1808. Fancy Needlework
Although there is a continual change in designs and materials for fancy needlework of every description, the fundamental principles on which this kind of work in all its various branches is executed remain the same. These are carefully, though briefly set forth in the following series of instructions on this subject.
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1809. Instructions in Crochet
1810. Popularity of Crochet
Perhaps no kind of work has ever attained such popularity as Crochet. Whether as a simple trimming, as an elaborate quilt, or as a fabric, almost rivalling Point Lace, it is popular with every woman who has any time at all for fancy work, since it is only needful to understand the stitches, and the terms and contractions used in writing the descriptions of the different designs, to be enabled to work with ease the most beautiful pattern that ever appeared in crochet.
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1811. Stitches used in Crochet
These, with their abbreviations, are:
| ch | chain stitch |
| s | single crochet |
| dc | double crochet |
| L | long stitch |
| double and treble long |
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1812. Chain Stitch, ch.
Hook the cotton into a loop, and keep on looping the cotton through a previous stitch till a succession of chains are made to form a foundation.
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1813. Single Crochet, s.
This occurs only in working designs; the hook is inserted in a stitch, and the cotton is pulled through that and the cotton which is on the hook at the same time; it thus makes a close tie.
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1814. Double Crochet, or dc.
With cotton on the hook insert the latter into a stitch, draw the cotton through; there are now two loops on the hook, take up the cotton on the hook, and with cotton again upon the hook draw it through the two loops.
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1815. Long Stitch, or l.
With the loop of last stitch on the hook, twist the cotton over the hook, place the latter through a stitch, draw the cotton through, then put the cotton over the hook, draw the cotton through two loops, and again through two loops.
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1816. Double and Treble Long
With the hook in a loop, twist the cotton twice or three times over the hook, and draw the hook successively through either two or three loops.
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1817. Square Crochet
Square crochet is also sometimes used. The squares are either open or close. An open square consists of one L, two Ch, missing two on the line beneath, before making the next stitch. A close square has three successive L's. Thus, any given number of close squares, followed by an open, will have so many times three L's; consequently any foundation for square crochet must have a number that can be divided by three.
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1818. To Contract an Edge
This may be done in Dc, or long stitch. Twist the thread round the hook as often as required, insert it in the work, and half do a stitch. Instead of finishing it, twist the thread round again, until the same number of loops are on, and work a stitch entirely; so that, for two stitches, there is only one head.
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1819. To Join on a Thread
Joins should be avoided as much as possible in open work. In joining, finish the stitch by drawing the new thread through, leaving two inches for both ends, which must be held in.
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1820. To Use Several Colours
This is done in single crochet. Hold the threads not in use on the edge of the work, and work them in. Change the colour by beginning the stitch in the old colour, and finishing it with the new, continuing the work with the latter holding in the old. If only one stitch is wanted in the new colour, finish one stitch, and begin the next with it; then change.
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1821. To Join Leaves, &c.
When one part of a leaf or flower is required to be joined to another, drop the loop from the hook, which insert in the place to be joined; draw the loop through and continue.
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1822. To Work over Cord
Hold the cord in the left hand with the work, and work round it, as you would over an end of thread, working closely. When beads are used they must be first threaded on silk or thread, and then dropped, according to the pattern, on the wrong side of the work. This side looks more even than the other: therefore, when bead purses are worked from an engraving, they are worked the reverse of the usual way, viz., from right to left.
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1823. Oriental Crochet erroneously termed Tricotee
This is worked by just making a chain the length required. Then put the hook through a loop of the chain, pull the wool through without twisting it, and so continue to the end, keeping all the stitches on the hook. In returning, twist the wool over the hook, pull it through the first loop, twist the wool again over the hook, pull it through the next, and so continue to the end. There will now be a row of flat loops, but not on the edge. Work exactly as at the first row which was worked with the chain row, but in this there is no chain row.
