Part 7

ILLUSTRATIONS 98 TO 100 show a similar leaf; both halves are worked separately (see 99); the centre is worked in open lace stitch. The latter (see No. 100) is traced, then make ladder stitches across, work the outlines in overcast stitch, and cut away the material underneath the ladder stitch. The cross stitches are then worked in darning stitch with very fine cotton wherever two threads meet.

[Illustration: 101.--Blossom in Satin Stitch.]

ILLUSTRATION 101 (_Blossom in Satin Stitch_).--The eyelet is worked in overcast stitch, then work the upper part of the blossom all in one piece as far as the beginning of the veining, thence the blossom is worked in two halves.

[Illustration: 102.--Blossom in Satin Stitch.]

[Illustration: 103.--Bead partly covered.]

ILLUSTRATIONS 102 & 103 (_Blossom in Satin Stitch_).--The raised centre of this flower is formed by a bead, over which the embroidery is worked. When the leaves have been worked one after the other, place a bead in the centre, left free in such a manner that one hole lies on the material, and work over the bead by inserting the needle into its upper hole, then underneath the material, drawing it out above the material close to the bead, and so on (see 103).

[Illustration: 104.--Star in Satin Stitch.]

ILLUSTRATION 104 (_Star Pattern in Satin Stitch_).--The centre, which forms a wheel, is worked first. Draw the threads across the circle marked by an outline; in the centre they are wound round, always taking one thread _on the needle_ and leaving the next thread _under the needle_, as can be seen in 122 on the half-finished pattern. The material underneath the wheel is only cut away when the rest of the pattern has been embroidered.

[Illustration: 105.--Star in Point de Reprise.]

ILLUSTRATIONS 105 & 106 (_Patterns in Back, Satin, and Ladder Stitches_).--The small star in the centre of No. 105 is worked in _point de reprise_.

[Illustration: 106.--Star.]

[Illustration: 107.--Flower in Satin Stitch.]

ILLUSTRATION 107 (_Flower in Satin Stitch_).--The fine veinings are worked with fine black silk in _point russe_, which renders the effect of the flower very beautiful.

[Illustration: 108--Rose in Satin Stitch.]

[Illustration: 109.--Petal for Rose.]

ILLUSTRATIONS 108 & 109 (_Rose in Satin Stitch_).--No. 109 shows one petal larger than full size. The outer circle only is prepared with chain stitches underneath, so as to appear raised; the inner circles are worked flat. The centre of the rose is embroidered in open work.

[Illustration: 110.--Heartsease.]

ILLUSTRATION 110 (_Embroidered Heartsease_).--For the knotted stitch see No. 75. for the _point croisé_ see 71 and 72.

[Illustration: 111.--Raised Flower]

ILLUSTRATION 111 (_Flower in Raised Satin Stitch_).

[Illustration: 112.--Ear of Corn.]

ILLUSTRATION 112 (_An Ear of Corn in Point de Minute_).

[Illustration: 113.--Bluebell.]

[Illustration: 114.--Inner part of Bluebell.]

ILLUSTRATIONS 113, 114, & 116 (_Bluebell in Raised Satin Stitch_).--This flower is worked partly in separate pieces, as has been described. Illustration 116 shows the raised part stretched out flat. When it is finished it is fastened down along the dotted line on No. 114, which shows the inner part of the flower.

[Illustration: 115.--Flower.]

ILLUSTRATION 115 (_Flower in Point de Minute_).--This stitch is here worked over a thick foundation of chain stitches. For raised patterns it looks very well.

[Illustration: 115.--Outer part of Bluebell.]

[Illustration: 117.--Flower appliquéd on Net.]

ILLUSTRATIONS 116 & 117 (_Flower worked in Appliqué_).--To work in appliqué, two materials, either similar or different, are needed. You can work either in appliqué of muslin on muslin, or of muslin on net, or of net on net. Muslin on Brussels net is the prettiest way of working in appliqué; we will therefore describe it: the other materials are worked in the same manner. Trace the pattern on the muslin, fasten the latter on the net, and trace the outlines of the pattern with very small stitches work them in overcast stitch with very fine cotton, taking care not to pucker the material. The veinings are worked in overcast. When the pattern has been embroidered cut away the muslin round the outlines with sharp scissors, so that the net forms the grounding (see No. 117). The greatest care is required in cutting out the muslin to avoid touching the threads of the net.

