Chapter 3

OPEN-WORK INSERTION (fig. 78).—After drawing out sixteen or eighteen threads, bind both sides with stitches made over four horizontal and four perpendicular threads, as follows; make one back-stitch over four disengaged threads, then bring up your thread from right to left, over four horizontal and under four perpendicular threads, back over the four last threads, and draw it out beside the next cluster. The clusters, as they now stand, are bound together in the middle, three by three, with darning-stitches. The thread must be fastened in and cut off, after each group is finished.

OPEN-WORK INSERTION (fig. 79).—First bind the two edges with stitches, in the ordinary way. At the last stitch introduce the thread slanting, according to the dotted line, pass it under four horizontal and three perpendicular threads of the stuff and draw it out; then over three threads from right to left, and back under the same, from left to right, and out again; over four horizontal threads, and, under and again over, three perpendicular ones; for the next stitch, you again follow the dotted slanting line.

Then make the darning stitch over nine threads, or three clusters. At half their length, you leave out three threads, first on the right, then on the left, whilst in the other half, you, in a similar manner, take in three; so that you have two darned and two undarned clusters, standing opposite each other. Finally, you overcast the single clusters, and connect every two with a lock-stitch, as shown in the accompanying illustration.

OPEN-WORK INSERTION (fig. 80).—Draw out twenty threads, overcast both edges with stitches, made over three threads. Then, make slanting stitches, proceeding out from these, over three, six and nine threads respectively, all three terminating in a perpendicular line, one below the other.

For the open-work, twist the thread five times, quite tightly round and round one cluster, bring it to the edge, between the second and third clusters, and connect these by means of six darning-stitches to and fro: join the first and second clusters in the same way by twelve stitches, and finish, by twisting the thread five times round the remaining length of the first cluster. The second half of the open-work figure is carried out in a similar manner over the third and fourth clusters.

OPEN-WORK INSERTION IN FOUR COLOURS (fig. 81).—Draw out, from twenty-five to thirty threads. The outside figures are executed over six clusters, of three threads each, in a dark and light shade alternately of the same colour. Each of the middle figures combines three clusters of the two figures above it, and may be executed, either in a different colour altogether, or in a lighter shade of the one employed in the top row. The little star in the centre should be worked in dark red, or black.

COLOURS: Rouge-Turc 321, Bleu-Indigo 312, 334, Noir grand Teint 310.[A]]

OPEN-WORK INSERTIONS (figs. 82, 83, 84).—For each of these draw out forty threads. Fig. 82 worked in white, and Rouge-Grenat clair 309, comprises fourteen clusters, of four threads each. Begin at the top of the big pyramid, so that the threads which you run in, can be more closely crowded together.

In fig. 83, the two rows of short clusters are worked in Gris-Tilleul moyen, and, Gris-Tilleul clair, 392 and 330;[A] the pyramid of steps, in Brun-Chamois moyen, 324;[A] the three inner clusters in Brim-Chamois très clair, 418. One figure consists of fourteen clusters, of three threads each.

Fig. 84 also is to be worked in three colours; the light squares in unbleached cotton, the middle figure in Bleu-Indigo très clair, 334, the large squares on either side in Brun-Cuir clair 432. Each figure contains eighteen clusters, of three threads each.

OPEN-WORK INSERTION WITH SPIDERS (fig. 85).—The edges are to be herring-boned, as described in fig. 39. In the middle, the so-called spiders are made, over every group of four clusters. The thread that runs out from the spider, passes over two clusters and under one, and then three or four times, over and under the clusters, as in darning, and so back, under the spider, at the place at which it was drawn in, and then on, to the next four strands of thread.

THREE-ROWED OPEN-WORK (fig. 86).—Draw out five threads for the narrow stripe, and from fourteen to sixteen for the wide one. Each cluster should consist of four threads. The narrow bands between, are to be herring-boned on either side. The dotted line shows the course of the thread, on the wrong side. Then unite each separate cluster in the middle, with a back-stitch, as shown in the illustration, and finally, join every group of four clusters together, with three stitches, and make a spider in the middle of the open-work, at the point where the threads intersect each other.

OPEN-WORK INSERTION WITH RINGS (fig. 87).—Bind the edges on both sides, with straight, two-sided, stitches. Take, for this, Coton à broder D.M.C, No. 30, (embroidery cotton), using it double. Draw out, from twenty-four to thirty threads. Wind your thread six or seven times round the middle of each cluster of nine threads, and then make darning-stitches, above and below, to a length of 3 m/m. When you have completed two clusters, join them together, by four interlocked stitches; wind your thread three times round the single thread, and sew it over with close stitches.

