ALBERT R. MANN LIBRARY AT -y CORNELL UNIVERSITY Cornell University Library NK 9104.C5 Samplers and stitches; a handbook of the 3 1924 014 066 249 m Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924014066249 SAMPLERS AND STITCHES *<.**■('■*<' 4>A'«A^^^«.^1^v>•^«■«■« ***** 4 f \ SAMPLER I. A PERSIAN FLOWER GARDEN. In Cross Stitch upon handmade liven. Tnths in Single Faggot Stitch. Water in Wave Stitch Filling. Arches in Chequer Stitch Filling 'Blue margin in Double Stitch Filling. {Half full size.) SAMPLERS AND STITCHES A HANDBOOK OF THE EMBROIDERER'S ART BY MRS ARCHIBALD CHRISTIE WITH MANY DESIGNS AND OTHER ILLUSTRATIONS BY THE AUTHOR LONDON B. T. BATSFORD LTD 94 HIGH HOLBORN NEW YORK: E. P. DUTTON & COMPANY ' Here practise and invention may he free. And as a squirrel skips from tree to tree, So maids may (from their mistresse or their mother) Learne to leave one worke, and to learne another. For here they may make choice of which is which, And skip from worke to worke, from stitch to stitch, Until, in time, delightful practise shall [With profit) make them perfect in them all. Thus hoping that these workes may have this guide To serve for ornament, and not for pride : To cherish vertue, banish idlenesse. For these ends, may this booke have good successe.' John Taylor, ' The Needle's Excellency. PREFACE rHERE are many who would gladly recall, if they could, the past beauties of the delicate art of et^oidery, but unfortunately the tradi- tional receipts for the stitches and methods of work, which it used to be the practice to hand down from mother to daughter, are fast passing away. So it seems desirable, especially in times like the present, that these should be collected and placed on record, and in some measure be brought up to date. To attempt this is one of the objects of this book. Also it is hoped to add to the worker's knowledge of materials and technique, because this forms the proper basis of embroidery design. The stitches and methods of work brought together here have been collected for the most part from actual embroideries. These have been classified and presented to the reader by means of working diagrams which often show several stages of each stitch, and a series of samplers illustrate some of the uses to which they can be applied when learnt. In the art of embroidery, the question of design is so interwoven with that of technique that pattern planning, if approached in the right way, grows almost unconsciously out of the study of stitches. It will be found upon experi- ment that many stitches can introduce new ideas for design. The worker is urged, when thinking over a new piece of work, either simple or complex, to take some characteristic stitches and see what can be done with them, rather than to make a design with pencil and brush and then see what stitches can be adapted to working it out. The former method is fairly certain to result in a true embroidery design ; the latter sometimes looks as if it had been stitched with difficulty, and would perhaps have been better if painted with the brush. Although the study of old work forms the basis of the research which has made up the book, the illustration of ancient examples does not take much space in it, for it is hoped that the power obtained through a wide knowledge of technique should and zoill, naturally express the changes of fashion which time brings about. The aim is a text book, not of ancient, but of modern embroidery and design. (iBACE CHRISTIE. INGLEBOROVGH HouSE, East Runton, Norfolk. October 7, J920, GRATEFUL acknowledgment Wdue to Messrs. Jos. Pearsall & Co., to Mr. John Hogg, and to the Editors of the ' Burlington Magazine, 'for kind permission to use again some drawings which were originally made for publications and articles I undertook for them ; to Mrs. Newall, of Fisherton-de-la-Mere, for permission to repro- duce Sampler XXII ; and to my pupils at the Royal College of Art for the experience gained in the happy hours we have spent together in the study of ernbroidery. I must especially thank Miss D. Bil- Kngton, Miss B. N. Morford, Miss D. Moxon and Miss D. Taylor for the loan of Samplers V, XIX, XI, XXIII and XXIV, worked in their college days. The rest of the Samplers are my own, and have been worked either by me or under my personal direction. CHAP. CONTEN Preface .... A Note of Acknowledgment Contents .... TS PAGE V vi vii List of Plates ix Text Illustrations xi I. Introductory . I II. Flat Stitches . 7 III. Looped Stitches • 23 IV. Chained Stitches . 38 V. Kno'ited Stitches • 51 VI. Composite Stitchfs . • 63 VII. Canvas Stitches . 81 VIII. Drawn Fabric Stitches • 94 IX. Black Work — Lace Stitch Fillings — Darning 108 X. Cut and Drawn Work and Insertion Stitches 118 XL Couching and Laid Work .... . 129 Index . 140 LIST OF PLATES I. A Persian Flower Garden. Worked in coloured silks in Canvas and Drawn Fabric stitches on hand-made linen. Actual size 13I" x 10" . . . . Frontispiece II. The Flowering Tree. Worked mainly in Composite stitches upon coarse hand-made linen with white and shades of brown linen threads and fine tape. Size 12" X OJ ......... I III. A Collection of Patterns taken from Seventeenth- century English Samplers. Worked in linen threads upon hand-made linen. Size 4!" x 7I" . . . 7 IV. Light Fillings for Leaves. Worked in black and white threads on fawn-coloured hand-made linen, mainly in Flat and Looped stitches. Size 6^" x 2f " . . 16 V. The Park. Worked in Buttonhole stitch throughout in shades of brown filoselle. ByMissD.Billington. Actual size 12" x 9I" 23 VI. Wild Roses. Worked mainly in stitches detached from the ground in linen threads on hand-made linen. Size 6i" X zj" 26 VII. Sampler of Line Stitches. Worked in linen threads upon coarse hand-made linen. Size 6|" x 4I" . . 32 VIII. Sampler of Line Stitches. Worked in linen threads upon coarse hand-made linen. Size 6|" x 4I" . . 33 IX. Knots and Chains. Worked in black and white threads upon grey linen. Size 6|" x 3" . . . .40 X. Knots and Chains. Worked in white and brown Unen thread upon loosely woven hand-made linen. Size 6i" X 4i" . . 41 XI. The Jungle. Worked mainly in white linen threads upon natural coloured hand-made linen. By Miss D. Moxon. Size 6I" X 5f" . . . . . .48 XII. The Wayside. Worked in brown, white, and grey threads upon hand-made linen. Size 6" x 3 J" . . -Si XIII. The Meadow. Worked in cotton and linen threads upon hand-made linen. Size 6 J" x 4 J" . . . -55 XIV. The Harvest Field. Worked in various shades of brown in linen and cotton threads on hand-made linen. Size 6rx3r 58 XV. Formal Trees and Medallion in Interlacing Stitch. Worked in cotton and linen threads upon coarse hand- made linen. Size 6^" x 3i" 63 XVI. XVII. XVIII. XIX. XX. XXI. XXII. XXIII. XXIV. XXV. XXVI. XXVII. XXVIII. XXIX. XXX. XXXI. XXXII. XXXIII. XXXIV. LIST OF PLATES Interlaced Knots. Worked in cotton and brown cobbler's thread and fine tape upon hand-made Unen. Size 6i" x 4J" . . • • • Formal Leaf Treatments. Worked in brown and white Hnen threads upon hand-made linen. Size 61" X zi The Quarrel. Worked in coloured silks in Cross stitch upon hand-made linen. Size 15 J" x laj" . ' Of Gardens.' Worked in coloured silks in Cross stitch upon coarse hand-made linen, the stitch being taken across one thread only of the ground fabric. By Miss B. N. Morford. Size lof" x iSJ . Drawn Fabric Fillings. Worked in fine thread upon an open linen ground. Size 6 J" x 3!^" Geometrical Design. Worked in Indian Drawn Ground stitch upon an open linen ground. Size 6|" X 4" A Repeating Pattern. Worked in Drawn Fabric stitches and Detached Overcast, in linen threads upon linen. By Mrs. Newall. Size 9" x 6" Scenes from ' The Blue Bird.' Worked upon hand- made linen in blue and white threads upon linen. By Miss D. Taylor. Size 9" x 27" Lower Half of Sampler XXIII Patterns for Black Work Fillings. Worked in black cotton upon fine single-thread canvas. Size 6" x 2f " Needle and Thread. Worked in shades of brown upon light hand-made linen. Size 6f" x 3J" Lace Stitch Fillings. Worked in white linen thread upon hand-made linen. Size 3" x 6|" Pattern Darning. Worked in soft cotton thread upon hand-made linen. Size 6|" x 3J" Drawn Thread and Cut Work. Worked in linen and cotton threads upon hand-made linen. Size 7" x 3f " A Pattern taken from Old Russian Work. Worked upon hand-made linen in linen thread. Size 7i" X 3i" Drawn Thread Squares. Worked in Knen thread upon hand-made linen. Size 7I" x 3" Interlacing Knot Work, In fine white tape couched with black cotton on hand-made grey linen. Size Oj X 3j Miscellaneous Examples. Canvas Stitches, Mediaeval Couching, Or nue. Composite, Lace stitches, etc. Couched Knots upon a Decorated Ground. Worked in cotton and linen threads upon hand-made linen Size 6f ' X 3I" ■ 68 77 81 91 94 98 10 1 104 105 108 III 112 116 ii8 123 125 129 136 137 TEXT ILLUSTRATIONS 8. 9- 10. II. 12. 13- 14. 15- 16. 17- 18. 19. 20. 21, 22, 23. 24. 25 26, 27. Head Piece, Chapter I : Treatment of Flowers for Band Design . . . i Head Piece, Chapter II : Satin stitch patterns from seventeenth-century EngUsh samplers ... 7 Stem stitch ... 8 Adaptation of Stem stitch for working fiUings . . 8 Line shading in Stem stitch . 9 Whipped Stem stitch . . 9 Satin stitch . . .10 Collection of patterns from EngUsh seventeenth - cen- tury samplers . .11 Shading in bands of En- croaching Satin stitch . 12 Long and Short stitch . .12 Long and Short stitch (vari- ation) . . . .13 Shading in Brick stitch . 14 Flat stitch . . . .14 Fishbone stitch . . .15 Raised Fishbone stitch . 15 Open Fishbone stitch . .16 Leaf stitch . . .16 Basket stitch . . 17 Double Back stitch . . 17 Roumanian stitch . .18 Chevron stitch as a Une and as a filling . . .18 Arrow-Head stitch as a line and as a filling . . 19 Thorn stitch . . .19 Fern stitch . . .20 Overcast stitch . . .20 Whipped Satin stitch . .21 Dot stitch . . . .21 Back stitch and Whipped Backstitch . . 22 Head Piece, Chapter III : Band design from Indian Embroidery . . .23 Detail of sixteenth-century Embroidered Jacket . 23 FIG. 28. Detail of sixteenth-century Embroidered Jacket in the possession of Colonel Head- lam .... 29. Buttonhole stitch 30. Tailor's Buttonhole stitch . 31. Bands in Fancy Button- holing .... 32. Knotted Buttonhole stitch . 33. Detail showing how to work the knot 34. Detached Buttonhole stitch 35. Shading in Buttonhole stitch 36. Wave stitch 37. Ladder stitch 38. Cretan stitch 39. Cretan stitch worked in Vandyke form 40. Plaited Edge stitch 41. Feather stitch 42. Double Feather stitch 43. Closed Feather stitch 44. Chained Feather stitch 45. Vandyke stitch 46. Loop stitch 47. Ceylon stitch 48. Diamond stitch . 49. Sword Edging stitch 50. Rope stitch 51. Scroll stitch 52. Pearl stitch Head Piece, Chapter IV Band in Interlacing Knot work .... 24 25 25 26 26 27 27 28 28 29 30 30 31 31 32 32 33 33 34 34 35 35 36 36 37 52A 52B 53- 54- 55- 56. 57- 58. 59- 60. . Fragment of Dutch East Indian Embroidery of the seventeenth century . Larger portion of the same example Chain stitch Detached Chain stitches Zigzag Chain Chequered Chain. Twisted Chain Back Stitched Chain . Open Chain Singalese Chain . 38 38 39 40 40 40 41 41 41 42 42 Xll TEXT ILLUSTRATIONS 6i. Leaf in Singalese Chain . 43 62. Broad Chain . . -43 63. Heavy Chain . . -44 64. Double Chain . . -44 65. Petal stitch . . -45 66. Rosette Chain . . -45 67. Rosette Chain adapted to a flower . . . -46 68. Crested Chain . . .46 69. Braid stitch . . -47 70. Cable Chain . . -47 71. Zigzag Cable Chain . . 48 72. Underside of the two Cable Chains . . . .48 73. Wheat-ear stitch . . 48 74. Plaited Braid stitch . . 49 75. Spht stitch . . .50 76. Head of Christ drawn by Mr. A. H. Christie, from an English mediaeval cope in the cathedral of St. Ber- trand de Comminges . . 50 Head Piece, Chapter V : De- f sign of Interlacing Bands . 51 77. French Knots . . -52 78. Four-legged Knot stitch . 52 79. Bullion Knot . . -53 80. Coral stitch . . -53 81. Portion of a Jacobean Hang- ing .... 54 82. Zigzag Coral stitch . . 55 83. Double Knot stitch . . 55 84. Double Knot stitch (varia- tion) 56 85. Knotted Chain . . .56 86. Knotted Cable Chain . . 57 87. TreUis stitch . . .58 88. The working of TreUis . . 58 89. Possible directions taken by the knots in Trellis stitch . 59 90. HoUie stitch . . .60 91. Turk's Head Knot . . 61 92. Ball stitch . . . .62 93. Antwerp Edge . . .62 94. Armenian Edge . . .62 Head Piece, Chapter VI : Working diagram of an Interlacing stitch design . 63 95. Interlacing stitch . . 63 96. Maltese Cross in Interlacing stitch . . . .64 97. Maltese Cross in Interlacing stitch, partly worked . 65 98. Foundation for wide band in Interlacing stitch . . 65 FIG. 99. 100. lOI. 102. 103. 104. 105. 106. 107. 108. 109. 110. III. 112. 113- 114. 115- 116. 117. 118. 119. 120. 121. 122. 123. 124. Twisted Lattice stitch Twisted Lattice stitch ad- apted to a band Whipped Run stitch . Pekinese stitch . Threaded Back stitch . Raised Chevron stitch Cloud Filhng Maltese Cross FiUing . Cretan Open FiUing Raised Honeycomb Filling Detached Overcast stitch Sheaf stitch Sheaf stitch (simpler form) Raised Stem stitch Band Chequered Chain Band Striped Woven Band . Diagonal Woven Band Chevron Stem stitch . Step stitch Raised Chain Band Portuguese Border stitch Guilloche stitch . Tied Herringbone stitch Laced Herringbone stitch Interlaced Band stitch Raised Lattice Band . 125. 126. 127. 128. 129. 130. 131- 132. 133- 134- 135- 136. 137- 138. 139- 140. 141. 142. 143- 144. 145- PAGE 66 67 67 68 68 69 69 70 70 71 71 72 73 74 74 75 75 76 77 78 78 78 79 79 79 80 Head Piece, Chapter VII Design for Cross stitch from eighteenth - century English sampler . . 81 Cross stitch . . .82 Marking Cross stitch . . 82 Working diagram of detaUs from sampler shown in the frontispiece . . -83 Montenegrin Cross stitch . 84 Long-armed Cross stitch . 85 Two-sided Italian Cross stitch 85 Variation in the working of Two-sided ItaUan Cross stitch . . . .86 Double Cross stitch . . 86 Holbein stitch . . -87 Tent stitch . . .87 Gobelin stitch . . .88 Upright Gobelin stitch . 88 Encroaching Gobelin stitch . 89 Plaited Gobelin stitch . . 89 Florentine stitch . . 89 Hungarian stitch . . 90 Plait stitch . . . .90 Eye stitch . . . .90 Algerian Eye stitch . . 91 Diagonal Eye stitch . . 91 Chequer stitch . . .92 TEXT ILLUSTRATIONS xiu 146. Rococo stitch Head Piece, Chapter VIII : Design for Black Work Fillings from sixteenth-cen- tury embroidery 147. Chained Border stitch 148. Indian Drawn-Ground stitch 149. Three-sided stitch 150. Four-sided stitch and Single Faggot stitch . 151. Four-sided stitch 152. Double Faggot stitch . 153. Squared Ground stitch 154. Diagonal Raised Band. 155. Open Trellis Filling 156. Chequer Filling . 157. Diagonal Chevron 158. Diagonal Chevron (final stage of the working) 159. Window Pattern Filling 160. Double stitch FilUng . 161. Wave stitch Filling 162. Diagonal Drawn Filling 163. Rosette Filling . 164. Rosette FilUng as it appears in actual work 165. Key Diagram of Rosette Filling .... 166. Greek Cross Filling 167. Hem stitch. 168. Woven Hem stitch i6g. Double Hem stitch 170. Square divided up by lines of drawn stitching . 171. Drawn Square 172. Barred Buttonhole Wheel . 173. Eyelet stitch Head Piece, Chapter IX : Three designs for Pattern Darning 174. Star Filling 175. Sheaf Filling 176. Plaid Filling 177. Square Filling 178. Ermine Filling . 179. Diamond Filling 180. Honeycomb Filling 181. Open Buttonhole Filling 182. Spaced Buttonhole Filling . 183. Fancy Buttonhole Filling 184. Knotted Buttonhole Filling . 185. Lace stitch FUling 186. Darning stitch . 187. Darning .... 188. Darned Background . PAGE 92 FIG. 189. Pattern Darning FACE 190. Designs for Pattern Darning 115 191. Centre Portion of Damask Darn . . . . 116 C\A 192. Damask Darning 116 94 193- Double Darning . 116 95 194. Design for Pattern Darning . 117 96 Head Piece, Chapter X : A Design for Cut Work 118 97 195- Overcast Edge . 118 97 196. Looped Edge 119 98 197. Buttonhole Edge 119 98 198. Design for Cut Work . 120 99 199. Buttonhole Bar . 120 99 200. Woven and Overcast Bars . 120 99 201. Woven Picot 120 100 202. Bullion Picot 121 203. Ring Picot 121 100 204. Loop Picot 121 lOI 205. Buttonhole Picot 122 lOI 206. Decorated Alphabet for Cut 102 Work from a sixteenth- 102 century pattern book. 103 drawn by Mr. A. H. Christie 122 103 207. Russian Overcast Filling 123 208. Russian Drawn Filling 123 103 209. Weaving Stitch Filling 124 104 210. Laced Insertion stitch 124 104 211. Braid Edging stitch . 125 105 212. Knotted Insertion stitch 125 105 213- Twisted Insertion stitch 126 214. Italian Buttonhole Insertion 106 stitch . . . . 126 106 213- Interlacing Insertion stitch . 127 106 216. Buttonhole Insertion stitch . 127 107 217. Plaited Insertion stitch Head Piece, Chapter XI : Treatment of Flowers for 127 108 Band Design . 129 108 218. Laid Work 129 108 219. Scroll Couching upon Laid 109 Threads . . . . 130 109 220. Scale Couching upon Laid no Threads . . . . 130 no 221. Leaf Worked in Laid Threads 131 III 222. Couching . . . . 131 III 223. Fancy Couching . 132 112 224. Fancy Couching . 132 112 225. Couching by means of Button- 113 hole . . . . 132 113 226. Roumanian Couching . 133 114 227. Bokhara Couching 133 114 228. Itahan method of couching 114 gold . . . . 134 XIV TEXT ILLUSTRATIONS 229. Gold Threads couched down with lattice pattern . 135 230. Waved gold couched . . 135 231. Gold couched in basket pattern .... 135 232. Gold couched with under- lay of string . . -135 233. Mediaeval method of Couching 136 234. Reverse side of Mediaeval method of Couching . . 136 235. Couched Raised Band . 136 no. ^*°= 236. Patterns for Gold Couching . 137 237. Fragment of drapery from mediaeval vestment . . 137 238. Reverse side of same . . 137 239. Fragment from an English mediaeval vestment show- ing the treatment of the couched gold ground, drawn by Mr. A. H. Christie. Original in the Victoria and Albert Museum . 138 SAMPLER II. THE FLOWERING TREE. Stem in SAeaf stitch. Flowers in Interlacing. Leaves in Pcrtuzm Border. Owls in Chevron Stem. Birds' heads in Spiral Trellis. Scroll work in Double Knot Ground of centri panel in Single Faggot. In the Border occur Raised Stem Band, Interlacing, Trellis, Fishbone, Faggot, and Overcast. SAMPLERS AND STITCHES CHAPTER I-INTRODUCTORY WITHOUT stitches there could be no art of embroidery. They are the means by which ideas and memories of pleasant things can be pictured upon fabrics. In the study of this art the first matters to be dealt with are fabric, thread, and stitch. If close attention is not paid to these no great progress can be made, for materials and technique are the basis not only of good workmanship but also of sound design. A knowledge of the wonderful technique which has throughout past centuries gathered round this art is indispensable to the serious worker. She must have a store of stitch knowledge from which to choose the exact one needed, for a good design can be marred by a wrong method of execution. A stitch should be chosen for use because it expresses perfectly the subject to be embroidered. Perfect expression is not attained by absolute imitation : it is a mistake in embroidery, as in all decorative art, to be realistic. To absorb and transform the real is the true function of art. However pleasing faithful imitation may be it is not a high form of art. The avoidance of realism is a question of design as well as of technique, for the two cannot but go hand in hand. Such things as naturalistic floral designs are best avoided by the worker with the needle. There is a place for nature and one for art, and when nature is adapted to artistic uses it needs a certain formalism to make it suit its artificial environment. To give an instance, flowers may be put on the table in vases, they are also pretty if laid on the table as decoration, but they must not be incorporated with the table linen by means of needle and thread, that is, embroidered upon it, with any pretence that they are real flowers. Here are wanted embroidered flowers, birds, or other objects, possessing the character and likeness of the thing repre- sented, but in no way trying to make believe they are real, or anything else but embroidered. There are workers who try deliberately to make an embroidery appear like a painting, and with this object they disguise the stitches by making them imitate the technique of the brush. The technique of embroidery, rather than being disguised, needs emphasising, 2 SAMPLERS AND STITCHES for rightly chosen and used it has much intrinsic value. Stitches, apart from what they express, possess qualities such as beauty of form, ingenuity and mystery, for they are sometimes curiously wrought and in this there is charm. As a rule not enough is made of texture in em- broidered work. By the aid of stitches a monotonous surface can be transformed at will into a richly varied one. The technique of the needle is so naive and delightful that it can afford to be daring. By its aid the embroiderer can represent nature or anything else with a com- bination of fact and fantasy that is most captivating. In the thirteenth century, when the vestments of priests were covered with fine needle work, a common design for a cope was to decorate its surface with tier upon tier of architectural arcading and to place within each arch a needle- worked picture. Such a composition may sound odd, yet the result was not incongruous. One reason being that the subject was not realistically treated. The artist instead of attempting to represent actual marble pillars, capitals and vaulting, fantastically suggested them by such devices as intertwined branches of columbine or oak curiously worked in gold, bearing acorns of seed pearls. The capitals at times would be repre- sented lay gaily coloured birds within octagons. Neither were the picture- subjects naturalistic in their treatment. Embroidery design has much in common with that for other crafts, as certain limitations are common to all decorative work. These instead of forming obstacles are an aid to progress, they are sign-posts which point out the way to success. The chief limitations of the art of embroidery are stitch and material. But used in the right way these are so full of suggestion for design that limitation is hardly the word by which to describe them. When considering a new piece of work it is a good plan to have a sampler of stitches to look at and a knowledge, if not actual patterns, of possible fabrics for the background and of threads with which to work. For as embroidery design depends to an unusual degree upon stitch and method for its right expression, so stitch and method in their turn depend for perfect workmanship upon suitable thread and fabric. Threads vary greatly, they can be wiry, pUable, glossy or dull, twisted, hard or soft, and a stitch may completely fail in effect unless carried out with the right thread. The fabric chosen for the ground should be of real aid in attaining the result. It might almost be laid down as a maxim that the more the ground material actually helps to work the pattern, the more pleasing the composition will be. When the stitches are executed by the counted threads of the ground fabric, as, say, in canvas or drawn work, it may be said that both are working together. This interdependence of fabric and stitch is a quality that tra- ditional peasant work often possesses and upon which rests much of its charm. Again ground fabric aids pattern by being exactly the right tone and texture. The tones of unbleached linens make more sympathetic grounds than the chemically whitened kinds, and loosely woven textures, though more difiicult to manipulate, look the best. These qualities are well attamed m hand-woven fabrics which should be used when pro- curable, for machine-made and hand-made work rarely weld perfectly INTRODUCTORY 3 together. The samplers illustrated in this book exhibit a variety of possible fabrics for different purposes. Before starting forth upon the adventure of making a design, it is necessary to be able to draw. Embroidering entails drawing with the needle, a more difficult task than drawing with the pencil, so if a worker has learnt the one, the other will be a simpler task to master. Simple drawing and stitching can be commenced at the same time for each will help the other, and there is no reason why simple planning of designs should not start with them . For elementary work , such as many wish to do , a little drawing helped out by tracing is sufficient. It is more important to cultivate a right instinct for decoration than to take drawing very far, though the more knowledge the student has of both subjects the better. If a worker does not make her own patterns the chance of a great deal of pleasure is lost, moreover craft work loses its individuality and vitality if only copied work is produced. A good way for a beginner to commence the study of stitching, designing, and drawing, is to plan and work a sampler. Usually the aim of a sampler is to be useful for after reference. The elements of which it is composed should be arranged with sufficient order and design to make it pleasing to look upon, to be an object worthy to be framed and hung upon a wall. From the useful point of view it can be a record of stitches and ways of using them. This is accomplished by working rows of stitches in line, which, in a panel below, can be applied to suitable objects such as birds, flower sprigs, or geometrical figures. The sampler should also be a record of patterns and colour schemes ; fragments of these may be a sufficient reminder. It can contain a motley collection of useful elements gleaned from many sources. An alphabet should have a place upon it, for sometimes verses have to be worked or linen needs to be marked. A sampler is more individual and attractive if it reflects the personal taste of the worker, who should be the one to decide what is to be put upon it. It may be the sea and ships, soldiers, guns, and aeroplanes, birds, butterflies, and flowers, animals, knots, shields of arms, the present fashion in dress, or passing events, or per- haps it will picture a story. (Samplers XIX, XXIII.) Let some of these subjects be carried out in appropriate stitches, having first been arranged upon paper with due thought for balance and seemliness. Having worked a sampler somewhat on these lines, the beginner has learnt something of stitching, drawing, and designing, and has probably become interested, possibly even enthusiastic, over this creation of her own. If at this stage such feeling has been aroused right progress is being made. The only things that a pupil can be taught are such matters as technical manipulation, certain principles of the arrangement of designs, and possible elements or units with which to compose them. And if whilst gaining an elementary knowledge of these, real interest has been quickened, the worker is on the right road to develop inherent capacity. In