Encyclopedia of Needlework Part 5

The ill.u.s.tration explains how the open-work in the middle should be carried out.

[Ill.u.s.tration: FIG. 90. EXPLANATION OF THE St.i.tCH FOR FIG. 89.]

OPEN-WORK WITH WINDING St.i.tCH (fig. 91).--For this pattern, which is a very laborious one to work, draw out twenty-eight threads. Bind the edges with two-sided st.i.tches, over two, three, four and five threads, respectively. For the middle figures, you must reckon four threads for the cl.u.s.ters, round which the working thread is tightly twisted, eight for the darned cl.u.s.ters, ornamented with picots (see fig. 165), and sixteen for the rectangular rosettes, in two colours.

Make a loose spider over the threads, as a background for the rosette.

Work the picots in a different colour from the cl.u.s.ter, and the rosettes, likewise, in two colours. The connecting loops between the figures should be made as you go along, the thread being always carried back into the loop just made.

[Ill.u.s.tration: FIG. 91. OPEN-WORK WITH WINDING St.i.tCH.]

CUTTING OUT THREADS AT THE CORNERS (figs. 92, 93, 94, 95). If you want to carry a latticed-hem or a simple open-work pattern, round a corner, you must cut and loosen the threads, on both sides, about one c/m. from the edge of the hem, as seen in fig. 92. The loose threads can be pushed into the turning, and the edge b.u.t.ton-holed, as in fig. 93.

If however, on the other hand, the st.i.tching be continued without interruption, as indicated in the upper part of fig. 94, the loose threads must be brought to the wrong side, and as represented in the lower part of fig. 94, fastened down with a few st.i.tches.

[Ill.u.s.tration: FIG. 92. THE CUTTING AND LOOSENING OF THE THREADS AT THE CORNERS.]

[Ill.u.s.tration: FIG. 93. THE OVER CASTING OF THE DISENGAGED EDGE AT THE CORNER, THE THREADS BEING TURNED IN WITHIN THE HEM.]

[Ill.u.s.tration: FIG. 94. BORDERING THE DISENGAGED EDGE WITH HEM-St.i.tCHING, THE THREADS BEING TURNED OVER]

[Ill.u.s.tration: FIG. 95. FILLING IN THE CORNER WITH A SPIDER, AND CONTINUATION OF THE LATTICE-WORK THENCE.]

CUT OPEN-WORK (PUNTO TAGLIATO).--For cut open-work, threads have to be drawn out both ways, the number of course to depend on the pattern.

Threads, left between others that have been cut out, serve as a foundation on which a great variety of st.i.tches can be worked. Stuffs, equally coa.r.s.e in the warp and woof, should be chosen for all cut open-work, for then the empty s.p.a.ces that remain, where threads have been drawn out both ways, will be perfectly square.

DRAWING OUT THREADS BOTH WAYS (fig. 96).--The same number of threads must be drawn out each way; most patterns require the same number of threads to be left as are drawn out. In fig. 96, three threads have been drawn out and three left.

[Ill.u.s.tration: FIG. 96. DRAWING OUT THREADS BOTH WAYS, WITHOUT REGARD TO THE EDGES.]

CUTTING OUT THREADS (fig. 97).--We often meet with cut open-work patterns, set in another kind of embroidery. In such cases, the threads that are to be cut out, must be cut a few millimetres within the edge, and then drawn out, so that there may be a frame of the stuff left intact outside.

[Ill.u.s.tration: FIG. 97. CUTTING OUT THREADS, IN THE MIDDLE OF THE STUFF.]

b.u.t.tON-HOLING THE RAW EDGES (fig. 98).--In very fine linen textures, the threads can simply be cut out, but in the case of coa.r.s.er stuffs, and when a pattern ends in steps as in figs. 103, 104, 105, the raw edges must be b.u.t.ton-holed as in fig. 98, or 99.

[Ill.u.s.tration: FIG. 98. b.u.t.tON-HOLING THE RAW EDGES OF CUT OPEN-WORK.]

OVERCASTING THE RAW EDGES (fig. 99).--Cording the raw edges, is even better than b.u.t.ton-holing them. Count the number of threads carefully that have to be cut out, run in a thread to mark the pattern, and then only, cut the threads through, at least two threads within the line.

[Ill.u.s.tration: FIG. 99. OVERCASTING THE RAW EDGES OF CUT OPEN-WORK.]

OVERCASTING THE TRELLISED GROUND (fig. 100).--If you only have a small surface to embroider, you can draw out all the threads at once. But in the case of a large piece of work it is better to begin by removing the threads in one direction only, and completing all the little bars, one way first; after which you draw out the threads the other way and embroider those you leave. In this way you will secure greater equality and finish in your work.

[Ill.u.s.tration: FIG. 100.--OVERCASTING THE TRELLISED GROUND.]

GROUND FOR SQUARE, FIG. 105 (figs. 101 and 102).--Finish the first row of bars along the edge completely, to begin with. In the second row, overcast the bar, down to half its length, then carry your thread over two empty s.p.a.ces, see the letter _a_, come back to the bar, overcasting the thread which you threw across first, and pa.s.sing the needle under the bars of the stuff. In the second rows that intersect the first, marked by letter _b_, the threads meet in the middle of the empty s.p.a.ce.

In fig. 102, finish the bars, overcast both ways first, and then fill in the ground with interlaced threads, worked row by row, throwing the thread from one square to the other as you go, and doubling it, as you return. For the bars, see the chapters on net embroidery, and Irish lace.

