, work the uncovered white stripes with fancy stitches, arranging the colors as follows:— First, yellow; second, brown; third, green; fourth, brown; fifth-yellow; sixth, blue. Now begin again with yellow, and repeat the colors in the same order.
Work the stripes in herring-bone, feather, and other fancy stitches. Bind the top of the short piece with braid, and stitch a piece of braid across the bottom of the work on the longer piece to conceal the raw edges of the work. Divide each piece into three equal parts, and baste the front to the back at these divisions, stitching them firmly down. Then lay the fulness thus formed into three box-plaits, forming three pockets, and baste the bottom edges together. Bind the whole bag round with braid, and make three loops by which to hang it up.
Handsome chair and table-covers, bracket and mantel draperies, can be made of ticking by using narrow velvet and embroidery silk instead of braid and worsted. For a table cover, work a square piece for the centre. The border should be worked in long strips, each as long as the side of the centre piece, and twice the width of the strip over. Sew the long strips to the centre piece, letting it project an equal distance at either end. Baste the corners together with a slanting seam, which will make the border fit perfectly smooth. Cut away the superfluous cloth and stitch the seams firmly; cover the joining of the border to the centre with velvet, and finish the edge with a chenille fringe, or with a row of velvet.
​Catch-all bags made of four pieces, square at the upper end, and cut to a point at the bottom, are very useful hung near a sewing machine. They should be finished with a tassel from the point at the bottom, and kept open by a piece of rattan or wire run into a sheathing at the top.
Fig. 22 gives a good idea of the plainer kind of ticking work. Where the stripes to be worked are wide enough
Fig. 22.
flowers worked in railway stitch may be used. Some of the French tickings come in stripes of varying width. A few stitches useful in this work are here described.
Tête de Bœuf—is so named from its fancied resemblance to a cow's head with the horns attached. To work it mark very lightly a line down the centre of the stripe, or run a basting thread to mark it. Make two slanting stitches meeting at the bottom on the central line. Bring out your needle (after putting it through to the back in making the second slanting stitch), near the bottom of the left hand stitch and on the upper side. Holding your thread as if making a chain stitch, put your needle in at the same position on the right hand side, and bring it to the front again on the central line about one quarter of an inch below the slanting ​stitches. Put your needle to the back of the work just below the chain stitch, thus holding it in position. Repeat this stitch at regular intervals.
Wheat Ear,—This is worked on a straight central line. Work a chain stitch (rather long), and take an upward slanting on either side. In making the slanting stitches, bring the needle out inside the chain stitch.
Ship Ladder. — Make a" straight stitch a quarter of an inch in length; bring out your needle on the right hand side a little above where it went in, and one quarter of an inch off. Put it in on the left hand of the straight stitch, a little below and about a quarter of an inch away. Bring the needle out at the end of the straight stitch and repeat.
Lattice Stitch. — This is useful for filling rather wide spaces. Work five slanting stitches across the stripe, about a quarter of an inch apart, and cross them by five stitches worked in the opposite direction, interlacing the threads as you work. Miss a quarter of an inch and repeat.
Persian Cross-Stitch. — This is a long slanting stitch crossed by one one half as long.
WORK BASKET IN TICKING WORK. (Fig. 23.)
Cut four pieces of ticking, shaped as in the illustration; in the model these pieces are eight inches long measuring from the point, and the cardboard foundation is ten inches square, but with the corners rounded off. Having worked your ticking, sew it on, together with a silk inner bag, to which the ticking work must be caught by carefully hidden stitches. Work a handle and fasten on. The fancy edge is crocheted from silk as follows:— Crochet a foundation row of the necessary length; then work—
Fig. 23.
2d Row: Three double in the three centre stitches of the nine-chain, three picots (of five-chain, one single in the first.) Repeat.