allowing a beginner to put upon her sampler what she is attracted towards, an important principle is being developed. By working thus she is guided by her own individuality as well as by the direction of another mind, which is the right way to learn. It is a wise plan to 4 SAMPLERS AND STITCHES develop the emotional side first ; this should lead, and it is sometimes in danger of neglect. The qualities usually described as intellectual have their part to play, for they can supply many needs. Memory can provide from its store much useful historical information, and experience with its matured knowledge can criticise, control, and keep things sane. A mere academic composition lacking romantic quality tends to become a dead thing, for it is fine feeling which gives life to a design and moves us when we see it. In the early stages of learning such elements as the swastika, the lotus, or the palmette will have little meaning, though later, after a student has attempted some planning with simple elements of her own finding, academic tradition will take its right place in her designs. Designs are composed of elements or units. These by variation of pose and arrangement build up different types of pattern. For embroi- dery designs some of the commonly chosen elements are flowers, foliage, figures, birds and animals, geometrical forms such as knots, strap- work, and quatrefoils. The worker should make studies of elements both from nature and from art. Sometimes they are found upon the designs of other craft work, such as pottery or weaving, coming from our own or far countries. Persia and India have provided us with a wealth of examples of embroidered flowers. Patterns are composed by arranging elements on some fundamental plan, such as repetition, sym- metry, radiation, and so forth. The discovery of all this kind of thing — fundamental bases of patterns, main types of border designs, suitable elements- — does not come by inspiration but by systematic study. A set of exercises must be undertaken which might be called experiments in pattern planning. These may be carried out by ringing all the possible changes on one idea, by working with fixed elements under given conditions, and exhausting all the possibilities of each case. Having tried a number of different plans, the most attractive and suitable to the particular purpose may be adopted. It is of little use sitting down before a blank sheet of paper waiting for inspiration. The wiser plan is to get together a great deal of experience by tackling direct problems and to look around and see how others, in past and present times, have mastered them. An embroidery notebook is a useful and fascinating possession. It should be the complement of the sampler. It can contain diagrams of the working stages of stitches, as a useful reminder, for the sampler will show only the finished product. All kinds of odd, interesting matter can be collected and noted in it, such as studies of flowers from nature, from herbals and other embroideries, jottings of patterns, notes on his- torical work and many other things for future reference. When the student has practised the making of patterns, and how to stitch them deftly, and has an intimate acquaintance with the many lovely threads and fabrics which henceforth she will handle constantly in the exercise of her craft, she will be fit to undertake almost any embroidery problem which presents itself. For the experience gained in acquiring this knowledge will mould her taste and help to give the embroidery touch to her finger-tips. Taste, true feeKng, is simultaneously born in INTRODUCTORY 5 the fingers and felt in the brain. The first consideration, when commen- cing a piece of work, must be — to what purpose is the finished product to be put ? For this question should govern the whole conception. The art of the needle can enter into every phase of life, and add interest to it. In the service of the Church it can ennoble the fabric which clothes the altar, and the vestment of the priest. This branch of art calls for the finest materials, the greatest dignity in design, and the most skilled craftsmanship. In Church embroidery we have the incentive of a great tradition, for England in the Middle Ages was famous throughout Europe for her broidered vestments. Often in Church inventories, after the mention of a cope, as a statement of its value would come the words ' fafon d'Angleterre ' or ' de opere Anglico.' Bishops, noblemen, and kings vied with each other to procure this famous ' English work.' Pope Innocent IV sent emissaries to England to collect vestments for his choir ' no matter what the cost might be.' Wearing apparel provides a fine field for the display of the art of the needle. Elaborate dress embroidery can only be discussed by a profes-r sional dressmaker, for the embroidery is here secondary to the art of dress. But dainty borders, a flowered vest, or a child's frock can be successfully attempted by the amateur. Simple dress decoration is usually satisfactory if constructional — a neat insertion joining a seam, buttons and buttonholes patterned, or a stitched border emphasising the fastening, neck and sleeves. Civic functions may in the future give rise to new developments in embroidery. Why should not our mayors, magistrates, and masters of colleges have their gowns stitched over with symbols of office ? Opportunity for the use of bold types of design and workmanship are afforded by banners and street hangmgs. S3rmbolical figures, mottoes, and heraldry, executed perhaps in applied or inlaid work, make suitable decoration for these. To give a personal touch to her home by her own thought and handi- work comes naturally to an Englishwoman. Here embroidery can play its part, for having so many ways and means it can adapt itself appro- priately to the many subjects that the house presents. Let us beware lest the curtain or cloth be the worse for its added ornament ! Household linen does not call for decoration of an ambitious order, nor need such objects have a great amount of work upon them, for this would be mis- placed energy which should be reserved for bigger undertakings. A neat and somewhat monotonous pattern, worked perhaps in white, is appropriate for table linen. The design may be of a geometrical or strictly formal floral type, or simply lines of pretty stitching. Such patterns are not too noticeable, which is a point in their favour, for we do not want constantly to be struck by marvellous decoration upon objects in daily use. All that is required is a pleasant consciousness that something not absolutely necessary has been added, making the object individual as well as useful. For such subjects as seat covers and cushions, there is canvas work, used and known in the Middle Ages as optis pulvinarium, or cushion style. Its technique is durable and its patterns are decorative. For hangings, the Jacobean work was a fine 6 SAMPLERS AND STITCHES creation, but nowadays it has been cheapened by weak imitation. For a change, designs for large surfaces such as hangings or quilts, based on geometrical elements, knot-work or counterchanges, for example, look well. Needlework is pleasing for wall decoration, either framed or filling panels. But the wise worker who has begun to take interest in stitches and design will have alert eyes to see the many opportunities that lie before her for the cunning display of her art. She will do well to note how in times past her ancestors left traces of the needle's art upon all the fabrics that they touched. Aided by the knowledge with which her searchings into the past will supply her, she will endeavour to do her part and hand on to another generation our glorious and dignified tradition of the fine art of needlework. CHAPTER II-FLAT STITCHES AS stitches will now be the main subject of discussion, a preliminary /\ classification will be an orderly way of entering upon it. A ^"^single flat stitch, best illustrated by Stem, is the foundation from which all others develop. Stitches may be divided into four main groups. These are Flat, Looped, Chained, and Knotted. The most widely practised of the first group is Satin, which is composed of a number of flat stitches laid side by side in close parallel lines. Other typical ones are Couching, Darning, and Laid Work. The first deviation from a straight stitch is a looped one. For this the flat stitch is pulled out of the straight and forced into a loop by another passing across it. Buttonhole may be taken as the typical example of this second group. Others are Feather, Scroll, and Diamond. A complete loop becomes a chain, and the many varieties of Chain compose the third group. A chain twisted up tightly develops into a knot, and the knots, exempli- fied by Bullion, French, and Trellis, fill the fourth and last main group. Other less fundamental divisions are easily formed — for instance, the Canvas stitches. These are gathered from the first three main groups, and applied to a particular kind of ground fabric, which gives them their distinctive character and name. The Composite stitches are of all kinds, their chief feature being that they consist of one stitch im- posed upon another, as for example Interlacing or Pekinese. Cut Work is another distinct kind and the Drawn Fabric stitches form a group to themselves. STEM STITCH, figure i.— The diagram explains the working of this stitch, known also as Crewel or Outline. During the working, the thread must be kept to the same side of the needle, either to the left or to the right, as suits the purpose in hand. In the diagram, a fairly broad stem line is in process of working. If a finer line is required, the needle must both enter and return through the material exactly upon the traced line. To raise a stem line, run a thread along the tracing and work the stitches over it. The piece of material picked up by the needle for each stitch may vary in size. It is perhaps most usual to pick up only as much as is neces- sary to hold ; another method is to work so that a regular line of Back stitching is formed upon the under side. This is contrived by picking up a piece of material exactly upon the traced line, just half the length of the stitch. Stem makes a satisfactory filling stitch. When used for this 7 8 SAMPLERS AND STITCHES purpose the lines of the filling usually follow round the outline and further interest may be given by adding gradation of colour. Figure 2 shows a Stem-stitch filling worked in a special manner. By working thus a neat pattern of diagonal bands is formed over the surface which would under usual treatment have been plain. Patterning a flat surface has a refining effect, also it suggests an all-pervading orderliness which is a pleasing quality in design. When this new form of Stem-stitch filling follows a curve, instead of a straight line as in the diagram, the effect is better. The worker should experi- ment with it upon such objects as tree trunks, birds,or animals. (See Plates XII and XIII .) In such cases the lines of stitching usually follow round with the outline of the form to be filled. The execution is as follows : Begin at the lower left- hand corner of figure 2, and work a single, upright line of neat Stem stitching. Make all the stitches of exactly the same length, and in- sert the needle perpendicularly, let it pick up a piece of material just one-third the length of the stitch, and let the working thread lie upon the right of the needle. At the end of a line, fasten off the thread and begin again at the base. Keep each succeeding line of stitching close to the previous one, and with each new row insert the needle a step above the point where it entered for the row before. It is this regular step up which gives the pretty diagonal stripes to the solid mass of stitching. LINE SHADING, figure 3 . — This is another way to work Stem stitch fillings. The method is as much used for contrast as for gradual change in tone, and by its means all kinds of pretty effects can be obtained. This type of work has been carried to perfection in the Dutch East Indian embroideries of early eighteenth- century date. In fact, in most Eastern Chain stitch work, this method of filling up the forms by con- trasted lines of different colours is adopted. Fillings formed thus add great refinement and interest to the detail of the design; there are few prettier methods employed for the execution of fine embroidery than this. (See figures 52A and 52B.) FIG. I. STEM STITCH. FIG. 2. STEM-STITCH FILLING. FLAT STITCHES 9 WHIPPED STEM STITCH, figure 4.— When executing bold lines in Stem, it is sometimes a good plan to whip over the finished line of stitching. When the row is completed, the needle works the thread gradually back to the starting-point, passing it, at regular intervals, round the line of Stem stitching. SATIN STITCH, figure 5.— In the diagram. Satin is being used upon an ivy leaf, which has been divided up into panels so that the stitches should not be unnecessarily long, for when this is the case, Satin is inclined to look loose and untidy, and to wear badly. For another reason it is often a good plan to break up a surface to be worked in flat Satin, as the change of direction of the threads causes a pretty play of light upon the colour. The stitches stretch from side to side of the space to be covered, and they are usually laid obliquely. A technical difficulty with Satin is the attainment of a neat firm line at both sides of a filling. FIG. 3. LINE SHADING IN STEM STITCH. This is well mastered in Chinese embroidery, where the well-drawn edge is especially insisted upon. Often a narrow margin of fabric is left visible between the many petals of a large double flower carried out in Satin. This is called ' voiding,' and serves to emphasise the shape. SATIN WORKED BY THE COUNTED THREADS OF THE GROUND FABRIC, fig- ure 6. — On the early English samplers, geometrical patterns executed in Satin are commonly seen, and they are often combined with Cut Work, for the two kinds of embroidery go well together. This is a pretty treatment of Satin, for it gives a formalism to the design which is always satisfactory in decorative work. Even-meshed hand-woven linen makes the best material for the ground, and the thread should match it in both tone and texture. Both should be < -nk-" ' \ '-' W / FIG. 4. WHIPPED STEM STITCH. SAMPLERS AND STITCHES lO of good quality, for the intrinsic worth of fine linen is a valuable asset to an embroidery. There is little to learn in the technique. Ihe stitching must be exact to a thread, or the forms will lose their sharp outlines The thread must be just the size to fill the required space. The chief stitch used in this type of work is Satin, besides which. Overcast and Buttonhole wheels are frequently added, for they make a contrast to the other part ; also Holbein stitch is used for any line work. Figure 6 and Plate HI each contain a collection of useful patterns for the work. Any of the elements illustrated can be used independently if need be. .,„.,,.. SATIN STITCH SHADING, figure 7.— With Satin, shading is usually effected in definite bands; if more gradual change of tone were required. Long and Short or Crewjel stitch would be employed instead. There are three chief methods of shading in Satin. The first, that in which the successive bands of vary- ing tone just touch each other at the edges ; a second, where the bands slightly encroach upon each other ; and a third, when the bands are, what is termed, voided. Of the three, the Chinese method of voiding is the most difficult, for the narrow lines of exposed fabric, although built up by many stitches, have to appear as firmly drawn as a pen-and-ink line. To execute Satin in encroaching fashion, as in figure 7, each new stitch is made to fit in between two of the row before. The encroach- ment is usually a bare sixteenth of an inch. LONG AND SHORT STITCH, figure 8.— This is a variation of Satin. Instead of working the stitches all of one length, they are worked alternately long and short, and are so arranged that on one side of the band of stitching a firm edge is kept, and on the other a dentated line. The leaf in figure 8 shows a band of Long and Short upon the margin in a dark shade, the remainder of the leaf being filled in with another form of Satin. The advantage of commencing with a line of Long and Short stitch for a solid filling is that an irregular line is formed on the inner edge, into which another shade of colour can be easily blended. Again, if Long and Short stitch is used for an edging in outline work, the inner edge thus broken is softer and more pleasing. The method of work is the same as for Satin. For Long and Short stitch to be properly effective there must be a distinct difference in the length of the stitches. This long and short treatment of a stitch can be applied to other FIG. 5. SATIN STITCH. FLAT STITCHES II se cAj II? WlK/(tKWN/(I>»,,t3llt3,l.,3.tIlJJJmWrrWrW Toazasi N*'*'**'* ^l<.^l.c*.t.t.<.l.^c<. yg^ HM\tW\\l\\\lV\\\lg 5Sg! CHAPTER III-LOOPED STITCHES THE looped stitches, a most useful group, are mainly varieties of Buttonole. In mediaeval embroidery there is no evidence of their use. This was probably because the work was then all done in the frame, and these are, by their nature, hand stitches. In the famous Elizabethan dress embroidery, of which figure 28 is an example. Buttonhole was" much used for leaf fillings, and surely no prettier method of working these could have been devised. Figure 27 , an enlarged detai 1 of a portion of the tunic, gives some idea of how these were executed . Lines of stitching are taken to and fro across the leaf and effec- tive use is made of both colour and shading. In the sixteenth century all arts reflected the prevailing spirit of romance. The de- signs for embroidery were full of imagination, variety, and pretty surprises. Look at the fantastic mixture of flowers, birds, butterflies and other insects displayed upon this coat ! Add to the attractiveness of the design its execution in various brightly coloured silks, leaves shading quitehappily from blue through green to salmon-pink, a golden plaited stem curving in and out binding all together— we have in this example of English einbroidery a beautiful and characteristic piece belonging to that interesting period. BUTTONHOLE STITCH, figure 29.— Buttonhole makes an excellent edging stitch and is frequently put to this use, either for making secure the 23 FIG, 27. DETAIL FROM FIG. 28. 24 SAMPLERS AND STITCHES FIG. 28. A SrXTEBNTH-CENTURY EMBROIDERED JACKET. LOOPED STITCHES 25 FIG. 29. BUITONHOLB STIXCB. cut material in open work, or for binding other raw edges. Used as a filling or for lines Buttonhole can be employed in a number of different ways. When employed for fillings each succeeding row of stitching is worked into the heading of the previous row, no matter whether the stitch is being treated in open or close fashion . The lines of buttonholing are sometimes taken straight across the surface to be covered, at other times they follow round the outline. Frequently for solid fillings, a line of thread is thrown across from side to side and the stitch worked over this as well as into the heading of the row before. This suggests another use for buttonholing, which is to couch down various forms of laid threads. The couched thread may be a gold or silver one and this with fine floss silk buttonholing it down is most delicate and pretty. An open flower can have the metal thread couched spirally from near the centre to the outside, where some solid Satin or Button- hole stitching in silk finishes it off. Equally satisfactory is the method of letting the couching thread start round the outline and continue round and round until the form is completely filled in. There are still other uses to which this stitch may be applied. For instance, back- grounds needing light decoration can be covered with open buttonholing which gives the effect of an all-over honeycomb patterning. A variation of the ordinary buttonhole edging is to roll the raw edge over a fine cord and buttonhole over this in some fanciful way, such as three close stitches followed by an interval, and so on. How to work Buttonhole is explained by the diagram, figure 29, where it is forming a thick outline to some berries. Here the stitch is worked in close fashion, the open form only differing in having each stitch slightly separated from the one on either side. Buttonhole wheels, a useful form of this stitch, are worked like the berries in the diagram, only the needle passes into the exact same hole in the centre each time. Plate V illustrates the usefulness and adaptability of this stitch ; it is entirely executed by its means. FIG. 30. tailor's buttonhole STITCH. 26 SAMPLERS AND STITCHES FIG. 31. BANDS IN TAILOR's BUTTONHOLE. TAILOR'S BUTTONHOLE, figure*30.— This variation on the ordi- nary Buttonhole is useful in both plain and fancy needlework. The difference between it and the usual form is that there is an additional knot at the heading, which gives it a firmer and more ornamental appearance. Tailor's Buttonhole cannot be satisfactorily worked when the stitches are spaced far apart, because the heading knot needs support on either side to keep it rigid. A possible variation lies in the change of length of the straight portion of the stitch, for this part, by varying in some regular sequence, can be made to form Vandykes or chequers such as those shown in figure 31. Worked in this way it makes a decorative bor- der line. The stitch is perhaps most used for working small petals or leaves. Figure 30 explains the execution. For the first part of the working, treat it exactly like the simpler variety — ^that is, work as directed for figure 29. When in the position illustrated by that diagram, proceed to take hold of the thread where it is doubled, fairly near the eye of the needle, and pass it under the point from right to left, so that it takes the posi- tion illustrat-ed in figure 30. Then pull the needle through over the threads which now lie under it, and the stitch is complete. KNOTTED BUTTONHOLE STITCH, figure 32.— This is the ordinary variety with the addition of a knot at the apex. For such a purpose as that illustrated in the diagram, the added knot is an improvement. Worked in coarse thread, as an edging to a design, the stitch suggests a knotted fringe. To work knotted Buttonhole bring the thread through at the left-hand end of the traced line. Pass the working thread once round the thumb of the left hand which will now be holding the material near to the starting- point, and then transfer the loop thus formed on to the needle by passing this up through the loop in the manner illustrated in figure 33. Then with the loop round the needle, continue to work the Buttonhole stitch in the usual way. When the stage figured in the working diagram is reached the thread should be lightly pulled so that both the knot and the buttonhole loop, which are in process of formation, FIG. 32. KNOTTED BUTTONHOLE STITCH. LOOPED STITCHES 27 FIG. 33. DETAIL OF WORKING THB KNOT. are fairly tight before the needle is finally pulled through. This method of forming a knot by first twisting the thread round the thumb should be noted, for some find it an easy method of making other embroidery knots. DETACHED BUTTONHOLE STITCH, figure 34.— One method of using Buttonhole stitch for flower petals is to work it almost entirely detached from the ground fabric. The diagram shows such a petal in process of execution. Towards the right-hand end of the line the stitches are shown separated, this is only to explain the execution. They should lie close together as on the left side. To commence working the petal a founda- tion composed of two long Satin stitches is laid upon the material, stretching from corner to corner of the outer edge. The first row of stitching is worked over this two- fold line of thread, and the succeeding rows are worked into the heading of the row before. For stability the first and last stitches of the first row are stitched into the ground fabric as well as over the laid threads. To execute a petal , the buttonholing must be worked continuously to and fro , first from right to left, and then left to right. After the first three rows, the number of stitches is gradually decreased until at the base of the petal only three stitches compose the last row. At this point, a single stitch, taken from the last row into the ground fabric, fixes the base of the petal to the material. The petal should not lie flatly upon the ground, it should have a convex shape like those in the sampler, Plate VI. Say a petal commences with fifteen stitches in the uppermost row, then each fresh petal must commence with the same number, or they will not be of like size when finished. The necessary de- crease in the number of stitches in each line must only take place at the end of a row. The chief technical difficulty with this method of work is to keep the stitch neat and firm at the extremities of a line at the point where the turn has to be made to come back. These successive turning stitches eventually form the side margins of the petal, and if, in the working, a loose and irregular hne is built up, the result is most unsatisfactory. One aid to this is to keep the thread tight at the turn of each Une of stitching. For the technique to be Perfect, much depends upon the employment of the right type of thread, 'hat, in the sampler, is a firm, fairly coarse Hnen of even texture. This type of work is usually done with white linen thread on a ground of white or stone-coloured linen, but it can look well in colour. The flowers FIG. 34. DETACHED BUTTONHOLE STITCH. 38 SAMPLERS AND STITCHES and leaves in Plate VI are all executed in Detached Buttonhole, also those in the centre of Plate XVII. BUTTONHOLE STITCH SHADING, figure 35.— This is a useful shading stitch, and there are a number of ways in which it can be adapted to this purpose. When Buttonhole is employed as a solid filling, it is usual to work each fresh row over the heading of the previous row as illustrated in the diagram. The shading is contrived by working each row, or couple of rows, in a different colour or tone. The stitches can be close together or spaced slightly apart to show an under thread like that seen in the unfinished portion in the diagram. This underlay, which is usually added, can be of the same colour as the surface buttonholing, or SHADING IN BUTTONHOLE STITCH. FIG. 36. WAVE STITCH. it maybe opposed to it. The former is the most simply worked, for at the end of a line the working thread is carried across from right to left and it is then in position for executing the next row of stitching. Sometimes all the shading is expressed by the underlay, and an openly spaced buttonholing, in a single tint, laid over it. An alternative method is to lay a pale bright colour underneath and vary the surface stitching. Forms can be shaded by this stitch in bands worked directly across or in bands following round the outUne. The latter are well illustrated in Plate V. A pretty ribbed effect is obtained by working the narrowest possible band of close buttonholing over both the heading of the last row and a laid thread. WAVE STITCH, figure 36.