[>ilMM8wiSiaai1 ■""■iyT'.^ f tillSHlttrfrr'ir ^imii:ii,iiiiMM 1 1 LIBRARY OF THE NEW YORK STATE COLLEGE OF HOME ECONOMICS CORNELL UNIVERSITY ITHACA, NEW YORK Gift of Mr. Bert Parlett The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924003592221 -J o CDs roi Oi o= cjii COS l>0| roi l\3l = 0. n = a = :0 c to 3 :x < =0 !; E-H (A = 3 3 In u IS '3 SO THE HAND-BOOK NEEDLEWORK THE HAND-BOOK OF NEEDLEWORK. MISS LAMBERT. " And though our country everywhere Is filld With ladies, and with gentlewomen, skilld In this rare art, yet here we may disceme Borne tilings to teach them If they list to learn." John Taylor. NwmerottB IllttBtrotions ^ ENGRAVED BY J. J. BTTTLEE. PHILADELPHIA: WILLIS P. HAZAED, 178 CHESNUT ST. fV/l ' 1851. -^ U-^JuuUr TO THE @Ct)is Jbolttme IS MOST RESPECTFULLY DEDICATMD BY THE PUBIilSHERS. PREFACE. In the following pages I have endeavoured to embrace those subjects which appeared most worthy of notice in a Treatise on Decorative Needlework, and by. combining a brief historical sketch with a detailed account of the practice of each department, to render them more generally interesting than a mere Manual of directions and examples. I am indebted to my husband for his assistance in some of the historical notices, and again for his permission in al- lowing my maiden name to appear on the title-page, as being that by which I am more generally recognised in my avocation. It may be stated, that this volume was commenced three years since, but circumstances (here unnecessary to men- tion), occasioned its being laid aside until the commencement of the present year. It has been written at intervals snatched from my other employments, and I trust that the accuracy of the details will obtain that indulgence its literary merits carmot demand. F. S. CONTENTS. CHAPTER I. Introduction — Early history of Needlework — The time of Moses — The ancient Egyptians — Greeks and Romans — Helen and Penelope — Embroidering of the Peplus — Needlework of the Middle Ages — The Angjo-Saxons— Anglicum opus— St. Dunstan — ^Needlework practised, by men — Hangings or yeils — Tapestries — Bayeux Tapestry — ^WorK of Glueen Matilda — Ancient Pall belonging to the Fishmongers' Company — English Needlework in the sixteenth century— Va- rious occupations of ladies at that period — Needlework noticed by Addison — The close of the last century — Coloured Embroideries — Print work — Miss Liinwood — ^her' pictures — Berlin Patterns — Varieties of Needlework — ^Amuse- ment afforded by them . . . 1 CHAPTER II. Tapestrt — Described by Spenser — Decoration of walls with Tapestry — Mentioned by Ho- mer — Antiquity of— Invention — ^the Phrygians^Women of Sidon — Phieacia — Griffins and Cfentaurs — Athenian Tapestry — Story of Arachne and Minerva — Introduction of Tapestry by the Crusaders — Weaving Tapestry — First , practised in Flanders — Arras — Introduction into England — Patronized by James I — Manufactory at Mortlake — Charles I and Sir Francis Crane — When Manufactured in France — Henry IV— Colbert, and Louis XIV — Manufacture Roy ale des Gobelins — History and productions of that Manufac- tory — Sully — Le Brun — Napoleon — Tapestry for St.' Cloiid — ^Evelyn's De- scription of Gobelin Tapestry — Dyrang Establishment, and Drawing-school of the Gobelins — The basse and haute lisse — Working of Tapestry — Instru- ments — Cartoons of Raffaelle'— Tapestry of St. Mary's Hall, Coventry — Hampton Court 17 CHAPTER III. Materials in General — * The Products of the Animal, the Vegetable, and Mineral Kingdoms — Various Materials employed — Needlework of the present day— Materials used by Miss Linwood — Facilities now possessed — Variety of Colours — Paper Patterns — Implements . . , . . . • i • • • • .27 X CONTENTS. CHAPTKR IV. Wool — Its Importance— Description of Sheep's Wool— the product of Cultivation- its History and Preparation— Merino, whence derived— Invention ot fepmnmg and Weaving— mentioned by Moses— Linen and woollen cloths ot tne Eayptians— Duties of Women in the Primitive Ages— Produce »* ™te Wool— Dyeing— German Wool— Prepared at Gotha— Introductipn of Merino sheep into Saxony— First reared at Stolpen— Improvement m the qu^ty ol their Wool— Different quahties of Wool— Employed for Needlework— iieptiyr Merino— Berlin Wool— Superiority of— Its quaUties and capabilities- U sea for Canvas-work and Embroide^— for Knitting, Netting, and OrocHet— Varieties and auaUty of German Wool as prepared for Needlework— h-neusn Wool— Grounding— Worsteds— Crewels— Yarn— Fleecy— Hamburgh Wool —German Fleecy— Antiquity of the Art of Dyeing— Discovery of the ^-J^ Purple — Anecdote relating to OHAPTER V. Silk — Antiqility of its use by the Chinese — Silkworms introduced into India and Persia— Carried to Constantinople— Into Greece— Palermo— Calabria— Italy and Spain— Rearing of Silkworms in France— The Silkworm of Ceos — auantity of Silk used in England— Use Of Silk among the Romans— Its rarity — Sold for its weight in Gold — Heliogabalus first wore a Silken Robe — General use of Silk at Rome— Silkworm described by Pausanias — Spinning and weaving Silk introduced into England — Marriage of the daughter of Henry III— Silk-women in the Reign of Henry IV^Silk Stockings worn by Henry VIII — Anecdote of Q,ueen Eliiabeth-^Broad Silk manufactured in the time of James I — Silk-throvring Mill — Improvements of the Manufacture in England — Lines, by Cowper, on the Silkworm — Varieties of Silk — Their employment in Needlework — Mitorse SUk — Netting Silk — Sewing Silks — Crochet Silk— Dacca Silk— Floss Silk— Bourre de Sole— Spun Silk— Other materials resembling Silk — ^the Spider — Pinna — Spun Glass ... 44 CHAPTER VI. Gold and SilVEr-^ Used in the earliest Ages foi: Embroidery — Mentioned in Exodus — Invention ascribed to Attains — The Robe of Agrippina — The Tunic of Heliogabalus — Mantle of the statue of Jupiter — 'Vulcan's Net — Remains of ancient Vfire- work — Wire-drawing supposed to have been known to the Egyptians — Gold thread in the time of the Romans — Gold and Silver Thread of the present day — Its manufacture — Mosaic Gold— Wire-drawing first practised at Nurem- berg — Its introduction into England — Manufacture of Go'd and Silver for jSeedlework — Gold thread of the Chinese — Passing — Gold cord — Gold braid — Bullion — Spangles — Lama and Paillon — Gold beads — Gold fringes — Military embroidery 56 CHAPTER Vil. Chenille, Braid, pro. — Derivation of the term Chenillft-^Chenilles of Silk, and Wool — Its manufac- ture — Application of— Braids — Their various kinds — Application of— -Union Cord — Straw — Nacre and Ecaille — Velvet— Flowers made of— Beads — Bugles — Paillons and Paillettps — Cr6pe— China Ribbon .... 64 CONTENTS. XI CHAPTER Vlil. Canvas — Different manufactures of — Vari9us sizes — How designated — Mosaic Canvas —Silk Canvas — Flexible Canvas-^Cotton Canvas — English, French, and German — Striped Canvas — Imitation Silk Canvas — Thread Canvas — Ppnplope Canvas — Canvas for Tapestry-stitch — Flattened Canvas — Its use — Woollen Canvas — Bolting ■ 70 CHAPTER IX. ' Behlin Patterns — Improvements in the Art of Needlework since their Introduction — Their con- , sumption in different countries — Manufacture of—Process of cqlpuring-^Adap- tation for working — Grounding — Defects of these fatternsr^'t'lie remedy — • Sorting of Patterns — Common rules of painting — Arrangement of Colours — Faces of Figures — Skies — Materials for Workmg them on — Lining Berlin Canvas — Vienna Patterns — English work from Berlin Patterns — History of Berlin Patterns 76 CHAPTER X. Dbawins Patterns pok Embroidebt, Braiding, etc. — Designing of Patterns — Drawing on paper — Pouncing — ^Tracing on the ma- terial — Drawing liquid — ^Large pattesrns — Repetition of the same design-^ Method of MM. Revel and Regondet — Patterns on muslins, dM. — Changing propoTtions of Patterns — Drawing upon various materials — Satin, Velvet, &c. — designing on the material . . . "; 84 CHAPTER XI. Implements — Needles — Manufacture of— Their antiquityr — Knitting Needles and Pins — Netting Needles and Meshes — Crochet and Tamhour Needles — Fjlifere — Embroidery frames — Large frames — Table frames — Standing frames — Tam- bour frames — Screw Embroidery frames — D'Oyley and Shaiyl frames — Meshes for raised work — Puree stretchers — Purse moulds — Chain mould — Fprk for a chain 89 CHAPTER XIL Framing 'Wohk — Dressing a frame — Framing canvas — Cloth and canvas — Velvet — Satin — Silk —Leather— Cloth, &c. 101 CHAPTER Xin. Stitohes — The working of stitches — Tent stitch — Cross Btitchr-Gobelin or Tapestry stitch — Irish stitch — German stitch — Imitation of lace — Various fancy stitches 106 CHAPTER XIV. Embroidery — Introduced from the East — ^the invention of, attributed to Minerva — The Phrygians — Story of Procne — Embroidery mentioned by Pliny — mother ancient xn CONTENTS. authors— Homer— The embroideries of Helen— Andromache— Ahohab in -he time of Moses— Embroidery mentioned by Erekiel— Embroidery in gold in- vented by Attains- A law of Zalenous— The garments of TarqumrasTriscus —Decorative needlework— Derivation of the term Embroidery— The Chinese —Embroideries from Manilla— Embroidery as at present practised in Ohma— Indian Embroidery— Canadian— The negresses of Senegal— The Georgians Xhe Turkish women— Modern Greeks— The women of Therama — their extraordinary works— Embroideries of Vienna— Milan and Venice— France- Saxony — Nancy and Paris — In what the art consists — Shaded embroidery — Arabesque or Moresque Patterns— Flowers— Historical subjects, landscapes, and portraits — Various materials employed — App^cation of— French or flat embroidery — Embroidery in chenille— Embroidering coats of arms — Raised embroidery — Raised cut embroidery — Embroidery in gold and silver — Embroi- dery in tambour — Chain stitch — Embroidery by machinery:— The Weaver's Song 112 CHAPTER XV. Canvas Work — Rules relating to — Right way of the stitch — Berlin patterns^working from — enlarging work from — Cross stitch on one thread — -Mixing of cross and tent stitch — Patterns to form a centre — Grounding — the mode of working— various colours for — Gobelin stitch — Colours — Sorting Berlin patterns — -Flowers — Flesh colours — Patterns drawn on canvas — Crests and coats of arms — Intro- ■* duction of silk with wool — Increase and decrease of work from Berlin patterns — Illustration of 136 Crochet — CHAPTER XVI. Its varieties — Stitches — Directions for Working A sofa pillow, or table cover .... An easy Turkish pattern for a table cover or pillow Another Turkish pattern for a table cover, etc, A table-cover or pillow Another table-cover Small pine-pattern table-cover Making up crochet table-covers A crochet slipper Chanceliere .... A plain crochet bag in silk A crochet bag with star-shaped bottom Persian pattern bag A star bottom for a bag with beads . A, bag with steel or gold beads Another bag with steel or gold beads, and silk of two colours An elegant bag in blue, white, and gold An open crochet bag in chenille Other patterns for bags A Greek cap in crochet silk A Grreek cap in coarse chenille A penwiper in plain crochet A crochet neck chain A plain pursfe in crochet A plain crochet purse with square and round ^nds . 147 149 150 151 152 153 154 155 156 158 159 160 162 162 163 164 164 165 166 167 167 168 168 169 169 CONTENTS. XUl A plain open crochet puise 170 A short crochet purse ..'.,' 170 A sprigged purse in open and plain ciochet 171 Open crochet stitch . . . ■ .' 171 A purse with beads, in plain iind open' crochet .... 172 An elegant crochet purse with gold .■ 173 Plain douhlerstitch crochet purse, pine pattern .... 174 Plain and open crochet purse . 175 Another plam and open crochet puTSe 175 A bridal purse 176 A short purse or bag in plain stitch double crochet . . . 177 A baby's cradle cover, or a carriage wrapper 178 Another square pattern, with a border' ' 179 A round D'Oyley or mat 180 — Travelling bags 181 Explanation of terms used in crochet 181 Hints on crochet 182 * CHAPTER XVII. Knitting — Unknown in England before the sixteenth century — ^mentioned in the Row- leiaa Forgeries — The first stockings knit in England — Silk stockings worn by Henry VIII — Invention of Knitting — The Spaniards — thS Sc&ts — Knitting practised in Spain and Italy — Q,ueen Ehzabeth s stockiligs — The invention of the stocking frame — amusement it affords to the blinit— employment to the poor— Knitting of the cottage girls in Ireland — Works on knitting — . 184 An^asy stitch for light scarfs, shawls, babies' quilts, etc. . . 187 A D'Oyley . 188 Checked or matted pattern 188 Harlequin quilt with tufls . 188 Turkish knitting . ........ 190 Raised knitting. 190 Knitted fringe 191 Vandyke border . 191 A scalloped fringe or border 193 Another knitted fringe . ... .' . ... . . 193 ' A spaced fringe for a crochet table cover, etc. .... 193 Knitted insertion 193 Bonnets de nuit d'hommes 194 Double nightcap 194 Opera cap 195 Barfige knitting for shawls 197 Shetland shawl patterns 198 A Shetland knitted scarf 199 A Brioche 200 Bourse a la Josephine 201 German purse 201 A strong knitted purse 202 Open stitch purse with beads 203 Herringbone, or Shetland stitch for a purse. ..... 302 A pence jug or purse 203 Star-pattern shawl in two colours 204 Plain ribbed muffatees 205 JfJV CONTENTS. Graham muffatees |™ ADother.pair of mufifatees *[* Pattern for a chair tidy or D'Oyley ..,•■• ^^ Pouble knitting for comforters, etc. ..••'■ "JJ? A knitted bag, with black or garnet beads ~^ IJotted knitting for babies' shoes, etc. ....•• ~™ A knitted bonnet-caj) ,..,.•••• ~™ A knitted muffin imitation of sable ...... ^JJ' Another muff . . . , ^J" A baby's shoe ^^J Another verjigretty^baby's shoe ~J~ A baby's stockmg *1* A double knitted scarf, in two colours , *1^ Cable knitting *1° Knitted cuffs 215 ' Cover for an air cushion 216 , A fish napkin, D'Oyley, or Tidy 216 A knitted mat 217 Close stitch for a waistcoat, etc. . 217 Honeycomb stitch, for a bag 218 Baby's hood 218 Long sleeves to wear under the dress . . . . . . 319 Open stitch for a light shawl, D'Oyley, etc 219 Jarretiires 219 Explanation of terms used in knitting 220 A weaver's knot < 221 Hints on knitting . . . . .' 221 The Rz manufactory at Constantinople 222 Barege, Shetland, and Sanquhar knitting 222 CHAPTER XVIII. Netting .Antiquity of the Art — The nets of the Egyptians — ^mention of, by Pliny and Herodotus — Fishermen's nets — Directions for netting — The netting knot 224 Flain netted gentleman's puise 228 A Lady's purse 229 Gentleman's purse with ends of different colours .... 229 A lady's purse with points . 229 A pretty purse with chin6 silk 230 Netting with beads 230 A plain netted purse with a bead mouth 230 A pretty seme purse with steel or gold beads .... 231 An elegant netted purse with steel beads 231 Plain netted mittens , 232 A knitter's bag with ring 232 A checked or £ce pattern purse 233 Grecian netting or filet rose 233 A pvirse in Gfrecian netting 234 Mittens in Grecian netting 234 Netted fringe 235 Single diamond netting 235 "Treble diamond netting 236 Diamond netting, with five stitches 236 CONTENTS. XV SemS purse, diamond pattern 338 Open plain netting, or filet a Bagaette 239 Pond de Berlin . , 239 Filet rose 240 Pilet a Baton rompu . . . ' 240 FUetRond . 241 Netted mittens with silk and wool . . . . , . . . 241 Netted cuff with silk and wool 243 CHAPTER XIX. Braiding and AppLiauE — Simplicity of braid work — executed by the Turks and Gireeks — ^braiding in various materials — Patterns for — working of— Introduction of gold cord — Groups of flowers in braid — Adaptation of braid work — Union cord — Silk for sewing on braid — ^finishing of braid work — Applique — ^materials of which it is composed — ^its application — stamped leather — Lames de velours . . 243 CBCAPTER XX. '' Bead "Work — German bead work — ^its application — Glass beads— paucity of theii colours — Turquoise beads — Gold and silver beads — Steel beads — Designs for bead work — Introduciion of beads in other works — Tricot — Q,uality of beads-7-Can- vas for bead work — Manufacture of glass beads . . . . 247 CHAPTER XXI. Needlework op the English ftuEENS and Princesses — The four daughters of Edward the Elder — Q,ueen Matilda — Adelais, wife of Henry I — Katharine of Arragon — mention of, by Shakspeare — Sonnet — ^Anne Boleyn — Lady Jane Grey — Q.ueen Mary — Sonnet — Q,ueen Elizabeth — Sonnet — ^Mary, Clueen of Scots — Clueen Mary II — Clueen Charlotte and the Princesses — The Princess Royal, Clueen of Wurtemburg— The Princess Sophia — The Princess Augusta— The Princess AmeUa — The Duchess of York — The Duchess of GHoucester — Clueen Adelaide — Her Majesty — The Duchess of Kent . . . . . . ". . . .250 CHAPTER XXII. CoNCiirsiON — ^Thb Praise op the Needle — The " Needle's Excellency" — Poem by John Taylor — ^rarity of the work — some account of the Water Poet 258 CHAPTER I, SntroirMction. " The various kinds of needle-work praxjtised by our indefatigable graadmothcrs, if enumerated, would astonish even the most industrious of our modern ladies." DouoE. " The use of sewing is exceedingly old." J. Taylor. EEDLEWORK appears to ha,ye been not only a pastime for noble ladies, but the principal occupation, as a source of pecuniary advantage, for women, from the 'most remote periods. If we consult the earliest writings, abundant proof will be found of the high estimation in which this, — one of the most elegant and useful of the imitative arts, — has been held in all ages, and in every country ; and, that from time immemorial, it has ever been the constant amusement, and solace, of the leisure hours of royalty itself In the time of Moses, needlework ranked high among the arts practised by the nations of the East,^-enlbroidery with . J 1 INTRODBCTION. gold and with silver, and with silk, and precious stones, being frequently mentioned in the sacred writings, particularly where allusion is made to the work of the tabernacle ;— a proof that it had attained a considerable degree of perfection at a period so remote as three thousand four hundred years since. Even an- terior to this, needlework must have been greatly cultivated by the Egyptians, of whom ithe Israelites had doubtless acquired their knowledge. From the East, this art spread to Greece and Rome, and from thence over the whole of civilized Europe. Our knowledge of the needlework of the Greeks and Romans is principally to be gathered from Homer and Pliny. The names of Helen and Penelope are familiar to every one, as connected with this subject. There was a memorable custom among the Grecian dames, in accordance with which, they could not accept a second husband, until they had worked the grave-clothes of their deceased lords, or his next of kin ; and the story of the fa- mous web of Penelope, as related by Homer, is founded upon this fact. — Penelope, having, as she thought, lost Ulysses at sea, she employed her time in working a shroud for Laertes, the father of her husband. " Sweet hopes she gave to every youth apart, With well taught looks, and a deceitfiil heart : A web she wove of many a slender tvrine, Of curious texture, and perplex'd design : My youths, she cried, my lord but newly dead, Forbear awhile to court my widow'd bed, Till I have wov'n, as solemn vows require, This' web, a shroud for poor Ulysses" sire. His limbs, when fate the hero's soul demands, Shall claim this labour of his daughter's hands : Lest all the dames of Greece my name despise, While the great king without a covering lies. Thus she. Nor did my friends mistrust the guile All day she sped the long laborious toil ; INTRODUCTION. i But when the burning lamps supplied the sun, Each night unravell'd what the day begun. Three live-long summers did the fraud prevail ; The fourth her maidens told th' amazing tale ; These eyes beheld, as close I took my stand. The backward labours of her faithless hand ; Till watch'd at length, and press'd on every side, Her task she ended, and commenced a bride." The ceremony of the embroidering of the peplus or veil for the statue of Minerva, and its consecration, has been handed down to us as one of the highest festival" of the Athenians.* The peplus was the work of young virgins, selected from the best families in Athens, over whom two of the principal, called Arrephora, were superintendents. On it was embroidered the battles of the gods' and giants ; amongst the gods was Jupiter hurling his thunderbolts against that rebellious crew, and Minerva, seated in her chariot, appeared the vanquisher of Typhon or Enceladus.f The names of those Athenians who had been eminent for military virtue were also embroidered on it. When the Panathenaic festival was celebrated, the peplus was brought down from the Acropolis, where it had been worked, into the city ; it was then displayed and suspended as a sail to the ship, which, on that day, attended hy a numerous * The Panathenaic frieze, with whiiA Phidias embellished the outside of the temple of the Parthenon, represented this sacred procession, 'wtiich was celebrated every fifth year at Athens in honour of Minerva, the guardian goddess of the city. The remains of this frieze (one of the principal treasures in the collection of Elgin marbles) is preserved in the British Museum. •t Vide the Hecuba of Euripides, act ii. where the Trojan females are lamenting in anticipation the evils they will suffer in the land of the Greeks : — " In the city of Pallas, of A thena on the beautiful seat, in the woven peplus I shall yoke colts to a chariot, painting them in various different coloured threads, or else the race of the Titans, whom Zeus, the son of Kronos, puts to sleep in fiery all-surrounding flame." 4 INTRODUCTION. and splendid procession, was conducted through the Ceramicus and other principal streets, till it had made the circuit of the Acropolis ; it was then carried up to the Parthenon, and there consecrated to Minerva.* The exact nature pi the pepkst has heen disputed ; but it is generally supposed^ to have b^en a sort of awning or covering suspended over the statue of the gOddess. The following description of a similar covering, but of more .ample dimensions, is given in the " Ion" of Euripides : " Then from the treas'ry of the god he takes The consecrated tap'stry, splendid woof! To clothe with grateful shade the wondrous scene. First o'er the roof he spreads the skirted peplus, (The skirts on every side hang waving down), Spoil of the Amazons, the votive gift, That Hercules, heroic son of Jove, Return'd from conquest, offer'd to Apollo. On this rich produce of the loom are wrought The Heav'ns, within whose spacious azure round The num'rous host of stars collective shine ; His coursers there, down to his western goal The Sun hfis driven; his last expiring beams Draw forth the radiant light of Hesperus ; In sable stole Night urges on amain With slacken'd reins her steeds and dusky car ; The Constellations on their swarthy queen Attend; there thro' the mid heav'ns vrin their way The Pleiades ; his sword Orion grasps ; Above them shines the Bear, circhng round Heav'n's golden axis ; while the full-orb'd Moon, That halves the varying months, darts from on high • Vide Stuart's Alhem, vol. ii. p. 8. The famous statue of Minerva was of ivory and gold, the work of Phidias. t " Peplus, a garment and the like : the use of it is twofold, to wear as a gar- ment, or to cover something ; that it signifies a covering, we may conclude from the Pepli of Minerva." — PoUucis Onomasticon, lib. vii. c. 13. For a further description of the peplus, vide Meursius in his Paimtlusnaia and Reliqua Attica. INTRODUCTION. 5 Her grateful splendor ; there the Hyades, To mariners unerring well-known sign, Appear ; and gloomy in the east Aurora The harbinger of day, th^-t from the sky Chases night's glittering train." In the Middle Ages, decorative needlework for the service of the Chtirch, if we may believe the .writings of Anastasius the Librarian,* and others, was carried to an excess of mag- nificence scarcely to be credited. The vestments of the ecclesiastics, the altar-cloths, the palls, and the veils or curtains, were wrought with the most costly materials ; — gold, silver, pearls, and precious stones, being lavished with the utmost profusion. In England, during the Saxon dynasty,! the women were famous for their needlework, and English work (Anglicum opus) was long proverbial abroad for its excellence.:}: The Anglo-Saxon ladies were accustomed, like those of Greece and Rome, to embroider the exploits of their husbands on the hangings of their chambers ; ladies of the highest rank thus occupied their * Vide Anastasius Bibliothecarius, de Vitis Pontifioum Romanorum. Edit. Paris, 1649, vol. ii. p. 127, and numerous other passages. t The art of embroidery appears to have been unknown in England before the seventh century, in fact we find no mention of it, or even of the weaving of figured textures, untU about the year 680. At this period, in a book written by Aldhelm, bishop of Shereburn, in praise of virginity, he observes, that "chastity alone did not form an amiable and perfect character, but required to be accompanied and adorned by many other virtues ; and this observation he further illustrates by the following similb taken from the art of weaving: — " As it is not a web of one uniform colour and texture, without any variety of figures, that pleaseth the eye and appears beautiful, but one that is woven by shuttles, filled with threads of purple, and many other colours, flying from side to side, and forming a variety of figures and iiliages, in different compart- ments, with admirable art."— Vide Aldhelm de Virginitute, in Bibliotlieca Pairwm, tom. xiii. ■ ^ } Gul. Pictavens. p. 211. INTRODUCTION. leisure hours, as also more particularly in working various ornaments for the Church, and the vestments of the Clergy. We are told by William of Malmesbury, that St. Dunstan, in his younger days, did not disdain to assist a pious and noble lady in the drawing of a design for embroidering a sacerdotal robe, which she afterwards wrought in threads of gold. The four daughters of Edward the Elder, and sisters of king Athelstan, were highly praised and distinguished on account of their great assiduity and skill both in spinning, weaving, and needlework;* — accomplishments which, so far from injuring the fortunes of these royal maidens, procured for them the addresses of the greatest princes in Europe. In the tenth century, we find Edelfreda, widow of Brithned, duke of Northumberland, presenting to the church of Ely a veil or curtain, on which she had depicted with her needle the deeds of her deceased lord.' Ingulphus, in his history, mentions that among other gifts made by Witlaf, king of Mercia, to the abbey of Croyland, he presented a golden cur- tain, embroidered with the siege of Troy, to be hung up in the church on his birth day.f At a later period, — 1155, a pair of richly worked sandals, and three mitres, the work of Christina abbess of Markgate, were among the valuable gifts presented by Robert, abbot of St. Albans, to Pope Adrian IV.J Numerous * William of Malmesbury, b. ii. c. 5. t Ingulphus, p. 487, edit. 1596. } Adrian IV. was the only Englishman who ever sat in St. Peter's chair. His name was Nicolas Breakspear : he was born of poor parents at Langley. near St. Alban's. Henry II. on his promotion to the papal chair, sent a deputatioii of an abbot and three bishops to congratulate him on his election ; upon which occasion he granted considerable privileges to the abbey of St! Alban's. With the exception of the presents named above, he refused all the other valuable o;ies which were offered him, saying jocosely,—" I will not ac- cept your gifts, because when I wished to take thj; habit of your monastery you refused me." To which the abbot pertinently and smartly r.^plicd — " It INTRODUCTION. 7 other instances might he cited from the monkish historians, were it necessary to enter more fully into the subject. Maids used to Work with their mistresses ; and men, especially the monks, practised decorative needlework.* In fact, to the time of the Reformation, it formed the principal occupation of the se- cluded life of the nuns, in the various religious houses throughout England. Hangings or veils, such as we have mentioned, and — "tapestry richly wrought ^ And woven close." were the description of needlework, which, in former timeSj' principally occupied the attention and fingers of the fair. Remnants of these may still be seen in some of our royal and noble residences. The designs were woPKed, or embroidered, with a needle, with worsted or silk of various colours, and not un- frequently intermixed with gold and silver threads, on a groundwork of canvass, or texture of cloth or silk, in a manner very different, however, from those either of Flanders, or the GobeKns ; — an invention, comparatively speaking, of modern times, partaking more of the character of weaving than of needlework, and of which we shall hereafter make more especial mention, when speaking of tapestry in general. The celebrated needlework of Bayeus, doubtless the most ancient specimen- in existence,! is supposed to have been the work of was not for us to appose the will of Providence, which had destined you for j greater things." w * The practice of needlework, even at the present day, is not entirely confined to the softer sex. Many men, particularly officers of the army, have not deemed the use of the needle more derogatory than that of the pencil. — Most of the best specimens of embroidery done on the continent, more especially the appendages of the sacerdotal and military dress, are executed by men + We must not omit to mention the pall used at the funeral of Sir William INTRODUCTION. Matilda, quean of William the Conqueror, and her maidens,* by whom it was presented to the cathedral of Bayeus in Normandy, where the canons were accustomed to gratify the people with its exhibition on particular occasions. It consists of a continuous web of cloth, two hundred and twenty-seven feet in length, and twenty inches in width, including the borders at top and bottom; these are formed of grotesque figures of birds, animals, &c., some of which are supposed to represent the fables of .53sop. In the part pourtraying the battle of Hastings, the lower border consists of the bodies of the slain. The whole is worked or embroidered with worsted, representing the various events connected with the inva- Walworth, in the fourth year of Richard II. A. D. 1381. This, perhaps the rwst magnificent piece of ancient needlework in existence, is still preserved hy the Fishmongers' Csmpany. The ends which are exactly similar, represent St. Peter seated on a throne, clothed in ponti£cial robes, and crowned with the papal tiara; he is giving the benediction with one hand, whilst in the other he holds the keys. On either side of the saint is an angel scattering ihcense from a golden vase. The sides of the pall, which are also similar, are richly decorated with the arms of the Fishmongers' Company at either «nd ; the cpntres represent our Saviour giving the keys to Peter. The faces of the figures (including those of the merman and mermaid, the supporters of the arms) are most beautifully executed; but we would more particularly call the attention of those interested in such works to the face of our Saviour, which may justly be termed a masterpiece of art. The whole is richljr and elabor- ately wrought in gold, silver, and silk, on a coarse kind of linen cloth; the ground being composed entirely of gold, with a pattern in relief. The top of the pall, it is supposed, was originally embroidered in the same manner, but it has been lost, and its place is now supplied by a rich brocade of gold, bearino- the stamp of great antiquity. The arms of the Fishmongers' Company are azure" three dolphins, naiant in pale, between two pairs of lucies, in salterwise, proper] crowned, or; on a chief, gules, three couple of keys, crossed, as the crowns j supported on the dexter side by a merman, armed, and on the sinister by a mer- maid, holding a mirror in her left hand ; crest, two arms sustaining a crown t~ Motto, " All worship be to God only. " * Though aueen Matilda directed the working of the Bayeux Tapestry yet tne greater part of it was most probably executed by English ladies, who were at this period, as we have before stated, celebrated for their needlework. INTRODUCTION. sion and conquest - of England- by ; the Normans, It comprises altogether, exclusive' of the borders, about -fivft hundred and thirty- figures, three! only being, females. The colours, as may be readily supposed from the period in' which' it was executed, are' not Very numerouSj fcoUsisting' only of dark' and light blue, and green, red, yel- low, and buff; and these, after a lApse of nearlj^ eight hundred yearsj have become considerably faded, whilst the -cloth itself has assumed a brown tinge. This curious piece of work appears to have been wrought without any regard to the natural ' colours Of the subjects depicted,— the horses being represented blue, green, red, and yeUow, and many of them have even two of their leg? of a different colour to their bodies ; — as for iastaiee, a blue horse Tias two red Jegs and a yellow mane, whilst the hoofs are also of another colour. The drawing of the figures has, been termed "lude and bar- barous," but in the needlework of this age, ye must not look for the correct outline of the painter. The work is of that kind properly termed embroidery ;^the faces of the figtires, and some other parts, are formed of the material composing the ground, — the outline of ike features being merely traced in a kind of chain stitch. Nevertheless, taking the whole as a piece of needlework, it excites bur admiration, and i((re' cannot but wonder at the energy of mind which could with so much industry embody tjie. actions |0f a series of events ever memorable in the pages of history;* An idea of the various descriptions of needlework practised by English ladies in the sixteenth century, may be gathered from some of the poems of the laureate ^elton. * Some beautifully coloured engravings of the Bayeux Tapestry, from drawiiigs by Mr. Stothard, h^ve been published by the Society of Antiquaries in ffie " Vetusta-Monumenta; " — as also in the magnificent work recently published in Paris, by M. ArchiUe Jubinal, entitled " Les Anciennes Tapisseries Histojiees." 10 INTRODTJCTIOK. "With that the tappettes and carpettes were layde, Wheren these l?.dyes softely might rest, The sampler ta sowe on, the laces to embroyde. To weave in the stole some were full prest, With slaies, with tavels, with hedeUes well drest. The. frame was brought forth, with his weaving pin J God give them good speed theit work to begin. " Some to embroider, put them in prease, Well gydyng their glotten to keep straight their silke; Some pyrlyng of gqlde, their work to encrese, With fingers small, and handes as white as mylke, With reche me that skayne of tewly sylke, And wynde me that batoume of such an hewe, Grene, red, tawney, whyte, purple, and blewe." From the time pf Elizabeth,* when the -study of the dead lan- guages, and the cultivation of the more abstruse sciences, became the fashion of the day, the art of needlework, although possessing so many attractions, and capable of such endless variety, would appear, in England at least, to have been much neglected, if we except soitie occasional intervals, when it h^s for a time resumed its former importance, paramount to all other feminine amusements. * At this period, in addition to the pleasing occupation of needlework, ladies, studied Latin, Greek, Spanish, Italian and French. The "more ancient" among them exercised themselves, some with the needle, some with "caul work " (probably netting), " divers in spinning silk, some in continual reading either of the Scriptures or of histories, either of their own, or translating the works of others into Latin or English." The younger branches also applied to " their lutes, citharnes, and prieksongs, and all kinds of music " which were then understood. The preparing of tonfectibnary was also deemed an important , household duty for ladies; the distillation of Waters, and the acquiring some knowledge both in physic and surgery likewise occupied their attention ; as, untU the time of Henry VIIL there had been no licensed practitioners in either of these branches of science; The mewing of sparrow hawks and merlins, much engaged the attention of the younger portion of the female sex. One great and important office, however, must not be omitted, namely, the distribu- tion' of charitable doles by the lady of each parish or manor, poor's rates beinff then tinknown. — Vide Holmshed's CTvronide. • INTRODircTION. 1 1 In tlie time of Addison, its discontinuance is thus mentioned in a letter to the " Spectator." — " Mr. Spectator, — "• I have a couple of nieces under my direction, who so often run, gadding abroad,, that I don't know where to have * them. Their dress, their, tea, and their visits, take up all their time ; and they go to bed as tired with doing nothing, as I am after quilting a whole under-petticoat, , The only time they are not idle, is while they. read your 'Spectators'; which being dedicated to the interests of virtue, I desire you to recommend the long neglected art of needlework. Those hours which in this age are thrown away ia dress, play, visits, and the like, wfere employed, in my time, in writing out receipts, or working beds, chairs, and hangings, for the family. For my part, I have plyed my needle these fifty years, and by my good will would never have it out of my hand. It grieves my heart to see a couple of proud idle flirts sipping their tea, for a whole afternoon, in a room hung round with the industry of their great-grandmother. Pray, sir, take the laudable mystery of emtroidery into your serious consid- eration, and as you have a great' deal of the virtue of the last age in ypu, continue your endeavours to reform, the present. I am, &c.," At the close of the last century, needlework of all kinds was again much in vogue. Coloured embiroideries, with crewels and silks, in imitation of paintings, comprising all the varieties of land- scape and historical subjects, fruit, flowers, birds, animals, and shells ; these were principally w;orked on satin or lute-string, the fa^es and other parts of the human figure being generally painted on the material,- as being more difficult to embroider. Specimens of these are not ujnfrequently to be met with, in which the work is 12 INTRODUCTION. most beautiful and elaborate. During the war, a great number, of delicate and ingenious kinds of work Were done" by the pri- soners and emigrants in fine silk and hair. The ornamenting and spangling «f fans, then an absolute appendage to the dress of «very lady, must not be forgotten. ' > Besides the coloured embroideries, much skill and ingenuity were displayed in what T^as termed print-wor.Ic,—-3. close imitation of line and dotted or, stippled engravings. These were worked on white satin or silk with a .fine needle, in silks of various gradations of tint, from black to grey,— the design being first drawn upon the material ; the darker parts were worked much closer together than the lighter or middle shades, and in those imitating dotted engravings the stitches were extremely small: the whole art consisted in representing as closely as possible the lines of the engraver, — a work, however, which required both skill and patience to produce the beautiful eiFects which we sometimes see in these pieces. Whfen- fine engravings were copied, the stitches more clo^ly resembled those of the usual embroideries, but were kept wider apart, so as to iihitate the black and white lines of the engraver. This species of work was peculiarly adapted for representing architectural subjects. In addition to the above, numerous different kinds of needlework were practised, but the mere enumeration of these would be productive of but little , benefit, as most of then! have long since given place to others of a superior description. In a work of this kind, a " Hand-book " of the present state of needlework, and of the best means we possess of bringing it to perfection, it is scarcely . necessary that we should enter more fully into the early history of the art. This has already been so ably and' sticcessfully done ' under the auspipes of the Countess of Wilton, arid withal, in so entertaining a manner, accompanied with INTRODUCTION. , 13 such deep lesearcli, as to leave po .stone unturned, or any want upon the subject. In all ages , needlework nas been applied to the same purposes, either for the adornment of the person, or .the decoration of the mansions of the wealthy. For such did the maidens of Egypt ply the fteedle; and again, in after times, those of Greece smd Rome;* yet be it remembered that they also occupied .themselves with the, then equally ^feminine labours of the distaif and spindle, and w;t)i the more .toilsome mysteries of tne loom, at which they were' pre-eminently skilful, as ia fully proved by the re^main^ of ancient textures, w;hich.th9 researches of modern travellers have brought to light. It is scarcely to be imagined that any needlework,- either of ancient or modern times, has ever surpassed the Celebrated productions of Miss Linwood, This lady, who is now in *her eighty-seventh year, commenced her labours when only thirteen years old; her last' piece she completed at the age of seventy- eight. The works of this accomplished artis;t are exec'uted 6n a thick kind, of tammy, woven expressly for her use, with fine crewels, dyed under her own superintendence ; they are entirely drawn and embroidered by herself, no background or other unimportant parts being put in by' a less skilful hand, the only assistance she received, if indeed it may be called , such, was in iihe threading of her needles. . In her collection, still exhibited in Leicester-square, London, is her first piece, the Head of St. Peter, a copy from Guido.t The " Salvator Mundi," from Carlo Dolci, has generally beeU' cpnsidered the finest production of her needle, for which we are informed she refused the sum of „three thousand guineas. * In the simplest days of Greece, those occupations were not deemed xwsuit- able to palaces : nor did a princess degrade her dignity by superintending the labours of the loom, the distaff, and the dyeing vat. t Marked. No. 24 in the Catalogue: 14 INTRODUCTION. " To raise at once our reverence and delight, To elevate the mind and charBi the sight, To pour religion through th' attentive e/e. And veaft the soul on wings of extacy ; For this the mimic art with nature vies, And bids the visionary form arise." The "Woodman in a Storm," from Gainsborough, and "Jep- tha's rash Vow," from Opie, also rank among her best. Her last production is the "Judgment upon Cain," one of the largest pictures in the gallery. "And the Lord said unto Cain, 'Where is Abel thy brother"!' And he said, ' I know not : am I my brother's keeper 1 " " And he said, ' What hast thou done 1 The voice of thy brother's blood crieth unto me from the ground. "'And now art thou cursed from the earth which hath opened her mouth to receive thy brother's blood from thy hand. " ' When thou tillest the ground it shall not henceforth yield unto thee her strength ; a fugitive and a vagabond shall thou be in the earth.' "And Cain said unto the Lord, 'My punishment is greater than I can bear." The whole collection consists of sixty-four pieces, including a portrait of Miss Linwood herself, from a painting by Russell. Within the last few years, ornamental needlework has again attracted considerable attention, and although the modern- style of the art may as yet be considered in its infancy, it has already so far progressed as infinitely to surpass the labours of the ingen- ious women of bygone times. Needlework may be regarded (if we may be allowed the expression) as the sister art of painting ' the aim of the accomplished needlewoman of the present day being to produce as true a picture of nature as possible • soaring far beyond the common-plaee ideas of the ancient embroideries which perhaps, are more to be admired for the richness of their materials and the labour .bestowed upon them, than for any merit they possess as works of sCrt. We would wish to see the needle and embroidery INTRODirCTION. 15 r ' frame rescued from any doubt as to their utility, or their capar bility of taking a higher stand among the more elegant of female accomplishments, — and worthy of occupying the elevated position in which the talent of Mi^a Linwood has "placed them. It will, perhaps, be urged by some, that needlework, tls practised at the present time, is but a, mechanical, art ; and the recent invention of Berlin patterns may somewhat favour the opinion. This, however, we entirely disown,^ — ^no one, who regards the work of the mere copyist of these designs, (as commonly done for sale in Germany, where neither taste nor judgment ^ are displayed in the selection of the colours, nor skill in the appropriation of them) can Compare it with that of the talented needlewoman,' who, even though she may have worked stitch for stitch from the same pattern, produces what may be justly termed — a " painting with the needle."* No feininine art affords greater scope for the display of taste and ingenuity than that of needlework. The endless variety of form which it assumes under the various denominations of tapestry work, — as gros paint, petit point, and point dg Gobelin, — ^in that of embroidery ;^and again in the apparently intricate, but really easy, mazes of tricot, filet, and crochet, — each in their turn serving as graceful occupations for the young, and an inexhaustible source of amusement for those in a more advanced period of life ; more particularly the latter descriptions of workj as these can be, and * All descriptions of canvas work have imdergone great improvement within the last few yeaiB. Even so recently as 1829, they were dismissed with the following brief account, in a work dedicated to the pursuits of young ladies. "Worsted- work, on canvas, is a subordinate description of embroidery. It is apphed to the production of rugs for urns, covers of ottomans, bell-pulls, and many other elegant articles. The outline of the pattern is sketched with a pen, on canvas, sjirained in the middle of a frame." — ! 1 16 , INTRODUCTION. , aiei, frequently, practised by persons even -wlien labouring under deprivation of ;sight. .-It has opportunely been observed by Mrs. Griffiths, " thit the great variety of needleworks wliich the in- genious women of other countries, as well ' as bur own, have, invented, will furnish us with constant and amusing employment; and though our labours may not equal a Mineron's or an Ayles- bury'Sj yet, if they uilbend the mind, by' fixing its atteiition. on the progress of any elegant or imitative art, they answer the purpose of domestic amusement j and, when the higher duties of our situation do not call forth our exertions, we Biay feel the satisfaction of knowing that we are, at least, ianocently employed."* In Qonclusion, to quote the words of John Taylor, the water poet, it may be SEiid, — • "Thus is a needle prov'd an instrument Of profit, pleasure, and of ohiament, Which- mighty queenes have grac'd in hand to take. CHAPTER II. QLapestv^. " This blight art Did zealous Europe leain of Fagan hands, While she assay 'd with rage of hofy war To desolate their fields : but old the skill : liong were the Phrygians' pict'ring looms renown'd ; Tyre also, wealthy seat of art, excell'd, And elder Sidon, in th' historic web." Dter. " For round about the walls yclothed were With goodly arras of great maipsty, Woven with gold and silke so jclose and nere That the rich metall lurked privily As faining to be hid from envious eye; Yet here, and there, and everjrwhere, unwares It shewd itselfe and shone unwillingly ; Like a discolourd snake, whose hidden snares ^rough the greene gras his loiig bright bumisht back declares." Faery CIueeni:. HE last quotation foims part of the description, given by Spenser, of the beautiful tapestry which Britomart saw in one of the apartments of the house of Busyrane ; and the poet had probably in view the actual specimens of tap- escry men frequently to be seen in the principal mansions of the nobility in England. 18 TAPESTRY. The decoration of the walls of palaces with tapestry, appears to have been a custom practised even in the earliest ages. Homer says — " The walls, through all their length, adorn'd With mantles overspread of subtlest warp Transparent, work of many a female hand." The mode of building adopted by the ancients, and even in more recent times, in the baronial castles in England, rendered such a mode of decoration, or, at least, some description of lining for the walls, absolutely necessary : and although the term tapestry is' now generally restricted to one species of fabric, — such as that produced at the " Manufacture Royale des Gobelins," and at Beauvais, — yet it was formerly applicable to aU kinds of ornamental hangings for the walls of apartments ; and these, before the loom was employed to furnish a similar article with less labour and expense, were generally the needle- work of female hands.* Tapestries were known among the inhabitants of eastern countries at an extremely remote era, from whence they were introduced into Greece and Rome. The invention of the art, like all other kinds of needlework, has genersJly been attri- buted to the Phrygians ; the women of Sidon, long before the Trojan war, were celebrated for their tapestries and embroideries ; and those of Phseacia, the island on which Ulysses was wrecked, were, according to Homer, equally noted. " Par as Fhseacian mariners all else Surpass, the swift ship urging through the floods So far in tissue-work the women pass All others, by Minerva's skill endow'd With richest fancy and superior skill." * The term Tapestry comes from the French, whence it is derived from the Latin word Tapes or Tapete which again comes from the Greek ' 1 TAPESTRY. 19 It is supposed by Bsttiger, that the Greeks took their ideas of griffins and centaurs from, the grotesque compositions and fantastic combinations selected for the display of the talents of the needlewomen in this department of oriental art. T^e refined taste of the, Athenians, however, soon became visible in the design of their tapestry ; and these unnatural combinations no longer covered the whole surface of the work, but were con- fined to the borders only, while the centres received more regular and systematic representations. It is narrated that Arachne, a woman of Colyphon, daughter of Idmon, a dyer, was so skilful in working these tapestries with the needle, that she challenged Minerva, the goddess of the art, to a trial of skill. She represented in her designs the amours of Jupiter with Europa, Antiope, Leda, Asteria, Daiiae, and Alcmene ; and although it is reported that her performance was per- fect and masterly, yet she was defeated by Minerva, and hanging herself in despair, was changed into a spider by the goddess.* After the fall of the Roman empire, the art of working tapestry appears to have been lost in Europe, until it was again introduced, as is supposed, from the Levant, by the Crusaders, as, with the exception of the far-famed Bayeux Tapestry, we find but few traces of it until that period : and from the early manufacturers in France being called Sarazins^ or Sarazinois, this opinidn is considerably strengthened. or rciiru. According to the best authorities, it signified an outer garment, or covering of any kind, generally composed of wool, and wrought or em- broidered in figures with various colours, such as hangings for walls, coverlets for beds, or tables, or carpets, or even for horse-cloths. The term is thus used in the writings of Pliny, Virgil, Martial, and other Latin authors. * Vide Ovid's Melamorphoses, b. vi. Minerva, as the goddess of the liberal arts, was Invoked by every artist, particularly by such as worked in wool, em- broidery, painting, and sculpture. In many of her statues she is represented holding a distafi' instead of a spear. 