[Ill.u.s.tration: FIG. 101. LATTICE-GROUND FOR SQUARE IN FIG. 105, SHOWING THE COURSE OF THE St.i.tCHES.]

[Ill.u.s.tration: FIG. 102. LATTICE-GROUND FOR SQUARE IN FIG. 105.]

LATTICE-GROUND AND DAMASK St.i.tCH FOR SQUARE, FIG. 105 (fig. 103).--Our ill.u.s.tration shows a third kind of openwork ground with one corner in damask st.i.tch, of the square represented in fig. 105. The little bars which intersect each square crossways, are made in two divisions, by carrying the thread to the opposite bar and back. In the same way, the second thread is carried over the first. The damask st.i.tches are described in the next chapter, in figs. 143 and 144.

[Ill.u.s.tration: FIG. 103. LATTICE-GROUND WITH A PORTION OF SQUARE, FIG.

105.]

LATTICE-GROUND AND DAMASK St.i.tCHES FOR SQUARE, FIG. 105 (fig.

104).--Damask, or gobelin st.i.tches, are given in figs. 152, 153, 154.

The ground of this part of the square (fig. 104) is adorned with narrow bars, worked in darning st.i.tch. From the centre of one bar, proceed three bars made on three foundation-threads, and a fourth made on two, on account of the pa.s.sage to the next bar.

[Ill.u.s.tration: FIG. 104. LATTICE-GROUND AND DAMASK St.i.tCH FOR SQUARE, FIG. 105.]

QUARTER OF THE SQUARE IN SINGLE AND CUT OPEN-WORK, AND DAMASK-St.i.tCH (fig. 105).--Original size 48 c/m. square. This handsome square is worked in unbleached cotton on a white ground; it may also be worked in colours. A very good effect is produced by using Chine d'or D.M.C[A]

red, blue, or green for the gobelin st.i.tch, and a uniform pale tint for the cut open-work.

Figs. 101, 102, 103, 104 ill.u.s.trate in detail, one quarter of the square, which is represented here one third of the original size. The centre piece (fig. 104) is bordered by four stripes, two long and two short; the former containing two lozenge-shaped open-work figures separated and finished off by damask st.i.tches; the latter, only one such figure. For the insertion in single open-work, that recurs three times, you will find a variety of designs in figs. 81, 82, 83, 84, 87, 88.

[Ill.u.s.tration: FIG. 105.--QUARTER OF THE SQUARE IN SINGLE AND CUT OPEN-WORK, AND DAMASK St.i.tCH.

Original size 48 c/m. square.

MATERIALS suitable for Holbein linen: Fil a pointer D.M.C No. 15 or 20, and Coton a repriser D.M.C No. 25.[A]

For antique linen: Fil a dentelle D.M.C No. 25 or 30, or Cordonnet 6 fils D.M.C No. 50, 60, or 70, and Coton a repriser D.M.C No. 50 or, in place of the latter, Coton a broder surfin D.M.C No. 190.[A]]

DRAWING IN THE PATTERN (fig. 106).--Darning in the threads, as you do into a net foundation is a slower process and one that requires greater skill than drawing them in. The ill.u.s.tration shows the proper order and direction of st.i.tches for Fig. 108. In this case likewise, the little bars must be finished, before the actual pattern is filled in.

[Ill.u.s.tration: FIG. 106. DRAWING IN THE PATTERN. (Explanation of fig.

108)]

DARNING IN THE THREADS (fig. 107)--In old needle-work we often find the pattern reserved, that is, left blank and outlined by the grounding.

As it is difficult, especially in executing minute, and delicate figures, to withdraw the threads partially, without injuring the linen foundation, they are withdrawn throughout, and new ones drawn in, to form the pattern. To explain this more clearly, the original threads of the material are represented in a lighter shade than the new ones that are drawn in; the course of the st.i.tches is indicated in a darker shade.

[Ill.u.s.tration: FIG 107. DARNING IN THE THREADS. (Explanation of fig.

109).]

BROAD INSERTION IN CUT OPEN-WORK, WITH THE PATTERN DRAWN IN (fig.

108).--This insertion, suitable according to the foundation it is worked on, for the decoration either of curtains, table-covers, bed-linen or underclothing, is made as shown in fig. 106. If intended for the decoration of any article made of white linen, we recommend unbleached materials for the lattice-work, and bleached for the pattern, to bring it out in strong relief.

[Ill.u.s.tration: FIG. 108. BROAD INSERTION IN CUT OPEN-WORK, WITH PATTERN DRAWN IN.]

INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED IN (fig. 109).--This insertion can be introduced into any kind of linen material, and used for ornamenting towels, ap.r.o.ns, bed-linen and table-linen. When it is used to connect bands of cross-st.i.tch embroidery, the open-work should be of the same colour as the embroidery, and the pattern worked in white or unbleached cotton, to correspond with the foundation. In fig. 109, the pattern is half as large again as in the original.

[Ill.u.s.tration: FIG. 109. INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED IN.

MATERIALS--For Holbein linen: Fil a pointer D.M.C No. 15 or 20, Cordonnet 6 fils D.M.C No. 8, 10 or 15 for the bars.--Coton a tricoter D.M.C No. 16 or Coton a repriser D.M.C No. 12 or 25 for darning or drawing in the pattern.