— In the diagram the effect of this stitch has been sacrificed to clearness of workmanship. In actual work, the loops are packed closely side by side, and do not show any ground fabric between. This stitch, most effective in woollen thread, is good for shading purposes, LOOPED STITCHES 29 partly because of the manner in which the successive bands encroach upon each other. To carry out Wave stitch, commence at the apex with a band of radiating Satin stitches. Then bring the thread through upon the right- hand side of the form , at the base of what will be the second band of stitch- ing (see arrow) ; next, pass the thread through the Satin stitch immediately above, in the manner shown by the needle lower down in the diagram. During the process, the needle does not enter the ground fabric. Next, pick up with the needle a very small piece of material, close to the starting- point of the present band and upon the traced line marking its base. Then proceed to pass the needle and thread as before through the second of the row of Satin stitches above. Continue the alternate action of first picking up material at the base of the band, then threading through the stitch above, until the end of the row is reached. Then commence the third band, again starting from the right side. The difference be- tween the first and the later rows of stitch- ing is that the thread may have to be, at the beginning, passed through single stitches instead of loops. The first row, however, can be looped like the others if there is sufficient space, but with a narrow apex, like that in the diagram. Satin generally fits in best. The individual stitches must be placed closely together, and not pulled at too great tension. The colours or tone of thread can vary with each row or even change in the same band if required. LADDER STITCH, figure 37.— Though most frequently employed for the working out of straight or curved geometrical lines. Ladder can be used upon leaves or other forms of varying width. In the diagram, a broad line is being carried out. To begin working, bring the thread through at the upper end of the left-hand traced line. Return it to the back upon the other traced line exactly oppo- site and bring it through again close by, above the line just worked and on the inner side of the point where it last went through. Now take it to the back again upon the right-hand traced line just below the first stitch and bring it through to the surface upon the other traced line exactly opposite. The stage just described is illus- trated by the needle. Next, the thread has to be looped through the completed stitch at each edge in turn. This is done first on the left- hand side by passing the needle, in the direction from above down- wards, underneath the stitch close to the starting-point. The needle should be slanted outwards during the process. Next carry the thread across to the opposite side and there again loop it through the stitch above. This time the needle passes the thread horizontally underneath two crossed threads in the direction from right to left. This process has just been gone through by the last completed stitch illustrated in the diagram ; in fact, by close examination of this last stitch the looping 1 1 c [==^ -^ -\ ^ J 1 FIG. 37. LADDER STITCH. 30 SAMPLERS AND STITCHES through for either edge can be followed out. The needle in the diagram shows how to continue. CRETAN STITCH, figure 38.— This stitch, useful for broad lines or fillings, easily adapts itself to forms of varying width . If the space to be filled is of too large an area to be covered by a single band of the stitching, several rows of it can be placed side by side until the space is covered over. To work Cretan, as illustrated in the diagram, bring the needle through at the apex of the leaf. Take it to the back upon the right- hand margin, close to where it first came through and bring it to the front again at a point a little below this and rather nearer the centre of the leaf. The needle then pulls the thread through over the work- ing thread and the same pro- cess is then repeated on the J FIG. 38. CRETAN STITCH. opposite side. For the remainder of the leaf, continue taking the stitches in similar fashion alternately on either side, always inserting the needle on the margin of the leaf. It would be just as easy to let the width of the central plait vary with the width of the leaf instead of the outer portion doing so. This result can be obtained by taking up with the needle, every time, an equal- sized piece of material. Whether variations in the shape occur or not, the proportionate width of the outer to the inner portion of Cretan stitch can always be regulated by the quantity of material picked up by the needle. Figure 39 illustrates Cretan worked in a slightly differ- . . ent form. The central plait pulls the side portions down into a vandyke shape. PLAITED EDGE STITCH, figure 40.— This is a useful stitch for covering a raw edge. In the diagram, two different ways of working it are shown, and the lower band of stitching exhibits the residts given by FIG. 39. CRETAN STITCH VARIATION. LOOPED STITCHES 31 both methods. The stitch can be used to cover a raw edge, selvedge, or hem ; for binding a raw edge of loosely woven fabric it is best to work by the first method. Begin by fixing the thread at the back at the point where the first needle in the figure is piercing the fabric. Then insert the needle as illustrated and pull through. A single upright stitch should now be lying on both upper and under surface. Next, pass the needle under this stitch in the man- ner shown by the second needle, not allowing it during the process to enter the ground fabric. The alter- native method of working the second stage of the stitch is illus- trated where the third needle is at work. Here, instead of passing under the stitch, the needle is passed a second time through the edge of the fabric. FEATHER STITCH, figure 41.— Feather is worked in many different FIG. 40. PLAITED EDGE STITCH. ways, all of which are based on the simple foundation illustrated in the diagram. The stitch is suitable for carr5ring out lines or fernlike leaves, and it would be an appropriate method for executing any kind of light all-over pattern upon a back- ground. It makes also a pretty open filling for a large leaf if worked in lines suggestive of the veining. The diagram illustrates the working. The looped stitch seen in process of formation is worked alternately on either side. In figure 42 one of the simple variations of Feather stitch is illustrated. The working is similar to the former one, but the effect obtained is that of a zig-zagged line. CLOSED FEATHER STITCH, figure 43. — ^This makes a dainty border and its effectiveness can sometimes be increased by inserting laid threads of a contrasting colour underneath, for this stitch can be used to couch down laid threads. Strands of bright-coloured silk are first laid or lightly darned on the material and the Feather stitch worked to and fro 4 H £ ^ r 7 <" ^\ i '^^ ^y^ \\ / ^/ f^ Vl / ^ *T \\ 1 ^ S.^ ' ^7/ ^ \ J ^ vL / Jj \ X^ ^ ^>-'_-. ^^ \ r=5=s: '^^> 1 \; 1 ^'" "sW t ^N ^* «»^, ^^^ FIG. 41. FEATHERSTITCH. 32 SAMPLERS AND STITCHES FIG. 42. DOUBLE FEATHER STITCH. over them, preferably in some dark colour. To carry out the stitch as in figure 43, bring the thread through at the commencement of the left- hand traced line. Throw the working thread over to the right and insert the needle on the other traced line a little higher up than the starting- point, and bring it through a little below. Pull the needle through over the working thread. The needle in the diagram explains the second stitch, which is the same process in reverse direction on the other side. When picking up material with the needle, each time insert it close to the stitch above so that the thread joins on with no apparent break. Each fresh stitch should commence at a point just opposite the centre of the one last worked. CHAINED FEATHER STITCH, figure 44.— A neat border stitch composed of a central zig-zag line with a Single Chain stitch attached at each recurring point. To work it bring the thread through at the top of the left-hand traced line and there work a Chain stitch in a slanting direction, just as the needle is doing a little lower down. Next insert the needle a little below to the right and bring it out on the right-hand traced line in correct position for working the second Chain stitch. VANDYKE STITCH, figure 45.— Though often used as a border line, this variety can be adapted to the working of leaves and other fillings. The diagram explains the execution. Bring the needle through on the left traced line, then, in the centre between the two traced lines and about half an inch higher up, pick up a small portion of fabric. (See diagram.) Next, the needle passes the thread to the back upon the right-hand line, opposite the starting-point. For the second stitch, the thread is brought to the surface on the left line immediately below the first stitch. The second and all succeeding stitches are worked like the first excepting that the needle is at the centre slipped under the crossing of the stitch above, instead of into the fabric. If any difficulty is experienced in keeping the proper slant to the side stitches, the needle can enter the ground fabric each time it passes under the previous stitch. LOOP STITCH, figure 46.— A useful light filling for a leaf or a broad line. To commence bring through the thread at the right-hand end of the band in the centre between the two traced lines. on the upper traced line a little to the left of the bring it through again on the lower traced line immedi^ely below. The second stage of the working is illustrated by the needle at work. It FIG. 43. CLOSED FEATHER STITCH. Insert the needle starting-point and SAMPLER FII. Line Stitches (^for names see next page). Names of stitches upon SAMPLER Fit. First Row. Second Row. I. Sheaf. I. Double Chain. 2. Whipped Run. 2. Chain. 3- Ceylon. 3. Open Chain. 4- Vandyked Chain Band. 4- Broad Chain. 5- Step. 5- Knotted Chain. 6. Pekinese. 1 6. Heavy Chain. 7- Portuguese Border. 7- Zigzag Chain. 8. Knotted Chain. 1 8. Whipped Chain. 9- Raised Chain Band. 9- Plaited Braid. 10. Whipped Back. 1 TO. Chequered Chain. II. Diagonal Woven Band. II. Rosette Chain. 12. Threaded Back. % 12. Knotted Chain. 13- Striped Woven Band. W 13- Crested Chain. 14. Back Stitch. S 14- Cable. 15- Chequered Chain Band. -t-» 15- Zigzag Cable. 16. Detached Overcast. (-H 16. Twisted Chain. 17- Striped Chain Band. 17- Singalese Chain. 18. Overcast. 18. Coral. 19. Raised Chevron Stem. 19. Petal. 20. Stem. 20. Overcast Chain, 21. Raised Stem Band. 21. Wheat Ear. 22. Broad Stem. 22. Double Knot. 23- Sheaf. 23- Braid. Names of stitches upon SAMPLER Vllt. First Row. Second Row. I. Flat. I. Raised Stem. 2. Split. 2. Interlacing. 3- Crossed Buttonhole. j3 3- Whipped Satin. 4- Double Buttonhole. t 4- Gnilloche. 5- Threaded Chevron. ■■0 5- Chevron. 6. Threaded Back. ^ 6. Interlaced Band. 7- Raised Interlaced ■^ 7- Fancy Couching. Herringbone. w 8. Basket. 8. Arrow Head. "2 '3 9- Bullion and French 9- Loop. Knots. 10. Couching. ^ 10. Roumanian Vandyked II. Chained Feather. and Chequered. 12. Satin. -s II. Diamond. 13- Closed Feather. .s 12. Roumanian. 14. Long and Short. 13- Double Back. 15- Double Feather. " 14. Roumanian. i5. Spaced Buttonhole. 1 15- Laced Herringbone. 17- Tailor's Buttonhole. 16. Open Cretan. 18. Feather. 17- Twisted Lattice. 19- Knotted Buttonhole. 'S 18. Cretan. 20. Rope. ? 19. Tied Herringbone. 21. Buttonhole. s 20. Vandyke. 22. ScroU. 2X. Chained Border. 23- Ladder. 22 23 24 Chequered Fishbone. Zigzag Coral. Fishbone. SAMPLER FIJI. Line Stitches {for names see previous page). LOOPED STITCHES 33 should not, whilst looping through the thread, pierce the ground stuff underneath. CEYLON STITCH, figure 47.— A useful close filling for a formal design. It also makes a decorative broad line. The stitch is worked by means of a series of chained loops which, by fastening one into the other, gradually build up a surface resembling a piece of plain knitting. The monotony of an ex- tensive filling solidly worked in this stitch is relieved by making use of two contrast- ing colours arranged in bands across the surface, as in the lowest leaf in the worked example in Plate XVII. It is not necessary to place the chain loops as closely together as they are on this leaf. They can be spaced apart so as to show the connecting thread between. For many purposes it is more effective executed in this more open fashion, and it takes less time to do. To commence working, throw a strand of thread across the form. In the dia- no. 44. chained feather stitch. gram the stitch has been commenced twice a ; single stitch at the apex shows the start and the first loop, and lower down a series of the chained Unes are shown, and where the needle is at work, the manner in which each fresh loop joins on to the one above it is illustrated. After throw- ing the preliminary line of thread across from left to right, the thread is passed under the material back again and comes up just below the starting-point. The thread is then looped into the laid line of thread as many times and as close to- gether as may be necessary. It is easy to see what a practical stitch this would be for working in metal threads, for there is a minimum amoimt of passing to and fro through the material. DIAMOND STITCH, figure 48.— This attractive stitch makes a border or an insertion, and it could be used for an open filhng for a leaf or for any larger form simply by increasing the number of stitches m a row to obtain the necessary width. In certain kinds of embroidery decorative FIG. 45. VANDYKE STITCH. 34 SAMPLERS AND STITCHES stitchery is used to take the place of colour. On a window-blind, for example, colour would be useless, but patterned stitchery effective. The same would be true when working in white thread upon a dark material or the reverse. It is in such cases as these that the above stitch and other like kinds would be employed to advantage. To execute Diamond stitch bring the thread through at the apex of the left-hand traced line. In- sert it on the other line exactly opposite and bring it to the surface immediately below. Hold the working thread down upon the material, to- wards the left, with the thumb, and pass the needle under the two threads as fig. 46. i-oop sutch. shown in the diagram. When the thread is pulled through, a knot will be seen upon the right side of the first stitch. Repeat the process on the left side of the same stitch so as to place a second knot upon it. When forming these first two knots, it is a good plan to pick up ground material at the same time. Next, pass the needle to the back immediately under the second knot and bring it to the surface one-sixteenth of an inch below. Now make a knot similar to the first two, but in the centre upon the lower of the two transverse stitches. Do not fix this one into the ground material. (See lower needle in diagram.) Next, the needle passes in and out of the ground fabric on the right-hand traced line, at the points marked by two dots in the figure. It is now in position to work the first knot again. Diamond stitch occurs in Plate XXXIV. This stitch can be worked over a padding of laid threads, thus turning it into a raised decorative band, or be thrown across an open space, this latter plan making an insertion of it. A variation is to work the stitch in a chequering of two colours as seen in Plate X. To work in two colours is easily contrived. When the first few knots are completed and the needle has carried the thread to the back, then instead of bringing it to the surface again, bring a fresh thread through, and after that, a few stitches lower down, return by the same means to using the first one again. SWORD-EDGING STITCH, figure 49.— This can be used as a crest- FIG. 47. CEYLON STITCH. LOOPED STITCHES 35 ing, or to soften the hard edge of a leaf outline, also as the element in a powder pattern, for dotting regularly over the surface of a leaf. To execute a stitch, bring the thread through at the place where the point of the needle is seen emerging. Pass it to the back at point A and bring it to the surface at point B. A slanting stitch, which should be left a little slack, will have been formed upon the material. Pass the needle and thread under this stitch in the direction from above downwards, and then pass the thread through to the back at point C. In the diagram the needle is completing one stitch and passing the thread along to the point for commencing a fresh one. ROPE STITCH, figure 50.— This stitch is executed in almost identical fashion to Twisted Chain (figure 57), but, owing to being worked more closely together, is quite different in ef f ec t . The only difference , , in the ap- 1 pearance I between FIG. 48. DIAMOND STITCH. tttlS SlltCn and Satin is that Rope is slightly raised on one side. This slight difference, however, is quite noticeable when the stitch is worked upon spiral lines or tendrils, and it is for pur- poses of this kind that it is used to best advantage. To work Rope stitch bring the thread through just below the traced line, then insert the needle above the traced line a little farther back and bring it through again at a point close to and just ahead of where it first came through. The needle and thread should now be in the posi- tion which is shown in the diagram. Pull the needle through over the working thread and the first stitch is complete. Repeat the process for all succeeding stitches, always inserting and bringing out the needle very close to the last stitch, othen^-ise the twist of the thread underneath, which raises the stitch, will peep through and spoil the effect. FIG. 49. SWORD-EDGING STITCH. 36 SAMPLERS AND STITCHES SCROLL STITCH, figure 51.— A simple decorative line is made by Scroll stitch. It can be worked either in single or double rows or be employed as a filling. A number of rows together might be used to represent flowing water, for the undulating lines of the stitch somewhat suggest this motion. To execute it, bring the thread through at the left-hand end of the traced line. Now form a loop with the work- ing thread by throwing it first towards the right and then back to the starting-point, where it must be held secure by the left thumb. Insert the needle on the traced line in the centre of the loop as shown in the diagram. Pull the loop that now Hes under the needle tightly round it, and then pull the thread through to complete the stitch. The best results are gained by working in stout firm thread. PEARL STITCH, figure 52.— When worked closely and with fairly coarse thread this stitch somewhat resembles a row of pearls. Working thus is perhaps the most effective treatment, though another way is to make a jagged line of it by spacing the knots farther apart. This is a useful stitch for executing geometrical patterns in outline, such as, for example, interlacing knot work. To commence, bring the thread through at the right-hand end of a traced line, insert the needle a little to the left just above the traced line and bring it through immediately below, not picking up much material during the process. Pull the thread through and a short slanting stitch will have been laid upon the mater- ial. Pass the needle and thread under this slanting stitch in the direction from above downwards and do not let it dip into the material on its passage through. (See figure in right-hand diagram, where for the sake of clearness the first part of the stitch is loosened.) Draw the thread through and the first stitch will be complete. In the FIG. 50. ROPE STITCH. FIG. 51 . SCROLL STITCH. LOOPED STITCHES 37 left-hand figure the entire process of working one stitch and a half of the next one can be followed. In order to obtain the correct appear- ance the first stage of the stitching should be tightly pulled, and the after threading through left a little loose. This effect is attained by working in the following manner. Leave the first stage of the stitching loose, as seen in the dia- gram where the needle is at work, until the thread is nearly all passed through It, then tug the thread so as to tighten fig. 52. pearl stitch. up the first part of the stitching, now complete this first'part of the stitch by pulling the rest of the thread through and work the second stage of it more loosely. T CHAPTER IV— CHAINED STITCHES HE chained stitches are a comprehensive group. Beginning with the simple looped Chain, and Split, a form of the same stitch, they develop through various stages of complexity till one like Plaited Braid is obtained which is, perhaps, the most intricate Chain in use. For the execution of solid fillings, no stitch gives a more refined effect than Split or Chain . Practically the whole of the silk work upon our famous medi- aeval English embroidery was carried out in this. It works either features or drapery to perfection. It builds up a smooth, even surface, and yet the lines of stitching are just suf- ficiently distinct to make the modelling of features or drapery clearly evident. For line shading, such as that illustrated in figure 3, Chain answers better than Stem. Perhaps the finest examples of this type of work are to be found on the Dutch East Indian em- broideries of seventeenth century date. From one of these, figure 52A has been drawn and figure 52B is a larger detail taken from the same example. The naive meandering irresponsibility of the designs of this Oriental school, which however are under perfect control and fulfil their purpose with such easy assur- ance, may be seen in these examples. 38 FIG. 52A. CHAIN STITCH EMBROIDERY. CHAINED STITCHES 39 V U l FIG. 52B. FRAGMENI FROM A DUTCH EAST INDIAN SBVENTEENTH CENTURY EMBROIDERY. 40 SAMPLERS AND STITCHES CHAIN STITCH, figure 53.— The diagram illustrates the working of Chain. For each successive stitch the needle picks up a small, like-sized piece of ground material, each time entering where it last came out and keeping carefully to the traced line. If the stitch is worked correctly a neat line of back stitches shoiild be visible upon the reverse side . Care must be taken not to pucker the ground material and to keep the working regular, for in its mono- tonous, even appearance lies the beauty of this stitch. For either lines or fillings it is equally good and, like any other form of chain, it is especially adapted to the execu- tion of curved or spiral lines. DETACHED CHAIN STIT- CHES, figure 54. — ^These are use- ful. They sometimes represent flower petals as in the diagram. Another adaptation is to powder single stitches at regular intervals over a surface to form a light filling. They can be used in the place of isolated French knots, for they are easier to execute and more durable when in use. ZIGZAG CHAIN STITCH, figure 55.— This popular stitch consists of a line of ordinary Chain, each loop of which is worked at an angle to the one before. The working is explained by the diagram. A point to be FIG. 53. CHAIN STITCH . FIG. 54. DETACHED CHAIN STITCHES. FIG. 55. ZIGZAG CHAIN. noted is that the needle should, just as it enters the material for each fresh stitch, pierce the end of the loop of the previous stitch. This makes the working more secure. A French knot, placed in the triangle formed by the zigzag treatment of the chain, makes a pretty finish to the line. Stitches such as this make satisfactory edgings to floral designs, for CHAINED STITCHES 41 the contrast of the geometrical margin to the more naturalistic form which it encloses, is eflFective. A knot carried out in Zigzag Chain can be seen in the centre of Plate IX. CHEQUERED CHAIN STITCH, figure 56.— This, a fanciful variety of the ordinary Chain, makes a decorative line of chequered colour. It is executed by means of two strands of silk which are threaded into the needle together. Colours should be chosen which contrast well, though in all other ways the two threads should be simi- lar. To work Chequered Chain, commence as if for the ordinary stitch, but thread two strands in the needle, say dark blue and gold. Upon reaching the stage when the needle is about to be pulled through over the threads, which should now be lying under it, release one of the threads, say the gold one, from FIG. 56. CHEQUERED CHAIN. — ^ ' /I ^ ?Si / / ' Sf*^ ^'-- ^J'Jl^ ^Si ^ ^ n V *v / \ -» ff^- X VU / r""^ ' '^v V* js^^=^^ f 1 , * ^-^ 1 *-c^ SSyKjv ^^k 1 * J- .^' • - " 'M ^c Y^ J ••— ' V , t*-' \[ffj) \\ \ u7|Y II \ \ f \ 1 • » / ^i )) \ ^^ ' r y u Vy X ' *"' ^\ , \\ j^r X ^x' «fc * " ^'^^ FIG. 57. TWISTED CHAIN. 58. BACK STITCHED CHAIN. underneath and let it lie on top of the needle (see needle in figure). Then pull the needle through over the dark blue alone. This will form a Chain loop comprised of the darker coloured thread. Probably some of the gold thread is in evidence upon the surface of the material at the starting- point. It can be disposed of by a gentle pull at this thread. The second 42 SAMPLERS AND STITCHES FIG. 59. OPEN CHAIN. Stitch is worked in the same way, but this time the gold thread is left looped under the needle and the blue one kept on top. The stitches look best of an equal size, but it is not necessary to make them recur alter- nately, one light, one dark. Three in succession could be light and then one dark or any other sequence could be followed. TWISTED CHAIN, figure 57.— This makes a pretty line for stems, curves, and leaf outlines. It is not so definitely linked as the ordinary variety, which may be an advantage. To commence, bring the needle through at the apex. Then hold down the thread near its start towards the left with the thumb, and throw the remainder of the thread over to the right. Next insert the needle in the material just below the starting-point and a little to the left of it. Bring it through lower down in the manner shown by the needle in the figure. The needle is pulled through over the worked thread and this completes the first stitch. BACK STITCHED CHAIN, figure 58.