20 TAPESTRY. The first toanufactories for weaving tapestry which acquired reputation in Europe, were those of Flanders, and they appear to have heen long estahlished in that country, principally at Arras,* before they were introduced either into England or France : the precise period when they were first manufactured by the Flemings is uncertain. Guicciardini, in his history of the Netherlands, published at Antwerp in 1582, ascribes to them the invention of tapestries, but without mentioning any particular date. Whether the Flemings did or did not derive their knowledge from the East, to them is certainly due the honour of having restored this curious art, which gives a life to wools and silks, scarcely, if at all, inferior to the paintings of the best masters. The weaving of tapestry was first introduced into England in the time of Henry VIII, by William Sheldon ; but it was not until the reign of James I. that it acquired any par- ticular reputation. This monarch greatly patronised the art, and gave the sum of two thousand pounds towards the advancement of a manufactory, which was established by Sir Francis Crane at Mortlake in Surrey. The patterns first used for making these- fabrics in England were obtained from pieces which had already been worked by foreign artists ; but as the tapestries produced in this country acquired greater celebrity and perfection, the designs were furnished by Francis Cleyii, who was retained for thtt purpose.! There is extant in Rymer's "Foedera,"J an ac- knowledgement from Charles I, that he owed Sir Francis Crane the sum of six thousand pounds for tapestries, and that he grants ♦ Prom whence is derived the term "arras," which we frequently meet with in old authors, synonymous with tapestry. Antwerp, Brussels, Oudenarde, Bruges, Lille, and Touinay, were also celebrated for their tapestries j the latter is still noted for its carpet manufactories. t Walpole^ vol. u. p. 128. t Vol. xviii. p. 112. TAPESTRY. 21 him the annual sum of two thousand pounds for ten years, to enable him to support his establishment. To France, however, we are indebted for the great perfection to which this curious and costly art has been brought. Henri Q,uatre first established a tapestry inanufactory at Paris, about the year 1606, which was conducted by several clever artists whom he had invited from Flanders ; but this, like many similar institutions founded by that monarch, was greatly neglected at his death, and would probably have been entirely so, had not Colbert, the minister of Louis XIV, with a view of providing the costly and magnificent furniture for Versailles and the Tuil- leries, again remodeled it upon a more secure foundation, and from that period the roysil manufactory of the " H6tel des Gobelins" dates its^rigin. The working of tapestry, although a species of weaving, is, nevertheless, so closely allied to the achievements of the needle, that a brief description of the " Manufacture Royale des Gobe- lins " may not be considered uninteresting, or out of place in a treatise on the art of needlework. As early as the fourteenth century dyers of wool were settled in the Faubourg St. Marcel, at Paris, on the banks of the Bievre, the waters of which stream were considered as favourable to the process of dyeing. One of these, named Jean Gobelin, who lived in 1450, amassed considerable wealth, which his descen- dants increased, and at length renouncing the business of dyers, filled various offices of state. The Gobelin family were succeeded by Messrs. Canaye, who however did not confine their attention to the dyeing of wool, but under the patronage of Henry IV.* * Sully, the celebrated miilister of Henry IV., says, — '■" On eut de la peine a convenir de prix aveo ces celSbres Tapissiers Flamands, qu'on avoit fait 22 TAPESTliY. commenced the working of- tapestry, which until that period had been confined to the Low Countries. To these succeeded, in 1655, a Dutchman, named Glucq, and one Jean Lianson, a workman, and a great proficient in the art. Louis XIV, at the suggestion of his minister, Colbert, afterwards purchased the buildings and gardens which were still the property of the Gobe- lin family, and established them as a royal manufactory. In a charter which was drawn up at that time, the building is called the "H6tel des Gobelins," from which circumstance the tapestry made there has ever since been known as "Gobelin Tapestry." Skilful artists, weavers and dyers, were . brought from Flanders and attached to the establishment; and in 1667 the celebrated painter Le Brun was appointed chief director of the Gobelin manufactory, to which he communicated that beauty and grandeur, his admirable talents were so well calculated to produce. He here painted the famous series of the battles of Alexander, which were afterwards worked in tapestry, and still remain the finest productions of the Gobelins. The four Seasons, the four Elements, and the history of the principal acts of Louis XIV, from his mar- riage to his first conquest of Franche ComtS, were also from the designs of this master.* At the period of the French revolution, this manufacture, which venir a si grands frais. Enfin il fut conclu, en presence de Sillcry et de moi qu'il leur seroit donne pour leur etablissement, cent mille francs, que Henri fut tres- soigneux de m'avertir de leur payer ; ' ayant, ' disoit-il, grande envie de les con- server, et grand peur de perdre les avances faites jusque-Ia. ' II auroit seulement bien voulu que ces manufacturiers se fussent contentes d'autres deniers que ceux qu'il s'etoit reserves pour lui-mfirae : mais enfin a quelque prix que ce fut il falloit les satisfaire." — Memoires, torn. vi. p. 371. * Engravings of some of these will be found in "Devises pour les Tapisse- ries du Roy, ou sent representez les quatre elemens et les quatre saisons de I'annee." fol. Paris, 1G79. TAPBSTl^Y. 23 tad until then been piosecuted with rarious degiees of success, greatly declined, but under the government of Napoleon it was again revived, and has since been successfully carried on, etlthough not to the same extent as formerly. About the year 1802 ninety per- sons were employed at the Gobelins, chiefly in the preparation of tapestry, for the palace of St. Cloud; and it was estimated that 150,000 francs were expended yearly on these productions. The pieces executed are generally historical subjects, and it occa- sionally requires the labour of from two to six years to finish a single piece of tapestry. The cost of some of these pieces is enormous, but the price of the different articles is regulated less by their size than by the beauty and difficulty of the work.* The productions of this manufactory, which is entirely supported by the government, are chiefly destined for the royal palaces, or for presents made by the king ; but some few pieces, not designed as such, are allowed to be sold. Connected with the establishment of the Gobelins, is one for the dyeing of wool, under the direction of able chemists, where an infinite number of shades, mostly unknown in trade, ex- cept for the purposes of needlework, are dyed for the tapestry. Wool is now exclusively used, as the colours are more permanent. There is also a drawing-school, in which the principles of the art are taught, and an annual course of lectures is delivered upon chemistry as applicable to dyeing. » Evelyn gives the following description of some Gobelin tapestry, then new in England, which he saw in the apartments of the Duchess of Portsmouth: " Here I saw the new fabriq of French tapissry, for designe, tendernesse of worke, and incomparable imitation of the best paintings, beyond anything I had ever beheld. Some pieces .had Versailles, St. German's, and other palaces of the French king, with huntings, ipgnres, and landakips, exotiq fowls, and all to the life rarely don." — Mevwirs, p. 563. 24 TAPESTRY. The Gobelin tapestry was formerly made in lengths or pieces, the width of which varied from four to eight feet ; and when one of larger dimensions was required, several of these were sewn or finedrawn together with suck care that no seams were discernible. At the present day, however, they are manufactured of much greater widths, so that they seldom require to be joined even in the largest pieces. Two methods were formerly practised in the manufacture of tapestry, known as those of the " basse lisse," and the " haute lisse ; " . in the first, or low warp, which is now relinquished, the loom Was placed horizontally, similar to common weaving, the painting intended to be wrought being beneath the warp; and the process was very remarkable, from the fact of the tapestry being' worked on the wrong side, so that the artist could not see the face of the design he was weaving, until the whole piece was finished and taken out of the frame. In the "haute lisse" or high warp, which is stUI used, the frame is fixed perpendicularly before the artist ; he also works, as it were blindfold, seeing nothing of the eifect he pro- duces, and being obliged to go to the other side of the loom whenever he wishes to examine the piece he is executing. The following brief description of the mode at present practised at the Gobelins, may perhaps convey some idea of the manufacture to those who have not visited this most interesting establishment. The frame or loom is formed of two upright pieces, at the top and bottom of which, two large rollers are fixed horizontally : to these rollers are fastened the longitudinal threads, or warp com-' posed of twisted wool, wound on the upper roller, the work, as it is executed, being gradually wound round the lower. On the inner side of the upright pieces, several contrivances (here unnecessary to describe) are placed 'at"^diirerent points, for separating these threads more or less from one another, in order TAPESTRY. 25 to adnlit the cross threads or warp, which are to form the picture. " to whose fair colour'd threads Hang figur'd weights, whose various numbers guide The artist's hand : he, unseen flowers, and trees. And vales, and azure hills, unerring works." As a sort of guide for the artist to introduce the cross threads in their proper places, he traces an outline of his subject on the threads of his warp in front; which are sufficiently open to enable him to see the painting behind it. For working the tapestry three instruments are required, — a broach, a reed or comb, and an iron needle. The first is formed of hard wood, about seven or eight inches in length, and two- thirds of an inch thick, ending in a point with a small handle, round which the wool is wound, and serving the same purpose as the weaver's shuttle. The reed is also of wood, eight or nine inches long, and an inch thick at the back, whence it gradually decreases to the extremity of the teeth, which are more or less divided, according to the greater or less degree of fineness of the intended work. The needle is in shape similar to a common needle, but much larger and longer ; it is used to press close the woolj when there is any line or colour that does not set well. The artist places himself behind the frame, with his back towards the cartoon or picture he is about to copy ; he first turns and looks at his design, then taking a broach of the proper colour he places it among the threads of the warp, which he brings across each other with his fingers, by means of the coats or threads fastened to the staff; this he repeats every time it is necessary to change his colour. Having placed the wool, he beats it with his reed ; and when he has thus wrought several rows, he passes to the other side to see their effect, and to properly adjust them with his needle, should there be occasion. 26 TAPESTRY. As tapestry, however, of this description, is no( tie work of ladies, it would be tedious for us to enter more upon the subject ; for although in this — " the age of renaissance' — it is the fashion to work panels for rooms, and hangings for beds, yet we do not entirely agree with the " Spectator," when he says, " how memo- rable would that matron be, who should have it inscribed on her monument, " that she wrought out the whole Bible in tapestry, and died in a good old age^ after having covered three hundred yards of wall in the mansion house.' "* * The Cartoons of Rafiaelle, which have been justly called " the glory of England, and the envy of all other polite nations," were painted for the express purpose of being wrought in tapestry. There were originally twenty-five of these sacred historical designs, but seven only now remain. They were executed under the auspices of pope Julius II. and Leo X. at the time that Rafifaelle was engaged in the chambers of the Vatican. The whole of them were sent to Flanders to be worked in tapestry, to adorn the pontifical apartments. The tapestries were not sent to Rome until after the death of this great master, and the cartoons, which were greatly damaged by being cut into strips by the weavers, lay neglected in the store- rooms of the manufactory ; where, during the revolution which soon after happened in the low countries, most of them were destroyed. The seven which now adorn the gallery at Hampton Court were purchased by Rubens for Charles I. These cartoons fortunately escaped being sold in the royal collection by the disproportionate appraisement of them at £300, while the nine representing the triumph of Julius Csesar, by Andrea Mantegna, were valued at £1000. For an account of the more celebrated ancient tapestries on the continent, we refer our readers to M. Achille Jubinal's splendid work, Les ATidennes Tapisseries HUtoriees. In England, the tapestry preserved in St. Mary's Hall, at Coventry, although much mutilated, is well worthy of careful examination. The finest ancient tapestries in existence are doubtless those at Hampton Court, which are supposed to have been presented to Cardinal Wolsey by the em- peror Charles V ; an interesting description of these vrill be found in Mr. Jesse's entertaining little work, A Summer's Day at Bampton Court. CHAPTER III. materials in General. "From fertile Frmux, and pleasant ItaJnj, From Poland, Sweden, Den/marie, Gerjiumy, And some of these rare Fattemes haue beene fet Beyond the bounds of faithlesse Maliomet: From spacious China, and those Kingdomes East, And from great Mexico, th.e Indies West. Thus are these workes farrefetcht and dearely bought. And consequently good for Indies thougM." ' John Tatloe. HE products of the animal, the vegetable, and the mineial kingdom, aie called into requisition for the service of the needlewoman : — the east and the west are alike laid under contribution for the various articles which she employs. Silk, wool, cotton, fiax, and hemp, and even the precious metals, — gold an^ silver, are formed and twisted into various threads to serve her different purposes. Nor have the shells of the ocean escaped her notice, as witness the splendid works in nacre, of which the stamped quill work, or ecaille (as it has been improperly- termed,) is an imitation. ^ The feathers of birds, the scales of fishes, the wing cases of insects, and insects themselves ; the barks of trees, the skins of serpSntsJ furs, mosses, straw, grass, seaweeds, 28 MATERIALS IN GENERAL. and precious stones, and even the hair of the fair embroideress herself, have, each in their turn, furnished her materials wherewith to exercise her ingenuity.* The needlework of the present day is indebted for its attraction more to the skill and talent displayed by the artist, than to any false beauty it may borrow from the materials employed; and, however much we may admire the adaptation of outre and bizarre objects in some of its branches, yet let us remember that the true intention of the art As to copy nature, not to distort her:— and that needlework executed with the rudest and most simple materials, may surpass that with the most costly. The materials used by a Linwood are within the reach of every one, but the skill shown in the employment of them is that of the artist alone. Since the time when Miss Linwood executed her "paintings," greater facilities have been given for the pursuit of needlework than she could possibly have possessed. The variety of colours, their beauty and brilliancy, both in. silks and wools, owing to our improved knowledge of dyeing, the introduction of coloured- paper patterns, all contribute towards the perfection of an art, above every other, consecrated to female talent. Our object in the present treatise, however, is not to enter into a description of the different articles which have been used at various times for the purposes of needlework, nor the method of employing them; — those of the most appropriate kind will suflSce for our purpose, and ample details of these, their qualities and uses, and the occasions on which they may be most advantageously rendered * Three German ladies, in Hanover, ns^ned Wylich, in 1782, invented mode of embroidering with human hair. TAPESTRY. 29 subservient, will be found in the following chapters, under their respective heads. In describing the principal materials employed in needlework at the present day, we must not overlook the equally essential requisites, — the instruments wherewith we are to use them: — an account of which will be found under the gener£(l head of " imple- ments," where, we tav'e endeavoured, — as far as lay in our power, — to guide the inexperienced, in selecting with judgment those best adapted for facilitating their labours. With the exception of canvas, it will not be necessary for us to describe the materials upon which the different works are to be executed. The mere mention of these in their respective places will be sufficient, — ^whether cloth, silk, or " satin smootU, Or velvet soft, or plush vrith shaggy pile." CHAPTER IV. (Uool. «' still shall o'er all prevail the shepherd's stores For numerous uses known; none yield such warmth, Such beauteous hues receive, so long endure ; So pliant to the loom, so various, none." Dyer. " In the same fleece diversity of wool Grows intermingled, and excites the care Of curious skill to sort the sev'ral kinds." Ibid. V OOL, from the frequency of its employment in needlework, becomes the most important of those materials whereupon we have to treat. The readiness with which it takes and perma- nently retains the most splendid colours that the art of the dyer is capable of imparting, renders it superior to ' every other : it is essential, therefore, that we enter fully into a description of its various qualities and uses. Wool is the soft filamentous, substance which covers the skins of some animals, more particularly those of the sheep: the term — which is not very well defined, and is rather arbitrary than natural — has been applied aUke to the soft hair of the beaver, WOOL. * 31 the goats of Thibet and of Cachemir, and to that of the llama and ostrich, and even to fine vegetable fibres, such as cotto^i: " The trees of Ethiopia, white with soft wool."* Sheep's wool appears to be the product of cultivation: on the wild mouflon [ovis aries) — to which genus all the varieties of the domestic sheep have been traced, and which is stiU found in a wild state upon the mountains of Sardinia, Corsica, Barbary, Greece, sind Asia Minor, — ^the wool is a coarse hairy substance, mixed with soft down close to the skin. When the animal is placed in a temperate climate, under the fostering care of man, and protected from the inclemencies of the weather, the coarse fibres gradually disappear, while the soft wool round their roots becomes- singularly developed. The domestic culture of the sheep, for the sake of its wool, has long occupied the attention of civil- ized nations, and has produced the highly-valued merinof species, from which our best wool is now procured. Sheep's wool of good quality is never found except in those countries that have been the seats of the arts, and where a consider- able degree of luxury and refinement exist, or have once prevailed. The history of its cultivation and preparation, like most of the useful arts of ancient date, is involved in uncertainty. The Greeks attribute the invention of spinning and weaving wool to Minerva : it is, however, supposed to be of Asiatic origin, euid is * Virgil, Georg. ii. 1. 120. JHerodotus uses the term "tree wool" to denote cotton, 1. iii. c. 47. Julius Pollux, also, in his Onomastiam, 1. vii. c. l7'so denominates it. t The term merino, in the Spanish language, is derived from the corrupt Latin merimus or majoriri/us. At the period when the transhumantes, or travel- ling flocks in Spain, were estahhshed, they hecame the object of police, and were placed under the exclusive jurisdiction of mayors, with public walks and large districts allotted for their sustenance, and were termed merinos ovejos, or the sheep under the care of the merino or mayor. I 32 WOOL referred to by Moses,* which proves it to have existed at least fifteen hundred years before the Christian era. The discovery of the wheel and spindle is also veiled in obscurity, but they were obviously used in the most remote ages. In the infancy of the art of weaving, and for many centuries after, the working of cloth was merely a domestic occupation, principally of women: the fleece was gathered from the sheep, washed, opened, spun, and wove under the same roof which witnessed the preparation and grinding of comf In proportion as society advanced, and a division of labour became convenient, an improved knowledge was acquired, not only of spinning and weaving, but in that of breeding and select- ing those animals, whether sheep or goats, which gave the finest * Exodus, XXXV. 25, 36. The Egyptians; from a most remote era, were celebrated for their manufactures of linen and other cloths ; and the produce of their looms was exported to, and eagerly purchased by, foreign nations. The fine linen, and embroidered work, the yarn and woollen stuffs of the upper and lower country, are frequently mentioned, and were highly esteemed. Solomon purchased many of these commodities, as well as chariots and horses, from Egypt : and Chemmis, the city of Pan, according to Strabo (lib. xvii.) retained the credit it had acquired in making woollen stuffs, nearly till the period of the Roman conquest. In Egypt, woollen garments were chiefly used by the lower orders ; sometimes also by the rich, and even by the priests, who were permitted to wear an upper robe in the form of a cloak of this material, but under-garments of wool were strictly forbidden them, upon a principle of cleanliness ; and as they took so much pains to cleanse and shave the body, they considered it inconsistent to adopt clothes made of the hair of animals. Her(>- dptus (1. ii. c. 81) says, that no one was allowed to be buried in a woollen garment; nor could any priest enter a temple without previously taking off this part of his dress. Vide Wilkinson's Ancient Egyptians. i In the primitive ages, the duties of women were very different from those of a later and more civilized period. Among pastoral tribes, they drew water kept the sheep, and superintended the herds as well as flocks. As with the Arabs of the present day, they prepared both the furniture and the woollen stuffs of which the tents themselves were made j and, like the Greek women, they were generally employed in weaving, spinning, and other sedentary occupations. WOOL. 33 fleeces. The produce of lyliite wool from sheep is , said to be entirely the result of cultivation, and is unknown in those countries where it is not employed as ah object of manufacture or commerce. We may imagine that in the earliest state of the woollen manufacture, when cloth was merely a substitute for the skins of beasts as an article of clothing, little attention was paid to the colour or fineness of the wool ; but as luxuries were intro- duced, coloured garments were required, and the wool could no longer be indifferently taken from sheep of every kind, whether white, brown, or black. The grower, therefore, began to pay more particular attention to the whiteness of his fleece, which was essential to render the cloth susceptible of the brilliant dyes, which, even in a very remote period, were certainly given to it. "In oldest times, when kings and hardy chiefs In bleating sheepfolds met, for purest wool Phoenicia's hilly tracts were most renown'd, And fertile Syria's and Judaea's land, Hermbn, and Seir, and Hebron's brooky sides, Twice with the murex, crimson hue, they ting'd The shining fleeces — ^hence their goi^eous wealth ; And hence arose the walls of ancient Tyre." German wool, unquestionably the finest description of sheep's wool which we possess, is the produce of the fleece of the merino breed in their highest state of cultivation, from the flocks of Saxony and the neighbouring ,German states., As prepared for needle work it is manufactured at Gotha,* from whence it is for- warded to Berlin and other, parts of Germany to be d^yed. * Gotha, the capital of the duchy of Saxe-Gotha, and alternately with Coburg the residence of the duke of Saxe-Cobmg, father of Prince Albert. The duke has a fine palace here called Friedenstine, containing a picture gal- lery, library, and a Chinese and Japanese museum, besides one of the finest collections of coins and medals in Europe. The AVnumach de Gotha, is printed here. 34 WOOL. ■, To the late king of Saxony, when elector, is due the merit of having first introduced the Spanish breed of merino sheep into Germany and the valuable trade in fine wool has since been transferred, almost wholly from the Spanish to the German poil. The flocks were brought into his dominions in the year 1765, ahd again in 1778, and were chosen for the elector from the • finest of those in Spain; they were placed under the care of a Spanish 'f major inus," or mayor, at Stolpen, seven leagues from Dresden, on the frontiers of Bohemia. From this period until 1814 these flocks were gradually spreading themselves throughout the king- dom of Saxony, and when the continental trade was entirely thrown open by the events of 1815, the Saxon wool dealers began to embark in a regular trade with England in their fleeces, and they soon discovered the real value of this new branch of German commerce.* The improvement both in fineness and softness in the quality of wool, from the German flocks, over those of Spain, is consider- able. The harshness of the wool does not depend solely upon the breed of the animal, or the climate, but is owing to certain pecu- Karities in the pasture. It is known, that in sheep fed upon chalky districjts, wool is apt to get coarse ; but in those fed upon a richer soil it becomes soft and silky. The scorching sun of Spain renders the fleece of the merino breed harsher than it is in the milder climate of Saxony. The great quantity of grease,, or yolk (as it is technically termed), which is much more abundant * For an interesting account of the finer description of sheep and wool vide "Mittheilungen- des interessantesten und neuesten aus dem Gebiet der hohem Schaif und Woolkunde," Von Eernhard Petri, Wien, 1829 ; — also " His- toire de I'lntroduction des Moutons a laine fine d'Espagne dans les divers etats de I'Europe," par M. C. P Lasteyrie, Paris, 1802. wool,. 35 in the wool of the merino breeij of sheep, is also, doubtless, one of the great causes of its superiority.* There are four distinct qualities of wool in the fleece of the same animal; the finest growing along the spine from the neck, to within six inches of the ' tail ; including one third of the breadth of the back : the second covers the^ flanks and the shoulders ; and the third, the neck and hinder parts; and the coarsest the breast to the feet. These it is the office of the wool sorter to separate, which he generally does inunediately after shearing. The best wool is that shorn from the sheep at the proper seasons ; that which is taken from the skin after death is inferior. Wools again difl^r from each other not only accord- ing to their coarseness and fineness, but also in the length of their filaments. Long, or combing wool, varies in length- from three to eight inches ; it is treated on a comb with long steel teeth, which opens the fibres," and arranges them horizontally like locks of flax; such wool when woven is unfit for felting. Short, or cloth- ing wool, varies in the length of its staple from three to four inches ; if longer, as is the case with the best Saxon wool, it is broken down by carding, to adapt it to the subsequent operation of felting, where the fibres are convoluted or matted together. It is only within th-e last few years (in fact aince the introduc- tion of coloured paper patterns) that GSerman wool has been used for the purposes of' needlework : previously to that time our only resources, with the exception of silk, were English - laihbswools, worsteds, and crewels. The beauty of German wools and the * The merino breed of sheep has been carried to New South Wales and Van Dieman's Land, from whence, of late years, great quantities of wool have been exported. Australia promises, at no distant period, to be one of the principal wool growing countries in the world, and to outriyal Saxony in the fineness and superiority of its fleeces. 36 wool,. perfection to wticli the ^^ science" of dyeing them has been brought, is an era in the annals of our art; and has, together with the invention of Berlin patterns, contributed in rendering it a more enticing and facile amusement than when Helen " Guided by love, O'er the stretch'd sampler's canvas plain, In broidery's variouSyColours strove To raise his form to life again," All kinds of wool are more or less characterised by a degree of harshness when compared to the " Zephyr Merino." the fine- ness, softness, and flexibility of the fibre of Which renders it decidedly superior for all kinds of tapestry work with the needle, and embroidery in wool, especially where great numbers of colours are required. We shall now proceed more particularly to notice — GERMAN WOOL. German wool, or, as it is termed by the wool staplers of Germany, Zephyr merino, js prepared of various sizes. That commonly known as " Berlin " or " German wool," is adapted for working all kinds of Berlin patterns; and from the manner in which it is skeined, or notted, in small quantities, it is rendered the most convenient, and, comparatively speaking the least expen- sive description of wool for this ' purpose ; — recommendations sufBcient, were they not more fully enhanced by the unequalled brilliancy and variety of shades in which it is dyed, and its above-mentioned superior qualities. This wool may be split and worked on the finest canvas, and also doubled and trebled on the coarsest: its beauty, however, can be best appreciated when worked in a single thread on a canvas suited to its size where WOOL. 37 it should form an even and uniform surface of pearly stitches, thoroughly covering the threads of the canvas, yet not BO tightly ranked as to be deprived of its beautiful elastic appearance. Like every other material, German wool requires to be well understood as to its qualities and capabilities, in order to pro- duce that degree of excellence which it is the wish of the needlewoman to accomplish. When worked on cloth, either with a canvas over the cloth, or an embroidery, it should be used with a ;ieedle sufficiently large to form a passage through which the wool may pass without " dragging." It is applicable for working flowers, figures, and every description of work in imitation of paintings ; also, for fine crochet, knitting, and netting. When of the best quality, German wool should retain but little of the smell of the dye ; it should be soft and curly in its texture, and round in its make, and free from all particles of vegetable or mineral substances which may have been used in its dyeing. This wool should not be wound, as, by, being compressed, it may be partially deprived of its elasticity. A quantity of German wool is brought into Great Britain in a raw state, where it is combed, spun, and dyed ; the greater part undergoes these processes in Scotland. Some of this wool is equal to that imported in a manufactured state, fojr the purposes of needlework, from Germany ; but the dye is generally very imperfect and perishable, except the blacks, which are certainly much cleaner — an important desideratum in needle- work. The best German wools, and those which command the highest prices, are dyed in Germany, and imported into England ready skeined for use. Great quantities, however, of German wool, manufactured in this country, and also of very 38 WOOL. ■» inferior wool imported from Germatay, are daUy sold ; and xt requires the eye of an, experienced person to detect them. Much more might be said as to the qualities and dyeing of these wools ; but it remains with the " sorter^' or selector of colours for working, to give them their final lustre, by th« knowledge and care bestowed upon their choice, and the proper appropriation of them, each to their several purposes : and, like the colours on the painter's palette, in mixing the various shades so delicately, that they shall seem but as oiie ; carefully avoiding all harshness, yet, by contrast, giving a proper spirit to the whole ; and, above all, avoiding that gaudin^s of colouring, and glaring want of taste, so generally exhibited in the coloured-paper patterns of Berlin, and which are but too frequently complained of in the productions of the needle.f ENGLISH WOOL. " If any wool peculiar to our isle Is giv'n by nature, 'tis the comber's lock, The soft, snow-white, and the long grown flake." Dyer. * The importations of German Wool) into this country were quite trifling during the war, amounting in 1813, to only twenty-eight pounds ; but since , the peace, they have increased beyond all precedent. In 1814, they amounted to nearly three and a half millions of pounds ; in 1820, they were above five millions of pounds ; and, in 1S25, they reached the enormous amount of nearly twenty-nine millions of pounds ; this, however, was a year of overtrading, and they declined, in 1826, to about ten and a half millions of pounds. They have since, however, recovered fiom this depression ; and, in 1833, the imports amounted to nearly twenty-five and a half milUons of pounds. These important Statistical facts, although they have no reference to the subject of the consump- tion of wool for the purpose of nefedlework, nevertheless show the high estimation in which the German wool is held by our manufacturers. t German wool is prohibited in France : it is not long since, that the police, at; Paris, made seizures of considerable quantities in several of the warehouses. ' WOOL. 39 Englisli lambswool, or embroidery wool, though much harsher than the preceding, yet retains its superior qualifications:- The dye of scarlet lambswool is quite equal to that of the German, as are also several of the shades of blue, green, and gold colours browns, clarets, and some neutral tints. ' On coiirse canva^, either for tent, or cross stitch, it is decidedly preferable, both in working, and in appearance wlien finished, It may be sometimes used in the same piece of work with German wool ; such as, for instance, in needlework for carpets, large chairs, sofas, ottomans, &c. the gold (;olours. scarlets, olives, and some of the blues, as also the grounding, may be superiorly worked in English wool, whilst the whites, greys, pinks, lilacs, &c. may be introduded in German wool. For grounding, English wool is generally preferable to the German, as being more durable, and less apt to soil ; nor is it impoverished by brushing like the latter. If good, English wool is cleaner in the dye of the darker colours ; and has, also, another recommendation, — that of being more economical. WORSTED. " The grain of brightest tincture none so well Imbibes ; the wealthy Gobelms must to this Bear witness, and the costliest of their loom." — Dteh. Worsted is a still harsher description of English wool, manu- factured from the coarser parts of the fleece, but it is capable of taking a very fine dye, and may be advantageously used' for working carpets and rugs. If it be good, and well dyed, it has a more glossy appearance than the other descriptions of wool. It is much cheaper than either German or English lambswool, and is the best and only proper material for making the raised 40 WOOL. borders of urn-rugs, and the various kinds of patterns and borders in mpss and rouleau, &c. ; it being, from the length of its filaments, greatly improved by combing, assuming that downy appearance which distinguishes a well-finished rug border, Worsteds,* though so little used in needlework at the present day, were formerly the principal materials employed both for tapestry and embroidery. For these purposes, they were much in vogue in the latter part of the last century, under' the form of crewels, a fine description of worsted, tightly twisted like netting silks. The poet Cowper has immortalized their use, in " The Sofa," where he says : " here and there a tuft of crimson yarn, Or scarlet crewel." The whole of the beautiful works executed by the celebrated Miss Linwood, are in worsted, the dyeing of which was an object of her especial care. Yarn is a still coarser description of worsted. It is used for making nets for fruit trees, and other similar purposes. It may be prettily applied, when cut into short lengths, and knit with coarse cotton, or fine twine, for carriage-rugs, mats, &c. "Leicestrian fleeces, what the sinewy arm Combs through the spiky steel in lengthen'd flaies." Dyer. * Worsted, in Norfolk, was formerly a place of much celebrity, and of con- siderable trad?, but is now greatly on the decline ; it is chiefly remarkable for the invention, or first twisting, of that sort of woollen yarn or thread which hence obtairied the name of worsted. This ttianufacture is mentioned ' in the second year of the reign of Edward III., when the weavers and workers of worsted stuffs were required by parliament to work them in a better manner than they had formerly done. WOOL. ,41 Fleecy is another description of wool, principally grown and manufactured in Leicestershire, for which this county has long been celebrated. " Rich Leioestria's marly plains, for length - ' Of whitest locks and magnitude of fleece Peculiar." 1 It is made of two qualities, Superfine and common ; they both vary in size from an eighth to a quarter of an inch in diameter, according to the number of threads they contain ; thus, there are two, three, four, six, up to twelve threads, fleecy. Those in common use are from three to six threads. They are all equally good and useful for crochet, knitting, netting, &c. according to the purposes for which the work is designed. HAMBURGH WOOL. Hamburgh wool so called, or German worsted, is a common kind of wool, usually containing four threads, but is made as thick as to contain twelva threads : it is very brilliant in colour, and glossy, and for working on coarse canvas is extremely good. It is, however, difficult to be procured in all shades ; and, hitherto, ' has not been much imported into this country. An imitation of this wool has been made, and much sold in England, under the name of Hamburgh worsted, but it does not possess any of the merits of the real Hamburgh wool, except its size. GERMAN' FLEECY. German, or merino fleecy, is but little used or known in Eng- land. It possesses a decided superiority over the English, both in appearance; and pleasantness for use : the colours like the 42 German wool, are exceedingly brilliant. It is usually made in sizes of eigKt or ten threads ; and, for the purposes of crochet or tricot, cannot be surpassed. It must, however, be borne in mind, that it is a mo're costly material than the English fleecy.* *, The art of dyeing was practised in the most' remote ages. Savage and .barbarous tribes even possessed colours which have been highly es- teemed among civilised nations. From the writings of Moses, it is obvious that it had, in his time, made great progress. He mentions (Exodus xxv. 4-5) blue, purple, and scarlet, and rams' skins dyed red. The Egyptians, according to Pliny (Ub. xxv. c. 2,) had discovered a mode of dyeing some- what resembling that now employed for tinting printed cottons — thef stuffs, after having been impregnated with mordants, were immersed in vats, where they received the different colours. At ■ a very early period, the art of dyeing had been brought to a considerable degree of perfection in Phoenicia. The method of dyeing woollen cloths purple was first discovered at Tyre. This colour, — the ipost celebrated among the ancients,-^appears to have been brought to a degree of excellence, of which we can form but a very faint idea. It is related, that a shepherd's ^og, instigated by hunger, having broken a shell on the sea shore, his mouth became stained with a colour, which excited the admiration of all who saw it, and that the same colour was afterwards applied to the dyeing of wool with great success. According to some of the ancient writers, this discovery is placed in the reign of Phoenix, second king of Tyre, five hundred years before Christ. Others fix it in that of Mmos, who reigned in Crete about 1439 years before the Christian era. The honour of the invention of dyeing purple, however, is generally awarded to the Tyrian Hercules, who presented his discovery to the king of Phcenicia ; and the latter was so jealous of the beauties of this new colour, that he forbade the use of it to all his subjects, reserving it for the garments , of royalty alone. Some authors relate the story differently: Hercules' dog having stained his mouth with a shell, which he had broken on the sea shore, Tysas, a^ nymph of whom Hercules was enamoured, was so charmed with the beauty of the colour, that she declared she would see her .over no more unta he had brought her garments dyed of the same. Hercules, in order to gratify his mistress, collected a great number of the sheUs, ' and suc- ceeded in staining a robe of the colour the nymph had demanded. The Tyrian purple wa,s communicated by means of several species of univalve shell-fish. Pliny gives us an account (lib. vi. c. 36 ) of two kinds of sheU-fish from which the purple was obtained. ' The first species was called Hccmnm, the other pwrpma. A single drop of the liquid dye was obtained WOOL. • 43 from each fish, by opening a vessd situated in its throat. This liquid, when extracted, was mixed with a sufficient quantity of salt to prevent putrefaction. It was then diluted with five oi: six times as much water, and kept mode- rately hot in leaden or tin vessels for the space of ten days, during which time it was frequently skimmed, in order to sepamte all impurities. In dyeing, the wool was washed, immersed arid kept in the liquid for five hours. It was then taken out, carded, and again immersed for a sufficient length of time for all the colouring matter to be extracted from the liquid. For the production of particular shades of colour, various salts were added. The colour of the Tyrian purple itself appears to have been similar to that of blood. This author also says, that the Tyrians first dyed their wool in the liquor of the purpura, arid afterwards in that of the bticcinum. We find allusi6ns to tl^is practice in several passages of the sacred writings. Horace also says; And again: " Muricibus Tyriis iteratK vellcra laniE.' —^" Te bis Afro Murice tinctce Vestiunt lanffi." The purple ipentioned in Exodim was probably that dyed by the Tyrians. Ezekiel, in his prophecy against Tyre, says : " Pine linen with broidered Work firom Egypt, was that ,which thou spreadest forth to be thy sail ; blue and purple from the isles of Elishah was that which co\ered thee." It is generally supposed, that by Elishah, Elis, on the western coast of the Greek Peloponnesus, was referred to : hence it would appear that the Tyrians, in the time of Ezekiel, ' obtained their supply of shell-fish for dyeing purple from the coast of Grreece; This celebrated colour was restricted by the ancients to the sacred person and palace of the emperor ; and the penalties of treason were denounced against the ambitious subject who dared to usurp the prerogative of the throne. CHAPTER V. Silk. " She sets to work millions of spinning worms, That in their green shops weave the smooth-haired silk, To deck her sons." ^ M!:,TON. "Let Asia's woods Untended, yield the vegetable fleece, And) let the little insect-artist form, On higher life intent, its silken tomb." Thomson. ILK-WORMS, — the most precious of insects, — whose produce holds so impoitant a place amongst the luxuries of modern life, were first rendered serviceable to man by the Chinese, about two thousand seven hundred years before the Chris: tian era. Their most ancient authorities repre- sent the Eaipresses of China, as surrounded by their women, engaged in the occupation of hatching and rearing silk-worms, and in weaving tissues, from their produce. To the empress See- ling-shee, the consort of Hoang-tee, is ascribed the honour of having first observed the silk produced by the worms, of unravel- SILK, 45 ling their cocoons, and working the fine filament into a web of cloth.* ' • . <■ From China, the art of rearing silk-worms passed into India and Persia. The production of silk was unknown in Europe, however, until the middle of the sixth century, when two monks, who had long resided in China, succeeded in carrying some of the eggs of the insect,, concealed in a hollow cane, to Constanti- nople ; where, under their directions, the eggs were hatched by artificial heat: the worms were fed by leaves of the mulberry tree ; they lived and laboured, and, by the use of proper means, the^race was propagated and multiplied. This knowledge, under the emperor Justinian, becam.e pnoductive of a new and impor- tant branch of industry to the European nations. Manufactories were established in Athens, Thebes, and Corinth, but, until the twelfth century, Greece appe-ars to have been the only country in Europe in which the art was practised, t About 1130., Roger II, king of Sicily, established a silk manu- factory at Palermo, and another in Calabria, managed by work- men taken as slaves from Athens and Corinth, of which cities he had made a conquest in his expedition to the Holy Land. By degree^ the rest of Italy and Spain learned from the Sicilians and * For aji account of the invention, manufacture, and general use of silk in Cliina, vide Du Halde's Description Geogrofhique, Historigue, et Phynqtie de I'Empier de la Chine. t A species of silk-worm, common in the forests both of Asia and Europe, was cultivated in the little island of Ceos, near the coast of Attica. A thin gauze wag procured &om their webs ; and this Cean manufacture, the invention of a woman, for female use, was long admired both in the east and at Rime. — The silks, which had been closely woven in China, were sometimes unravelled pv the Phoenician women, and the precious materials were multiplied by a looser teitture, and the intermixture of linen threads. — On the texture, colours, names, and use of the silk, half silk, and linen garments of the ancients, see the researches of the learned Salmasius. 46 SILK. Calabrians the management of |he silk-worm, and the working of the silk. The art of rearing these insects did not reach France until after the reign of Charles VIII, when the white, mulberry tree, and a few silk-worms, T^ere introduced into Dau- ' phiny by some noblemen, on their return from the conquest of Naples. It was not, however, until 1654," that they began suc- cessfully to produce the silk itself, when Traucat, a common, gatdener of Nismes, laid the foundation of a nursery of white mulberry trees, and with such success as to enable them to be propagated within a few years over aU the southern , provinces of France.* It is uncertain at what period the use of silk was introduced among the Romans ; but it was inost probably in the time of Pompey and Julius Caesar. So great, however, was its rarity, that it was sometimes sold for its equal weight in gold; and, even in the time of Aurelian, in the year 275, it was so expensive, that he is said to have refused his empress's particular request for a silken robe, on account pf the price being so great. We are informed by Tacitus, that a law was passed in the beginning of the reign of Tiberius, that no man should disgrace himself by wearing a silken garment.! The profligate Heliogabalus, however, set aside this law, and was the first of the Roman emperors who wore a dress (holosericum) composed entirely of silk. After this ♦ "The enormous quantity of this material used in England alone, amounts ing in each year to more than four miUions of pounds' Weight. Fourteen thousand mUUons of animated creatures annuaUy live and die to supply this little corner of the world with an article of luxury. If astonishment be excited at this fact, let us extend our view into China, and survey the dense poiiular tion of its widely spread region, who, from the emperor on his throne to the peasant in the lowly hut, are indebted fop their clothing to the labour of the silk-worm." — La/rdner's Cabinet Cyclopcedia. t "Ne vestis serica viros foedaret." — Armed. 1. ii. c. 33. SILK. 47 the custom of wearing silk soon 'became general among the wealthy citizens of Rome., As the demand for silk increased, efforts were made to import larger quantities, and the price of it gradually- declined, for in the time of Ammianus MarceUinus, silk appears to have been worn even by the lowest classes.* The ait of spinning, throwing, and weaving silk, was introduced into England at the commencement of the fifteenth century ; but silk appears to have been used by persons of distinction two centuries previously: for in the year 1251, at the marriage of Margaret, daughter of Henry III, a thousand English knights appeared in cointises of silk.f The manufacture of silk was first practised in England in the reign of Henry IV, by a company in London, called siik^women ; the articles produced consisted of laces,' ribbons, and similar narrow fabrics, and these in no great quantities ; but about the year 1480, men began to engttge in the manufacture. Henry VIII wore the first pair of silk stockings in England,:]: — these were knitted ; and in the latter years of the reign of Elizabeth, silk stockings were her only wear.§ About . ' — '-^ * Am. Marcel, lib. xviii. c. 6. The historian Pausanias was the first who described the silk-worm. Before his time, the ancients imagined that silk was the produce of the trees of the Seres or Chinese. For an interesting account of the introduction of the serio insect into Europe, the reader is referred to Gib- bon's Decline and Fall of the Soman Empire. t Matthew Paris. t By statute 33 Henry VIII, a person whose wife wore a silk gown was bound to find a charger for government. ^ 5 It is related by Howell, in his History of the Wafld, (vol. ii. p. 222) that , queen EUzabeth, in the year 1561, was presented with a pair of black knit silk stockings, by . Mistress Montague, her silk-woman, at which she was so much delighted that she thenceforth never condescended to wear those of cloth. It might have been supposed that Elizabeth's inordinate fondness for dress would have induced her to give every encouragement to the manufacture of so elegant aiabric as silk: it does not, however, appear that much progress was made in it during her reign. Content, probably, with her own acquisition, she might be desirous that the more becoming silken texture should remain a regal privi- 48 SILK. 1620, in the latter part of the i*ign of James I, the broad silk manufacture was introduced into this country; and in 1629 it had progressed with such vigour and advantage, that the silk throw- sters of the city and parts adjacent, were incorporated into a- company: which company, in 1661, employed above forty thou- sand persons. In 1719, a silk throwing mill was erected at Der- by; and, from that period to the beginning of the present century, various improvements were introduced : but those made since that time, or during perhaps the last fifty years, have been consider- able; and the silk manufacturers in this country can now vie with that of any other. It would be irrelevant to this volume, to enter more fuUy into the history of silk, or of the little worm which produces it ; — a subject, nevertheless, replete with interest. The metamorphoses which the insect undergoes, — the production of the silk,^its mode of filature, or winding from the cocoons, — and the subse- quent processes of converting it into singles, tram, and organzine, before it is fit for the various purposes of the arts, will be found fully described in all works on silk manufacture. We shall there- fore proceed to mention the various kinds of silk, and the diiFer- ent purposes for which they are used as articles of needlework; but previously to doing so, we cannot omit quoting the following simple lines of the poet Cowper, on — THE SILK-WORM. , ^ " The beams of April, ere it goes, A wonn, scarce visible, disclose ; lege; and while she displayed her own ancles in the -delicate silken knU, was perhaps, well pleased that her maids of honour should conceal theirs under the clumsy and inelegant cloth hose, lest, haply, among these, some might have been found rather more beautifully formed than her own. ° ' SILK. 49 All winter long content to dwell The tenant of his native shell.