Encyclopedia of Needlework Part 15

[Ill.u.s.tration: FIG. 275. ROCOCO St.i.tCH. St.i.tCHES ON THE RIGHT SIDE.]

[Ill.u.s.tration: FIG. 276. ROCOCO St.i.tCH. COMPLETED.]

PARISIAN St.i.tCH (fig. 277).--This st.i.tch, though it is generally worked on silk canvas, can also be worked on the different cotton and linen materials already referred to more than once in this Encyclopedia.

It makes a very good grounding in cases where the material is not intended to be completely hidden. It consists of a long st.i.tch over three threads, and a short st.i.tch over one thread, alternately.

[Ill.u.s.tration: FIG. 277. PARISIAN St.i.tCH.]

GREEK St.i.tCH (fig. 278).--This differs from the ordinary cross st.i.tch, in the oblique inclination given to the threads, and the manner in which it is begun. Instead of taking up the two threads that follow the first st.i.tch, you bring your needle back from right to left, under the vertical threads of the first st.i.tch, carry it downwards, and then from right to left, to a distance of four threads beyond the first st.i.tch.

The next st.i.tch is made like the first. The rows may be joined together, either by the short or the long st.i.tches, but you must follow one rule throughout. This st.i.tch is much used in Slavonic countries, for the adornment of linen garments, and there we have observed that the short st.i.tches are generally made to encounter the long ones. A coa.r.s.e material that covers the ground well, such as, Coton a tricoter D.M.C Nos. 6 to 12, is the best one to use for this st.i.tch.

[Ill.u.s.tration: FIG. 278. GREEK St.i.tCH.]

SCOTCH St.i.tCH (fig. 279).--Squares, composed of slanting st.i.tches, made over one, three, five, three threads respectively, and then again over one thread, and separated from each other by rows of Gobelin st.i.tches, const.i.tute what is ordinarily known by the name of Scotch st.i.tch.

[Ill.u.s.tration: FIG. 279. SCOTCH St.i.tCH.]

MOORISH St.i.tCH (fig. 280).--For this st.i.tch, instead of surrounding squares of st.i.tches, made in the way we have just described, with Gobelin st.i.tch, the squares are made to touch, rising like steps one above the other, and bordered only at the sides by Gobelin st.i.tch.

[Ill.u.s.tration: FIG. 280. MOORISH St.i.tCH.]

ORIENTAL St.i.tCH (fig. 281).--Here, you make four diagonal st.i.tches over one, two, three and four double threads respectively; which four st.i.tches form so many triangles, one above the other. The empty s.p.a.ces between are filled up with Gobelin st.i.tches covering two threads.

[Ill.u.s.tration: FIG. 281. ORIENTAL St.i.tCH.]

Sh.e.l.l St.i.tCH (fig. 282).--Carry your thread upwards over six horizontal threads, then from right to left, under one vertical thread and downwards over six horizontal ones. When you have made four vertical st.i.tches in this way, bring the needle out behind the third double thread, counted lengthways, and between the third and fourth, counted across, and fasten the four long st.i.tches together with a back-st.i.tch, to the middle thread of the canvas. Draw a thread of a different colour twice through these back-st.i.tches, so as to form small knots like sh.e.l.ls, and then fill in the ground between the rows of long st.i.tches, with back-st.i.tches.

[Ill.u.s.tration: FIG. 282. Sh.e.l.l St.i.tCH.]

JACQUARD St.i.tCH (fig. 283).--If you have a large plain surface to cover, you should choose a st.i.tch that forms a pattern in itself.

Jacquard st.i.tch and others which we shall describe later on, will be found to produce the effect of brocaded stuff. To work Jacquard st.i.tch, make six st.i.tches underneath one another, over two double threads, and six by the side of one another, from left to right, over two double threads. The second row consists of the same number of st.i.tches, similarly worked downwards and to the side, but over one double thread only.

[Ill.u.s.tration: FIG. 283. JACQUARD St.i.tCH.]

BYZANTINE St.i.tCH (fig. 284).--Here, you make the same number of st.i.tches as in the preceding figure but with this difference, that the two rows of st.i.tches are made either over two, or four threads.

[Ill.u.s.tration: FIG. 284. BYZANTINE St.i.tCH.]