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1824. Instructions in Netting
1825. Regularity in Netting
The beauty of netting consists in its firmness and regularity. All joins in the thread must be made in a very strong knot; and, if possible, at an edge, so that it may not be perceived.
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1826. Implements used in Netting
These are a netting needle and mesh. In filling a netting needle with the material, be careful not to make it so full that there will be a difficulty in passing it through the stitches. The size of the needle must depend on the material to be employed, and the fineness of the work. Steel needles are employed for every kind of netting except the very coarsest. They are marked from 12 to 24, the latter being extremely fine. The fine meshes are usually also of steel; but, as this material is heavy, it is better to employ bone or wooden meshes when large ones are required. Many meshes are flat; and in using them the width is given.
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1827. Diamond Netting
The first stitch in this work is termed diamond netting, the holes being in the form of diamonds. To do the first row, a stout thread, knotted to form a round, is fastened to the knee with a pin, or passed over the foot, or on the hook sometimes attached to a work cushion for the purpose. The end of the thread on the needle is knotted to this, the mesh being held in the left hand on a line with it. Take the needle in the right hand; let the thread come over the mesh and the third finger, bring it back under the mesh, and hold it between the thumb and first finger. Slip the needle through the loop over the third finger, under the mesh and the foundation thread. In doing this a loop will be formed, which must be passed over the fourth finger. Withdraw the third finger from the loop, and draw up the loop over the fourth, gradually, until it is quite tight on the mesh. The thumb should be kept firmly over the mesh while the stitch is being completed. When the necessary number of stitches is made on this foundation, the future rows are to be worked backwards and forwards. To form a round, the first stitch is to be worked into immediately after the last, which closes the netting into a circle.
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1828. Round Netting
Round Netting is very nearly the same stitch. The difference is merely in the way of putting the needle through the loop and foundation, or other stitch. After passing the needle through the loop, it must be brought out, and put downwards through the stitch. This stitch is particularly suitable for purses.
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1829. Square Netting
Square Netting is exactly the same stitch as diamond netting, only it is begun at a corner, on one stitch, and increased (by doing two in one) in the last stitch of every row, until the greatest width required is attained. Then, by netting two stitches together at the end of every row, the piece is decreased to a point again. When stretched out, all the holes in this netting are squares.
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One Kind Word may Turn Aside a Torrent of Anger.
1830. Darning on Netting
Square and diamond netting are the most frequently used, and are ornamented with patterns darned on them, in simple darning or in various point stitches. In the latter case it forms a variety of the sort of work termed guipure d'Art.
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1831. Grecian Netting
- Do one plain row. First pattern row. Insert the needle in the first stitch, and, without working it, draw through it the second stitch, through the loop of which draw the first, and work it in the ordinary way. This forms a twisted stitch, and the next is a very small loop formed of a part of the second stitch. Repeat this throughout the row.
- The second row is done plain.
- The third like the first; but the first and last stitches are to be done in the usual manner, but begin the twisting with the second and third loops.
- The fourth is plain. Repeat these four rows as often as required.
- Use No. 20 mesh for the fancy rows, and No. 14 for the plain.
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1832. Counting Stitches
Stitches in Netting are always counted by knots.
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1833. Instructions in Tatting, or FrivolitÉ
1834. Implements for Tatting
The only necessary implements for tatting are a thin shuttle or short netting-needle, and a gilt pin and ring, united by a chain. The cotton used should be strong and soft. There are three available sizes, Nos. 1, 2, and 3. Attention should be paid to the manner of holding the hands, as on this depends the grace or awkwardness of the movement. Fill the shuttle with the cotton (or silk) required, in the same manner as a netting needle. Hold the shuttle between the thumb and first and second fingers of the right hand, leaving about half a yard of cotton unwound. Take up the cotton, about three inches from the end, between the thumb and first finger of the left hand, and let the end fall in the palm of the hand; pass the cotton round the other fingers of the left hand (keeping them parted a little), and bring it again between the thumb and forefinger, thus making a circle round the extended fingers. There are only two stitches in tatting, and they are usually done alternately; this is therefore termed a double stitch.