[Illustration: 118.--Border.]

ILLUSTRATIONS 118 & 119 (_Narrow Borders_).--It will be easy to work these borders from the above instructions. Observe only that on border 118 the outer row of scallops is worked first, then the button-hole stitch row, and the rest afterwards. The spots are edged all round in knotted stitch. The wheels in the centre of the eyelets of No. 119 are worked with very fine cotton in loose button-hole stitch; they are wound round with the cotton in a second row.

[Illustration: 119.--Border.]

[Illustration: 120.--Insertion.]

ILLUSTRATIONS 120 TO 122.--Three strips of insertion, which are worked nearly like the ladder stitch. For No. 120, in tracing the outlines, make two small knots at short distances by winding the cotton four times round the needle, as can be seen in illustration; the windings are held down with the thumb of the left hand, draw the needle through, and a knot is formed. The outlines are worked in button-hole stitch only when all the knots have been made, and then the material is cut away underneath.

Illustration 121 is a variety of the slanting ladder stitch.

Illustration 122.--The cross threads are worked in two rows in the common herring-bone stitch, as can be seen by the black lines on the illustration. The straight lines at the top and at the bottom are worked in double overcast; lastly, the wheels are worked in a row as described for the star pattern, No. 104.

[Illustration: 121.--Insertion.]

[Illustration: 122.--Insertion.]

[Illustration: 123. U]

[Illustration: 124. C]

[Illustration: 125. B]

[Illustration: 126. O]

ILLUSTRATIONS 123 To 129 (_Embroidered Initials_).--To learn to work initials the Roman characters are the easiest to begin with. They must be traced and prepared like other embroidery in satin stitch, only the chain stitches underneath must not be too thick: it would take away the shape of the letters. All depends on the fineness and regularity of the stitches; they must be worked in overcast stitch. Work from left to right, and the letter when completed must look rather like raised printing than like embroidery. Gothic letters are much more difficult to work on account of the many flourishes; it requires great practice in needlework to embroider them well. Illustration 123.--The small black dots are worked in black silk on the thick parts of the letter: the fine strokes are covered with cross threads of black silk. Illustration 124.--The outlines of the letter and the fine strokes are worked in black silk. Illustration 125.--This letter is embroidered in raised satin stitch and _point de plume_. Illustration 126.--This letter is worked in back stitches, over which are worked at regular distances cross stitches of black silk. Illustration 127.--Letter in satin and back stitch. Illustration 128 to be worked in overcast and double overcast.

Illustration 129.--Letter G in _point russe_ with black silk.

[Illustration: 127.]

[Illustration: 128.]

[Illustration: 129.]

[Illustration: 130.]

ILLUSTRATION 130 (_Embroidered Figures_).--They are worked like the letters in _point de plume_ and overcast; the dots are worked in knotted stitch.

* * * * *

EMBROIDERY.

[In working the following Embroidery Patterns it will be found advisable to trace the design clearly upon tracing-paper with a sharp-pointed lead pencil. The pattern thus traced must be perforated with a fine needle in a succession of tiny holes, at the rate of about twenty to the inch. Those ladies who possess a sewing-machine will find no difficulty in accomplishing this. Several thicknesses of paper can be perforated at the same time, if required, by any ordinary machine. To transfer the traced and perforated design to the fabric to be embroidered, it is only necessary to rub a small quantity of powder blue through the holes.]

131.--_Insertion in Embroidery_.

Material: Messrs. Walter Evans and Co.'s embroidery cotton No. 16.

This insertion is worked in raised satin stitch and button-hole stitch. The outlines must first be traced and the space filled up with chain stitches. To work a leaf, begin at the point, working from right to left, making short stitches, and always inserting the needle close above the outline and drawing it out below. The holes left for the ribbon to pass through are worked in plain button-hole stitch, the dots are worked in raised satin stitch.

[Illustration: 131.--Insertion in Embroidery.]

* * * * *

132.--_Insertion in Embroidery and Stitching_.

Materials: Messrs. Walter Evans and Co.'s embroidery cotton Nos. 10 and 16.

The veinings of this pretty insertion must be worked in overcast stitch (No. 68, _Embroidery Instructions_), the leaves and flowers in raised satin stitch, the scallops in button-hole stitch, and the outer edge of the leaves in back stitch (No. 70, _Embroidery Instructions_) with No. 10 cotton.