OPEN-WORK INSERTION WITH SPIDERS (fig. 88).—Draw out twenty-four threads. Ornament the two edges with half-spiders. You begin these over two threads, and go on taking in others, to the number of eight. The whole spider in the middle, is made as above described.

OPEN-WORK INSERTION (figs. 89 and 90).—The beauty of this otherwise simple pattern, lies in the peculiar knot, with which the edges of the stuff are ornamented.

Carry the working thread, as shown in fig. 90, from right to left, (see the description of the right side) over and under four threads; then bring the needle back, under the thread which lies slanting, form a loop with the forefinger of the left hand, slip it on to the needle, and draw it up close to the first stitch; pull the needle through the knot, and proceed to the next stitch.

The illustration explains how the open-work in the middle should be carried out.

OPEN-WORK WITH WINDING STITCH (fig. 91).—For this pattern, which is a very laborious one to work, draw out twenty-eight threads. Bind the edges with two-sided stitches, over two, three, four and five threads, respectively. For the middle figures, you must reckon four threads for the clusters, round which the working thread is tightly twisted, eight for the darned clusters, ornamented with picots (see fig. 165), and sixteen for the rectangular rosettes, in two colours.

Make a loose spider over the threads, as a background for the rosette. Work the picots in a different colour from the cluster, and the rosettes, likewise, in two colours. The connecting loops between the figures should be made as you go along, the thread being always carried back into the loop just made.

CUTTING OUT THREADS AT THE CORNERS (figs. 92, 93, 94, 95). If you want to carry a latticed-hem or a simple open-work pattern, round a corner, you must cut and loosen the threads, on both sides, about one c/m. from the edge of the hem, as seen in fig. 92. The loose threads can be pushed into the turning, and the edge button-holed, as in fig. 93.

If however, on the other hand, the stitching be continued without interruption, as indicated in the upper part of fig. 94, the loose threads must be brought to the wrong side, and as represented in the lower part of fig. 94, fastened down with a few stitches.

CUT OPEN-WORK (PUNTO TAGLIATO).—For cut open-work, threads have to be drawn out both ways, the number of course to depend on the pattern. Threads, left between others that have been cut out, serve as a foundation on which a great variety of stitches can be worked. Stuffs, equally coarse in the warp and woof, should be chosen for all cut open-work, for then the empty spaces that remain, where threads have been drawn out both ways, will be perfectly square.

DRAWING OUT THREADS BOTH WAYS (fig. 96).—The same number of threads must be drawn out each way; most patterns require the same number of threads to be left as are drawn out. In fig. 96, three threads have been drawn out and three left.

CUTTING OUT THREADS (fig. 97).—We often meet with cut open-work patterns, set in another kind of embroidery. In such cases, the threads that are to be cut out, must be cut a few millimetres within the edge, and then drawn out, so that there may be a frame of the stuff left intact outside.

BUTTON-HOLING THE RAW EDGES (fig. 98).—In very fine linen textures, the threads can simply be cut out, but in the case of coarser stuffs, and when a pattern ends in steps as in figs. 103, 104, 105, the raw edges must be button-holed as in fig. 98, or 99.

OVERCASTING THE RAW EDGES (fig. 99).—Cording the raw edges, is even better than button-holing them. Count the number of threads carefully that have to be cut out, run in a thread to mark the pattern, and then only, cut the threads through, at least two threads within the line.

OVERCASTING THE TRELLISED GROUND (fig. 100).—If you only have a small surface to embroider, you can draw out all the threads at once. But in the case of a large piece of work it is better to begin by removing the threads in one direction only, and completing all the little bars, one way first; after which you draw out the threads the other way and embroider those you leave. In this way you will secure greater equality and finish in your work.

GROUND FOR SQUARE, FIG. 105 (figs. 101 and 102).—Finish the first row of bars along the edge completely, to begin with. In the second row, overcast the bar, down to half its length, then carry your thread over two empty spaces, see the letter _a_, come back to the bar, overcasting the thread which you threw across first, and passing the needle under the bars of the stuff. In the second rows that intersect the first, marked by letter _b_, the threads meet in the middle of the empty space.

