CHAPTER VIII
COUCHING—FRENCH KNOTS AND BULLION
STITCH
“When she rode in coach abroad, was always knotting thread.”
Couching is a pleasant and most useful method of applying threads, cords or braids to materials of various kinds. For filling in forms, circles, or squares it is equal to chain stitch, and should be worked similarly—all forms, whether squares or curves, are better to be commenced from the outer edge and worked inwards, in order to preserve the shape. Special care is required for the outlining of squares or angular forms where the tendency is to tighten the applied material, whether threads or braids, in turning the corners. At these points the threads or braids should lie easily and they should be firmly sewn down with closer stitchery. Couching is one of the simplest means of decorating velvet, a material always difficult of manipulation, and particularly so for the beginner, on account of the pile, which is apt to cause irregularity in the stitchery.
Fig. 21. Fig. 21a.
Couching (Figs. 21, 21a).—This stitch is often worked in a frame—it is easier to keep the material stretched; when working diagonal lines or circles, where much of the stitchery comes on the cross of the material, it is advisable to do so. By means of couching, the embroideress may sharply define an outline, fill in various forms, geometric or otherwise, repair a worn surface, work diaper patterns, or attach metal threads and braids to her embroidery (Plate XVI.).
It is a name applied to a method of attaching threads singly or in groups to a foundation by means of another thread, usually a single one. Under all circumstances this should be finer than the thread or cord sewn down. It is most economical in use as the threads lie on the surface—a point well worth consideration (Plate III.).
Probably it was originally used for the sewing on of gold threads, which were too precious to be wasted, being made of pure metal—naturally the difficulty of drawing these metal threads through the material would lead to the simplest means of attachment. At any rate, this method of sewing on gold threads was in general use all over Europe as early as the twelfth century.
PLATE VIII.
A LUNCHEON MAT. ([See page 86.])
Couching is particularly useful as an outline to stitching, especially where a weak line requires defining. An irregularly sewn form, whether floral or geometrical, may be much improved, and the colour may also be enhanced, by a firmly couched outline. It is most convenient for sewing down applied work. Primarily it covers the join, and is of considerable importance in aiding the colour scheme (Plate IV.). Where simple treatment shows to advantage, couched threads, outlined with metal cord, give the necessary means of expressing taste and choice of colour, and with a little extra stitching to indicate veinings or whatever detail there may be, couching can again be applied with good results, instead of resorting to another stitch. It is worked from right to left; the small tying down stitches may be straight or slanted, but they ought not to be placed too far apart—for simple decorative work, from a sixteenth to a quarter of an inch, the latter for the attaching of wools or yarns and narrow braids, the former for finer work. One of the commonest mistakes of a beginner is to couch with a thick thread, each stitch varying from a half to one-and-a-half inches apart. This entirely destroys the character and effect of the applied threads. When couching a straight line with cord or braid it should be held rather tightly, while with wool or silk a pretty bead-like appearance can be got by holding the thread rather loosely (Plate XVI.).
The fashion of sewing on a cord invisibly—as in upholstery—by untwisting the cord slightly between each stitch should never be resorted to for embroidery.
Ancient method of Couching, “Point rentré et retiré.”—A most interesting method of couching, which unfortunately fell out of use, was practised up till the middle of the fourteenth century. The couching thread was on the reverse side, and was generally of strong waxed linen thread, which did not appear on the surface at all. The ground material was formed of two layers of linen, and the gold or silk thread was kept on the surface, only penetrating the layers of linen at intervals where the linen couching thread had drawn it through.
Some of the beautiful specimens of early English work, the famous Syon Cope and the Jesse Cope, to be seen in the Victoria and Albert Museum, the backgrounds of which are covered with couching done in this quaint and durable fashion, are well worth studying. The linen background of the Syon Cope is couched in coloured silk, that of the Jesse Cope in fine gold.
The two lines on the outer edges of the sideboard runner, which has almost the appearance of back stitching, are worked in this way (Plate VI.).
Fig. 22a. Fig. 22b.
French Knots (Figs. 22a, 22b).—French knots can be applied with artistic effect in many ways, not as an outline, but as an adjunct to some of the line stitches, such as chain stitch, couching, back stitch, etc. (Plate XIV.). They may be used to add touches of colour to a pattern, to modify or enrich it (Plate XIII.); to powder backgrounds, either single or in clusters, qualifying both texture and colour; to outline or fill in flower centres, to form stamens (Plate XI.); to fill in lattice patterns or any form that requires some contrast of stitch or colour.
Method:—To work a French knot, bring out the needle at the point where the knot is to be; place the thumb of the left hand over the thread (Fig. 22A); twist the needle once round this tightened thread; turn the point to the right—thumb still holding the thread—and insert it just behind the point where it came out, and draw the thread through to the back, or when some experience has been gained, the needle may be drawn through on the right side in position for the next knot.
The Chinese, who are adepts, frequently work entire pieces of embroidery in knots with such care and precision that they are almost mechanical in appearance. They have a method of knotting their thread first, then sewing each knot down. This method was also common in England about the seventeenth century. At that time ladies used to work up hanks of thread, and, by means of a small cushion and a netting needle, work a succession of knots on the entire length; these hanks were wound up into balls ready for applying to the work in hand.
It is better in making French knots to use a thick thread, or if a large knot is required, two or more threads in the needle are more satisfactory than twisting one several times round the needle. Plate V. shows knots applied to the edges of the galoon, which serve to fix it down, as well as to give a finish to the latchet darns.
Fig. 23.
Bullion Knots (Fig. 23).—Bullion knots are frequently used in white embroidery where variety of stitch is made use of in order to relieve the monotony. They consist of little tight coils of thread and can be used most successfully to form the centres of large flowers, either in a mass or in pattern. Squares or lozenge-shaped forms with a French knot in each space make rather interesting fillings.