- The same prolifiq^ season gives The sustenance by which he lives, The mulberry leaf, a simple store, That serves him — till he needs no morel For, his dim'ensions once complete, Thenceforth none ever sees him eat; Though till his growing time be past Scarce ever is he seen to fast. That hour arrived, his work begins. He spins and weaves, and weaves and spins; Till circle upon circle, wound Careless around him and around, Conceals him with a veil though slight, Impervious' to the keenest sight. Thus self-inclosed, as in a cask, At length he finishes his task: And, though a worm when he was lost, Or caterpillar at the most, When next we see him, wings he wears. And in papilio pomp appears ; Becomes oviparous; supplies With future worms and future flies The next ensuing year — and dies! Well were it for the world if all Who creep about this earthly ball. Though shorter-lived than most he be. Were useful in their kind as he." All silk is essentially the same, although there is a great difference • in its value and quality, even from, the same breed of worms. The different appearances which it exhibits, under various forms, are owing to the processes which it undergoes by the silk throwster, to adapt it to the purposes of the arts. As used for needlework, it is to be met with under the following heads : it may also be found prepared for the manufacture of particular articles, such as mittens, stockings, &c. but they are merely modifications of the same, either by being finer or coarser, or more tightly or loosely twisted. By the terms fine and coarse, 50 SILK. are to be understood, not the quality of the material, but the size of its thread, as it may be composed of a greater or kss number of the filaments spun by the worm. MITORSE SIL15. Mitorse, or half-twisted silk, is one of the most useful kinds for needlework, and is similar to that employed by the Chinese for their double embroidery. Considerable practice and care, however, are requisite for using it with the perfection which so highly characterises the embroidery done with this description of material, by the French ; a species of work in which they excel all other nations. From the peculiar make of this silk, and the impossibility of keeping its twist always of one size, its defects are apt to become visible in the work ; but if this be executed with skill, the eifect is far superior to that of any of the fioss silks, nor is it so likely to become "finffy" in the wear. Mitorse silk is applicable to all kinds of embroidery intended as articles of furniture, or the nicknackeries, of the drawing room. It is decidedly the best and only kind which should be used, where the work is intended to be edged with a gold cord. For working waistcoats, and other articles of dress, it wiU be found to be supe- rior to any other. For embroidery on cloth, it surpasses in beauty every other description of material. Mitorse silk has lately been introduced with good effect in some parts of wool work, on canvas, for slippers, bags, and other small articles. NETTING SILKS. Netting silks, or Purse twists, are too well-known to need any description : they are made of various sizes, or, as they are termed, coarse and fine, and of different qualities. They are to be pro- n SILK. 51 cured of most colours, neatly rolled up in skeins. The FrenoB, perhaps, excel us in the manufacture of their cordonnets, which they generally wind upon reels ; their chine netting silks certainly surpass anything which has, as yet, been produced in England, both in the taste displayed in the intermixture of their colours, and in the brilliancy of their dyes ; but they do not always possess that regularity, either in size or quality throughout the length of the reels, as the English skeins. Purse-twists are used for various purposes besides those of netting and knitting. TJiey are well adapted for embroidery, particularly where mitorse silks would be found too thick; an4 may be used with excellent effect upon cloth or velvet, to produce the appearance of gold. The silk takes the tint of 'or mat so admirably, that, if the colour be good, it is almost impossible to distinguish , itj at a little distance, from gold : it is therefore well suited for the embroidering of altar and pulpit cloths, and other purposes where gold might be required, as, from exposure to the atmosphere, it does not change or tarnish. Prom the firmness of its twist it bears a closer resemblance to gold cord, or bullion, than any other description of silk. For tambour work or chain stitch, netting silks are also peculiarly adapted. Sewing silks are merely a fine description of netting silk, most commonly made of the inferior and less valuable portions of the same material. CROCHET SILK. Crochet silk, or Sole misserre — so called from its being only half tightened in the twist — is a coarse description of cordonnet, differing from it only in the mode of twisting. From its great flexibility and softness, it is more suitable for crochet work than 52 the common purse or netting silk, and has a more brilliant and glossy appearance than these usually possess,^-their lustre being deteriorated by the closeness with which their fibres are twisted together. DACCA SILK. Dacca silk, called by the French sole ovale, is denominated fine or coarse, according to the number of filaments of silk of which it is composed. It is used for all descriptions of flat embroidery, and also for some kinds of raised work, such as the small raised roses. It was formerly much more in demand than it is at the present day ; much of the embroidery for which it was then used being now executed in mitorse silk. For copying Berlin patterns in silk, or working on fine canvas, Dacca silk should always be chosen: it can be procured in a great variety of colours and shades, but not in the almost unlim- ited number of tints of German wools; — hence difficulties will sometimes occur in selecting these silks for the above purposes. Dacca silk may be used for intermixing with wools on fine canvas, where floss silk would be found too thick ; and when required very fine, its threads may be divided. Dacca silks are usually done up in knotted skeins, in contra- distinction to the floss silk, which is twisted into hanks.* * Dacca sUk— frequently but improperly termed Decca, or even Decker — derives its name from Dapca, a town of Hindoostan, situated in the eastern quarter of Bengal, of which provmce it was, vrithin the last century the capital. This town is very favourably stationed for an inland emporium of trade, as the Dacca river communicates directly, and not . circuitously with all the other inland navigation. Besides silks, it has a large trade in muslins which are among the most deUcate that are sought after in Europe It must SILK. 53 FLOSS SILK. Floss silk, or soie platie, is a thicker description of silk, and is used for aU kinds of tapestry work, wkerever silk is requisfed for heightening the lights, or for giving a more brilliant effect to gem patterns, and in other parts of worsted-work as fancy or taste may dictate. It is also much used for embroidery ; and may be employed for grounding canvas work, with a most rich find beautiful effect. It is manufactured of various degrees of fineness and coarseness, so that it may be adapted to the size of the canvas ; but pieces of work are seldom executed entirely in silk on coarse canvas. Floss and Dacca silks are those with which the common embroideries on articles of dress are generally done, the greater part of which are worked in Scotland. Floss silk, as it is prepared in England, is preferable, as it works smoother than the French ; a fact which the French themselves are now willing to admit. This description of silk, as also Dacca silk, must be manu- factured from the finest part of the product of the silkworm, as it does not undergo the process of twisting or organ^ining, which might otherwise hide any trivial defect in its quaKty. It is of necessity, therefore, when good, comparatively speaking dearer than some of the twisted silks. Floss silk, so denominated, for the purposes of needlework, must not, however, be mistaken for that known as floss by the silk-throwsters. The latter is more commonly called bourre de soie, or filoselle, and is that portion of ravelled silk thrown on not, however, be supposed that Dacca silk is imported from thence, the term only being applied to a particular manufacture of this material as first prepared in that part of India. 54 SILK. one side in the filature of the cocoons, but which is afterwards ce,rded and spun Jike cotton or wool, and forms the spun silk of commerce. This article, bpurre de soie, is sometimes used by the French for grounding pieces of work intended as articles of furniture, a purpose for which it appears to be well adapted, although it has perhaps, too much of the " cottony" appearance which distinguishes spun silk.* • The female peasants of Lombardy generally wear clothes of home-spun floss silk. Of late years, by improved processes, fine febrics of this material have been produced both in England and Prance. M. Ajac, of Lyons, presented, at one of the French national expositions of the objects of in- dustry, a great variety of scarfs and shawls, manufactured of iourre de soie, closely resembling those of Cachemir. Beside the product of the bomiyx, there are other materials closely resembling silk ; and attempts have, at various times, been made to render them equally subservient to the wants of man. It is well known that some species of spiders possess the power of spinning a bag somewhat sunilai in form and substance to the cocoon of the silk-worm. At the commencement of the last century, a quantity of these bags were collected by M. Bon, from which a kind of silk was manufactured, said to be in no way inferior to that of the seric insect. It was susceptible of all kinds of dyes, and might have been used for every purpose to which silk was applTcable. M. Eon had gloves and stockings made from it ; in fact, the only obstacle which appeared to prevent the establishment of any considerable manufacture from the silk of spiders, was the difficulty of obtaining it , in sufficient abundance. Vide Examen de la Soye des Araignees, par M. de Reaumur, in the Mems. Acad, des Sciences, 1712. The pernio,, also, a shell-fish found in great abundance in the Mediterranean, has been called the silk-worm of (lie sea. It belongs to the order of the vermes testacea. The generic character is : animal, a limax ; shell, bivalve ; fragile, upright, gaping at one end, and famished with a byssus or beard ; the hinge is without teeth, the valves are united in one. In common with the muscle the pinna has the power of spinning a viscid matter from its body in the same manner as the spider and caterpillar. The byssus, which it thus pro- duces, is scarcely inferior in fineness and beauty to a single filament of the comparatively minute silk-worm. The ancients appear to have been intimately acquainted with this fish, from the threads of which they wove a kind of silk : a robe of this singular material was, according to Procopius (lib. iii. c. 1,) the gift of one of the Roman emperors to the satraps of Armenia. It is SILK. 55 now manufactured by the Italians for its curiosity. A pair of gloves, made ftom the hy'ssus, were presented to Pope Benedict XIV. In Sicily, the pinna is the principal object of the fisheries, and several beautiful manufactures are wrought with their threads. It requires, however, the pfoduce of a con- siderable number of these fish to make even one pair of gloves or stockings : a pair of the latter, although, possessing great warmth, may, from theii extreme fineness and idelicacy, be' easily contained in a snuff-box of ordinary size. Aristotle gave the name byssus to the silken threads of the pimma marina ; but whether it was on account of its resemblance to the byssus of which some of the ancient gamlents were made, or whether this was the true byssus itself, is uncertain, as the term appears to have been applied indifferent- ly to any material that was spun and woven finer than wool. The description of the byssus given by Juhus Pollux (Ub. vii. c. 27) evidently refers to cotton. Aristotle also relates that the pinna keeps a guard to lyatch for her ; this he calls pimu>p?i/ylx, and describes as a little fish with claws like a crab. To this description the Greek poet Oppianus was indebted, when he says : "The pinna and the crab together dwell, For mutual succour, in one common shell ; They both to gain a livelihood combine, That takes the prey, when this has given the ^gn ; From hence this crab, above his fellows famed. By ancient Greeks was Flnnotores named." There is still another material — a most beautiful production of art, which claims our attention — glass. This has been spun into such extremely delicate threads, that it b woven with a warp formed of silk into the richest brocades, equal if not superior to those of gold and silver. The introduction of woven glass, however, does not appear to have met with the' success that was antici- pated, notwithstanding its brilliant appearance. It is objectionable as not possessing the same degree of flexibility as silk, or it might otherwise be used as a material for needlework with excellent effect. CHAPTER VI. (Spoilt anb Silver. "Then threads of gold both artfully dispose, And, as each part in just proportion rose, Some antique fable in their work disclose." Ovid. MONG the various materials employed in nee- dlework, the application of the precious metals is extremely curious. Gold and silver (more especially the former) were used in the earliest ages both for embroidery and weaving ; but we are not to understand from this, such gold threads as those now in use ; for the embroideries with gold mentioned by the ancient historians, were in fact worked with the pure metal, which, beaten into thin plates and afterwards divided into small slips, were rounded by a hammer, and then filed so as to form threads or wire.* The invention of em- • The method of using gold for needlework is thus mentioned in the twenty- ninth chapter of Exodus, in allusion to the ephod : " And they did beat the gold into thin plates, and cut it into wires, to work it in the blue, and in the purple, and in the scarlet, and in the fine linen, with cunning work." GOLD AND silv:$;r. • 57 broidery with gold, has been asoiibed to Attalus, king of Pergamus ; but the art had evidently been practised in several of the preceding centuriea The perfection to whicSb it had been ^brought is m|tmfest, when we are told that Agrippina wore a robe woven entirely of gold threads,* without any linen or woollen ground. The tunic of Hdiogahalus, as described by Lampridins,t was of the same material, as also that of Tarquinius Priscus, mentioned by Verrius.J We,, are again informed of a similar mantle taken from the statue of Jupiter, b;^ the tyrant Di'onysius ; besides otjiers, not to mention the fabulous 'Uet of the poet^, in which Yulcan. entrapped Mars and Y^niis, and of which it is related, that it was so extremely fine -that the gods themselves were unable to perceive it, — and this, w« are told, was forged by Vulcan on the anvil. There is no passage in any ancient author, in which mention. U made of the preparation of metal similar to the modern method of wire-drawing. Very few remains of ancient wire-work have~ been discovered. In the ;Dauseum at Portici, i^ a bronze head, which has fifty locks of wire as thick as a small quill^ bent into the form of a curl : and a small statue of Venus has golden bracelets, made of wire, round the arms and legs. From the appearance of some wire found at Thebes, however, Mr. Wilkinson is of opinion that we are almost justified in the conclusion, that , a mode of wire-drawing was known to the Egyptians ;^ and the * " Auro teXtili sine alia materie," Plin. lib. zzziii. c. 19. t Vit. Heliogab.' c. 23. - I Flin. lib., xxziii. c. 19. S That the Egyptians had arrived at great perfection in the art of making gold thread or wire, is evident ftom its being sufficiently fine for weaving vrith linen, cloth, and for embroidery. The exceeding delicacy of the linen corslet of Amasis, as mentioned by Herodotus (lib. iii. c. 43,) on which numerous 58 GOLD AND SILVER. omissibn of every representation of the prpcess, in their paintings, cannot be adduced as an arguriient against the fact, since they have also failed to depict the casting of metals, and various Other arts with which they were undoubtedly acquainted. Gold thread appears to have, been made entirely Of inetal, even to the time of the last Roman emperors ; nor are there any instances of flattened wire covered round silk or thread, or of silver or other wire gilt, in the ruins either of Herculaneum or Pompeii. Gold and silver threads, as used at the present day, are generally composed of a thread of silk, round which an extremely thin flat- tened wire of the nietal is spun.* Gold itself is never used for this purpose, but a silver or copper wire gilt,t — the former being of course the best and most expensive. For silver thread, either, ^ver itself, or copper plated, is used in a similar manner. ' With the material thus .prepared, of various sizes, the different articles we meet with are manufactured, such as laces, fringes, tassels, cord, &o. The finer kinds of work in gold and silver were for a length of time best executed in France and Italy, It is said that the first machine for wire-drawing was . invented by Rudolph, at figures of animals were wrought in gold, must have required a proportionate degree of fineness in the gold thread used for that purpose. * A silver ro^ is encased in gold leaf, and this compound cylinder is then drawn into round Wire down to a certain size, which is afterwards fiatted in a rolling milL Thi^ flatted wire' is then. wrapped or laid over a thread of yeW low silk, by twisting with a wheel and iron bobbins. By the aid of mechanism, a number of threads may thus be twisted at once by one moving power. The principal nicety consists in so regulating the movements, that the successive volutions of the flatted wire on each thread may just touch one another, and form a continuous covering. By the ordinances of France, it was formerly required to be spun on flaxen or hempen threads. t The inferior manufactures of gold, or copper gilt, are frequently called Mosaic gold. GOLD AND SILVER. 59 Nuremberg, in 1360.*- Anthony FourniBr, a Frenchman, brought an improved krt of drawing fine wire to Nutembergt , in 1570, where, a few years afterwards, an artist of the name of Hageir sheimer, or Held, a citizen of the same town, received an exclusive patent for its manufacture for fifteen years, which term was afterwards doubled. His patent also, by a grant from the emperor Rudolphus II, in 1608, iiicliided the manufacture of copper wire, gilt or plated with silver. In 1602 this patent was renewed for fifteen years more by the emperor Matthias, and ten years afterwards, was converted into a fief to the heirs male of the family ~ of Held. AJl the wire made in England was manu- factured by hand until the year 1565, when thp art of drawing with mills was introduced. Jacob Momma and Daniel Demetrius first established a manufactory for wire drawing at Esher : and Anderson:}: says, that the first flatting mill was erected at Sheen near Richmond, in 1663, by a Dutchman, who began to prepare fine, gold and silver, such^ as could be used for spinning round * In the fifteenth century, there appear to have been flatting mill's in several other places besides Nuremberg. In the ■ town-book of Augsburg, under the year 1,451, is the name of a person called Chunr. Tratmuller de Tratmul, as a wire drawer. . Vide Beckmann, vol. ii. p. 241. t Nuremberg, during the fifteenth and sixteenth centuries, attained the height of its wealth and prosperity. It was the chief mart and staple place for the produce of Italy and the Levant, which it' received principally from Venice and Genoa, and distributed over the jiorth and we^t of Europe. But commerce and the carrying trade of Europe, were by no means the only sources of its Wealth ; since, in the extent and celebrity of its manufactures, it deserves to be considered as the Birmiilgham of the period. Its E(rtisans — ^inany of whom may morfe properly be styled artists, especially the workers of metals, siiiths, ar- mourers, cutlers, casters in bronze, and goldsmiths — ^were - esteemed * the most cunning and skilful craftsmen in Europe, and their productions highly prized ; the cloth 'Weavers and dyers were likewise in high repute. Vide Murray's Hand' book, Southern Germaimj. ■ ■ } Geschichte des Handels, vol. v. p. 484. 60 GOLD AND SILVER. silk for weaving, which, before that period, had been manufactured only on the Continent. The first object in the manufacture of gold thread, and one of the greatest consequence, is the choice of the purest gold ; for on this depends the beauty and durability of the colour of the articles prepared from it. With regard to the silver which forms the body of the wire, it is said to be greatly improved by being alloyed with a small quantity of copper. The proportion of gold to be used in the gilding was, until of late years, regulated by act of parliament. It is amazing to what a degree of fineness the gold is drawn, yet it still keeps firmly together without showing the least appearance of the silver beneath. The various names under which the manufactures of gold and silver, as employed for needlework,* will be found, are, — passing, cord, braid, bullion, (both rough, smooth, and checked), spangles, paillons, lames, and beads.f Passing — of gold or silver — is a smooth thread, of an uniform size, closely resembling a thin metallic wire. It is the finest material of this kind manufactured, and peculiarly exhibits the perfection to which the art of -making gold tliread has been brought. It may be used in the saine manner as silk for flat embroidery, the needle being threaded with gold in the usual way. Passing may also be employed^ for knitting, netting, and, • The Ciiiiese, instead of flatted gilt ■wire, generally employ slips of ^t paper, with which they interweave and embroider their stuffs, and twist upon silk threads. t There are various technical terms for some of these, with which it is im- necessary to trouble the reader. GOLD AND SILVER. ' 61 crochet. It is made of two or three diiferent sizes; and is dis- tinguished from gold cord by the closeness with which the flat- tened wire is spirally twisted round the silk, and from its being formed of only one thread. For embroidery with passing, the needle should be round, large in the eye, , and of sufficient size to prevent the fraying of the gold as it is passed backwards and forwards through the work. The Turks eiiabroider with passing on morocco leather in the most beautiful manner. ' GOLD CORD. Gold or silver cord is a twist composed of two or any other number of threads. The threads' are formed by having the flattened wire wound round them in a contrary direction to that of passing, in order that it shall not ravel by the second process of twisting. For the purposes of needlework, it is seldom emploved of a larger size than two, three, or four threads. Gold cord may be' used for edging braid work and, flat, embroidery; it may also be em- ployed for working patterns in a similar manner with braid. It should be sewn on with a fine silk of the same colour, taking care that the point of the needle does ' not penetrate the metallic surface so as to chip it, and betray the silk beneath. The needle -should be held in as horizontal, a position as possible, and passed between the interstice's of the cord, slightly taking up a thread or two of the surface it is intended to ornament. Gold cord is much introduced with wool in some kinds of canvas work, but its applicability or merit must be determined by the approbation pf those who use it. It is, however, to be admitted, that as a ground, for small articles of extreme luxury, it. may be employed with beautiful eflect ; and, if properly managed, it is not so exjjensive as might be imagined. 62 GOLD AND SILVER. GOLD BRAID. Braid is a kind of plaited lace, made of three or more thieads, the application of which is too well known to need comment. The judgment of the needlewoman must direct her iii the selection of, the quality and make, as best suited to the purposes for which it is intended. If to work on velvet, a roiyid fuU close make is preferable. It is made of various widths and qualities ; mosaic, or copper-gilt, being the least expensive, but, at the same time, the least durable. BULLION. Bullion is manufactured in pieces of about thirty-eight inches' in length. It is' composed of a -fine wire so exquisitely twisted, that it forms a smooth, round, elastic tube, which may be cut with the scissors into th? lengths, required. There are three kinds — the rough, the smooth, and ^he checked — and these, are frequently used together in the same piece of work ; for instance, suppose a large letter were' to be embroidered in bullion, — the drawing is made, tjie surface raised with cotton, and the bullion cut into pieces of the requisite size; three .stitches might be made with the smooth, two with the rough, two with the checked, then S(gain two with the rough, and three with the' smooth ; this would form a kind of pattern, and very much enrich the appearance of the , letter. — In. some descriptions of embroidery, the stems of flowers are worked with gold bullion: but the exe- cution of a correctly twisted stem with this material can rarely: be accomplished but by those who have devoted to it both time and attention. ' ' . , . ~f GOLD AND satVER. 63 SPANOLES. Spangles, or paillettes, are small pieces of silver or other metal gijt or plated, ^ cut into various forms, more generally rounded, and pierced in the' centre with a hole, through which the silk is passed which attaches them to the work. The manufacture of spangles is a curious process; they were formerly in great demand, hut are now seldom used , except for ornamenting fringes and tas?els. The value of spangles depends on their brilliancy and colour and the quantity of gold consumed in the gilding of them. LAMA AND FAILLON. Lama, or lame, is a gilt or plated sheet of extremely thin metal, which may be cut into strips, i?r any shape desired, either with the scissors or a punch. It is employed for the ornament- ing of ladies' dresses, and for various embroideries oh crepe or net. The celebrated Indian ipushns from Bengal are sometimes worked with it. An imitation of lama is ,well known under the name of tinsel. This material when cut into very small pieces by the punch is termed paillon, — the general form in which it is usftd for needlework. It is also manufactured of various colours. CtOLD BEADS. Gold beads are either cut or plain; they differ very materially both in quality and value, according to the quantity of gold em- ployed in theif manufacture. They are very prfetty auxiliaries in all .kinds of gold work, and when gold is introduced with 64 GOLD AND SILVEK. wool and canvas, are the best and most suitable; as tbey do not readily tarnish, and, if securely sewn on are very durable. Gold beads are used for all kinds of knitting, netting, and crochet work with silk; as also with beautiful effect when in- termixed with coloured beads,— a description of work we shall more particularly ^escribe in a subsequent chapter. GOLD FRINGESi Gold and silver fringes are made of all widths and qualities; if applied with taste, they certainly form one of the most elegant iescriptions of trimmings for ornamental needlework. Even in this climate they will wear for a great length of time ; and they might be' more generally applied, as on the Continent, in the houses of the wealthy, to the mounting of furniture, such as velvet cushions, and other articles of a decorative character. The above are the different materials employed for working in gold and silver which it is necessary to enumerate. The various kinds of laces and other manufactures employed for mili- tary purposes, together with this description of embroidery, form a totally different branch of the art, which does not come within the scone of those who pursue needlework as an amusement. CHAPTER VII. much in vogue. Great numbers of these patterns are exported to America, and to the various countries of the Continent.* Berlin patterns, although a production of recent date, have be- come an article of considerable commerce in Germany, where a large amount of capital is employed in their manufacture. They are either copied from celebrated pictures, or (as is more fre- quently the case) from the newest and most favourite engravings published either in England, France, or Germany, Many sub- jects, such as flowers and arabesques, are designed expressly. They are first drawn in colours On quadrille or foint paper,^ and as the excellence of the pattern depends principally on the first de- sign, it may readily be imagined that artists of considerable talent are required for their execution. From this drawing, an engrav- ing or etching is made on a copper-plate, which has previously been ruled in squares of the required size, corresponding to the threads of the canvas: various marks and hieroglyphics are engraved on each check or square, which are to serve as guides • The proportionate demand in other countries may be stated according to the following order of their' respective names :— Holland, Belgium, Switzerland, Italy, Spain, and Portugal. t ,Paper marked out into squares of a regular size. , 78 BERLIN PATTERNS. for those who afterwards colour the impressions on paper; the part for each colour, or separate shade of colour, being marked with a diiferent figure. The pattern, when in this state, bears a very great resemblance to those published in old books on needlework, above two centuries since ; the present mode being, in fact, merely an improvement on the designs which have for years been used by weavers for their figured stuflEs.* The process of colouring these patterns is curious ; the various tints are quickly laid on, commencing with each separate colour on several patterns at the same time, each check, or continuous line of checks, according to the engraved figures, being coloured by one stroke of the pencil, the point of which is kept very square, and of a size adapted to that of the check of the en- graving. Practice alone renders the touch perfect; and it is surprising to see with what rapidity and exactness each tint after another is laid on. If we for' a moment reflect on these difierent processes, and the time they must necessarily occupy, the expense of the design and the engraving, and that each square is coloured by hand, we cannot fail to be surprised at the small cost at which they are to be procured ; and our won- der will not be diminished when we are told, that in some of these patterns there are considerably above half a million of small squares, like those of a mosaic, to be separately coloured. All Berlin patterns are equally adapted for working either in cross or tent stitch, though great judgment is requisite in choosing them. Patterns intended to be enlarged by the working, should be closely shaded, or the colouring, being dispersed, will appear meagre. Difficulties frequently arise from working these designs * We have several impressions of the patterns in this first stage, which have been Idndly presented to us by the various manufticturers. BERLIN PATTERNS. 79 without previously fixing on the colour of the gwiinding ; this should always be done in the first instance, as a pattern, to work well, must always be shaded, or sortid, with strict attention to the colour of the ground, — a maxim which is but too frequently neglected. ' Most of the figure patterns may, with a fair knowledge of painting, and a just idea of light and shade, be much im- proved, as many of them are extremely correct in the outlines, although the colouring of most is harsh and glaring in the extreme, ■ — a defect which it is the province of the expert needlewoman to overcome ; in this respect, however, there is frequently a great difference even in the colouring of the same design. In sorting the wools for working historical subjects, attention to a few of the common rules of painting will be found useful in correcting some of the more gross of these errors, such, as for instance, the back and foreground being of the same depth of shade. — " Know first, that light displays and shade destroys Refulgent Nature's variegated dyes. Thus bodies near the light distinctly shine With rays direct, and as it fades decline."* Black should never be used next a high light : one-eighth of every object has a high light upon it, one-eighth is darkest shadow, and six parts U^t and half tint. No", objects in nature, are positively blue, red, or yeUow, — owing to two causes : the one, that most objects reflect the sky ; the other, that the atmosphere between the eye of the observer and the object, causes the bright- ness of the tints to be deadened : it hence arises, that care must be taken to avoid the immediate contact of bright colours with each other, where any attempt is made to imitate nature, — the * Du Fresnoy, translated by Mason. 80. BERLIN PATTERNS. contrary of wtich, it would appear, was the point to be arrived at in some of the Berlin patterns. " Chose such judicious force of shade and light As suits the theme, and satisfies the sight; Weigh part with part, and with prophetic eye The future power of all thy tints descry ; And those, those only on the canvas place, Whose hues are social, whose effect is grace."* In some patterns, when harmony of colour alone is to be sought, it is easier to avoid these defects ; but a few of the more neces- sary rules to be observed, independent of the guidance of taste, may not be unacceptable. Scarlets and yellows assort very ill, and browns and lilacs are also lost upon a scarlet ground; blues and greens are bad together, as well as yellow and green ; on the contrary, almost all the class of drabs and fawns (called by the French ecrus, and used by them with such exquisite taste), are good with blue ; the colder and greener shades with lilacs ; the deep rich brown-toned drabs are beautiful with yellow ; pinks and greys are good ; scarlets and slates ; greens and red browns; greens and maize, with some shades of salmon colour,; blue with maize; blac with green; and blue with claret, — will all be found generally to please the eye. The greatest difficulty which we have to encounter in selecting the colours for figure patterns, is the face ; so many totally dif- ferent colours and shades are here required to produce, when worked, what should appear to be almost but as one — and here the skill of the needlewoman will be fairly put to the trial. The skies and clouds are also difficult to manage; the greatest nicety * Du Fresnoy, translated by Mason. BERLIN PATTERNS. 81 being required in the . Wending- of the various colours, and to avoid the lin&y appearance which will but too frequently occur. ■^ Berlin patterns can be copied on clpth, satin, or other materials, by stretching a- canvas over them, and working through the' threads, which are afterwards to be drawn out On cloth, however, it " is better not entirely to withdraw the threadsj but only to cut them oif close to the work ; by this means, when mounted, it will have a much richer and closer appearance, and if intended for articles- of furniture, will wear much better. In grpups of flower^, the smaU interstices of ground which sometimes appear betweefn the kavesj. are better -worked with a wool exactly corresponding to the colour -of the cloth, than to out out the threads, — an uniform surface being thus 'given to the whole work. For workiiig these patterns on , Berlin, or silk canvas, the same rulesi are applicable as for canvas inteaded^ to be' grounded; -but it may not be improper to remark, in this place, on a method of mounting sniall pieces of work on Berlin canvas, which has been copied from the Germans: namely, that of placing a painted sky behind the canvas. , Good needlework requires no foreign aid for its display ; but here, on the contrary, instead of receiving any suph, a mean and paltry appearance is frequently given to it. Vignette and flower pieces &c. even when worked on white silk canvas, may sometimes be appropriately- Imed with coloured satins or velvets, to take away from the otherwise cold appearance of the ground ; but the lining , should always be' of one uniform colour. Coloured silk canvas should "ha lined with a coloured ground in accordance with their several tints. ', A few coloured paper patterns are .published at Vienna; they consist principally of flowers, birds, and arabesques : some of these surpass in beauty of design and colouring (being more true to na- ture^ any of those produced at Berlin, particularly when worked. 11 82 BERLIN PATTERNS. We may, for instance, mention the pattern of the Parrot and Basket of Flowers, the Cockatoo and Flowers, and a most beautiful Group pf Flowers, principally tulips, in a basket. Attempts have been made, but unsuccessfully, to produce similar patterns, at Dresden and Nuremberg, and also at Paris ; but nothing more wretched, either in d^ign or execution, can be conceived. It may not be uninteresting to observe, that the work executed from these patterns in England, far surpasses anything of the kind usually done on the Continent. In Germany, the work done for sale from Berlin patterns is frequently more defective in point of colouring than the patterns themselves. We formerly procured the greatest ^art of our most beautiful needlework from France and Germany ; but the art has, within the last few years, so greatly improved in England, that ere long we must be the exporters. The French are behind us in all kinds of canvas work, — with their embroidery we can seldom compete.* * We are indebted to Mr. Wittich for the following facts relative to the history of Berlin patterns. — About the year 1805, a Mr. Phillipson published some patterns, which, being badly executed and devoid of taste, did not meet with the encouragement he expected. In 1810, Madame Wittich, — a lady of great taste and an accomplished needlewoman, justly appreciating the advantages the art would derive from such designs, and anxious that this species of amuse- ment for ladies should be more widely spread, -^prevailed upon her husband, o priritseller of note at Berlin, to undertake the publication of a series of these patterns ; which he did, got up in so superior a manner, that many of the first patterns which were issued from his establishment are now in as ' much demand as those more recently published : in fact, we very much doubt whether any, since published by other houses, have ever equalled, either in design or colour- ing, the earlier productions of Mr. Wittich. The designer, and engraver of these patterns are of course paid as artists in proportion to their talents ; the tost of the first coloured design on point paper varying froni three to thirty or forty guineas, but, in some instances, as in the large pattern of Bolton Abbey, the Garden of Boccaccio, &c. it is considerably more. The colouring a:fibrds employment both for men, women, and children : a dozen or half-dozen copies are given to each person at a time, With the original BERLIN PATTERNS. 83 design as a .guide. An industrious man seldom earns more than one thaler, or three shillings, per day; the children, from six to eight silber-groschen, or from 'Sixpence to tenpence English. From the great increase of the trade of late years, and the number of new houses .that have sprung up, it is impossible to give (as a statistical fact) any idea of the number of persons employed in their manufacture. Besides the hands engaged in the preparation of these patterns, they have been the means indirectly of affording employment to nu- merous other persons, by creating a demand for new and various articles in other branches of trade ; such as in the preparation and dyeing of wools and ' silks, the weaving of canvas, &c. whilst others, principally females,, are engaged in working the designs,' CHAPTER X. JDrotDing ^atutns for einbroibi^ra, JSrttibing, etc. " Artist, attend — your brushes and your paint" COWPEH. " Whether the shapeless wool in balls she Wound, Or with quick motion turn'd the spindle round, Or with her pencil drew the heat design, , Pallas her mistress shone in every line." Ovid. ONSIDERABLE experience and skill are requi- site for the designing of suitable patterns for needlework, and drawing them on the material upon miich they are intended to be worked, — the most essential, as well as one of the most difficult parts of the preparatory process. Any person with moderate talent for drawing, can easily accomplish the operation of tracing; but it requires a combined knowledge both of painting and needlework, tq perfectly adapt the design to the purpose intended, as the draughtsman might portray hig subject in such a manner, that however beautiful and correct it might be, it would be impossible to imitate or express it in embroidery. . DRAWING PATTERNS. 85 The design being carefully ' and distinctly drawn on paper, it must be neatly pierced with a steel point into holes : • the pattern thus prepared must be laid on the cloth, velyet, satin, or whatever may be the material intended to be worked upon, care being taken that both are perfectly flat and even, and that the pattern is placed in the exact position it is intended to occupy, and firmly kept in its place by means of weights, as the slightest shifting of the pattern would entirely. destroy the effect: pounce must then be rubbed over it, so as to penetrate equally 'through the pierced holes. On removing the paper (if the operation has been skilfully perfornied), the design will, be found to. be 'as beautifully and , as distinctly marked out as if it were actually printed on the fabric, The design thus produced on the material must be traced pver with the proper liquid, using a sable or goat's hair pencil for the purpose, — a caitiel's hair pencil, especially if it be for drawing on cloth, being too flexible. ' Drawing liquid is a preparation the best adapted fpr tracing these designs, as it can be prepared of any colour, and is equally adapted foj every description of material that can be Worked upon. All mixtures of gum and white lead, or (Jther colours, should be especially avoided, as they produce a rough, uneven surface, and are so easily rubbed ofi", that they injure the ^ilks used in em- broidery ; and in braiding, the pattern of one part' is frequently worn off while working the other, by the mere rubbing of the fingers.* When large' patterns are required to be drawn, such as for table-cloths, ^ ottomans, and the like, where the same pattern, or ♦ Drawing litjuid is the composition made liy pattern drawers to trace their designs ; and we condlude that each designer has some different preparation, the excellence of which is best tested by its tenacity, and ^the clejirness of the outline which can be proiluced with it. 86 , DRAWING PATTERNS. its leve^se, is intended to be repeated, it will be found a gieat saving both of time and trouble, to draw one division of the design only on the paper, with certain corresponding guides or marks, which are also to be pounced, in order that the pattern may be again placed in its exact relative position, to continue or repeat the other portion of the design, which has' been previously pounced. This method, if followed with adroitness, will produce a more correct pattern when filiished, than if the whole design had been drawn, and pounced at the same time.* In drawing a design on paper, when the two halves, or four quarters or . corners,, are intended to correspond, much time is saved, if, instead of repeating the drawing, the paper be folded in two or four portions, taking care that the. folded edges be exactly parallel to each other : the pattern being drawn on one division of the paper thus doubled, the holes are to be pierced through the several portions at the same time. , On opening the paper, a more correct design will be found to have been produced, than if each portion had been separately drawn and pierced. — This mode, when the design will admit of it, may be advantageously adopted, even where the paper would require to be doubled six or eight times, provided care be taken to keep the several parts exactly folded. MM. Revol and Regondet obtained a " Brevet d' Invention" for a method of pouncing and tracing patterns, which deserves some notice : — " EUe consiste a remplacer la poudre de charbon, la craie, ou la chaux vive dont on se servait autrefois, par une poudre resineuse tres fine. On ponce avec cette poudre comme a. I'ordinaire, puis on la fixe promptement, en passant * This process is sinular to that employed for blqck-printing for calicoes, paper hangings, 8m. where it is requisite to repeat the same pattern, or to print the different parts of the pattern with various colours. BRAWHJG PATTERNS. 87 I'^toffe au-dessus ■ d'un brasier peu -ardent, ou bien en promenant lin fer - ctatid a repasser Bur cette . etoffe recouverte alors d'un papier blano. Cette derniere mSthode, d'un usage phis sCir, a I'avantage de prodtiire un dessin correct sut le papier, en m^me terns qu6 de fixer ce dessin irrSvocablement sur V&toSe. On conqoit aisement que la cbaleur fond la resine, que celle-ci s'attache au tissTij et que par consequent le dessin est solidement impriing. ^ Les personnes soigneuses compreiidrcint aussi combien il est im- portant d'eviter de repandrfi de cette poudre sur I'Stoffe ailleurs que dans les endroits que la broderie doit recouVrir. Elles pensent avec raison qu'il en resulterait, par Taction de la chaleur, des taches qui ne s'enleveraient que comme les taches r'esineuses ordinaires." For embroidering in satin-stitch, the pattern, traced in bkck on paper, may ' be tacked under the material, when it is sufficiently transparent to admit of its bei^ig seen, as in muslins, cambric, &c. This Seems the easiest and most delicate way of followiiig the design; but where the material is too thick, the , pattern may be drawn upon it. With indigo, mixed with a sufficient quantity of gum to prevent its " running.^' The lighter these lines are drawn the better, as they are the more easily effaced by washing.* There is great difficulty in changing the ' proportions of patterns: those which are much admired when small, frequently lose all their delicacy and taste when enlarged; and on the contrary, bold and elegaUjt designs are quite lost when reduced. This should be pointed out by the designer, who should both consult and direct the taste and judgment of the embroideress. - * The following preparation is frequently used for this purpose. A table spoonful of spirits of wine, in which are dissolved sugar and gum arable in equal parts, about as much as would lay upon a sixpence, coloured with indigo. . For common purposes, however, a cake of water colour indigo will be found equally useful. 88 • DRAWING PAXTBENS. With, respect to the various materials used as the groundwork for embroidery and braiding, on which^the design is to be traced, little need be said. Satiii, from the glossy smoothness of its sur- face, is perhaps the most difficult to draw upon; the pencil being apt to follow the straight threads of the warp, thus rendering it less .easy to produce with -gracefulness the curved lines, as on other materials. In pouncing, velvet requires the greatest care, as from the elasticity of its pile, the paper pattern has a ten- dency to move ; great care, therefore, i,s required, in order to adjust it properly and firmly in its place,- with the weights. The richer the velvet — the pile being closer , and slortei— the greater is the facility with which it can be pounced, and drawn upon; in fact, none but the best velvets should ever be used either for embroidery or» braiding: — this latter remark is equally applicable to cloth. A g6od knowledge of drawing; and experience, will alone make a proficient in this department, which, at first sight may appear to be merely mechanical. To many persons, especially the artist, some of the above pro- cesses may appear tedious and unnecessary, as we frequently see some of the most beautiful patterns drawn on the , materials, at once, without any previous design or pouncing being required. Such patterns are of course the most valuable, as being unique.* ' Patterns may ajaj be drawn on paper, an(J the lines cut out in a way similar to that adopted for stenoilllng plateS, but the process is both tedious and difficult. CHAPTER XI. 3mpUtn«nts. "Implements of ev'iy size, And formed for various use." COWPEB. NEEDLES. HEN, as has been justly observed, we consider the simplicity-j smallness, and moderate price of a needle, we should naturally be led to suppose that this little instrument requires neither much labour nor complicated manipulations in its con- struction; but when we leatn that every sewing needle, however inconsiderable its size, passes through the hand of onS hundred and twenty different operatives, before it is ready for sale, we cannot fail to be surprised.* * It would l-e tedioxis to enter into the minutisa of the manufacture of these small but important implements, but a few cursory remarks on one or two processes through which they pass may not be uninteresting. When the wire which is to form the needle has been pointed, and flattened at the other 13 90 IMPLEMENTS. There are a great variety of needles, but it will be necessary for us only to mention those which are more immediately em- ployed for decorative needlework. These are known by the names of tapestry needles, sharps, and long-eyed sharps. The tapestry needle is blunt at the point, with a long oval eye; it is made of various sizes ; those in common use, being from numbers fourteen to' twenty-five, and are applicable to every de- scription of canvas work. They should be manufactured of the extremity to fonn the head, it is handed to the piercer. This is commonly a child, who, laying the head upon a block of steel, and applying the point of a small punch to itj pierces the eye with a smart tap of a hammer, ap- plied first upon the one side, and then exactly opposite upon the other. Another child trims the eyes, which he does by laying the needle upon a lump of lead, and driving a. proper punch through Its eye; then laying it sideways upon a fiat piece of steel, with the punch sticking in it, he giyes it a tap on each side with his hammer, and causes the eye to take the shape of the punch. The operation of piercing and trimming the eyes is performed by clever chil- dren with astonishing rapidity, who become so dexterous as to pierce with a pwndi a hwman hair, and, thread, it with arwther, for the amusement of visitors. The next operation makes the grove at the eye, and rounds the headj they are then tempered, polished, &c. and thrown as a confused heap, into a some- what concave iron tray, in which, by a few dexterous jerks of the workman's hand, they are made to arrange themselves parallel to each other. They are afterwards sorted and divided into quantities for packing in blue papers, by putting into a small balance the equivalent weight of one hundred needles, and so measuring them out without the trouble of counting them individually. It is easy to distinguish good English needles from spurious imitations ; be- cause the former have their axis coincident with their points, which is readily observed by turning them round between the finger' and thumb. The construction of a needle requires, as already stated, about one hundred and twenty operations; but they are rapidly and uninterruptedly successive: a child can trim the eyes of fijur thousand needles per hour. When we survey a manufacture of this kind, we cannot fail to observe, that the diversity of operations which the needles undergo, bears the impress of grfeat mechanical refinement. In the arts, to divide labour is to abridge it; to multiply operations is to simplify them; and to attach an operative ex- clusively to' one process, is to render him much more economical and ■poi\i!A\\e.