[Illustration: 132.--Insertion in Embroidery and Stitching.]

* * * * *

133.--_Cravat End in Embroidery_.

Materials: Muslin, cambric, or linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 24, or fine black China silk.

This graceful design is worked in raised satin stitch (see Nos. 76 and 77, _Embroidery Instructions_) and back stitching, or point Russe. Black silk may be introduced at will, and the delicate leaves may be stitched in fine black silk, and the flowers embroidered in white, with the stamens in black silk.

[Illustration: 133.--Embroidered Pattern for Cravat Ends, &c.]

* * * * *

134.--_Basket Embroidered in Chenille_.

Materials: A basket of fine wicker-work; 1 skein of black chenille, and 3 of blue chenille.

This small round basket measures seven inches across; it has a cover and two handles. The wicker is very delicately plaited, and is ornamented with a pattern in chenille which is very easy to work. Upon the cover, work in point Russe one large star in blue chenille, with the centre and outer circle in black. All round, work small stars in blue chenille, with a black stitch in the centre. The position of these stars is shown in our illustration. The basket requires no mounting; it is not even lined.

[Illustration: 134.--Basket Embroidered in Chenille.]

* * * * *

135.--_Pattern for Collars and Cuffs in Embroidery._

Materials: Muslin, cambric or lawn; Messrs. Walter Evans and Co.'s embroidery cotton perfectionné No. 40.

Work the outer circle in long even scallops (see page 90 of _Embroidery Instructions_) in raised button-hole stitch; the spray of flowers is embroidered in raised satin stitch, the leaves in the same, and the rosebud calyx in tiny eyelet-holes. The centres of the roses are embroidered in open-work.

[Illustration: 135.--Embroidery Pattern for Collars, Cuffs, &c.]

* * * * *

136.--_Cravat End in Embroidery_.

Materials: Muslin, Brussels net; Messrs. Walter Evans and Co.'s embroidery cotton No. 30.

Tack the traced muslin over the net and work the scallop of the inner edge; next the design in the centre must be worked in raised satin stitch (see No. 77 in _Embroidery Instructions_). The raised dots are also worked in satin stitch (see page 90 of _Embroidery Instructions_). Lastly, work the outer edging of round scallops and the lines of raised dots, and with a pair of embroidery scissors carefully cut away the muslin from the outer edge and from the leaves of the centre pattern.

[Illustration: 136.--Cravat End in Embroidery.]

* * * * *

137.--_Embroidery Pattern for Collars, Cuffs, &c_.

Materials: Linen; Messrs. Walter Evans and Co.'s cotton perfectionné No. 40.

This pretty star should be worked in fine overcast stitch (see No. 68 in _Embroidery Instructions_). The centre is worked in raised satin stitch leaves round a circle of button-hole stitch, in the middle of which a wheel is worked thus:--Slip the cotton under the thick edge and fasten it, then cross it over and back so as to make 8 bars, then twist the cotton twice round 1 bar; this will bring it to the centre; work over and under each of the bars until a thick dot is formed; fasten the cotton beneath this, and twist it twice round the bar opposite to the first one you worked, and finish off.

[Illustration: 137.--Embroidery Pattern for Collars, Cuffs, &c.]

* * * * *

138.--_Embroidery Covering for a Quilted Counterpane_.

Materials: Cashmere, cambric muslin, or linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 4.

[Illustration: 138.--Embroidery Covering for a Quilted Counterpart.]

This is an embroidery-pattern for a woollen or silk quilted counterpane. Such counterpanes generally have a lining which is turned back on the right side, and buttoned down at the point of each scallop. The pattern is a quilted counterpane of scarlet cashmere; the lining is of fine linen. Before embroidering it, make the points for the corners. The embroidery is worked in button-hole stitch, overcast, satin, and ladder stitch. It can also be worked on fine cambric or muslin, and then the embroidered pattern sewn on the piece of linen which forms the cover on the wrong side. Make the button-holes as seen on illustration, and sew on mother-of-pearl or china buttons.

* * * * *

[Illustration: 139.--Embroidery Pattern for Cravat Ends, &c.]

* * * * *

139.--_Embroidery Pattern for Ornamenting Collars, Cuffs, &c_.

Materials: Muslin, cambric, or linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.

This pattern is worked in satin stitch, point Russe, and point d'or on muslin, cambric, or linen; it is suitable for collars, or cravat ends, or handkerchief corners.

