Part 8

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

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

[Illustration: FIG. 286. PLUSH STITCH.]

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

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

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

[Illustration: FIG. 287. CHAIN STITCH.]

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

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

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

[Illustration: FIG. 288. PATTERN FOR BORDERS OR GROUNDINGS. MATERIALS: Coton à broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15, Fil à pointer D.M.C Nos. 10 to 30, or Coton à repriser D.M.C No. 25. EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Rouge-Cardinal 346, ([symbol]) Rouge-Cornouille 449, ([symbol]) Bleu-Indigo 311, and ([symbol]) Bleu-Indigo 322, ([symbol]) Gris-Cendre 414, ([symbol]) Bronze doré 585 and ([symbol]) Vert-Mousse 470.[A]]

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

[Illustration: FIG. 289. PATTERN FOR GROUNDING. MATERIALS: Coton à tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C Nos. 5 to 15 or Coton à broder D.M.C No. 16.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Jaune d’Ocre 676, ([symbol]) Violet-Mauve 315, ([symbol]) Rouge-Géranium 349, ([symbol]) Rouge-Aurore 360, ([symbol]) Bleu-Indigo 312, ([symbol]) Bleu pâle 668, ([symbol]) Rouge-Cornouille 449, ([symbol]) Vert-de-gris 474, ([symbol]) Vert-de-gris 475, ([symbol]) Grounding.[A]]

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

[Illustration: FIG. 290. PART OF A DESIGN SUITABLE FOR CARPETS.

MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton à repriser D.M.C No. 12.

EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand Teint 310, Rouge-Grenat 358, ([symbol]) Rouge-Cornouille 450, ([symbol]) Bleu-Indigo 311 and ([symbol]) Bleu-Indigo 322, ([symbol]) Vert métallique 465, ([symbol]) Gris-Noisette 424.[A]]

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

[Illustration: FIG. 291. OUTER BORDER OF THE DESIGN FOR CARPETS FIG. 290. MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15, or Coton à repriser D.M.C No. 12.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Rouge-Grenat 358, ([symbol]) Bleu-Indigo 311, ([symbol]) Vert métallique 465, ([symbol]) Jaune-vieil-Or 679, ([symbol]) Gris-Noisette 424, ([symbol]) Rouge-Cornouille 450.[A]]

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

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

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

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

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

[Illustration: FIG. 292. PLAIN CROSS STITCH ON AUXILIARY CANVAS.]

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

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

[Illustration: FIG. 293. FIRST HALF OF THE FIRST JOURNEY AND AUXILIARY STITCH FOR RETURNING.]

[Illustration: FIG. 294. ONE JOURNEY AND FIRST HALF OF THE SECOND FINISHED, AND AUXILIARY STITCH LEADING TO THE SECOND RETURN.]

[Illustration: FIG. 295. THE TWO JOURNEYS TO AND FRO, COMPLETING ONE ROW OF CROSS STITCH, BOTH SIDES ALIKE.]

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

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

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

[Illustration: FIG. 296. TWO-SIDED MARKING STITCH. DIFFERENT POSITIONS OF THE NEEDLE.]

[Illustration: FIG. 297. TWO-SIDED MARKING STITCH. DIFFERENT POSITIONS OF THE NEEDLE.]

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

[Illustration: FIG. 298. RIGHT SIDE OF THE CROSS STITCH, FORMING A SQUARE AT THE BACK.]

[Illustration: FIG. 299. SQUARE STITCH FORMING THE BACK OF THE CROSS STITCH.]

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

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

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

[Illustration: FIG. 300. TWO-SIDED ITALIAN STITCH. INTRODUCTION OF THE THREAD AND POSITION OF THE NEEDLE FOR THE FIRST STITCH.]

[Illustration: FIG. 301. TWO-SIDED ITALIAN STITCH. POSITION OF THE NEEDLE FOR THE 2ND AND 3RD STITCHES.]

[Illustration: FIG. 302. TWO-SIDED ITALIAN STITCH. POSITION OF THE NEEDLE FOR THE 4TH AND 5TH STITCHES.]

