CHAPTER V
NEEDLE-WEAVING—RUSSIAN OPEN-WORK—
LINKED STITCHES
“A web made fair in the weaving.”
Needle-weaving is a form of decoration common to all countries; it was practised by primitive peoples and must have preceded embroidery. It was a means of adding richness and colour much in favour with the early Egyptians, who decorated their garments with fringes and bands of needle-weaving. Mummy cloths treated in this way are to be seen in the British Museum; also specimens of early Coptic work, preserved in the Victoria and Albert Museum, show that they were in the habit of weaving little panels and borders with the needle, with which to decorate their garments. This desire to enrich and decorate with the needle, by means of colour and pattern, the more important parts of their apparel followed on the discovery of how to weave cloth, and so we find that these early workers frequently left out the weft threads and wove in beautiful patterns, rich in colour, with the needle into these spaces. Later, little panels, bars and medallions were worked in this way and inserted into their garments. This needle-weaving, which is practically tapestry with the needle, seems to have reached a great degree of perfection in the fifth century. There is very little to distinguish needle-weaving from tapestry, except that the latter is done with the shuttle instead of the needle.
This weaving of patterns directly on to the material is fascinating work. It is so effective, so rich in result, and so charmingly appropriate to the material; there must always be a certain stiffness and rigidity in the pattern, caused by the upright warp threads, which demand simplicity of treatment. Weaving, whether done with needle, bobbins or shuttle, is just a method of interweaving the warp threads with the weft; these weft-threads may consist of wools, silks, cottons, or—decoratively, of raffia, or even gold and silver threads.
This type of work may be applied to all kinds of useful household articles—table linen, bed linen, cushions, bags, chair backs, footstools, book covers; also bands and insertions for garments. There is room for such simple pattern, combined in some cases with other stitchery, on these and many other articles, where a marginal decoration is appropriate.
Description of Frontispiece.—Plate I. shows a table square worked on “Titian” canvas of a soft brown tint. The original was 36 inches by 18 inches. The edges of the canvas should be turned up and the spaces arranged for the needle-weaving and coloured bands before the weft threads are removed. Allow about 3 inches for the open-work. Cut the weft threads and pull them out. Fig. 31 shows method of working; begin at the right-hand corner and weave the pattern over six groups, three strands in each group—these are worked in gold and yellow; repeat the same pattern on the opposite side—it simplifies the work and saves time and trouble if the weaving is done from the ends, working inwards; thus two similar patterns are woven, one after the other. If the band of weaving is carefully examined, it will be seen that the gold-coloured threads form a definite pattern on the background; if these are woven in first, it will aid the worker and act as a guide for the interlacing of the other colours. The next group, in lemon and purple, is worked on nine groups of threads: throughout all these patterns a group consists of three strands. The purple lines are sewn in with a back stitch. The third group is formed of a large cross in orange surrounded with gold-coloured squares, which in turn are completed with blue squares at the corners.
The fourth, or central group, has two narrow bars on each side, worked in soft green, blue, purple and gold.
The inner cross of lemon wool with purple and gold can be easily followed from the plate.
The broad band of needle-weaving is edged by rows of variegated chain stitch in brown and cream (for the working of which, see [Fig. 1], p. 46), and followed by rows of button-hole in orange (Fig. 11).
The wide braid-like line in oriental stitch, along the top, is worked very closely; along the sides the same stitch is seen with wider spacing. This stitch is of the herring-bone type—the needle is inserted vertically, instead of horizontally, as in the case of the commoner and better-known stitch. It is effective and economical, as the bulk of the thread is on the surface.
The tassels are of soft brown and bright blue wool hung on to button-holed loops, for the making of which, see [Fig. 57], Chapter XIII.; and for the tassels, [Fig. 41]. The ribbon border is worked in gold and purple silk.
A sideboard runner worked similarly, but with two wide bands of needle-weaving at each end and rather wider lines of stitchery at the sides, was made to match this table runner; the light colours of the border gave a very gay touch to an otherwise sombre room.