* * * * *

140.--_Handkerchief in Embroidery_

Materials: French cambric; Messrs. Walter Evans and Co.'s embroidery cotton No. 50.

[Illustration: 140.--Handkerchief in Embroidery.]

Three rows of hem-stitching ornament this handkerchief; the pattern forms an insertion within the outer rows, the flowers are worked in raised satin stitch, with eyelet-hole centres (see No. 87 of _Embroidery Instructions_); the tendrils are worked in overcast stitch; three rows of raised dots, in groups of four, are worked on the inner side of the last row of hem-stitching. This pattern looks very handsome on a broad-hemmed handkerchief.

* * * * *

141.--_Convolvulus Leaf Insertion_.

Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 20.

[Illustration: 141.--Convolvulus Leaf Insertion.]

The convolvulus leaves are worked in raised satin stitch, the veinings and stems in overcast stitch, the eyelet-holes in slanting overcast stitch. (See No. 69 of _Embroidery Instructions_.)

* * * * *

142.--_Insertion_.

Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 20.

This simple insertion is worked in raised satin stitch, the stems alone excepted; these are embroidered in overcast stitch.

[Illustration: 142.--Insertion.]

* * * * *

143 and 144.--_Two Patterns in Embroidery for Trimming Lingerie_.

Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 20, and Mecklenburg thread No. 50.

[Illustration: 143 and 144.--Patterns for Trimming Lingerie.]

These patterns are worked in point Russe and stitching; the spots in satin and knotted stitch. Illustration 143 is ornamented in the centre with lace stitches.

* * * * *

145 _and_ 146.--_Insertion_.

Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16.

The two insertions, Nos. 145 and 146, are worked partly in satin stitch, partly in open-work embroidery, and are edged on either side with an open-work hem.

[Illustration: 145.--Insertion.]

[Illustration: 146.--Insertion.]

* * * * *

147.--_Couvrette in Appliqué Embroidery_.

Materials: Net, fine muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16.

The pattern must be traced on the muslin, which should be tacked on the net. The outline of the design must be traced with very small stitches, and worked in overcast stitches, as are also the veinings; the dots are worked in raised satin stitch; the border is embroidered with satin stitch flowers and scallop button-hole stitch. To work appliqué on net, see No. 117 of _Embroidery Instructions_.

[Illustration: 147.--Couvrette in Appliqué Embroidery.]

* * * * *

148.--_Wreath for centre of Pincushion or Toilet Mat_.

Materials for Pincushion: Jaconet muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16. For toilet mat: White piqué; cotton No. 12.

[Illustration: 148.--Wreath for centre of Pincushion or Toilet Mat.]

The leaves and flowers are worked in satin stitch; the eyelet-holes and stems in overcast stitch.

* * * * *

149.--_Corner for Handkerchief In Point Russe_.

Materials: French cambric, fine China black sewing-silk, or filoselle.

[Illustration: 149.--Corner for Handkerchief in Point Russe.]

Point Russe stitch is made by a succession of back stitches. These stitches carefully follow every line of the design, and are worked in black China sewing-silk or filoselle. The pattern should be repeated at each corner of the handkerchief.

* * * * *

150 _to_ 152.--_Borders and Insertions_.--_White Embroidery_.

Materials: Lawn; Messrs. Walter Evans and Co.'s embroidery cotton No. 30, and Mecklenburg thread No. 50; fine black sewing-silk.

[Illustration: 150.--Embroidered Border.]

For the border No. 150, trace first the outlines of the scallop, then draw the threads which are to form the wheel in each scallop (take for this fine Mecklenburg thread, for the rest embroidery cotton), fasten them at the places where they cross each other, and work at these places small and large spots in satin stitch. Then work the scallops in button-hole stitch; edge each larger spot with button-hole stitch all round, and make a row of button-hole stitches for the upper edge of the border, and above this a row of herring-bone stitches. The material is cut away underneath the wheels.

* * * * *

[Illustration: 151.--Corner in Embroidery.]

[Illustration: 152.--Corner in Embroidery.]

The corner borders, illustrations 151 and 152, are worked in point Russe, chain and satin stitch, with fine black sewing silk.

* * * * *

[Illustration: 153--- Cravat End in Embroidery]

153.--_Muslin Cravat_.

Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 50; No. 40 for the edges.