[Illustration: FIG. 303. TWO-SIDED ITALIAN STITCH. RETURN JOURNEY, WHICH COMPLETES THE CROSS STITCH.]

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

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

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

[Illustration: A B FIG. 304. MONTENEGRIN CROSS STITCH. 1ST, 2ND, 3RD, 4TH AND 5TH STITCH AND TRANSVERSAL STITCH]

[Illustration: A B FIG. 305. MONTENEGRIN CROSS STITCH. POSITION OF THE STITCHES ON THE WRONG SIDE.]

[Illustration: FIG. 306. MONTENEGRIN CROSS STITCH. A ROW OF STITCHES FINISHED.]

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

[Illustration: FIG. 307. PLAITED ALGERIAN STITCH.]

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

[Illustration: FIG. 308. TWO-SIDED PLAITED SPANISH STITCH.]

[Illustration: FIG. 309. TWO-SIDED PLAITED SPANISH STITCH.]

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

[Illustration: FIG. 310. TWO-SIDED LINE STITCH. FORWARD ROW.]

[Illustration: FIG. 311. TWO-SIDED LINE STITCH. BACKWARD ROW.]

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

[Illustration: FIG. 312. TWO-SIDED INSERTION. FIRST DETAIL.]

[Illustration: FIG. 313. TWO-SIDED INSERTION. SECOND DETAIL.]

[Illustration: FIG. 314. TWO-SIDED INSERTION. THIRD DETAIL.]

[Illustration: FIG. 315. TWO-SIDED INSERTION. FOURTH DETAIL.]

[Illustration: FIG. 316. TWO-SIDED INSERTION. FIFTH DETAIL.]

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

[Illustration: FIG. 317. TWO-SIDED INSERTION. ROW OF STITCHES FINISHED.]

[Illustration: FIG. 318. TWO-SIDED INSERTION, SHOWING THE BACK OF FIG. 317.]

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

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

[Illustration: FIG. 319. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton à tricoter D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. 16 to 35, or Cordonnet 6 fils D.M.C Nos. 3 to 15.[A] COLOURS: Rouge-Turc 321, or two shades of Bleu-Indigo, 311 and 334, or two shades of Rouge-Grenat, 358 and 359 or two shades of Brun-Acajou, 300 and 402.[A]]

[Illustration: FIG. 320. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton à tricoter D.M.C Nos. 16 to 35. COLOURS: Bleu-Indigo 311 and 344, or Rouge-Cardinal 346 and Rouge-Géranium 335, or Gris-Tilleul 391 and 331.[A]]

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

[Illustration: FIG. 321. POWDERING. ALBANIAN SUBJECT. MATERIALS: Coton à tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or Coton à repriser D.M.C No. 12, 25 or 50.[A]

COLOURS: Rouge-Cardinal 347, Bleu-Indigo 322, Vert métallique 465, Jaune-Orange 444, Gris-Brun 409.[A]]

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

[Illustration: FIG. 322. ALBANIAN SUBJECT. MATERIALS: Coton à tricoter D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. 16 to 35 or Cordonnet 6 fils D.M.C Nos. 3 to 25.[A] COLOURS: Rouge-Cardinal 347, Bleu-Indigo 312, Jaune-Orange 444, Vert métallique 465, Gris-Brun 409.[A]]

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

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

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

[Illustration: FIG. 323. BORDER IN STROKE STITCH. MATERIALS: Coton à marquer D.M.C Nos. 5 to 200.[A] COLOURS: Rouge-Turc 321 or Bleu-Indigo 312.[A]]

[Illustration: FIG. 324. BORDER IN STROKE STITCH. MATERIALS: Coton à repriser D.M.C No. 50.[A] COLOURS: Vert-Pistache 319, or Vert-Mousse 470.[A]]

[Illustration: FIG. 325. INSERTION IN STROKE STITCH. MATERIALS: Coton à broder D.M.C Nos. 16 to 60.[A] COLOURS: Rouge-Turc 321, or Rouge-Grenat 309, or Bleu-Indigo 311.[A]]

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