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1835. English Stitch
The first stitch is called the English stitch, and made thus:—Let the thread between the right and left hands fall towards you; slip the shuttle under the thread between the first and second fingers; draw it out rather quickly, keeping it in a horizontal line with the left hand. You will find a slipping loop is formed on this cotton with that which went round the fingers. Hold the shuttle steadily, with the cotton stretched tightly out, and with the second finger of the left hand slip the loop thus made under the thumb.
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1836. French Stitch
The other stitch is termed French stitch; the only difference being, that instead of allowing the cotton to fall towards you, and passing the shuttle downwards, the cotton is thrown in a loop over the left hand, and the shuttle passed under the thread between the first and second fingers upwards. The knot must be invariably formed by the thread which passes round the fingers of the left hand. If the operation is reversed, and the knot formed by the cotton connected with the shuttle, the loop will not draw up. This is occasioned by letting the cotton from the shuttle hang loosely instead of drawing it out and holding it tightly stretched. When any given number of these double stitches are done, and drawn closely together, the stitches are held between the first finger and thumb, and the other fingers are withdrawn from the circle of cotton, which is gradually diminished by drawing out the shuttle until the loop of tatting is nearly or entirely closed. The tatted loops should be quite close to each other, unless directions to the contrary are given.
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1837. Ornamental Edging
The pin is used in making an ornamental edge, something like purl edging, thus:—Slip the ring on the left-hand thumb, that the pin attached may be ready for use. After making the required number of double stitches, twist the pin in the circle of cotton, and hold it between the forefinger and thumb, whilst making more double stitches; repeat. The little loops thus formed are termed picots.
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1838. Trefoil Tatting
This is done by drawing three loops up tightly, made close together, and then leaving a short space before making more. The trefoil is sewed into shape afterwards with a needle.
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1839. To Join Loops
When two loops are to be connected, a picot is made in the first, wherever the join is required. When you come to the corresponding part of the second loop, draw the thread which goes round the fingers of the left hand through the picot with a needle, pulling through a loop large enough to admit the shuttle. Slip this through, then draw the thread tight again over the fingers, and continue the work. In many patterns a needle is used to work over, in buttonhole stitch, the thread which passes from one loop to another. A long needleful of the same cotton or silk used for the tatting is left at the beginning of the work, and a common needle used to buttonhole over bars wherever they occur.
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1840. Alternative Picots
Picots are also sometimes made with the needle and cotton in working over these bars.
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1841. Instructions in Knitting
1842. Improvements in Process
Although the art of knitting is known perhaps more generally than almost any other kind of fancy work, still as the knowledge is not universal, and there have been of late years great improvements in many of the processes, we hope that a short account of all the stitches, and the elementary parts of the craft, will be welcomed by many of our friends—and most seriously would we recommend them to attain perfection in this branch of work, because, above all others, it is a resource to those who, from weak eyes, are precluded from many kinds of industrial amusement, or who, as invalids, cannot bear the fatigue of more elaborate work. The fact is that knitting does not require eyesight at all; and a very little practice ought to enable any one to knit whilst reading, talking, or studying, quite as well as if the fingers were unemployed. It only requires that the fingers should be properly used, and that one should not be made to do the duty of another.
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1843. Implements for Knitting
These are rods or pins of ivory, bone, or steel. The latter are most commonly used, and should have tapered points, without the least sharpness at the extremity.
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1844. Casting On
The first process in knitting is casting on. To effect this, hold the end of cotton between the first and second fingers of the left hand; bring it over the thumb and forefinger, and bend the latter to twist the cotton into a loop; bend the needle in the loop; hold the cotton attached to the reel between the third and little fingers of the right hand, and over the point of the forefinger; bring the thread round the needle by the slightest possible motion; bend the needle towards you, and tighten the loop on the left-hand finger, in letting it slip off to form the first stitch.