— A pretty addition to the ordinary Chain is to work a Back stitch down the centre in a contrasting colour. The diagram illustrates this. Treated thus Chain makes a decorative marginal line. OPEN CHAIN, figure 59,— Narrow bands of this stitch are seen sometimes upon Indian work. In the figure it is being worked upon a straight line, but it can easily be adapted to leaves and other forms of varying width, for with Open Chain it is as simple to follow a broadening outline as a regular one. For the working, bring the thread through on the left- hand traced line, then pass it to the back on the right-hand one opposite the first point, and bring it through again on the other line a little below. The loop is formed by pulling the needle through over the working thread. The loop last worked must be left to lie a little loose upon the ground, for the needle has now, for the second stitch, to enter the material on the right- hand traced line inside it, and this would not be practicable unless the loop was loose. (See diagram.) Sometimes the stitches lie so close that no ground stuff shows between the transverse threads. This variety can be used to couch down a bunch of threads of contrasting colour. It is quite easy to work the stitch over them. FIG. 60. SINGALESE CHAIN. CHAINED STITCHES 43 SINGALESE CHAIN, figure 60.— This stitch, a development of Open Chain, is found upon the traditional embroideries of Ceylon. The addi- tion to the ordinary Open Chain consists in a coloured thread being twisted in and out along each edge. To master the stitch, the novice should first learn Open Chain, and then attempt this. To work Singalese Chain, trace two lines upon the material. These traced lines may be two f)arallel ones or they may be the curved sides of a eaf (figure 61). To execute the stitch, bring through two threads of dark coloured silk. Let one end of each thread emerge at the start of each of the traced lines . These threads should lie upon the surface of the material, and if more convenient let them be pinned down loosely in place upon the traced lines a few inches below. Then for working the chain, bring the light-coloured thread through on the left traced line, just below the start and inside the darker thread. Next pass the working thread underneath the two laid threads in the direc- tion from left to right, and then insert the needle on the traced FIG. 61 . LEAF IN SINGA- LESE CHAIN. .' '"^^"- -N ^ \ 1 % r'- V ^ ,' 1 / / , I V ^ ' 1 .> 1 ^ ^ 1 1 J^=^ \ ^^-/p' ^ J \ u 11 ^m^^^ X vw 11 ^ ^K^i, ^ ( ^ mm ^ ^ "*^~^ M S&k * »* Hu3a \ ^ ir Mffl^ Pi ' 1 ^ I Sl 1 / @w » i * ^ » V 1 /W \ / ^Sj i F v«..' £/ line opposite where it has just come through, and upon the inner side of the dark thread which lies there. Bring the needle to the surface on the opposite traced line and pull it through in the manner illustrated by the needle in the diagram. For each fresh stitch repeat the process. BROAD CHAIN, figure 62.— A glance at the diagram will show that this is worked in different fashion from the usual stitch. This Chain is firmer and has a tightly plaited appearance which for some pur- poses is better. To obtain the right effect it is necessary to work with thick thread and take small stitches, otherwise the stitch may resemble ordinary Chain. To work Broad Chain, bring the needle and thread through at the commencement of the traced line. Take a short running stitch and bring the needle through again as if for a second, but, instead of taking another, pass the needle under the first stitch and take it to the back again at the point where it last came through. Thus the first loop of the Chain is formed. Bring the needle to the front again upon the traced line a step FIG. 62. BROAD CHAIN. 44 SAMPLERS AND STITCHES farther along, and then pass it as before under the stitch behind it, which this time is a Chain loop. When passing the needle under the stitch do not pick up any ground material. HEAVY CHAIN, figure 63.— This, a similar variety to Broad Chain, is worked in the same backwards fashion, but it is a heavier stitch and makes a bold decorative line suitable for thick stems and other purposes. To execute Heavy Chain first work a Chain loop in the manner described for Broad Chain. Next pass the needle a second time under the first run-stitch in the same way as before, take it to the back at the point where it last came through, and bring it to the surface a short distance farther along the line as with the first stitch. There should now be two Chain loops formed upon the material, a larger one encircling a smaller one, and r FIG. 63. HEAVY CHAIN. both passing under the run- stitch. These can be seen in correct position at the starting point in figure 63. The needle in the diagram shows how to continue. Instead of passing the needle back, under the last Chain loop, as it was done for Broad Chain, the needle passes the thread back far enough to pass under the last two Chain loops as it is doing in the dia- gram. DOUBLE CHAIN STITCH, figure 64. — This variation upon the common Chain was used in mediaeval German linen work. The execution is thus — ^work an Open Chain loop and into this another one, placing it to the left of the first. Next insert the needle a second time into the centre of the first Chain loop and bring it out below, but on the right side. Pull the needle through over the working thread. For the fourth stitch, throw I I'' FIG. 64. DOUBLE CHAIN. CHAINED STITCHES 45 the thread across to the left and insert the needle in the centre of the second Chain loop, to the left of the thread which is already emerging from this point, and pull it through immediately below ; this stage is illustrated by the needle in the diagram. The process just described is repeated alternately upon either side of the form to be covered, and thus is built up the double row of Chain. PETAL STITCH, figure 65.— This line stitch is useful for scroUing stems, and it can be used, worked in circular fashion, to represent a small flower. To commence, bring the needle through a quarter of an inch be- yond the start of the traced line. Insert it at the beginning and bring it to the surface an eighth of an inch farther along. The uppermost needle is carrjdng out this first stage and for the second stage, look at the second needle. FIG. 65. PETAI, STITCH. Here a Single Chain stitch is in process of being formed ; this should lie at a tangent to the traced line. The third stage is shown by the lowest needle. After taking the short stitch which fixes down the Chain loop, the needle is brought through on the traced line, suffici- ently far along to be in position for commencing a second stitch similar to the first. To execute this second one the needle enters the material at the base of the just completed Chain loop and emerges at the point on the traced line where the last stitch ended. It should now be in position for forming the next Chain loop. ROSETTE CHAIN, figure 66.— This, as the name implies, is a useful stitch for working small flowers. For a neat finish to collar or cuff, to edge a circle, or for placing upon the margins of a band design, it would be well applied. To work it, bring the needle through at the right-hand end of FIG. 66. ROSETTE CHAIN AS A LINE STITCH. 46 SAMPLERS AND STITCHES -the upper traced line. Pass the thread across to the left side and hold it down loosely upon the material with the left thumb. Insert the needle as shown in_^the upper part of the diagram and pull the thread through over the loop. Next pass it under the thread as in the lower diagram, and then proceed to make another stitch a little farther along the line. (See diagram 67.) ROSETTE CHAIN WORKED UPON A FLOWER, figure 67.— A fairly coarse, twisted thread should be used for this, and if there is a certain stiffness in it, such as is given by glazing, so much the better, for this gives more spring to the curves. When repeated at short intervals round the circumference of a circle, an attractive, conventional represen- tation of a daisy is produced. For the petals to look well, each stitch should, when complete, radiate from a point exactly in the centre of the flower. The stitches can be near together or far apart as suits FIG. 67. ROSETTE CHAIN. the subject. Rosette chain is effectively worked in a white thread on a ground of deeper tone. It seems to run especially easily along curves and is well guited for the carrying out of geometrical patterns built up of curved lines. It can be seen worked upon the samplers in Plates IX and XXXII. CRESTED CHAIN, figure 68. — A fanciful variation upon Chain. The first stage of the worldng is shown in the upper right-hand corner of the figure. Work first an ordinary Chain stitch on the lower line. Then insert the needle on the upper line in the manner illustrated. When the thread is pulled through, a kind of Chain loop or Coral stitch will have been formed on the upper line. Next slip the needle under the slanting thread which joins the two Chain loops and then proceed to work a second Chain stitch on the lower line. The different stages CRESTED CHAIN. CHAINED STITCHES 47 of the working can all be found in the diagram as well as three com- pleted stitches. BRAID STITCH, figure 69. — Useful for ornamental border lines, this stitch needs a coarse twisted thread to show to advantage. Bring the thread through upon the lower traced line at the right-hand end. Throw the thread across to the left and hold it in place there with the thumb of the left hand. Pass the needle under the held thread in the direction pointing towards the worker. Then twist it round towards the left, passing over the held thread until it points in the opposite direc- tion. The needle should now have the thread twisted round it. Next insert the needle upon the upper I traced line a little towards the left, I and bring it through again on the ' lower traced line exactly beneath. The position should now be the one figured in the diagram. If at this point the thread pull it tighter and then draw through. The easier to manage if FIG. 69. BRAID STITCH. is loose upon the needle, drawing through may be the left thumb is placed lightly upon the stitch in process of making. CABLE STITCH, figure 70.— This is one of the fancy stitches that many workers find attrac- tive. In the diagram the two dotted lines suggest that some other stitch should be worked on either side. Bring the thread through at the apex. With the thumb of the left hand, hold it down loosely upon the material below the starting-point and a little to the right. Next pass the needle under the held thread in the direction from left to right and pass the thread through until only a small loop is left lying upon the material. Insert the needle in the centre of this loop, release the held-down thread and bring the needle through to the sur- face a little below where it entered and outside the loop. Take hold of the working thread with the right hand and pull it, in order to tighten the loop that is now upon the needle, and then pass the thread round, under the point of the needle, and lay it upon the material upon the left side (see diagram). Next place the left thumb lightly upon the stitch in pro- cess of making and pull the thread through. The first two links of the chain will have now been made. The first loop can be made by a twist of the needle round the thread and it is the quicker way of the two. I n I I AJ\ I I vM ' I jyc I ■n \M/ I iM AW I I vlWl ! FIG. 70. CABLE CHAIN. 48 SAMPLERS AND STITCHES ZIGZAG CABLE CHAIN, figures 71 , 72. — ^A pretty variation is to work Cable in zigzag fashion instead of straight. The difference in working it thus instead of in the ordinary way is that the needle does not pick up a piece of material in a continuous straight line, but each stitch must be taken at an angle to the previous one. This is explained by figure 72, which shows the appearance of the underside of a piece of fabric which has a line of each way of working the stitch upon it. WHEAT-EAR STITCH, figure 73.— Commence at the top of the traced line and work two straight stitches at an angle to each other. Then bring the needle through upon the traced line a little lower down, and pass it under the base of the two single stitches (see diagram), not neces- sarily letting it enter the material during this process. Take it to the back at the point upon the traced line where it last emerged. This will form a Chain loop and complete the first stitch. The three de- tached stitches seen in the lower part of the diagram suggest a pretty way to use • 1 1 ^ r\ fc^M fj^ y* 1 > tT it ^ 1 1 > Al Jk y^^i \!p 1 1) 1^ Si k yx ^s/r 1 , 3L)l Jc . 1 A^ 1 5«lr ^ \ ^^Ik . 1 1 >Iv ^ • 1^ Hi Ik ^ 1 Vi^ ^\ FIG. 71. ZIGZAG CABLE CHAIN. Wheat Ear. Worked thus, the de tached stitches, resembling winged seeds, can be used as the repeating FIG. 72. UNDER SIDE OF THE TWO CABLE CHAINS. element of a powder pattern over any required surface. PLAITED BRAID STITCH, figure 74.— As this stitch is per- haps not so simple as some, a detailed diagram has been drawn. The worker may find that to study this diagram is the simplest way to master it. Five successive stitches are there depicted ; after working the fifth, glance at stage four for information concerning the succeeding stitch, and then to continue, repeat these last two stages in alternation. To begin, bring the needle FIG. 73. WHEAT-EAR STITCH. f'^ir-jM^Sk' ^^^i^S *«. '.M /Oft, - .. SAMPLER XI. THE JUNGLE. Tree stem in Plaited Braid. Circle in Sheaf. Animal fillings in Lace stitches. CHAINED STITCHES 49 through on the left side of the proposed band of stitching. Pass the thread under itself so as to form a loop on the surface of the material ; then insert the needle in the centre of this loop, bring it through on the outside of it, and pull the thread through over the working thread (see stage one). For the next development the needle passes the thread under the two threads that cross on the surface (stage two), but it does not enter the material at all this time. For the third movement the needle enters the material and comes out again in the centre of the loops, as illustrated in stage three. For the fourth stitch the needle passes the thread un- der the crossed threads on the surface, and again does not enter the material ; it is simply a repetition of stage two. Stage five is a repetition of stage three, and needs no fur- ther description. It will be seen that there are only two different movements, and they occur in alternation ; the needle passes the thread in a horizontal direction, alterna- tely, either under the crossed threads or through the loops and the material. Upon the back of the material there should be a row of horizontal stitches equally spaced apart and of the same size. Points to be careful with, are, to leave the loops sufficiently loose to be practicable, and to pick up just the same amount of material each time. The stitch should be worked with coarse stiff thread, and is easily manipulated with metal thread. It is often seen in old work FIG. 74. PLAITED BRAID STITCH. so SAMPLERS AND STITCHES FIG. 75. SPLIT STITCH. executed in gold thread, which is certainly well suited to it both from a practical and a decorative point of view. A large proportion of the thread is on the surface compared to what is underneath, which, from an economical aspect, is important with expensive material. Also it is not wise to draw metal thread to and fro through fabric more than can be helped, and with this stitch there is the minimum amount of it. In Plate XI the stem of the tree is worked in Plaited Braid and it occurs in Plate XXXIII. SPLIT STITCH, figure 75.— This can be used either as a line stitch or for solid fillings, it is perhaps especi- ally well adapted to the latter pur- pose. Split is more used as a frame stitch than for working in the hand. Untwisted silk is the most suitable thread to employ, and if the work is fine a single tress can be divided up into many parts. With Split stitch fillings the direction of the lines of stitching is of importance, for although each individual line does not detach itself from the surrounding ones, yet the direction of the whole mass of lines is plainly evident. A Split stitch filling is beautifully smooth and flat when well worked, and by the help of this stitch shading can be excellently carried out. Shading in Split does not require to be finely graduated, fairly distinct bands of different tone look the best. The execution is simple to describe, but a certain amount of practice is necessary for good technique. The needle has to pierce the working thread at a point near to where it emerges from the background ; this process can be seen in the working diagram. Single lines of Split stitch, worked in fairly coarse silk or wool, are often employed to represent stems, and another common use is to lay a line of Split stitch beside couched lines of gold or silver thread. In English mediaeval embroidery this stitch was employed for practically all the silk work. Figure 76, a head of Christ drawn from the cope preserved at S. Bertrand de Comminges, shows the direction taken by the lines of Split stitch in order to express the drawing of features and hair. FIG. 76. HEAD FROM MEDIEVAL EMBROIDERY. •5 ^,.^; (J ■<» « N 2 a ■S ^ s. (3^ ^ § § ■a .^ ^=5 ^t; Co !^ lb &5 "t! 05 O CHAPTER V— KNOTTED STITCHES THE knotted stitches form a distinct group of great interest both historically and technically. The irregular texture that they give to the surface of the material is useful in making a pleasant con- trast to the smoothness of the flat stitches. Onejor other form of Knot stitch can be used for line work, solid or open fillings, detached elements or edgings. That the decoration of large hangings can be suc- cessfully carried out solely by the aid of French Knots has been clearly proved by the Chinese workers. One stitch of this group. Trellis (figure 87), claims attention, for until its recent revival it appears to have fallen into disuse since the sixteenth and seventeenth centuries, when it was commonly found upon English work. It is an ingeniously designed stitch, extremely useful for solid fillings. By working it in different ways distinct effects can be obtained which can be seen in Plates XII, XIII, XIV. XVIII. FRENCH KNOTS, figure 77. — To be satisfactory, knots must be neat and firm, or they will move out of place at the slightest provocation, and be loose and irregular. They are most frequently used massed together, as in the Centres of flowers, and they keep in position best when packed closein this fashion. Detached knots, however, are valu- able for decorative purposes. A row of them, separated each from the other by just the< O-i "< t*^ «f IT FIG. 127. ENLARGED DETAILS FROM THE COLOURED PLATE. SAMPLER I. 84 SAMPLERS AND STITCHES stitch are used in the same piece of work. Loosely woven linen is often used for the ground instead of canvas. In cases where the background is not worked, linen is a necessity, and if hand-made, adds niuch to the beauty of the work. The stitch when executed on such material is some- times taken across just one thread only of the fabric in each direction. The flowers in the Frontispiece are worked thus. (See also figure 127.) MARKING CROSS STITCH, figure 126.— For marking linen, and other purposes, it is useful to be able to work Cross stitch so that upon the back a neat square is built up. On the old samplers the signatures and dates are often worked in this stitch, sometimes with the square side uppermost and the cross underneath. In the diagram the way to execute the stitch with the cross on the surface is illustrated. To obtain the two-sided effect required, it is necessary to double one of the crossing stitches. This is seen in progress in the third stage of the working. The fourth illustrates the com- mencement of the second stitch. In the first stage the end of the thread can be seen left unfastened; on actual work this must be neatly se- cured at a point where an after stitch will cover it, for the aim with this form of Cross is to be perfect on both sides. Occasionally, when marking initials it is neces- sary to recross still further some of the already worked stitches in order to reach the point for con- tinuation, though forethought may make this unnecessary. MONTENEGRIN CROSS STITCH, figure 128.— This, a pretty and quickly worked form of Cross stitch, is not as well known as it should be. Though different on the two sides of the ground fabric, it is effective on each, and so can be used when both sides may be exposed to view. The stitches are long and cover the ground quickly. The diagram explains the method of work, the lowest figure shows the appearance on the wrong side, the middle one the effect of the completed stitch on the right side, and the top two the way to execute it. Bring the needle to the surface, then pass it back after crossing over four horizontal and eight vertical threads of the ground fabric. Bring the thread to the surface again in the centre, below, as seen in the left-hand figure, where the needle is in process of working the next stage of the stitch which is a short one crossing the long one. The third stage, an upright stitch, can FIG. 128. MONTENEGRIN CROSS STITCH. CANVAS STITCHES 85 be seen in process to the right. This is an excellent variety for filling a solid background. LONG-ARMED CROSS STITCH, figure 129.— This differs from ordinary Cross m that one of the crossing stitches is of double length. This innovation enables it to cover the ground more rapidly and avoids the square appearance of the better known stitch. It is quicker in the working than Montenegrin and more economical, for there is less thread at the back. The method of work is shown in the diagram where the uppermost figure explains the execution. Below this three completed stitches can be seen, and at the base, the appearance of these three stitches on the other side of the fabric. Long-armed Cross is a quick and effective ground stitch. The thickness of thread used in the working decides whether the ground fabric will be completely covered up or just allowed to show through in places. Either way is permissible, the former the most usual. (See margin of Sampler I.) TWO-SIDED ITALIAN CROSS STITCH, figures 130, 131. — This stitch, alike on both sides, can be worked either upon loosely woven linen or upon canvas. The Italian workers of the sixteenth century used this stitch a great deal and executed it upon loosely woven handmade linen. The stitch consists of a cross with single stitches enclosing it upon the four sides. These can be clearly seen in figure 131. A characteristic, not visible there, is that the various stitches which build it up are always drawn through tightly whilst the work is ' in progress. This draws together the threads of the ground fabric which results in tiny perfora- tions being formed be- tween all the stitches. FIG. 130. TWO-SIDED ITALIAN CROSS STITCH. There is Si ccrtaln rela- tive proportion neces- sary between the size of working thread and ground fabric which can only be discovered by trial. If the thread is too coarse for the ground, the perforation will be practically filled up and the effect lost, whilst if it is too fine the stitches will not serve to cover completely the threads of ground material. Either of these conditions mars the effect of the stitch. It is well to use a blunt-pointed needle, some sizes larger than FIG. 129. LONG-ARMED CROSS STITCH. ■ ■ 1 ■ ■■■■■■ la ■ ■ ■■■■ ■ ■ lata ■■ ■■■■■■ ■ laai ■■ laa ■ ■ i}iaaBii ■ ■BBI ■■ *%rfi,^mm\ raa •SS=£!<5Ba ■■a>?ai ■ ■ ■a ■ ■■2>CBI :::isis:\: ar^^iaaarla ala/tlBBBl BIBB a'^viaaar •laa Blari^BB' IBia ■■ ■■ ■■ ■■■■■■rl ^liaaaa anVjaa; ■ ih IBB laakVis^ii aaaa IBB ■■ ■■•aaaaail ■ aaaaBaaHi ■ ■ ■■ aiaaaaaaia laa 86 SAMPLERS AND STITCHES FIG. 131. TWO-SIDED ITALIAN CROSS STITCH (VARIATION). necessary. The use of this prevents any spUtting of fabric threads and serves to emphasise the perforations. Usually, with two-sided Italian Cross, the method of working the ground and leaving the pattern in the plain linen is adopted. Figure 130 shows the four stages of working. The stitches usually pass over three threads of ground fabric. There is an alternative method of working which is sometimes more practical. Having completed the third stage (see figure 130), instead of putting in the final diagonal stitch, commence a fresh one and work in this incomplete fashion till reaching the end of the row. Then complete the crossing of each stitch in turn, in the manner shown by the needle in figure 131, until the left side is reached. This is the better way of the two to execute the stitch, for it is now exactly alike on both sides. It is usual to work in rows from the base upwards and a row is not really complete until the one above is worked, for this supplies the final top stitch of the square. Carrying out straight lines is a simple matter, but, at times, when executing a pattern, difficulties present themselves of having to pass from one point to another and of working isolated stitches. There should be as few of these as possible, and a designer who understands the technique will arrange for this, but still there must remain some few. This stitch can be worked equally well from the upper or under side of the material — so sometimes when at the end of a line and wishing to return, the simplest plan is to reverse the position of the material and come back working upon the under side. Besides this, there are the alternative ways of working already described, and if all these aids fail, the worker must travel to the necessary point by duplicating some of the stit- ches — that is, by passing a second time across or up the side of a square, on front or back, until the goal is reached. DOUBLE-CROSS STITCH, figure 132. — This stitch is effective and covers the ground quickly. An ordinary Cross stitch is worked first and then an upright Cross is placed upon it . The stitch can be used either for outline or for solidly filled patterns or grounds, and is best applied to bold types of work. When worked upon very coarse canvas, some- times it is advisable to add four more stitches in order to cover the ground more completely. These four added stitches when correctly placed would join the four extremities of the upright cross. They should be worked before this upright cross is placed in position, because in order to preserve the character of the stitch this should come last. If the space between each stitch and the next is too large, a single long stitch can be FIG. 132. DOUBLE-CROSS STITCH. CANVAS STITCHES 87 ■■■■■•■■■^■■■■■■■■■■^■■■■■i I ■■■■■■■ Ufa ■■■■■■■ ■■^«BBBBaai ■ ■■■■■■■■■■■laaaaaVf ■■■■■I ■>■■■■■■■■■■ ■ ■■■■■■■■■■■ I iiia^t^aasa I ■■■■■■■■■■■■ ■ ■■■■■■■■■■a ^^HM.aaiB^^^' ■■■■■■■■■■■■ ::::::.:.. .._.,aaaaaBiaaaaaaaaaaaaaaaai FIG. 133. HOLBBIN STITCH. laid regularly between to fill up the gaps, and the same treatment can occur at top and base. The groups of stitches need not necessarily occur exactly beneath each other, a half-stitch placed at the commencement of each Ime of the alternate rows will remove the squared-up appearance of the surface, which might for some purposes be too marked a feature. HOLBEIN STITCH, figure 133.