Plate II., Fig. N, illustrates another type of open-work which is practised by the peasantry of Russia. It is interesting and quite different in appearance from some of the other peasant work. One distinguishing feature is that two rows are worked in conjunction, and another is the number of rows and the manner in which they are worked. This form of open-work deserves to be better known in this country. The pattern is formed by means of blocks of stitches, which are not worked in the ordinary darning or weaving stitch but by the overcasting of laid threads; indeed, with the exception of the first and final rows—which are hemstitched—the entire work consists of the overcasting of threads; bars, strands or groups, all are worked from right to left. The Russian peasantry work most elaborate borders on handsome linen of an open texture; these borders vary in width from 2 inches to 18 inches, and are applied to all kinds of articles for household and personal use. This form of open-work is more durable than the type usually done in this country; indeed, the material is strengthened by the stitchery rather than weakened, as is frequently the case with the usual method of treating drawn-thread work.
To work a border similar to Plate II., Fig. N, begin by removing two threads; work a row of single hemstitch into the space, over four threads, dividing the material into clusters with six warp threads in each—the hemstitching is done from left to right in the usual way. To prepare for the next two rows, leave a narrow bar of five weft threads and draw out six threads—the number of threads to be removed will, of course, vary according to the quality of the material, but the horizontal intervening bars are always narrower than the open spaces. Begin at the right hand; make the number of upright stitches necessary to carry the thread to the left of the group, which is to be worked into a solid block; lay the thread across this group, and returning, bring the needle out between the first and second cluster of threads, on the right of the cluster; now put the needle over the laid thread and bring it out under the laid thread at the next group. Put the needle over the thread again and bring it out at the left of the entire group; in other words, overcast the laid thread from right to left of the group—always pass the needle behind a cluster of threads between each overcasting stitch; continue to lay the thread and overcast back until the space is filled, then work one straight stitch over the upper horizontal bar; overcast one vertical cluster; slip the carrying thread up behind; work another upright stitch; overcast the second vertical cluster; again slip the thread up through the back of the stitchery; then work the upright stitches and repeat the laying and overcasting to make the solid pattern again. Once the method is acquired, it will be a simple matter to arrange these solid masses in such a way as to form a pattern. It is better to prepare and cut the threads of each row just before working it; there is, in this way, less risk of making mistakes by cutting the wrong threads. Another reason for preparing the rows step by step is that the material is easier to hold before the removal of the weft threads than it would be after they have been withdrawn.
Linked Stitches.
Chain and Tambour Work (Fig. 1).—Chain stitch, which is said to have come to us from China, has been for a long time little used in this country. Tambour stitch—in high favour and greatly used by our grandmothers—was produced later by the machine in such quantities and in so mechanical and inartistic a manner that it fell into disfavour, and unfortunately chain stitch—which is practically the same, except that it is worked with the needle instead of with a crochet hook—fell with it. Nevertheless, it is a stitch which is most useful and charming in its even and somewhat monotonous regularity, especially where a great variety of colour is used and a broad effect is wanted. A particularly adaptable stitch, it lends itself, on account of its linked nature, to the following of curves and spirals, outlines and the filling of circular and oval forms. It can be worked singly—as a powdering—or in a zig-zag pattern—with two colours at once—which produces an interesting result (Plate I.), or with a twist. Worked openly with the needle inserted first to the left then to the right to give a broader line, it is known as ladder stitch, while twisted chain, worked closely, is known as rope stitch. Linked chain and cable chain (Fig. 8) are more elaborate forms of the same stitch. Much of the beautiful Persian quilting done on linens is worked in chain stitch on the wrong side, which gives the “quilting,” or back stitch, on the right side.
The Working of Tambour Stitch.—Tambour stitch, though of little use for small work, might still be employed very effectively as a quilting stitch, and for large pieces of work, such as table covers or hangings; it is worked on a frame, and one can quickly acquire facility with the hook and accuracy in the working of it.
Method:—The material is put in a frame; the thread is kept underneath, where the left hand guides it; a sharp-pointed hook is kept in the right hand and passed through the material from the surface; it catches the thread from the under side and bring it up in a loop; the hook is inserted again and the thread is again brought up in a loop through the preceding loop.
Fig. 1.
