Embroidery and Tapestry Weaving Part 11

[Ill.u.s.tration: Fig. 143.]

The second st.i.tch in the diagram shows a square on one side and is a cross upon the reverse. This makes a good st.i.tch for the purpose, is quite simple to manipulate, and is easier to manage than the cross on both sides.

The third example is made use of when a larger letter is required. It is known as blanket st.i.tch, and is used for the marking of such things. It may be further completed by a neat back st.i.tch just fitting along the outside edges of the other st.i.tches.

[Ill.u.s.tration: Fig. 144.]

Many embroidery st.i.tches are suitable for marking purposes, such as satin, chain, stem, back, rope, basket, and others. The Oriental st.i.tch which carries out the letter in fig. 144 is a good one when both sides can be seen, for though these are quite different, it is presentable upon either. The diagram shows the appearance of the st.i.tch on the front and on the back.

A simple initial letter may be made interesting by enriching the ground behind it with some form of diaper patterning. An example of this is shown in fig. 145. The letter could be worked in a plain satin st.i.tch over a padding of threads, and the pattern on the ground in a darning st.i.tch and French knots, or in any other suitable way.

[Ill.u.s.tration: Fig. 145.]

A monogram carried out in embroidery can be a very pretty thing; there is scope in it for ingenuity both of design and of st.i.tching. The letters may be decorated and tied up with a floral spray, strap work or a combination of several _motifs_. Fig. 146 shows a monogram composed of the letters I. G. ornamented and bound together by a ribbon-like interlacing band. The letters are worked in a raised satin st.i.tch, and a running st.i.tch in another colour threads in and out down the centre of each letter. The outline is stem st.i.tch in a darker colour. The band is outlined on both sides with an overcast st.i.tch, which always makes a particularly neat edging for anything of this sort. The centre is filled with a row of French knots, the ta.s.sels are worked in close lines of stem st.i.tch, and the petals of the small flowers in satin st.i.tch, finished off with a French knot at the centre.

[Ill.u.s.tration: Fig. 146.]

Another mark of proprietors.h.i.+p and origin was the s.h.i.+eld of arms of the owner, which introduces the subject of heraldry. A s.h.i.+eld executed with the needle is often seen, and looks particularly rich. Heraldry is an intricate science, full of pitfalls for the unwary, and demands an earnest study of its complex rules and regulations. Every one should know at least some fine examples of great national s.h.i.+elds such as the Lions of England, the Fleur de Lys of France, and the Imperial Eagle.

Examples of s.h.i.+elds surmounted by helmets and crests with quaint and flowing mantling are to be seen in all kinds of art work.

Various st.i.tches and methods specially lend themselves to the expression of heraldry. Those which, like cross st.i.tch, impose a certain simplicity, are very good. Another suitable medium is applied work, of which an ill.u.s.tration can be seen on page 95. Gold and silver thread are very useful here, and look exceptionally rich when couched in the XIIIth century method. Fig. 147 is an embroidered coat of arms dated the first half of the XIVth century. It is executed almost entirely in the _point couche rentre ou retire_. The arms are those of the Clinton and Leyburne families--_argent, 6 cross crosslets fitchee 3, 2 and 1 on a chief azure, two mullets or_.

[Ill.u.s.tration: Fig. 147.]

In designing heraldic work care must be taken to introduce no debased forms such as were current after the XVth century. The XIIIth and XIVth centuries are the periods considered best for the study of this subject.

Heraldry sometimes adds historic interest to embroideries; owners or donors may be traced by their coat of arms appearing upon some part of the work.

[Ill.u.s.tration: Fig. 148.]

Allied to heraldry and marking are a number of decorative objects that have acquired peculiar traditional significance of an emblematic or symbolical nature, hard to define. The Cross of Christianity may be instanced, the olive branch of peace, the mirror of truth, and the snake of eternity. The name of a saint is frequently declared by an emblem accompanying the figure. In appropriate surroundings emblems may often be used effectively. For knowledge about these things the student must go to various books that deal with the special subject. Fig. 148 is an ill.u.s.tration of the well-known emblem, the Pelican in her piety.

