An embroidery book

by Anne Knox Arthur

CHAPTER VII

LAID WORK—BASKET AND LINE STITCHES

“And thou shalt embroider the coat of fine linen, and thou shalt make the girdle of needlework.”

A Sideboard Cloth.—Plate VI. gives an example of a very handsome sideboard cloth. The canvas is of the tough hard-wearing type, generally used to cover basket hampers, but under the skilful fingers of the embroideress it became a beautiful piece of work, with which one might well adorn a good piece of furniture. The illustration shows the design, which is of the simple straight-line type. The canvas, of rather a heavy weight, is of a rich warm brown; the threads of floss embroidery linen are in rich blue, tussore colour, emerald green, grey-green, a pale blue-green and brown. The design is placed at the ends, where it forms bars and blocks of rich colouring. It occupies about 8 or 9 inches, 6½ inches for the embroidery, and 2½ inches for the wide band of braid. The stitchery is made up of bars of needle-weaving with bars and blocks of solid embroidery. The wide bands at the top and foot, enclosing the central portion, are of needle-weaving in a perfectly simple pattern. Each band is about 1 inch wide; they are worked in blue-brown and three shades of green. The bar in the central panel is woven in tussore and light green, surrounded by a border in satin stitch of emerald green. The upright bars or straps on either side are woven in bright blue with blue-green crosses in the centre; the chequered squares in tussore and blue are enclosed by emerald green bands in satin stitch. The background of the central panel is worked in chequers of blue tussore and light bluish-green; the little crosses, hardly visible in the illustration, are all in emerald, while the darning stitch, which forms the background, is in bright blue.

Square Stitch.—The remainder of the background is worked in square stitch (see [Figs. L and M]). A fold of the canvas turned over on to the right side has a frayed edge; three or four threads are withdrawn—this gives a pretty soft effect; the fold is tacked down over a creamy-fawn skirt braid, with lines of couching in tussore. These lines have the appearance of back stitching, but are in reality couched down; they are sewn in that interesting method of bygone days, when embroiderers worked much in gold threads.

“Point rentré et retiré.”—The surface thread is pulled through and caught underneath by means of another thread which never appears upon the surface at all; this method has been applied to backgrounds worked in silk, as well as in gold (p. 81). It is economical in use and very durable. One can well understand the reason of its use, but not the cause of its falling out of use. Probably this was due to the gradual decadence of embroidery in this country towards the end of the fourteenth century, or perhaps the then new method of couching—in use at the present day—involved less time and labour.

PLATE VI.

A SIDEBOARD CLOTH

The wide dark bar at the end of the work is of dark brown braid, about 2½ inches wide, with straps of the lighter braid couched down in brown thread; these straps are carried down over the fringe which has been added in the various colours with a crochet hook (p. 115). The sideboard cloth is 54 inches by 22 inches wide. The fringe is about 4 inches deep.

Laid Work.—Laid work is particularly effective for the filling of large surfaces, where a bold definite mass of colour is required. It is a method of applying threads which gives a rich appearance almost similar to that achieved by the appliqué of some rich silk material. The stitches are on the surface only and are generally very long; they have to be crossed and recrossed by other strands, which in their turn are tied down by little stitches. When worked in floss silk, a favourite medium with Eastern embroiderers, it is a stitch par excellence for showing off the beauty and lustrous sheen of the thread, but it is not a very durable type of work, and is therefore only suitable for such articles as are not exposed to hard wear, unless worked in wools or thick cottons. All the threads on the surface are “laid,” as the term is, in parallel lines either vertical or in whatever direction is best, in order to allow the couching lines to accentuate the form or pattern; it adds to the durability of the work if these threads are laid rather widely apart to begin with, as it allows the needle to get a firmer hold of the material; the spaces are then filled up by working over the surface a second time. Compare Fig. 15 and note first layer of stitches. For example, let us suppose the vertical threads are laid—the horizontal ones, of another colour perhaps, could be placed over them, about three-quarters of an inch apart; small upright stitches, about half an inch apart, could couch, or fasten these down, one row alternating with the other. This is a most decorative method of filling in large flowers or leaves. Single petals can be laid diagonally, crossed and tied down, or a complete flower may have laid lines radiating from the centre, with the second layer of threads in concentric circles couched down with small stitches of a contrasting colour.

Fig. 15.

Chequered or Basket Pattern (Fig. 15).—Fig. 15 gives a plaited or basket pattern; after the vertical threads are laid or placed in position in such a way as to lie easily—just filling the form—the weaving in of the cross threads is a simple matter.

To work a Chequered Pattern.—Begin at the right-hand corner and pass the needle over and under three strands for three rows, then reverse the chequer by lifting the stitches previously passed over. This work looks much better if the darning is all done from right to left. It is not so economical in thread, but much more practical on account of its greater durability, as the threads all lie the same way; they are carried back behind the material instead of being worked to and fro as in ordinary darning.