— Holbein, known also as Line stitch, is a useful variety either for outline work or for using in conjunction with other canvas stitches. Combined with Cross it is particularly good. Holbein, when worked in a certain way , has the quality, sometimes a useful one, of being alike on both sides of the material. Figure 133 illustrates this way of working. The needle carries the thread by means of a regular, running stitch, all round the pattern. This process works just half the necessary stitching. The pat- tern is completed by the same running stitch being taken round again, in the contrary direction, this time picking up the material so as to fill up the gaps left by the first running. In order to keep the stitching alike on both sides, forethought is some- times necessary. If a single stitch branches off from the main pattern, the best way is to complete it on both sides of the fabric at the same time by means of a single Satm stitch. An example of this occurs in the diagram. The needle at work is just at the point where such a Satin stitch needs to be taken. (See completed por- tion exactly opposite.) Some- times a group of stitches, running off at a tangent, have to be completed at the first working, and then the main part of the pattern continued in the ordinary way. A linen canvas, of regular mesh, forms the best ground fabric for working upon. Patterns executed in this stitch occur several times in Holbein's pictures, hence its name. The alternative way of working the stitch is to treat it like Back stitch. TENT STITCH, figure 134.— This is the finest of the canvas stitches, and perhaps the one in which the most beautiful work has been done. It is composed of a single small stitch taken across a warp and a woof thread of the ground fabric. The working diagram has been drawn in a FIG. 134. TENT STITCH. 88 SAMPLERS AND STITCHES 3 \ .-U Y^ ^ ^ 1 s p V FIG. 135. GOBELIN STITCH. manner which explains the working rather than in one which shows the right appearance of the stitch, for if drawn in the latter way, the stitches should completely cover up the canvas ground. It is important that the canvas should be hidden from sight ; this is, however, only a question of suiting correctly the mesh of the can- vas to the thickness of the working thread. Tent stitch is always worked on single thread canvas. Examina- tion of the diagram will show that this stitch, when correctly worked, is longer on the reverse side than on the front. To commence, bring the needle and thread through at the left-hand end of the lower line of stitching and at the upper end of the first stitch. Take it through to the back, just below this point and a little to the left. The continued working, which is simply repetition, can be followed in the diagram all along the line. For the second row, which is most naturally executed in a contrary direction, the working is reversed, in order to keep the stitch alike at the back as well as at the front, for if it were not so treated, the surface would have a line-like appearance, which is especially to be avoided. To pass from the end of the first row to the beginning of the next, the thread is brought up as illustrated in figure 135. Sometimes Tent-stitch is worked over a previously laid thread. This raises it just a little, and ensures the complete covering up of the ground. To do this, a thread of like colour is stretched from end to end of the line to be worked and the stitch each time passed over it. GOBELIN STITCH, figure 135.— This is one of the most useful can- vas stitches, for either shaded work or backgrounds. The way to work Gobelin is illustrated in the diagram. It is not always possible to keep to this method. Sometimes the needle is forced to rake a short upright stitch at the back like that in figure 137 instead of the slanting one seen in the diagram, but this has the effect of dividing the rows of stitches into distinctly marked lines. To work Gobelin, bring the thread through at the point marked by the arrow in the diagram, then take it downward over two horizontal and one perpendicular thread of the ground and pass it to the back. The remainder of the working can be followed in the figure. Upon reaching the end of a line the needle takes a short upright stitch (see diagram) to reach the point for commencing the next row which, if the work is continuous, has to come back in the contrary direction. To \ -- ^^>p5 — v^V 1 , "^ FIG. 136. UPRIGHT GOBELIN. CANVAS STITCHES 89 continue this row the needle takes the thread to the back at point i , returns it to the front at point 2, then down at 3, and so on. UPRIGHT GOBELIN, figure 136.— This variation is effective for some purposes. If, when working, the stitches do not entirely cover up the ground, a thread may be previously laid along underneath as shown in the lower portion of the diagram. ENCROACHING GOBELIN STITCH , figure 137 . — Another v ar iation is to make each fresh row of slanting stitches slightly encroach upon the last worked row instead of just touching it. This variety of treatment can be applied to many embroidery stitches and it is excellent for shaded work. The stitch, it should be noted, is longer than the ordinary one, for no. 137. encroaching gobelin. it passes across five horizontal threads of the canvas ground. Gobelin Stitch, as the diagram shows, is usually worked upon single thread canvas. Double thread can be used, however, and another effective way of treating it is to allow each fresh row of stitches to encroach half-way up those of the first row — that is in practically the same way that Florentine stitch is illus- trated in the lower portion of figure 139. PLAITED GOBELIN STITCH, figure 138. — This variety is a development of the Encroaching Gobelin Stitch, for it is the same stitch under different treatment. It is worked backwards and forwards and the direction of the slant of the stitches varies with the alternate rows . This variation in the stitch direc- tion gives an interwoven effect to the surface, which is effective upon a back- ground. (See Sampler XXXIII.) FLORENTINE STITCH, figure 139. — This stitch is suitable for the execution of geometrical patterns, especially those which can be carried out by means of oblique lines, for Florentine is best worked in this direc- tion rather than horizontally. It is a good stitch for heraldic work and also for floral designs when a strictly formal treatment is required. The working can be learned by a glance at figure 139. The upper of the two FIG. 138. PLAITED GOBELIN. FIG. 139. FLORENTINE STITCH. 90 SAMPLERS ^AND STITCHES "T _Z .11 IZ" .:::::::±:::: ::::::::;:::: '>?'?nj^<'>^$^^; ^y'^^^'" 'j' "^N ' / * ' / C * Y ^ 1 — 3 3 5 "-•^2;g'2?2'i'?-?;j-i''r»-I"II -- '?■ ' f- ">}'' '/• *^ /,.!:::: ^ 5 ' ^ af S _ ..: --^---^---^---.^:-.^^\l ----- ::z:::::::::::--i^.:':) mTTTm 1 rtiTlnTrf iTr '.'.z:zz:x -'-'-'---' '■'. J 1 1 FIG. 140. HUNGARIAN STITCH. methods illustrated shows the usual and most straightforward method of working this stitch, whilst the lower figure shows how to proceed when it is necessary to work in horizontal lines. A quantity of canvas work in Florentine stitch has been done for chair seats, hangings, etc. It is mostly of geometrical design and of Italian origin, hence the name. The stitch usually passes over four horizontal threads of the canvas ground, though the num- ber of threads may vary according to requirement. The number chosen must be an even one, for an odd number of threads would not work. HUNGARIAN STITCH, fig- ure 140. — The stitch illustrated in the diagram is often seen in canvas einbroidery, used for filling in a background whilst, perhaps, Tent or Cross stitch worksouttheintricacies of the pattern. The use of Hungarian upon the ground gives it a pretty satin-like effect. The stitch is worked in horizontal rows, the thread passing in vertical direction over first two, then four, and then two, horizontal threads of ground fabric. The dia- gram shows the manner in which each row fits into the next. To make this clear, the rows are made up of different coloured threads but in actual work the effect of one colour throughout is perhaps best. A simple variation on this stitch would be to make each diamond shape larger by letting it contain five instead of three stitches. PLAIT STITCH, figure 141.— This is a quickly worked canvas stitch, useful for backgrounds. Sometinies the pattern is left plain with an outline round it, and then this stitch solidly covers the ground. The working can be followed in the dia- gram. When correctly done, the reverse side of the canvas should exhibit a neat row of short perpendicular lines, each composed of two single stitches. The needle, in order to effect the crossing of the threads, has to take a stitch alternately forward and backward. EYE STITCH, figure 142.— An attractive canvas stitch is illustrated in the diagram. It can be used to replace Cross for carrying out lettering, as so often seen on the old samplers. It carries out patterns based on FIG. 141. PLAIT STITCH. FIG. 142. EYE STITCH. SAMPLER XIX. " OF GARDENS." In Cross stitch, in coloured silks on hand-made linen. {Half full size.) CANVAS STITCHES 91 rJtitMmt-t FIG. 143. ALGERIAN EYE STITCH. chequers well, and it can be used, like other varieties of canvas stitches, for the fillings of large conventional flower or other forms. The most noticeable characteristic of this stitch lies in the perforation, which occurs in the centre. To emphasize this feature it is well to work in light colours, for these contrast well with the hole in the centre. To work Eye stitch, commence with the middle portion first. This is composed of sixteen stitches which are on their outer edges spread out round the four sides of a square. On their inner edges the stitches all pass through the same hole in the centre. These stitches, during the working, are pulled taut, to increase the size of the central perforation. When the sixteen stitches, are worked, a row of Back stitches is placed round the margin of the square. ALGERIAN EYE STITCH,figure 143.— Some lovely embroideries can be, and have in the past been, produced by the aid of this stitch, which is a simple form of the Eye stitch just explained. The completed stitch covers over a tiny square comprising four threads of ground fabric in each direction, and the surface is decorated by alternate squares of this size being either worked or left plain, which gives it a chequered effect. The stitch looks best when worked on a loosely woven fabric of light texture. Floss silk makes a good working thread, though any kind, not tightly twisted, can be used. Figure 143 illustrates four Eye stitches, the uppermost one being in process of execution. Each eyelet is composed of sixteen stitches. They are worked, like the spokes of a wheel, round a tiny square of the linen ground. The needle comes up always at the same point in the centre, works a couple of stitches first into the corner, then a couple in the centre of the side, having missed one interstice of the fabric threads, then a couple in the next corner , and so on till the square is com- plete. Each fresh square starts from the corner of the last one. The work- ing thread must be pulled taut. It is usual to work a kind of stem round the outline of a pattern carried out in Algerian Eye, and sometimes small portions of it, centres of flowers and so forth, are filled in with a closer stitch such as Tent or Gobelin. If care is taken, the work can be practically alike on both sides. There are some beautiful examples worked in this stitch in the Victoria and Albert Museum, labelled ' Algerian, XVI century.' Some of these are curtains, and they are made of vertical bands of embroidered work joined together : FIG. 144. DIAGONAL STITCH. 92 SAMPLERS AND STITCHES FIG. 145. CHEQUER STITCH. by striped silk ribbons : the effect of the whole is most original and pretty, for pattern, colour and materials used, are all well chosen. DIAGONAL STITCH, figure 144.— The diagram illustrates a simple method of working a background in a diagonal chevron pattern. The stitch is carried from the upper left to the lower right side. The first stitch passes diagonally across two threads of fabric in each direction, then across three, then four, and gradually back to two again. If, where the stitches meet each other, the ground appears at all open, a Back stitch can be worked in zigzag direction to hide the junctions of the rows of stitching. CHEQUER STITCH, figure 145. — ^Alternating squares of like size filled respectively with long and with short stitches give a pleasant chequered appearance to a surface. Decorating a ground by a small geometrical pattern, such as this for ex- ample, instead of covering it monotonously with one stitch, is often a pretty treatment. Sometimes it is possible to adopt such a treatment, though at other times absolute monotony upon the ground is essential to show up the beauty of the pattern. The working is explained by the diagram. Each tiny square is composed of three threads of ground fabric in each direction. The first square is filled in with five large and the next with nine small stitches. The surface can be of one colour, for the two tones created by the change of stitch, make sufficient variation. ROCOCO STITCH, figure 146. — This variety, though not much prac- tised to-day, is often seen on work of the early sam- pler period. It is an adapta- tion of Roumanian to a canvas ground. The stitch is suitable for working small dainty objects, such as hand-bags, pincushions , needlecases , etc . Both ground and pattern are always completely covered by the stitching, and fairly light colours should be chosen for use , white being a particularly good background colour. Light colours should be chosen, because in a piece of work carried out in Rococo , there results , from the method of working , a regular perforation of tiny holes over the surface. These being dark show up best against a light ground, and they should show clearly, for it is these which give the work FIG. 146. ROCOCO STITCH. CANVAS STITCHES 93 its character. When choosing or designing a pattern for execution in this stitch, it is necessary to adopt one which can be worked fairly straight- forwardly in slanting lines, for this is the most direct method of carry- ing it out. Formal floral devices and geometrical patterns are well suited to its limitations. Double thread canvas of a special kind makes the best ground fabric. It should be pliable and have the horizontal threads stouter than the upright ones. To work the stitch, bring the thread through, and after passing it over four horizontal threads, take it to the back immediately below— that is, in the square next but one. This forms the long part of the stitch. Next a small crossing stitch ties the longer one down at the centre. To do this the thread is brought through in the adjoining square above to the right, and taken to the back immediately after crossing over the already formed stitch. During this tying down process, the thread also passes over two perpendicular threads of the canvas. Three more stitches are worked in the same way and then the thread is passed down to the correct point for commencing the filling of the next square. The way in which this is done is shown in the lower portion of the diagram, where the loosened stitches illustrate both the passing down and the working of the first stitch. Four stitches usually fill a square nicely, but more could be put if necessary. The thread should be pulled fairly tightly during the working, for this draws the threads of the fabric together and makes the perforations occurring between the stitches more visible. To obtain the right effect, it is neces- sary that there should be the correct proportion between the thickness of the working thread and the size of the mesh of the canvas ground, otherwise either the threads of the ground fabric will show, or the per- forations will be closed up, owing to the employment of too thin or too thick a working thread. CHAPTER VIII-DRAWN FABRIC STITCHES THESE stitches are used chiefly in white embroidery. They gain their effect by drawing together in certain parts the threads of the fabric which results in the other parts being open or per- forated. By this means all kinds of geometrical patterns can be built up which have a most refining effect upon a design. They are used either upon the background or on the ground of the pattern. Sometimes by the help of these stitches parts of the background can be made of different texture from the rest as in Sampler XVI. These open ground stitches are effective when seen with the light behind as well as in the ordinary way. Owing to the particular technique of this group it is especially important to choose suitable ground fabric. It should be of an even mesh, and somewhat loosely woven. If unsuitable stuff is used, the stitching may be correct yet ineffective in spite of much labour. The working thread should be fine and as like as possible to the background, for it needs to be little seen ; the effect aimed at is not one of stitches, but of patterned fabric. In the diagrams explaining these stitches the draw- ing together of the fabric threads is not illustrated, they are only intended to show the correct stitching. Neatness is a quality of much value with this work ; there should be no evidence upon the surface of a thread at the back passing from one row to the next — forethought often avoids even the necessity for this. A needle large in size and of blunt point is the kind to use, for its size helps to emphasise the perforations, and its bluntness avoids any splitting of the fabric threads. These stitches are easily invented, the variations here illustrated may suggest many others to an ingenious worker. CHAINED BORDER STITCH, figure 147.— This can be worked tautly so as to draw the ground fabric together or be stitched just as is shown in the diagram. It can be worked either horizontally or obliquely across the fabric ; both methods are illustrated. The ground fabric should be of an even mesh as the stitch is worked by counting its threads. The upper two of the four lines of stitching seen in the diagram are worked first and afterwards the lower two. To work the portion illustrated, commence by bringing the needle through at the point marked by the arrow. Turn the material the other way round, for the stitch is worked from left to right. Pass the working thread to the back 94 5; e ? S ^ . cq 3 (^ o a, C<3 .^ DRAWN FABRIC STITCHES 95 FIG. 147. CHAINED BORDER STITCH. four threads farther along, and bring it to the surface on the line below two threads nearer the starting-point. The action of the needle at work in the diagram shows the entire execution, for it is simply a repetition of this, on one Kne or the other, each time. When the upper half of the band is complete, reverse the material so as to continue working from left to right. Though there are four rows of stitches, these cover only three threads of fabric. (See diagram.) INDIAN DRAWN-GROUND STITCH, figure 148.— This stitch can be used to carry out an entire design. It is particularly effective when seen with the light behind it, as would be the case, for example, if used upon a window blind. It can only be executed in lines which run diagonally upon the mesh of the ground fabric, so in preparing a design for this stitch this is a necessary point to remember. A blunt-pointed needle should be used and a light and openly woven material makes the best working ground. (See Plate XXI.) In the diagram the crossing diagonal lines represent each thread of ground fabric, and two rows of the stitching are shown in pro- gress. It is usual, though not necessary, to work the stitch thus in double fines backing upon each other. To work Indian Drawn-ground stitch, bring the working thread through at the perforation marked A, having previously fixed the end of the thread in the portion of fabric immediately above it. The needle proceeds to pass the thread in and out of the material in a suc- cession of small, round loops, first over three threads, then under three, and again over and under three, thus reaching the starting- point. Then in order to reach the correct point for forming a second, similar loop, the needle passes over the first three threads again and under three others more towards the left. It is now in position for carrying out a second circular loop. The process of passing from one loop to the next and of commencing a fresh one is in process in the diagram, where the needle is at work. When the FIG. 148. INDIAN DRAWN-GROUND STITCH. 96 SAMPLERS AND STITCHES upper line is complete, the best plan is to reverse the position of the material and work a second line in the same way. The exact position of the two lines with regard to each other is important ; the diagram clearly illustrates what this should be. Having mastered the stitch the worker will want to build up more imposing figures by its means. Developments based upon diagonal lines are easily planned when the limitations of the stitch are understood. Isolated elements can be introduced in a design. (See Sampler XXI.) For very delicate work, an openly woven soft mull muslin stitched with gossamer thread is dainty. Exquisite examples of this can be found on fine white Indian embroidery of fairly modern date. Close examination of some of this work revealed the fact that every fourth thread of the ground fabric had been withdrawn in both directions, thus saving the worker the trouble, when executing the stitch, of counting the threads which, on such fine fabric, would have been tedious. THREE-SIDED STITCH, figure 149.— The diagram displays a geo- metrical band composed of small like-sized Back stitches which are worked tightly in order to draw together the threads of the ground. Thus at the points where the stit- ches meet, small perforations appear in the fabric. Work- ing with a larger needle than the size of thread demands helps to gain the required eff'ect. The Back stitches are worked in the following order. To begin, the needle brings , . , , , the thread to the surface at the pomt shown by the arrow. Then a couple of Back stitches are taken horizontally m succession over the same six threads of fabric. The needle is now at the starting-point. The next couple of Back stitches are taken, in a slanting direction incKning towards the right, over six threads of fabric in height and three in width. At the completion of the second of these stitches, the needle is brought up, not at the starting-point, but six stitches farther towards the left on the upper edge of the band It is now in position for working the first couple of horizontal Back stitches in the upper row. Then, from the same point, two more are worked in a slanting direction downwards, leaning towards the right. At the com- pletion of these two stitches, the needle is brought to the surface upon the lower edge of the band, six threads farther to the left than the starting-point. It now proceeds to go through the abov^ described pro- cess over again. This stitch could be treated as an all-over ground stitch by working row beneath row in succession, omitting the uppermost line in all but the top row. FOUR-SIDED STITCH, figures 150, 151. -This neat fine stitch is illustrated in figure 151 and m the upper part of figure 150. In the FIG. 149. THREE-SIDED STITCH. DRAWN FABRIC STITCHES 97 latter, in the top row, the three successive stages of a single stitch are shown and the dotted Unes show the passage of the thread on the under- side. The second row shows a band of the stitch partly worked, the needle here being in the act of passing to the point for executing the third stage of the fourth stitch. In the lower part of the diagram, the stitch is shown adapted to an oblique form of working. (See description of next variety.) In figure 151 the Four- sided stitch is shown drawing to- gether the threads of the ground fabric. When treated as a drawn stitch like this it is usual to withdraw a thread of the warp both above and below the stitching as there seen. SINGLE FAGGOT STITCH, fig- ure 150. — In the lower portion of figure 150 an adaptation of Four- sided stitch as an all-over filling is shown. This, known as Single Fag- got, is worked obliquely and the square is executed in two journeys , the first works the upper two sides of the square and the second the lower two. The needle at work in the first line, and the loosened stitch and end of thread in the second line, together with the dotted lines showing the under thread, sufficiently explain the method of work. The constant drawing of the thread tightly must not be forgotten as this adds a pleasant feature to the stitch. This is a useful variety for working backgrounds or for pattern fillings. It can be seen in use in Plates I, II, and XVI. The working thread should be fine and like the fabric, for it should be almost invisible. Some- times it is purposely of a deeper tint than the I'TtPNli' TfiZ"i!iii(Tr'h ground in order to lower its tone. ^JTfiiTliMfera^^ DOUBLE FAGGOT STITCH, figure 152. '''""''' ' — This variety is a slightly more complex form of the oblique square stitch just described. It makes an effective ground stitch and looks well upon both upper and under side of the fabric. Seen against the Ught the effect is that of per- forations constantly repeating over the ground divided by solid bars. Double Faggot stitch consists of a couple of stitches taken in succes- sion over two threads of ground fabric, first horizontally and then vertically in alternation. The stitch is worked obliquely across the surface and the thread always pulled taut. In the diagram three lines of it are in process of execution. The central one, almost completed, FIG. 150. FOUR-SIDED STITCH AND SINGLE FAGGOT STITCH. Kl-7-l-HT-l-HTl-Frl-rl- n ' -I— I— I— ij „ -I TitlxLTJxlTitlTiTi FIG. 151. FOUR-SIDED STITCH. 98 SAMPLERS AND STITCHES FIG. 152. DOUBLE FAGGOT STITCH. runs from edge to edge of the square. In the other two rows, the different actions of the two needles show, first, how to work a couple of upright stitches and then how to pass obliquely along the under side to be in position for working two horizontal stitches. SQUARED GROUND STITCH, figure 153.