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1845. Formation of Stitches
Now take that needle with the loop on it in the left hand, and another in the right. Observe the position of the hands. The left hand needle is held between the thumb and the second finger, leaving the forefinger free, to aid in moving the points of the needles. This mode of using the forefinger, instead of employing it merely to hold the needle, is the great secret of being able to knit without looking at the work, for so extremely delicate is the sense of touch in this finger, that it will, after a little practice, enable you to tell the sort of stitch coming next, in the finest material, so that knitting becomes merely mechanical. Insert the point in the loop, bringing it behind the other needle, slip the thread round it, bring the point in front, and transfer the loop to the left-hand needle without withdrawing it from the right hand. Repeat the process for any number of stitches required.
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1846. Plain Knitting
Slip the point of the right-hand needle in a loop, bring the thread round it, and with the forefinger push the point of the needle off the loop so that the thread just twisted round forms a new one on the right hand.
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1847. Purling
The right-hand needle is slipped in the loop in front of the left-hand one, and the thread, after passing between the two, is brought round it; it is then worked as before. The thread is always brought forward before beginning a purled stitch, unless particular directions to the contrary are given.
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1848. Mode of making Stitches
To make one, merely bring the thread in front before knitting, when, as it passes over the needle, it makes a loop; to make two, three, or more, pass the thread round the needle in addition, once for 2, twice for 3, and so on.
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1849. To Decrease
Take one stitch off without knitting; knit one, then slip the point of the left-hand needle in the unknitted stitch and draw it over the other. It is marked in receipts d. To decrease 2 or more, slip 1, knit 2, 3, or more together, as one, and pass the slip stitch over.
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1850. How to Join a Round
Four or five needles are used in round work, such as socks, stockings, &c. Cast on any given number of stitches on one needle, then slip another needle in the last stitch, before casting any on it; repeat for any number. When all are cast on, knit the first 2 stitches off on to the end of the last needle. One needle is always left unused in casting on for a round.
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1851. How to Join Toe of Sock, &c.
Divide all the stitches on to two needles, hold both in the left hand, as if they were one, and in knitting take a loop off each one, which knit together.
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1852. To Cast off
Knit 2 stitches; with the left-hand needle draw the first over the second; knit another; repeat. Observe that the row before the casting off should never be very tightly knitted.
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1853. To Knit Three Stitches Together
To knit three stitches together, so that the centre one shall be in front.—Slip 2 off the needle together knit the third, and draw the others over together.
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1854. To Raise a Stitch
To raise a stitch is to knit the bar of thread between the two stitches as one.
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1855. Abbreviations
The abbreviations used are:
| K | knit |
| P | purl |
| D | decrease |
| K 2 t | knit 2 together |
| P 2 t | purl 2 together |
| M 1 | make 1 |
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1856. Size of Needles
Take care to have needles and cotton or wool that are suitable to each other in size. The work of the best knitter in the world would appear ill done if the needles were too fine or too coarse. In the former case, the work would be close and thick; in the latter it would be too much like a cobweb.
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1857. Instructions in Embroidery and Canvas Work
1858. Embroidery
Embroidery, properly speaking, includes every sort of ornamental work done with a sewing needle of any kind; but in its popular acceptation, it applies only to the ornamentation of any article by the eye, or from drawn or marked patterns—whatever may be the material, or combination of materials employed; Berlin or canvas work, on the contrary, is the usual designation of all kinds of embroidery on canvas, done by counting threads, and frequently by the aid of a painting on checked paper.
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1859. Distinction in Embroidered Work
Although these two different sorts of work are really equally entitled to the designation of embroidery, yet for the sake of making our hints as intelligible as possible, we will adopt the popular terms, and confine our present remarks to that sort of embroidery which is not executed by the stitch.
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Be A Friend to Virtue—a Stranger to Vice.
1860. Materials
Every sort of embroidery material may be used for embroidering upon. The most common are muslin, cambric, velvet, satin, cloth, and leather.