— Abridged from. Dr. Ure, IMPLEMENTS. 91 finest steel, but they are occasionally made of gold or silver for use in warm climates. The same kind of needle made with a sharp point, is employed for chenille embroidery, and for working on cloth through canvas. The sharps are the common sewing needles, with round eyes ; they are made of various qualities, both as to steel and work- manship. There is also a similar kind of needle, but shorter, termed blunts ; the first are useful for all general purposes, the latter are principally employed by the tailor, the glover, the shoe binder, and workers in leather. They are made in sizes numbering froin one to fifteen. The truer the eye — whether diamond-shaped or round — the less it cuts the thread, and the easier it passes th^oughjthe work. Needles called long-eyed sharps, having a long eye, are used for embroidery both in silk and wool — those most generally employed, number from one to ten. Darners are a similar kind of needle, but much longer than the former ; they are mostly applicable to domestic purposes. Aiguilles a I'Y grec, are used in France for embroidering, but those familiarly known as Whitechapel needles, are better.* * The needles used in ancient times, were principally of bronze : Pliny mentions them of this metal. Sewing and netting needles have been found both at Herculaneum and Pompeii ; and several are preserved in the Hamiltcnian sind other collections. On the two marbles brought from the neighbourhood of Amycte in Lyconia, by the earl of Aberdeen, are represented, among other requisites for the toilet of a Grecian female, combs, pins, needles, and bodkins. See Walpole's Memoirs relating to European and Asiatic Twrlcey, p. 244. It is supposed that needles, similar to those now employed, were originally made in Spain, from the circumstance of their having been called Spanish needles when first used in England, although the art of manufacturing them was brought into this country from Germany. Needles were first made in England about the year 1565, by Elias Crawse or Krause, a German^ who settled in London. The reputation long enjoyed by Whitechapel needles, points out the particular locality in London where the manufacture was canied ou. The principal needle manufactories are now at Redditch in "Worcestershire, at Hathersage in 92 IMPLEMENTS. KNITTING NEEDLES, OR PINS. Knitting needles are manufactured of steel, ivory, boxwood, and whalebone, in sizes varying from that of a fine sewing needle to three-quarters of an inch in diameter, and of proportionate lengths. Some have a very small ivory ball at one end to prevent the work from slipping oif, but with this exception, they are always pointed. The size of steel knitting needles is designated by their numbers, which vary from 6 to 25, and are determined by a filiere or gauge ; but as all writers on knitting do not appear to employ the same gauge, it frequently leads to error, and will con- tinue to do so until' there be some general standard. NETTING NEEDLES AND MESHES. For netting purses, and other small articles, steel needles and meshes are always employed, and those of the highest finish are to be preferred; The mesh or. pin, which determines the size of the netting, is a plain polished piece of steel wire of any suitable diameter, and like the knitting-needles, measured by a gauge. The needle is of flattened wire, and cut into a fork of two prongs at each end, the ends of the prongs meeting and forming a blunt point, which will allow of it being passed , either end foremost through a small loop. The silk is wound upon the needle, by passing it alternately between the prongs at each end, so that the turns of the silk may be parallel to the ' length of the needle, and be kept on it by the forks. Derbyshire, and in Birmingham and its neighbourhood. — Bush Lwne in London seems to have been formerly famous for very small nfeedles ; — " And now they may go look this Bush Lane needle in a bottle of hay." — Lenton's Leas t. 9. IMPLEMENTS. 93 The excellence of the needle depends upon the points of the prongs heing true and close together. CROCHET AND TAMBOUR NEEDLES. Crochet needles, sometimes called Shepherds' hooks, are made of steel, ivory, or box-wood. They have a hook at one end similar in shape to ihe barb of a fish-hook, by which the wpol or silk is caught and drawn through the work. These in- struments are to be procured of various sizes, but their excellence depends more on the proper fashioning of the hook, than on the material of which they are manufactured. The smaller sizes, and those used for tambour work, must necessarily, be of steel ; these are frequently made of the length of an ordinary sized sewing needle, that they may be fixed into a handle, which, by means of a small screw, is capable of holding needles of various sizes. The larger steel crochet needles, are sometimes made with a fixed ivory or ebony handle, — others, entirely of steel. They are generally about four or five inches in length. Ivory needles are also made of various sizes, and with differently formed hooks, accord- ing to the dimensions of the thread they are intended to carry. FILIERE. A filiere or gauge, is a Steel instrument with graduated notches round its edges, distinguished by different figures. It is used by wire-drawers for ascertaining the sizes of their wires, and is ap- plied in a similar manner, for measuring the diameters of netting and knitting needles; thus,— when speaking of the relative size of these needles, they are frequently designated by their correspond- 94 IMFLEMENTS. ing numbers; but, as has been befdre observed, there appears to be no universal standard. ^ n ^ ^ EMBROIDERY FRAMES. t We do not acknowledge as an embroidery frame, any of a less simple construction than the flat or four-piece frame, composed of two bars, to which the webbings are attached, and two side laths, with holes pierced at regular distances for receiving the pegs to keep the bars in their right position. These are made of various sizes, varying from four inches to three yards in length, and are proportionably useful for very small pieces' of work, — when they may be held in the hand, — or, for pieces of the greatest magnitude, when their size and weight become suf- ficient to keep them steady, placed upon trestles. iMrge frames are useful, for working satin or velvet where it does not admit of being rolled. This description of frame is the least expensive, being formed principally of common mahogany, cedar, or ^eech. The knee, or table fraine, has a flat piece of wood forming the stand, whereon two upright pieces are fixed to support the frame, which can be adjusted at any angle required, by means of thumb- screws attached to the joints. These frames are generally made IMPLEMENTS. 95 from eight to twenty-seven inches in the webbing;* they are adapted for work of all widths within these limits, and of any moderate length, where it will not injure by rolling round the bars. The standing frame consists of two upright pieces with feet placed on the ground, connected together by a cross bar or stretcher ; these support the frame, which is fixed on the top in the same manner as that already described. They vary in size, from twenty inches to a yard and a quarter. Frames of this kind are sometimes made with toothed wheels and other contri- vances, for rolling and unrolling the work without taking it out; but they are apt to get out of order, and are more clumsy and less suitable for ladies, than those of a more simple con- struction. Both standing and table frames are frequently made of the finest and most expensive woods, when they may be rendered most elegant pieces of furniture for the boudoir. The upright frames have sometimes baskets attached at either side, — at once convenient and ornamental. • Embroideiy frames are always measured by the length of their webbings. 96 IMPLEMENTS. Embroidery frames require to be well made, tbat wben screwed together they may be perfectly firm and square. When, of a moderate size, thcJse in which the side-laths or cross-bars are formed into screws are preferable, as they can be more readily, and with greater precision, adjusted to the required width, by means of the nuts. The greatest essential in a good frame is, that the cross-bars, as weU as the rollers on which the webbing is fixed, should be sufficiently stout to prevent its twisting or bending when the work is tightly stretched in it.* TAMBOUR FRAMES. Tambour frames, whereon the material is stretched like the parchment of a drum — ^whence their name — are now seldom em- ployed, although formerly much used when tambour-work was the fashion. They are formed of two hoops, covered with cloth or baize, the material being stretched on the inner, and kept in its place by the outer hoop, tightened by means of a thumb-screw; it is, however, impossible to secure it as firmly as in the square embroidery frame. SCREW EMBROIDERY FRAMES. These are sometimes made for small pieces of work, to hold in the hand. They consist of two rollers with webbings, and two side bars in the form of screws. By having an inside screw turned in the holes of the rollers, neither nuts nor pegs are re- quired. When the work is attached to the webbings, by merely turning the side bars it may be sufficiently stretched. The cou- * When of a very large size, a moveable centre bar or stretcher may be found useful. IMPLEMENTS, 97 struction of this frame is similar to tHat of a purse stretcher, but it has no recommendation except in its neat appearance. D OYLET AND SHAWL FRAMES. -: Uftflfft/U~ These are made square or triangular, large or small, in accord- ance with the purpose for which they are intended. Brass pins are iixed at equal distances in a slanting direction on the top, round which the wool or cotton employed in making lyOyleys, or other articles, is to be woun'd. MESHES FOR RAISED WORK. Meshes for raised work — generally of bone or boxwood — vary from a sixteenth to two or three inches in width, and larger size^ are occasionally to be found. They are used for regulating the length of the looped stitches, which are afterwards to be divided ; they also greatly assist in rendering the work both tight and firm, by the resistance they 6ifer. Meshes are sometimes made with a groove on one side, as a guide for the scissors to pass along in the cut- ting of the loops. For ' the more highly finished descriptions of raised work, a steel mesh, with a cutting edge on one part similar to the an- 13 98 IMPLEMENTS. nexed engraving, will be found the most convenient. Its use will be fully described when speaking of raised embroidery. PURSE STRETCHERS. The above engraving will convey a. better idea of this little machine than- any we are capable of giving. It is used for stretching knitted, netted, and crochet purses. The purse, when finished, before the ends are drawn together, should be sewn up at the mouth, and passed over the wooden cylinder, as represented above; it should then be slightly damped, and the screws tightened, taking care not to strain it too much. By this simple process, the stitches become more firmly fixed in their relative positions, and the purse , assumes, and afterwards detains, its proper shape. PURSE MOULDS. The above engraving represents two kinds of purse moulds of wood or ivory, on which short purses are worked. The one IMPLEMENTS. 99 called a mmle Turo, has small brass pins fixed round the edges of its largest oircuittference. A purse may be made on this mould by fixing the silk by a loop over one peg, and twisting the silk separately, round each of the others, — the silk being held in the right hand. When this first row is done, wind the silk once . again round the peg with the loop, and with a steel point or needle pass the first stitch over the second, and continue the same over each peg as each successive stitch is made, and so on, row after row, until the purse becomes of a sufficient length. The work as' it proceeds falls into the hollow of the mould. When all the rows are finished, draw the bottom together, and, as each loop is taken off the pegs at the top, pass a silk through them,' which will prevent their unravelling,, and strengthen, the purse for sewing on the snap. A purse of this description will take a large sized skein of netting silk: — it may be mounted either with a snap or a diable.* On the other mould or cup, a very pretty bourse en feston may be made, either with two coloured silks, or silk and gold. Since the introduction of crochet, however, these moulds have not been much used. CHAIN MOULD. The above small mould is for making neck chains. These are • Diables, or purse bars, are wires of steel, gold, or silver, with ornamerits at the ends, over which n ring is passed to secure the mouth of the purse j tio ring is attached by means of a chain. 100 IMPLEMENTS. to be made with middle-sized netting silk, exactly in the same manner as that described for a purse on the moule Turc, FORK FOR A CHAIN. The above represents an ivory fork, nsed for making neck chains, which, if done with very fine silk, perfectly imitate the small French hair chains. If a coarse silk be used, a very strong watch guard may be made. CHAPTER XII. iTramins tDork. " All soiteS of woikes, almost that can be nam'd Here are directions how they may be fram'd." John Tatlor. REAT care and nicety are required in dressing a frame ; — much of the success of the work, and ease in its execution, depend on this preliminary '\ arrangement, which, from it not seeimng of im- portance, is but too generally neglected. FRAMINO CANVAS. Having ascertained, by counting or by measurement, that the canvas corresponds with the size of the design, in order that the latter, when worked, may be of the dimensions desired, turn down the canvas about half an inch, and having herring-boned it, sew it by a thread to the webbing of the frame. Soft paper, six or eight times doubled, should be smoothly placed round the bars, ^if the length of the canvas render it necessary that it should be 102 FRAMING WORK. rolled, that part only being left extended in the frame, on which the work is to be commenced. By means of the nuts or pegs, it should be gradually stretched, and the selvedges braced to the side-bars with fine twine, tightening them by degrees until the canvas is strained perfectly tight and evcre." It is of great advan- tage that a small length only should be stretched at one time, as the work becomes less exposed, and the needle-woman is not obliged to reach over her frame, — a position both fatiguing and inelegant. A short time will suffice to change the position of the work, winding it gradually round the bars as it proceeds, and if this be careful^ managed, it will rarely be found either drawn or un- even, when finished. It is advisable, as a general rule, that canvas work should be commenced at the lower part, on the left hand, more especially if the subject be One where a sky is to be introduced ; which, as being the most delicate, should always remain until the last. The working from Berlin patterns being rather more methodical than painting, it will be found that the stitch is truer if worked upwards in this manner. TRAMING CLOTH AND CANVAS. In framing these two materials together for working on cloth in cross or tent stitch over canvaj, if the article for which the work is, intended does not require the cloth to exceed in size the breadth of the canvas, the cloth should be cut half an inch smaller each way, as, when framed, it will stretch much more than the canvas. * The advantage of the side bars of a frame being made with a screw is here evident, as the canvas can be finally tightened by giving each nut a. turn or two. ^ FRAMING WORK. 103 The cloth must be turned down at the edges, and tacked to the two selvedges of the canvas ; and the raw edges of the canvas and cloth turned down together, and then tacked. If the dimen- sions of the work render it necessary that it should be rolled, it will be • found that, ' from the turnings in at the side, it has acquired a greater thickness in these parts, and it will be requi- site therefore to put wadding or soft paper on the bars, to thicken the other parts equally with the turnings in. By this means, the cloth and canvas may be evenly stretched together without injury to the former; and the work will not be so trouljlesome to execute, as when the canvas is only stretched over the cloth after it is framed. When large squares or lengths of cloth are required to be worked, such as the centre of * table-cover or an ottoman, it will be found better to stretch a piece of thin hoUand in the frame, and tack the cloth evenly and firmly to it, round the part intended to be worked. If for embroidery, this will be found sufficient ; but if for canvas work, where the threads are to be drawn out, the cafivas must also be evenly tacked over the cloth. Here a difficulty may appear to arise, from the^ extra thickness of the materials through which the ijeedle will have to pass, but this is not so formidable as we should at first be led to imagine, — the firm tension of the holland readily admitting the needle. , As pieces of work of the kind we have mentioned are of considerable magnitude, . and occupy time in their execution, it will be worth while to pay some little attention to the ma- terials on which they are to be worked. The hoUeind should be very thin and glazed ; the cloth properly damped, ' so as to deprive it of its glossy appearance, and render it softer; the canvas should be the white round-thread French canvas,— and here we may again observe that it is better to cut the threads off than 104 FRAMING WORK. to draw them out. Admitting there is no objection to a large framej yet the cloth is more or less spoiled by being rolled, or sewn by any part except the edges. By the above plan, how- ever, a firm frame of a yard wide will be found sufficient to hold a piece of cloth two yards square, or even five ydrds in length. FRAMING VELVET. Velvets must be sewn to the webbings of the frame by the selvedges, and, if less in width than the original breadth of the material, it should be framed in the same direction as the selv- edges run ; the pile being more easily managed when in this position. The sides must be carefully hemmed before bracing, to prevent unravelling. When the length of the velvet exceeds that of the fram^ it is better to stretch thin hoUand, and tack the velvet to it with small stitches in any of those parts in- tended to be covered by the work; the velvet may then lie uninjured on the frame, and at any length of yards worked in a frame, three feet wide, substituting fresh holland as the work proceeds. If the velvet is to be embroidered in silk, or chenille, it will not, generally speaking, require any other material at the back; but if gold or silver are to be employed, or the work is very elab- orate, the velvet must be strengthened with holland, which will also make it firmer and more pleasant to work upon. In these instances, it will be found advisable to frame the holland, and fix the velvet, by carefully pasting or tacking it in those parts in- tended to be worked. The velvet is to be laid on the holland and slightly pressed, but so as to avoid injury to the pile. Before taking embroidery out of the frame, a little paste made with size, should be slightly rublsed with the finger over the back of the work. FRAUINa WORK. 105 FRAMING SATIN, SILK, LEATHER, ETC. Satin, silk, cloth, and merino, may be framed in the same way; it IS not, however, necessaiy to use holland when the work is the simple sprigging of a waistcoat, the embroidering of a bag, hand- screen, or other small article. Crepe should be laid on clear ' book-muslin, and sewn into the frame with the same attention that cloth requires.. When the embroidery is done, the muslin should be cut close away. Morocco and chamois leather, and kid, should be carefully and flatly laid on a piece of thin white hoUand, and tacked down — • the hoUand having been previously framed in the usual way, but there should not be any tension on the leather. ' The above engraving accurately represents an embroidery frame with a piece of work properly stretched and braced in it. 14 CHAPTER XIII. 0titcl]eB. "Fine Feme-sKtch, FinTvy-stitch, New-stitck, and' Chain-slitch, Brave Bred^stUch, Fisher-stitch, IrishrStUch, and Qmeerirstitch, The Spanish-stitch, Rosemary-stitch, and Mmose-stitcA, The sma,itmgWldp-stitch, Back-stitch, and the crosse-stitch, AH these are good, and these we must allow, And these are everywhere in practice now. John Taylor. rVE stiches are, in general, employed for canvas work; viz. tent, and cross stitch, Gobelin or tapestry stitch, Irish, and German stitch. Various others might be enumerated, but they, are all more or less modifications or combinations of the above. It is a' difficult task clearly to describe these different stitches, and their application in the various departments of decorative needlework. There is, doubtless, a right and a wrong way of doing even the most simple. As a preliminary, it must be observed that it is requisite, for working with comfort and cor- rectness, to have the canvas the right way ; which is, it should be so framed that the selvedges are placed on the sides where it is braced. The commencement of almost all stitches should be by bringing the needle up from beneath on the riglit, and pass- STITCHES. 107 ing.it down again on the left: this may be considered as holding good with regard to all stitches which do not require crossing; but in working cross stitch, it should be doi^ by bringing the' needle up on the left, and passing it down on the right, then up again on the right, arid down on the left, to finish the stitch. Too great attention cannot be paid to these simple rules ; the wool, by this means will always be to the left. TENT STITCH. In tent stitch, the needle is brought up from the right, and passed down on the left, commencing at the bottom of the work, in the left-hand corner. The stitches better accommodate them- selves to each other when worked upwards in this position. The wool or silk should properly cover the threads of the canvas ; they should be used either single, double, or treble, according as the si^e of the canvas demands. Regularity in this stitch will easily be acquired by a little practice; its simplicity is. such that the youngest child may accomplish it. When grounding is to be executed in tent stitch, much greater care will be found necessary than might at first be imagined, as both the ap- parance and durability of the work depend on its being done with the utmost nicety. In fact, it is more difficult to work a ground with a true and even stitch than to copy a pattern however elaborate. Grounding is more easily worked in straight rows from left to right, and from right to left alternately, than in diagonal lines, if care be taken to reverse the stitch in each row. When cor- rectly done, the back of the work should present an uniform ap- 108 STITCHES. pearance, each row of stitches resembling a twisted cord. Knots in fastening on or oif should be avoided; it is best to draw the wool through at a little distance from the exact spot, and cover it with the succeeding stitches. The fastening on from the same place in each row must be obviated by using the wool or silk in needlefuls of different l^gths; otherwise a liney appearance, which it will be impossible to get rid of, will be produced on the face of the work. CROSS STITCH. Cross stitch is worked over two threads in a diagonal direction each way. It is a double stitch, and made, first by bringing the needle up on the left, and putting it down on the right, which forms half the stitch ; it is then crossed, by bringing the needle up again on the right, and passing it down on the left. We would advise each stitch to be finished before another is com- menced, as the work will be more even, than if it were half stitched before crossing, — a method not unfrequently practised. Grounding in cross stitch should be done in alternate rows backwards and forwards, observing the same rules for reversing the stitches as in tent stitch. GOBELIN, OR TAPESTRY STITCH. STITCHES. 109 This stitch is worfed over two threads of the canvas in height, and one in breadth ; but when Berlin patterns are copied, two stitches in width must be made for each square of the design, which bear exactly th? same proportion as one either of tent or cross stitch. On coarse canvas. Gobelin stitch is decidedly in- ferior to either tent or cross stitch. Its effect is best on fine canvas, where it has the advantage over cross stitch, of a closer appearance of shading. Figures, flowers, and every kind of pattern, may be worked in Gobelin stitch, but it is certainly more suitable for patterns drawn on the canvas, than for count work. Either tapestry or cross stitch may be mixed with gold braid on canvas, to -produce a very rich brocaded appearance. The gold brsiid should be cut in the requisite lengths, and fastened to the canvas at either end, and a Berlin pattern of plain damask taken for the design. The ground is to be worked either in cross or tapestry stitch over the braid, in one rich colour, leaving the damask part of the pattern in the gold. Blue, brown, or marron, form pretty contrasts ; and, for wedding presents, white and gold. IRISH STITCH. For grounding, Irish stitch may frequently be used in the place of tent or cross stitch, as it takes much less time in its execution. It is the best stitch for chenille work on canvas ; no STITCHES. and scrolls, gems, arid even flowers, may be prettily worked in it. The above engraving will convey a much better idea of this stitch than any description we should be able to give. GERMAN STITCH. 1^ »Jt- **> ' 77_, , '~ - ''*f*''J "^^ r "'r e_ '''* ""^l-, f"/ ■ Jci-, , .' / \* y\ d t r'^t ' ■* / 'Jrj^' 2. ~^ ~*7 7 fy ^»- ' ' /* » L "" €L. '>f ^ German stitch is exclusively a grounding stitch, — it is quicker done than either tent or cross stitch. Patterns worked in cross stitch, may be prettily grounded in German stitch. The above engraving accurately represents this stitch. IMITATION OF LACE. Numerous patterns in imitation of lace have been lately intro- duced, and where judgment is used in the application of them, they certainly have some merit; — the best are principally adapted for small articles ; but lace and canvas work being somewhat at variance with each other, it must be doubtful whether they have much claim to good taste. The ground is worked in various stitches of fine silk, the pattern on it being in cross stitch of thicker silk or wool VARIOUS FANCY STITCHES. These, as we before stated, are but modifications of the five stitches already mentioned, and it will be only necessary for ua STITCHES. in to name tHe principal recognised old English stitches;— to attempt a description of them, would be alike tedions and Useless. They are, Feme stitch, feather stitch, basket stitch, mat stitch,' bead stitch, braid stitch, plait stitch, diamond stitch, square stitch, star stitch, wove Irish stitch, reyerse cross stitch, mosaic flat stitch, brick stitch, Venetian stitch, Peruvian stitch, Hungary stitch, plaid stitch;— but this must Suffice. Innumerable are the stitches which are to be met with on the samplers worked for sale, both in England and Germany, and numberless the names applied to them, and it is as easy to invent new stitches, as it is to invent new names for them. CHAPTER XIV. (Embroilrcra. "■Whether her needle play'd the pencil's part, 'Twas plain from Pallas she deriv'd her art." ' " Ovid. " In a curious brede of needle-work, one colour falls away in such degrees, and another rises so insensibly, that we see the variety without being able to distinguish the total vanishing of the one from the first appearance of the other." Addison. E are indebted to the luxury and magnificence of the nations of the East, for the invention of embroidery, — an art that has not inaptly been termedV the mother of painting, \its discovery claiming the priority by many centuries. ha more modern tiiies, it has been called the humble sister of the latter art; aijd the aim of the needlewoman has been to imitate, as closely as possible, the jiroductions of the pencil, a labour in which she has been assisted by some of the most celebrated masters, many of whose chef-d'cEuvres have been executed for the express purpose of being copied in needlework or tapestry. EMBROIDERY. 113 TEe Greeks gave the honour of the invention of embroidery to Minerva:* by Pliny it has been assigned to the Phrygians; hence, he says, the Romans called embroiderers " Phrygiones," and embroidered garments, " vestes Phrygiomce."\ The women of Sidon, before the Trojan war, were especially celebrated for their skill in this art: and Homer mentions Helen as being en- gaged in embroidering the combats of the Greeks and Trojans : — " An ample web magnificent she wove, Inwrought with num'rous conflicts for her sake, Beneath the hand of Mars endured by Greeks." Andromache also — " She in her chamtber at the palace Jtop, A splendid texture wrought, on either side All dazzling bright with flowers of various hues." ♦ It is possible that the story of Procne, daughter of Pandion, king of Athens, who informed fier sister Philomela of her misfortunes by embroidering the;n on a veil, is fabulous ; but be this as it may, the fable is of, remote origin, and tends to prove the antiquity of the art. Vide ApoUodorus, lib. iii. c. 14. t Lib. viii. c. 74. " Pictas vestes jam apud Homerum fuisse, unde triumphales natoB. Acu facere id Phryges invenerunt, ideoque Phrygioniae appellatse sunt. Aurum intexere in cadem Asia invenit Attains rex: unde nomen Attalicis. Colores diversds picturse intexere Babylon maxime celebravit, et nomen imposuit." We have been tempted to give the original words of this author, as the terms " pictas vestes," and " intexere," have been variously translated. In the Me- ncEchTia. of Plautus (act ii. sc. 3,) a young woman, desirous of sending her mantle to be embroidered, says : " Pallam illam ad Phrygionem ut deferas, ut leconcinnetur, atque ut opera addantur, qua volo." That the cloth of Attalus was embroidered, is proved by a passage of SUius Italicus (lib. xiv. 661) : — " QuiBque Attalicis variata per artcm Aulsels scrlbuntur acu." J And from the following lines in Martial (lib. viH. ep. 28), it is evident that the Babylorrian cloth was also ornamented with embroidery: — " Non ego pnetulerim Babylonloa picta superbe Texta, Seniiramia quce variantur acu." 15 114 EMBROIDERY. The art of embroidery was greatly practised among tHe ancient Egyptians; even the sails of some of their ships were wrought with fanciful devices, representing the phoenix, flowers, and various emblems.* In the time of Moses, Aholiab, the son of Ahisamach, of the tribe of Dan, was celebrated as " a cunning workman," and as an embroiderer in blue, in purple, in scarlet, and in fine linen.t The curtains and ornaments of the Tabernacle, and the vestments of the priests, were decorated with embroidery. The' prophet Ezekiel, reproaching the women of Israel with having abused the benefits of Providence, after mentioning their bracelets and chains, jewels for their foreheads, and earrings, and their crowns, still farther names their robes, dyed and embroidered of divers colours.^ Attains, king of Pergamus, is said by Pliny, to have invented the art of embroidering with gold thread. According to Diodorus Siculus,^ Zaleucus, a disciple of Py- thagoras, and a lawgiver of the Locrians, forbade the use of embroidery, exfcept to courtesans: and Dionysius HalioarnassusU informs us, that Tarquinius Priscus, who first distinguished the monarch and senators by particular robes and ornaments, was the first Roman king who wore an embroidered garment. The term embroidery, as employed in the writings of the ancient historians, has reference to all kinds of ornamental work done with the needle ; thus comprehending within its meaning every » Cloth, of embroidered linen, appears to have been made in Egypt expressly for sails, and was bought by the Tyriana for that purpose (Ezekiel xxvii. 7), but its use was confined to the pleasure boats of the nobles, or of the king himself; ordinary sails being white. We are informed by Pliny (lib. xxx. c. 1), that the ship in which Antony and Cleopatra went to the battle of Actium was distinguishe;! from the rest of the fleet by its purple sails, which were the peculiar privilege of the admirafs vessel. + Exod. Xxv. 35. {Ezekiel xvi. 13. « Lib. iu. t. G2. II Lib. xii. p. 299. EIHBR0IPER7. 115 description of decorative needlework*, including tapestry, and some descriptions of weaving. At the present day, the term is much more limited, relating to one kind of needlework only, which, however, embraces an almost innumerable variety, both as to the materials employed, and the mode of using them. In the ex- tended meaning of the term, therefore, nations and savage , tribes "unknown to the ancients, may equally claim the honour of a similar invention, as most of them, have a species of embroidery peculiariy their own.* The Chinese have long been celebrated for the beauty of their embroideries ; indeed, it has been doubted whether the art was not originally brought into Europe from them, through the Persians. They use floss and twisted silks, also the bark of a tree spun into a fine thread.f The drawing of their embroideries is sometimes as uncouth as that of their paintings, but in that of some of their flowers (doubtless copied- from nature) they are frequently even botanically correct; and their works are not more to be admired for their remarkable freshness than for the extreme labour bestowed upon . them. Success, as gained by patient application, is nowhere so frequently exemplified as in China. The mere accomplishment of writing a good style, is the resjalt only of many tedious years of study and self-denial. The beauty of the written character, the finished graces of their composition, the ♦ Thg trord embroidery is derived from the French broderie which some de- duce by transposition from iordewr, becaise they formerly only embroidered the borders of their stuffs, whence the Latins sometimes called embroiderers ttmbw- larii. According to Du Cange, they anciently wrote aurobrustus, for embroidered with gold, or brustns brodatas, whence the French word broderie. + The fine muslins inade at Manilla, with threads spun from the pine-apple plant, and afterwards so richly and delicately embroidered with the same mate- rial, are well known. 115 EMBROIDERV. excellence of their silk manufactures and embroidery, tlte wonders of their porcelain, and many other marvels in art and knowledge, are the natural results of untiring industry and perseverance. A Chinese uses no short cuts, resorts to no compendious methods, for abridging labour: — he is not without ingenious resources to accomplish an end, biit his aim does not seem to be to save time. We are indebted to Mr. TradescaAt Lay for the following interesting account of the art of embroidery as at present prac- tised by the Chinese. " For twenty-two cash or tseen," he says, " I purchased an elegant book, filled with choice subjects of the graphic art, as patterns for the use of the young needle-woman. She is assumed to be poor, and hence the little manual is priced at about one penny of our money. It has a cover of a fair yellow, studded with spatg^es of gold, and contains between two and three hundred figures, culled from the varied stores of nature and art. In fact, the objects are so well selected and so riu- merouB, that they might serve as illustrations to a small encyclo- paedia. One acquainted with Chinese literature and natural history, might deliver several lectures wi^th this book before him. The meadow, the grove, the brook, the antiquary's museum, and the pages . of mythology, with the adornments of the house and garden, are all laid under contribution. The book is said to be for the use of the person who belongs to the green window, which is an epithet for the dwelling of a poor woman: while the red gallery denotes the residence of a rich female. The induetrious poor plies her task near the green lattice, which is made of earthenware, and lets in both the light and the breath of heaven ; while the rich dame leans upon the vermil-tinted balusters of the gaudy verandah, and gazes carelessly at the sunbeams as they sparkle among the flowers, or wooes the soft breeze which agitates the green roof of th« Indian fig-tree. The title-page presents us EMBROIDERY. 117 vfith. a venerable man, in the weeds of office, holding in his hand a scroll with this motto, 'Heaven's magistrate confers - wealth.' Over his head are bats disporting among the clouds ; the emblems, I suppose, of wakefulness, for these animals are on the alert, while ' men sleep. ' Her candle goeth not out by night,' is what Solomon tells us of the needle-woman, i^hom he eulogizes in the last chapter of Proverbs. I once saw two girls at this work in the village of Mongha. They were seated upon a low stool, and extended their legs across another ,of twice the height of their seat. ^ In this w^y a support was provided for the frame on which the piece to be embroidered was spread forth. Their faces wore a sickly hue, which was Owing, perhaps, to close confinement and the unnatural position in which they were obliged to sit. The finest specimens of embroidery are, as far as my observation goes, done by men, who stand while at work — a practice which these damsels could not imitate, as their feet were small. They were poor, but too genteel, in their parents' idea, to do the drudgery of the humble housewife, and so their feet were bandaged and kept from growing beyond the limits of gentility, Their looks were not likely soon to attract a lover, and hence they were compelled to tease the sampler from the glistening dawn till dewy eve. Much skill and labour are bestowed on the embroidery of a plaited skirt worn by ladies, which, with my partiality for what is Chinese, I think without a rival for beauty as an article of female attire. In the little work before m^, several patterns are given expressly for this purpose, A curious purse worn in the girdle of -Chinese gentlemen, is also the subject of much of this kind of elaboration. Embroidery and figured textures were gener^ ally in favour with the ancients, so that the discovery was thought worthy of a superior agency. In the Old Testament we have two kinds, the maase rgJcem, {opus fhrygioniciim), in which 118 EMBROIDERY. the figures were inserted by the needle ; and the maase choseb, [o'pv.s plumei,rmm), in which they were wrought in with the woof. The Chinese are fond of retaining what is old, and have preserved both these arts in their highest state of perfection."* The beautiful embroideries on muslin with cotton by the Indians, are well known. Besides these, says M. de St. Aubin, " ils emploieht sur gaze, des joncs, cuirasses d'insectes, ongles et griffes d'animaux, des noyaux et fruits sees, et surtout des plumes d'oiseaux : ils entremelent les couleurs sans harmonie comme sans goM: ce n'est qu'une espece de mosaique bizarre, qui n'annqnce aucune intention, et ne lepresente aucun objet :" — a description of embroidery which we should not be tempted to imitate. The embroidery practised by the Canadian women is much more simple and pleasing : they work " avec leurs cheveux et autres poils d'animaux : elles representent assez bien les rami- fications des agates herborisees, et de plusieurs plantes : elles insinuent dans leurs ouvrages des peaux de serpents coupees par lanieres, des morceaux de fourrure patiemment raccordes." According to M. de Busson, the negresses of Senegal, before their marriage, embroider the skins of various beasts, repre- senting figures, flowers, and animals, in every variety of colour. The Georgians, and particularly the Turkish women, are renowned for their embroideries on the lightest and most delicate materials, such as crfipe and gauze, which they ornament with gold thread in a manner unequalled. Their embroideries on ' morocco leather have long been esteemed, on which they work the smallest objects- in gold passing, without frayin*- the thread in a way we cannot imitate. According to M. Savary, they * The Chinese as tliey are. EMBROIDERY. 119 formerly often ornamented their embroidery witli pieces of money, the value of which they did not appear to understand; a circumstance, however, which the Genoese merchants, who had a considerable trade in the Levant, turned greatly to their advantage, as valuable and interesting coins and mededs were frequently found in the old garments in which they sometimes trafficked. Pesides the Turks, the Greek women of the present day, and the inhabi- tants of the islands of the. Levant, are still celebrated for their embroidery, principally of gold and silver. The women of Thera- pia on the Bosphorus excel in a most beautiful description of Work ; it can scarcely, however, be termed embroidery, being rather a species of exquisitely fine netting. They represent flowers in relief, every petal of which is worked with the utmost exactness. These extraordinary productions of the needle, unfortunately but little known in .this country, cannot be sufficiently admired for their extreme delicacy and elaborateness. In the last and preceding centuries, when embroidery, as an article of dress both for men and women, was an object of con- siderable importtsixce, the Germans, but more particularly those of Vienna, disputed the palm of excellence with the French. At the same pe^'iod, Milan and Venice were also celebrated for their embroidery; but the prices were so excessive, that, according to Lamarre, its use was forbidden by sumptuary laws; The art of embroidery seems to have attained a higher degree of perfection in France, than in any other country ; — i,fc is not however, so much practised at the present day. Embroiderers formerly formed a great portion of the working population of the largest towns ; laws were, specially framed for their pro- tection, some of which would astonish the work-peopla of the present day. They were formed into a company , as early as 1272, by Etienne Boileau, Prev6t de Paris, under their respective 120 EMBROIDERY. names Of "Brodeurs, Dfecoupeurs, Egratigneurs, -Chasubiters ;" — their last statutes were framed in 1719. In Saxony, embroidery on fine muslin and cambric has been carried to great perfection. In the neighbourhood of Eibenstock, and the Erzgebirge, much of the tambour work ia done ; this is generally sold at the Leipzig fairs, where it is bought by the Russian ,and West Indian merchants ; great quantities are also exported to Persia. At Plauen, in the same neighbourhood (celebrated for its manufactures in linen,' cotton, and muslin), much figured lace is also, worked, which may be met with at the shops in Dresden. The embroideries of Nancy and Paris of this description, have of late years attained great excellence, and are much sought after. With this brief sketch of the history of embroidery, we shall now proceed more particularly to mention in what the art consists and the various methods of practising it, as pursued at the pre- sent day. Embroidery is the art of adding to the surface of woven textures, a representation of any object we wish to depict, through the medium of the needle, threaded with the material in which the work is to be executed. This may be effected by various methods, and on most descriptions of fabrics. It will be our en- deavour to describe separately the difierent kinds of work in this department, although we greatly fear our want of skill adequately to convey the ideas eind instruction we desire to communicate. SHA.DED EMBROIDERY. " Here the needle plies its busy task, The pattern grows ; the well-depicted flow'r, Wrought patiently into the snowy lawn, EMBROIDERY. 121 Unfolds its bosom ; buds, and leaves, and sprigs, And curling tendrils, gracejfully dispos'd. Follow the nimble finger of the fair : A wreath, that cannot fade, of flow'rs that blow With most success when all besides decay." Cqwpeb. Shaded embroidery is the most elegant, the most imitative, and the most unlimited in its capabilities, — aptly portraying and li- vailing the productions of the painter, whether for historical subjects, landscapes, portraits, nature's ever-varying flowers, or the Moorish arabesque." It may also be termed the easiest, although the least mechanical, being less subject to rule than any other, as the most beautiful effects are often produced, where there appears to have been a total indifference, or ignorance, of any attempt at a regular embroidery stitch. We trust, nevertheless, that the following observations may guide, and be of some use to those who wish to commence this species of work. The frame being properly dressed (see chap. XII) with the material, upon which the pattern has been previously traced and shaded, attentively observe the position of the flowers, or what- ever the subject may be, and determine the surfaces on which the lights would naturally fall : this is more essential, before commencing the work, if the intention be to eimbroider as taste may direct, and without copying with a coloured drawing. The right hand should always be above the frame, the left beneath ; and the rule, if any exists, other than what convenience dictates. » The arabesque, or moresque, is a style of pattern peculiarly adapted for needlework, and was formerly much introduced into pieces of Gobelin tapes- try, from the designs of Berin, Gtillot, and Watteau. This description of ornament .originated with the Arabians and Moors, who were prohibited by their religion from using human and animal representations. Many of the beautiful paintings on the walls of the Alhambra have, furnished designs for needlework. IG 122 EMBROIDERY. is always to draw the needle upwaird from the right, and finish the stitch by putting it down to the left. It is better to commence with the smaUer parts, such, for instance, as the stems, buds, and leaves, in a group of flowers: and the first care and attention should be bestowed on the obtaining and preserving a neat and clear outUne. This, it will quickly be perceived, is essential, both to the perfection of the design, and to the execution of the work. The edges and rounder parts, both of the leaves and petals of flowers, embrace more surface, and are generally worked with the palest tints, as they naturally receive the light first, and more particularly attract the eye. In order properly to blend the shadows, as in painting, the stitches should be of different lengths ; and it is generally easier to put in the next colour, by bringing the needle up to the left, and putting it in again to the right, finding with tact the best hiding place for the blending shade. When one half of the leaf is done, commence and work the other in the same manner, and finish by veining it according to nature. When the leaves are all worked, the flowers should be done in a similar manner. The centres of many full-blown flowers, such as dahlias and roses, are sometimes represented by what is termed French knotting: this is done by forming a loop round the needle with the silk, which should be tightly drawn round it as it is passed from the upper to the under side of the work: it is better to begin with the centre knot, as a more perfect round can be formed than if commenced on the outer circle. The veining of the leaves, and the small stems, are formed by making a stitch about the sixteenth of an inch long, then, in' the next stitch, putting the needle half-way back into the preceding one, and working it the same length as the first, forming a kind x)f finely twisted cord ; this demands great neatness in its execution, ,but it gives, if properly done, the best finish to the work. EMBROIDERV. 123 The stitches, in this description of embroidery, should be made as long as possible, wher6 the work will admit of their being so, as the brilliancy of the silk is destroyed by crowded and short stitches. It is advisable, as much as possible, to avoid touching the silk by drawing it through the fingers when ■Working. All flowers of the same kind should not be done with the same shades of colour : thus, suppose there are three white flowers of the same description, on the same spot, and that eight shades of silk are required properly to embroider them ; — 'for one, a greater portion of the five lightest tints would be used ; in the next, the middle shades might predominate ; aM, in the third, a greater qu2intity of the dark, depending of course on their position, and the skill of the needlewoman. In shading, five gradations of tint may usually be considered a sufficient number.; but more or less may be requisite. The veining of the leaves may be done either with light or dark shades, accordinjg as the light falls, and nature dictates, or as the colours demand for effect. Historical subjects, landscapes, and portraits, are best worked with wool, as greatel varieties of neutral tints can be more readily procured; whilst the brighter, smaller, and more fanciful designs, can be successfully executed with silks. A mixture of these two materials, should always be avoided, when , an endeavour is made to copy nature. German and English wools, are both equally applicable for the purposes of embroidery : but, where a variety of shades are re- quired, the former is of course to be preferred. Worsted and crewels were formerly much used, — the magnificent works of Miss Lihwpod are all done with these materials, When wool is used, the needle should be long^eyed, and threaded, by doubling the wool into a loop at one end, and inserting it' into the eye of the needle. Embroidery with wool maybe executed as beautifully' and 124 EMBROIDERY. r as minutely as with silk ; it may also be done, to produce a good effect, by a nmcH coarser and less delicate mode of working, as applicable for the hangings of windows, and beds, table-covers, and other large pieces of needlework for furniture. For shaded embroidery ,r mitorse, Dacca, and floss silks are all used. For some fine descriptions of work, netting and iram silks are preferred. • The French and Chinese, whose embroideries in silk far surpass those of the English, generally efmploy mitorse. The double embroidery done in China, with this material, is too well knowiv to need description. Chenille may likewise be em- ployed, but this forms a description of work which we shall have to describe elsewhere. It is unnecessary for us to instance the almost innumerable variety of purposes to which this description of embroidery may be .applied. To whatever end needlework has been, or is likely to be designed, it is equally suited; although, since the intro- duction of Berlin patterns, it has not been sought after to the same extent £is formerly; — but needlework, in common with other matters, is .subject to the sway of fashion. FRENCH, OR FLAT EMBROIDERY. This species of embroidery is done without shading, the stitches lying smoothly in a diagonal- direction close to each other, and little or no attention to light and shade being necessary. It is often executed with beautiful effect in one colour; and, for some purposes, it may be enriched by the additions of gold or silver, in the form of a cord, round the edges. The French excel in this kind of work; it is also done very beautifully, and at a surprisingly small expense, in Scotland, for ladies' dresses aiid other articles. Its excellence is best displayed when worked with EMBROIDERY. 