FOOTNOTE:

[13] This cope is full of interest in every detail. See M. Louis de Farcy, _La Broderie du Onzieme Siecle jusqu'a Nos Jours_. Plate II.

CHAPTER XIII

THE GARNITURE OF WORK

Finis.h.i.+ng off--Making up--Edges--Use of Cord-making Appliance--Cord Twisted by Hand--Knotted Cord--Fringes--Ta.s.sels--Knots.

When the embroidery is completed, the making up, the addition of tasteful finis.h.i.+ng touches, and such things as fringes, ta.s.sels, and linings, must all be considered. These will, if judiciously made use of, give a distinction and character to the work that might be missed if due care and thought were not expended upon such details. This part of the work might be compared to the garnis.h.i.+ng of a boiled fowl with lemon and parsley, a minor detail, but a very effective one.

It is possible, by the help of such expedients, to emphasise certain colours and bring out points of the design, as well as to give completeness and finish. Such things as fringes, cords, and ta.s.sels are often more satisfactory when made by the worker and with materials like those used in the embroidery, for such will be more likely to be in keeping with the character of the rest, and to be more interesting in detail. In the finis.h.i.+ng off the same taste and neatness of execution is required as in the embroidery. Good work can be very much marred in the making up; on the other hand, a little extra interest added on a part not often seen renders it doubly valuable.

The mounting of certain things should not be attempted at home; boxes should be handed over to the cabinetmaker, books to the bookbinder, and so on, for it is not possible for any one not an expert to do these things properly, and even good work can look poor if badly set.

The question how to appropriately finish off an edge often arises; let it be hem st.i.tched rather than plain hemmed; or a narrow line of drawn thread work may be inserted, for an open-work border is frequently a set-off to the rest of the embroidery. If a binding is placed over the edge this can be fixed with a pretty st.i.tch, or the st.i.tch alone can bind the edge, one such as b.u.t.tonhole, overcast, or that shown in fig.

76. With some st.i.tches the edge of the material can be rolled over a piping cord and the st.i.tch worked over the thus emphasised margin.

The difficulty of procuring cord suitable for use with embroidered work makes the appliance ill.u.s.trated at fig. 149 a useful possession.[14] The cords made upon this wheel can be of any thickness, according to the number of plies and the substance in each. Different colours and materials can be twisted up together, such as a gold and silk thread.

[Ill.u.s.tration: Fig. 149.]

To make a three-plied cord, cut three equal lengths of thread rather longer than the required cord is to be, as it shortens in the twisting. Make a loop at each end of the thread, or, better still, attach tiny metal rings at the ends. Hook the threads in position as shown in the diagram, and place the instrument far enough from the clamped block of wood to make the threads that are stretched between quite taut. Now commence the twisting by turning the large wheel quickly with an even motion in the direction that continues to twist up the threads, keeping the left hand on the instrument to steady it, for it gradually slides towards the block as the twisting continues. When corkscrew-like knots begin to come in the threads, stop revolving the wheel, unhook the two outer threads and place them both on the central hooks together with the third thread, keeping them taut during the process. Revolve the large wheel again, in the direction opposite to that in which it has been working, and continue turning until the cord is tightly twisted up. It is now made, and can be removed from the machine. The second twisting had better be over-done rather than not sufficiently, since if over-twisted the cord rights itself upon being removed from the machine. A two-ply cord is made in like manner, by using first the two outer hooks only, and then placing both threads together on the central hooks.

There is a simple way of making this cord without the help of any instrument, but it is not possible to get the perfect result that the machine gives. It is most easily carried out by two persons, though one can do it. In order to make a two-plied cord, by hand, take a thread rather more than twice the length of the required cord. Let each worker take an end of the thread in the right hand and commence to twist it between the thumb and finger, each working in direction opposite to the other and keeping the thread at tension. When twisted as much as possible without getting corkscrew-like knots in the thread, the cord must be doubled in half by holding it at the centre and bringing together the two ends, which are then knotted. During the entire process the thread must be kept under tension. If one end of the cord is now let go it should immediately twist itself up tight, and remain in that position. If any small knots form during the process run the cord sharply through the fingers once or twice to straighten it out.