— This is in appearance like the upper stitch in figure 150, the difference be- tween them lies chiefly in the exe- cution. This is worked as an all- over filling, the other as a line stitch, and this difference makes a change in the method of work necessary. It is useful for lightly ornamenting backgrounds of em- broideries. The stitch is worked most easily upon the under side of the fabric. The method of execu- tion is shown in the upper portion of the diagram. In the lower por- tion is seen the effect upon the right side when three rows of the stitching have been completed. Having brought the thread through at the starting-point (see arrow) the needle carries it diagonally across the first little square, composed of four warp and four woof threads of ground fabric, passes it through to the back at the upper right-hand corner, and brings it to the front , four threads farther to the left, just as the needle is doing farther along. Next the needle passes to the back at the upper right-hand corner of the same square, and comes again to the surface immediately below, at the lower right-hand corner, and is now in position to repeat the process over again. The loosened stitch in the diagram repre- sents the one which was worked immediately before the one in process with the needle. This is continued to the end of the line and then a second row is commenced *at the left side im- mediately beneath the first . This second row can be worked in the other direc- tion by reversing the position of the material. The first row is not complete until the row below it is worked. For the first stitch of each row, and again when working entirely along the base, it is necessary to put in an extra stitch in order to complete the squares, otherwise two sides of the iinished work would not have the outside edges of the squares completed. FIG. 153. SQUARED GROUND STITCH. DRAWN FABRIC STITCHES 99 These are put in whilst the work goes on and they take the form of a single Satin stitch, alike on both sides of the fabric. A subsidiary ground pattern, such as this, is worked before the superficial embroidery pattern is carried out. A large, blunt-pointed needle should be used and the thread must be pulled tautly. It is most perfectly worked in a frame. The number of threads of the ground fabric over which the stitch is worked can vary . Threeorfour are most usual . ::::::::;:: ;kI 2 ± ::;;::::: : iaBBBBaacaCa^aaavaSasaaaiaaaa aBaa-aBB.'^>v>v>,.aBB'V^$''^^Baai'/''V'."aBa ■Baa:;a$B$a«B:aBBa iBaaaaBar/'''-^':^.;-BBat'/:V/i:aBB^BBBa iBBaaaaB^aJf j^aaa^aSB^aaaaaaaa BaaBaat'.v>iVi'x>:B^aSBai^ laaaaaai aBBBBBBBaaaaV'^S^XBaa^-'iBaBBBBi ■BBBaBBBaaaajB^BSBBBBiaaBaaai FIG. 154. DIAGONAL RAISED BAND. FIG. 155. OPEN TRELLIS FILLING. DIAGONAL RAISED BAND, figure 154.— This stitch builds up a series of narrow, slightly raised bands across the material, and the plain ground between is usually filled in with the Single Faggot stitch. In Plate XX the two are used thus together. To execute it, bring the thread through at the point marked by an arrow. The upper needle shows the working of the first stitch. Upon reaching the end of the line a return journey is made down the same route (see lower needle). Each time a stitch is taken, pull the working thread taut, for this draws up the fabric and thus raises the band. When the one raised band is complete, proceed to work as many rows of Single Faggot stitch (figure 150) as are necessary to cover the space before the next raised band is required. OPEN TRELLIS FILLING, figure 155. — ^W^hen Diagonal Raised Band is imposed upon itself and worked in two direc- tions it forms a pretty open trellis over the surface. It is worked thus upon a leaf in the lower part of Plate XX. Single Faggot stitch is not used with it here and the raised bands must be spaced at exactly the right distance apart to gain this particular effect. Figure 156 illustrates the same treatment, but the working is over a different number of fabric threads. CHEQUER FILLING, figure 156.— Still another arrangement of a a a f ll Wi^rri* a a wrtfia rrTia a ■ a a b^T-J aY^i a a a BaLfai^<.{BaBBa.^B«/^faBBiBaaB:-^aBbaaaa rTTTirri [ Ptffl Tnnw FIG. 156. CHEQUER FILLING. 100 SAMPLERS AND STITCHES FIG. 157. DIAGONAL CHEVRON. diagonal band imposed upon itself is explained by the diagram. In Plate XX this stitch occurs upon a berry and on the frontispiece upon the arches. It is quite different in appearance from the last one though worked in similar fashion, and it shows what different results may be ob- tained by the simple means of varying the number of fabric threads worked over, and the distance apart of the lines of stitching. With this knowledge an in- genious worker will easily devise many new patterns. DIAGONAL CHEV- RON, figures 157, 158. — This variety makes a waved diagonal line. It is usual to work it in bands with Single Faggot stitch between. It can be used without any surrounding stitching, for by itself it makes a decorative line. For example, it might be applied to such a purpose as the dividing up of a surface into diamond shapes by means of crossing lines. In figure 157 two stages of the stitch are illustrated and figure 158 shows the final stage. The first two stages are worked upon the reverse side of the material, the third upon the right side. To work the first, bring through the thread at the point marked by an arrow in the diagram. Insert the needle after passing it diagonally across a square composed of three threads and bring it out three threads below. Take a second similar diagonal stitch towards the right and then pass the needle horizontally underneath, bringing it through at the point where the last stitch passed to the back. The upper needle in the diagram illustrates this movement. Sometimes a single line of this stitching is used (see chevron in Sampler XXII) ; if so it should be worked upon the right side, not starting on the under side as at present. To work the second row of stitching — ^when the needle has passed the thread to the back at point A, bring it through again six threads to the right, at point B in the diagram. Now reverse the material and start the second row in exactly the same fashion as the first. This second row of stitchery must be at the right distance from the first (see dia- gram). For the third stage of the working, turn over the fabric and work upon the right side. There should now be upon the surface a double row ot zigzag lines as seen in the upper part of figure i c8. Brine the thread through at the point marked by the arrow and proceed to work fig. 158. diagonal chevron (final stage). "" -MiltJl ■-^: ■'^ \ -"■':■ - .i Jit J"'vt.:.-j '^■-^m -H^ *^ ..i-^- ..,■":" '^'t," ..^■■•ty. ^. V V 'V-'tj:' ■.-^;i :^i ■^^A ""X^ .tfe;. 'a g FIG. 159. WINDOW PATTERN FILLING. DRAWN FABRIC STITCHES loi up the centre, a third Une of the stitching exactly like the other two. This line is the simplest to work of the three, for the points of the needle's exit and entrance are all marked out by the working of the first two lines. Pull the thread taut whilst working and especially for this third line, for this raises it up. The tight pulling of the other two raised them up on the wrong side and indented them on this side, which throws into more emphasis the raising of the third line. This stitch is effective on both sides of the material. WINDOW PATTERN FILLING, figure 159. — This filling covers the ground with a series of crossing bars. The diagram explains the working. Successive bands composed of slanting stitches are formed by taking a kind of Back stitch alternately on each side of the narrow band. The needle always picks up five threads of ground material and passes to the back just one thread ahead of the last stitch. Also, when a second row is worked, the needle again carefully leaves a clear thread of fabric between the first and second rows. Thus at the point where four stitches seem to meet, two clear threads of fabric always run between (see diagram). This treatment, together with the usual tight pull on the working thread, draws the material together in parts and leaves little square holes like window-panes recurring at short intervals over the surface. To commence the row there in process of execution, bring the thread through at the point marked by an arrow. Take it to the back at a point diagonally above to the right, passing over three horizontal and two perpendicular threads of ground fabric. Bring it through to the surface, five perpendicular threads farther along towards the left. The second stitch is passed to the back near where the first stitch commenced (see needle in dia- gram). The needle is always in a horizontal position when picking up ground fabric. In the diagram it is completing the fourth stitch and some dots point out its further progress along the line. DOUBLE STITCH FILLING, figure 160. — This filling is similar in the working to Window Pattern, but what was the reverse side there, is, with this, the right side. Con- sequently the execution is different. The diagram explains it. The needle is working the fourth stitch of a row. For the fifth it picks up a similar diagonal piece of the material, but it points in an upward instead of in a downward direction. This filling looks well upon a pattern arranged with the surface stitches perpendicular, in the diagram they are horizontal. It is sometimes worked with only FIG. 160. DOUBLE STITCH FILLING. FIG. l6l. WAVE STITCH FILLING. 102 SAMPLERS AND STITCHES two threads of fabric between the lines of stitches instead of the three seen here. In the Frontispiece the blue margin is in this stitch. WAVE STITCH FILLING, figure i6i.— This is one of the stitches which are effective worked in coloured threads as well as in white. In the Frontispiece the water is worked in it in alternate bands of blue and white . The diagram explains the working. The effect to be aimed at is that of an open ground, so the working thread must be pulled taut to bring this about. The needle in the diagram is working the third stitch of the fourth row. DIAGONAL DRAWN FILLING, figure 162. — This filling can be seen upon a leaf in Plate XX. It is worked diagonally across the fabric. To commence, bring the thread through and then pass the needle to the back four threads above , and bring it to the front again after passing diagonally under a square composed of four threads in each direction. The needle in the diagram illustrates the working thus far. Next insert the needle at the point where it first came through and bring it out diagonally below after passing under a square of four threads just as before. It is now in position to begin the first process again. When commencing a new row it is necessary to start one thread lower down and one thread more to the right. It is this step lower in each new row which builds up the little crosses seen in the worked sampler, and these give the filling its character. ROSETTE FILLING, figures 163-165.— This fiUing covers the surface with a pattern composed of what appear to be tiny rosettes, each one having a raised centre. The rosettes are emphasised by a circle of perforations which occur round their margins. Begin, as with most of these fillings, by imagining the ground fabric divided up into tiny squares measuring three threads in each direction. In the diagram, the ground has been marked out thus with dots. The needle never passes through the material except at these dotted points. The element, or rosette, the repetition of which builds up the pattern, is shown in figure 165, where each straight line represents a stitch and the point where the needle should first come through to the surface is marked by an arrow. When com- mencing to work, glance at the larger diagram. In the upper left corner, the execution of the first two stitches is seen, also the needle passing down to the right point for working the second pair. These are similar to the first, but reversed in direction (see key diagram). The first three stitches FIG. 162. DIAGONAL DRAWN FILLING. DRAWN FABRIC STITCHES 103 FIG. 163. ROSETTE FILLING. of a rosette can be found in the partly carried out square near the base in the larger diagram. They have been shaded a darker colour than the rest. The numbers in the small working diagram show the order in which to work the different stitches of the rosette, and they are always worked in pairs. The last portion to be worked is the square in the centre, numbered 9 in the diagram. This is raised up by having four tightly pulled Back stitches worked round it. All the stitches must be pulled taut so that they make the necessary perforations and show up the rosette. This is not only done by pulling the thread tightly, but also by so taking the stitches that they are worked like Back stitches, for these by their nature always tend to draw together the fabric threads. It is for this reason that the needle constantly passes the thread from one corner to an opposite one and then back again (see numbers in diagram). It is not necessary to keep to this order of working the stitches, for several slightly different ways might do equally well ; but having found a good way it is necessary to work each fresh rosette in similar fashion or they will not be alike when done. The rosettes are worked in diagonal lines across a surface. This filUng occurs upon a leaf in the corner of Plate XX, Figure 164 shows it with the threads of the ground fabric drawn up as they would be in actual work. Figure 163 only attempts to show the right placing of the stitches, GREEK CROSS FILLING figure 166. — ^With this filling the four working stitches take a cruciform shape, but the effect when complete is that of a number of fair-sized perforations repeating regu- larly over the surface, and the crosses should hardly show. If the working thread is rightly chosen the stitches will not be too evident. The crosses are worked in diagonal lines upon the surface. Each one is composed of four stitches. The needle in figure 166 is working the second of a group, the first stitch having been shaded to distinguish it from the FIG. 165. ROSETTE FILLING (key diagram). FIG. 164. ROSETTE FILLING AS IT APPEARS WHEN WORKED. 104 SAMPLERS AND STITCHES FIG. 1 66. GREEK CROSS FILLING. rest. The order in which the four stitches are worked is noted upon the isolated cross at the base. Each stitch commences in the centre and is worked so that it takes somewhat the form of a Buttonhole stitch. The reason for this is that there must not be any perforation in the centre of the cross, and as the stitches are all pulled tightly there might easily be a space formed there as well as at the four extremities. Each stitch is worked like the one where the needle is. After working the fourth, the needle, instead of coming up again in the centre as before, passes to the centre point of what will be the next cross. A dotted line on the dia- gram illustrates this, for it marks the passage of the needle from the last cross to the present one in process of being worked. The complete effect of this filling is not obtained until several lines of crosses are finished, for then each perforation has four stitches pulling it apart, which makes it much larger than when only the one is pulling at it. When at the end of one diagonal line, it is a simple matter to turn the material round and come up the next line, and then down the third and so on. The filling occurs in Plate XX. HEM STITCH, figure 167.— The neat line supplied by Hem stitch is the usual finish to the edge of an embroidery. The simplest form of it is illustrated in the diagram. Three warp threads of the ground fabric have been withdrawn, and the hem has been turned in to the edge of the drawn threads. To commence, bring the needle through at the left side. Then pass the thread from right to left, under the first three strands of ground fabric. Pull the thread through and insert the needle in the hem in the manner in process in the diagram, taking care to pick up both hem and fabric under- neath. Pull the thread tautly through so as to draw the three strands it has encircled into a tight bunch. The group of threads clustered together can vary in number; for some purposes an even number is more practical. It is sometimes easier to work the Hem stitch with the hem away from the worker ; this is the case when a very narrow hem has been formed. The stitch is then executed from left to right, and the rest of the working reversed. With this simple form of Hem stitch only one side of the drawn band is stitched. If more than two warp threads have been withdrawn, i t may be necessary to hemstitch both edges. The same stitch can as easily be worked on the opposite edge, and this results in a ladder-like FIG. 167. HEM STITCH. SAMPLER XXIII. SCENES FROM ' THE BL UE BIRD.' The fillings in Drawn Fabric stitches, powderings and Pattern Darning ; in blue and white linen thread. SAMPLER XXir. Lower fart of Sampler XXIII. iTiiillTWriTWTlTliliWi FIG. I68. WOVEN HEM STITCH. DRAWN FABRIC STITCHES 105 pattern. A chevron pattern is as easily contrived and is worked in much the same fashion. The hem stitching runs along one side, clus- tering together an even number of threads, say four. Then the second line of Hem stitch is worked on the other side, again gathering up four threads , but the four consist of two from the first and two from the second cluster. By thus spUtting the clustered bunches of the upper row a chevron effect is obtained. WOVEN HEM STITCH, figure 168. — ^A durable method by which to decor- ate an open hem is illustrated in the diagram. With the usual hemstitched edge, where the weft threads of the ground fabric are exposed without covering, this portion of the material wears out before the remainder of the fabric, owing to having lost the support of the warp. But when given the treatment illustrated here— that is, the exposed weft covered with a darning to and fro of new thread — it is perhaps stronger than any other part. To carry out the pattern illustrated in the diagram, draw out the requisite number of threads and proceed to cover them with a kind of weaving stitch. Work with a blunt-pointed needle, and darn the thread to and fro in weaving fashion, alternately over and under two clusters of weft threads each composed of five strands . During this process , draw the threads rather close together so that there is an open space between the clusters. The needle in the diagram is in the act of passing from one cluster to the next. Patterns more complex than this are easily planned. When the difficulty occurs of passing from one cluster to the next, the needle deftly passes the thread invisibly up the centre of the intervening worked cluster. Sometimes, when a band of this kind decorates a hem, it is necessary first to hemstitch the edge before commencing the weaving stitch. Two other patterns in woven Hem stitch are illustrated on the sampler in Plate XXIX. DOUBLE HEM STITCH, figure 169. — ^An ornamental edge is made by this. To execute Double Hem stitch, com- mence by working a line of ordinary Hem stitch. Then draw out two or three more warp threads beyond, leaving a portion of fabric between the two bands of drawn work. To commence, bring the thread through to the surface at the right-hand end of the line to be stitched (see arrow). Next, pass the needle over these first three threads in the direction from left to right, then back under them. FIG. 169. DOUBLE HEM STITCH. io6 SAMPLERS AND STITCHES l"~ .... „ — -1 — — t™l— r- -1— -1 i I ■ 1 1 ...!...!...:...:..J I— 1 — ... ,.•• ....... 11*11 — -1— 1-— I-"-!""! ■ 1 ■ • 1 —I— I—'.—! — 1 • ••II — -I — 'i— 1— 1 — ! • ■■II L • • • 1 ■ 1 I 1 1 • ■ II '—I— • FIG. 170. SQUARE DIVIDED UP BY LINES OF DRAWN STITCHING. and bring up the working thread at the starting-point. The second stitch can be easily followed in the diagram where the needle is at work. This executed, the first is repeated again and so on. This part of the stitch, without the hemstitched base, is often used alone to work open lines across fabric, not only at margins close to a Hem stitch. For this, usually only a single thread of ground fabric is drawn out on each side of the portion to be worked over. Another stitch for this purpose is shown in figures 149 and 151. A linen cloth can be divided up into a square by working lines of this stitching across at intervals (see figure 170). It might then be decorated with the alternate squares filled in with embroidered sprigs, or with a border. DRAWN SQUARE, figure 171.— This is a little element for use in white embroidery. It makes a good centre or a repeating unit for a surface or a border. It fills a square composed of twelve threads of fabric in each direction. Conunence by overcasting the outer three threads of the square all round. Study of the diagram will show that the first four of these stitches pass into the same perforation at the corner on their inner side, but on their outer, each stitch has a thread of ground fabric between it and the next. The next six overcast stitches are taken so that on both sides they have a thread of ground fabric between each one and the next. The remaining stitches are worked like the first ones. The overcasting of the circle in the centre is treated in much the same way. The diagram shows exactly how the threads of ground fabric are divided by the overcast stitches. (See Plate XXII.) BARRED BUTTONHOLE WHEEL, figure 172.— It is as easy to work Buttonhole Wheel with a barred centre as in the usual way. Instead of working the sixteen stitches composing it always into the same hole in the centre, work the first four into one interstice of the fabric, then miss over one thread and work four into the next, and continue in the same way round the circle. For a larger wheel, a double bar might be left in the centre. EYELET STITCH,figure 173.- There are some kinds of embroi- dery in which all the stitching is put upon the background, the pattern being left in the plain material and finished off with an outline. The stitch now described is used for working closely over a background in white embroidery. It gives somewhat the effect of a lace ground, for the method of working covers over the surface with closely repeating 4-IJ-IJ- i J-lilil+l mmmmn ItItItItItItM" FIG. 171. DRAWN SQUARE. Itlti^tWilii: iTlK«*«iil: ■ |lH|H|B|a|H|lB|l ^|B|B|Bi|£|alM •ITI-I"!?!-!?!- FIG. 172. BARRED BUTTONHOLE WHEEL. DRAWN FABRIC STITCHES 107 perforations. The execution is illustrated in the diagram, where one eyelet is completed, another is in process of being made, and dotted lines suggest two more. There should be about twelve divisions round each disc. To commence, bring the needle through at any point on the circumference. Then take a couple of Back stitches upon it, passing, for both stitches, in and out at the same two points. The needle will now have brought the thread through again at the point of starting. Now take a couple more Back stitches, this time passing in at the centre of the circle and out on the circumference. When working the second of these stitches, bring the needle through, instead of at the starting- point, a little farther along on the circumference. This is done in order to be in position for working two more Back stitches in the same way as at the start. All these stitches must be pulled a little tightly, and if they have been put in at the right points, there should result a dozen small perfora- tions round the circumference, each separated from the other by a couple of Back stitches, and a larger one in the centre with a number of stitches radiating from it to the marginal perforations. The second disc is joined on to the first by using two of the latter 's perforations in its own circle. A design for which Eyelet stitch is to make the background must be simple in outline and composed of fairly broad masses, in order to make contrast between the plain ground of the pattern and the decorative background. For the same reason there should be a band of plain linen round the margin framing up the completed work, for this doubles the effectiveness of the enriched ground. FIG. 173. EYELET STITCH CHAPTER IX-BLACK WORK, LACE STITCH FILL- INGS AND DARNING WHEN an embroidery composition contains a number of large leaves and flowers it is often necessary to treat some of these with open, and others with solid fillings, for an occasional lighter treatment gives contrast and relief to the heavier fillings of the rest. Sometimes an open effect is attained by a simple veining, the leaf having no other stitching upon it beyond perhaps a double outline in con- A FIG. 174. STAR FILLING. FIG. 175. SHEAF FILLING. trasted colours. Another way is to cover the surface with some small repeating unit such as those in figures 174 to 178. A third method is to fill in the form with the lace stitches which honeycomb the surface lightly ?y^\' J,^*.^^^^ Darning is another pretty treatment for surfaces of this kind. This diapering of the surface can be varied to any extent ; it is usually most effective when of an orderly, rather than when of an irregular type. A firm and decided outline is a necessary finish to these fillings. Frequently the little stars and squares of which these patterns are often 108 Co O 6. 8! =o -« ^►^ BLACK WORK— LACE STITCH FILLINGS 109 built up are worked by the counted threads of the ground fabric. When a particularly refined effect is wanted, the pattern should be carried out thus in stitches all of the same length, say, over three threads of ground fabric. In Sampler XXV the patterns are all executed thus. Working by the counted threads of the ground makes the stitches exactly alike, and it brings the fabric in to help in the composition of the Eattern, and this is always, in em- roidery, a pleasing treatment — in fact, the more fabric and stitching can be made interdependent the better the result. These geometrical treatments are as useful for the background as for the pattern. Samplers XXVI and XXXIV illus- trate their application to a ground. The five open filling patterns illustrated in figures 174-178 need little explanation. The quatrefoil shapes in figure 174 are worked ^'^'lix II FIG. 176. PLAID FILLING. without any previous tracing. A star with eight points is first exe- cuted, and then four stitches joining them are put in at the edges. The sheaf filling in figure 175 is of a different type ; it is prettier worked in waved rather than in straight lines, and is formed of three upright stitches bound together in the centre by two transverse ones . Figure 176, if required to be worked quickly, can have the long lines thrown across from side to side, but it looks neater if built up with small stitches. The square pattern in figure 177 must be worked on a ground of regular mesh, but with that of figure 178 this is not so necessary. Most of these geometrical fillings, how- ever, are better worked on clearly discerned, even-meshed fabric and with fine thread. As regards colour, black is often used, though other dark colours also look well. Some- times two or more colours are employed in the one pattern, or they can be worked in light colour upon a dark ground. This geometrical FIG. 177. SQUARE FILLING. no SAMPLERS AND STITCHES open work was commonly practised in England in the sixteenth cen- tury and was said to have been brought by Catherine of Aragon from Spain. It was known as Black work, owing to its being executed in fine black silk. A number of these patterns are given in Sampler XXV. The material there used, a fine single canvas, is of a suitable kind to work these fillings upon. They sometimes decorate the background as in Sampler XXXIV, or they may fill the pattern as in the headpiece to Chapter VIII. DIAMOND FILLING, figure 179.