In fig. 102, finish the bars, overcast both ways first, and then fill in the ground with interlaced threads, worked row by row, throwing the thread from one square to the other as you go, and doubling it, as you return. For the bars, see the chapters on net embroidery, and Irish lace.

LATTICE-GROUND AND DAMASK STITCH FOR SQUARE, FIG. 105 (fig. 103).—Our illustration shows a third kind of openwork ground with one corner in damask stitch, of the square represented in fig. 105. The little bars which intersect each square crossways, are made in two divisions, by carrying the thread to the opposite bar and back. In the same way, the second thread is carried over the first. The damask stitches are described in the next chapter, in figs. 143 and 144.

LATTICE-GROUND AND DAMASK STITCHES FOR SQUARE, FIG. 105 (fig. 104).—Damask, or gobelin stitches, are given in figs. 152, 153, 154. The ground of this part of the square (fig. 104) is adorned with narrow bars, worked in darning stitch. From the centre of one bar, proceed three bars made on three foundation-threads, and a fourth made on two, on account of the passage to the next bar.

QUARTER OF THE SQUARE IN SINGLE AND CUT OPEN-WORK, AND DAMASK-STITCH (fig. 105).—Original size 48 c/m. square. This handsome square is worked in unbleached cotton on a white ground; it may also be worked in colours. A very good effect is produced by using Chiné d’or D.M.C[A] red, blue, or green for the gobelin stitch, and a uniform pale tint for the cut open-work.

Figs. 101, 102, 103, 104 illustrate in detail, one quarter of the square, which is represented here one third of the original size. The centre piece (fig. 104) is bordered by four stripes, two long and two short; the former containing two lozenge-shaped open-work figures separated and finished off by damask stitches; the latter, only one such figure. For the insertion in single open-work, that recurs three times, you will find a variety of designs in figs. 81, 82, 83, 84, 87, 88.

For antique linen: Fil à dentelle D.M.C No. 25 or 30, or Cordonnet 6 fils D.M.C No. 50, 60, or 70, and Coton à repriser D.M.C No. 50 or, in place of the latter, Coton à broder surfin D.M.C No. 190.[A]]

DRAWING IN THE PATTERN (fig. 106).—Darning in the threads, as you do into a net foundation is a slower process and one that requires greater skill than drawing them in. The illustration shows the proper order and direction of stitches for Fig. 108. In this case likewise, the little bars must be finished, before the actual pattern is filled in.

DARNING IN THE THREADS (fig. 107)—In old needle-work we often find the pattern reserved, that is, left blank and outlined by the grounding. As it is difficult, especially in executing minute, and delicate figures, to withdraw the threads partially, without injuring the linen foundation, they are withdrawn throughout, and new ones drawn in, to form the pattern. To explain this more clearly, the original threads of the material are represented in a lighter shade than the new ones that are drawn in; the course of the stitches is indicated in a darker shade.

BROAD INSERTION IN CUT OPEN-WORK, WITH THE PATTERN DRAWN IN (fig. 108).—This insertion, suitable according to the foundation it is worked on, for the decoration either of curtains, table-covers, bed-linen or underclothing, is made as shown in fig. 106. If intended for the decoration of any article made of white linen, we recommend unbleached materials for the lattice-work, and bleached for the pattern, to bring it out in strong relief.

INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED IN (fig. 109).—This insertion can be introduced into any kind of linen material, and used for ornamenting towels, aprons, bed-linen and table-linen. When it is used to connect bands of cross-stitch embroidery, the open-work should be of the same colour as the embroidery, and the pattern worked in white or unbleached cotton, to correspond with the foundation. In fig. 109, the pattern is half as large again as in the original.

CUT OPEN-WORK PATTERN (figs. 110 and 111).—This pattern, more of the nature of lace than any of the former, is well adapted for trimming, not only household articles but also church furniture, altar-cloths and the like, which are required to wash, as it can be worked in any width.

Fig. 110, a magnified representation of the work in process of execution, shows alternately, ten threads withdrawn each way and six left, with open spaces between. The arcs are worked over three carefully laid threads, carried across from the middle of one bar to the middle of the bar at right angles to it, the wheels on the other hand are begun and finished at the same corner. Overcast the cut edges, and hem-stitch the outside layer of stuff (figs. 61 and 62).