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1861. Application
The simplest style of embroidery is that termed Application,—that is, where the pattern is in one material, laid on another which forms the ground. In this way muslin is worked on net, velvet is laid on cloth, or on another velvet, and cretonne designs cut out and laid on another material, the edges being either sewed over, or ornamented with fancy cord, braid, gold thread, or any other appropriate material.
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1862. Braiding
Another very easy style of ornamentation is that known as braiding. Children's dresses are worked with narrow silk or worsted braid, the latter being also used for ladies' aprons, flounces, &c. Gold and silver braid enter largely into various sorts of decorated needlework, and the Victoria braid, of cotton, which has something of the appearance of satin stitch, is generally known.
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1863. Stitches in Braiding
There is considerable art required to achieve putting on the Victoria braid evenly and firmly. The stitches should be taken across the braid. This makes it lie flat.
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1864. Elaborate Embroidery
But the most elaborate kinds of embroidery are those which represent flowers, fruit, and other devices on any material; and these may be divided into white and coloured embroidery.
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1865. Broderie Anglaise
White embroidery, or embroidery on muslin, is used for a great variety of articles of ladies' dress. The simplest is termed Broderie Anglaise. In this style, the pattern is either in satin stitch, or from left to right, formed of holes cut out of the muslin, and sewed over with embroidery cotton. The great art in working broderie is to make the holes all of the same size, and to take the stitches closely and regular.
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1866. Satin Stitch
Satin stitch is a smooth raised work, used for leaves, flowers, &c. It is done by first tracing the outlines accurately with soft cotton, then taking stitches from point to point of the part to be raised, so as to have the greatest thickness of cotton in the centre, and sewing it over, in stitches taken close together, but slightly slanting, and completely across the part outlined. The veining of leaves is generally formed by taking the stitches from the vein to the edge, first on one side and then on the other. The borders of embroidered muslin collars, &c., are usually finished with buttonhole stitch, worked either the width of an ordinary buttonhole, or in long stitches, and raised like satin stitch. Eyelet holes are made by piercing round holes with a stiletto, and sewing them round.
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1867. Fancy Stitches
There are many fancy stitches introduced into muslin work, but these require to be practically taught.
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1868. Frame for Embroidery
The kind of frame on which muslin is most easily worked, consists of two hoops of wood, about eight inches in diameter. One is rather smaller than the other. On it the muslin is stretched, and the larger one being slipped over it, and fitting tightly, keeps the muslin in its place.
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1869. Embroidery on Satin, &c.
Satin and velvet are embroidered in coloured silks, gold and silver bullion, pearls, &c. A very fashionable style is the work with ombre or shaded silks.
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1870. Netting Silk in Embroidery
The most delicate kinds of embroidery are worked with fine netting silk, one strand of which is drawn out. This makes the silk appear softer and richer.
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1871. Shading in Silks
It requires considerable care to work well with ombre silks, to avoid incorrect shading. Nature should be followed as closely as possible. Not only must the form be carefully preserved, but the lights and shades must be disposed in an artistic manner. For instance: the point of a leaf is never the darkest part, nor should the lower leaves and flowers of a group of the same kind be light.
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1872. Materials used in Embroidery and Canvas Work
The materials for canvas work and embroidery may be classed under the names of wool, silk, chenille, and braid; beads, straw, and a variety of other fancy materials, are also brought into use. A knowledge of the proper mode of using them, and the varieties of each which are made, is one of the most useful things it is possible for the amateur needle-woman to become acquainted with. We will, therefore, take them in their order.
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1873. Wool
German wool (or Berlin wool, as it is commonly called) is the most beautiful material manufactured for canvas-work. The vast variety of shades, the exquisite tints produced, the softness and evenness of the fabric, are beyond all praise. We speak of Berlin wool as it ought to be; for no article is more frequently of inferior quality. From damp, or bad packing, or many other causes, it is frequently crushed and injured, and in that state is not fit to be used for good work. Berlin wool is supposed to be all dyed, as well as made, abroad; at present a large proportion is entirely produced in our own country, which is little, if at all, inferior to the foreign. Berlin wool is made only in two sizes, 4-thread and 8-thread; unless the latter is specified in directions, the other is always implied.