The Italian, Spanish and Japanese embroiderers make great use of these laid stitches which, like most other stitches, probably originated in the East, as they are to be met with in most oriental embroideries.

Fig. 16.

Basket or Stroke Stitch (Fig. 16).—This figure gives another good line in rather high relief stitchery. It is sometimes called plaited stitch, sometimes fishbone, but it is really a stroke stitch; it is most effective and useful for a solid line, whether worked on coarse material with a thick twisted thread, or on fine material with a correspondingly fine twisted silk thread. It has a strong resemblance to some of the plaited Slav or Algerian stitches. It may be easily worked on most materials, especially if a couple of guiding lines are traced before setting to work. Quite a broad border may be attempted which will look well if worked in a coarse thread.

To work Basket Stitch.—Bring out the needle at the top of the line on the left; make a slanting stitch downwards to the right line; pass the needle under the material and bring it out on the left opposite; take a slanting stitch upwards over the first stitch to the right and insert the needle a little lower than the level of the first stitch; then pass under the material to the left side again and bring it out just under the first stitch; take a slanting stitch downwards again and continue by taking a cross and a slanting stitch alternately.

Fig. 17.

Net stitch can also be used as a surface stitch or as a filling for an open space. It is a method of interlacing which one frequently finds on the seats of small chairs, in the construction of baskets and other wicker articles. It may be worked with the lines set further apart than those in the figure. The horizontal lines are stretched first, not too tightly; these are followed by oblique lines which start from the left lower corner. The final row, also in oblique lines, starts at the right; each row is interlaced with two others. It is useful and most effective when used as a surface stitch, as a filling for geometrical forms; when used as a lace stitch worked in a linen thread the lines may be duplicated. This net is generally the foundation on which the design is made.

Openwork Hems (Fig. 12).—Openworked hems may usually be applied to all types of woven materials, to drawn thread work, and to household linen. They are more decorative than the ordinary hem.

Method:—Draw out the number of threads required—this will always depend on the quality of the material, and varies from two to six; lay the folds for the hem and tack them just above the open space; fasten the thread on the left and insert the needle from right to left under four, five, or six threads; pull through the needle and re-insert, taking a vertical stitch under three or four threads of the folded material. Plate V. shows a border of green galoon fixed with hemstitching on the inner side; as the material is very loosely woven, no threads have been withdrawn. The same stitch is used for a heading for a fringe (Fig. 34); it prevents the material from fraying and collects the strands into groups.

Ladder Hemstitch.—A more open appearance may be given by withdrawing a few more threads and hemstitching the lower edges also; this makes a narrow insertion, for by grouping the same threads together, as in the upper row, little perpendicular strips are formed which gives wider spacing—the bars suggest the rungs of a ladder, and on this account it is generally known as ladder hemstitching.

Vandyke Insertion.—A vandyke form is also effective; it is worked by grouping the stitches of the second or lower row, after hemstitching the upper row, in the following method:—Take up half the threads of the first cluster and half of the second on the needle, then proceed as in upper row; by dividing the groups of the upper row in this way a series of slanting stitches is formed when the lower row is complete.

Antique Hemstitch.—There are several other ways of hemstitching which only vary slightly; perhaps the most decorative form is that usually seen on old embroideries, where the thread is carried round a narrow rolled hem, not a folded one.

Method:—Work from right to left, beginning at the right corner; pass the needle over and under a cluster of four threads; draw it out at the place inserted; pass it over the edge of the rolled hem and bring it out on the left of the cluster, ready to take the next stitch, over and under the second group of four strands.

Fig. 18.

Roumanian Stitch (Fig. 18).—Cretan, oriental, or Roumanian are the various names applied to this well-known stitch. It is frequently to be met with in the early English embroideries, particularly those of the seventeenth century. It is one of those adaptable stitches which are so helpful for the decoration of borders, fillings, leaves, flowers; it has therefore always been much used by embroiderers.

To work Fig. 18.—This figure hardly needs description, being merely a long stitch tacked down. Begin on the left of the space to be filled; insert the needle on the right edge and bring it up in the centre; take a small stitch over the stretched thread to fix it down and bring the needle out at the left edge again, just below the first stitch. If the thread is stretched loosely across as in the V-shaped portion of the braid collar, Plate IX., a broad and effective means of filling narrow spaces or tacking a braid in position can be obtained with economy of time and material.

Fig. 19.

To work Fern or Fish-bone Stitch (Fig. 19).—This stitch, somewhat similar in form, also makes a good border line or even a filling, if worked in rows, see [Fig. D], [Plate XI]., where a centre line of material gives the rib. In Fig. 19 the stitches meet in the centre and have a definite central rib. A central line should be marked on the material before starting to work it. Bring the thread out at the left; take a slanting stitch towards the centre and insert the needle just beyond the line; bring it out at the opposite edge; take another slanting stitch and insert just beyond the line again. This slight overlapping of the stitches in the middle gives the solid effect to the stitch.