125 mitorse silk ; it is then, also, the most durable, not fraying in the wear, or so quickly losing its glossy appearance ps when ' done with floss or Dacca silk. It is also very rich when worked with wool. When an imitation of gold is desired, netting silk of the proper colour may be advantageously employed. ■ From the annexed engraving some idea of the direction of the stitches may be formed. Flat embroidery is suitable for articles of furniture and dress, and an almost endless variety of small ornamental works, — such' as bags, folios, sachets, slippers, hand-screens, note and cigar cases, &c. EMBROIDERY IN CHENILLE. Chenille may be employed for almost every description of ein- broidery, — whether shaded, flat, or raised; it may also be worked on a variety of materials, but those which possess a smooth and glossy surface, best contrast with its velvet-like appearance. Che- nille may be used for embroidering on canvas, more particularly Berlin capvas: when it is well calculated for cheval, and pole- screens, as well as hand-screens. It is frequently used on wire canvas, but the wire frays the chenille too much in the working, and renders it poor when finished. When working with chenille on canvas, a needle with a round eye may be used, as a thick needle will pass through the interstices of the canvas without injuring it ; but, if on a closer material, such as satin, for instance, a long-eyed needle is better, in order to avoid injury, by making too large a hole. 126 EMBROIDERY. Chenille being an expensive jnatetial, the study of a little economy in the mode of using it, may not be amiss. The waste at the back of the work should be avoided as much as possible : — this may be done, by bringing the needle close up to the last stitch, and not crossing it at the back. It is easy to measure or guess the length of the needleful requisite for working each particular part, and to • cut it as short as possible, to prevent the using of the same portion again, and also to draw a very short piece through the eye of the needle. The necessity of making knots in fastening on may be obviated, by working a small stitch or two on the part intended to be covered. In shaded embroidery, matting the stitches too closely together should be avoided, or the velouii appearance of the chenille will be de- stroyed. In embroidering with chenille, the shades will be required to be much closer than with silk ; six gradations of shade, at least, should bo used. In flat embroidery, the stitches should be regular, but not closer than will admit of the chenille lying roundly on the surface. In fancy patterns, it is pretty when edged, or mixed, with gold. Small chenille, ■ called by the French chenille a broder, is the kind usually employed ' for embroidery, but ■ for coarse canvas work there is a larger size. Chenille is best adapted for working such articles as are not subject to pressure, or liable to much exposure to dust, from which it would be difficult to free it. For work protected by glass, it is beautiful, but it requires extreme care in the mounting.' There is another method of using chenille, which was formerly much the fashion, where effect only at a distance was required. The chenille, instead of being worked on with a needle as in common embroidery, was only laid on the surface of the material and securely tacked down by a fine waxed silk of the same EMBROIDERY. 127 colour, the ends of the ■ chenille being carried through ' with a needle to the back of the work. EMBROIDERING COATS OF ARMS. Heraldic displays may be embroidered in wool, silk, gold, and silver, but the stitches should always be placed in the direction of the lines by which the herald represfents his colours. For instance, — in azure, the stitches should be laid parallel across the escutcheon ; in gules, perpendicular ; in vert, diagonally, from left to right ; in purpure, diagonally from right to left ; in sable, the position of "the stitches is optional, provided they represent the field as formed of small close squares. The partition lines, whether horizontal, embattled, nebuly, rayonnS, &c., as also those which divide the quarterings of the shield, may be formed by a Kne, in the same manner as the veining of leaves of flowers, or, with greater precision and eifect, by using a round silk gimp, which must be neatly attached by means of a fine sewing silk • the size of the gimp depending, of course, on the magnitude of. the coat of arms. When objects in heraldry are blazoned proper, they may be shaded as in other kinds of embroidery, as may also, in general, the supporters, the lambrequin or mantling, the badges, collars, scroUage, and other ornamental devices. Mottos may be worked in embroidery, like the partition lines, over that part which has already been worked. Coats of arms and crests may bfe executed entirely in fine black silk, and with perfect effect, by paying attention to the position of the stitches ; allowing the ground to be visible, as displayed in the old ■ embroidery termed print work.' They may be worked in this manner for the insides of covers of valuable books and dbums. 128 EMBROIDEKT. RAISED EMBROIDERY. This kind of embroidery is extremely pretty in fancy pieces for working animals, birds, shells, fruit, or flowers ; it may be done with either silk, wool or chenille. The pattern must be traced, and the material framed, as usual ; then commence a foundation for the raised parts by working, with coarse cotton or wool, layer upon layer, in long stitches, until the outline of the design is closely approached, paying attention at the same time to the shape of the object. When this is finished, begin the em- broidery over it with a long needle, and shade in the usual manner, passing the needle through the whole substance of the foundation, which will the more easily be done shouljj it be formed of wool Fruit and shells may be most admirably imi- tated by this mode of embj;oidery ; but it is not always successfully accomplished by ladies, as, besides taste and skill, it requires a certain knack, which few but the experienced embroiderer can .attain. Needlework, as prepared for ladies, has generally the objects thus represented ready worked, the other portions of the design being left for them to execute. This kind of raised em- broidery may be done on canvas ; it may also be worked on hoUand, and afterwards transferred. Wool and cheniUe may both be usedj but it can be done with the greatest perfection with sUk. Floss, Dacca, and mitorse silks, are all suitable, appropriating them according as they resemble the objects to be imitated ; for some descriptions of shells, mitorse would be the best, for others floss silk. Flowers, such as roses, on a very reduced scale, for sprig work, may be beautifully and easily executed in this description of embroidery : floss or Dacca silk should be used. A small round EMBROIDERY. 129 must first be slightly raised with cotton ; then commence the centre of the rose with two or three sm^ll French knots, and form the flower . by working round them in small stitches, keeping the middle of the darkest shades ; the stitches should partly cross each other, so as to give the appearance of one leaf over another. If skilfully done, the centre of the flower should have the sunken appearance which it has in nature. If worked too large, their beauty and effect will be lost. Four shades of silk will be found sufficient. RAISED CUT EMBROIDERY IN WOOI.. Baised work of this kind has been brought to great perfection, particularly in France, both for flowers, birds, and animals. A peculiar kind of mesh, made of steel, should be used, which serves the double purpose of mesh and knife, as by merely drawing it thiough the looped stitches it cuts them more regularly than could be done with the scissors. The stitch employed is thfe most essential part of the workj as it must neither unravel, nor pick out when finished. The design diould be traced on the cloth or other material, which is to be firmly framed with hoUand at the back; a coloured drawing will be required for a pattern, as the work does not present its proper appearance whilst in progress. The mode of working is difficult to express in writing: — with the steel mesh on the surface of the material, pass the needle, threaded with the proper wool, from the upper to the under side, leaving an end to form part of the stitch; bring the needle up 17 130 EMBROIDERY. again on the farther side of the mesh, and crossing the wool over the mesh, put the needle in again to the left of the stitch first made, then, bring the needle up on the further side of the mesh as before, and repeat the stitch, taking care that the needle is always put in on the upper side, to the left of the preceding stitch. One row of stitches must be completed, before another is com- menced, fastening off, and changing the colours of the wool, ac- cording tb the design. It must be worked as regularly and as closely as possible, in parallel lines, forming a kind of chain stitch at the back. When £he row is finished, draw the mesh through, so as to cut the loops across. It will be found more convenient to employ two meshes, drawing them out alternately as the work proceeds. When the whole of the object is finished working, it must be thoroughly combed, so as entirely to separate the fibres of the wool; it will then most probably appear an unshapen maSs, but this wiU be of no consequence, as the scissors must th§n take their J)art towards the completion of the design. These should be very sharp and pointed, and rather large, but otherwise, no particular kind is required. Commence by gradually shearing the centre, forming an even surface, and when the pduche is a little reduced, the distinct colouring, with something of the natural form, will appear :' the shearing must then be slowly persevered in, cutting the edges and other parts where a less raised appear- ance is required, until the whole assumes the perfectly smooth and rounded form desired. In animals and birds, small glass eyes of suitable size, may be inserted, — these, partly buried to. the wool, and not too prominent, produce a pleasing effect. This description of work is best adapted to succeed on cloth; if properly done, it should be extremely firm and solid, so that if trodden upon, it will be but little injured. It is also very durable. Small birds in raised work, for hand screens, on white EMBROIDERY. 131 ijiratered silk, have a very pleasing and pretty appearance, and may be easily executed. Raised work is adapted for a variety of purposes, but for chairs and pillows it is objectionable, on account of its hard uneven surface. The method we have described wiU be found the best, where perfection in raised work is sought for ; but a more simple mode of working, over a common wooden mesh, and cutting with the scissors, in a similar manner to the -raised edges of urn mgs, is fre(|uently adopted with success, but the work seldom bears any comparison with the former, either in beauty or durability. > EHBROIDER'S' IN GOLD AND SILVER. Embroidery as executed by ladies, with gold and silver, has not a very extensive range ; it consists principally of needlework for altar cloths, bags, sachets, folios, and smaller articles ; but it is frequently introduced intermixed with other materials, to heighten and improve their eifect. For that description of embroidery technically ternied giiimped embroidery, the pattern must be drawn on the material, and the figures of the pattern also cut in parchment, vellum, or cloth, ■ over which the gold or silver is sewn with a fine silk thread. Embroidery on the stamp, is a similar kind, but here, the figures being higher and more prominent, are raised by means of wool or cotton, which gives them a much more rounded appearance. For embroidering with gold and silver^ the frame should be dressed with fine holland, to which the material intended to form the groundwork must be carefully tacked. When gold pp,ssing is used, a round-eyed needle should be employed, and some pattern should be obtained to show the direction of the stitches, on the great regularity of which depends the principal excellence of the work. 132 EMBROIDERY. If the embroidery- be in bullion, a small needle threaded with a waxed gold-coloured silk must be used, on which this material, cut into proper lengths, should be strung. The work is some- times greatly improved by the intermixture of rough, smooth, and checked bullion in the same piece. Embroidery with spangles is quickly done, and very showy where much glittering eifect is desired. Coronets, initials, and mottos, have a very rich appear- ance when properly embroidered in gold, — ^the cap of the coronet being tomposed of velvet.* EMBROIDERY IN TAMBOUR. This is another description of embroidery, worked with a notched or tambour needle, which, although its value has been much deteriorated by the successful attempts at imitation with machinery, still claims our attention as a very pretty and easy kind of work. We have seen patterns of arabesques and flowers very beautifully executed in tambour with silk, intermixed with gold, on satin. Braiding patterns are elegant when worked in • The art of embroidery with- gold appears to a great degree lost, or to have fallen into disuse. From the few examples of euicient Catholic vestments that have escaped destruction, the generality of persons are but little acquainted with the extreme beauty of the embroidery worked for ecclesiastical purposes during the Middle Ages. The countenances of the images were executed with perfect expression, like miniatures in illuminated manuscripts. Every parochial church, previous to the Reformation, was furnished with complete seta of frontals and hangings for the altars. ■ One of the great beauties of the an- cient embroidery was its appropriate design ; each flower, each leaf, each device had a significant meaning with reference to the festival to which the vestment belonged. Such was the extreme beauty of the English vestments in the reign of Henry III, that Ipnocent IV. forwarded bulls to many English bishops, enjoining them to send a certain quantity of embroidered vestments to Rome, for the use of the clergy there. ESIBROISERT. 133 this stitch, espeeia}!^ in shades — a species .of ' needlework executed with great; elaborateness on cachemir and merino, in the Levant. Fine netting silk is the material best adapted for working in tambour I. it is also very beautiful with gold passing on white crepe. The material on which tambour work is to be .executed, niust have the pattern traced on it, and should be stretched eithe;r, in.a tambour* or square embroidery frame. In working, the right hand, which directs the needle, should always be above the frame, and the left beneath, to supply the silk or cotton, which is caught by the hook of the tambour needle, and drawn up through the work so as to form a loop on its surface ; the needle should then be passed through that loop, and, piercing the material, be again drawn up with another loop on its hook, which is drawn through the iirst; a third and fourth, and so on, are then made, drawing each succeeding loop through the former. In flowers and leaves, it is advisable to work the outline of each first, and fill up. the centres with successive rows of stitches. Round or oval leaves should be conmienced on the outside, and worked one row within another, terminating in the centre. The points of leaves require great care in the disposal of the stitches, in order to give a neatness and finish to the work. The stalks may be worked either in single, double, or treble rows, as their size re- quires, and according to the coarseness of the material employed. The elegant embroideries and tambour woik on net, muslin, and cambric, do not come within the scope of our department of decorative needlework, but the above directions are equally applicable to them. * See page 96. 134 EM^BROIDERY. Chain stitch, an imitation of tambour work, is generally done on the hand with a common sewing needle, looping the stitches in a similar manner to that above described.* * It would have been supposed that embroidery, the work of ladies' fingers, could never have been supplanted by machinery, yet such is the case. At the exposition of the products of national industry at Paris in 1834, a M. Heilmann, of Mulhause, exhibited a machine he had invented, by which a female could embroider with eighty or one hundred and forty needles, more accurately and expeditiously than she formerly could with one. This remarkable invention attracted considerable notice at the time; and several of these machines are now used in France, Germany, and Switzerland, and also at Manchester, where much of the sprigged embroidery for ladies' dresses is done, at a price which human labour cannot compete with, as it only requires the superintend- ence of one grown up person and two children, to do the daily work of fifteen expert embroiderers. The latter are merely employed to change the needles when all the thread is used, and to see that no needle misses its pincers, which, in this machine, supply the place of the finger and thumb of the em- broiderer. "We cannot here enter into a description of this machine, but the following short account by Dr. Ure may not be uninteresting:—" The operative must be well taught to use the machine, for he has many things to attend to: with the one hand he traces out, or rather follows the design, with the point of the pantograph ; with the other he turns a handle to plant and pull all the needles, which are seized by pincers, and moved along by carriages, approaching to, and receding from, the web, rolling all the time along .an iron railway ; lastly, by means of two pedals, upon which he presses alternately with one foot and the other, he opens the one hundred and thirty pincers of the first car- riage, which ought to give up the needles after planting them in the stuff, and he shuts with the same pressure the one hundred and thirty pincers of the second carriage, which is to receive the needles, to draw them from the other side, and to bring thjem back again." Having so far trespassed, we cannot better conclude the subject of imitations of the needle, than by quoting the ' following beautiful lines from Barry Cornwall : — THE WEAVER'S SOIfG. " Weave, brothers, weave ! — Swiftly throw The shuttle athwart the loom, And show UB how brightly your flowers grow, , That have beauty but no perfume ! EMBROIDERY. 135 Come, show ua the rose, wilh a hundred dyes, The lily, that hath no spot ; The violet, deep as your true love's eyea, And the little forget me-iiot I Singj—sing, brothers t weave and sing I , ^Tis good both to- sing and to weaves *TiB better to work than live idle, 'iTYs better to sing than ^-rieije. " Weave, brothers, weave ! — ^WeavBj and bid The colours of sunset glow i Let grace in each gliding thread be hid ! Let beau^ about ye blow ! Let your skein be long, and your silk be fine, And your hands both firm and sure, And time nor chance shall your work untwinei But all,— like a truth, — endure ! So,-— sing, brothera, Sfc • Weave, brothers, weave !— Toil is oura ; But toil ia the lot of men : One gathers the fruit, one g&thers the flowers, One soweth the seed again \ There is not a creature, from England's King, To the peasant that delves the soil, That knows half the pleasures the seasons bring, If he Jiave not his share of toil ! Soy-^ngy brothers^ 4'C'' ' CHAPTER XV. Cannas tDork. "The threaded steel Flies swiftly, and unfelt the task proceeds." COWPER. " In needleworks and embroideries, it is more pleasing to hare a lively work upon a sad and solemn ground, than to have a dark and melancholy work upon a lightsome ground." Bacon. a^^ HE reason for comprising tte various sub- J" jects included in this chaptei under one head, >- is, ' that they are so intimately connected one ^ with the other, that the rules relating to ? them, if any exist (a point on which we are ourselves sceptical), are of so general- a nature as to apply partly to all. Certain it is, as has been elsewtere observed, that " there is a right and a wrong way of doing everything;'' yet as we have so often seen beautiful effects produced without attention to rules, we feel extremely diffident in pronouncing any as im- peratively necessary, except that of observing iht right way of the CANVAS WORK. 137 stitch. Eeautiful groundings, both in cross and tent stitch, have been executed diagonally, as well as in straight , lines ; as also, when in cross stitch, where the whole piece has been half stitched one way before it has been crossed. The foil-owing ruLes and observations, therefore, are intended rather to show one certain and easy plan for attaining success in this branch of needlework, than to be considered as exclusive of all others. They are founded on observation, and the' experience of those who have spent the greater part of what may be termed long lives in the practical part of each department. Every day shows how much there is still to improve and to learn in the art ; and past' days have often taught us how much we have been indebted to the superior taste and elegance of idea of those with whom our vocation has brought us in contact. It is obvious that all Berlin patterns are intended for tent or single stitch, the checks on the pattern corresponding with the squares in the canvas, excepting designs where the faces and hands are drawn on a smaller scale'; these can only be worked either in cross or Gobelin stitch. Some Berlin patterns, when closely shaded, and of a general uniformity of tint, lose none of their effect when enlarged by working in cross stitch, and even if copied on a gigantic scale, please from their bold- ness, whilst others, less calculated to be enlarged, are deprived of all grace, and become mere distorted masses of Colouring. When it is intended to increase the scale of a pattern by working in cross stitch on a coarse canvas, the colours should be selected from the middle tints, avoiding very strong lights and shades, a rule to be observed whether the ground be h'ght or dark. Ger- man wools may be used for working flower pieces ; but English wool will be found smoothest and best for the grounding, or real German worsted perhaps is even preferable, and, in very large 19 138 CANVAS WORK. ^pieces, both durability and economy, besides comfort in working, jtrill be attained by the use of eithe;r. In cross stitch, when the size of the pattern is not incr^sed above one third, the design will, not be essentially altered, and the taste and fancy of the . needlewoman may be pleased in the choice of her subject, regardless of the difference in size. Cross stitch on one thread, is -generally much admired, but it is not calculated for a can- vas finer than twenty threads to the inch ; coarser than that, all sizes are equally suitable. Cross stitch on one thread appears finer^ than cross stitch when worked the same size on two threads ; it is more raised, and where it is fine greatly adds to the facility of working on a comparatively coarse canvas. When the human figure is worked in cross stitch, the face and h'ands should certainly be executed in the same ; but Berlin patterns having these parts drawn on a smaller scale, must thus be copied, unless we attempt the very difficult task of alteration. This, however, may be a matter of t^ste, as designs thus worked are, by many persons, greatly admired : nevertheless we cannot approve of the plan of sinking these portions of the picture, by making four stitches in the place of one. As a general rule, it is better to commence all patterns which are to form a centre, whether for chair seats, cushions, bags, or other articles, on the middle stitch, either on Berlin canvas, cloth, or on canvas intended to be grounded ; but for figure pieces and historical subjects there are obvious reasons why it is preferable to begin at the bottom. The stitches are easier to work J upwards, and they better accommodate themselves to each other ; and as - the lower part is generally less- observed than the upper, the sky, which is the most delicate, is worked last, and does hot require to be rolled, nor is the work so likely to be uneven when taken out of the frame. L CANVAS WORK. 139 It is curious that the grounding, one of the most particular parts of the work, should generally he deemed of such minor importance. Although a tedious* and uninteresting process, yet when properly accomplished, it fully repays the trouble bestowed. To ground well, requires great practice and experience. It is fully appreciated by many persons, as the first observation on seeing a fine specimen of canvas work is—" the beautiful grounding !" In grounding, it is advisable to begin at the bottom of the canvas, in the left hand corner. Above all things, the wool should be suited to the size of the canvas, the threads of which it should perfectly conceal. The needleful of wool should be short, both on account of soiling and iinpoverishing as it passes through the canvas, and a very small portion only should be passed through the eye of the needle. Finishing ofi" On -the same spot should always be avoided; and, instead of making knots, the wool should be brought up and worked over. When grounding is done on the hand, run the wool through a few. stitches 'at the back of the work. Although not impossible, it is extremely dif- ficult to ground fine canvas with pale blue, bufi', straw, salmon, or grey ; complaints are made against the worker and the wool, when the colour is an almost insurmountable obstacle. A white or light coloured ground should never be attempted on any but the whitest canVas, nor should subjects where a sky is to be de- picted ever be worked on any other. Delicate scarlet, smalt blue, various drabs, dark purple, Spanish brown, gold colour, chrysophas green, claret, and marron, if well chosen, are all both durable and good colours for grounding. There is so much difficulty with black, on account of its sometimes soiling the fingers and work, that it is not,' generally speaking, advisable, and at all times, except for gem patterns, it has a decidedly harsh appearance. Many of the neutral tints, which appear very beautiful as grounds 140 CANVAS WORK. by daylight, mix with the greens and olives by candle-light, and completely destroy their efect. It is at all times important to secure at one tim^ a sufficient quantity of the colour for grounding a piece of work, or it may otherwise, be impossible afterwards exactly to match it. Gobelin, or tapestry stitch, to look well jshould be worked "on a fine or moderately fine canvas ; it is prettiest with single wool ; — on a very fine capvas it is beautifuL A canvas was made about four years since, expressly for this stitch, but it has not been much used in England, as Berlin patterns could not be worked upon itj the threads of the warp and woof being unequal in size. For patterns drawn on the canvas it is decidedly good, although not adapted for count work. In. Gobelin stitch, the colours should be chosen as close as possible, but bright lights and dark shades may nevertheless be introduced. Silk should not be used, or only when the work is very fine, A good eye for colours is a natural gift,* and though this, like every other faculty, may be greatly improved by cultivation and , practice, yet quick discernment and natural good taste , will cause some to excel in the adaptation of colours more than others ; hut to the most talented, length of time and patience are necessary to a perfect knowledge of colouring — hence the diMculty of sorting Berlin patterns. The numberless tints of greys, buffs, browns, maizesj salmons, esterhazys, lilacs, and greens,t not to mention the * According to the viewa of phrenologists, the eyes, although affected agree- ably or disagreeably by the different modifications of the beams of light, or of colours, yet do not copceive the relations of different colours, their harmony or disccird, and have no memory of them. Certain individuals are almost destitute of the power of perceiving colours, who yet have the power of vision acute. Vide Gall, Sur les Fonctions du Cerveau, torn. ». t To the artist, the names of some of the colours employed in needlework may appear curious, but he must remember that- wools and silks cannot be laid CANVAS WORK. 141 more easily distinguished pinks, scarlets, geraniums, blutes, and yellows, require greater ability for their arrangeme»nt and disposi- tion than at first would be supposed, and-,^n only be understood by those who have devoted much attention to them. There are at least twelve distinct hues of green, and every one of these has perhaps tSffenty gradations of tint, the right method of intermixing which gives the beautiful effect to the leaves of a well-sorted group of flowers, It would be tedious to our readers to enter fully into a description of each, we will therefore only instance three shades of rose leaves. A bright green rose leaf may be worked with five shades of colour — a dark Saxon green, two grass greens, and two Austrian greens. A dark green rose leaf will require black, two French greens, and two Devonshire greens. For a faded rose leaf, a black, two rose greens, a yeUow olive, or s, light yellow green, wiU be lequired. ■ The colours for a rose should be a bright ponceau, a rose pink, and three distinct shades of a clear pink: we may here observe that the effect of pink flowers is improved by their proximity to whites and rich yellow-greielis. For a damask rose, black, two clarets, geranium, scarlet, and red pink, should be used. For a white rose, let the contrast be greatest in the darker shades — they cannot be too soft in the lighter; Where silk is used for the highest lights, white wool' may also be taken for the second tint. White flowers may be worked either with green whites, slates, or silver greys, according to the nature of the flower : but all must be as , delicate as possible, and harsh on a palette and mixed according to tlie precise tint Required; nor can they,' after they have oeen inserted, be retouched, or their effect heighteiSed or sub- dued at command., as in piiliting. Hence, instead of a few simple colours froia which all tints can be produced, the needlewoman is obliged, to employ several thousand ; and it becomes necessary to distinguish them one from the other by epithets however unscientific. * 142 CANVAS WORK. shades in the centres equally avoided. White flowers best contrast with ri«h olive greens. Groves of flowers, and moresqne patterns, should always have one or more parts comprised of the hue of the ground; — thus, a whiter flower in a group, worked on a white ground, pleases -the eye, and imparts a softness to the wholes piece. It must not, however, be understood that the White flower rests unsurrounded on the grounding, or is the most prominent object. Great bril- liancy of colour and depth of shade may be used on light grounds, but the introduction of black in the leaves and flowers, and all dark harsh edges on the ground, should be avoided as much as possible. On dark grounds, the brightest colours should occupy the centre, the white flowers should be well shaded, the pinks and yellows full, the blues clear, btlt not light ; the lilacs of a bluish tinge, the crimsons of a yellow tinge ; rich barre colours, and black in most of the leaves; the flowers, and the other parts resting on the ground, should be bright but not light. The brightest edges of the flowers and leaves, should be those which are in the centre of the group. In flesh colours there are six or eight hues, and at least twe.ve tints in each. AVe can only say that the pattern sorter must use his or her judgment in selecting from these to match the pat- tern, or improve it by making the colours more conformable to what is intended to be expressed, or rather to nature. Blues, not being generally good, require great care in selecting ; hence, it is ,better to use the middle tints in every case where it is possible, as being the best: black is almost always an improve- ment for the darkest colour, and the leaves round blue flowers should be yellow-greens and olives, if at all admissible. The above remarks are intended for those who have not much studifed the art of colouring, and to put them on their guard CANVAS WORK. 143 dgainst a too common error in needlework, the over anxiety for brigjit colours. Brightness of Qolouring, is, produced by opposi- tion, — the intensity of sun-shine can only be manifest hy immediate contrast with Utter darkness. So it is in. colovlring ; the neutral tints and dark shades give life to the brighter and more glowing hues. This we have endeavoured to impress by the few remarks we have ventured to make relative to the dispo- sition of colouring on various grounds, where we have attempted to show, that harmony of tone, hot opposition between the object and the ground, is to be desired. , We again, revert to the colouring of a white or light object, for the sake of instancing one of the errors frequently committed in needlework. We have seen the " Return from Hawking" worked on fine canvas, with the white horse very well shaded, except that, with a view of adding to the effect, white wool, heightened by a considerable portion of white silk, w?s introduced. This change of material, and its extra whiteness, instead of producing the desired intent, destroyed the roundness of the body of the animal, and gave a concavt appearance to those parts intended to be the most promi- nent. When white silk is employed, its colour is essential ; the hue shoiild assimilate with, that of the wool, and this must be carefully borne in mind in every case where silk (whatever its colour may be) is introduced. In a subject similar to the above, however, its introduction is at all times better avoided. In painting, colouring has been divided into that which is necessary for rendering the imitation just and intelligible, and that which ia expedient or ornamented, as contributing to make the work at once more harmonious and delightful to the eye. In the first, truth in the local tints is alone required, but ' the second demands discernment both in their selection and distribution. This has been aptly illustrated by the following example : — let us 144 CANVAS WORK. suppose the principal figure in a piece to be dressed in sky-blue, and another figure near it, of less consequence in the subject, to be represented in scarlet, with an under vestment of bright yellow, and let the Ught be made to strike equally on both : in such a cast, it would be utterly impossible to give an effect agreeable or harmonious to the picture, although each of these objetts should be painted with the utmost exactness and truth ; nay, the combi- nation, though found in nature itself, would excite feelings of disgust and aversion ; whereas, if the principal figure were dressed in scarlet and white draperies, and the figure next it in blue, if not too light or bold a tint, the effect would be harmonious and pleasing : and another point of great importance would be gained, as the eye would then be attracted by the principal figure, which could not have been the case in the former instance, where the gaudy combination of yellow and red must infallibly, as is natural with all warm colours, have first obtruded itself into notice. The want of harmony in colouring is as offensive to the eye as discordant sounds are to the ear. Gaudy colouring would more frequently offend, were not the judgment sometimes warped by the prejudice that excellence consists in brilliancy. Patterns drawn on canvas must be shaded according to the drawing, without any attempt at counting stitches. Arabesques may in general be commenced by working the veining of the foliage and darkest tints first, which really is npt difficult, as the principal features of the drawing are in dark lines. The second, third, and , fourth shades may follow : in these also ' there is little difficulty ; ' but in the fifth' and sixth shades (if a sixth is used) more attention will be required, as it is only in those parts on which the light falls that the brightest tints are to be placed, and these, or one of them at least, should be in silk. Berlin patterns possess such superiority over any drawn patterns of CANVAS WORK. 145 powers for canvas work, that it is unnecessary to lay down any rules for working the latter. Landscapes, figute pieces, still life, and animals, even when properly drawn on the material, require the talent of an artist "to execute. Patterns of gems require but little shade, arid borrow most of their beauty from their arraiige- ment and the gold colours in which they are get Birds are not difficult to work when drawn on the canvas : the variety of colours in their plumage , divides the parts into small portions, but the outline must be correct, and the colours clearly marked. Crests and coats of arms are more easily, worked on canvas when copied from a pattern dra;wn and coloured oh checked paper. This may easily be procured, by giving the designer an impression from a seal, or a slight sketch of the emblazonment in pencil, when (if he be sufficiently versed in heraldry) he will ar- range them correctly arid of the required dimensions. It is to be regretted that much labour and expense are often bestowed on designs of this kind, which, although not incorrect, heraldically •speaking, are yet totally devoid of grace and elegance, from the artist not sufficiently comprehending the service he is required to render the needlewoman. In working from Berlin patterns; the introduction of silk with wool in the leaves and flowers, oji fine canvas, is sometimes an improvement. In coarser work, such as cross stitch, with double wool, silk is detrimental to the effect, and even more so to the wear. In the plumage of birds, and in shells, it may be used, and certainly heightens their colouring. In arabesques, silk may be considered as indispensable, as also in gem patterns. The gold, silver, and steel, in heraldic displays, are improved by the addition of silk. Its use in other instances must be left to taste. In the former part of this chapter, we have spoken of the en- largement of Berlin patterns by working them on a canvas coarser 19 146 CANVAS WORK. than the checks of the paper. All patteins may be increased or diminished in size according as they are worked on fine or coarse canvas, or in cross or tent stitch. As an illustration, let us take the Berlin pattej:n of the "Return from Hawking." If this de- sign were worked on mosaic canvas, in tent stitch, it would occupy a space of twenty^wo inches in width, and sixteen inches in height : but if it were worked on a very coarse canvas, in cross stitch, it might be extended to eighteen feet eight inches in width, and thirteen feet four inches in height. This pattern counts nine hundred stitches in width, and six hundred and forty in height CHAPTER XVT. ffir^trrl)et. " Behold in these what leisure hours demand, — Amofement." COWPER. ' ROCHET work, although long known an,d prac- tised, did not attract particular attention until within the last four years, sinc4 which time it has been brought to great perfection, ' and has been applied with success to the production of numerous ornamental works. Shawls, table ccviers, pillows, otto- mans, chairs, rugs, carriage mats, slippers, bags, cabats, purses, waistcoats, and a. variety of other articles,' may, be appropriately worked in crochet, employing silk, wool, or cotton, as their various purposes demand. When wool is used, that kind denominated fleecy, is generally preferred. This material, if of a six-thread size, with an ivory needle, offers the easiest kind of work with which we are acquainted ; it may be learned without even looking at it, and has therefore bepn much practised by invalids and 148 CROCHET. persons whose sight either needs relief, or has become impaired. . All striped patterns ibay (if desired) be done in narrow widths, and joined in the dividing lines, so that a table-cover may be worked in four or six lengths, and- afterwards sewn together with wool without the least detriment to its appearance. Crochet may be done in coarse and fine chenille for pillows, bags, caps, and waistcoats ; — in crochet silk, for caps, slippers, and bags; — in coarse netting silk, it forms strong purses, bags, and slippers ; arid the most delicate work may be done with the finer silks. Gold and silver, — either cord or passing, can be intermixed with the chenilles and silks, or employed separately. Gold and steel beads may be strung on the silk, and worked in various pat- terns, producing a rich and beautiful effect. , Crochet work may be divided into plain single crochet, plain double crochet, plain stitch open crochet, and open crochet with one, two, or three stitches. These varieties will be found de- scribed as they occur, in the following directions for working. Crochet, although in itself a most simple stitch, is difficult to describe in writing, . but we shall endeavour to explain the ele- mentary process for the instruction of those to whom ii may not be familiar. ■- Having wound a skein of wool, make a loop at the end, through this draw another loop, through this second another, and so on, moderately tightening each as it is drawn through, until a chain of sufficient length is made to serve as the foundation for the article it is intended to make. Pass the needle through the last made loop of this foundation, and, catching the 'silk, draw it through, repeating the same at every successive loop ; then returning along this row, repeat the same to form a second. A repetition of which, alternately backwards and forwards, from right to left, and from left to right, will give the fijst and CROCHET. 149 easiest lesson. The work will be the same on both ■ sides, produ- cing by turns one raised and one sunken row. Having accom- plished this, we may proceed to make — A SOFA MLLOW,^ OR TABLE COVER. A good sized ivory • or steel crochet needle, with six- thread fleecy, will be required. Instead of working the rows backwards and forwards, as before described, begin eacli row sepa- rateiy at the same end. When the last stitch of each tow is finished, draw the wool through, and cut it oS, leaving an end of three or four inches. It is impossible to determine the exact number of stitches, — that must depend on the article, and its required size ; but with this description of wool, half" a yard in length will generally be found to number about sixty-five stitches, and a calculation may accordingly be ^ made. The following, it is to be understood, is merely given as the easiest pattern. First stripe — ^two rows in black, one dark searlet, one bright scarlet, one light scarlet, one white; reverse the same to the black, which will form a pretty shaded stripe. Second stripe — three distinct blues, and one row of white, reversing the same, as before, to black. Third stripe — three pretty stoile colours or drabs, and one white, reversed as before, to the black. Commence again, as with the first stripe, with ■ scarlet, and repeat the three alternately. For a moderate sized pillow, one skein of each coloured fleecy wiU be required. 150 CTROCHET. AN EASY TURKISH PATTERN FOR A TABLE COVER OR PILLOW. This is an easy pattern of ivarious colours, for a table cover or pillow. The same needle and six-thread fleecy will be re- quired. The grounds are formed of white, scarlet, black, gold colour, and blUe. ''t,' ■Make the chain in the usual way with black. Then with black and scarlet together, work alternately two stitches of each, keeping the wool not in use on the top of the chain, bringing it back- wards and forwards as required to form the pattern; it will thus be found that the wool not in use will be concealed by the stitches which are made over it. The colours on the white stripe, are^scarlet, blue, orange, and lilac. *>0n the scarlet stripe'— green, white, lilac, and claret. On the black stripe — green, scarlet, gold colour, and lilac. On the gold colour — blue, claret, drab, and green. On the blue — lilac, white, claret, and gold colour. All the stripes are to be divided by the two stitches up and down of black. CROCHET. 151 another turkish pattern for a table cover; etc. No. 2. This is suitable either for a table cover, counterpane, piHow, the tops of large ottomans, the cover for a chair, a rug, oc a bedside carpet. Six-thread fleecy and a steel needle will be re- quired. The dividing line is formed of two clarets. The stripes are white, gold colour, blue, and scarlet. The pattern on the white stripe is worked in two greens, two scarlets, two blues, brown, and yellow. On the gold coloured stripe — ^two blues, claret, white, lilac, and green. On the blue stripe — two scarlets, two greens, drab, white, brown, and orange. On the scarlet — green, white, two blues, claret, and bright yellow. 152 CROCHET. No 3. Six-thread fleepy, with a steel ,needle. Commence with two plain rows of black; then one row of straw colour for the ground of the border, the nine rows of T^hich are in shades front the straw colour to dark oraiige, thus : — two of yellow, two bf gold colour, two of amber, two of orange, two of light red browns, the last of which extends one row below the border ; the pattern of the border being in black, or the deep rich hhv, de France. The ground of the centre is a rich full drab. Work one row plain, then commence with the pattern as follows. On the first row — light blue. On the Second, third,. and fourth rows — middle blue, the three centre stitches of the pattern in the third row being black. This third row requires great care and neatness as these colours are required for working it, which must be hidden except where they form part of the pattern. On the fifth row — Waterloo blue. On the sixth rpw — the pattern is light yeflow. On the seventh row — dark yellow. Repeat the pattern. CROCHET 153 When the square is completed, neatly run in the wools with a rug needle, which will produce a firm edge, on which the side borders (if desired) may be crocheted, but it requires great pains and some ingenuity to make the corners exactly match. ANOTHER TABLE COVER. Commence with four plain rows — ^the first, claret ; the second, middle blue ; the third, claret ; the fourth, scarlet. The pattern of the first border is in three shades of blue, — ^the lightest at the top. The outer ground of the border is in scarlet ; the inner ground of the border is white. Three wools are worked at the same time. One row of plain white finishes the border. The pattern of the second border is formed thus : — First row — white, and middle green. Second row — white, and dark green. Third row — claret, with a single stitch of white. Fourth row — claret, and light green. Fifth row — claret, and middle green. 20 154 CROCHET. Two lows of plain claret. Then on the claret ground com- mence the palm pattern as follows ; — First and second rows — two bright greens. Third row — ^bright scarlet. Fouijth row— scarlet, and white. Fifth row — blue, and white. Sixth row^-blue. Seventh row — deep gold colour. Eighth row — ^bright yellow. This pattern also requires three difierent coloured wools in many of the rows. It is very handsome. The side border may be crocheted on. Six-thread fleecy, and a steel needle, will be required. SMALI. PINE-PATTERN TABLE COVER. No. 5. The chain and first row — gold colour. Second row — ^black. Third row — green. Fourth row — gold colour, which continues through the outside ground of the border. The inside ground of the border is the same as the centre of the table cover, — a rich drab. The pattern of the bordei is composed of three shades of Saxon green, and black. CROCHET. 155 The small pine pattern for centre is: — First row — deep gold colour. Second row — ^blue. Third row — scarlet. Fourth row— white. In the next, or reversed row of the pattern, the colours may be varied as follow: — First row — scarlet. Second row — green. Third row— lilac. Fourth row — white. The six patterns above given for table covers, will be found the easiest to work in six-thread fleecy ; and are best calculated to show in this sized wool ; but they may be worked for pillows, and smaller articles, in four-thread fleecy, or even German wool. They are perhaps the most effective in jeight-thread Hamburgh wool, which is about the same size as fbur-thread fleecy. Ham- burgh wool is most' durable, and has a more silky appearance than fleecy ; it also cleans better by brushing, as, from the closeness of its make, it is not so fluffy. The same patterns are also well adapted for working in chenille. Crochet table covers are made up, by turning in the edges neatly, and sewing on a spaced fringe* of the colours of the stripes, and a head either of the colouf of the dividing line, or black. The fringe should be about three or four inches deep. They do not require any lining. If the work be for rugs, mats, * Tlie mode of making a suitable spaced fringe, will be found in the follow- ing chapter on knitting. Although we have given directions for a knitted fringe iii case it should be preferred, yet a woven one will be found much firmer, and better.i 156 or carpets, it shoulc with a coarse woolle An eight or ten-th N.B. In the dire crochet, it must be t mentioned, the plain ployed. CROCHET. I have a firm inside iia n cloth or baize, read fleecy may be used fo ctions for working the ( orne in mind, that unless or double crochet stitch A CROCHET SLIPPER. ing, and be backed f the coarser articles. lifFerent patterns in any other stitch be is to be always em- The above patten or crochet silk, in s direction round the are as follow: — First stripe— yelloi claret, bright scarlet. Second stripe — lila green, white; and pir Third stripe — gree slipper. The patter No. 6. 1 is intended for a slipp( tripes across the front, coi back. The colours of t IV, with the pattern comp and blue. B, the pattern in stone c k. n; this stripe is wider tha n on it, is composed of s sr in German wool itinued in {he same he different stripes. osed of lilac, green, olour, gold colour, n any other on the carlet, claret, black, CROCHET. 157 ^ gold colour, lilac, white, stone colour, scarlet, blue, gold colour, and lilac. < Fourth stripe — white, pattern in blue, yellow, lilac, green, and scarlet. -: Fifth stripe — scartet, pattern in black, yellow, green, lilac, and white. Sixth stripe — ^bke, pattern in gold colour, elaiet, pink, green, and white. > The narrow stripes are repeated round the back of the slipper, the sole of which may be formed of coarse crochet in black. For a moderate sized gentleman's-slipper in crochet silk, the toe might be commenced with twenty-four stitches, and increased in the succeeding rows until the width across the instep were eighty stitches, — but as some persons work so much tighter than others, a positive number cannot be given. The silk also may vary in size, as well as the dimensions required for a slipper. The increasing is made by the addition of a stitch on each side of the work. The stripes in the front of the slipper are yellow, lilac, green, and white, which crosses the 'instep. Count the number of stitches across the white stripe, and commence with the scarlet ; the third of its width' on one side, to form the back! Continue these stripes until the back be of sufficient length to be sewn to the front on the other side. It is advisable before commencing a slipper, to cut a paper pattern of the desired size and shape. The above form chcmssons to wear over the shoes, or they may be made up by the shoemaker in the usual way for slippers, either for ladies or gentlemen. In crochet silk they are extremely warm and durable. The ends '■ of the wool or silk, are to be threaded with a needle and run into the work on the inside. 158 CROCHET. CHANCELIERE, As it is impossible to give the exac^ number of stitches,-^ each row varying, — it is advisable to cut a shape in stiff paper of a proper size, as the pattern, first of the top, and then of the border. Where it is requidiie to increase the width of the work, it must be done by mating an extra stitch on each side. The stitches of the band are to be worked in a contrary direction to those of the top, as she~wn in the above engraving. — The annexed piittern will be found suitable for a ohanceliere. No. 7 CROCHET. 159 Commence at the toe by woiking two plain rows of ground ia scarlet, and crochet the centre stripe of the pattern in a jich green, on the same coloured ground. The ground of the next stripe is black, on which the pattern is to be worked in three shades of gold colour. Work a plain row of middle blue, which also forms the ground of the small chain pattern, with the exception of the centre row, which is claret. The chain is in white. Work a plain row of claret, and then repeat the second stripe as before, with the colours reversed. The above colours, if well chosen, are exceedingly pretty, but of course they may be varied according to fancy. The slipper pattern No. 6, and also the Turkish, pattern No. 2, are equally adapted for a chanceliere. Four-thread fleecy, and a steel needle are to be used. The inside of the chanceliere is made separate and knitted with the brioche stitch, in six or eight-thread fleecy. The ermine ruffl", or trimming, in worsted, may easily be procured but if it cannot readily be so, a thick knitted fringe three or four times doubled, will be a good substitute. The bottom is formed of leather or doth. They should be made up on a very firm foundation, and stuffed between the lining and the work with wooL A PLAIN CROCHET BAG IN BILK. Commence at the top with a chain of about one hundred and forty stitches, in crochet silk (black), on which work a plain row, and then one row alternately every two stitches with black and middle blue. The blue afterwards form's the ground of the pat- tern, of which one plain row should theii be worked. 