Berlin wools are either dyed in one colour, or in shades of the same colour, or (very rarely) in shades of several colours. Technically, a silk or wool dyed in shades of the same colour, going gradually from light to dark, and from dark to light again, is termed an ombre, or shaded wool or silk, whereas chine is the term employed when there are several colours used. There are, also, what are called short and long shades; that is, in the former the entire shades, from the lightest to the lightest again, will occur within a short space, a yard or so; whereas, in long shades the gradation is much more gradually made.
We notice these apparently trifling differences that readers may comprehend the importance of obtaining precisely the proper materials for each design. If we prescribe a certain article, it is because it and no other will give the effect. Transparent, white, or silver beads are usually worked with white silk, but clear glass beads, threaded on cerise silk, produce a peculiarly rich effect by the coloured silk shining through transparent glass. The silk used must be extremely fine, as the beads vary much in size. A change of material, which might appear of no consequence whatever, would completely spoil the effect of the design.
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1874. Fleecy Wool
Fleecy wool is the sort of wool used for jackets and other large articles. Some of the tints are quite as brilliant as those of Berlin wool. It is made in 3, 4, 6, 8, and 12 threads, and is much cheaper than German wool. It does very well for grounding large pieces of canvas work.
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1875. Shetland Wool
Shetland wool is very fine and soft, is much used, and prized for shawls and neckties and for veils.
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1876. Eis Wool
A pure German wool of silky brightness, is used for the same purpose as Shetland wool excepting for veils. It is also used instead of silk for embroidering on velvet, as tea cosies, &c.
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1877. Andalusian Wool
Andalusian wool is a medium wool, less thick than Berlin wool, is used for cuffs and shawls.
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1878. Other kinds of Wool
There are also other names given to wools by the vendors or manufacturers of them: for instance, "The Peacock Wool" and "The Coral Wool" are trade marks, and not particular wools.
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1879. Scotch Fingering Wool
Scotch fingering wool is used for knitting stockings and socks, and gentlemen's kilt hose.
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1880. Thin Lambs' Wool and Wheeling Yarn
Scotch yarns, used principally for children's socks and stockings.
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1881. Merino Wool
Merino wool is the produce of a Spanish breed of sheep. The wool was introduced into this country about the close of the last century. George III. was a great patron of this breed. French Merino is made from this peculiariy soft wool; so also Berlin wool, used for canvas embroidery.
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1882. Angola Wool
The produce of an African breed of sheep; is a soft hairy wool. Is used for making Angola shawls and gloves, valued for their extreme softness and warmth. These were popular till the cotton manufacturers introduced a very poor imitation make entirely of cotton.
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1883. Camel-hair Wool
Camel-hair wool is the production of the llama, or al-lama, a native of South America. This ruminant animal resembles in its nature, but not in its form, a camel. The back and sides of the llama are clothed with fine long woolly hairs, becoming smooth, silky, and shining towards the tips, the general colours being of a uniform bright brown. The native Indians use it in the manufacture of stuffs, ropes, bags, and mats.
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1884. Alpaca
Al-Paco produces the alpaca wool. This creature is also a species of camel, though different in shape. Cavier regarded the paco as a variety of the llama; so also the vicugua. The llama is generally used as a beast of burden, while the former are used chiefly for their flesh and wool.
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1885. Yak Lace and Fringe
This is said to be made from the tail hair of an animal resembling an ox, a horse, and sheep; the first for its shape, the next for its tail, and the third for its wool. The tail, under the Indian name of Chowrie, is often mounted in horns and silver, and used as a switch to keep off flies. The yak inhabits the coldest parts of Tibet, India.