MILANESE St.i.tCH (fig. 285).--In the first row, the back-st.i.tch is made alternately, first over four diagonal crosses and then over one; in the second row, over three and two; in the third, over two and three, in the fourth, over one and four. The last long st.i.tches should come under the last short ones and the short ones, in the middle of the last long ones.

[Ill.u.s.tration: FIG. 285. MILANESE St.i.tCH.]

PLUSH St.i.tCH (fig. 286).--This st.i.tch, also called Astrachan st.i.tch, by means of which a very good imitation of an Oriental rug can be produced, consists of loops, each secured by a cross st.i.tch; the best way to ensure these loops being even and regular is to make them over a narrow wooden ruler, or a piece of whalebone.

The effect can be varied by cutting the loops, which gives the surface the appearance of velvet.

[Ill.u.s.tration: FIG. 286. PLUSH St.i.tCH.]

The ill.u.s.tration represents the middle loops only, as cut, for the cut and the uncut st.i.tch can both be introduced into the same piece of embroidery. For example, the borders in figs. 290, and 291, are worked in open or cut plush st.i.tch, whilst in the centres, the st.i.tch is left uncut. Two st.i.tches of a similar kind, called Smyrna and Malta st.i.tch, suitable for making rugs or carpets, are described in the last chapter but one in the book.

CHAIN St.i.tCH (fig. 287).--Generally speaking, this st.i.tch is only used for the adornment of under-linen or small articles of fancy-work but it can also be employed in copying cross st.i.tch patterns. In old collections we often meet with very interesting pieces of needlework, which were used for hangings or screens, where the figure-subjects, are executed in chain st.i.tch. Patterns in many colours, gain immensely by being worked in this st.i.tch, the colours blend together better than in any other, and even the shape of the st.i.tch contributes to soften the contrasts of colour.

Chain st.i.tch cannot, like other st.i.tches, be worked to and fro, nor can all the st.i.tches of one row be finished first, as is generally possible in cross st.i.tch work, each row must be begun separately, and always from the same side, and a different needle should be used for each colour, as the material has often to be changed.

[Ill.u.s.tration: FIG. 287. CHAIN St.i.tCH.]

The st.i.tch is worked as follows; after fastening in your thread, insert the needle at the same hole it came out of, and bring it out two threads lower down. Keep the loop, formed by the working thread, under the point of the needle. The thread should not be drawn up tightly but left to form a rather loose, round loop. For the next st.i.tches, insert the needle close to the thread that issues from the last loop.

PATTERN FOR BORDERS OR GROUNDING (fig. 288).--This simple but most effective design, copied from one of the most beautiful of Oriental carpets, can be executed in, either cross st.i.tch, plush st.i.tch, or chain st.i.tch. To make a wider border still, the diagonal lines that divide the figures shaped like an S, have only to be prolonged, and the figures repeated.

The colours have been chosen with the view of reproducing as nearly as possible the subdued and faded tones, which time has imparted to the original.

[Ill.u.s.tration: FIG. 288. PATTERN FOR BORDERS OR GROUNDINGS. MATERIALS: Coton a broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15, Fil a pointer D.M.C Nos. 10 to 30, or Coton a repriser D.M.C No. 25.

EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Rouge-Cardinal 346, ([symbol]) Rouge-Cornouille 449, ([symbol]) Bleu-Indigo 311, and ([symbol]) Bleu-Indigo 322, ([symbol]) Gris-Cendre 414, ([symbol]) Bronze dore 585 and ([symbol]) Vert-Mousse 470.[A]]

PATTERN FOR GROUNDING (fig. 289).--Diagonal lines, intersected by b.a.l.l.s, serve here as a setting for quaintly shaped flowers and leaves.

The outlines are all worked in cross st.i.tch, and the solid parts, in either tent st.i.tch or Gobelin st.i.tch.

[Ill.u.s.tration: FIG. 289. PATTERN FOR GROUNDING. MATERIALS: Coton a tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C Nos. 5 to 15 or Coton a broder D.M.C No. 16.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Jaune d'Ocre 676, ([symbol]) Violet-Mauve 315, ([symbol]) Rouge-Geranium 349, ([symbol]) Rouge-Aurore 360, ([symbol]) Bleu-Indigo 312, ([symbol]) Bleu pale 668, ([symbol]) Rouge-Cornouille 449, ([symbol]) Vert-de-gris 474, ([symbol]) Vert-de-gris 475, ([symbol]) Grounding.[A]]

PART OF A DESIGN, SUITABLE FOR CARPETS (figs. 290 and 291). Our s.p.a.ce will not admit of our reproducing more than a quarter of this design.