GREEK CUT OPEN-WORK PATTERN (fig. 112).—After the foregoing explanations, no difficulty will be found in copying the beautiful Greek cut open-work pattern, illustrated in fig. 112. Here, we have in the original, 48 threads drawn out in the middle, both ways, from one straight bar to another, (these bars being darned) with open spaces between; and in the lower and narrower division, 21 threads drawn out each way. The cut edges, from bar to bar, are hem-stitched on both sides, leaving four threads of the stuff between.

The long bars, in the second figure, are button holed on both sides, those with the picots, on one side only.

FOOTNOTES:

[A] See, at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.

Net and damask stitches.

Many net embroidery patterns and damask stitches consist of a combination of ordinary running and darning, others of chain, stem and cross stitch.

NET EMBROIDERY.—All these kinds of stitches can be worked on the coarse Greek net, as it is called, as well as on the finest quality of real Brussels net.

Stripes of net, finished off with button-hole edging, and ornamented with one or other of the following patterns, make very pretty washing laces and the like; net laid upon Irish point and converted by needlework into a lace ground, makes an excellent substitute for a hand-made ground, which demands much labour and time.

MATERIALS SUITABLE FOR NET EMBROIDERY.—The choice of material must be determined by the quality of the net and the effect to be produced. For a coarse make of net and a very marked pattern, the lowest numbers of D.M.C cottons, or the narrowest braids, such as Soutache D.M.C Nos. 1, 2, 3 should be used; if the net be fine and the pattern a delicate one, then the higher numbers of the following are preferable: Coton à tricoter D.M.C Nos. 8 to 20, Coton à repriser D.M.C Nos. 25 to 70, Coton à broder D.M.C Nos. 16 to 50, Fil à dentelle D.M.C Nos. 25 to 50, Coton à broder surfin D.M.C Nos. 100, 120, 150. The latter must be adjusted to the required size before being used, that is to say as many strands of it removed, as is necessary in order to reduce it to the proper thickness.

TRACING WITH RUNNING STITCHES (fig. 113).—Have your pattern traced on linen or paper; tack the net upon it, and copy it carefully on the net with running stitches. As in darning, the stitches must run first above and then beneath, alternating in each succeeding row. At the turn of the lines, the stitches cross each other, as shown in the illustration.

NET PATTERN (fig. 114).—Here too the pattern is traced with running stitches, which are run in on both sides of each row of meshes. The thread is carried first to the right, and then to the left, under every alternate bar of the net and out again. Between the first and second rows, one thread of the foundation must be left uncovered. In the next row, the thread is carried back again, so that it encircles each mesh. In the third row, the thread passes under the same bar of net as in the second, the threads touching each other. The fourth row is a repetition of the first.

NET PATTERN (fig. 115).—This consists of two rows of stitches. In the first, the single stitches run diagonally from left to right, over and under a mesh; in the second row the triple stitches, also carried diagonally across a mesh, lie from right to left.

NET PATTERN (fig. 116).—Begin with a double row, as in fig. 114; this is followed by a row of cross-stitch, touching the others, for which the thread has to be carried, first under one of the straight bars of the mesh and then diagonally, across it. A second, similar row of stitches backwards, completes the crosses. This can be further varied by the introduction of a row of triple stitches, after the double row, as in fig. 115, and the repetition of the two first only.

These rows can also be worked in two colours, or in white thread and washing gold.

NET PATTERN (fig. 117).—Begin at the top, carrying the thread, first under and then over two bars and a mesh, and then underneath as before. In the second as in the first row, the threads must be drawn in, so that 4 threads always meet in one mesh, and two run parallel to each other through the same mesh.

NET PATTERN (fig. 118).—This pattern, which resembles fig. 117 in the execution, is thickened by triple stitches. Above, where in the preceding row three threads were laid, the thread should be single.

Very pretty varieties are to be obtained by the introduction of several colours. Take white, for instance, for the first row, and different shades of the same colour for the second, third, fourth and fifth rows; such as, Bleu-Lapis 345, 344, 343, 333, 342, [A] or Rouge-Cardinal 348, 305, 304, 347, 346, [A] or Rouge-Géranium, Brun-Caroubier or any other colour that is absolutely fast.

NET PATTERN (fig. 119).—After one row of cross-stitch, such as was described in fig. 116, add a second, carrying the thread under the bar that lies between the first stitches, so that the two rows only cover three threads of the net. The close bands of cross-stitch must be divided from each other by one row of net bars.