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1886. Silk
This well known production of the silk-worm in its natural state, as reeled from the cocoon, is termed "raw silk;" and before this can be used for weaving it requires to be twisted, or, as it is technically termed, "thrown;" that is to say, it is not two threads twisted one over the other, but the single filament itself is twisted so as to render it firmer; this is termed "singles." The next process is termed "tram." This is two threads loosely twisted together. This usually constitutes the "weft" silk, which is thrown by the shuttle across the long threads, or "warp," of the piece-silk.
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1887. Organzine
Organzine, or hard silk, generally constitutes the "warp," or length of the silk. This is made by first twisting each individual thread of silk, and then two or more of the threads are twisted together by the "throwing" mill (throw one thread over the other). In this state it must be boiled, to discharge the gum which renders the silk hard to the touch, and unfit to receive the dye. It is now boiled in soap and water for four hours, and then boiled in clear water to discharge the soap; after which it is glossy, soft, and fit for wearing.
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1888. Filoselle Silk
Filoselle silk was formerly a "spun silk," and the product chiefly of the silkworm, which naturally eats its way through its cocoon. It is only comparatively of late years that this silk has been used. The short filaments are spun in the same way that cotton and wool are spun, and is afterwards woven. A great deal of this silk is used for stockings and socks, and for weaving in with wool-fabrics, but there is also another kind of Filoselle used in needlework. This is two-thread silk, or "tram." Eight or ten of these slightly twisted threads form a strand of silk, so that, according to the purpose required, one, two, or more threads of it can be used for embroidery. This is glossy as satin.
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1889. Floss Silk
Floss silk consists of several filaments of untwisted silk sufficient to make a strand of silk. It is used for working on the surface of wool stitches to heighten the effect and give brilliancy.
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1890. Tusseh Silk
Tusseh silk or, as some term it, "Tussore," is spun from the silk of the perforated cocoon of the tusseh-moth. This silk is seldom dyed, being the natural colour of the cocoon, which cannot be satisfactorily extracted; nor will it absorb dye perfectly.
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1891. Embroidery Silk
Embroidery silk is bright and lustrous, and composed of two rather loosely twisted large threads. Sadler's Silk and Purse-Silk have three threads. Sewing Silk has two. Tailor's Twist three threads.
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1892. Chenille
Chenille is of two kinds. Chenille À broder (the finest sort), and chenille ordinaire, which is stiff, and about the thickness of a quill: both are round. The extreme richness of the appearance of chenille makes it suitable for any work requiring great brilliancy; as the plumage of birds, some flowers, and arabesques. Silk canvas is much embroidered with chenille, but is extremely expensive, and very soon injured by dust. It should only be employed for articles intended to be glazed, such as pole-screens, the tops of work-boxes, and screens.
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1893. Arrasene
Arrasene is a perfectly flat silk-chenille—and is used for embroidery on all descriptions of material.
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1894. Braids
Braids are of various kinds. Russian silk braids are generally employed for dresses, slippers, &c.; but for many of these purposes the new Albert braid recently manufactured in England is much richer and far more effective. Russian silk braid is generally narrow, and the plait is of that kind which is termed Grecian—all the strands going from the edge to the centre. In French braid, on the contrary, the plait of every two strands over each other. French braid, in silk, is very little used in this country. Slippers and other small articles worked in braid have the effect greatly improved by laying a gold thread on one or both sides of the braid.
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1895. Victoria, Adelaide, or Coronation Braid
Victoria, Adelaide, or Coronation braid (for the same article has been called by all these various names), is a cotton braid, which, when laid on net or muslin, looks something like satin-stitch. It is composed of thick and thin parts alternately, and is made in only two sizes.
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1896. Albert Braid
Albert braid is a sort of silk cord, made in many beautiful colours. It is intended for either application, in braiding, and being raised, looks extremely well, with very small outlay of time or money.
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1897. Gold and Silver Braids
Gold and silver braids are often used in Mosaic work, and for slippers, blotting-cases, &c. The Mosaic braid, which is comparatively cheap, is generally used.