Colours of the softest shades should be selected for it. A black line divides the pattern into four quarters. The upper quarter on the right, and the lower one, on the left, should be worked in blue, and the upper one on the left, copied from fig. 290.

[Ill.u.s.tration: FIG. 290. PART OF A DESIGN SUITABLE FOR CARPETS.

MATERIALS: Fil a pointer D.M.C Nos. 10 to 30, Coton a tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton a repriser D.M.C No. 12.

EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand Teint 310, Rouge-Grenat 358, ([symbol]) Rouge-Cornouille 450, ([symbol]) Bleu-Indigo 311 and ([symbol]) Bleu-Indigo 322, ([symbol]) Vert metallique 465, ([symbol]) Gris-Noisette 424.]

The narrow border, in red, blue and green, is to be repeated after the broad band, which is represented in fig. 291, has been added to the grounding. A very good effect is obtained, if in the broad border, fig.

291, you vary the background of the different subjects.

[Ill.u.s.tration: FIG. 291. OUTER BORDER OF THE DESIGN FOR CARPETS FIG.

290. MATERIALS: Fil a pointer D.M.C Nos. 10 to 30, Coton a tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15, or Coton a repriser D.M.C No. 12.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Rouge-Grenat 358, ([symbol]) Bleu-Indigo 311, ([symbol]) Vert metallique 465, ([symbol]) Jaune-vieil-Or 679, ([symbol]) Gris-Noisette 424, ([symbol]) Rouge-Cornouille 450.[A]]

LINEN EMBROIDERY.--The st.i.tches used in linen embroidery are very similar to those used in canvas work. The ordinary cross st.i.tch, as represented in fig. 253, is the one most commonly used, but it is not so effective as the two-sided st.i.tches, which in the beautiful old needlework of the 15th, 16th and 17th centuries, have always excited our wonder and admiration.

STUFFS SUITABLE FOR LINEN EMBROIDERY.--Most embroidery of this kind, and more especially the Italian, is done on very fine linen. Such fine work however, requires more time and patience than people, in these days, are as a rule disposed to bestow on work intended merely for pleasure and recreation. To meet the requirements of the day, therefore, in addition to the finer kinds of linen, a great variety of textures, are now manufactured, the threads of which, being thick and round, can be easily counted. The cross st.i.tches that are worked on Cuba, Ceylon or Batavia linen, are large and coa.r.s.e, those on linen-canvas, Russian linen, twisted tammy, and Rhodes linen, small and fine.

Linen fabrics are either white, unbleached or cream-coloured. All three are used for embroidery, but the coloured cottons show up best on the cream ground; on the white, they look hard and crude, and on the unbleached, dull and faded.

MATERIALS SUITABLE FOR LINEN EMBROIDERY--As most linen embroidery is executed on articles that are subjected to frequent washing, the D.M.C cottons, which are to be had in every shade and colour, are the best for the purpose. For coa.r.s.e stuffs, coa.r.s.e cotton should be used, such as knitting cotton, Coton a tricoter D.M.C Nos. 6, 8, 10, 12 and 14,[A]

which will be found a very good subst.i.tute for wool; or six-cord crochet cotton (Cordonnet 6 fils D.M.C) Nos. 3, 4, 5, 10 and 15,[A] which gives quite as full and brilliant a st.i.tch, as silk-twist. Finer cottons should be used for the finer stuffs, such as embroidery cotton (Coton a broder D.M.C) Nos. 6 to 200,[A] and lace thread (Fil a dentelle D.M.C) Nos. 30 to 150.[A] In many cases, even darning cotton (Coton a repriser D.M.C) can be used, as like Algerian silk, it can be split or taken double, to suit the stuff.

PLAIN CROSS St.i.tCH ON AUXILIARY CANVAS (fig. 292).--Plain cross st.i.tch, commonly called marking st.i.tch, has already been described in fig. 253. But it may be well to observe, that when an auxiliary material is used, it should be most carefully tacked upon the stuff following the thread of the same, and a sufficient margin left to allow of the drawing out of the canvas threads, when the work is finished.

[Ill.u.s.tration: FIG. 292. PLAIN CROSS St.i.tCH ON AUXILIARY CANVAS.]