— This is a stitch used in needle-point lace, but it is equally pretty for embroidery work. To execute it, bring the thread through at the upper right corner of the square and take it to the back at the upper left corner, thus laying a line of thread across the top. Bring the working thread to the front again imme- diately below where it just passed through. Proceed to tie the working thread to the line of thread at the top corner by a Coral Knot similar to that which is in process of being worked by the needle lower in the diagram. Whilst doing this it is not necessary to pass the needle at the same time through the material, but it can be done, and sometimes the filling is more regular if the needle fixes it in this way at each knotted point. Next, the working thread is again tied by the same knot to the line of thread a little farther along. Between the first and the second knot a loose loop of the working thread must be left, for this has afterwards to be joined by another knot to a line below. This process of alternate loops and knots is continued till the top right-hand corner is reached. After knotting the thread there, the needle passes it to the back and brings it up about an eighth of an inch below in position for casting the second line of thread from side to side. This done, the needle is brought to the front again on the left side just below where it last went through. A second line of knots and loops is now formed and Tn'p'J.TvYVTT? .^°P' ^f1 '^r^if i^.^ '^"^^ time (see needle). In Plate XXXIII the central leaf is filled in by means of this stitch FIG. 178. ERMINE FILLING. FIG. 179. DIAMOND FILLING. :iL;:sMtJt^wasiK5Kw-M.'^--."-::^i<«iiif;w)k'»VK?;*!'.:;.q(^;j!; 4; imp ;f;j: 1;:: i s "a ■5 - l^ jct i (0) \( ASci LAv^ //_aJ^ /wTJ i^^\S> =3^ f^Wy VVJ \ i_y>. vv 1 V 1 \ / \ / \ t \ / ^^^ ^ ^^^ 1 • FIG. 181. OPEN BUTTONHOLE FILLING. 'f [\\ ii / / / / / / / / f AM TP" liiK-i t r xfr 32 \ \ \ FIG. 182. SPACED BUTTONHOLE FILLING. 112 SAMPLERS AND STITCHES SPACED BUTTONHOLE FILLING, figure 182.— A chequered open filling is formed by the aid of Buttonhole and is worked as follows : first two stitches placed close together, then a space, then the two close stitches again and so on. The space left open should fill the same area as the two close stitches. In the illustration, the needle is seen passing the thread into the heading of the row of stitching above. If need be, the needle can, at the same time, pass through the ground fabric. Sometimes this gives more stability, and it also allows the stitches to be larger. A pretty effect is obtained by working alternate rows of different colour. FANCY BUTTONHOLE FILL- ING, figure 183. — An outline of Chain or Back stitch must first be worked round the form, for into this the stitch is fixed. Examination of the diagram will show that this stitch is a form of buttonholing. To commence the filling, bring the thread through at the left upper corner just outside the backstitched vertical line. Next work an ordinary Buttonhole stitch, looping the thread into the Back stitch line at the top. Then work, close to the first one, a kind of upside-down Button- hole stitch in the manner illustrated by the needle in the diagram. These two stitches are repeated at short intervals along the line to the end, and then the thread is passed under the marginal line and another row of the same stitching worked, but in the contrary direction. For all rows after the first, the stitches are looped into the thread of the preceding row at the part where a loop of thread joins a pair of stitches together. This gives the appearance of a chequer pattern over the filling. KNOTTED BUTTONHOLE FILL- ING, figure 184. — This surface stitch looks well worked in coarse thread. It forms a knotty, irregular surface, which is just what is required for some fillings. Commence by working an outline of Chain or Back stitch round the margin and then bring up the working thread at the left upper corner, and begin the filling by looping a Buttonhole stitch into the top out- line. This done, work a second Buttonhole stitch upon the angle of FIG. 183. FANCY BUTTONHOLE FILLING. Co FIG. 184. KNOTTED BUTTONHOLE FILLING. BLACK WORK-LACE STITCH FILLINGS 113 the first stitch in the manner shown by the needle. Work a series of these double stitches to the end of the line and there pass the thread under the outline and work a line of the same stitches back again to the starting-point. This row will be in the contrary direction, so the button- holing must be reversed. LACE STITCH FILLING, figure 185. — This lace stitch is a variety of Buttonhole and is worked from left to right. At the end of the line the thread is twisted round the lower portion of the stitch until it reaches the left side again. In the lower corner of the diagram the first row of stitching has been drawn, free from the entanglement of the second row in order that the worker can the more clearly see the method. To commence, a single thread is thrown across the apex and the needle brought through again an eighth of an inch lower down on the left margin of the leaf. The needle in the diagram shows how to continue working the stitch. At the end of the row, pass the thread back to the start by winding it round the base of the worked portion. It passes round, once only, between each stitch. In actual work, the rows of stitches are pulled tautly down when fixing the lowest line which gives the interstices a honeycomb shape. These can be decorated by putting a knot in the centre of each. All these lace fillings can be found upon the sampler in Plate XI, be- sides some more. Ball stitch (figure 92) occurs upon one leaf and Twisted Lattice (figure 99) and Diamond (figure 48) upon others. The rest are chiefly variations upon figure 102. In- stead of working the simple chequering of two together and a space some other sequence is followed. For example the leaf occurring at the top left corner is worked as follows. First a row of spaced single Buttonhole, then one of spaced Buttonhole grouped two together. The third row returns to the order of the first and the fourth to that of the second. Other variations of a hke kind occur upon the rest. The worker will easily devise new ones. FIG. 185. LACE STITCH FILLING. 114 SAMPLERS AND STITCHES THE DIFFERENT FORMS OF DARNING USED IN EM- BROIDERY, figures 186-191.— The darning used in embroidery may be divided into two kinds. The one is of a bold type suitable for carry- ing out work on a large scale, using coarse threads. This is sometimes \* \* *# » / s f V, J! FIG. 187. DARNING. FIG. 186. DARNING. the only method employed for the execution of a large design, both pattern and ground being solidly filled in by its means. The direction t^en by the lines of stitching is important, for this, together with colour and tone, form the chief at- traction of the work. The other is a finer kind of work, usually exe- cuted in split floss or similar thread, and it aims at a different effect from the other. In all darning work the stitch is alike. It is a running one which picks up at short intervals just one thread of ground material. With the execution, however, the likeness between the two ceases, for the type of design employed and the general character of the work is opposed. Figures 186 and 187 illustrate darning stitch. With all forms of decorative darning it is usual to pick up with the needle as small a piece of material as possible, otherwise the requisite effect, that of an all-over silky surface, will be in part lost. For the same reason the successive lines of stitching must lie close to each other so that no ground peeps through between. The material used for the back- ground affects the technique, so it is important to choose a suitable one. The ground stuff, usually linen or cotton, should be fairly fine and of a loosely woven texture in order that the separate threads may be easily seen and picked up. Sometimes the lines of stitching are made to follow the outline of the design in the manner shown in figures 187 and 188. A quick way of darning a background is to place the lines of stitching slightly apart instead of touching each other, for this it may be necessary to use a ground stuff that looks well, besides rlG. 188. A DARNED BACK- GROUND. DARNING "5 • » «» •» » * • I V ^ A • • I bexng practical. Irregular darning may decorate a ground with bands of alternate colour. For example, the design which forms the headpiece to Chapter I could be treated thus. The flowers would be worked only in outline. The stitches should be as near as possible of the same length, and the thread , of ten a coarse twisted silk, should not untwist in the work- ing. The type of design chosen for this bolder kmd of darning must be simple in outline and not too small in its detail. PATTERN DARNING, figures 1 89 , 1 90 , 1 94 .—Darning in pattern is contrived by picking up the threads of the ground material in some regular sequence, with the result that a simple geometrical pattern is displayed upon the surface. This method involves a certain amount of counting of the ground threads, but this is not so tedious, for after the first few rows are completed hardly any counting is necessary. Figure 189 illustrates some pattern darning in progress. A chevron ground is being worked behind fig. 189. pattern darning. the pattern, which will be exe- cuted afterwards in outline only. This fine kind of darning is often used for the enrichment of backgrounds, for, owing to its quiet, monotonous charac- ter, it is well suited to such a purpose. To carry out the diagram, commence the darn- ing at the top, and take a line of stitching horizontally across, picking up alternately one thread and passing over about four. For the second line, which can be run in the opposite direction, pick up the threads as before, but start with the first stitch a step ahead of the first one of the previous row. This goes on for five rows and then the ground thread, for five more rows, is picked up a step behind the same one of the row before. By varying the order and the quantity of stuff when picking up the thread, all kinds of simple repeating patterns FIG. 190. DESIGNS FOR PATTERN DARNING. ii6 SAMPLERS AND STITCHES can be displayed. Figures 190, 194 and the headpiece of this chapter show some of these. Figure 194 can be copied easily, for it shows every thread of the ground fabric. DAMASK DARNING, figures 191, 192.— Pattern darning can be fur- ther com- plicated by running the threads in two oppos- ed direc- tions. This is most simply ex- plained by an illustra- DARN. ^ . T->- tion. Figure 192 shows a simple darn with the thread taken in both perpendicular and horizontal directions. If two suitable colours are used for this, a charming effect of shot damask silk is obtained in the centre. There are in existence a number of old samplers, of early nine FIG. 191. CENTRE POR- TION OF A DAMASK FIG. 192. DAMASK DARNING. teenth-century date, filled with most exquisite fine darns of this kind, worked in colours in every imaginable patterning. These were in all probability executed partly to practise fine darning for mending damask table linens and also as an exhibition of skill. Figure 191 illus- trates the central portion only of a damask darn. The fabric is often cut away under this portion of the work. Figure 192 can be used to work from, for the threads of the ground can be counted. Sampler XXVIII displays upon the background a number of patterns in darning. The darning thread runs from side to side of each panel passing under the animal on its way across. DOUBLE DARNING, figure 193.— There is yet another form of darning which is occa- sionally required. This is Double Darning and its special characteristic lies in its being alike on both sides of the ground fabric, for some purposes a useful quality. The method is found in use upon work coming from the Near East, Persia, Asia Minor, Turkey, and the Greek islands. The stitch consists in the first place of a running which picks up exactly as much fabric FIG. 193. DOUBLE DARNING. -3 54 Eq .« • & rs 6° ^ ■ ^ "a DARNING 117 as it leaves. At the end of a line the needle commences to return to the starting-point and on this journey picks up the fabric it left untouched before. The needle should pass in and out at the same points as on the first journey. In the diagram the needle has almost completed a FIG. 194. A DESIGN FOR PATTERN DARNING. return journey. This kind of darning is sometimes seen carrying out a pattern which gives an effect of horizontal bands across the surface as in the diagram, at other times it is worked so as to pattern the form with diagonal bands. The latter way is contrived by making each fresh line start a step higher or lower than the previous row. A common practice is to make each fresh line start exactly half-way up the previous one. Of the four kinds of darning described in this chapter, namely. Irregular, Pattern, Damask and Double Darning, Pattern is the most useful and perhaps the most effective kind for embroidery purposes. CHAPTER X-CUT AND DRAWN WORK AND INSERTION STITCHES THE method of work by which the ground fabric in certain parts is cut away and the resulting spaces filled with foliage, geometri- cal figures, inscriptions or other fanciful devices, is one which has great possibilities. By its means much beautiful work has been done in the past. The early English samplers often exhibit strips of fine cut work. The inspiration for these probably came from Italy, for that country has always excelled in this particular branch of needle- work. There are in existence a number of Italian and some English sixteenth-century pattern books filled with designs for cut work which show how popular it was at that period. The design, to be effective, must be bold and simple even though the work is of small compass and fine, as it usually is. Some embroidery upon the surrounding soUd parts adds a finish to the open spaces. Sampler XXIX would have appeared bald and incom- plete without the fragments of decoration round about its open squares. A larger piece of a similar kind of decoration is illustrated in Sam- pler XXII ; it is a suitable type to combine with cut work. The fabric chosen for the ground must be practical for working upon, or difficulty will be encountered with frayed or clumsy edges. Fine hand-made Unen, if it does not fray too easily, has the best appearance. The working thread should be similar to the threads of the ground fabric, as much so as to give the impression that when weaving the linen the threads had changed their direction and twisted up into pattern instead of continuing to weave plain fabric. OVERCAST EDGE, figure 195.— To overcast a cut edge is the neatest form of securing it. The diagram illustrates a square with the four sides cut away and an Overcast stitch in process of binding the edge. Before cutting out the square a line of thread should be run round it. This ties it in, thus preventing any stretching of the edges dunng the after work, and gives the overcast line more emphasis by slightly raising it. When, owing to a frayable material, it is not a safe 118 FIG. 195. OVERCAST EDGE. % 'M '"-^^M^^^- = : t*1 i I 0=; a, Co CUT AND DRAWN WORK 119 FIG. 196. LOOPED EDGE. plan first to cut the actual edges of the open work, there are ahernative methods of treatment; these are described next. The use of fine needles and fine thread often saves a cut edge from fraying during the working. Also to avoid the same danger, the four edges of a square need not all be cut out at the start, one or two sides may be cut first and then overcast before the remaining two are exposed. LOOPED EDGE, figure 196.— The diagram illustrates another edging stitch and another method of treating the cut edges. This stitch has a firm heading into which it is easily possible to work various lace stitches for filling the open space. This edging is useful when a filling of this kind is contemplated, for it is firmer than Buttonhole for such a purpose. The needle explains the method of work. Hold the material in a position so that the edge to be worked is nearest the worker. Insert the needle into the edge from the underside upwards. When the thread is nearly pulled through, pass the needle through the loop as shown in the diagram. Then, when pulling the last piece of thread tight, let needle and thread point away from the worker. Care must be taken where the start and finish meet that no sign of junction is visible. This figure illustrates an alternative method of treating the cut edge when fine ground fabric is in use. The square of linen is cut from corner to corner and turned back underneath. The edging stitch is worked upon the folded linen, and when finished the linen can be cut away on the underside, close to the stitching. This makes a durable edge that will stand much wear and tear. With coarse fabric it is too clumsy a method to employ. BUTTONHOLE EDGE, figure 197.— A usual form of securing the raw edges in cut work is by Buttonhole. Both Ordinary and Tailor's Buttonhole are used ; the former makes a narrower edge. Edges are sometimes buttonholed before being cut away. A thread is first run round to mark the line, the Button- hole stitch worked over it, and then, with sharp scissors ones having well curved points by choice, the linen is cut away quite close to the buttonholing. It should be cut so cleanly that no after trimming up is necessary, for when this has been done, the edge is never so clean as when completed at the first incision. The diagram illustrates a cut circle being edged with the usual form of Buttonhole. THE FILLINGS FOR THE CUT SPACES, figures 198-200.— As a general rule the fillings for cut work are executed by the three stitches illustrated in figures 199-200. There are besides a number of Lace FIG. 197. BUTTONHOLE EDGE. I20 SAMPLERS AND STITCHES stitch fillings (see pages 1 1 o-i 1 3) ; these are a distinct kind of work more nearly allied to lace. Figure 199 illustrates Buttonhole stitch being worked over a bar. The upper bar shows a single row of stitches worked T->T-il-l->-l->-i-i-* ■-•■■■ TiTi- FIG. 198. DESIGN FOR CUT WORK. FIG. 199. BUTTONHOLED BAR. slightly apart, and the lower one, where the needle is at work, shows the completion of the bar by a second line of buttonholing, on the opposite side, so arranged that its stitches fit in between those of the first row FIG. 200. WOVEN AND OVERCAST BARS. The bars which are covered by the Buttonhole consist of some threads of the ground material which have been left uncut when the rest of the ground was removed. These bars, when possible, should be actual threads of the original fabric. Some- times, for instance when they occur diagonally, this is not possible, and then they have to be made by throwing the thread to and fro several times. These thrown threads are then covered over with stitching. This Buttonhole covering stitch is used when the bar is going to be widened on each side, for any nimiber of fresh rows of buttonholing can be worked into the heading of the row before. By this simple means many varieties of forms can be built up in the cut spaces, for example, leaves, flower petals, or geometrical shapes. When the bar is completed by one row of stitching, no others flaying to be added on either edge, it is usual to cover it either with I single line of close Buttonhole, or one of the two stitches illustrated FIG. 201. WOVEN PICOT. FIG. 202. BULLION PICOT. CUT AND DRAWN WORK 121 in figure 200. These are a kind of weaving to and fro, and an over- casting. The overcasting makes the narrowest bar. The woven one makes a firm flat band. Both are easily done and are explained by the diagram. The needle at work on the woven bar picks up half the bundle of threads, first on one side and then on the other, taking care to keep the thread even by I)ulling it equally tightly each time. The completed bar should be of the same width from start to finish. Figure 198 shows a design for a small square, various others can be seen in Sampler XXIX and figure 206. WOVEN PICOT, figure 201 . — Buttonhole bars are frequently decorated by the addition of Picots. This is the largest of the present group. A completed sample can be seen at the base of the diagram. Commence by making a loop on the edge of the fabric as shown in the upper left corner. Next fix the loop thus formed with a pin as shown in the next diagram, and make a second loop round the pin. Pass the needle across under the loop as in diagram 3. Now bring the thread back to the left side again, passing in front of the loop, and on the way, pick up with the needle the thread which has just passed underneath (see fourth diagram). The two stages shown in the second band are repeated as many times as necessary to fill in the picot. BULLION PICOT, figure 202. — Bullion stitch makes a pretty picot. The Bullion Knot is worked in the usual way, but attached to the edge of the Buttonhole stitch in- stead of to the ground fabric. To commence, insert the needle in the thread of the edging stitch, wind as many loops round it as the size of picot requires, pull the needle through the loops and insert it again at the same point in the edging stitch and pull through. To make this picot more open in form, like the completed one in the diagram, commence by picking up about three of the edging FIG. 203. RING PICOT. FIG. 204. LOOP PICOT. 122 SAMPLERS AND STITCHES stitches with the needle instead of one. Then at the finish, pass the needle through these a second time. RING PICOT, figure 203.— A large picot is made by working IJutton- hole stitch over a semicircular loop of thread. This is illustrated m the diagram. Here ordinary But- tonhole is being worked over the thread, but Overcast stitch or Tailor's Buttonhole might be substituted in place of it. At the required point, the thread is looped backwards into the heading of the edging stitch and then overcast or buttonholed back to the start- iflg-point. If a stouter semi- circle is wanted, pass the thread three times to and fro instead of once. LOOP PICOT, figure 204. — This is the simplest form of picot. The method of work is shown in the diagram, which illustrates both a com- pleted picot and one in process of being made. It consists of a loop made firm at the base by a Buttonhole stitch worked across it. Upon reaching the required point insert a pin in the edge of the fabric. Pass the work- ing thread under the pin, then into the edge of the fabric, and then work a Single Buttonhole stitch across the base of the loop thus formed. BUTTONHOLE PICOT, figure 205.— A small picot, a development of the last described one, is illustrated here. It is worked in similar fashion to the one just described. After passing the working thread round the FIG. 205. BUTTONHOLE PICOT. WI'S^ eosa s'^ai^.iwi^ FIG. 206. DBCORAIED ALPHABET FOR CUT WORK, FROM A SIXIEENTH-CBNTURY PATTERN BOOK. pin and again into the fabric, pass the needle up through the centre of the loop round the pin a second time, and then work three or four Button- hole stitches upon the loop. This process will bring the thread down to the right position for continuing the edging stitch. -iiptt -I. I; 4 yr !&!:;«;-■ . .'i.'i.''^' d, o 03 la Mv«>»NII»||-'.S"a ia^..-ai^iB- ■*-.f'■*•lJ^^ : ;»! :4 •■•*a*»aaoEta*aAM*««»* '/j> i^ „s,: S INSERTION STITCHES 125 FIG. 211. BRAID EDGING STITCH. with this one and join the edges with the firmly knotted thread. To carry out this stitch, the first process is to work upon both edges the looped stitch illustrated in the diagram. This, known as Braid Edging stitch, figure 21 1 , is worked in very similar fashion to Braid stitch, figure 69, although when completed it does not much resemble it. Com- mence by placing the edge of the material, which is to be "bound, away from the worker, and work from right to left. Pass the needle with the loop round it under the edge of the material, and bring it to the surface as if working a button- holed edge. When pulling the thread through, in order to tighten the knot, it should be drawn out in the direction away from the worker. This gathers up the knot on the actual edge. The knot, in process of being pulled tight, can be seen in figure 210, at the end of one of the lines where it has been left loose. Braid Edging is a most satisfactory binding stitch, for it looks equally neat whether seen from the upper or under side or from the actual edge. The final lacing through to complete the insertion is done when, both edgings finished, the two materials have been firmly fixed to a temporary backing. KNOTTED INSERTION STITCH, figure 212.— The diagram illus- trates Antwerp Edge adapted as an insertion. It is very practical for the purpose, for the constantly recurring knot makes the edge firm and strong. The needle carries the thread from edge to edge alter- nately, and after taking it through the material, always in the direction from above downwards, it ties a simple knot in the thread close to the edge of the material. The edges to be joined must be kept firmly in place whilst the join- ing stitch is in progress, or the width of the insertion will vary and look irregular. A good plan is to tack both edges upon a temporary backing. Toile arte is good, for its shiny surface prevents the needle accidentally piercing it. The insertion joining the stitch samplers in Plate VIII is made up of a combination of figures 2 1 1 and 212. TWISTED INSERTION STITCH, figure 213.— This is a commonly FIG. 212. KNOTTED INSERTION STITCH. 126 SAMPLERS AND STITCHES FIG. 213. TWISTED INSERTION STITCH. used insertion, quickly worked and effective, but it is hardly appropriate for adding to good embroidery, as there are many much more interesting forms of insertion than this . The needle in the diagram explains the work- ing. The action there seen in progress is repeated on each edge in turn. ITALIAN BUTTON- HOLE INSERTION STITCH, figure 214.— A strong and decorative insertion stitch is illus- trated in the diagram. In Sampler VII this is em- ployed to join two parts together. To work the stitch, begin by tacking down the sides, which are to be joined, to some firm backing. Bring the thread to the surface at the edge of the right-hand side strip at the top. Take it to the back on the other strip opposite, and proceed to work about five Buttonhole stitches along the thread now joining the edges of fabric together. This done, pick up with the needle the edge of the fabric at point A, and then carry the needle and thread across to the left side and pick up the edge of the fabric at point B. This point is not opposite A, it is slightly lower down. Now proceed to work three Buttonhole stitches on the doubled thread which first passed from the uppermost buttonholed bar to the right side, point A, and then was carried across to point B. The needle in the diagram is just commencing to work three such stitches lower down. This button- holing is always worked from the centre towards an edge. These completed, the needle next picks up the edge of the fabric on the right side, a little below point A, and then works three Buttonhole stitches upon the double bar, which passes between point B and the completed buttonhole stitching above. These three stitches are worked from right to left instead of in the usual direction. Next, the edge of the fabric on the left side is picked up a FIG. 214. ITALIAN BUTTONHOLE INSERTION STITCH. INSERTION STITCHES 127 little below point B, and then the Buttonhole stitches worked on the opposite side as before. In the diagram the needle is in the act of con- tinuing the stitch at the point just reached in the description. INTERLACING INSERTION, figure 215. — A decorative insertion is built up by Interlacing stitch. This is illustrated in the diagram and the method of working is described in detail on pages 63, 64. To FIG. 215. INTERLACING INSERTION. work this as an insertion, tack the two edges of material upon a firm back- ing about a quarter of an inch apart. Then work the foundation stitching upon the edges of the material to be joined. After this is done complete the inter- lacement as described on page 64. It is as easy to arrange for three or four rows of this insertion as for one, for it only requires a wider foundation of threads latticed across and several bands FIG. 216. BUTTONHOLE INSERTION STITCH. FIG. 217. PLAITED INSERTION STITCH. of the surface interlacing instead of one. Several rows of Interlacing insertion make a good filling for the open spaces in cut work. BUTTONHOLE INSERTION STITCH, figure 216.