Beeton's Book of Needlework Part 11

[Ill.u.s.tration: 105.--Star in Point de Reprise.]

ILl.u.s.tRATIONS 105 & 106 (_Patterns in Back, Satin, and Ladder St.i.tches_).--The small star in the centre of No. 105 is worked in _point de reprise_.

[Ill.u.s.tration: 106.--Star.]

[Ill.u.s.tration: 107.--Flower in Satin St.i.tch.]

ILl.u.s.tRATION 107 (_Flower in Satin St.i.tch_).--The fine veinings are worked with fine black silk in _point russe_, which renders the effect of the flower very beautiful.

[Ill.u.s.tration: 108--Rose in Satin St.i.tch.]

[Ill.u.s.tration: 109.--Petal for Rose.]

ILl.u.s.tRATIONS 108 & 109 (_Rose in Satin St.i.tch_).--No. 109 shows one petal larger than full size. The outer circle only is prepared with chain st.i.tches underneath, so as to appear raised; the inner circles are worked flat. The centre of the rose is embroidered in open work.

[Ill.u.s.tration: 110.--Heartsease.]

ILl.u.s.tRATION 110 (_Embroidered Heartsease_).--For the knotted st.i.tch see No. 75. for the _point croise_ see 71 and 72.

[Ill.u.s.tration: 111.--Raised Flower]

ILl.u.s.tRATION 111 (_Flower in Raised Satin St.i.tch_).

[Ill.u.s.tration: 112.--Ear of Corn.]

ILl.u.s.tRATION 112 (_An Ear of Corn in Point de Minute_).

[Ill.u.s.tration: 113.--Bluebell.]

[Ill.u.s.tration: 114.--Inner part of Bluebell.]

ILl.u.s.tRATIONS 113, 114, & 116 (_Bluebell in Raised Satin St.i.tch_).--This flower is worked partly in separate pieces, as has been described.

Ill.u.s.tration 116 shows the raised part stretched out flat. When it is finished it is fastened down along the dotted line on No. 114, which shows the inner part of the flower.

[Ill.u.s.tration: 115.--Flower.]

ILl.u.s.tRATION 115 (_Flower in Point de Minute_).--This st.i.tch is here worked over a thick foundation of chain st.i.tches. For raised patterns it looks very well.

[Ill.u.s.tration: 115.--Outer part of Bluebell.]

[Ill.u.s.tration: 117.--Flower appliqued on Net.]

ILl.u.s.tRATIONS 116 & 117 (_Flower worked in Applique_).--To work in applique, two materials, either similar or different, are needed. You can work either in applique of muslin on muslin, or of muslin on net, or of net on net. Muslin on Brussels net is the prettiest way of working in applique; we will therefore describe it: the other materials are worked in the same manner. Trace the pattern on the muslin, fasten the latter on the net, and trace the outlines of the pattern with very small st.i.tches work them in overcast st.i.tch with very fine cotton, taking care not to pucker the material. The veinings are worked in overcast. When the pattern has been embroidered cut away the muslin round the outlines with sharp scissors, so that the net forms the grounding (see No. 117).

The greatest care is required in cutting out the muslin to avoid touching the threads of the net.

[Ill.u.s.tration: 118.--Border.]

ILl.u.s.tRATIONS 118 & 119 (_Narrow Borders_).--It will be easy to work these borders from the above instructions. Observe only that on border 118 the outer row of scallops is worked first, then the b.u.t.ton-hole st.i.tch row, and the rest afterwards. The spots are edged all round in knotted st.i.tch. The wheels in the centre of the eyelets of No. 119 are worked with very fine cotton in loose b.u.t.ton-hole st.i.tch; they are wound round with the cotton in a second row.

[Ill.u.s.tration: 119.--Border.]

[Ill.u.s.tration: 120.--Insertion.]

ILl.u.s.tRATIONS 120 TO 122.--Three strips of insertion, which are worked nearly like the ladder st.i.tch. For No. 120, in tracing the outlines, make two small knots at short distances by winding the cotton four times round the needle, as can be seen in ill.u.s.tration; the windings are held down with the thumb of the left hand, draw the needle through, and a knot is formed. The outlines are worked in b.u.t.ton-hole st.i.tch only when all the knots have been made, and then the material is cut away underneath.

Ill.u.s.tration 121 is a variety of the slanting ladder st.i.tch.

Ill.u.s.tration 122.--The cross threads are worked in two rows in the common herring-bone st.i.tch, as can be seen by the black lines on the ill.u.s.tration. The straight lines at the top and at the bottom are worked in double overcast; lastly, the wheels are worked in a row as described for the star pattern, No. 104.

[Ill.u.s.tration: 121.--Insertion.]

[Ill.u.s.tration: 122.--Insertion.]

[Ill.u.s.tration: 123. U]

[Ill.u.s.tration: 124. C]

[Ill.u.s.tration: 125. B]

[Ill.u.s.tration: 126. O]

ILl.u.s.tRATIONS 123 To 129 (_Embroidered Initials_).--To learn to work initials the Roman characters are the easiest to begin with. They must be traced and prepared like other embroidery in satin st.i.tch, only the chain st.i.tches underneath must not be too thick: it would take away the shape of the letters. All depends on the fineness and regularity of the st.i.tches; they must be worked in overcast st.i.tch. Work from left to right, and the letter when completed must look rather like raised printing than like embroidery. Gothic letters are much more difficult to work on account of the many flourishes; it requires great practice in needlework to embroider them well. Ill.u.s.tration 123.--The small black dots are worked in black silk on the thick parts of the letter: the fine strokes are covered with cross threads of black silk. Ill.u.s.tration 124.--The outlines of the letter and the fine strokes are worked in black silk. Ill.u.s.tration 125.--This letter is embroidered in raised satin st.i.tch and _point de plume_. Ill.u.s.tration 126.--This letter is worked in back st.i.tches, over which are worked at regular distances cross st.i.tches of black silk. Ill.u.s.tration 127.--Letter in satin and back st.i.tch. Ill.u.s.tration 128 to be worked in overcast and double overcast.

Ill.u.s.tration 129.--Letter G in _point russe_ with black silk.

[Ill.u.s.tration: 127.]

[Ill.u.s.tration: 128.]

[Ill.u.s.tration: 129.]

[Ill.u.s.tration: 130.]

ILl.u.s.tRATION 130 (_Embroidered Figures_).--They are worked like the letters in _point de plume_ and overcast; the dots are worked in knotted st.i.tch.