The Ladies' Work-Table Book Part 6

VICTORIA PATTERN.--Pa.s.s the wool or silk for the centre st.i.tch over six threads, the next over five, and so proceed to the corner, which will be on one thread; the other side must be done in a different shade, but the same color, and the shades of each must be turned alternately the opposite way. The corner st.i.tch should be of some brilliant colored silk, if not of gold thread: the top of one square will be the bottom of another, and you work the three st.i.tches between the corners in black or dark wool. The squares must be filled in with long st.i.tch, working from corner to corner, across the canvas.

WAVE PATTERN.--These are extremely beautiful, when worked in four or five shades. They are done in Irish st.i.tch, and the rows must be worked close together, the wool is pa.s.sed over six threads, and the rows dropped a few threads below each other, so as to form a wave. The pattern may be varied almost infinitely; the following forms a beautiful specimen: work six rows of any length you choose, dropping one st.i.tch at the top and adding one to the bottom of each row; then proceed upwards, for six rows, and you will obtain a beautiful pointed wave, the seventh row forming the centre; then work nine rows, of which the first, third, fifth seventh, and ninth, must be level with the second row of the pointed wave; and the second, fourth, sixth, and eight, must be on a level with the first and last rows, while the first, third, fifth, seventh, and ninth, must drop two st.i.tches, so as to produce an irregular edge; then work a pointed wave, as before, and the pattern is complete.

[Ill.u.s.tration]

WINDSOR PATTERN.--In working this pattern, you must count eight threads down the canvas, and then increase one each way, until you have twelve, so as to form a diamond of six sides. The second row must be begun with twelve threads, so as to join the longest st.i.tch in the former row. When each row is finished, the intersectional diamonds must be filled in; which may be done either in silk or gold thread, and has an extremely neat appearance.

SUGGESTIONS AS TO PATTERNS.

For bottle-stand, or any small piece of work, star patterns are very beautiful. The materials proper for working them, are silk and wool, with gold or any other kind of beads, and gold thread or twist. For foundations, you may use either velvet or silk canvas.

Small sprigs are pretty, for work that is not too large; chenille is proper for the flowers, and the stalks and leaves look best in silk; a few gold beads add to the effect.

For large pieces of work, medallion patterns are much used, and produce a good impression on the eye; the outline is to be traced in brilliant silk, and for the centre employ two shades of the same color, working half in each shade; the medallion should be placed upon a white field, and the whole grounded in a dark color, which harmonizes well with the design of the pattern.

Bags may be worked in a variety of ways, to suit taste and convenience.

The border is often made to resemble black lace, and when properly executed, looks extremely well. The parts filled up, should be worked in black floss or black wool. Leaves may be worked with gold twist, or beads may be employed. The grounding should be in fine twisted silk: any color may be used. In other cases, white wool, white silk, silver and gla.s.s beads, and several other materials are in requisition; so that here is ample scope for cla.s.sification and arrangement. A mourning bag looks well done to imitate lace, worked in black floss silk, and ornamented with black gla.s.s and silver beads, disposed in a tasteful and ornamental style. Sometimes a bag is worked as a s.h.i.+eld of four squares; in such a case, two squares should be worked in feather st.i.tch, and the others in any st.i.tch that will form a pleasing contrast: the border should be a simple, but elegant lace pattern.

For braces and bracelets, any small border pattern may be adopted. They should be worked in two colors, highly contrasted, for bracelets: gold twist round the edge is a great addition.

These suggestions in reference to patterns, might have been greatly extended; but we wish every young lady to draw upon the resources of her own mind, and to think for herself. To one, who is desirous to excel, we have said enough; a little thought will enable her to apply the general principles, here laid down, to any particular case; and, without the employment of the thinking faculty, the most minute instructions, in this or any other art, would fail in producing their intended effects.

CHAPTER VIII.

FANCY NEEDLEWORK.

INSTRUCTIONS IN EMBROIDERY.

EMBROIDERY WITH SILK.--The materials used as foundations, are various, embracing silk, satin, cloth, and velvet; and the silk employed in working is purse silk, deckers, half twist, and floss; but floss is most in request.