— Both forms of Buttonhole, either Tailor's or ordinary make an effective insertion stitch. 128 SAMPLERS AND STITCHES The diagram illustrates Tailor's, as that is the more complicated and stronger one of the two. The way to work this is described on page 25, and figure 216 explains how to adapt it as an insertion. PLAITED INSERTION, figure 217.— This is a pretty stitch for joining strips of embroidery together, for the plaited chevron line it builds up is an ornament in itself. To execute it, copy the diagram commencing at the top left-hand corner. After having executed the six successive stages illustrated there, continue by commencing at the first again. It will probably be helpful after working the sixth stage to study the completed portion of the insertion which is drawn out in the lower portion of the diagram. In it the point reached at stage six is marked by an arrow, and it is as easy to follow the afterworking in this finished portion as to return to following out the various stages from the starting-point onwards. To gain the best effept work with a coarse firm thread. ^1 §5; s CHAPTER XI— COUCHING AND LAID WORK LAID WORK, figures 218-221. — ^When commencing a piece of laid work, one of the first questions to be settled is, what means 1 shall be employed to tie down the long strands of thread lying across the surface, which by reason of their length are not, with- out some such fastening, sufficiently firmly attached to the ground fabric. It is a beautiful treatment of silk, this of laying it flatly down in rather loose, untwisted strands over the surface of the pattern. For owing to the silk not being cut up into minute lengths by stitches, its smooth glossy texture is shown to full advantage. Laid and couched work, the two are nearly related, are methods often chosen for use together when working with both silk and gold threads. Gold thread makes a good finish to laid work when used as an outline to it, or when employed to assist in the tying down. Laid work, always done with the aid of a frame, is quick in execution. The threads should be laid down loosely, for a strained effect is unpleasant ; this is especially the case when it is composed of floss silk. Perhaps to obtain the most artistic result, the less the tying down thread shows, the better, though at times a special feature is made of this fixing process. Sometimes this thread is of distinct colour, or it is made to follow out some decorative pattern such as those displayed in figures 219 and 220. The laid strands of silk may be of flat colour or exquisitely shaded, also distinct contrasts of colour can be introduced. In the accompanying illustrations, some of the chief methods of executing laid work are shown. In figure 218, upon the berry on the left side, the needle is laying the preliminary threads. It first passes across the surface laying alternate lines of thread, then, as it returns back 129 ^ FIG. 218. LAID WORK. I30 SAMPLERS AND STITCHES to the starting-point, fills up the intervening spaces. By laying the threads in this fashion they lie more evenly together because a larger piece of ground fabric can be picked up, for laid threads are never treated like Satin stitch where there is as much thread upon the under as upon the upper side. When the surface to be filled in is covered with even, close parallel lines of thread, the next process is to make it more secure by throwing other lines of thread across at intervals in a contrary direction, and tying each of these as it is laid, with one or two cross stitches (see right-hand berry). Another method of fastening down the underlay is displayed in the lowest berry where a regular trellis is formed by the fixing threads. This method makes such pretty decoration that it is frequently used for the cup of an acorn, the sheath of a thistle, FIG. 219. SCROLL COUCHING UPON LAID THREAES. and other such subjects. Infigure22i the laid threads are set longitudinally down the leaf and the tying-down thread carries outthe veining. Figure 220 illustrates a form of tying down known as scale couching. This is a decorative treatment and it suggests certain forms of natural growthparti- cularly well . In figure 219 the tying- down thread runs up the figure in scroll form, and covers the vase with a simple pattern. There is another method by which laid threads are sometimes secured, which is not illustrated here. This is by working Split stitch across in contrary direc- tion to the underlay. This stitch has been explained on page 50, and the only further direction necessary to be given when it is used upon laid work is that the stitches must be quite long, for the less the underlay is spHt by the passage to and fro of surface threads, the better the effect. FIG. 220. SCALE COUCHING UPON LAID THREADS. COUCHING AND LAID WORK 131 COUCHING, figures 222-224. — The tying down of one or more threads upon the material by means of another one is called couching. Some threads are too coarse, too brittle or too delicate to pass constantly to and fro through the ground stuff, and so this method has been evolved to overcome the difficulty. The problem with couching is to make the tying- down stitch strong enough for it to answer its purpose and yet not spoil the appear- ance of the surface with too many or too coarse stitches, and especially is this neces- sary when either gold or sil- ver threads are in use. The mediaeval workers solved the problem by inventing a most ingenious method which was both practical and beautiful, and in the middle ages it was used universally for all kinds of couching in both silk and gold thread. A detailed ex- planation of this almost obso- lete method is given later. FIG. 221. LEAF WORKED IN LAID THREADS. There are some other methods of couching besides the straight- forward one of fixing threads in place by means of a single trans- verse stitch as in figure 222. For instance, many ordinary embroi- dery stitches may be used for the purpose. The fixing-down stitch may require to be invisible. This is the case sometimes when couching down cord, and then the needle must be inserted in be- tween the twists. The diagram illustrates the most direct and simple method of fastening either single or clusters of threads to the material. It is done by passing another thread, which comes to and fro through the material, across the laid threads as shown in the diagram. The tying-down thread maybe of contrasting colour or material, and it may occur at regular or irregular intervals or in pattern. Sometimes two couching threads are FIG. 222. COUCHING. 132 SAMPLERS AND STITCHES placed near together and then a longer interval and so on. When clusters of threads are couched down together they are often laid loosely on the material and the fixing-down thread pulled fairly tight. This results m a pretty bunching ot the laid threads between the fixed points (see diagram). Ordinary couch- ing is useful for solid fillings, for outline work, for edging applied or laid work and so forth. But one of its chief uses is to fix gold and silver threads in place, for these cannot in the ordinary way be pulled to and fro through the material. Most forms of couching demand the help of a frame. A number of fancy methods of couching down threads are shown in figures 223 and 224. COUCHING BY MEANS OF EMBROIDERY STITCHES, figure 225. — Many stitches can be used for tying down surface threads. Some particularly suit- able ones are. Open Chain, Lad- der, varieties of Feather, Open FIG. 223. FANCY COUCHING. Double Back, But- tonhole, Chevron, in fact, most broad open stitches which only enter the ma- terial at their edges are suitable. But- tonhole is more used than any other. A buttonhole couch- ed filling (see figure 225) is a very pretty treatment for a leaf or flower petal. To work the leaf in the diagram several strands of silk are threaded together in the needle and brought through on the right-hand margin of the leaf near the apex. The threads are then passed across to the opposite margin where they enter the material and come up again immediately below. A row of open buttonholing is next worked across the laid thread from left to right, and when the other margin is reached the laid threads are again passed right across the leaf as before. The needle need not pierce the FIG. 224. FANCY COUCHING. 225. COUCHING BY MEANS OF BUTTONHOLE. COUCHING AND LAID WORK 133 ground material excepting at the edges, for the filling lies flatter thus treated. The lines of stitching do not always go straight across the form ; they may go either up or down, slanting, or following round the outline! Their direction is as a rule governed by the arrangement of the shading, for the simplest way to shade is to change the colour when commencing a fresh row. Besides fillings, lines of buttonhole couching are use- ful either as borders or to couch down applied work. ROUMANIAN COUCH- ING, figure 226. — ^Another form of couching is illustrated here which is used for covering up broad surfaces. The needle brings the thread through on the left margin, carries it across and to the back upon the right. Then, on its way back to lay a second long thread, it secures the first with one or more cross stitches (see the needle). These stitches must not be at all tight, and should FIG. 226. ROUMANIAN COUCHING. be taken in a slanting direction, for they are laid thus in order not to be noticeable. In the form of couching illustrated in figure 227 a similar method of execution is described, but in this case its special character lies in the crossing stitch being tightly worked, with the result that it does not in the least resemble the method here illustrated. BOKHARA COUCHING, figure 227.— The dia- gram shows a method of couching down silk for solid fillings. It is commonly seen worked in this manner upon Persian embroideries where it covers large expanses with a fiat monotonous surface, very pleasing in eff^ect. It looks best worked in coarse untwisted silk. The silk is laid, a line at a time, from side to side of the space to be covered, and then is couched down by slanting stitches taken in regular order across the laid line. These couching stitches must be placed fairly near together and in such a position that they build up slanting lines across the surface (see diagram). The tying down stitch should be tight and the laid silk between a little slack, for this gives the right effect to the finished work. THE COUCHING OF GOLD THREAD, figures 228-232.— Some of FIG 227. BOKHARA COUCHING. 134 SAMPLERS AND STITCHES the best forms of Couching with metal threads are illustrated in the follow- ing five diagrams. A particularly good method is shown in figure 228 . The gold, usually very fine, is couched two threads at a time up and down the surface. At certain arranged intervals the couching stitches are spaced much farther apart, and by this simple means such a pattern as that seen in FIG. 228. ITALIAN METHOD OF COUCHING GOLD. the drawing can be displayed. Instead of the flower seen there, any other, saya geometrical pattern, can be pictured. Leaving the gold thread for an interval, not fastened down, makes it spring up and catch the light, and this throws the pattern into reUef. A commonly used method of couching gold is shown in figure 229. The gold, laid in horizontal lines, is tied down two threads together and the tying-down silk is made to follow a lattice pattern. A variation upon this is seen in figure 230. Here COUCHING AND LAID WORK 135 the gold is laid in waving lines and spaced a little more openly. This method causes a pretty play of light upon the metal thread. String is sometimes laid under the couched gold to raise it up. In figure 231 it is laid in regular lines across the surface and the gold taken up and down across it so as to build up a basket-like pattern. In figure 232 the string underlay takes a lozenge or diamond shape. For this there must always FIG. 229. LATTICE PATTERN. FIG. 230. WAVED GOLD. be a couching stitch upon each side of the raised parts to make the line sharp and clear. The oval at the top of Plate XXXIII is worked some- what in the manner of figure 228. The difference between them is that the pattern, instead of being left to show in raised gold, is closely oversewn with coloured silks. This method is known as or nue. ANCIENT METHOD OF COUCHING, figures 233-238.— In the thirteenth century the method of couching now to be described was practi- cally the only one used. Though nowadays hardly known, it has many FIG. 231. BASKET PATTERN. FIG. 232. GOLD COUCHED OVER STRING. advantages over the more modern method. The work is more durable, the surface more flexible, and the effect much finer. These charac- teristics were invaluable when the entire gold ground of a cope — a vestment which hangs in graceful folds from the shoulder — was to be couched with gold thread in this manner. And this treatment of the ground of an embroidered cope was a common practice in the Middle Ages. Figure 239 is a fragment from one such vestment. The chevroned 136 SAMPLERS AND STITCHES pattern upon the ground is couched in gold. The subject is S. Lawrence and S. Stephen, each respectively holding and pointing towards the instruments of their martyrdom — a grill and some stones. To enable the worker to understand more clearly this rather unusual method of FIG. 233. MEDI.KVAL METHOD OF COUCHING. fig. 234. medieval method of couching (reverse side). couching, a diagram of both sides of the work has been made, for an im- portant part of the working lies at the back. (See also Plate XXXIII.) It must be worked in a frame, and a fine, closely- woven Unen should be chosen for the ground. Some- times, to increase its strength, a twofold ground is used. To carry out the work two needles must be prepared, the one threaded with strong linen thread and the other with strands of silk or gold. The two threads should be of about the same thickness. After making each thread secure at the back bring the silk one through to the surface at the top left-hand corner of the form to be filled. Next bring the linen thread through to the surface about one-eighth of an inch below (see arrow in diagram) . Let it encircle the silk thread and then return to the back by the exact hole through which it entered. It should pull through the silk thread with it as it passes to the back. The silk during the process must be held rather tautly by the left hand. For this stage of the working the right hand is FIG. 235. COUCHED RAISED BAND. ••MtNOWIMaM „.|4.'mimiimmimmm § 2 § § S Si S^ c -55 COUCHING AND LAID WORK 137 underneath the frame, pulling the linen thread through, and the left one above it holding firmly the silk thread, for unless there is some tension, too much of the silk will be taken through ; only just as much should pass through as will cling closely round the linen thread at the back (see arrow in figure 234). This process repeated at correct intervals works the couching. Study of the two diagrams shows that on the surface the silk thread travels alternately up and down the form, and at regular intervals dips through to the back, and on the reverse side the linen thread passes in the same way down and up, following always the lead of the surface thread, and at regular intervals this surface thread is seen to encircle it. It is a curious coincidence that the method IS f llllfll FIG. 236. TWO PATTERNS FOR COUCHING GOLD BY THE MEDIEVAL METHOD OF WORK. FIG. 237. FRAGMENT OF DRAPERY FROM A MEDIE- VAL VESTMENT. FIG. 238. REVERSE SIDE OF DRAPERY. identical with that of the lockstitch sewing machine.^ With this form of couching, geometrical patterns are easily displayed upon the sur- face, for the linen thread always pulls the surface thread through to the back in some prearranged sequence, and this breaks up the surface into pattern. In the diagram a simple chevron pattern is in j)rocess of formation. It will at once be seen, that by varying the points at which the linen thread pulls the surface one to the back, other patterns could easily be displayed. (See figure 236.) In the ancient work, mar- vellously intricate and beautiful patterns were developed by this means of couching, such as repeating geometrical forms with heraldic figures occurring in the spaces between the interlacements. To execute patterns of this more compUcated nature the couching has to be taken both hori- zontally and vertically, in one direction for the pattern and in the other for its background. The result gained is that of a rich damask, the play of light upon gold thread treated in this fashion is very effective. 1 This was pointed out to the writer by M. Louis de Farcy, who writes at length upon this method of couching in La Broderie du onziime siicle jusqu'd. nos jours. 138 SAMPLERS AND STITCHES Worked in silk thread this couching is easy to master, but in metal thread it is troublesome at first. There is often difficulty in obtaimng really suitable gold thread. Japanese, in the usual form, is not practical, so it must be real gold thread of fine quality, otherwise it will not be sufficiently pUable. Working this couching in metal threads had better, perhaps, be FIG. 239. A FRAGMENT OF AN ENGLISH MEDIAEVAL VESTMENT, S. LAWRENCE AND S. STEPHEN. left to the professional worker, but in silk an amateur may attempt it with hope of almost immediate success. Some find a light tracing of the pattern over the ground a help, others prefer to work by the thread of the fabric, or by the guidance of the line before. Unnecessary difficulties may be encountered by not using correct materials. Needles and threads must be of suitable size in order not to make too large or too small a hole in the ground fabric, and for the same reason the linen must be closely woven and firmly stretched in the frame. The stitches must be straight, flat, and lie closely beside each other and carry out the pattern with mathematical accuracy, for no geometrical pattern looks well otherwise. COUCHING AND LAID WORK 139 The angle of the chevron, or whatever pattern it is, must be acute or the result will not be satisfactory. The same method of couching is em- ployed to work the raised band illustrated in figure 235. This is a neater and stronger method of covering a padded line with thread than the modern one of couching the threads down upon the surface. The differ- ence between the two methods is very slight, for instead of a tie down on the surface of the material the thread is pulled just through to the back. The lower part of the diagram gives the appearance at the back, and the upper shows the raised band. At the back of the linen the couching thread runs to and fro in zigzag fashion, puUing the couched thread only just through, and it is done in the same manner as for the filling in figure 233 — ^that is, by the linen thread entering and returning through the same hole and pulling the surface thread with it. The advantages of this method of couching a raised band will be seen at once. Instead of a clumsy turning round of the laid thread on the surface at the point where it is secured by the couching thread, the turn is neatly hidden at the back. And it is a more durable method than the other for the tying down thread, because unseen, can be much thicker, also it is exposed to no friction. Although embroidery is by no means only a matter of stitches and methods of work, the importance of technique must always be in- sisted upon. It is shown in the present instance. Without the aid of this form of couching English needlework in the thirteenth century could not have reached the perfection that it did. There is no doubt that this ingeniously devised method of couching the gold thread, though it was not confined to use in England, had its share in making the fame of our world-renowned mediaeval embroidery known as Opus Anglicanum. INDEX Note. — The Roman numerals refer to the Samplers and the ordinary numerals to pages. The references to Samplers VII and VIII are given on the tissues inserted with these plates. Alphabet, Cut work, 122 Buttonhole Bar, 120, XXIX ,, stitch, uses of, 12, 25, III, V, XII, XIII Cross stitch, designs for, 83 Design, i, 2, 3, 4, 5, 63, 81, 118 „ for Cut work, 120, 122 XXIX Embroidered jacket, 24 Embroidery, Algerian, 91 Canvas, 81, XVIII, XIX Ceylon, 43 Chinese, 9, 51, 53, 67 Dutch East Indian, 8, 38 Eastern, 63 Elizabethan, 23, 57 English Mediaeval, 2, 5, 23, 38. 50, 81 Figure, 50 German fourteenth cen- tury, 44, 63 Indian, 4, 42 Italian, 85 pattern books, 81 seventeenth century, 81 teaching of, 3 uses of, 4, 5, 6 Fillings for Cut Spaces, 119, 120, XXIX Formalism, i, 81 Group, Canvas, 81 Chained, 38 Composite, 63 Couching and Laid work, 129 Cut and Drawn Thread work, 118 Drawn Fabric, 94 Flat, 7 Knotted, 51 Looped, 23 Jacobean hanging, 54 Materials, 2, 9, 93, 94, 118 Mediaeval vestment, drawing of, 137, 138 Notebook, an Embroidery, 4 Overcast Bar, 120, XXIX Patterns from English Samplers, 11, III Realism, i Samplers, 3, 9, 11, 57, 59, 81, 84, 118 Shading, Brick stitch, 12 Buttonhole stitch, 28, V „ Line, 8 „ Satin stitch, 10 ,, stitches, 13 Stitch, Algerian Eye, 91 Antwerp Edge, 62 Armenian Edge, 62 Arrow-Head, 19 Back, 21, II, in, XXXIV Backstitched Chain, 42 Ball, 61, XXXIII Barred Buttonhole Wheel, 106, X Basket, 16, IV Braid, 47, XXXIII Brick, 12 Broad Chain, 43, XI Bullion Picot, 121 Knot, 52, XII Buttonhole, 23, V, XII, XIII XIV Edge, 119 ,, Insertion, 127 „ Picot, 122 Wheel, 25, III, XXIX Cable, 47, X, XXXIII Ceylon, 33, XVII Chain, 40, XI, XXVIII 140 Stitch, Chained Border, 94, XXX Feather, 32 „ Chequer, 92, XXXIII Filling, 99, I, XX ,, Chequered Chain, 41, X Band, 74, II, VI, XII, XIII „ Chevron, 18, IX, XII Stem, 76, II, VI, XXXIII „ Closed Feather, 31 Cloud Filling, 69 „ Coral, 53, XXXIV ,, Couching, 131, IX, XVII, XXXIV „ „ by means of Embroi- dery stitches, 132 Scale, 130 Scroll, 130 VVaved Gold, 135 ,, Crested Chain, 46, X Cretan, 30 Open Filling, 70, XVII „ Cross, 82, 1, XVIII, XIX, XXIII ,, Damask Darning, 116 „ Detached Buttonhole, 27, VI, XI, XVII Chain, 40 „ Overcast, 71, VI, XI, XII, XVII, XXII, XXVI, XXIX „ Diagonal, 92, XXXIII „ „ Chevron, 100, XX, XXII „ „ Drawn Filling, 102, XX „ ,, Raised Band, 99, XX „ ,, Woven Band, 76 „ Diamond, 33. X, XI, XXVII, XXXIV Filling, no, XXVII, XXXIV ,, Dot, 21 „ Double Back, 17, IV, XIII „ Chain, 44, IV. XXVII „ Cross, 86, XXXIII „ ,, Darning, 116 Faggot, 97, II Feather, 31 Filling, loi, I Hem, 105 ., Knot, 55, II, XXVI „ Drawn Square, 106, XXII, XXIX „ Encroaching Gobelin, 89, XXXIII „ Ermine Filling, no „ Eye, 90, II. Ill, XXXIII INDEX Stitch. 141 Eyelet. 107 Fancy Buttonhole Filling. 112. II, XI, XVII, XXVII Feather, 31, XIV Fern, 20 Fishbone, 14, II, XII Flat, 13. II, XI Florentine, 89, XXXIII Four-legged Knot, 52 Four-sided, 96, XX, XXXI French Knot, 51, XIII Gobelin, 88 Greek Cross Filling, 103, XX, XXIII Guilloche, 78, XXVIII Heavy Chain, 44 Hem, 104, VII, VIII, XIX, XXIII, XXIV Holbein, 87, III, XXV, XXVI, XXX HoUie, 59, XXVII Honeycomb Filling, m, XI. XXVII Hungarian, 90, XXXIII Indian Drawn Ground, 95, XXI Interlaced Band, 80, VI Interlacing, 63, 64. 65. 66, II, XV, XVI, XXVI „ Insertion, 127 Irregular Darning, 114 Itahan Buttonhole Insertion, 126, VII Knotted Buttonhole, 26, X, XXXIII Filling, 112, XXVII Cable Chain, 56, IX, X Chain, 56, IX, X Insertion, 125, VIII Lace Filling, 113, XXVII Laced Herringbone, 79 „ Insertion, 124 Ladder, 29 Laid work, 129 Leaf, 16, XXXIII Linen Filling, 124, XXXI Long and Short, 10 ,, „ variation, 12 ,, -armed Cross, 85, I Loop, 32, IV „ Picot, 122, XXIX Looped Edge, 119 Maltese Cross Filling, 69 Marking Cross, 84 Montenegrin Cross, 84 Open Buttonhole Filling, in, XXVII 142 INDEX Stitch, Open Chain, 42, IV „ Fishbone, 15, IV „ Trellis Filling, 99, XX, XXIV Overcast, 20, II Edge, 118, XXIX Pattern Darning, 115, XXIV, XXVIII Pearl, 36, XXXIII Pekinese, 67, II, IV, XVI, XXVIII, XXXIII Petal, 45, XII Plaid Filling, 109 Plait, 90 Plaited Braid, 48, 49, XI, XXXIII „ Edge, 30 „ Gobelin, 89, XXXII 1 „ Insertion, 128 Portuguese Border, 78, II, VI, XVII Raised Chain Band, 77, VI, XIII Chevron, 68 Fishbone, 14 Honeycomb Filling, 70 Lattice Band, 80 Stem stitch band, 73, II, XVII Regular Stem, 8, XII, XIII Ring Picot, 122 Rococo, 92 Rope, 35, X Rosette Chain, 45, 46, IX, XII, XXXII Filling, 102, XX Roumanian, 17, IV Russian Drawn Filling, 123, XXX „ Overcast Filling, 123, XXX Satin, 9, II „ regular, 9, lo. III Scroll, 36, XXXIII Sheaf, 72, XI „ Filling, 108 ,, simplerform, 73, II, XIV Singalese Chain, 43 Single Faggot, 97, I, II, XVI, XX Spaced Buttonhole Filling, 112, XVII, XXVII Split, 50 Square Filling, 109 Squared Ground, 98 Star Filling, 108 Stem, 7, 8, XIV Stitch, Step, 77 Striped Woven Band, 75, VI, XII, XVII Sword-edging, 34 Tailor's Buttonhole, 26 „ Tent, 87 „ Threaded Back, 68, X, XV Three-sided, 96 ,, Thorn, 19 ,, Tied Herringbone, 79 „ Trellis, 57. 58, 59. n, XI, XII. XIII, XIV, XVIII Turk's Head Knot, 60, XXXIII ,, Twisted Chain, 42 ,, ,, Insertion, 125 Lattice, 66, XXVII, XXXIII „ Two-sided Italian Cross, 85, XX, XXXIII ,, Upright Gobelin, 89 Vandyke, 32, IV Wave, 28 „ Filling, 102, I Weaving Filling, 124, XXXI Wheat-Ear, 48 „ Whipped Chain, 21, VI, XI, XX, XXVII Run, 67, XXVI Satin, 21 Stem, 9 „ Window Pattern Filling, loi „ Woven Hem, 105, XXIX ,, „ Picot, 121 Zigzag Cable Chain, 48, XXI, XXXIII ,, „ Chain, 40, IX, XX „ Coral, 55, XXXIII Stitches, Classification of, 7 Black Work Filling, 108, 109, XXIV, XXV „ Couching, ancient method, 135, 136, 137, 138, 139, XXXIII Bokhara, 133 Fancy, 132, XXXII ,, Gold Basket, 135 ,, Gold Lattice, 135 Gold over string, 135 „ Italian, 134 ,, of Gold Thread, 133 or nue, 135, XXXIII ,, Roumanian, 133 Importance of, i Woolwork Hangings, seventeenth cen- tury, 54 Woven Bar, 120, XXIX I