Fig. 23 shows how bullion knots might be applied in lines radiating from the centre to form small flowers.
Flower Centre in Bullion Stitch.—Method of working:—Bring the thread up on the surface at the centre; insert the needle at the outer edge of the circle, and draw it out for half its length at the centre, beside the thread, which now take hold of with the right hand, and twist firmly, but not too tightly, round the needle six or eight times according to the size of knot required. Then place the thumb of the left hand on the coil and draw the thread carefully through till it is tight. It is always advisable to keep the thumb over the coil during the whole process if possible.
A Good Flower Centre.—Make a number of bullion knots to fit the circle, then surround the outer circle with one or two rows of close regularly-sized French knots. Bullion stitch may be used for small flowers—each petal being made of two knots, meeting at the tip—for leaves, inside fillings, ground powderings and sprigs.
Fig. 23 a shows how to make picots in bullion stitch. They are generally worked into a bar or loop of button-hole stitch, which may form an edging, as in Fig. 37, or an open loop, as in Fig. 23 b. Picots of this type when worked in a fine linen thread are used for the outlines and edgings of laces. To work as Fig. 23 a, make the required number of button-hole stitches, then insert the needle for half its length through the head of the last one; twist the thread round the needle from left to right six, eight, or ten times, according to the thickness of the thread and the size of the picot required; place the thumb of the left hand over the coil and draw the needle and thread gently through; keeping the thumb still on the coil, tighten the thread until the stitch has been drawn up into a small semi-circle; then continue the button-hole stitch till the next picot is reached. Note Fig. 23 b—the thread is placed under the needle before it is drawn through.
If a larger picot is required, it may be made in button-hole stitch instead of bullion stitch. Button-hole the bar or loop to the left of the required picot, and lay the foundation or padding threads for the picot by carrying a thread to and fro three times from the left to the right; pass the needle each time through the edges of the button-hole; when the third thread is laid the needle is at the right side of the picot; button-hole the loop closely till it is covered, then continue on to the next point. Open-looped button-hole edging looks very well with three bullion stitch picots, but the worker requires to be of a patient temperament, as each loop takes some time to work.
Bullion knots are used very frequently in Mount-mellick work. This type of needlework originated in Ireland; it is of a very elaborate nature, generally done in coarse white threads on a strong white linen or jean foundation. Here monotony in tone allows for a great variety of stitching. Openwork is not combined with it, as the patterns in which it is worked are mostly of a bold conventional floral type; most of the stitches used are those which give a raised effect, such as the different linked stitches, chain, cable, raised-stem stitches, French and bullion knots, and padded satin stitch. The flowers are filled in with a great variety of lace stitches.
Button-hole bars are useful for connecting two edges such as the two sides of a lined bag, the seams of a child’s frock, or for adding a false hem to any dainty article. They are in common use for modern openwork embroidery, where they form connecting links between the various parts of the design.
Fig. 24.
Button-hole Bars (Fig. 24).—Fig. 24 shows the method of working connecting bars. The objects to be joined together may be of any shape, provided the lines are more or less parallel with each other. Begin by button-holing one part of the work, which will give a basis or line into which the bars may be worked, then button-hole the part to be joined to it a few stitches, until the place where the bar is to be is reached; lay each of the threads into a different loop of the button-holing—this gives a greater strength and wider surface to work upon; when finished, button-hole along the edge as before, until the next point where a bar is to be worked is reached. These bars are worked over three threads, and should, when worked in lines, be made before the material is cut, otherwise it is better to have the two parts to be joined tacked down on to a piece of stiff linen, glazed calico, or brown paper.
A Luncheon Set.—This illustration gives a table centre in cream canvas embroidered in bright blue, green, red, cream, yellow, heliotrope and black. The design is simple; it is more or less governed by the mesh of the material and the method of working it, which renders the construction so simple and gives a quaintness and rigidity admirable in effect. By examining the illustration it will be seen that the central portion of the design is occupied by a broad band of needle-weaving, about two inches wide, worked on the weft threads, the warp or vertical threads having been withdrawn to the required depth. The weaving forms seven separate groups, each of which is composed of two colours. The whole mass, rich in effect, is finished on either side with two bars of latchet darning; these are worked similarly to repairing darns, but are left free at the sides. They are edged with an oriental stitch in blue which may be worked much closer and more regularly (see [Plate I.], where, as a heading to the band of needle-weaving, it has almost the effect of a braid). The corners, which balance the wide needle-woven bar, are worked in chequers of red, green, and blue; the larger squares are in green, worked in a simple stitch similar to Fig. 18. A row of equally distributed petal or loop stitches (Fig. 3, p. 49) breaks the severity of the line; seven lines of couching—sewn in self-colours—connect the two ends. The edges of the cloth are turned over on the surface and finished with a row of blue galoon—Prussian binding; this is tacked in place on each side with little triangular stitches in green embroidery cotton. Through these stitches a thread of bright red is interlaced; this is followed by a second one in cream colour. Large tassels (Fig. 41, p. 120) in blue make a finish to the corners. Six little mats, 12 inches by 9 inches, when finished, were made to match, each having a border and couched lines similar to those of the scarf. Little blue tassels of appropriate size completed this useful little set.
One yard of material, 54 inches wide, is required to make the complete set, that is the table scarf, 54 inches wide by 24 inches, and six little mats, 14 inches by 10 inches; this allows for folds at ends and sides. If braid is used for finishing the hems, after calculating the quantity an extra yard should be allowed, as with so many corners to turn one is apt to be too short in the end, and these braids are often difficult to match.
Wools and thick cotton threads may be used and a large-eyed blunt-pointed needle for the weaving and darning.