To Work Chain Stitch (Fig. 1).—To work chain stitch, bring the thread out at the beginning of the line; hold it down with the left thumb; place the needle into the hole, which the thread already occupies, and take up a small piece of the material—this will vary from one-sixteenth to one-eighth of an inch according to the thread and material; draw the thread through, and the first link of the chain is complete; insert the needle again at the spot where the thread comes out and proceed as before. A cord-like effect may be got by overcasting each link of the chain with another colour: the eye of the needle should be used, as the overcast stitch is taken over the links only.
Chain Stitch in Two Colours.—A variation to a border may be given by working alternate links of different colour.
Method:—Take two threads in the needle, a black and a white, or a blue and a green, or any two contrasting colours; bring the needle out at the starting point; hold the black thread, which should be to the left, under the thumb—the white thread is placed aside out of the way; insert the needle, as for chain stitch, beside the held thread and draw through—a chain stitch of black has been formed. Next, hold the white thread under the thumb, and form the white link, the black thread being placed aside to the right this time. Work in this way alternate black and white links; a little manipulation is sometimes required to keep the thread not in use out of sight (Plate I.).
Split Stitch.—Split stitch may be used for very fine work, or for fixing down laid stitches, for which it is particularly suitable; it has the appearance of a fine chain stitch, but is in reality a single stitch which is split, in the process of working, by the needle. Up to the fourteenth century, it was generally used in figure embroidery to express form, folds of drapery, and features, and was a stitch well adapted for the purpose; but as figure embroidery is quite beyond the scope of this book and the simpler pieces of embroidery it advocates, it is sufficient perhaps to explain the method of working, rather than go into the particulars of its history. It is worked from left to right.
Method:—Bring the thread to the surface at the left; take a stitch, one-sixteenth of an inch, to the right with the point of the needle towards the left; pierce the thread which covers this space and draw the needle through it, splitting the thread and forming a link-like stitch.
Fig. 2.
Coral Stitch (Fig. 2).—Coral stitch is a good decorative line stitch, easily and quickly executed. It is known under several names, such as snail-trail and knotted stitch, etc. It is composed of single knots, worked with the connecting thread on the surface; sometimes the knots are worked so closely together as to have the appearance of beads, or they may be worked half an inch apart, and in rows, when they make good lines for filling large spaces or borders.
Method of working:—Bring the thread through to the front; place the left thumb on it, beyond the point where the knot is to be made; take a stitch under the held thread and at right angles to it; draw the needle through, still holding the thread under the thumb, and tighten. This stitch is suitable for working with wools on fine material.
PLATE IV.
A PORTIÈRE.
Petal or Loop Stitch (Fig. 3).—Another useful stitch is shown in Fig. 3. It is invaluable for the making of small flowers and borders, for picking out edges, and for emphasising lines (Plates IV., XIII.). The working of a small flower is shown in Figs. 3 and 3A.
Fig. 3. Fig. 3a. Fig. 3b.
Method:—Bring the needle out in the centre of the space; insert it again at the same point; bring it out near the tip of the petal, as in Fig. 3A, and tack it down with a small stitch.
Larger flowers can be quite artistically worked by beginning with a small stitch at the foot of the petal, and increasing by successive stitches until the outline is reached (Fig. 3B). The outer stitch can be worked in a different colour or tone with pleasing effect. One of the large conventional flowers in Plate XI. has an outline of these stitches, while another has the inner circle worked in the same way (Plate IV.).
Fig. 4.
Feather Stitch (Fig. 4).—One of the feather stitches, all of which are composed of button-hole stitches, is illustrated in Fig. 4. It is worked vertically, a stitch being made alternately from left to right. The width of the stitch may vary, but it must be regularly worked and uniform in size, to look well, when it presents a braid-like appearance which is most ornamental for underlinen and other purposes. The diagram explains the method of working.
Fish-bone Stitch (Fig. 5).—Fish-bone stitch is another of the feather or button-hole type. There are so many variations of those stitches, which are well known to most needle-women—having been used for the decoration of underlinen for the last generation or two—that only a few need be mentioned here.
Fig. 5.
Quite a pretty and uncommon variety (Fig. 5) is useful for the filling of leaf forms, as well as for borders. The stitch appears to be made up of two long outer and two short inner ones, but as will be seen by looking carefully at the diagram, there are only two movements. It is worked just as in Fig. 4, from left to right. It is very easily worked on loosely-woven material, but where the texture is close, it is simpler and safer to mark four lines on the material for guidance, two outer and two inner, the latter closer together.