[Ill.u.s.tration: Fig. 150.]

[Ill.u.s.tration: Fig. 151.]

[Ill.u.s.tration: Fig. 152.]

Another pretty kind of cord is a knotted one. It is made in the hand in most primitive fas.h.i.+on by using the two first fingers as crochet hooks.

The thread used for making it should be stout and firm. To commence making the cord, knot two pieces of thread together and place the threads in position as shown in fig. 150. The next step is shown in fig.

151, which is the index finger of the left hand bringing the darker thread through the loop. Fig. 152 shows this thread looped on the finger, the cord held in the left hand instead of the right, and the right hand in process of drawing the lighter thread, which was the last loop, tight. The next move, fig. 153, shows the right-hand first finger making the new loop with the lighter thread, and fig. 154 shows the loop on the finger, the cord pa.s.sed over to be held in the right hand again, and the left hand this time pulling the last loop tight. Continue making the cord by following out the last four positions consecutively.

[Ill.u.s.tration: Fig. 153.]

[Ill.u.s.tration: Fig. 154.]

A very usual finish to an edge is a fringe. This can be made either by fraying out the material or by adding a detached fringe, either knotting it in or attaching it in some other way. If the fringe is to be a frayed-out one, the best way to do it is to first draw out a few warp threads where the head of the fringe is to come, then hem st.i.tch the upper edge of this, see the right-hand end of fig. 155; this makes the heading of the fringe secure, after which the remainder of the warp threads can be withdrawn. When fringing a square in this fas.h.i.+on, it is well to save some of the frayings out to knot in at the four corners where otherwise there would be gaps.

[Ill.u.s.tration: Fig. 155.]

To knot an added fringe into the border is a very simple matter. Begin by cutting the threads that are to compose it all to one length, about double that of the required fringe. Take a few together to form a bunch and double it in half. With a stiletto make a hole near the edge of the material; then bring from the back a crochet hook through this hole, and draw the loop formed by the doubling of the bunch a little way through, then take the ends of the bunch through the loop and draw them tight in order to make the knotting firm.

[Ill.u.s.tration: Fig. 156.]

There are many ways of patterning a plain fringe, sometimes a change of colour in the knotted-in threads is sufficient, as shown in fig. 156.

Another very usual way is to divide the bunches and refasten them together in some way to form a pattern. Fig. 157 is an example of this; they may be either knotted together, as in the first half of the diagram, or bound with thread as in the second half, the needle reaching the required places by running in zigzag fas.h.i.+on up the thread and down again.

[Ill.u.s.tration: Fig. 157.]

A simple fringe can be made of strands twisted together, as in the first half of fig. 158. This is made upon the same principle as the twisted cord already described. About three threads of the fringe are twisted up tight, and an adjoining three treated in the same fas.h.i.+on. These threes are then twisted together in the direction opposite to that which has just been used, and thus are securely locked together. The ends of the completed fringe may require a little tr.i.m.m.i.n.g off to make all of an equal length. The second half of the diagram shows a durable and simple fringe made by a close series of knots down the thread.

[Ill.u.s.tration: Fig. 158.]

Fig. 159 suggests two methods by which a st.i.tching of coloured thread near the margin can help to decorate a plain fringed edge.

[Ill.u.s.tration: Fig. 159.]

A row of ta.s.sels makes a pretty finish to various things. Complicated ta.s.sel-making requires a professional hand; even a simple ta.s.sel requires making properly. The first proceeding is to wind some thread round a piece of cardboard, which should be a little wider than the ta.s.sel is to be long; then double a piece of the same thread and thread the two ends into a needle, thus leaving a loop at the usual knot end.