Embroidery should always be worked in a frame, as it cannot be done well on the hand, except in very small pieces. The same careful attention to shades, before recommended, is necessary here; for small flowers two or three shades are sufficient; but in roses and others, that are large, five shades are in general required; the darker shades should be worked into the centre of the flower, (and it is often advisable to work them in French knots,)[79-*] and thence proceed with the lighter, until you come to the lightest, which forms the outline. The pattern must be correctly drawn upon the material, and in working leaves you must begin with the points, working in the lighter shades first, and veining with a shade more dark: you may soften the blending, by working each shade up, between the st.i.tches of the preceding shade. Three, or at most four shades, are sufficient for the leaves: the introduction of more would injure the effect.

CHENILLE EMBROIDERY.--Is very beautiful for screens, &c., but must not be used for any work that is liable to pressure. Choose a needle as large as can be conveniently used, and be careful not to have the lengths of chenille too long, as it is apt to get rough in the working.

For flowers, it is necessary that the shades should not be too near. The chenille must pa.s.s through the material freely, so as not to draw it. It looks well done in velvet, with occasional introductions of gold and silver thread.

RAISED EMBROIDERY.--Draw the pattern on the material as before. Work the flowers, &c., to the height required, in soft cotton, taking care that the centre is much higher than the edges. A careful study of nature is indispensable to the attainment of excellence in this kind of work.

Pursue the same method with your colors, as in flat embroidery, only working them much closer. The most striking effect is produced when the flowers or animals are raised, and leaves in flat embroidery. Much in this, as in every department of this charming art, must depend upon the taste and judgment--correct or otherwise--of the fair artist. A servile copyist will never attain to excellence.

EMBROIDERY IN WOOL.--This is proper for any large piece of work. The rules for shading embroidery with silk apply here; only the work must not be quite so thick on the material; care must also be taken to bring the wool through on the right side, as near as possible to where it pa.s.ses through, in order that none may appear on the wrong side, which would occasion much trouble in drawing it, even when removed from the frame. When finished, and while in the frame, it will be proper to damp the back with a little isingla.s.s water, and press with a warm iron on the wrong side. This kind of work is appropriate for the ornamenting of various articles of dress, on which, when judiciously placed, it has a pleasing effect.

PATTERNS.--This is a part of fancy needlework to which too much attention cannot be paid, but it is one much neglected. We want to see native genius developed, and we are convinced that many a fair one could increase our stock of patterns, with new and surprising conceptions, if she could but be induced to make the trial. To draw patterns for embroidery or braid work, get a piece of cartridge paper, and having drawn out the design, trace it off upon tissue paper, or which is better, a tracing paper, properly prepared; after which you will find it easy to pierce it through with a piercer, taking care not to run one hole into another. Lay the paper so prepared upon the material which you intend to work, and dust it with a pounce bag, so that the powder may go through the holes; the paper must then be carefully removed, and if the material be dark, take a camel's hair pencil, and paint the marks with a mixture of white lead and gum water; or if you prefer it, you can trace the marks left by the pounce, with a black-lead pencil, but the other methods are preferable. A little practice and perseverance will enable you to became tolerably proficient in this department, and confer upon you the further advantage of aiding you in acquiring those habits of untiring diligence, which are so essential to the attainment of any object. Ever recollect, that anything worth doing at all, is worth doing well.

FOOTNOTES:

[79-*] This applies especially to the working of dahlias: begin with the centre knot and work round it as many as are required.

CHAPTER IX.

FANCY NEEDLEWORK.

PREPARATION OF FRAMES.

This is a subject which must be carefully attended to, or much unnecessary trouble will be incurred in consequence.

TO DRESS A FRAME FOR CROSS St.i.tCH.--The canvas must be hemmed neatly round: then count your threads, and place the centre one exactly in the middle of the frame. The canvas must be drawn as tight as the screws or pegs will permit; and if too long, should be wrapped round the poles with tissue paper, to keep it from dust and the friction of the arms, as that is essential to the beauty of the work. It must in all cases be rolled _under_, or it will occasion much trouble in the working. When placed quite even in the frame, secure by fine twine pa.s.sed over the stretchers, and through the canvas very closely; both sides must be tightened gradually, or it will draw to one side, and the work will be spoiled.

TO DRESS A FRAME FOR CLOTH WORK.--Stretch your cloth in the frame as tight as possible, the right side uppermost.

The canvas on which you intend to work, must be of a size to correspond with the pattern, and must be placed exactly in the centre of the cloth, to which it is to be secured as smooth as possible. When the work is finished the canvas must be cut, and the threads drawn out, first one and then the other. It is necessary to be especially careful in working, not to split the threads, as that would prevent them drawing, and would spoil the appearance of the work. In all cases, it is advisable to place the cloth so as that the nap may go downward. In working bouquets of flowers, this rule is indispensable.