160 CROCHET. gJlP C^S ^ Bp No. 8. The small stars in the pattern are in rich gold colour, the other parts in light yellow brown; crochet one row of plain ground on each side of the pattern, and repeat the row of black and blue stitches. The next ground is black, the pattern in bright blue, the smaller stars. of gold colour. Repeat these stripes with the dividing row of black and blue, until the bag is of a sufficient length. It is to be squsiie at the bottom. If the above colours are not approved, black, green, ponceau, -and white, will be equally good The dividing stripe may be worked in gold if desired. An usual sized bag will take about seven skeins of crochet silk. A CROCHET BAG WITH STAR-SHAPED BOTTOM. Make a chain of fourteen stitches, in claret crochet silk ; join both ends together, ^nd crochet one plain row all round. In the next row (in order to keep the circle flat,) every other stitch is to be made a seam or dividing stitch, which is done by putting the needle under both loops,, instead of one, and making two stitches in the same place, every other . stitch being CROCHET. 161 a plain stitch. In the next row, work the seam-stitch in the same place, leaving two plain stitches between each, instead ol" one. Repeat this circle sixteen times, always observing to keep the seam-stitch in the same place, the number of plain stitiihes gradually increasing, when a flat surface of about four inches in diameter will be produced, intersected with seven raised stripes. A Vandyke border in claret and green may now be made as follows. First row — five stitches of claret, one of green. Second row- — three stitches of claret, three of green. Third row — one stitch of claret, five of green. Fourth row — a plain row of green. The following pattern may then be worked in green on the claret ground. naai ■■■■■■■■■■■am larwJiBni «M«»M"!;as::l§ .■■■■□■■QUHa — ■■■DD ■■■u AID ' "■■■ !■ •-5 -E"E B. «J3'Si" * "." SSS'3 ~ 'a t ' ■■ ■■■■■■ ■■■■I, No 9. When within five rows of the top of the bag, work one plain row of ground, repeat the Vandyke, and work two plain rows of the claret ground. •M 162 CROCHET. This bag is very pretty and delicate worked in white and gold, in blue and gold, and in black and gold. It may ^Iso be varied in colour as taste may dictate. PERSIAN PATTERN BAG. The pattern No. 1 will work very prettily for a bag in silk or chenille. A light green stripe may be introduced, with gold colour, lilac, white, and scarlet, for the pattern ; but the colours as arranged for th& table-cover, will look equally welL A STAR BOTTOM. FOR A BAG, WITH BEADS. Make a chain of fourteen stitches, join both ends together with the crochet, and crochet one plain row all round. In the next row, every other stitch is to be made a seam or dividing stitch, which is done by putting the needle under both loops, instead of under one, and making two stitches in the same place ; every other stitch being a plain stitch, on which is to be a bead. In the next row, work th# seam stitch exactly over the last, which will leave two plain stitches between, instead of one ; this is to be repeated until eight ci]^clQS are formed, every plain stitch having a bead on it Crochet eight rows more, leaving the seam stitch in the same place, but diminish the number of beads, by leaving out one bead in each division on each successive circle, so that the last row will have but one bead in each division. Then crochet four plain rows, keeping the seam stitch in the same place as before, then one plain row all round without a seam stitch, which forms the bottom of the bag. CROCHUT. 163 A BAG WITB steel OR GOLD BEADS. Make a star bottom for the bag, as previously directed. For the upper part. of the bag, eitjier of the ah'nexed patterns — ^pine or diamond — ^may be employed. No. 10, I ■■■■■■■■■■■■■■■■■■■■■■■■191 aBSgagHmciagn^Boanj^^^i^^ii DDaSSiaiuilaDDiavin^BBBHHal .HDnnDiiBa^iniiaaiBaaBnBBBi ■nnDiHMHMHBan! ® unnnmia^B^MagB! The pine pattern k the handsomest. When within five rows of the top of the bag, the pattern will finish, when two or thrfee plain rows are to be Worked, a&'d the two remaining rows may be composed of stetl b@dds. The colours which assimilate best with Sted, are— bktik, ponceAu, silver grey, purple, and marron. For gold beads — brown, dark green, drimsofl, violet, Snd blue, are to be preferred. Any patterii intended for beads, may be worked with equal effect with gold cord. 164 CROCHET. ANOTHER BAG WITH STEEL OR GOLD BEADS, AND SILK OF TWO COLOURS. No. 12. Make a star bottom as before. Crochet the above pattern in steel lotind it, supposing the- ground black. Work five plain rows in a dark green. Repeat the black stripe with steel beads. Work five more plain rows of green in a lighter shade, and repeat these stripes black and green alternafely, until the bag be finished, making each succeeding stripe of green lighter than the last. It has always a good effect when working stripes, to break the Straight line by crocheting alternately two stitches of each colour. Dark green and ponceau, violet and greens, ponceau and greys, claret and blues, and white and blues, are colours which will prettily harmonise. AN ELEGANT BAG IN BLUE, WHITE, AND GOLD. Work a chain of about six stitches in length, with fine blue crochet silk, and join both ends together. Commence with three plain rows of blue, and then one row blue and gold in alternate stitches, which forms the foundation of the star pattern for the bottom of the bag. On the above circle, crochet a row of two stitches of blue, and two of gold, alternately. In the next row, two of blue and three of gold, and continue one row after another, increasing each time one stitch of the gold in every division of each row, until they" amount to eight, taking care to keep the two stitches of blue in their right position 5ver each other. CROCHET. 165 THe gold must be decreased three stitclies on the next row, by working four stitches of blue, and five of gold; in the next row there should be seven of blue, and three of gold; and in the next, eleven of blue, and one of gold, followed by two plain rows of blue, increasing a sufficient number of stitches to keep the, work flat : this completes the bottom of the bag. Crochet one plain row of gold; and, in the next row, insert pne stitch of white silk between each five stitches of the gold. In the next row, there will be three white and three of gold ; and in the next, five of white and one of gold. These four rows will form a Vandyke pattern. < ' Crochet one plain row of white, one plain row of gold, then two plain rows of blue, after which commence the following pat- tern on the blue ground. Iii jhv ■Bin llfflBV S|!L. SEEEBgCEIirt. .. % H JB' ■■• ■■■■>■■ -I . leS»!9SdiSH«M"* ' ■'■■ GIninngB • ^aim n kiiklSBB* .. «H«fl'^a l3BCCLCu.« — iwaa IBMiMMIIHWIIIIII No. 13. The hexagonal figure is to be worked in gold; the group of stars in white. Finish- the ,bag with two or three plain rows of blue and white. AN OBEN CROCHET BAG IN CHENILLE. Make a chain of six loops, and unite both ends. Crochet in rows to form a round, increasing a sufficient number of stitches 166 CROCHET. in each row to keep the work flat, until fourteen rows are finished, which forjns the bottom pf the bag. Commence a vandyke pattern, by making one stitch 'of gold to every fifth of the coloured ground, in the first row. In the next row, three stitches of gold, and three of the ground ; in the next, five of the gold, and one of the ground. The two next rows are to be plain ; the first of gold, the second of black. Work two rows of open crochet in the same colour, but the second row should be of a lighter shade than the first. Two rows of black, with one row of gold between, are then to be worked in plain crochet, which, repeated alternately with the two rows of open crochet, complete the bag. About sixteen skeins of chenille, and twenty-four yards of gold cord, will be required. OTHER PATTERNS FOR BAGS Either square or round bags may also be Worked in crochet silk, with coloured stripes, arranged perpendicularly, with small patterns of steel or gold on each alternate colour, for which the annexed designs will be found suitable. Gold cord, if preferred, may be used in the place of beads. No. 14. CnOCHET. 167 No. IS. No. 16. A GREEK CAP IN CROCHET SILK. CommeSGe at the top with a chain of fourteen stitches, unite the ends, and crochet one plain row. On the next row, make a raised or dividing line on every other s-titch, as for the bottoms of bags. The inci*easing must be continued until the diameter of the circle is about six inches and a half Work plain rows round this. Until the cap is sufficiently deep ; occasional increasing stitches may be .made if it be not large enough. The c&p is to be finished with a, double gold bretid, which meets the points of the increasing Jines, with a gold band round the bottom, and a handsome tassel at the top; or silk trimmings may be substituted. They require to be very neatly made up in the inside. A GREEK CAP IN COARSE CHENILLE Commence at the top with a chain of six or eight stitches; unite the ends, and work in rows round and round, increasing a sufficient number of stitches in each row to keep the work flat, until it be abourt eight inches in diameter; The sides may be 168 CROCHET. worked in open crochet, introducing a few plain lines of black and gold between each two rows of the open crochet. The best colours for a cap in chenille are black and gold — dark blue, black, and gold — and claret, black, and gold. A PEN-WIPER IN PLAIN CROCHET. Commence with a chain of about six stitches of plain green netting silk, and crochet both ends together; work three plain rows of green, and then one row of alternate stitches of drab and green. The drab silk will now form the ground on which the star pat- 'tern of green is to be worked. Crochet a row with two stitches of green and two of drab alternately ; in the next row, two of drab and three of green. This is to be continued one row after another, increasing one stitch in the green pattern every time that colour is repeated in each row, until it counts eight stitches in each division, taking care tov keep the two drab stitches of the ground exactly over each other. The pattern is now to be decreased by working four stitches of drab and five of green; in the next row, seven of drab and three of green; and in the next, eleven of drab and one of green. Work two pleiin rows of drab, increasing a sufficient number of stitches to keep the work flat, and finish with a kind of fringe formed by two rows of open crochet in green. A CROCHET NECK CHAIN. The chain is made by commencing with five plain stitches tlien putting the needle through the back of the second stitch, and making one plain stitch. It will be found, by twisting tlie CROCHET. 169 cliain after every stitch, that one stitch > appefirs to go across, which is the stitch that is always to be. taken and crocheted. A PLAIN PURSE IN CROCHET. Plain crochet-purses are exceedingly strong, and may be made very prettily with a moderate sized netting silk. Those worked in rows of the length of the purse are the most easily made. Make a chain in scarlet netting silk of one hundred' and forty stitches, on, which crochet three plain rows in the same colour. Then five plain rows in shade of green, or stone,- colours. These two stripes are to be repeated until the purse is of a suffi- cient width. When completed, it is to be nea;tly sewn up, or joined by crocheting the two sides together. The ends are then to be drawn up and the purse trimmed. A PLAIN CROCHET PURSE WITH SQUARE AND ROUND ENDS. Commence with a chain of fourteen stitches, and joining both ends together, crochet one plain row all round. In the next row" every alternate stitch is to be made a dividing or seam-stitch, which is done by passing the needle under both the correspond- ing loops in the first row, and making two stitches in the same place. This dividing stitch is to be repeated'in the same place on each row, until ten rows are worked, when a sufficient num- ber of plain rows are to be crocheted according ,to the length of the purse, until the side opening commences. i The opening of the purse is made by crocheting plain rows alternately, from right to, left, and from left to right: when a sufficient number of these are do°e '■ — S-i 170 CROCHET. The plain rows are again to be worked to correspond with the former part, but instead of the round end it is to be left square, and sewn up, with a tassel at either corner. A PLAIN OPEN CROCHET PURSE. 'Make a chain of one hundred and sixty, or one hundred and seventy stitches ; to the last stitch of this crochet five stitches, which again crochet to the fifth stitch of the chain : repeat this the whole length of the foundation, and return the row in the same wav by attaching every fifth stitch .to the centre stitch of each loop of the last row ; the whole of the purse is to be con- tinued in the same way, but it may be varied, according to taste^ by using two or more colours. When the purse is worked to the size desired, cut a piece of stiff card-board, and sew the purse firmly to it, the wrong side outwards ; damp it with a little water, allowing it to remain until it is dry : this will stretch the purse, and bring all the stitches into their proper places and tighten them. Then having sewn or crocheted up the sides, draw in the ends and put on the trimmings. A SHORT CROCHET PURSE. Commence at the bottom with a chafn of fourteen stitches, unite both ends, and work round and round increasing by means of dividing lines, until a flat circle of about two inches in diameter be formed. On this, work plain rows until the purse be about three inches in length. It must' then be exactly divided, and each side worked backwards and forwards for about eight rows, or what- ever is sufiicient for the depth of the snap. The pine pattern. No, CROCHET. 171 11. and the usual Vandyke., are suitable for short' purses. About one hundred and twenty stitches will form a good-sized purse. A SPRIGGED PURSE IN OPEN AND PLAIN CROCHET. Commence with one row of open crochet, in gold coloured silk ; work a row of plaiii crochet with blue and gold colour alternately, every two stitches, and then one row of plain blue. The next, or fourth row^s formed alternately of two stitches of scarlet, and five of, blue. The fifth row — four stitches of blue, and five of white, alternately. The sixth row — four stitches of blue, and four of stone colour. The seventh row-^five stitches of blue, and two of pink. The eighth row — plain blue. The ninth row — blue and gold colour alternately, as in the third row. The tenth, eleventh, and twelfth rows — in open crochet, in gold colour. Bepeat the above, commencing as at second row. OPEN CROCHET STITCH. The stitch of ofen crochet is worked (as nearly as we can describe) as follows :— make a chain of the length required ; work one plain stitch at the beginning. Bring the silk round the needle, and pass the needle through' the first loop of the chain ; through this bring the silk, which maltes three stitches on the needle ; draw the silk through the two first stitches, which leaves two on the needle ; then draw the silk through these two, which leaves one on tj^e needle ; through ^his one, 172 CROCHET. make one plain stitch. Put the silk over the needle, and bring it through the fourth loop of the chain ; the three stitches, as before, will now be found on the needle ; draw the silk through the two first, which leaves two on the needle ; draw the silk through these two, which finishes the stitch, and leaves one upon the needle as before. The plain stitch that is then made between the two double stitches, allows for the stitch which was passed in the chain, and leaves an open space. This open crochet stitch is varied by making the twtf-long stitches together, — which is done by omitting the single stitch, and passing the needle through the next loop of the chain, in- stead of missing one stitch, — thus producing two stitches together, and then an open space. This is called double open crochet. It may also be varied by making three stitches successively, without making any plain stitch, which produces alternate squares of open space and stitches. This is generally termed treble open crochet ; and beads may be introduced on it with very good effect in the following manner : — let the^ beads be threaded on the silk, and pass one on the middle stitch of the three double stitches, which gives a bead in the centre of- each square. This stitch makes a very pretty purse. A. PTJRSB WITH BEADS, IN PLAIN AND OPEN CKOCHET. Make, a star bottom with steel beads (as directed, page 162), of fine netting silk, of a dark emerald green. Work three rows of open crochet in a light green, — then either of the annexed patterns on the dark green ground, as follows : — CROCHET. 173 The pattern in steel beads. The ground of the pattern itself —^ponceau. Work two' rows of open crochet in light green. Repeat the pattern, with two more rows of open crochet. This completes the end of the purse. The centre is to be in px'ain crochet. AN ELEGANT CRCKHET PURSE WITH GOLD. Commence with one ro-* of open crochet, the length of the purse, in fine white netting si2k. Then, one row ' of plain crochet, in aHernate stitches, of white and full blue, or white and ponceau. No. 19 WorK the abore pattern in gold, on the blue or ponceau ground. Three rows of open crochet in white. Repeat the pattern and open cr^het alternately. 174 CROCHET. When the purse is finished, it will be found that there are only two rows of open crochet where it is joined, but this cannot be avoided. The same pattern may also be worked in gold or steel beads, but it will then be advisable to omit the pattern in the centre of the purse. An additional colour may be introduced, with very good eflfect, on the ground between the beads. In a moderate sized purse, the pattern will be repeated seven times in the length. A few plain stitches at the top and bottom of the purse will be desirable, PLAIN DOUBLE STITCH CROCHET PUKSE, PINE PATTERN. Commence with a chain of six stitches in poticeau, unite the ends, , and crochet round one plain row. Work sixteen plain rows, increasing on each row as usual. There should be ninety- one stitches on the last row. Form a Vandyke, by working :— First row — three stitches ponceau, one drab. Second row — one stitch ponceau, three drab. Qrochet two plain rows of drab, — then commence with the following pattern in ponceau, on the drab ground, working three pines in height, and seven in each row ; — eight plain stitches be- tween each pine. No. 20. CROCHET. 175 The opening of the puise, is worked as usual^ — ^backwards and forwards, with a pattern, formed by working eleven stitches on each side of the opening in ponceau, in every two alternate rows. Finish the other end of the purse as iabove, reversing the pattern. PLAIN AND OPEN CROCHET PURSE. I. ' Commence with one row of open crochet, in fine green netting silk ; then work, — Five plain rows in shade? of scarlet, from black to ponceau. On the second row, work two stitches with gold beads between every six stitches. On the second row, two steel beads, on the third row, two gold beads, in the following position : — It will take five skeins' of ponceau silk, one of black, iand two of green, to form a pu;se about nine inches in length. ANOTHER PLAIN AND OPEN CROCHET PURSE. No. 31. Commence with two rows of open crochet, in fine netting silk, of a dead gold colour. Then six tows of plain crochet in three distinct shades of blu6, — on which the above sprig pattern 176 CROCHET. may be worked in beads, tbe three first rows in gold beads, the two last in steel beads, commencing in the second row of the blue. Then, — Three rows of open crochet in the gold colour. Seven rows of black, with the Grecian border in ponceau, to form a stripe. Repeat the three rows of open crochet in' gold colour, and com- mence again with the blue stripe as before. The purse should be about nine inches in length. It will take three skeins of blue silk, two of gold colour, one of black, and one of ponceau. The silk should be fine. A BRIDAL FtFRSE. Work one row the length of the purse, in treble open crochet, with fine white nettifig silk. Then — one row in plain crochet, of three alternate stitches of ponceau and gold. No. 32. Crochet eleven row^ in white, with the above pattern in gold Repeat the row of ponceau and gold, — then one row of treble open crochet in white, and one row of treble open crochet in ponceau, and again in white. Repeat the pattern, etc. and when the purse is of a sufficient width, finish with one row of treble open crochet in white. CROCHEl'. 177 Crochet up tLe two sides with ponceau to the opening, lound which work one plain row in ponceau, to strengthen the purse, and give uniformity. If intended for ordinary use^ hlaok or claret silk may be sub- stituted for the white. A SHORT PURSE OR BAG, IN PLAIN STITCH DOUBLE CROCHET. Ko. 23 The abova^ patterns are adapted for short purses or bags ib any bright coloured silk, with gold cord or passing; the bot- toms may be square, with a fringe of gold beads as a finish. The border pattern. No. 24, is to, be placed at the bottom, with the Vandyke pattern above, over the whole of the other part. If worked for a purse, the silk must be fine; if for a bag, — coarse netting silk; the gold cord or passing, being of an equal size. 178 CROCHET. A baby's cradle cover, or a carriage wrapper. No. 2§.,, In blue and white six-thread fleecy, with 3 large ivory needle. Make a chain of the required length, and ctocliet two plain rows of white ground. In the next row, commence the above pattern, to form the border in blue on the white ground. This border is so designed, that the pattern can be made perfect at the cor- ners by simply continuing it at the sides, each row of the side border being worked at the same time with that of the centre. The centre is composed of the ani^exed pattern. No.2S. This covering can be workdd either square or in a long square. It will be exceedingly warm and useful as an open carriage wrapper, when scarlet and drab, or blue and claret fleecy may be CROCHET. 179 used. For either of these putposes, the oroeheting should be doue lightly and loosely, with a very large needle. When . worked for mats or rugs, eight-thread fleecy is preferable, and the crochet- ing should be done as tightly as convenient. ANOTHER SQUARE PATTERN WITH jy BORDER. § ■ MBBJBH 1 i HI 1 B EssSIb!!! No. 27. , No. 38., These patterns may be worked very prettily — ithe^ first for the border, the other for the centre — the ground. of both Ipeiag drab. Every other star in the border is gold colou*, the alternate stars being blue and crimson, those parts marked white in the engrav- ing being black. In the centre, the small stars are all gold colour, the larger figures alternately Crimson and blue. In working, the gold-coloured wool, both in the border and centre is to be carried through the whole piece, but the blue and crimson stars may be introduced in short lengths, the «nds of which must be run in at the back of the work, or it may be lined with silk. 180 CROCHET. Two rows of open crochet, in black are to be worked round the whole square when finished. The stars may be crocheted in one shade of each colour; but it will be prettier, and quite as easy, to work them in various shades. A ROUND d'oYLEY OR MAT. Commence with a chain of six stitches, in black eight-thread fleecy. Unite both ends. Crochet all round, increasing in every stitch for the first row. The pattern may be formed in three shades of scarlet on a blue ground of three shades; the darkest shade of the scarlet being on the lightest shade of the blue. Second row — is one stitch of dark scarlet, and two stitches of light blue alternately ; forming the commencement of a star of six points. Third row — three stitches of the dark scarlet, and two of the blue. Fourth row — five stitches of a lighter shade of scarlet, and two of the blue. Fifth row^— five stitches of the lighter scarlet, and three of the second shade of blue. Sixth row — three stitches of the lightest scarlet, and six of the second blue. Eighth row^— one stitch of the lightest scarlet, and eight of the darkest blue. Ninth row — one plain row of the darkest blue. Three plain rows of black finishes the D'Oyley. In every row, increasing stitches are to be made in the blue • and also in the plain rows of black. CROCHET. 181 TRAVELLING BAGS. Travelling bags worked in eight-thread fleecy are Very strong. They may be mounted in the same manner as the usual carpet bags. Any of the patterns we have given will be suitable. EXPLANATION OF TERMS ' USED IN CROCHET. Plain crochet — where one loop only is made in each stitch. It is used for the commoner kind of purses. Plain double crochet — where two loops are kept on the needle before the, stitch is finished. This is the crochet stitch generally practised, and that used for working table-covers, etc. Double stitch crochet. — In this, both meshes of the chain are taken. It is principally employed for the soles of shoes, and where extra thickness is required, but it is not suitable for work- ing patterns. Plain stitch elastic crochet — is worked alternately in rows back' wards and forwards, first taking the upper, then the under mesh of the chain. Plain stitch, open crOchet — as described at page 170. It is used for purses. Open crochet — as described at page 171. It is suitable for purses, bags, etc. Double open crochet — suitable for bags, purses, etc.: see page 172. Treble open crochet — as described page 172. To make a stitch — at the commencement and end of a row, is to make one stitch of a chain before the first stitch, and after the last, which in the next row are to be crocheted. A dividing, or seam stitch — called also a raised stitch, i». made by putting the needle through both meshes of the chain, and 182 CROCHET. working two stitches in the same hole. These stitches must always be made exactly over each other. In crocheting circles, they form a kind of star pattern, . and serve the purpose of in- creasing stitches. They should not be employed when working with chenille. To increase a stitch — to make two stitches in the same mesh. To decrease — to take two stitches together or to miss one stitch. Decreasing is always done in the same rado as increasing. True, or perfect siifcA-^when working in different colours, the keeping the stitches directly over each other, without any appear- ance of the half-stitch. This requires care, but it greatly adds tOi the beauty of the work, and makes the pattern more distinct To fasten off- — ^to draw, the wool through the last stitch. To fasten on — Lay the ends of the wool contrariwise, and crochet a f^w stitches with both, or work in the second wool, apd lun the end in with a needle at the back of the work. To run the ends — to pass them down a few stitches with a needle. This is the lEieatest and strongest plan ; but they may be tied and cut' 9^'. A dividing line — generally formed of two stitches alternately up and down, into the grounds of the stripes on either side. HINTS ON CROCHET. A steel crochet, needle is genterally advisable; — with expert workers it makes the most even stitches, but an ivory needle is easier to work with. The second sized netting silk is prettiest for purses. The coarsest or crochet silk is best adapted for bags, with steel or gold beads. r CROCHET. 183 Where many colours are required in a pattern, and the same ^o not very frequently occur, it is advisable to introduce them m short lengths instead of carrying on each thread. This should always be attended to when working with chenille. When beads are used, they are to be strung on the silk with a needle. The average number of stitches for the length of a purse, in fine silk, is one hundred and .sixty. In coarse silk, one hundred and ten. From ninety to one hundred stitches form the circle of a purse in fine silk. One hundred and thirty stitches may be taken for the round of a bag in crochet silk. A table-cover in six-threlad fleecy, is generally computed at about four hundred stitches in length. Borders of flowerS may be worked in crochet, but it would be impossible to convey a complete idea even to the most experienced worker, unless accoinpanied with coloured patterns, which the nature of our illustrations preclude us froni oifering. But the export needlewoman will soon perceive the best method of copying any pattern of this description she may desire. CHAPTER XViI. linitting. " Those curious nets thy slender fingers knit." "Waller. "And between the knyttyngea flowers of golde." Hall's Chronicle. NITTING was unknown in England until the middle of the sixteenth century.* It is said, that one William Bidei, an apprentice on Lou- don-bridge, seeing at the house of an Italian merchant, a pair of knit worsted stockings from Mantua, took the hint, and made a similar pair which he presented to William, Earl of Pembroke, in 1564, and • In the Rowleian forgeries, by Chatterton, " the marvellous boy,'' as Words- worth designates him, the following verse occurs ; it is part of the " Myn- strelle's Songe, tie Syr Thybbot Gorges," in the "Tragycal Enterlude of iElla." KNITTING. 185 that these were the first of the kind made in England.* We learn frOm Howell, that Henry VHI commonly wore cloth hose,t except thefe came from Spain by great chance, a pair of knit silk stock- ings: and when his son Edward VI was presented with a pair of long Spanish silk stockings, by Sir Thomas Gresham, it was deemed a gift of some importance. The invention of knitting has generally been attributed to the Spaniards The Scots likewise lay some claim to it, founded upon the fact, that the first company of stocking-kiiitters, established at Paris, took St. Fiacre for their patron, who is said to have been the son of one of the kings of Scotland. Be this as it may, it is certain that the art had been practised in Spain and Italy prior to our knowledge of it in England, but at how early a period does not appear. Mezerai says, that Henry II of Franc^e wore silk stockings at his sister's marriage to the duke of Savoy, in 1559 — the first that had been seen in that country. In Eng- land, in 1561, knit stockings' were but little known, as we then find Queen Elizabeth's silk-woman, Mistress Montague, presenting her majesty with a pair.:j: Knitting, however, was scarcely in use, ere the stocking-frame, in a great measure, usurped its place ; yet it does, and will doubtless ever conspicuously rank among " As Elynour bie the greene lesseMe was syttinge, As from the sone's hetQ she harried, She sayde, as herr whytte hondes whyte hosen were knyttinge, Whatte pleasure ytt ys to be married 1 " The mtrod action of this passage was one on which some stress was laid by those who endeavoured to prove or disprove the authenticity of these literary fictions, from the art of knitting not being practised at so early a period, — Thomas Rowley (as Chatterton wished his readers to believe) being a priest of the fifteenth century. » Anderson's "History of Commerce," vol. i. p. 400. t The only stockings in use, at this period, were of cloth, or of milled stuiT sewn together. } Vide chapter on Silk, page 47. a* 186 KNITTING. the domestic arts practised by the industrious poor, and '' evei and anon" by ladies, as the voice of fashion calls its intricate mazes into action for their amusement.* Knitting has long been the friend of the blind,|.jvhose fingers easily unravel its mysteries, and by their exercise allbrd solace and amusement to their frequently too tedious hours. To the in- digent it has given employment, and imparted what, to them, is almost equal to food — warmth: no garments being so warm or durable as the knitted. How many ladies amuse themselves in the winter, in making knee-caps, cuffs, comforters, caps, shawls, and tippets for iWt poor 1 Independently of these, much knitting is done as s source of subsistence, — how useful and comfortable are the knitted spencer, the warm bonnet-cap, the glove for practising, the mitt, and various articles made for children's wear, and now more generally patronized and adopted than formerly. Besides the useful, what stores of ornamental articles does it aflbrd I what beautiful purses, bags, and bead- work will knitting produce ! and * The stocking-frame was invented in the reign of queen Elizabeth, in Sno year 1589, by William Lee, M.A. of St. John's College, Cambridge, a natxn of Woodborough, near Nottingham. The origin of this most important dis- covery is singular: — ^it is said that Mr. Lee was expelled the university for marrying contrary to the statutes of the college. Being thus rejected, and ignorant of any other means of subsistence, he was reduced to the necessity of living upon what his wife could earn by knitting stockings, which gave a spur to his invention; and by curiously observing the working of the nee- dles in knitting, he formed in his mind the mode^ of the frame which has proved of such important advantage to this branch of English manufactures. In the frame-work knitters or stocking weavers' Hall, is a portrait of Mr. Lee pointing to one of his frames, and discoursing with a woman, who is knittine with needles in the usual way. The picture bears the following inscription : " In the year P589, the ingenious William Lee, A.M. of St. John's College, Cambridge, devised this profitable art for stockings (but being despised went to France), yet sf iron to himself, but to us and to others of gold, in memory of whom this is here painted." — Vide Hutton's View of London, vol. ii. p. 605. I i KNITTING, 187 in the combination of the two, we wonld here mention the sur- prising and splendid specimens of knitting done by the poor Irish cottage girls, on the estate of Lord de Vesci, under the kind patronage and skilful management of the Hon. Mrs. Wingfield, whose beneficent exertions have been extended both to their in- /struction, and afterwards to the disposal of the labours of these poor children : — the fineness, variety, and perfection, exhibited in this knitting, almost exceed belief as to the possibility of its execu- tion by the hand. So 'many cleverly-written books of instruction, in the art of knitting, have of late appeared, that it would be presumptuous in us to hope,-^and far either from our wjsh or intention, — to super- sede their use, or to attempt to rival their ingenuity : we would rather humbly, endeavour to assist those, who either have not patience or tact to follow the rules given (perhaps in some cases with a little too much technicality), and offer a few tiseful direc- tions of the simplest kind, as a prelude to a better acquaintance with this useful art. • A VERY EASY STITCH FOR LIGHT SCARFS, SHAWLS, BABIEs' QUILTS, ETC. Cast on any number of stitches, with three-thread fleecy. — No. 18 needles. First roW — make one ; knit two together ; Slternately to the end of the row. Each succeeding row is merely a repetition of the first. Any number of colours may be introduced by working in stripes. This also forms a very pretty stitch for a purse, if done with silk. 188 KNITTINB. A D OYLEY. Cast on any number of stitches that can be divided by tea — No. 6 icotton, and No. 14 needles. -f% First row — knit one ; pearl nine ; knit one ; peail nine ; and so on, alternately, to the end of the row. —' Second row — pearl one ; knit seven ; pearl two. — Third row — ^knit three ; pearl .five ; knit two. Fourth row — pearl three ; knit three ; pearl four. Fifth row — ^linit five ; pearl one ; knit four. Sixth row — ^knit four ; pearl one ; knit five. Seventh row — pearl four ; knit three ; pearl three. Eighth row — knit two ; pearl five ; knit three. Ninth row — ^pearl two ; knit seven ; pearl one. Tenth row — pearl nine ; knit one. Commence again as at first row. CHECKED, OR MATTED PATTERN. Cast on any number of stitches that can be equally divided by six. First row — pearl three ; knit three. Second and third rows — repeat the first. Fourth row — ^knit three ; pearl three. Fifth and sixth rows-^repeat the fourth. This stitch is pretty for children's socks, D'Oyleys, and large bags ; — with very coarse wool it makes a good mat. HARLEdVIN tlTIILT WITH TUFTS. This is very -pretty, and easily done in plain double knitting, with six-thread fleecy, in pieces of six inches square, — each com- KNITTING. 189 partment being about twenty-four stitches eaci way ; when finished, they are. to be sewn together with a tuft of black wool, at the corner of each square. The tufts inay be made in the following manner ; — take a grooved wooden mesh, an inch in width ; wind round it four- thread black fleecy, about a dozen times : slip a coarse thread in the groove, and tie the wool quite tight, leaving an end to it that may be drawn through and attached to the quilt ; cut the loops of wool through on the opposite side of the mesh, then :omb a&d shear it neatly. For a quilt two yards and a half square, two hundred and twenty-five pieces will be required, — and if arranged according to the following plan, there will be one hundred and thirteen white, fifty-six blue, and fifty-six scarlet. It will take two hundred and fifty-six tufts. A fringe, made as directed at page 191, may be added in scarlet or blue. The annexed plan is one yard square. JK- ?i- }i m -51C- White ^- Scarlet sc- WMte ^- Blue White -n Scarlet 515- -^ -5^ Blue *- White Scarlet -je- -?fe- White -n- -ik Blue -5g Wl^ite -* -* White ^- Blue White -* Scarlet 35- Scarlet ^ White -^ Blue -5K' White ^ White Blue -af -* Scarlet ■*- White -^ ^- White 5K- Scarlet White -^ Blue -^■ White -5^ Scarlet -5K Blue White -m Scarlet -5S White -5fe Blue ->fe- -^ White ^~ — ; 190 KNITTING. TURKISH KNITTING. This forms a very pretty diamond patter" in two colours. Needles pointed at either end, are required, and two diflferent coloured wools, — say white and scarlet. , •* Cast on any number of stitches that may be divided by three. First row — ^pearl knitting, with white ;^-make one ; slip one ; knit two togetheS ; repeating the same to' the end of the row. Second row — common knitting, with scarlet ; — slip one ; knit two ; alternately to the end of the row. Third row — common knitting, with white ; — make one ; slip one ; knit two together ; repeating the same to the end of the row. Fourth row — ^pearl knitting, with scarlet ; — slip one ; pearl two ; alternately to the end of the row. Fifth row — commence again from the first row. N.B. All the slip stitches are to be taken off as in pearl knit- ting, from the back of the stitch. RAISED KNITTING. Two different-sized needles should be used, one double the size of the other. Cast on any even number of stitches that may be required. First row — with the small needle, alternately make one stitch, and knit two stitches together. Second row — ^plain knitting, with large needle. Third row — ^plain knitting, with small needle. Fourth row — ^pearl knitting, with small needle. Repeat, from the first. This kind of knitting is well adapted for hoods, muffs, cuffs, &c. KNITTING. 191 KNITTED FRINGE. This may be made of any sized wool or cotton, according to the purpose for which it is required ; it may also be spaced with two or more colours, working alternately six stitches in each. Cast on eight stitches. Knit two ; make one • knit two together ; knit one ; make one ; knit two together ; knit one. When a sufficient number of rows are knitted to form the length of fringe desired,-^ — Cast off five stitches, leaving three to unravel for the fringe. VANDYKE BORDER, Cast on seven stitches. First and second rows — plain knitting. Third row — slip one ; knit two ; turn over, knit two together ; turn over twice, knit two together. Fourth row — make one ; knit two ; pearl one | knit two ; turn over ; knit two together ; knit one. Fifth row — slip one ; knit two ; turn over, knit two together ; knit four. Sixth row — knit six ; turn over, knit two together ; knit one. Seventh row — slip one; knit two; turn over, knit two together; turn over twice, knit two together; turn over twice, knit two together. Eighth row — ^knit two ; pearl one ; knit two ; pearl one ; knit two ; turn over ; knit two together ; knit one. Ninth row — slip one ; knit two ; turn over, knit two together ; turn over twice, knit two together; turn over twice, knit two together. 192 KNITTING. Tenth row — ^knit two ; pearl one ; knit two ; pearl one ; knit two; pearl one; knit two; turn over, knit two jtogether ; knit one. Eleventh row — slip one; knit two; turn over, knit two together; knit nine. Twelfth • row — cast off all but seven ; knit three ; turn ovefj knit two together; knit one. This finishes the first Vandyke — caifilnence again as at third row. i.;'-?^' This border is ' generally knitted in cottoa, and may be used for muslin curtains, for knitted or netted fish napkins,, and for " tidies" for the backs of chairs, or ends of sofas. N.B. By turn over, is meant to bring the wool forward over the needle. A SCALLOPED FRINGE OR BORDER. Cast on nine stitches. First row — slip one; knit one; bring the cotton forward, knit two together three times; bring the cotton forward, knit one. Second row — plain knitting. Repeat these two rows nine times, plain knitting the additional Stitches. Knit three plain rows, ending at the point; the middle one of these will form the first half of the scallop. Make the other half of the scallop, decreasing thus: — First row — slip one ; knit two together ; bring the cotton for- ward, knit two together four times ; knit seven. Second row — plain knitting. ' Repeat these two rows alternately, until reduced to ten stitches. Bring the cotton forward, knit two together three times ; when there will be the same number of stitches as at the commence- ment of the scallop. KNITTINO. 193 Knit thiee plain rows. Commence another scallop as before. ANOTHER KNITTED FRINGE. Cast on nine or twelve stitches, according to the depth of the fringe required. Slip one ; knit two ; bring the wool forward, knit two together ; knit one; bring the ■w«)ol forward, knit two together; knit one; repeat, until it be of the desired length : then — Cast off five stitches and unravel ,the others to form the fringe. A SPACED FRINGE FOR A CROCHET TABLE COVER, ETC, Take three skeins of the same wool as that of the table cover *— white, blue, and red ; cut them into lengths of about seven inches, two of which are to be knitted into the fringe at the same time. Each space is composed of four double sti&hes, or eight rows of knitting. The depth of the fringe, in«|t||ng the head, is rather more than fciur inches. J^''' Cast on eight stitches in dark claret, which forms the head. First row — slip one ; bring the wool forward, knit two together ; knit one. Take two lengths of the fringe waMBjj-Vnd place be- tween the needles; knit one; bring the wool f(;|i||^d, knit one; pass the fringe wool back, knit one ; bring the^ wool forward, knit one. Second row — plain knitting. KNITTED INSERTION. , Cast on nine stitches ; slip one ; knit two together ; bring the 25 194 KNITTING. cotton forward, knit two together; knit one; bring the cotton for- ward, knit two together. This may be used for trimming muslin curtains, etc. BONNETS DE NUIT D HOMMES. Ce bonnet se commence avec six aiguilles et une de rechange. Sur chacune se trouvent quarante six a cinquante mailles, lorsque le coton est fin. Les trois ju quatre premiers tours se font a I'envers ; les deux suivants, qui se trouvent dans le bord, consistent en trous semblables a des crochets, dans lesquels on fait passer un ruban pour aifermir le bonnet. L'on tricote encore une gteudue de deux pouces, pour former le reste du bord, qui s'appelle re- troussis: ce reste consiste dans de petites c6tes, qu'on obtient en tricotant alternativement quatre a cinq mailles unies, et quatre a cinq autres, dont une sur deux doit 6tre a I'envers., Vient en- suite une rang6e de trous londs ou en forme de crochet, qui servent a regler le rempU du bonnet. II faut tricoter ensuite le bonnet et a I'envers, parce que sans cela le retroussis seroit k I'envers. Tout I'ouvrage, ainsi que les ornements se continuent interieurement. Le bonnet fetant fini, on le retourne, afin que I'endroit soit en dehors. Le retroussis qui se trouve a Fenvers, est remis a I'endroit par le rempli qu'on y fait. DOUBLE NIGHT CAP. Five needles are required. Cast on two stitches on each of the four needles. First row — increase two plain stftehes, on each needle. Second row — increase one plain stitch on each needle. KNITTING. 195 Third row — Sfiam tjie centre stitch on each needle, and increase on either side of it, erery alternate row. Until the cap is suffi- ciently wide. Fourth row — ^plain knit every row, until the cap is about twenty-six inches in length, . Fifth row — decrease every alternate row, and seam the centre stitch of each needle, so as to correspond with the increasing at the commencement. OPERA CAP. This is prettiest in double German wool, but three-thread fleecy may be used. Cast on seventy-four stitches, white. Pearl one row, KJoit one row, white. 196 KNITTING, Pearl one row, coloured. ; Bring! the wool before the needle, and knit two stitches together. Pearl one row, ) . > white. Knit one row, y Pearl one row, ) , . V- white. Knit, one row, . S , , > The above forms the border. First division — coloured. Pearl one row. PCnit one row, decreasing one stitch at each end. Knit one row. Knit a fancy row, by taking two stitches together, keeping the wool before the needle. Second — ^white. Pearl one row, decreasing one stitch at each end. Knit one row, decreasing two stitches at each end. Knit one row, decreasing one stitch at each end. Knit a fancy row as before. Third — coloured. Pearl one row, decreasing one stitch at each end. Knit one row, decreasing one stitch at each end. Knit one row, without decreasing. Knit a fancy row as before. Fourth, Fifth, Sixth, Seventh— The third division to be repeated, alternately with white and coloured wool. ' KNITTING. 197 Eighth — white. Ninth — coloure)!. In these two last divisions, only two stitches are to be de- cieased in each ; this is to , be done in the row aftfer the pearl, decreasing one stitch at each end. N.B. There shoidd be forty stitches left on the needle in the last row.* Pick up thirty stitches on each side, and make the borders at the sides and back like the first. Make up the cap by turning in the border to the fancy row, and hem it all round: it is to be tied behind, and under the chin, with ribbons or plaited wool, with tassels of the same. ' BAREGE KNITTING FOR SHAWLS. * Commence with any number of stitches that may be divided by three, and knit one plain row. Second row — knit three : bring the wool forward, knit three together, taking them off at the back; bring the wool forward, knit three. Third row — pearl knitting. Fourth row — repeat the second row, — ixcept that it is to be commenced by knitting three together and then knitting the three plain stitches. < Fifth row — pearl knitting. N.B. In repeating the second and fourth rows,.' they must always be commenced alternately with three plain stitches, — ^knit- ting three stitches together. When a pattern in one or more colours is to be introduced, break off the ground colour, and the colour then to be used is to * If the pins are small, commence with eighty stitches ; then, there should be forty-six stitches on the needle instead of forty. 198 KNITTING. be fjistened on in the following manner. — Make a slip knot in the end of the wool, and pass it on the needle in the "left hand. Twist the ends of this . coloured wool and that of the ground, to- gether, — knit in plain knitting the stitches required for the pat- tern, then fasten off, by making a loop, and commence again with the ground colour, fastening on again as above. Any number of colours may thus be introduced, to form flowers or other pat- terns, which, however, are always done in plain knitting. The wool suitable for barege knitting, is known as four-thread embroidery fleecy. It may also be done in fine cotton. SHETLAND SHAWL PATTERN. This should be worked in fine cotton, or four-thread embroidery fleecy, with No. 14 or 15 needles. Cast on any number of sT;itches that may be divided by six. First row — ^bring the wool forward, knit one ; bring the wool forward, knit one ; — slip one : knit two together, bring the slip stitch over them ; knit one. Second row — pearl knitting. Third row — bring the wool forward, knit three ; bring the wool forward, slip one ; knit two together, bring the slip stitch over them. Fourth row — ^pearl knitting. Fifth row — ^knit one ; slip one ; knit two together, bring the slip stitch over them ; knit one ; bring the wool forward, knit one : bring the wool forWardi Sixth row — ^pearl knitting. Seventh row — slip one ; knit two together, bring the slip stitch over them ; bring the wool forward, knit three ; bring the wool forward. Eighth row — pearl knitting. KNITTINO. 199 N.B. There aie to be two plain stitclies at the beginning and end of each row, to form an edge. A SHETLAND^ KNITTED SCARF. Commence with the pattern of the border^ by casting on one hundred stitches for the width of the scarf. First row — knit two stitches together four times ; bring the wool forward and knit one, eight times ; knit two stitches to- gether four times : • pearl one ; — repeat t«» the end of the row. Second row — pearl knitting. Third row — plain knitting. Fourth row — pearl knitting. Repeat, from the first row untQ tHie pattern is about fourteen inches deep. Commence the centra as follows :-^— working one row of pearl knitting, before the pattern commences. First row — bring the wool forward,, slip one ; knit one, pass the slip stitch over the knitted one; knit one; pearl one; repeat to the end of the row. Second and following rows: — ^repeat the first, — every row being alike. No. 17 needles, and four-thread embroidery fleecy. If this fleecy be split, it exactly imitates ' the Shetland wool. In splitting, the wool will frequently break; but this is not im- portant, as by laying the ends contrariwise, and twisting them together, a few stitches may be so knit that the joins are not perceptible. Both ends of the scarf are to be made alike by reversing the knitting of the border. They may be finished with a tied, knit- ted, or netted fringe, of the same wool, without splitting, or of fine German wool. 200 KNITTING. A BRIOCHE. The brioche knitting-stitcli is simply as follows: bring the wool forward, slip one ; knit two together. A brioche* is foimed of sixteen straight narrow stripes, and sixtepn wide stripes which gradually decrease in width towards the top or centre of the cushion. It may be made in three-thread fleecy or double German wool, with ivory or wooden pins, No. 19. Cast on ninety stitches, in black, for the narrow stripb, and knit two turns ; then three turns in geld colour, and two turns again in black. This completes the narrxrw stripe. The conical stripe is knitted as follows :— knit two stitches, and turn ; knit these two, and two more of the black and turn ; con- tinue this, taking each time two more stitches of the black, until within two stitches of the top and tam; the wool will now be at the bottofli or wide part of the stripe. Commence again with the black as in former narrow stripe, knitting the two black stitches at the top. By a turn, we mean one row and back again. The colours for the conical stripe may be blue and drab or * So called from its resemblance, in shape, to the well known French cake of that name. KNITTlJfS. 