Chequered Fern Stitch.—A pleasing variation may be introduced into a quiet border by working this stitch in two colours; two or three stitches worked in each colour will give a chequered effect, and help to relieve monotony if necessary. Work with two threads, bringing each to the surface as required. This stitch makes a good filling for leaves, the mid line being suggestive of the mid-rib.

Fig. 20.

Loop-stitch Border (Fig. 20).—This border is of the familiar loop or petal stitch. It has been already described (Figs. 3A and 3B). It makes a very pretty border between broad bars of needle-weaving. The method of working is quite the same, the only difference being in the length of the tying stitch, which in this border forms the stem, while in the flowers it ties the edges of the petals; the loops are thus reversed in the working. The border may easily be followed from Fig. 20. Plate VIII. shows this stitch applied to the edges of the squares at the corners, where it serves to accentuate them as well as to soften their outline.

Table Mat of White Linen.—Plate VII. gives a table mat embroidered in blue; it is the central mat of an afternoon tea set. The design is of a very simple nature, composed by the loops and curves of the French tape. The main curves are formed of four short lengths which meet at the ends and sides. Each piece of tape takes a curve at the centre and begins and ends with a spiral; the outer sides can be put in with one length of braid—eight short pieces will do equally well; little remainders may be economically disposed of in this way. The inner parts of the curves give the opportunity for openwork detail which enriches, while it lightens the background. The design should be drawn out on paper. All lines which represent the braid must be parallel and spaced as nearly as possible to correspond to the width of it; it is important to remember that braid spreads when curving and therefore the centres of loops or circles become smaller when placed on the material; this must be allowed for in the drawing out of the design. Care and accuracy are necessary both in forming the curves and in tacking on the braid; the beauty of the work would be marred by uncertain lines and unequal curves.

PLATE VII.

A TABLE CENTRE IN WHITE AND BLUE

Plate VII. has not much variety of stitch; the relief given by the blue stitches prevents any feeling of monotony.

Method:—Tack on the braid round the outer edges; overseam the inner edges of the parts which take the curves; prepare for the more open spaces by snipping the linen, the way of the warp and the weft, quite close to the braid; then turn the edges in under the braid and button-hole with blue thread, not too closely, the needle should enter easily into the head of the stitches for the making of the lace stitch—“Point de Réprise.” These openings may be backed by small pieces of toile cirée; a little medallion of button-holed linen should be placed in the centre and tacked firmly in place. The connecting threads for the weaving of the little bars or bridges are laid in two or four strands, according to the fineness of the thread. Begin at the outer edge; carry the thread to the inner medallion, and slip the needle, eye first, through a loop of button-hole stitch; overcast the next one, and carry the thread from there back to the outer edge; then weave over and under these two strands till the centre is reached. Oversew one or two button-hole loops and lay the threads for the next bridge; this, when woven, will finish at the outer edge again. Oversew the stitches until the position for the next bar is reached, and continue till the circle is filled in. The corners are worked similarly with a few added bridges here and there to fill in spaces, which would otherwise be rather empty. These oval openings and ends might be worked in what is known as Richelieu work, instead of in the manner described. It is rather a quicker method, but not quite so firm, nor are the bars so flat.

Method:—Button-hole the inner edge of the space, also round the edge of the little inside medallion; then lay three strands of thread as the foundation of the bridges (see [Fig. 24]); button-hole these to the edge and oversew the button-hole stitches of the outer edge until the thread is in position for the next strap.

When the work is finished, the linen under the bars is carefully cut away with a very sharp pair of embroidery scissors.

Run round the outer edges of the spaces which are to be filled in with a filet or net pattern with two rows of tacking stitch to strengthen, and button-hole over this.

To prepare the mesh background, turn on the wrong side, then cut six and pass six horizontal threads alternately; remove the cut threads; turn the work half round and prepare the threads, previously the vertical ones, in the same way, that is, cut and withdraw six, pass six. Turn the work to the right side again and oversew the strands, one stitch into each little space, taking care to let the stitches slant in the same direction on the return row. This groundwork is also described in connection with Plate XV. The braid has a row of French knots in blue to finish the inner edge. For the finishing of the edges of the mat, a firmer edge will be made by cutting the linen a quarter of an inch beyond the braid and turning it back under the braid, then button-hole this double edge and the braid together in blue. The little lace edge may be worked with the needle or with the crochet hook; in Plate VII. the latter was used. The lower loops are worked in white, the edging in blue with picots is worked into it. For description, see [Chapter XIII.] on crochet edgings.