The patterns for cloth work should be light and open. It looks well for sofas, arm chairs, &c., but is by no means so durable as work done with wool, entirely on canvas.

TO DRESS A FRAME FOR TENT St.i.tCH.--Prepare the frame, and brace the canvas as for cross st.i.tch, only not quite even, but inclining the contrary way to that in which you slant your st.i.tch. This is necessary, as tent st.i.tch always twists a little. This method will cause the work, when taken out of the frame, to appear tolerably straight. Should it after all be crooked, it should be nailed at the edges to a square board, and the work may then be pulled even by the threads so as to become perfectly straight. The back of the work should then be slightly brushed over with isingla.s.s water, taking care not to let the liquid come through to the right side. A sheet of paper must be placed between the work and the board, and when nearly dry, another must be laid upon it, and the whole ironed with a warm iron, not too hot, or the brilliancy of the colors will be destroyed.

Some persons use flour instead of isingla.s.s, but it is highly improper, and should never be resorted to.

INSTRUCTIONS FOR WORKING.

ARMORIAL BEARINGS.--Work the arms and crest in silk, as brilliancy is the thing here princ.i.p.ally required. It will be proper that the scroll should be worked in wool. The contrast will have a pleasing effect.

APPLIQUE.--This is a very beautiful kind of work. The material may be either silk, or cloth, or any other fabric which may be preferred. Upon this foundation, pieces of satin, velvet, &c., are to be carefully tacked down; the pattern, leaves, flowers, &c., must then be drawn, both on the foundation, and the materials of which they are to be formed; after which, they must be cut out and sewed on in the neatest manner possible. They are then to be braided with their own colors round the edges; you must also braid the tendrils and the veins of leaves; work the centre of leaves in a long st.i.tch, and the kind of silk called purse silk, and after braiding the centre of flowers--if single--work over them with French knots, made by twining the silk twice round the needle, and pa.s.sing it through the material. This kind of work, as covers for tables chairs, &c., is very elegant, and has a good effect.

BEAD WORK.--Use the canvas called bolting; and work two threads each way on the slant, with china silk, taking especial care that the beads are all turned the same way, that the whole may appear uniform. Work the pattern with thick beads and ground with transparent ones. You must, in this kind of work, have as few shades as possible.

BRAID WORK.--Trace the pattern in the material, and proceed with the various shades, from the outline or lightest, to the darkest, till the whole is completed. In this work only two shades are for leaves, and three for flowers; make the points as sharp as possible, and in turning the points, work one st.i.tch up close to the point where you turn the braid, and another immediately afterwards to keep it in its place. Vein the leaves in a bouquet with purse silk use gold braid in finis.h.i.+ng as taste may direct; and in fastening draw the braid through the material.

The best instrument for this purpose is a chenille needle. In braid work and applique, only one st.i.tch must be taken at a time, or else the work will appear puckered.

BRACES.--Work in silk canvas three inches broad, in silk or wool, in any pattern you prefer.

GEM, OR SET PATTERNS.--For this kind of work, ground in black or dark wool, and work the patterns in silks, as distinct and bright as possible, and with the utmost variety of colors. The beauty of these productions of the needle, depends chiefly upon their brilliant and gem-like appearance.

GOBELIN.--If you work in coa.r.s.e canvas, adopt the same contrast of shades as you employ in cross st.i.tch; if the material be fine, you must shade as in tent st.i.tch.

GENTLEMEN'S WAISTCOATS.--To ornament the dress of a father, brother, or husband, must at all times be a pleasing employment for domestic affection. For dress waistcoats, embroider satin, either in the form of a wreath, round the edge of the waistcoat, or in small sprigs; for morning, you may work in any pattern you prefer. Patterns of the Caledonian Clans are now much admired.

LANDSCAPES.--These may be rendered extremely beautiful, if properly managed. The trees in front should be much lighter than those seen in the back ground, and great care should be taken to prevent the latter having too blue a cast, as this renders them unharmonious, when contrasted with the sky. Represent water by shades of a blue grey: the sky should be a serene blue, with much closeness, and mingled with clouds composed of varying tints of a white and a yellow drab. If mountains are seen in the distance, they should be of a grey lavender tint, and some living animal should, in nearly all cases, be introduced. The presence of a cow, sheep, &c., gives life and animation to the view.