201 any two, or four colours, which assort well together, or they may each he different, thus : — white, hlue, scarlet, stone colour, hright green, crimson, white, lilac, deep gold colour, ruby, white, buff, French blue, chrysophas green, and lilac. When the last conical stripe is finished, it is to be knitted to the first narrow stripe, and the brioche is to be made up with a stiff bottom of mill board, about eight inches in diameter, covered with cloth. The top is drawn tbgethe*; and fastened in the centre with a tuft of soft wool ; but they are generally preferred with a cord and tassels, as represented in the engraving. It should be stuffed with down, or fine conibed wool. BOTTRSE a la JOSEPHINE. This is" a very pretty purse, with or without beads. Three skeins of silk will be required, and twelve rows of beads. Cast on seventy-five stitches, in second sized netting silk. First row — plain knitting. Second row — knit one ; bring the wool forward, slip one ; knit one, pass the slip stitch over it. If made with beads, pass the bead on in bringing the wool forward. Repeat the first and second rows alternately, to complete the purse. GERMAN PURSE. Cast on one hundred stitches. First row — slip one ; knit one, pass the slip stitch over it ; bring the silk forward, knit one ; bring the silk forward, pearl one ; continue to the end of the row Every succeeding row is the same. Three skeins of coarse netting silk, and needles No. 10, are re- quired. It forms a strong gentleman's purse, — 202 KNITTING. A STRONG KNITTED PURSE. Cast on any number of stitches that can be divided by three. First row — bring the wool forward, slip one; knit two, pass the slip stitch over them ; — continue the same to the end of the row. Second row — ^plain knitting. Third row — ^knit two, before the pattern is commenced, that the holes may come in a diagonal direction. Fourth and fifth row — same as second and third. Sixth row — same as first. This purse will take five skeins of second-sized netting silk, and needles No .8. It particularly requires stretching. OPEN STITCH PURSE WITH BEADS. Cast on sixty stitches in netting silk. First row — knit one ; bring the silk forward, knit two together ; bring the silk forward, pass on a bead, placing it behind the needle ; knit two together ; — continue the same to the end of the row, placing a bead every alternate pattern. Second row — same as the first, without beads. Third row — knit one ; bring the silk forward, pass on a bead, — then continue as in first row. Second-size purse twist, and needles No. 9, are required. HERRINGBONE, OR SHETLAND STITCH FOR A PURSE. Cast on any number of stitches that can be divided by four. About eighty will be required. First row — bring the silk forward, slip one ; knit one, pass the KNITTING. 203 slip stitch orer it ; knit one ; bring the silk foiward, pearl one ; repeat to the end of the row. Every row is the same. Three skeins of second-sized silk, and two needles, No. 13, will be required. a A FSNCE JUG, OR FVRS& Five needles, No. 14, will be required, and half a skein of cla- ret and green Hamburgh wool. Commence with the handle ; — by casting in five stitches in claret, and knitting in plain rows backwards and forwards until it is two inches long. Cast on six stitches on the same needle, twenty-six on the second, and ten on the third : then, — . Knit from the first needle, — knit two ; pearl two alternately. With the second needle — ^pearl two ; knit two ; pearl two ; pass the wool back, slip one ; knit one, . draw the slip stitch over it ; knit the remaining stitches plain, within seven of the end ; then, knit two together ; knit one ; pearl two ; knit two. On the next needle — ^pearl two ; knit two ; alternately repeating three rounds, until twelve stitches only remain on the second needle, which finishes the spout. ■ Knit three plain rounds with green, five with claret, three with green, and five with claret, every two stitches being alternately plain and pearled. Knit one plain round with green ; pearl three rounds with claret; knit one round with green, making a stitch between every two stitches. Pearl three rounds with green ; knit one plain round ;■ in the next two rounds, bring the wool forward and knit two together. 204 KNITTING. Knit one plain round with claret ; pearl three lonnds ; knit one plain round ; in the next two rounds bring the wool forward and knit two together ; knit one plain round ; pearl three rounds. Divide the stitches on the four needles, — twelve on each. Then — In plain stocking knitting, knit five rounds, decreasing one al- ternately, at each end, and in the middle of the needle. KJut three rounds more, decreasing occasionally. Divide the stitches on three needles, knit a plain round, and pearl three rounds without decreasing ; finish with plain rounds, decreasing until only four stitches remain on each needle. Draw up the small opening and attach the lower end of the handle to the side of the jug. It may also be worked in silk. STAR PATTERN SHAWL IN TWO COLOURS. Cast on four stitches in blue. First row — ^bring the wool forward, knit one (these two stitches form the increase, and therefore are not to be repeated) ; bring the wool forward, slip one ; knit two, pass the slip stitch over them ; repeat the same to the end of the row. Second row — pearl knitting in claret. Third row — same as first in blue. Fourth row — same as second in claret. , Repeat these rows alternately, in blue and claret, until there are one hundred and eighty stitches on the needle ; cast off, and finish with a netted fringe. As the increasing adds an irregular stitch, some rows will have one, and others two knitted stitches at their commencement. PLAIN RIBBED MUFFATEES. Four needles will be required. KNITTING. 205. Cast on each of three needles eighteen or twenty-four stitches according to the size desired. First round — ^knit three ; pearl three ; — alternately. Second and succeeding rounds — repeat the first GRAHAM MUFFATEES. Two colours are generally used — say red and white. They are prettiest in four-thread embroidery fleecy. ^ Cast on forty-five stitches. Bring the wool forward, knit two together; repeat the same to the end of the row. Knit six plain rows. Knit six plain rows. Bring the wool forward, knit two together. Knit six plain rows. Knit six plain rows. Bring the wool forward, knit two together. Knit six plain rows. white. red. ' white. 206 KNITTING. Knit six plain rows. Bring the wool forward, knit two together. Kjiit six plain rows. Knit six plsdn rows. ^ Bring the wool forward, knit two together. Take doable wool, and needles double the size, Knit one plain row. Pearl one row. Knit two plain rows. Pearl one row. } red. white. , white. } red. Knit one plain row. Pearl one row. ' Repeat these two red and white stripes alternately four times, and finish with the two stitches together as at the commencement. The cufis, when finished, roll over at the top. The engrav- ing represents them without the roll. Two needles, No. 11, and two No. 16, will be required. ANOTHER FAIR OF MUFFATEES. KNITTING. 207 Cast on thirty-five stitches. First jtfw — knit ■ twenty plain stitches, and fifteen in double knitting. Every second row is the same. When they are sufficiently large, knit or sew them up. The double' knitting comes over the hand, the plain knitting sitting tight to the wrist. Three-thread fleecy, with needles, No. 16, are to be used. PATTERN FOR A CHAIR TIDY, OR d'oTLEY. Cast on one hundred and sixty-eight stitches. This will form the foundation, on which the pattern is to be repeated eight times. First row — pearl knitting. Second row-r-knit two together; knit three; knit two together; knit one; bring the wool forward, knit one; bring the wool for- ward, knit one ; knit two together ; knit three ; knit two together ; knit one ; bring the wool forward, knit one ; bring ihe wool for- ward, knit two ; — repeat this to the end of the row. Third row — ^pearl knitting. Fourth row — knit two together ; knit one ; knit two together ; knit one ; bring the wool forward, knit three ; bring the wool forward, knit one ; knit two together ; knit one ; knit two together ; knit one; bring the wool forward, knit three; bring the wool forward, knit two plain. Fifth row — pearl knitting. Sixth row — slip one; knit two together, draw the slip stitch over them ; knit one ; bring the wool forward, knit five ; bring the wool forward, knit one; slip one; knit two together; draw the slip *titch over them; knit one; bring the wool forward, knit five ; bring the wool forward, knit two. 208 KNITTING. Seventh row — pearl knitting. Eighth row — ^knit two ; bring the wool forward, knit one ; bring the wool forward, knif one; knit two together; knit three; knit two together ; knit one ; bring the wool forward, knit one ; bring the wool forward, knit one ; knit two together ; knit three ; knit two together. Ninth row — ^pearl knitting. Tenth row- — ^knit two; bring the wool forward, knit three bring the wool forward, knit one ; knit two together ; knit one knit two together ; knit one ; bring the wool forward, knit three bring the wool forward, knit one ; knit two together ; knit one knit two together. Eleventh row — ^pearl knitting. Twelfth row — knit two ; bring the wool forward, knit five ; bring the wool forward, knit one ; slip one ; knit two together, bring the slip stitch over them; knit one ; bring the wool forward, knit five ; bring the wool forward, knit one ; slip one ; knit two together, bring the slip stitch over them. This pattern may be worked in cotton. No. 6, for a chair tidy, and finished with a netted fringe. It is also very pretty for light shawls, in four-thread embroidery fleecy. Needles Nos. 14 or 15 may be used with either material. DOUBLE KNITTING FOR COMFORTERS, ETC. Cast on any even number of stitches. First row — ^bring the wool forward, slip one ; pass the wool back, knit one ; — continue to the end of the row. Every succeeding row is the same. The stitch knitted in one row, is the slip stitch in the next. * Large sized needles, and four-thread fleecy will be required. KNITTING, 209 A KNITTED BAO, WITH BLACK OR OARNXT BEAOS. Thread half a bunch of beads on a skein of claret netting silk, and cast on eighty-eight stitches. First and second rows — plain knitting without beads. Third row — slip one ; knit one with a bead ; knit one ; repeat the same alternately to the end of the row. Repeat from, first row eighty-four times. Observe at the com- mencement of every row to make a sli great beauty and perfection. — The costly %Toiks in gold and silver, executed by the Turks and the inhabitants of the Greek islands, are princi- ' pally of this. description. Braid may be worked iipon velvet, cloth, satiij, silk, or' leather : either is equally , suitable, according, as it may be adapted to the article the work is designed for ; but braiding on velvet intermixed, with gold', is the most elegant and recherche. The pattern (the lines of which should be kept curved as much as •possible), must be drawn on the material. The principal art in s working, consists in keeping the braid or cord exactly in a >line 244 , BRAIDING AND APPI.ICIIt£ with the drawing, taking care that the various scrolls are well rounded and even, and the corners sharply turned. Much of the heauty of the work depends on making the sharp turns flat and pointed, — which must be done by properly sewing the braid at their extreme points ; the stitches should be regular, and of an equal length. Every separate piece of braid or cord must be commenced and finished, by passing its end through, and under the material, with a braid needle. Where gold cord is intended to be sewn on by the side of the braid, the line of the drawing should be carefully preserved above that of the braid ; and care must always be taken to keep the braid, in every part, either within or without the line of the pattern, which, if not attended to, will completely destroy the effect of the design. Groups of flowers are sometimes worked in difierent coloured braids ; but this description of work is very tedious, aud unless beautifully arranged, it has a common appearance ; nevertheless most beautiful specimens are occasionally to be seen. The prettiest kind of braiding is that where a silk braid is ac- companied, on one or both sides, with a fine gold cord, — a species of work adapted for bags, folios, sachets, boxes, note cases, &c. By a skilful admixture of difierent coloured braids with gold braid and gold cord, # splendid effect may be produced. Gold or union cord, in a vermicelli pattern, may be tastefully introduced ; and where braid alone is used, it can be varied by the addition of epine with gold passing, or silk. It is preferable to use the silk of the braid itself for sewing it on, as, from its thus matching exactly in colour, the stitches can- not so well be detected. This may be done by cutting off a piece of braid the length of a needleful of silk, and drawing out each thread as required. ' All braid work, except that on velvet, when finished, should be passed 7 under a roller, the face of the work BRAIDING AND APPLIftUB. 245 being covered with tissue paper: this flattens^ the braid, and adds much to the beauty of its appearanoe. Applique is the laying of one material over another, — as cloth, for instance, where one or more pieces of diiferent shapes and colours, in the form of flowers or other figures, are placed on- the surface of another piece which forms the ground, and are after- wards secured at their edges with braids or cord. This style of work has been practised in some instances with so much taste and ingenuity, that it has riyalled embroidery, and for many Turkish designs seems almost preferable to any other kind. Applique may be composed of pieces of cloth, velvet, satin, silk, or leather, cut into the shape of flowers, scrolls, or other designs. The pattern should be drawn upon the material intended for the applique, and a corresponding one upon that forming the ground, which latter may also consist of either of the above materials. If velvet, satin, or silk, be used, it will be necessary to have a thin paper pasted at the back, before the appliqu§ is cut out, which renders them firmer, and prevents their unraveling. These pieces are to be carefully tacked down on the material, and the edges worked with braid or cord, the colours of which may be varied according to taste ; but where, flowers are intended to be represented, a braid, the colour of the flower or leaf, is to be pre- ferred. The leaves may be veined with braid or cord, or with , twisted silk ; and the centres of some flowers may be worked in French knots. (See page 122.) Vine leaves are peculiarly adapted to this description of work, the tendrils of which may be formed of union cord. For bags and folios, a very pretty kind of appliquS may be made, by using various coloured silks on a ground of cachemir or merino. Velvet applique, edged with gold cord, on satin, or 246 BRAIDING AND APPLIftUB. velvet, is also suitable for bagSj slippers, sacliets, caps, pillows, 'etc. Satin, edged with chenille, is sometimes used ; as also morocco leather, or kid, stamped with designs in gold : when placed on satin, velvet, or cloth, the latter should be edged with gold braid or cord, and may be further enriched, by the margin of the leather being cut into scallops or Vandykes, and the gold cord turned into a circle at each point. For table-cover borders, otto- mans, and other large pieces of work, a set pattern may be used with good effect, when embroidery can be introduced into some of the compartments, giving it a very rich and Persian-like ap- jiearance. A beautiful description of applique, combined with embroidery, was much in vogue a few years since, particularly for handscreens, where the flowers and leaves were formed of velvet, and the stalks embroidered with gold bullion. Some of these " fleurs de fantaisie" were made flat, others were raised by numerous small velvet leaves, carefully laid one partly over the other, and tacked down with a fine silk ; these leaves {lames de velours) required to be accurately cut with a steel punch. CHAPTER XX. Beah tiJark. " With stones embroider'd, of «, wondrous mass; About the border, in a curious fret, Emblems, impresas, hieroglyphics set." Deatton. HE Germans excel in all kinds of bead work, some of wkich are extremely beautiful; they are principally applicable to small azticles,. such as folios, presse-papieis, card and cigar cases. Purses and bags are made of beads, but their (ireight renders them sometimes objectionable. The paucity of colours in which glass bejads can bfe obtained, limits this description of work to arabesque, gem, and scroll pat- terns, or for, working flowers in neutral tints : other designs, such as flowers and figures, are sometimes executed, but, from the want of the proper shades, they are extremely defective. The opaque 248 BEAD WORK. turquoise beads, — among the most beautiful of those manufactuied, are generally used for the grounds ; an opal bead, lately intro- duced, is extremely pretty intermixed with others. Besides" glass beads, gilt and silver beads, both 'plain and cut, and steel beads, are frequently used for this kind of work ; the latter, for the sake of variety, being sometimes manufactured of a dark purple tint. The designs for bead work are generally taken from Berlin pat- terns : the beads are attached to a canvas by a waxed sewing silk, but a fine twisted cotton thread is used for this purpose in Ger- many. Half cross stitch, or across two threads each way of the canvas on the slant, is the usual method of working them. Beads of all kinds are commonly introduced by . the Germans into their patterns, the principal portions of which are worked with wool or silk, whether on cotton or silk canvas, and not un- frequently with a pleasing effect. The use of beads, however, in the higher departments of the art, when we wish to imitate paint- ing, is totally inadmissible — at l^ast, if we have any regard for the laws of good taste. In historical subjects, even the admixture of gold and silver threads, is not in good keeping ; but to enrich parts of the drapery and other portions of the design with heavy masses of beads, or with raised work, as is frequently done in Germany, is so gross an infringement of all the proprieties of art, that it cannot be too scrupulously avoided. Some of the most beautiful bead work is done in tricot, with a fine cotton or silk ; but it is a more laborious and expensive method of producing the same effect, although for some few pur- poses it is infinitely superior. Purses made with beads, in imita- tion of netting, are • also very pretty, but perhaps more curious than useful. With respect to beads, it may not here be improper to observe BEAD WORK. 249 that a great difference exists in the quality of all sorts of steel ^ and gilt beads, causing a variation sometimes of as much as three or four hundred per cent, in their value : to those who cannot at first perceive the difference, time will soon show the inferiority in the wear of the one in comparison with the other. Bead work may be done on canvas of several sizes, according to the size of the beads ; the canvas usually employed measures about thirty-eight threads to the inch.* » It is, perhaps, not generally known, that all the glass beads used for needle- work are manufactured at Murano, near Venice. Tubes of coloured glass are drawn out to great lengths and fineness, in the same manner as those of more moderate lengths are made in this country for thermometers ; these are cut into very small pieces, of nearly uniform lengths, on the upright edge of a fixed chisel. These elementary cylinders are then put into a mixture of fine saiid and wood ashes, where they are stirred about until their cavities get filled. This mixture is then put into an iron pan, suspended over a moderate fire, where, by being kept continually stirred, they assume a smooth rounded form. They are then removed from the fire, cleared out in the bore, and strung in bunches, constituting the beads as we meet with them in commerce. Great quantities of these beads, packed in casks, are exported to all parts of the world. 3'Z CHAPTER XXI. Nfcbletnork of tlje (Englisl) elineena onb f rintcasea. •' And, round about, her worke she did empale With a faire border wrought of sundrie flowres, Enwoven with an yvie-winding trayle : A goodly worke, full fit for kingly bowres ; Such as dame Pallas, such as Envie pale, That all good things with venomous tooth devowres, • Could not accuse." Spenser. " She wrought so well in needle-worke, that shee, Nor yet her workes, shall ere forgotten be." John Taylor. HEN this volume was commenced, a list of con- tents was framed, to which we intended to adhere, and each chapter has been written in accordance with the plan. The present one was proceeding in the steps of its predecessors, when we dis- covered that we had already exceeded the limits proposed, and we NEEDLEWORK PF THE ENGLISH QUEENS. 251 are unwillingly obliged to treat this interesting portion of our subject more briefly than was at first intended, to the sacrifice in- deed of much valuable material. In a former chapter, mention has been made of the works of the four daughters of Edward the Elder, as also of the astonish- ing labours of Matilda, consort of William the Conqueror. The second wife of Henry I,— Adelais, the daughter of Godfrey, du^e of Lorraine, — was celebrated for her needlework'; and an especial mention is made of an embroidered standard, of her work. The first queen Of Henry VIII, Katharine of Arragon, devoted most of her leisure hours to needlework. " In her greatness," • says Bishop Burnet, " she wrought much with her own hands, and kept her women well employed about her."* Shakspeare, in the third act of his Henry VIII, represents Katharine as engaged at needlework with her women, when ,the two ^cardinals,- Wolsey and Campeius, are introduced to her presence. The scene com- mences with : — Q. Kath. Take thy lute wench : my soul grows sad with troubles : Sing, and disperse them, if thou canst : leave working. Tayjor, also, in the " Needles Excellency," speaks of her as celebrated for her needlework : — , " I Read that in the seventh King Hemies raSgue, Fair Katharine, Daughter of the Castile King, Came into England vrith a pompous traine Of Spanish ladies, which she thence did bring. She to the eighth King Henry married was, And afterwards divorc'd, Where vertuously (Although a aueene), yet she her days did In working with the Needle curiously, " History of the Reformation," p. 193. 252 NEEDLEWORK OF THE ENGLISH QUEENS. As in the Towre, and places more beside, Her excellent memorialls may be seene; Wbereby the Needle's prayse is dignifide By her faiie Ladies, and heiselfe a Ctueene. Thus fe-r her paines, here her reward is iust, Her workes proclaime her prayse, though she be dust." Anne Boleyn, who was educated at the Court of Francis I, de- voted a large portion of her time to the occupation of the needle, in working tapestry.* Sir Thomas Chaloner, in his elegy on Lady Jane Grey, com- mends her not only for her beauty, but also for that which was a greater charm, her intelligent and interesting style of conversation. He speaks of her stupendous skill in languages, being well versed in eight, — the Latin, Greek, Hebrew, Chaldaic, Arabic, French, and Italian, besides that of her native land, in which she was weU grounded. He further observes that she was a proficient in instrumental music, wrote a beautiful hand, and was as excellent at her needle.f " Of broken workes wroght many a goodly thing, In castyng, in turnyng, in florishing of flowres, With burres rowgh, and buttons surffyllyng, * Vide Miss Eenger's "Life of Anne Boleyn,'' vol. i. p. 125. Peter de Bourdeilles (more generally known by the name of Brantome), in his Me- moires des Dames illustres," informs us, that Anne de Bretagne, the mother of Claude, wife of Francis I, assembled three hundred of the children of the nobility at her court, where, under her personal superintendence, they were in- structed in the accomplishments becoming their rank : and that the girls devoted a great portion of their time to the working of tapestries. t In the Town Library at Zurich, are three autograph Latin letters of Lady Jane Grrey, addressed to her preceptor Bullinger, in a beautifully clear and regular hand ; — a few grammatical errors have been remarked in them. There is also a toilet, embroidered by her, which she presented to Bullinger. NEEDLEWORK OF THE ENGLISH aUEENS. 253 '■ In nedell worke, rasyng byrfes in bowres, With vettue enbased all tymes and howres."* Of the needlework of Q,ueen Mary, we have now no traces,t but from the foMowing sonnet of John Taylor's, it would appear that some of her labours were in existence in his time. " Her daughter Mary here the scepter swaid, And though shee were a Clueene of mighty power, Her memory will never be decaid, "Which by her workes are likewise in the Tower, In 'Windsor Castle, and in Hampton Court, In that most pompous roome callHl Paradise: Who euer pleaseth thither to resort, May see some workes of hers, of wondrous price. Her greatnesse held it no disreputation To take the Needle in her Royall hand; Which was a good example to our Nation To banish idleness from out her Land. And thijs this Clueene, in wisdome thought it fit, The needles worke pleas'd her, and she grac'd it." Queen Elizabeth, like her sister Mary, has also been extolled by the same author for her needlework. In the Bodleian Library at Oxford, is preserved a copy of the Epistles of St. Paul, the binding of which is said to have been embroidered by that queea ■when princess. "When this great Clneene, whose memory shall not By any terme of time be civercast : For when the world, and all therein shall rot Yet shall her glorious fame for ever last. ♦ Skelton's Crotime of LavyreU. t III the Library of the British Museum is preserved Clueen Mary's Psalter. It is highly illuminated ; the exterior bears the remains of what was once a binding of splendid embroidery. 254 NEEDLEWORK OF THE ENGLISH Q.VEENS. When she a maid, had many troubles past, From layle to layle by Maries angry spleene; And Woodstock! and the Tower in prison fast, And after all was England's peerlesse Clueene. Yet howsoeuer sorrow came or went. She made the jjfeedle her companion still. And in that exercise her time she spent, As many living yet doe know her skill. Thus she was still a Captive, or else crovrad, A NeSdle woman Royall and renown' d." To Mary, Queen of Scots, needlework was a great source of amusement. During her imprisonment at Tutbuiy Castle, it afforded her great solace at those intervals not devoted to reading and composition. At the time she held her court in Scotland, she gave four or five hours every day to state affairs ; she was accustomed to have her embroidery frame placed in the room where her privy-council met, and while "she plied her needle, she listened to the discussions of her ministers, dis- playing in her opinions and suggestions a vigour of mind and a quickness of perception which astonished the statesmen around her ; at other times, she applied herself to literature, particularly poetry and history.* Several pieces of the work of this unfor- tunate queen are preserved in the castles of the nobility in Scotland. At Allanton House, was formerly a splendid bed embroidered by Mary Stuart and her ladies ; but this was unfor^ tunately burnt by accident. At Holyrood Palace, in her chamber, is shewn a box covered with her needlework.* Of the industry of Glueen Mary, Princess of Orange, we have some remains in the palace at Hampton Court. Needlework was her favourite amusement. " She used," says Bishop Burnet " all possible methods for reforming whatever was amiss ; she took • Mrs. Jameson's Memoirs of celebrated FemaM Sovereigns, vol. i. p. 243. NEEDLEWORK OF THE il^NGLISH QUEENS. 255' ladies off from that idleness, which not only wasted their time, but exposed them to many temptations. She engaged many both to read and to work ; she wrought many hours a-day herself, with her ladies and her maids of honour working about her, while one read to them all. The female part of the court had been, in the former reigns, subject to much censure ; and there was great cause for it : but she freed her courts so entirely from all sus- picion, that there was not so much as a colour for discourses of that sort ; she ' did divide her time so regularly, between her closet and business, her work and diversion, that every minute seemed to have its proper employment."* The late Clueen Charlotte was exceedingly fond of needlewprk, and was solicitous that the princesses should excel in the same amusing art. In the room in which her Majesty used to sit with her family, were some cane-bottomed chairs, and when playing about, the princesses were taught the different stitches on this rude canvas. As they grew older, a portion of each day was spent in this employment, and with their royal mother as their com- panion and instructress, they became accomplished needlewomen. The Q,ueen herself embroidered the dresses which the princesses wore on the fete given on the occasion of the Prince of Wales coming of age. These dresses were in white crfepe, einbroidered with sUver ; they were exceedingly elegant, and so we are told were the wearers. Her Majesty likewise embroidered a dress in Dacca silk for the Princess Royal, which was tastefully and beautifully executed. Several sets of chairs, some of which may still be seen at Frogmore and Windsor, likewise show the superiority of the royal needlework. These were the labours of her younger days, but Her Majesty afterwards amused her leisure hours with knit- History of his own Time, vol. iv. p. 825. l_ 256 NEEDLEWORK OF THE ENGLISH dUEENS. ting and knotting, and the amount of work so done is perfectly marvellous. Towards the close of her life, finer works were thrown aside, and Her Majesty taking -altogether to knitting, the poorest of her subjects (b.s we are informed on indisputable authority) profited by these — the labours of a queen. The Princess Royal, Q,ueen of Wurteniberg, devoted much of her time to needlework. Among the principal ornaments of the handsome palace of the King of Wtirtemberg at Stuttgart, are the beautiful and elaborate specimens of needlework, covering chairs, sofas, screens, and other articles of furniture, all specimens of the skill, patience, and taste of the late , lamented queen. The Princess Sophia particularly excelled in needlework, and it was also the favourite occupation of the Princesses Augusta and Amelia. The Princess Mary, Duchess of Gloucester, daily amuses her- self with her needle ; and scarcely a charity bazaar is held, to which she does not contribute some of the work of her own hands. We believe that Her Royal Highness refuses even any assistance, however trifling, in ^he labours she once undertakes. The work done by the late Duchess of York, at Oatlands, is now widely dispersed. The Duchess was the projector and arranger of all, but she was assisted in the execution by her ladies and protegees. Her labours are so various and of such magnitude, as almost to defy belief Berlin patterns were then unknowa, or but just invented, and her designs were all drawn on the canvas. In one of the ante-rooms at Buckingham Palace, are a sofa and six elbow chairs, the work of Her Royal Highness. The backs, seats, sides, and borders, both in- side and out, are entirely of needlework. The pattern on the back and seat of the sofa is a basket turned on one side, out NEEDLEWORK OF THE ENGLISH QUEENS. 257 of which floweis are falling, so arranged as to extend over the centres ; these are surrounded with a border of various leaves in different shades of green : amongst which are the iVy, vine, shamrock, and thistle. The flowers and borders are in tent stitch ; the ground is in • German s'titch. There is a deep border in front of the sofas and chairs, in marron, with a kind of arabesque, or rather that style of border much used in the time of Louis Quatorze ; the ground of this is different, but ex- tremely rich, and the colour^ on it are so thoroughly brought out that the effect is perfect. The ends of the sofa, 'both inside and outside, are worked to match. The ground is now a cream colour, but we suppose it to have been white ; the chairs match the sofa, and they are alike beautiful in taste, design, and exe- cution ; they are all done in silk. There was also another set of furniture worked by the Duchess of York, consisting of chairs, ottomans, and sofas, in tent stitch, drawn out on satin, and we do not know of any work in fil tire previously to this date. Did we not fear to intrude on the sacred threshold of Queen Adelaide's retirement, how much might be said of her extended and useful labours. Her introduction of needlework as a fashion, and making it a requisite to those ladies who were the invited guests at her court, caused many to admire, and in time be- come skilled in that which was only taken up for convenience. The splendid works which might be cited of many ladies of the present day would never perhaps^ otherwise have been in existence; and, through this, thousands in the humbler ranks of life have been and are supported, not to mention that much ingenuity and taste are daily called forth which might have been unknown. We understand that Her Majesty and her Royal Highness the Duchess of Kent are admirers of needlework, and patronise it. 33 CHAPTER XXII. Conrlnsion. THE PRAISE OF THE NEEDLE. " Taylor, their better Charon, lends an oar, Once swan of Thames, though now he sings no more.'' Pope's Dundad. •mm. N the course of this Toliime, we have frequently quoted from a poem, written by John Taylor, the water-poet, and prefixed to a work, entitled " The Needle's Excellency, of which the twelfth edition was published in 1640. This work being extremely rare, w:e are tempted to reprint this poem verbatim from the original edition.* * A copy of this hook was in the collection of the late Francis Douce, Esq. which he beijueathed .to the Bodleian library, at Oxford. It is an oblong quarto'. The title runs thus : — " "The Heedle's Excellency A New Booke wherein are diuers Admirable Workes istcmgU with the needle. Newly inuented and cut in Copper for the pUaswre and profit of the Indust/rions. Printed for James Boler, and are to be sold at the Signe of the Marigold in Paules Church yard. The 12th Edition enlarged with diuers new workes as needleworkes THE PRAISE OF THE NEEDLE. 259 THE PRAISE OF THE NEEDLE. "To all dispersed sort^ of arts and trades, J writ the needles prayse (that never fades) So long as children shall be got or borne, So long as garments shall be made or worne. So long as Hemp or Flax or Sheep shall bear Their linnen woollap fleeces year? by yeare : So long as Silk-wormes, with exhausted spoile. Of their own Entrailes for mans gaine shall toyle : Yea; till the world be quite dissolu'd and past; So long at least, the Needles use shall last : And though from earth his being did begin, Yet through the fire he did his honour win: And vnto those that doe his service lacke, Hee's true as Steele and mettle to the backe. He hath I per se eye, smjill single sight, Yet like a Pigmy, Polipheme in flght: As a stout Captaine, bra,vely he leades on, (Not fearing colours) till the worke be done. Through thicks and thinne he is most sharpely set. With speed thrbugh stitch, he will the conquest get. And as a souldier Prenchefyde witji heat, Maim'd from the warres is forc'd to make retreat; So when a Needles point is broke, and gone, ■No point Mownsiewr, he's maim'd, his worke is done. And more the Needles honour to advance, It is a Taylors lavelin, or his Launoe ; '{juries & others iieuer before printed. 1640." On the title page is an engrav- ing of three ladies in a flower garden, under the names of Wisdomej Industrie, and Follie. " The praise of the Needle," as given above, is prefixed to the work, then " Here follow certaine Sonnets in the Honorable, memory of dueenes and great Ladies, who have bin famous for their rare Inventions and practise with the Needle." There are six sonnets to Q,ueen Elizabeth, the Countess of Pembroke, a.nd others ; — some of which we have quoted in the preceding chap- ter. The seventh is addressed " To all degrees of both sexes, that love or Hue by the laudable imployment of the needle." Another copy of this book is pre- served in the Library of the British M\iseum. It appears to have gone through twelve impressions ; and its scarcity is accounted for by the supposition, that such books were generally cut to pieces, and used by women to work upon or transfer to their samplers. 260 THE PRAISE or THE NEEDLE. And for my Countries quiet, I should like, That women-kinde should vse no other Pike. It will increase their peace, enlarge their store, To use their tongues lesse, and their Needles more, - The Needles sharpenesse, profit yeelds, and pleasure. But sharpenesse of the tongue, bites out of measure. A Needle (though it be hut small and slender) Yet it is both a maker and a mender: A graue Reformer of old Rents decayd. Stops holes and seames and desperate cuts displayd, And thus without the Needle we may see We should without our Bibs and .Biggins bee ; No shirts or Smockes, our nakednesse to hide. No garments gay, to make us magnifide: No shadowes, Shapparoones, Caules, Bands, Ruffs, Kuffs, No Kerchiefes, auoyfes, Chin-clouts, or jMarry-Muffea, No cros-cloaths. Aprons, Hand-kerchiefes, or Falls, No Table-clo'athes, for Parlours or for Halls, No Sheetea, no Towels, Napkins, Pillow-beares, Nor any Garment man or woman weares. Thus is a Needle prov'd an instrument Of profit, pleasure,- and. of ornament. Which mighty Clueenes haue grac'd in hand to take, And high borne Ladies such esteeme did make. That as their Daughters Daughters up did grow. The Needles Art, they to their children show. Aijd as "twas then an exercise of praise, 1 So what li'serves more honour in these dayes. Than tins'? which daily doth itselfe expresse, A mortall enemy to idlenesse. The use of Sewing is exceeding old, As in the sacred Text it is enrold : Our Parents first in Paradise began. Who hath descended since from man to man: The mothers taught their Daughters, Sires their Sons,' Thus in a line successively it runs For generall profit, and for recreation, From generation unto generation. With work like Cherubims Embroidered rare, The Covers of the Tabernacle were. And by the Almighti's great command, we see, That Aarons Garments broydered worke should De ; THE PRAISE OF THE NEEDLE. 261 And further, God did bid his Vestments should Be made most gay, and glorious to behold. Thus plainly, and most truly is declar'd The needles worke hath still bin in regard, For it doth art, so like to natvre frame, As if IT were her Sister, or the same. Flowers, Plants, and Fishes, Beasts, Birds, Flyes, and Bees, Hils, Dales, Plaines, Pastures, Skies, Seas, Rivers, Trees; There's nothing neere at h^md, or farthest sought, But with the Needle may be shap'd and wrought In clothes of Arras I have often seene. Men's figurd counterfeits so like haue beene, That if the parties selfe had beene in place, Yet ART would vye with natvre fpr the grace. Moreover, Poisies rare, 'and Anagrams, Signifique searching sentences from names, True History, or various pleasant fiction. In sundry colours mixt, with Arts commixion, All in Dimension, Ovals, Squares, and Rounds, Arts life included within Natures bounds: So that Art seemeth meerely naturall. In forming shapes so Geometricall ; And though our Country everywhere is fild With Ladies, and with Gentlewomen, skild In this rare Art, yet here they may disceme Some things to teach them if they list to learne And as this booke some cunning workes doth teach, (Too hard for meane capacities to reach) So for weake learners, other workes here be. As plaine and easie as are ABC. Thus skilfull, or unskillfiall, each may take This booke, and of it each good use may make, All sortes of workes, almost that eta be napi'd. Here are directions how they may be fram'd: And for this kingdomes good are hither come. From the remotest parts of Christendome, Collected with much pames and industry, From scorching Spaine and freezing Musame, From fertill France, and pleasant Jtaiy, From Poland, Sweden, Dewmafke, Genrumy, And some of these rare Patternes haue beene fet Beyond the bonds of faithlesse Mahmet : 262 THE PRAISE or THE NEEDLE. From spacious China, and those Kingdomes East, And from Gtreat Mexico, the Indies West. Thus are these workes, farre fetckt, amd dewrely bougU, And consequently good for Ladies ffwugU. Nor doe I degiodate (in any case) Or doe esteeme of other teachings base, For Tmt^orke, Raisd^orke, Laid-worke, Fro^worlce, Net^orke, Most curious Purles, or rare Italian CMworJce, Fine Ferne-stitch, ■ Fiimystitch, New-stitch, and Chain-slitch, Braue Bredr-slitch, Fisher-stitch, Irish-stitch, and QueenrstUdi, The Spanish-stitch, Rosemary-stitch, and Mowse-stitch, * The smarting Whip-stitch, Back-stitch, &the Crosse-stUch, AU these are good, and these we must allow. And these are everywhere in practise now. And in this Book, there are of these some' store, With many others, neur seene before. Here Practise and Invention may "be free. And as a Squirrel skips from tree to tree, So maids may (from their Mistresse, or their Mother) Learne to leaue one worke, and to learne an other. For here they make 'may choyce of which is which, And skip from worke to worke, from stitch to stitch, VntU, in time, delightfull practice shall (With profit) make them perfect in them all. Thus hoping that these workes may haue this guide. To serue for ornament, and not for pride : To cherish vertue, banish, idlenesse. For these ends, may this booke haue good successe." Taylor was a very remarkable man ; and among other of his edcentrioities, he undeitook to perform a journey from London to the Highlands, with a horse and servant, without a penny in his pocket, and engaging not to receive any alms. The account of this journey, which he wrote partly in prose and partly in verse, is a very remarkable picture of the manners of that period. He was welcomed by the hospitality of his countrymen throughout this journey, and he appears not only to have suffered very few i privations, but to have fared sumptuously for many weeks. j Winstanley, in his " Lives of the Poets" says, " He was born THE PRAISE OF THE NEEDLE. 263 in Gloucesteishire, wheie he went to school ; and was afterwards bound apprentice to a waterman of London, a laborious trade : , and yet though it be said that ease is the nurse of poetry, yet did he- not only follow his calling, but also plyed his writings, which in time produced above fourscore books, which I have seen; besides several others unknown to me ; ■ some of which were dedicated to King James and King Charles I, and by them well accepted, con- sidering the meanness of his education to produce works of in- genuity."* * Sir Egerton Brydgea, in the 'Censura Litteraria,' has given a long list of Sie "Water-poet's pieces ; emd in his ' Restituta' the same diligent explorer of the recondite and dusty paths of literature, has laid before us another of his marvellous exploits, together with an abstract of another work of Taylor's not entered in the ' Censura.' " This scarce tract is entitled, ' John Taylor's last Voyage and Adventure, performed ftom the twentieth of July last, 1641, to the tenth of September fol- lowing. In which time he passed, with a sculler's boat, from the citie of Lon- don to the cities and townes of Oxford, Gloucester, Shrewsbury, Bristol, Bathe, Monmouth, and Hereford. The mariner of his passages and entertainment to and fro, truly described. With a short touch of some wandring and some fixed BcWsmatiques ; such as are Brownists, Anabaptists, Famalies, Humorists, and, Poolists, which the author found in many places of his voyage and journey. Printed at London by P. L. for John Taylor, and may be had at the shoppe of Thomes Baites in the Old Baily, 1641, 8vo., pp. 33.' " FINIS. SUPPLEMENT HAND-BOOK OF NEEDLEWORK. PHILADELPHIA : WILLIS P. HAZAKD, 178 CHESNUT ST. 1851. PREFACE. In introduping this little Work to the notice of the public, Mrs. Gaugain has nothing to announce farther than a repeti- tion of what she has before said — that nothing more is requisite for an inexperienced pupil of moderate capacity to enable her to execute any of the following elegant designs, than a knowledge of the elementary stitches of Knitting, which are simply those used in forming a stocking : viz. — a plain stitch, a back stitch* or seam stitch, a take-in stitch, and an increase stitch, — all of which any child may be taught in the short space of half an hour. It rnay not be here out of place to mention, that aU the terms Used in this book will be found explained on the folding leaf or table, which can be extended while working any of the receipts ; and will thus save much trouble in turning over the leaves. * A back stitch by many knitters is termed a seam stitch, from its being u sed to form a line down a stocking, in imitation of a seam. CONTENTS TO MRS. GAUGAIN. PAGB. Bag in purse cord, (not purse silk,) spider-net, .... Bag, very beautiful shaded, Bag, handsome crochet, Bed-Cover, Russian crochet-stitch, . Boot, warm and useful for a baby, Boot, long, Cap for wearing under the bonnet, Comfort, scale stitch, . ■ . Comfort Coverlet, Baby's, in garter stitch, . Cuffs, simple and pretty dress knit. Cuff, another very simple, D'oyley's, set of open square, Echarpe, petite net, for the neck, Edging, . . ' . Edging, beautiful lace. Fringe, . .f . . , Guard, strong, for a, lady or gentle- man, . ., ._ Hood, Baby's, garter-stitch, . Kettle-holder Muff, Princess Royal's scale stitch, Muffetees, Muffetee, another, Muffetee, warm, for boys. Neckerchief, summer, . Neckerchief, the roy, triangular net, or Coiffure a Neglige, Net, Grecian, for a veil, . Net, dotted, . . Net, French ground. 29 39 33 22 26 28 37 15 25 15 20 21 12 32 17 21 16 38 15 34 14 31 32 32 20 24 43 46 47 PAGE. Netting, round, for a geutlem&u's long purse, 40 Netting, honeycoml), for Veil, . . 41 Netting, single diamond, . . 44 Netting, leaf, 45 Purse, lohg, Queen Victoria, Purse, long, pretty open stitch. Purse, Prince Albert's, . Purse, beautiful, Purse, Russian crochet-stitch. Purse, long net, for a lady, ■ . , . Purse, long net,' for a lady, . Purse, very pretty long Grecian net, for a lady, .... Purse, long, of open stitch of single tambour, . . Purse, long, diamond of five stitches, (44 Purse, long, plain Prehch double tam- bour, . . . . ' Purse, long, French tambour, . ■ Purse, open tambour, Purse, open tambour stitch. Scarf, elegant knit, with coloured waved ends, Scollop for borders of Veils, Collars, Caps, &c 48 Scollop, another, for border, . 48 Scollop 48 Shawl, Chinee Triangular Wrapping, garter-stitch, , . . .19 Stocking, imder or sleeping, . 28 Tidy, very beautiful, .- . .16 CONTENTS TO MRS. J. B. GORE. Collar, the lace. No. 1, Collar, lace for, No. 1, Collar, the lace, No. 2. Collar, lace for, No. 3, PAGE. 62 . 63 65 . 66 PAGE. Shawl, the- Shetland Wool, . . 61 Shawl, border for the Shetland Wool, 62 Slipper, the Royal Brighton, . 64 Purse, the China, . . . .67 SIGNS USED IN THE KNITTING RECEIPTS. A, take in three loops into one, by slipping the first loop ofi" backwards, ■withooit knitting; 'knit the second and third lo6ps together, then lift the first over the taken-in loop. B, a back, ribbed, seam, or pearl stitch, by knitting it ofi'backwards with wool in front of pin ; all back or pearled stitches must be done so, (having wool in firont, before commencing the stitch.) B3 or B6, three or six back stitches ; the figures indicate the number of stitches to be worked. O, make a stitch, by bringing the thread to the front, (by passing it under the right wire, to the front.) Ob, make a back or pearled stitch, by casting the thread quite round the- wire. r P, a plain stitch or loop. P2 or P4, two, or four plain stitches or loops, as the figures may be. S, slip stitch, take off a stitch without working, as if you were going to work a back stitch. S^, slip two ^titches off without working. T, take in (or narrow) stitch, by knitting two loops together. Ts, take in, by slipping the first loop ; knit the next ; slip the first over the knit one. jj, take in back stitch, by pearling two together, having the wool in front. Row, signifies a row from one end of pin to the other. Round, a row quite round, when the work is done on move wires than two. Plain row, a row all plain stitches. , Back, or pearl row, a row worked exactly contrary to the plain row. Front row, is worked with the thread behind. Back row, with the thread in front. BrIns rORWARD, bring the thread in front, so as to make an open stitch. Cast off, by knitting the two first stitches, slip the first stitch over the second; knit a third, and slip the second over the third one; continue in this way till the whole is cast off MINIATURE KNITTING, NETTING, AND CROCHET BOOK. KNITTING. QUEEN VICTORIA LONG PURSE. Worked in stripes, running round the Purse, of mazarine blue and white, or fawn. If for a bride's purse, white silk and extra fine gold twist. For a gentleman, black and cerise colour. Two pins. No. 19, and 2 hanks each colour, are required. Cast on 90 stitches with mazarine blue. l3t Row, Ob, jj, repeat to end of roW. 2nd Bow, plain. 3rd Row, plain. 4th Row, pearl. 5th Row, with White, j,, Ob, repeat to end all but 2 stitches, work them j,. 6th Row, *0, plain all the rest of row. 7th Row, plain. 8th Row, pearl. Repeat from first row with,white and blue until you have 9 inches worked. Cast it off; danjp and stretch it on a stretcher until dry ; sew up a third for each side of Purse ; draw up the cast-on and cast-off rows for each end ; attach tassels and rings of gold or steel. * O, bring the thread before the wire to make the 0, then work the plain row. 10 KNITTING. LONG PUKSE, PRETTY OPEN STITCH. This very pretty Purse is worked in shaded silk, or plain. Three hanks of any colour of second sized purse silk, and two wires of No. 19 are required. (It is much enriched, and looks well with steel or gold beads in every other row; one bead between the T and P.) When worked, damp and pin it out till dry ; make it up as the fore- going purse, by drawing up the cast-on and cast-off ends, &c. Cast on 72 stitches. 1st Row, O, T, P, repeat to end. 2nd Row, Ob, j,, B. Repeat as these two rows, until you have 9 inches worked. ^ If a fine Purse is wished, the third-sized twist, and wires No. 21 are required. SET OF OPEN SQUARE d'oYLEYS. (Cu< represents First patte/m.) Eighteen is the general number knit, therefore 9 of each pattern is required. One hank of Dutch cotton No. 14, and 2 wires No. 20 are required for each. Note.— These are quite different from the Twenty-one close D'oyleys. KNUTING. 11 FIRST PATTERN i Cast on 72 stitches, and work 12 plain rows. 13th Row, P6, edge Stitches, P, T, 0, P, O, T, repeat, edge stitches. P6. 14th Row, P6, edge stitches. pearl, all but edge stitches. P6. 15th Row, P6, T,* edge stitches, O, P3, O, A, repeat, all but ten stitches. work them thus, 0, P3, O, T, edge stitches. P5. ,16th Row. P6, edge stitches. pearl, all but edge stitches, P6. 17th Row, P5, • edge stitches, T, O, P4, repeal edge stitches. P7. 18th Row, P6, edge stitches, pearl, all but edge stitches. P6. 19th Row, P7, *edg( 3 stitches, 0, T, P, T, 0, P, repeat, all but 11 stitches. work them thus, 0, T, P, T, O edge stitches. P6. 20th Row, P6. edge stitches. pearl, all but edge stitches. P6. 21st Row, P8, *edge stitches, O, A, O, P3, repeat, all but 10 stitches, | work them thus, 0, A, O, P, edge stitches. P6. 22nd Row, P6. edge stitches, pearl, all but edge stitches, P6. 23rd Row, P6, edge stitches. P2, T, 0, P2, repeat. edge stitches. P6. 24th Row, P6, edge stitches, pearl, all but edge stitches, P6. Continue repeating from 13th row, until you have a square all but the 12 plain rows ; work them. Cast off SECOND D'oTLEY PATTERN. Cast on 72 stitches. Work 12 plain rows before commencing 13th Row, P6, edge stitches, P4, O, A, 0, P3, repeat, edge stitches. P7. 14th Row, P6, edge stitches. pearl, all but edge stitches. P6. 15th Row, P6, edge stitches. P2, T, Q, P3, 0, T, P, edge stitches P7. , 16th Row, P6, edge stitches, pearl, all but edge stitches. P6. 17th Row, P6, edge stitches. P, T, 0, P5, O, T, edge stitches. P7. 18th Row, P6, edge stitches. pearl, all but edge stitches, P6. * Observe the changes in the edges. 12 KNITTING. 19th Row, P6, T,* edge stitches, O, P7, O, A, edge stitches, O, P7, O, T, P6. 20th Row, P6, edge stitches, pearl, all but edge stitches, P6. 21st Row, P6, edge stitches, P2, O, T, P3, T, O, P, edge stitches, P7. 22d Row, P6, edge stitches, pearl, all but edge stitches, P6. 23d Row, P6, edge stitches, P3, O, T, P, T, O, P2, edge stitches, P7. 24th Row, P6, edge stitches, pearl, all but edge stitches, P6. Repeat, until you have a square all but 12 plain rows, then work these 12 plain rows, to correspond with the beginning. Cast it off. Finish with a narrow fringe ; a cut one is best, as it can be combed out when washed. PRINCESS ROYAL'S MUTF, SCALE STITCH. This Muff, in imitation of Chinchilla Fur, or Siberian Lamb's Skin, is extremely simple and pretty. Twelve shades of clear bright grey, the darkest shade about two shades from black, the lightest the next shade to white. They are worked from dark to lig:ht, and then from light to dark, as the following receipt will show. About six small hanks of each shade, and two bone pins, No. 7, are required. — It is all worked with Berlin wool, wound double. Cast on, for a child, 61 stitches ; for a lady, 81. 