To work Fig. 5.—Begin to work from one of the central lines—the one to the right; insert the needle on the left outer line and bring it out on the left inner line, keeping the working thread under the needle; continue in this way, working vertically and keeping the stitches regular and equally spaced. The outside stitches may be made still longer and closer than those in the diagram with good effects, particularly when used for a filling for petals and leaves.
Cretan Stitch.—A still more pleasing variety, known as Cretan stitch and frequently seen on Cretan or Eastern embroideries, is worked similarly in horizontal lines, but the outer and longer stitches are small, straight and closely worked together, so that it makes an excellent solid border stitch, which looks very handsome when worked in metal threads.
To work Cretan or Oriental Stitch.—Draw four lines on the material; start as in Fig. 5, on the right inner line; insert the needle on the left outer line, and bring it out on the left inner one with the thread under the needle; take a stitch on the right outer line; bring it out on the left inner line with the thread under the needle; continue alternately from left to right, taking care to keep the stitches exactly below each other. The appearance of the line can be slightly varied by increasing or decreasing the outer stitches. The inner plaiting is regulated by the size of the stitches taken on the outer edges. See [Plate I]., where the solid blue line enclosed within the chequered chain-stitched lines is worked in this way. The lines on either side of the runner show the stitch worked more openly.
Fig. 6.
Link Stitch (Fig. 6).—This is rather an unusual stitch, being formed of links connected by short stitches. To be effective, it should be worked with thick twisted thread. It is easily done on a ground where the warp and weft threads are sufficiently open to guide the worker, otherwise two lines parallel should be marked from a quarter to half an inch apart.
Fig. 6a.
To work Link Stitch (Fig. 6a).—Begin with the smaller stitches (Fig. 6A); bring the needle out in the middle of the space to be covered; insert on the upper edge to the left, and bring out still further to the left on the lower edge. Pass the eye of the needle down through the small stitch and insert again on the lower edge slightly to the left of the previous one; take a vertical stitch upwards and a little beyond the centre, having the thread under the needle as in Fig. 6; pull the needle through. These three movements complete the stitch, the thread being now in position to make the first small stitch again. This stitch is called linked, or knotted chain.
Fig. 7. Fig. 7a.
To work Tête de Bœuf (Fig. 7).—Another variation of the loop or petal stitch is called Tête de Bœuf. Work a loop stitch as Fig. 7A, then take a stitch across from left to right; bring the needle out above the stretched thread. Make another loop stitch, which fixes this in place. This stitch is often used as a powdering. It makes a good border stitch.
To work Cable Chain (Fig. 8).—Cable chain can be worked in two ways. Two guiding lines will be of assistance. Bring the needle out at the starting point in the middle of the space; form a small loop by throwing the thread round as Fig. 8; insert the needle in the centre of this loop, which will vary in size according to the thickness of the thread and the size of the cable wanted; bring it out about a quarter of an inch lower down, taking care to keep the thread under the point of the needle; tighten the small loop to the proper size with the right hand, then, placing the thumb on the stitch, pull the thread through. This forms both the small and large link and the thread is in position to start again. When worked in a firmly twisted thread, such as Knox’s linen “cord” floss thread, it makes a pretty border or line stitch. A row of couching makes a good edging and emphasises the line if required.
Fig. 8.
By the second method, the small stitch is made first, and the needle brought out to the surface about a quarter of an inch lower down; put the needle through the small stitch from left to right and place the thumb on it; put the needle through the large loop in process of making from right to left and tighten the thread sufficiently. The small stitch has now to be made.
Fig. 9.
Braid Stitch (Fig. 9).—When a fairly heavy line is necessary, Fig. 9 can be used. It has a braid-like appearance, and for that reason is generally known as braid stitch. Work from right to left and start on the lower edge. Bring the thread out and place the thumb on it, and twist the needle round the held thread, so forming a loose twist on it (Fig. 9A). Then insert the needle in the upper line, a little to the left of the starting point; bring it out on the lower line, exactly beneath; place the thread under the needle, and draw through, keeping the thumb on the stitch till tightened sufficiently to form the link.
Fig. 9a.