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1898. Stitches
Various stitches are used in embroidery with crewels and silk.
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1899. Stem Stitch
Stem stitch, also Crewel stitch, is that used for stems and for ordinary filling-in of flowers and arabesques. Instead of working from right to left, the stitches are smoother if worked from left to right. In stems a long stitch is made, and then a second halfway the length of the first, and half-way beyond it, till a stem is formed; and to complete it work from right to left, placing the needle under a stitch of the stem, not of the material, and so work back upon the top of the previous stitches. In the stem first worked only the tiniest piece of the material is taken up on the needle, so that the wool or silk is all on the surface.
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1900. Stem Stitch in Flowers, &c.
In flowers and arabesques the stem-stitch is worked straight, but each stitch differing in length from the other, so as to make the wool smooth. Commence the work at the lowest part of the petals, and work upwards to the edge.
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1901. Split Stem Stitch
Having worked one stitch, in making the second split the first stitch in the centre with the needle. In the stitch, the thread is continued under the material.
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1902. Couching
Couching is a laying down on the outline of the design, a thick strand of filoselle, or cord or wool or silk of any kind, and then over-stitching it down with a fine silk of the same, or a contrasting colour.
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1903. Basket-work Stitch and Diaper Stitch
These are done with gold, silver, or silk cords, stitched on the material in patterns, with silk of another, or of the same colour. The cords are just passed through the back of the work to its surface; either one, two, or three at a time are held in place by the left hand, the over-stitching being done by the right hand.
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1904. Canvas for Cross-stitch Work
The Penelope is now universally used where the ground is filled in. Formerly it resembled the silk canvas now used where no grounding is required, but by accident a manufacturer observing some cross-stitch work unpicked, took the hint, and the result was the "Penelope canvas," of which there are different degrees of fineness, determined by the number of double-crossed threads that may fill the space of one inch.
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1905. Elephant Penelope Canvas
Elephant Penelope Canvas is extremely coarse—fitted for working rugs and eight or twelve thread wools.
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1906. Silk Canvas
Silk canvas requires no grounding; it is made of a cotton thread overcast with silk, and resembles coarse even-threaded cheese cloths, but is silky.
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1907. Mode of doing Canvas Work
This is always done by the thread,—particular care should in all cases be taken that the size of the various materials is properly proportioned. Placing the canvas in a frame, technically termed dressing the frame, is an operation which requires considerable care. The frame itself, especially for a large piece of work, should be substantially made; otherwise the stress upon it will be apt to warp it, and drag the canvas. If this occurs to any extent, the injury can never be repaired.
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1908. To Frame Canvas
After herringboning the raw edges of the canvas, sew them, by the thread, to the webbing of the frame,—that is, to the top and bottom. Then stretch the ends till the canvas is extended to its utmost length, put in the pegs, and brace the sides with fine twine. If the canvas is too long for the frame, and any part has to be rolled over the end, let the wood be first covered with a few thicknesses of silver paper.
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1909. Design on Cloth
Sometimes, to save the trouble of grounding, a design is worked on cloth, over which canvas is laid. Whenever this is the case, the cloth must be carefully damped, to remove the gloss, before it is put into the frame. Then, as cloth will always stretch much more than canvas, it must be cut a little smaller both ways. The raw edges of the cloth should be turned in, and tacked to the canvas before they are framed. Some people withdraw the threads of canvas after the work is done; but it has a much richer effect if the threads of canvas are cut close to the outer stitches; and if there are any small spaces in the pattern, where the ground should be seen, they may be worked in wool of the colour of the ground.
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1910. Stretching Work
Should a piece of work be a little drawn when taken out of the frame, damp the back well with a clean sponge, and stretch it again in the frame in the opposite direction. Whenever Berlin-work is done on any solid thick material, as cloth, velvet, &c., a needle should be used with an eye sufficiently large to form a passage for this wool. This prevents the latter from being crushed and impoverished as it passes through.