This cravat is worked on fine muslin, embroidered upon both ends in raised satin stitch; the scalloped edge is worked in button-hole stitch; the bouquet in the centre is worked in appliqué satin stitch--that is, the leaves of the rose and the foliage are worked separately on muslin; they are then cut out and worked in appliqué (see Nos. 113 and 116, _Embroidery Instructions_) upon the cravat, as seen in the illustration.

* * * * *

154.--_Sandwich Case_.

Materials: Strip of grey kid; strip of oil silk; 1 skein black silk; 1 skein red purse silk; 1 hank steel beads; steel button.

This case will be found very useful on the occasion of a journey or picnic, as it can be carried in the pocket without any inconvenience.

The case is made of a strip of grey kid, scalloped out at the edges. The words "Bon appetit," or "Good appetite," at will, are worked over it in overcast with black purse silk and steel beads, the scroll pattern in chain stitch with red silk. The back and front of the case are formed of the same strip, which is lined with oilskin, and to which narrow side-pieces are added to form the pocket. These pieces are lined and scalloped out in the same way as the back and front, and then the scallops of both sides are joined together, and worked round in button-hole stitch with purse silk.

The case is fastened down with a steel button.

If another colour is preferred, the sandwich case can be made of brown kid. The scroll pattern should then be worked in rich blue purse silk, and gold beads used for the letters, which should be embroidered as before in black silk. The edge may be worked in double overcast stitch in blue or black silk. A gold button must replace the steel when this alteration of colour is made.

[Illustration: 154.--Sandwich Case.]

* * * * *

155.--_Insertion_.

Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16.

This insertion is worked in raised satin stitch between two rows of hem-stitching; a small eyelet-hole is worked in the centre of each flower.

[Illustration: 155.--Insertion.]

* * * * *

156.--_Cravat End in Raised Embroidery_.

Materials: Messrs. Walter Evans and Co.'s. embroidery cotton Nos. 50 and 16.

This pattern is a muslin cravat 32 inches long. The greater part of the embroidered ends is worked in satin stitch; the leaves in the bouquet of the centre are worked in raised embroidery. (See Nos. 113 and 116, _Embroidery Instructions_.)

The dotted lines are raised by taking four threads of the muslin on the needle, draw it half out, wind the cotton twice round the point, holding it tightly under the thumb, draw the needle out and insert it at the place where the stitch was begun, and draw it out where the next stitch is to be worked.

[Illustration: 156.--Cravat End in Raised Embroidery.]

* * * * *

157.--_Lady's Purse_.

Materials: Russia leather; blue silk; black purse silk; blue silk soutache; fine gold braid; and gold thread.

[Illustration: 157.--Lady's Purse.]

This purse is embroidered upon Russia leather; an oval-shaped medallion is cut out in the centre; a piece of blue silk is gummed on under the leather so as to show within the oval; both leather and silk are then lined with calico and stretched upon a small embroidery frame. The front and back of the purse are made all of one piece, the centre of which is the bottom; after the embroidery is completed a piece of leather is added on each side to give the necessary fullness. Four flowrets are worked over the blue silk, with black purse silk, in raised satin stitch, with a dot in gold thread for the centre. The stems are black and the leaflets gold. The inner border round the oval medallion is worked in gold braid, and the outer one in blue soutache. The network upon the leather is formed of threads of black purse silk, fastened at every crossing with a stitch of gold thread; the outer border round this network is formed entirely of gold braid. On the opposite side of the purse initials may be worked in black and gold, over the blue silk oval medallion.

The purse is lined with brown watered silk, and mounted with a clasp of gilt steel.

* * * * *

158.--_Table-Napkin Ring_.

Materials: Crimson cashmere; _toile cirée_; 1 reel each of white, black, green, blue, and yellow Chinese silk.

[Illustration: 158.--Table-Napkin Ring]

Stretch a strip of cashmere of a bright shade of crimson over a piece of _toile cirée_, and work the pattern over it in point Russe with fine silk. The outer borders have white and black outlines, and leaflets of green silk. The stars have black and blue outlines, a yellow cross and dots. The figure between the stars is black and yellow.

* * * * *

159 _and_ 160.--_Knife Basket_.

Materials: Grey American cloth; red cloth; black jet beads and bugles; red worsted braid, three-quarters of an inch wide; some strong wire; a cigar-box.

[Illustration: 159.--Knife Basket.]