1st Row, (with darkest shade,) P, S, repeat to end, edge stitch P. 2nd Row, plain all the row, edge stitch P. Repeat as 1st and 2nd Rows, with the 2nd, 3rd, 4th, 5th, 6th, 7th, 8th, 9th, 10th, 1 1th and 12th shades, then 11th, 10th, 9th, 8th, 7th, 6th, 5th, 4th, 3rd, and 2nd. This finishes one stripe. Work four stripes for a child, and about five for a lady. Make it up by joining the cast- off and cast-on rows together (on the wrong side). Roll up a sheet and * Observe, there is a T in this edge. KNITTING. 13 a half of wadding, folded into a stripe of about three-eighths wide, to the size that will admit of the work slipping over it, then draw it up round the arm holes ; sew on a thick shaded twisted cord about one quarter of a yard, for each arm hole. Cuffs are very pretty and warm worked in this way, for wearing over gown sleeves. C0MF0E.T, SCALE STITCH. This Comfort for a gentleman is in the same stitch as foregoing Muff Work in claret, four plies fleecy, or very dark' blue. About six hanks fleecy, and two pins No. 7, are required. Cast on 71 stitches ; work it until it is the length required. ' A Comfort of proper length should go twice round the neck, and the ends long enough to cover the chest. When finished, it is folded dou- ble, (the long way.) BifiY's HOOD, GARTER STITCH. This Hood is worked with three plies white fleecy. Work 80 row,s. Roll up 60 rows, which form the front ; then sew together three inches of the cast-on part ; draw up the remainder of the cast-on part for the crown. Cast on for back curtain, 50 loops ; work 40 rows. When worked, line it with white satin^ shaped as a cap, and three rows of narrow satin ribbon drawn through the forehead, and finished by a rosette of same ribbon. Two skeins of fleecy, and two pins of No. 2 are required. Ist'ilow, S edge stitch, rest plain. Repeat as this Row till the whole is finished. baby's eOVERLET, IN GARTER STTrCH. This light and pretty Coverlet is worked in stripes of blue and white 14 KNITTING. alternately. Eight skeins of blue, nine plies fleecy, and six of white are required. Two pins No. 2. Cast on with blue 130 stitches. 1st Row, S edge stitch, plain. 2nd Row, S edge stitch, plain. Repeat as these two rows until you have" about 4^ inches wide of blue worked. Then work the white about 3 inches wide. Continue working the white and blue alternately until it is finished. This Fringe is useful for trimming Baby's Coverlets, Shawls, Scarfs, D'oyley's, &o., &c. It is worked with the wool wound double. Cast on 8 stitches. 1st Row, Ob, J,, repeat. Continue working as this row until you have as much done as will go round the Coverlet ; cast off four stjtches, pull down the other four all along the Fringe. VERY BEAUTIBTJL TIDY.* For backs of Chairs, ends and backs of Sofas. (It is also useful for ♦ This is the same pattern as the Open Mitten, and the Baby's Cap, and same as centre of Shetland Shawl, all of which are moat beautiful. KNITTING. 15 Scarfs, Bed-Covers, Shawls, &c.) Three hanks Dutch cotton, No. -18, and 2 bone pins, No. 12, are required. Gaston 112 stitches. Work 8 plain rows. 9th Row, S, P4, edge stitches, P4, T, P2, O, T, O, T, O, P, O, P2, T ; repeat 5 more times, edge stitches, P5. 10th Row, S, P4, edge stitches, pearl, aH but , edge stitches, P5. 11th Row, S, P4, edge stitches, P3, T, P2, Oj T,'0, T, O, P3, O, P2. tT, P2, T, P2, 6, T, O, T, O, P3, O, P2; repeat from mark thus t 4 more times, .' , edge stitches, T, P4. 12th Row, S, P4, edge stitches, pearl, all but« edge stitches, P5. 13th Row, S, P4, edge stitches, T, T, P2, O, T, O, T, O, P5, O, P2; repeat 5 more times, * edge stitches, P5. 14th Row, S, P4, edge stitches, pearl, all but edge stitches, P5. 15th Row, S, P4, edge stitches, T, P2, O, P, O, T, O, T, O, P2, T, P4, edge stitches, P5. 16th Row, S, P4, edge stitches, pearl, all but edge stitches, P5. 17th Row, S, P4, T, edge stitches, P, O, P3, O, T, O, T, O, P2, T, P2, T— tP2, O, P3, O, T, O, T, O, P2, T, P2, T; repeat from mark thus f 3 more times; then P2, O, P3, O, T, O, T, O, P2, T, P3, edge stitches, P5. 18th Row, S, P4, edge stitches, pearl, all but edge stitches, P5. 19th Row, S, P4, edge stitches, P2, O, P5, O, T, O, T, O, P2, T, T; repeat, edge stitches, P5. 20th Row, S, P4, edge stitches, pearl, all but edge stitches, P5. Repeat from 9th row, until the work measures one square and a half; then work the 8 plain rows as at the beginning ; cast it off Note. — ^When washed, it should be slightly starched. Pins and cotton as in former Receipt. Cast on 1 1 stitches. 1st Row, S, P2, O, T, O, T, 02, T, 02, T. 16 KNITTING. 2nd Row, P2, B, P2, B, P2, O, T, O, T, P. 3rd Row, S, P2, O, T, O, T, P6. 4th Row, cast oflf 2 stitches. Work the remainder thus, P5, O, T, O, T, P. Repeat from first row, until you have the length required to go round it ; cast it ofi", and sew it on Tidy. PRINCE ALBERT PURSE. This is a very handsome purse, knit in two colours of Albert blue, and deepish buff (or gold colour) silk, and steel beads. On the blue stripes, there is a row of steel beads ; the buff part is three rows of open stitch. One reel of each q| the silks, 2 wires of No. 19, and 8 rows of No. 10, steel beads, are required. Cast on 122 stitches with Albert blue. 1st Row, plain. 2nd Row, plain. 3rd Row, pearl. 4th Row, 'plain ; every stitch put down a bead. 5th Row, pearl. 6th Row, plain. When worked, tie on the buff, and work with it as fol- lowing 7th row. 7th Row, P edge stitch, Ob, j, ; repeat to end, edge stitch, P. 8th Row, pearl. 9th Row, P fidge stitch, j,, Ob ; repeat to end, edge stitch, P. 10th Row, pearl. 11th Row, P edge stitch, Ob, j, ; repeat to end, edge stitch, P. 12th Row, pearl. Now tie on blue, and work as following 13th row. 13th Row, plain. 14th Row, plain. ' * Work a plain stitch, then pass a bead quite down to the stitch worked: then work another stitch and pass a bead down. Continue in the same way to the end. KNITTING. 17 , 15th Row, pearl. 16th Row, plain ; every-^titch put down a bead. 17th Row, pearl. ■> 18th Row, j)lain. Tie, and work as following "19th row. 19th Row, P edge stitch, j^, Ob ; repeat, edge stitch, P. 20th Row, pearl. 21st Row, P edge stitch, Ob, j, ; repeat, edge stitch, P. 22nd Row, pearl. 23rd Row, P edge stitch,, j^, Ob ; repeat, * edge stitch, P. 24th Row, pearl. Kepeat from first row, until you have about 6 inclies worked ; then damp it slightly with a little thin gum water. Pin it straight out, or stretch it on a stretcher, till dry ; then sew up the cast-on .and cast-off edges, leaving a space for admitting the moneyi Draw it up at each end ; add tassels, and rings of steel. CHINEE TRIANGULAR WRAPPING SHAWL, GARTER STITCU. Worked in shaded Berlin wool, (or it tan be worked in plain wool, if preferred,) brown for border, and blue or pink for middle. The Shawl is formed into a triangular shape simply by being let out at the slanting side. Two pins No. 8, 4 ounces of the centre colour, and 2 of the border are required. Cast on 3 stitches. 1st Row, S, P2. 2nd Row, *0, P3. 3rd Row, S, P3. 4th Row, O, P4p Eepeat in this way until you have 21 stitches of brown, then tie on at the slanting edge, and work with the^ blue as follows : — * This is the slanting side. To form the O bring the thread in front of the pin; then work the 3 stitches off quite plain; by this you will perceive you have 4 stitches. This O makes a pretty loop all along the slanting side. 18 KNITTING. 1st Row, introducing blue, O, P, blue, *P20, brown. ' 2nd Row, S, Pl9, brown, P2, blue. 3rd Row, O, P2, blue, P20, brown. 4th Row, S, P19, brown, P3, blue. So continue, keeping the 20 stitches hrown, for border, and always increasing, as before, on the blue. Continue increasing until it mea- sures li yards, then work about 38 rows plain, with brown, always letting out, as before, on the slanting side. StlMMER NECKERCHIEF. The foregoing Receipt, worked in Berlin wool, white centre, and pink or blue border, on No. 10 pins, looks extremely well for a Sum- mer or Dress Neckerchief, (consequently it is not worked so large.) SIMPLE AND PRETTY DRESS KNIT CTJFFS. Worked with Taylor's white cotton. No. 6, and 2 wires. No. 20. One of the edgings in this book looks well seWed to the top and bottom of thlB Cuffs. Sew 3 small common hooks so as to hook in to the open part of work, to fit the wrist. Cast on 28 stitches, rather loose. 1st Row, Ob, J,, repeat to end. Every row is the same. Continue, until you have sufficient to go round the wrist. * P20, before working the first stitch, pass the brown ball to the back, and twist it round the blue ; this is to prevent a gap in the work. m. 19 ANOTHER VERT SIMPLE CITFF. This may either be worn with an edging or not. Two pins,' No. 20, and a reel of Taylor's cotton, JJo. 6, are required. Cast on 32 stitches ; they must not be tightly put on. 1st Row, S, P, edge stitches, Ts, O, P, B ; repeat to end of row, edgeP2. Repeat until you have sufficient to go round the wrist. Cast it off; add hooks same as the foregoing Cuff. BEAUTIFUL PURSE. The foregoing Receipt makes a beautiful Purse. Cast on 110 stitches. Two wires of No. 18, and 3 hanks 2nd sized twist are re- quired ; work about 9 inches,' then past it off. > BEAUTIFUL LACE EDGING. This Edging is sometimes used for the Shetland Shawl instead of a Fringe, and is very pretty for trimming Tidies, Bed-covers, &c. Cast on 14 stitches. 20 KNITTING. 1st Row, S, P2, O, T, P, O, T, P, 02, T, 02, T, P. 2nd Row, S, P2, B, P2, B, P3, O, T, P, O, T, P. 3rd Row, S, P2, O, T, P, O, T, P3, 02, T, 02, T. P. 4t]a Row, S, P2, B, P2, B, P5, O, T, P, O, T, P. 5th Row, S, P2, O, T, P, O, T, P5, 02, T, 02, T, P. 6th Row, S, P2, B, P2, B, P7. O, T, P, O, T, P. 7th Row, S, P2, O, T, P, O, T, P7, 02, T, 02, T, P. 8th Row, S, P2, B, P2, B, P9, O, T, P, O, T, P. 9th Row, S, P2, O, T, ,P, O, T, Pl4. Cast ofiF all but 13 stitches, work them thus; P7, O, T, P, O, T, P. Repeat from 1st row. RUSSIAN CKOCHET-STITCH BED-COVER. This Bed-Cover worked in squares is simple and rich looking, the stitch, forming a sort of ridge. When the squares are all worked, they are sewed together, so that the ridges of the one lie contrary to the other, which produces a very good effect. At the corners of each square there is a small tuft of cut cotton ; which is made by winding some plies of soft cotton round a mesh about an inch wide ; then withdrawing it from the mesh, and tying it round the centre very firmly. Double it up, and give it a stitch or two, to keep it together, then cut it. Each tuft should be quite round, and about the size of sixpence, or larger. Cast on 24 chain stitches with the coarsest twisted cotton. What I use, is called 4 plies No. 6, Dutch cotton, (hard twisted,) and a hook gauging No. 13.* 1st Row, plain French tambour stitch, as described in this book * In gauging the hook, the part to be measured is that part of the stem directly above the hook. KNITTING. 21 under the head of French or double tambour stitch. At the end of this and every row work a single chain stitch. (This single stitch, if omitted, would in that row diminish a stitch.) Now turn the work in your hand, so as to work back again without cutting off the cotton. 2nd Row, work in double tambour stitch, but instead of taking the upper part of the loop, take the undermost, which is the outer part qf the work next the fpre-finger of the left hand. *Repeat as 2nd Row, until you have a square crochet ; when all are done, join th6m, as before described. A plain border, of a quarter of a yard deep, of this stitch all round, looks very- well ; it is worked in four lengths and four squares, to fit in each of the corners. RUSSIAN CUOCHET-STITPH PURSE. Albert blue, (or a good claret colour,) with or without steel beads, look well. A hook gauging No. 17, and three hanks of commonsized purse twist, are required. Cast on 108 chain stitches, rather loose, for a long Purse. Work exactly as described for bed-cover stitch.' Continue working until you have about six inches. Damp it with a little dissolved gum Arabic and water, and stretch it out till dry. p. g. If beads are wished, use No. 10 ; about 12 rows are required ; thread them on the silk before commencitig. The beads are put on in every other row, and every other stitch, by merely slipping a bead down to the last stitch worked ; then crochet the stitch, (which fastens in the bead;) then work a plain stitch ; then a bead as before, to end of row. Join up this Purse by crocheting or sewing up the first and last row at each end, leaving a space in the middle to admit the money. Draw up the ends ; add steel rings and tassels to complete the Purse. * Observe, always to work at the end of the row the single chain stitch. 22 KNITTING. THE ROY, TRIANGULAR NET NECKERCHIEF, OR COIFFURE A NEGLEGEE. This is net in shades of blue and stone 'coloured Berlin wool ; (six shades of stone colour, six of blue, and one of white ;) commencing with the white and working down to the darkest blue ; then one row white ; and then the lightest stone colour down to the darkest. Two small hanks of each shade, a flat bone mesh No. 8, and as many netting needles as shades are required. Cast on 2 loops with white. 1st Row, increase on the 1st loop, then 1 plain stitch. 2nd flow, tie on the 2nd shade, 1 plain ; increase on middle loop, and on the last loop. 3rd Row, tie on the 3rd shade, 2 plain ; increase on middle loop, 1 plain ; increase on last loop. 4th Row, tie on the 4th shade, 3 plain ; increase on middle, 2 plain ; in- crease last loop. 5th Row, tie on the 5th shade, 4 plain ; increase on the middle stitch, 3 plaitf ; increase on last loop. 6th Row, tie on the 6th shade, P5 stitches ; increase on middle loop, P4 ; increase on last loop. 7th Row, tie on the white, P6 stitches ; increase on middle loop, P5 ; in- crease on last loop ; this finishes the coloured stripe. Continue and work the shade of stone and blue alternately, always increasing on the middle loop, and on the last loop, until you have about 140 stitches; then work the border with the white and blue as before ; then work still in the shades of blue from the 2nd darkest up to the white, (increasing all the time as before ;) by this means you have the border double the breadth of the stripe. Now take a mesh li inch wide, and work a row ail round the Kerchief, working two stitches into each of the loops. This fringe row should be done with KNITTING. * 23 the third lightest shade. Damp and stretch it out till dry. The top corner of this Kerchief is turned down. It looks extremely well as a loose covering for the head. COMFORT. Six hanks dark mazarine or Albert blue * 4 plies fleecy, and a pin No. 8, are required. Cast on 54 stitches. 1st Row.^S, plain, and 3 more rows. 5th Row, S, P2 edge stitches— T, repeat T all along ; edge stitches P3. 6th Row, S, P3 edge stitches — B, pick up a stitch from the row below, working it B ; it is that part of the loop which lies across be- tween the stitch you have just knit and the one on the left pin, and draws with the first stitch on the left pin ; repeat B, and the picked up B, all along, , ' edge stitches P3. 7th Row, S, plain, and 3 more rows. 11th Row, S, P3 edge stitches — T, repeat, edge stitches P3. 12th Row, S, P3 edge stitches, fpick up stitch, and B; repeat to end, edge stitches P3. 13th Row, S, P3 edge stitches, pearl or back row, edge stitches P3. 14th Row, S, P3 edge stitches, plain, and 2 more rows. * This colour not being very fiist, it comes off in the working, to prevent which, be- , fore beginning, wash the wool in lukewarm water, dissolving a- little piece of vphite soap in it; also put a little pearl ash, (about half a.tabl6 spoonful;) then rinse it again in lukewarm water; wring it well, and sh4ke it while drying. Black wool, and other dark colours, have often to be washed before working. t Observe in every other open row, the pick-up stitch must be worked before the B, otherwise it would be uneven, (be careful not to work one upon the end of the row after the B.) 24 KNTTTING. VERY USEFUL, WARM, AND PRETTT BOOT FOR A BABY. This Boot has a coloured shoe front, and a white leg, with stripes of colour going across the forefoot. The shoe part is let out six times at toe and three times at heel, as following receipt wUl show. This Boot is joined up after it is worked. Four pins of No. 11, and one hank of blue, four plies superfine fleecy, and one hank white, are required. Cast on 23 stitches with colour. 1st Row, S, plain — (this is the sole part.) 2nd Row, S, plain ; at the end of row increase a stitch, by picking np a stitch from the row below, and working it, then knit a plain stitch — (this is for toe part.) 3rd Row, S, plain ; increase a stitch at the end of the row, as before — (this is for heel part ;) repeat as 2nd and 3rd rows two more times. 8th Row, S, plain, letting out at toe part, as before. 9th Row, S, quite plain; repeat as S^ and 9th rows two more times. 14th Row, S, plain, four more rows, which finishes at toe part. — If you have worked according to the receipt, you must now have sight ridges,* besides the cast-on row. — Now work the toe part as follows. 19th Row, S, P9 ; leave the other 22 stitches on the pin, take a third pin, and work back the toe stitches as follows. 20th Row, P 10; this makes one ridge for the toe part; repeat 19th and 20th rows nine more times. Thjs concluded, you have now 10 ridges for toe part. 39th Row, S, P9, feast on 22 stitches for other side of shoe, to correspond with'the other 22 stitches that were left on the pin. 40th Row, S, plain, and three more rows, which finishes at heel. * Two rows form a ridge. t Cast-on is done by forming a loop on one of the fingers of the left hand, and passing it on to the right hand pin. KNITTING. 25 44th Row, S, plain to toe, all but three stitches, work thus, T, P. 45th Row, S, plain to heel ; repeat as 44th and 45th rows two more times. 50th Row, S, plain, taking in at toe, T, P. 51st Row, plain, all but three stitches ; work them thus, T, P. Repeat as 50th and 51st rows t^yo'more iimes. 56th Row, S, plain. — Then oast off sole part. Now pick up the 22 stitches that were cast on before, to correspond with the 22 on the pin. Tie on the white wool at the heel, and work with it the 22 picked-up stitches ; then pick up on to a separate pin the 10 stitches on the forefoot (or toe) part, and work them, working the last stitch of the 10 stitches with the first of the 22 stitches that were left on the first pin : turn and work the 10 stitches back again, lifting the last of the 10 stitches before working it on to the pin that has the 22 white stitches on it, and work it and one of the pin stitches together. Work again as these two rows, with white, always working the last stitch and one of the side loops together ; *tie on the colour, (but do not cut off the white, as it is required again ;) work two rows only with it as before described, then four with white, as before, then two with coloured, then four with white, and two with colour. This finishes forefoot. Again work with white th6 forefoot stitches, then the remaining side stitches plain to the heel. Next row work as follows, in white, from one side of heel to other. Row, S, plain ; repeat as this row 22 more times, then work six rows B2, P2. Then tie on the coloured, and work B2, P2. Cast it off; join up the boot by sewing the ridges together on the * Do not break ofT the white, but leave it and every other row when you are not using it ; twist it and the ball you are knitting with so as not to make a long loop en the wrong side. This must be done with either of the balls not in use. 26 KNITTING, wrong side, then down the leg, all along the sole and up to the top of outlets of toe ; then turn down the 10 ridges for toe, and sew them flat down to form a square toe ; draw a little piece of ribbon (or worsted platted) round the ankle, to tie it with. LONG BOOT. If for a long stocking, work 24 more rows white before finishing with colour at top. UNDER OR SLEEPING STOCKING. This Woollen Stocking, for wearing under silk stockings, is very useful, and is also used as night or sleeping stockings. They are worked in three plies " Lady Betty," or hard twisted " Lady Betty," or if that cannot be supplied, any soft fine wool yarn will do. Two cuts wool, and four ivory or bone pins, No. 10, are required. Cast on 64 stitches. 1st Round, P2, B2 ; repeat to end. Repeat as first row until you have an inch worked ; then work quite plain, until you have got it as long as a stocking, measuring from the very top of stocking down to the extremity of toe part. Begin and take-in by working seven stitches plain, then take-in, and so repeat all round; then work seven rows plain. Now six stitches plain ; then take-in, so repeat all round ; then six plain rounds ; then work five stitches, again take in, repeat all round ; anii so repeat until you have taken in all but 12 stitches; draw them' up with a needle and fasten them off KNITTING. 27 BAG^m PURSE CORD, (noT PURSE SILK,) SPIDER-NET PATTERN. This Bag is maice up on a piece of pasteboard, with a white lining below, or it may be drawn with rings and tassels, and worn without a lining. Two skeins of cord, and 2 pins, No. 14, are required. Cast on 48 stitches. Work 5 plain rows. eth Row. S, P2, edge stitches, O, P, O, T, P, T, repeat, edge stitches, P3. 7th Row, S, P2, edge stitches, pearl, edge stitches, P3. 8th Row, S, P2, edge stitches, O, P3, O, A, repeat, edge stitches, P3. 9th Row, S, P2, edge stitches, pearl, edge stitches, P3. 10th Row, S, P2, edge stitches, T, P, T, O, P, O, repeat, edge stitches, P3. 11th Row, S, P2, edge stitches, pearl, edge stitches, P3. 12th Row, S, P2, edge stitches. A, O, P3, O, repeat, edge stitches, P3. 13th Row, S, P2, edge stitches, repeat, edge stitches, P3. Repeat from 6th row until you have the bag about 3-8ths long, then work the 5 plain rows. Cast it off This stitch makes a very pretty Tidy, a Scarf, Shawl, &c., &c. VERY BEAUTIFUL SHADED BAG. This Bag is worked in 15 shades of scarlet, commencing about three shades from the very darkest that can be had, and shading successively up to the bright military scarlet, which terminates at the top of the Bag. The stitch in which the Bag is worked, resembles a round net work in gold colour all over this shaded ground, and has really a rich 28 KNITTING. and harmonious effect. (I have seen it worked in shades of green purse twist, and gold twist for the net work ; which was really splendid.) The material may either be purse twist or Berlin wool. When worked, make it up by sewing it together at the bottom of the Bag. Work a knit handle, and add shaded tassels to suit; or it may be made up many ways, to suit the tasfe of the wearer. The Bag in' gold was made up on a foundation, with a rich gold cord and gold tassels. If done in silk, 1 hank of each colour, and 3 of yellow ; if in wool, a small hank of each shade, and 6 of gold colour or yellow, and 5 wires of No. 19, are required. Cast on 160 stitches with yellow, (gold colour.) Ist Round, plain. 2nd Round, pearl, and 1 more round. Tie on the darkest colour, and work as follows : — 4th Round, *S2, P6, repeat all round. Repeat aa 4th round 6 more times. Tie on the yellow, and work as follows : — 11th Round, plain. 12th Round, pearl, and 1 more round. Tie on the second darkest shade, and work as follows : — 14th Round, P4, S2, P2, repeat all round, and 6 more rounds. Now repeat from 1st round with the shades in succession, as these two. You will perceive in working the pattern, each time it takes in two more shades ; work on until you have worked up to the lightest Then work as follows for top of the Bag : — Tie on the yellow, and work. 1st Round, plain. 2nd Round, pearl, and 4 more rounds. * S2, is to lift two Btitclies off from the left pin on to the right without worldng. KNITTING. 29 Work the Handle with douhle silk or wool, and 2 wires of No. 16. Cast on 8 stitches with lightest shade. 1st Row, Ob, jj, repeat to end of row ; work 3 more rows. Tie on the yellow, and work as follows : — Sth Row, plain. 6th Row, pearl. Now tie on the second lightest, and work as 1st, and 3 more rows ; then again with yellow, as 5th and 6th rows. Work on in this way the succession of shades until you have about 4J inches done ; this is the middle of the handle ; continue still as before, only work back with the same shades from the dark one you have just finished with, up to the lightest. Cast it off, and sew it up to make the handle round. Fasten it inside of the Bag. Another method of working the Handle is, with double wool or silk, and 2 pins No. 15. Cast on 8 stitches with the lightest pink. 1st Row, *0, J, ; repeat to end of row. Every row of the handle is the same as this. Work a little less than an inch with each of the five following shades, 2nd lightest, 4th, 6th, 8th, and 10th ; then 8th, 6th, 4th, and 2nd lightest. Cast it off, and join it up lengthways, by sewing it together, so that the handle may be round ; sew it on, and finish as before described. MCPFETEES. Work these in Albert blue wool, over a white foundation, as before * When an open stitch occurs at the edge of a back row, have the thread in front before commencing, and pass it quite round the wire ; then work the j,. 30 KNITTING. described. They are worked in the Bag stitch, only at the beginiling work four more pearl rounds of the blue, so as to make a broader margin at the bottom of the Muffetee ; also at the top work four more pearl rounds. Before casting them off, they should be about 3^^ inches deep. Five wires of No. 18 ; 8 small hanks of blue Berlin wool, and 6 of white, are required. Cast on 80 stitches, for a Lady. ANOTHER MUFFETEE. Worked in stripes of a bright full pink or cerise colour, and a deep rich brown or claret. Two wires of No. 17, and 9 small hanks of pink and 3 of brown are required. Cast on 50 stitches. 1st Row, brown, plain. 2nd Row, pearl. *Tie on the pink. 3rd Row, plain, and 5 rows more. Repeat from 1st row until you have got as much worked as goes round the hand tightly. Sew them tip. WARM MUPFETEES FOR BOYS. Worked same as foregoing Muffetees, in four plies fleecy. They can be worked all one colour, 21 stitches, 2 pins No. 9, and 1 hank of wool, are required. PETTTE NET ECHARPE FOR THE NECK. This is netted in four shades of Berlin wool, either pink or blue, and * Before beginning every other row, twist the wool you are not working with round the one you are working, so as to prevent a long Ipop of worsted behind. KNITTING. 31 a white ; 2 rows of each shade, working from darkest up to white, and receding from' lightest colour to darkest, so that the white comes always in tljie cefitre of the light part of stripe,— consequently, when repeating this stripe, the dark shades meet. Recommence with the 2nd darkest shade, and work as before ; (this is to prevent the 4 rows of dark com- ing together.) Net 4 stripes ; or, if wished wider, work another stripe ; draw up the ends ; add a shaded tassel to each. Cast on 170 stitches. A flat mesh No. 7, and 6 hanks of each of the colours, are required. HANDSOME CROCHET BAG. This Bag is composed of a round hottom and stripes of chinee twist and plain twist alternately. The colours are arranged as follow : — ^the round part in gold coloured shaded silk, the 1st stripe following dark blue, the 2nd stripe shaded purple, the 3rd stripe brown, the 4th stripe shaded scarlet, the 5th stripe dark green, the 6th stripe shaded yellow. One hank of extra coarse purse silk of each kind, and one of white, 3 of the yellow shade, a crochet handle, and a steel crochet needlej No. 1, (that is, the very coarsest needle of the kind,) are required. The Bag is all worked in double tambour stitch. Cast on 3 chain stitches with shaded yellow ; join them to form the round ; then work as follows : — 1st Round,* work two stitches in every stitch, so as to increase it. 2nd Jlound, work 1 plain stitch, work twof in next stitch ; repeat this all round. * I always carry on a thread, as it makes the work much more soUd an3 more even. t Observe, in- working the two, first work on the wrong side of the work a stitch, 32 KNITTING. 3rd Round, work 2 plain stitches, work two in next stitch ; repeat this all roimd. 4th Round, work 3 plain stitches, work two in next stitch ; repeat tMs all round. 5th Round, work 4 plain stitches, work two in next stitch ; repeat this all round. Thus you perceive there are fewer stitches made every round ; so continue in proportion until you have got your round piece, measuring 4 inches in diameter, then work in the stripes as hefore described ; every stripe is worked about 6 rounds ; always between each stripe work a plain round in white. This Bag is not lined, but drawn with a cord through 12 small rings ; add tassels at the side, and one the same size at the bottom ; shaded yellow look best. KETTLE HOLDER. Two pins of No: 7, and one hank of 9 plies fleecy, (say purple fleecy, as this colour washes best,) are required. Cast on 21 stitches. 1st Row, *0, S, T, repeat to end ; every row is the same. Knit on until it is square. This is the same stitch as the Russian Shawl, Hassock, and Comfort, and the Polish Pelisse, Shaded Cushion, and Briocha which forms a sort of ridge in the round "before, then work the stitch in the usual way ; this makes no hole, and I think it much the best way of increasing. * To make an at the beginning of a row, you must have the thread in front of the wire before beginning, which makes a stitch when you work the T. KNITTING. . 33 ELEGANT KNIT SCARP, WITH COLOURED WAVED ENDS. {Centre Stitch.) This Scarf is worked with two plies Lady Betty; Wool in the cen- tre, and with English wool, in shades, for the ends. Shades of gold colour look very well, going from light down to a pretty bright maroon colour ; and shades of scarlet look extremely rich and beautiful, not going lighter than the military shade. Two hanks of white, and one hank of each of the six shades of English embroidery wool, and two ivory pins. No. 10, are required. Observe to cast on and off very loosely. Cast on 132 stitches with white. Ist Row, plain, and 7 more rows. — Tie on the darkest shade, and work as follows. 9th Row, S, P5 edge stitches T, T, T, T, O, P, O, P, O, P, O, P, O, P, O, P, O, P, O, T, T, T, T, B, repeat edge stitches, P6. 10th Row, S, P5 edge stitches P, B23, repeat to end, edge stitches, P6. Repeat 9th and iOth rows again. Tie on the 2nd darkest shade, and work as the darkest shade. Having done so, work every shade in the same way up to the lightest, then again from 2nd lightest to darkest, which finishes one stripe of colour. By this means you have worked the pattern over 22 times. Now work the pattern 12 tirae^Mn white ; then work again the coloured stripe as before ; then 8 rows all plain with white. This finishes one end. 34 KNITTING. Commence the centre pattern as. follows: — Isc Kow, S, P5 edge stitches, P2, O, T, P3, O, T, O, T, O, T, *T, O. , T, 0, T, O, P3, O, T ; repeat edge stitches, P6. 2ud Row, S, P5 edge stitches, pearl, all but edge stitches, P6. 3rd Row, S, P5 edge stitches, P, T, O, P3, T, O, T, O, T, O, P, O, T, O, T, O, P3, T, O, P ; repeat edge stitches, P6. 4th Row, S, P5 edge stitches, pearl, all but edge stitches, P6. 5th Row, S, P5 edge stitches, P2, O, T, P, T, O, T, O, T, O, P3, O, T; O, T, O, T, P2, O, T ; repeat edge stitches, P6. 6th Row, S, P5 edge stitches, pearl, all but edge stitches, P6. 7th Row, S, P5, edge stitches, P, T, O, P, T, O, T, O, T, O, P5, O, T, O, T, O, T, T, O, P; repeat edge stitches, P6. 8th Row, S P5 edge stitches, pearl, all but edge stitches, P6. 9th Row, S, P5, edge stitches, P2, O, T, P, O, T, O, T, O, T, P, O, T, P2, O, T, O, T, O, T, O, T ; repeat edge stitches, P6. 10th Row, S, P5 edge stitches, pearl, all but edge stitches, P6. 11th Row, S, P5 edge stitches, P, T, O, P3, O, T, O, T, O^T, P2, T, O, ^ T, O, T, O, P, T, O, P ; repeat edge stitches, P6. 12th Row, S, P5 edge stitches, pearl, all but edge stitches, P6. Repeat from 1st row, until the centre is long enough. When finished, it should measure about three yards ; the other end is worked as first. Some ladies prefer working the centre of white first ; but before casting off, work the border as I have before described ; then cast off Now return to the cast-on row, and pick up the stitches, and work the • other end — this is to make both ends work in the same. I generally- work as first described, as I do not dislike the unique appearance at each end. Damp with a little dissolved gum and water, and stretch it quite even out till dry ; add a fringe of white. * This T, T, is formed into an A, by working T; then the other T, and lifting the first over the last. ' 35 CAP FOR WEAEING UNDER THE BONNET. It is worked in Berlin wool, and composed of stripes alternately col- oured and white, and tied at the back and under the chin with a piece of ribbon. Four hanks white and 8 of blue, and two pins No. 9, are required. Cast on 82 stitches wiih blue. 1st Row, S edge stitch, plain, edge stitch, P. 2nd Row, S edge stitch, pearl, edge stitdh, P. 3rd Row, S edge stitch, plain, edge stitch, P. 4th Row, S edge stitch pearl, edge stitch, P. 5th Row, S edge stitch, T ; repeat T to end of row, edge stitch, P. 6th Row, S edge stitch, P, M;* repeat edge stitch, P. 7th Row, S edge stitch, plain, edge stitch, P. 8th Row, S edge stitch, pearl, edge stitch, P. 9th Row, S edge stitch, plain, edge stitch, P. 10th Row, S edge stitch, pearl, edge stitch, P. 11th Row, S, T edge stitches, T ; repeat T to end of row, T, P edge stitches, P. 12th Row, S, P edge stitches, M, P ; repeat, edge stitches; P2. 13th Row, S edge stitch, plain, edge stitch, P. 14th Row, S edge stitch, pearl, edge stitch, P. 15th Row, S, T edge stitches, T ; repeat T to end of row, edge stitches, T, P. 16th Row, S, P edge stitches, P, M ; repeat edge stitches, P2. Repeat from 9th to 12th row. Tie on the white, and repeat 13th to 16th row, and again from 9th to 12th row. * This Made-stitch is done by picking up a stitch from the row below and working it. It is that part of the loop between the stitch just worked, and the one you are , going to work. When you pick it up, you will perceive it will draw with both stitches on either side. 36 KNITTING. Tie on the blue, and repeat 13th to 16th row, and again from the 9th to the 16th row. Tie on the white, and repeat from 9th to 16th row. Tie on the blue, and repeat from 9th to I6th row, and from 9th to 12th row. Tie on the white, and repeat from 13th to 16th row, and from 9th to 12th row. Tie on the blue, and work one plain row. Turn down a small piece of first coloured stripe, so as to form a hem over the forehead, — (the piece turned in for hfem, is from the centre of the first open row ;) this must be done before the side stitches are picked up. Now pick up and work the stitches down the side of Cap ; there should be about thirty in number worked. Next row pearl them all baek, and all along the top of the Cap ; then pick up the other side of Cap, and work as before. Next row, plain ; second row, pearl ; third row, T. Repeat T to end of row ; fourth row P, M ; repeat to end of row ; fifth row, plain ; sixth row, pearl ; then cast off. Now hem it all round, as before described, for front part STRONG GUARD FOR A LADY OR GENTLEMAN. Three hanks of common sized purse silk, and 2 wires of No. 20 are required. Cast on 4 stitches. 1st Row, Ob, jj ; repeat to end of row. Every row is worked the same. Work it to the length required. NETTING. LONG NET PURSE FOE. A LADY, Worked with purse twist, two sizes finer than the common. Cast on 90 stitches ; work with a mesh, No. 18 ; it requires 3 skeins silk ; net up the sides together ; the cast-on and the last row worked are those that are joined. All netting is improved by damping and stretching out till dry. LONG NET PURSE FOR A LADY. Work with silk the same size as first net purse, — only this differ- ence : the first five rows are plain, the sixth is worked as a plain row ; 38 NETTING. . instead of putting the thread once round the needle before working, pass it twice round ; by this means it forms a row pf long loops, then 5 rows plain ; work until you have 84|l6ws. The sixth row, if wished to be. twisted as in plate, work it and the following row in round netting, as described in following receipt, only keeping in mind that the thread must be passed twi«e round the mesh in sixth row. ROUND NETTING FOR A GENTLEMAN S LONG PURSE. Cast on 100 stitches with second-sized purse twist, mesh No. 16 ; work 100 rows. Mode of Netting, — Form the loop round your fingers as in common netting ; pass the netting-needle and thread quite through the finger- loop, bringing it up behind the mesh, between the mesh and fore-finger, still keeping the fingers and loop on them in the same position ; re- verse the needle, and pass it down through the first loop, (on the foun- dation,) passing the needle in a slanting direction over the mesh ; draw it quite through, then withdraw your fingers from the loop, as in common netting ; continue every loop in this way. This makes a very strong purse. The following Open Netting receipts may be worked for Veils, Caps, Purses, Scarfs, Shawls, Mittens, Cufis, Sleeves, D'oyleys, Fish-cloths, Toilet-covers, Curtains, &c. NETTING. 39 H®IETCOMB NETTING FOR VEIL. Worked in white China silk ; this veil is usually dyed after it is worked ; it is finished by a netted scollop border ; the silk should be about the thickness of the third-sized purse twist, the mesh for veil, No. 12. r 1st Row, plain. 2nd Row, work the 2nd loop first, the 1st loop second, then the 4th loop, then the 3rd loop. Proceed in this way to the end of row. 3rd Row, plain. 4th Row, net the Ist loop plain ; then proceed as 2nd row ; finishing stitch plain. You will perceive in the 4th row you have a plain stitch at the com- mencement and end of the row, which is not in the second. This occurs on every alternate twisted row, so as to make the twisted loops come in their proper places, by withdrawing the mesh after the third or plain row is done ; you will observe a sort of twist in one of the loops, then two loops plain, the fourth loop a sort of twist ; you will by this know, in the following row, that the two loops that are plain are those you work, by taking the last first, and first last, as described in the second row. You must regulate the number of stitches to be cast 40 NETTING. on for a veil "by those usually woro, as they vary much according to fashion. The mode I adopt, when I wish to know how many stitches will be required for any piece of wortt, is by working a few stitches — say 20 stitches, and then 20 rows ; by this means you will exactly ascertain the width and length of 20 stitches . then if, for example, after measuring the width and length, you would wish it to be 10 times the width of the little piece, you will have 200 stitches to cast on. VERY PRETTY LONG GRECIAN NET PURSE FOR A LADY. Worked with the finest-sized purse twist. You may work the plain rows in a bright colour, and the open rows in white, or you may work it all one colour, according to taste, with meshes Nos. 1 2 and 19. Cast on 100 stitches, and net about 100 rows, alternately 6 rows plain and an open one, as described in receipt. 1st Row, No. 19 mesh, plain, and 5 more rows. 7tli Row, No. 12 mesh, plain. 8th Row, No. 19 mesh : twist* the 1st and 2nd loops together, and*net the side loop ; repeat to end of row. * Twist the first and second loops together, by forming the loop on your fingers, as in plairi netting; pull the needle and thread quite through, as described in round netting, then insert the point of netting-needle intp the first loop, as in the NETTING. 41 9th Row, No. 19 mesh, plain, and 5 more rows. 15th Row, No. 12 mesh, 'plain. 16th Row, No. 19 mesh, 1 plain'stitch, and proceed as 8th row. GRECIAN NET FOR A VEIL. Worked with white China silk ; cast on even numbers ; work with two meshes, the one No. 9, the other No. 16. 1st Row, No. 9 mesh, plain. 2nd Row, No. 16 mesh; twist the 1st and 2nd loops together,(a3 described in preceding receipt,) then net the little side loop, as described in receipt for long Grecian purse immediately before this. The veil is worked in this way : — a plain row with large mesh, and a twisted row with the small, always keeping in mind you begin and end every other twisted row with a plain stitch, so as to make the twist come in its proper place. common way, pointing to the top ; pass it along to the second loop ; pull it with the point of the needle through the first loop. Having now the second loop on your needle, again catch the first loop, by gently raising the point of needle ; pull it through the second; this done, you will now have the first loop only on the needle; drawit through; withdraw your fingers from the finger-loop, as in common netting. The next stitch to be worked is a very small loop, which appears as if it were a loose knot on the side of the twisted stitch ; it is the loose part of the second loop that was twisted through the first. I do not think, however, that the Grecian net can, by any descrip- tion, be reduced to practice, without some previous knowledge of it. — Shortly after the publication of the first edition, I am happy to say that several ladies informed me (and some brought the net with them to show) they had worked from this receipt without any other assistance. 42 NETTING. SINGLE DIAMOND NETTING. 1st Row, *P, oP ; repeat to end of row. 2nd Row, P, Pi ; repeat to end of row. 3rd Row, oP, P; repeat to end of row. 4th Row, Pi, P ; repeat to end of row. Explanation of Terms. — P, a plain stitch. — oP, a long loop ; instead of passing the thread once round the mesh before netting the stitch off, pass it twice round the mesh to form the long loop. — Pl, a loose stitch, formed by working the present loop to meet the short one in the preceding row. DIAMOND OF FIVE STITCHES FOR A LONG PURSE. Work with mesh No. 18, and second-sized purse„twist ; 3 skeins are * You will perceive, when you withdraw the mesh from this row, there will he a long and a short loop alternately. NETTING. 43 required. Cast on 73. stitches. Work the following receipt eight times over ; this completes the purse, ist Row, oP, P5 ; repeat to end of row ; finishing stitch is oP. 2nd Row, Px, Pl, W, P4, W ; repeat to end of row ; finishing stitch is Px. 3rd Row, Px, Pl, W, P3, W, Px; repeat to end of row ; finishing stitch isPx. 4th Row, P, Px, Pii, W, P2,'W, Px; repeat to end of row ; finishing stitch is P. 5th Row, P, Px, Pl, W, P, W, Px, P; repeat to end of row; finishing stitch is P. 6th Row, P2, Px, Pl, Px, P ; repeat to end of row; finishing stitch is P. 7th Row, P2, Px, oP, P2 ; ditto, 8th Row, P3, W, Px, Pl, W, P ; ditto, 9th Row, P2, W, Px, Px, Pl, W, P ; ditto, 10th Row, P2,W, Px, P, Px, Pl,W; ditto, 11th Row, P, W, Px, P2, Px, Pl, "W; ditto, 12th Row, Pl, Px, P3, Px ; ditto. Repeat from first row. Explanation of Terms.— oP, see Index of net terms ; Px, a plain stitch, the cross is only to show it was a long loop in the former row ; W withdraw the mesh before working the next loop, (see Index ; P2, two plain stitches.) LEAF NETTING. ditto. P. ditto. P. ditto, P. ditto. P. ditto. P. ditto. Pl. Cast on 5 stitches for every pattern you wish ; 2 loops for each edge ; mesh No. 14, and cotton No. 50. 44 NETTING. Ist Row, 2 plain for edge, *3 plain ; increase 4 in next loop ; increase 4 in ' the next ; repeat to end of row from star ; 2 plain for edge. 2nd Row, 2 plain fot edge ; *gather in all the loops that were increased on the two loops above-described, into one stitcji, (you will find nine loops in all on the increased loop,) 4 plain ; repeat to end of row'from star, 2 plain for edge. 3rd Row, plain. 4th Row, 2 plain for edge, *2 plain, increase, 4 in next loop, increase 4 on next loop, 1 plain ; repeat to end of row from star, 2 plain for edge. 5th Row, 2 plain for edge, *1 plain ; gather in the 9 loops, 3 plain ; repeat to end of row from star, 2 plain for edge. 6th Row, plain, repeat from first row. Increase, is to net so many given stitches into one loop : so, to increase 4, you must net five times to give four loops, as one must be knit to keep up the number of cast-on stitches. DOTTED NET, 1st Row, oP, in the same loop increase 2 stitches ; repeat to end of row. All the rows are the same. - Explanation of Terms. — oP, instead of passing the thread once round the mesh, as in a plain stitch, pass it twice round before netting ; in- crease 2 stitches by netting 2 stitches in the same loop. NETTING. 45 FRENCH GROUND NET. Cast on even numbers. 1st Row, P, oP ; repeat to end of row. 2nd Row, Px, Pl ; repeat to end of row. 3rd Row, *oP, JP ; repeat to end of row. 4th Row, Pl, Px ; repeat to end of row. 5th Row, P, *oP, tP; repeat; end and stitch simply oP. Repeat from 2nd row. Explanation of Terms. — oP, before letting oiT your loop on the foundation, pass your needle and thread quite through the finger loop, as described in Grecian net, then insert the point of needle down through the top loop, which you will find exactly above ; on the second last row, in a slanting direction, to the right of the iirst loop on last row, through' which, with the point of your needle, draw iip the first loop on the last row. Net it off; by so doing, it causes the second loop on the last row to come partly up through the top loop. You therefore net it from that part which presents itself above the top loop, — this being a very small one. This little loop is represented in the receipt thus — JP, with this exception, when it occurs, as it will at every other twisted row, it must be a plain stitch at the beginning and at the oP finishing of the row, as will be seen in 5th row of receipt. 46 NETTING. SCOLLOP FOR BORDERS OP VEILS, COLLARS, CAPS, ETC, 1st Row, cast on one loop for each scollop you -wish. 2nd Row, flat mesh No. 1, increase 12 into each loop. 3rd Row, round mesh No. 15, net each of the increased loops off plain. 4th Row, round mesh No. 15, plait. The thread I used for the above meshes was about the fineness of the third-sized purse twist. ANOTHER SC0U.0P FOR BORDER. 1st Row, cast on 1 loop for each scollop required. 2nd Row, flat mesh No. 1, increase 22 loops on each. 3rd Row, round mesh No. 14, net each of the increased loops plain. 4th Row, round mesh No. 19, oP, increase 2 loops into the same stitch. 5th Row, round mesh No. 14, net all the long loops only. 6th Row, round me^h, No. 14, plain. 7th Row, round mesh. No. 14, plain. SCOLLOP. 1st Row, cast on a plain stitch for each scollop required. NETTING. 47 2nd Row, flat mesh No. 1, increase 20 into each loop. Srd Row, round mesh No. 14, net all the increased loops, each plain. 4th and 5th Rows, round mesh No. 14, plain. LONG PURSE OF OPEN STITCH OF SINGLE TAMBOUR. Cast on 160 single chain stitches. 1st Row, 3 chain stitches, not attached to the cast-on row ; attach a stitch, by working a stitch on the fourth stitch of- the cast-on row of foundation. 2nd Row, always make your attached stitch on the centre one of the 3 chain stitches worked in the last row, then three chain stitches. Every succeeding row is done in this way. When sufficient is done for forming the purse, join it up in the usual way, by tambouring it together about 2^ ipches at each side, and draw it up at each end. The attach stitch may be a bead stitch \ PLAIN FRENCH TAMBOUR LONG PURSE, (SOMETIMES CALLED DOUBLE TAMBOUR.) Work with a fine ivory hook ; this hook being coarser than the silk, gives it the appearance of an open stitch. The purse is alternately worked on the right and wrong side. Mode of Working. — Cast on 100 loops in single chain stitch, having the last of the cast-on Ipops on the needle. 2nd row, insert the needle in the first loop, and catch the silk from behind ; pull it through the loop. You have now 2 loops on the needle, then catch the thread, and pull it through the two loops ; this forms one stitch. So repeat in every loop to the end of row ; 90 rows worked in this way form the purse. , 48 NETTING. FRENCH TAMBOUE LONG PTOSE. L Cast on 130 stitches for a gentleman's, and 110 for a lady's purse. This is worked with a fine needle and ivory handle, and common- sized purse twist, and all worked on one side. When you come to the end of the row, cut off the thread, and dtaw it through the last loop, which fastens it. 2nd row, commence at the same stitch which you began the last row on, and work in the same way. Continue till it is sufficiently wide, then join it by tambouring it together ; 4 skeins twist are required. OPEN TAMBOUR PTTRSE. Cast on 220 stitches ; work with a fine tambour needle and handle ; 8 skeins of third-sized purse twist are required. 1st Row, begin with one of the cast-on stitches on the needle, throw on a stitch on your needle, by casting the thread over it ; insert the needle into the second loop, catching the silk in from behind, and pull it through ; you now have three loops on the needle, again cast on a stitch, pull it through the first two on the point of the needle ; there are now two loops on it, again cast on another, pull it through the two ; you have now only one loop, cast on one, pull it through the one ; having now one on the needle, commence as before described. This stitch is worked on every other loop only, thereby leaving one unworked, which forms the open part of stitch. Continue working thus as many times as you think sufficient for a purse ; join it up. This stitch makes a very beautiful purse worked all on the right side, always cutting the thread off at the end of each row, (but leaving as much of the thread as will fasten it neatly behind;) working as follows : — NETTING. 49 Work 2 open rows with white, then 10 plain tows of double tam- bour stitch with light blue, 2 open rows of whfte, 10 plain rows of double tambour stitch with black ; repeat this 3 more times, which forms the purse. The purse is much improved by working a pattern in gold colour on the black, and on the blue, a pattern in steel and gold beads. OPEN TAMBOUK. STITCH. i Cast on 200 stitches with third-sized twist. 1st Row, 3 double tambour stitches, 3 chain stitches ; repeat to end of row, always making the double stitches three stitches apart from the last. 2nd Row, work the 3 double tambour stitches round the three chain stitches of the last row. Repeat as last row till the purse is finished. THE SH1¥L, COLLAE, SLIPPEE, AMD (DMmA iFwrnm ie^si^ect mmiE,, THE ROYAL SHETLAND SHA¥L, LACE COLLAR, ®mi®^^©ir ^mi^^^B* CHINA PURSE RECEIPT ROOK. BY la a) a UU o PHILADELPHIA:, WILLIS P. HAZAKD, 178 CHESNUT ST. 1851. ADDRESS. In presenting this little Manual to the Ladies, Mrs. J. B. Gore most sincerely trusts, that as her study has been to pro- duce the receipts in the most careful and expUcit manner pos- sible, combined with the elegant appearance of the articles as illustrated, will be sufficient to induce all Ladies to patronize and recommend this cheap and valuable companion to the Work-table. December, 1846. THE SHETLAND WOOL SHAWL. FOR THE CENTRE. Cast on 200 stitches on needles No. 7. First Row. — Knit two ; knit two' together ; thread forward ; knit one ; thread forward ; knit two together ; knit one ; knit two together ; thread forward ; knit one ; thread forward ; knit two together ; knit one. Second Kow.-'— Plain knitting. Third Row. — ^Knit two together ; knit one ; thread forward ; knit three ; thread forward ; knit three together ; thread forward ; knit three ; thread forward ; knit three together. — At the end of this row, plain knit the two last stitches. Fourth Row. — Plain knitting. Fifth Row. — Knit two ; thread forward ; knit ' two together ; knit one ; knit two together ; thread forward ; knit one ; thread forward ; knit two together ; knit one ; knit two together ; thread forward ; knit one. Sixth Row. — Plain knitting. Seventh Row. — KJiit three ; thread forward ; knit three together ; thread forward ; knit three ; thread forward ; knit three together ; thread forward ; at the end of this row bring the thread forward ; knit two. Eighth Row. — Plain knitting. These eight rows must he repeated till a square is knitted. Missing Page Missing Page 60 LACE COLLAB, BORDER FOR THE SHETLAND WOOL SHAWL. THIS IS FOR ONE HALF. Cast on 600 stitches on needles No. 3. First Rote. — Knit two together four times ; thread forward ; knit one eight times ; knit two together four times ; purl one ; knit two together