CHAPTER X
INSERTIONS IN NEEDLE-WEAVING—POINT DE RÉPRISE—
INTERLACING AND OPENWORK BACKGROUND
“There she weaves, by night and day,
A magic web with colours gay.”
A Chequered Pattern (Fig. 31).—Chequered patterns look well in needle-weaving. A number of colours may be introduced if the spacing permits.
Fig. 31.
Fig. 31 shows a diagram of needle-weaving which gives the method of working a chequered pattern on the upright or warp threads. Prepare the bar or band by removing the weaker (weft) threads; a little decorative line of stitchery may then be added by hemstitching, button-holing, or herring-boning the edges; this adds a finish and groups the warp threads into clusters which is an advantage—it saves trouble when the actual weaving begins by keeping the weft threads in place; cross stitch and oversewing are useful stitches for the same purpose. The worker should be careful to group the strands equally by dividing them into clusters of three, four, or six threads. In Fig. 31 the upper row is hemstitched loosely, to show the method (see also [Fig. 34], p. 114, for hemstitching). The lower edge of the diagram is not hemstitched; if the threads are woven in closely it is not always necessary to do so, although a line of stitchery is an improvement—it softens the edge and adds to the appearance of the weaving (see [Chapter V.]).
Method of working Fig. 31:—Withdraw the threads of the material for three-quarters of an inch wide, and of the desired length; cut the weft threads at one end and the corresponding threads at the opposite end. If the bar is long, correctness of line may be ensured by pulling and tightening a single thread on the upper and lower edges—these will indicate the exact spot for cutting them without risk of mistake. Take a fairly long thread of wool and a blunt-pointed tapestry needle; a loose but regularly-woven canvas is the best material to work on to begin with, and wool or flax threads give the best results. The threads are easily seen and counted, and there is not the same chance of their being dragged or over-tightened. Secure the thread by running a few stitches on the under side; bring the needle up between two groups of threads; pass it alternately over one group and under the other until a piece the size of the chequer wanted has been filled in. As the needle passes to and fro it should press down each row of weaving closely together; this has the same effect as the “comb” which the weaver uses to press down the weft threads of his fabric. The first block being finished, pass to the next two groups by carrying the needle over and under as before, and pressing down each row with the needle; the second compact mass will then be woven as in the diagram. To reach the next block, slip the needle down the back of the second chequer; this will bring it into position to work the lower block. Continue in this way to the end of the row, always passing the needle—at the back—through the group of woven threads to get into position for the next block.
Reversible Needle-weaving.—These chequers may be worked in slanting rows, or they may form a vandyke pattern, ascending and descending in a series of little steps; the V-shaped spaces between at top and bottom of the line may be filled in with another pattern or with rows of chequers in a contrasting colour. Both sides of the patterns are alike, and when the beginnings and finishings of threads are neatly done it may be reversible. This is one difference between needle-weaving and tapestry-weaving; in the latter the work is done with the wrong side or back of the pattern uppermost; it shows the starting and fastening off of threads, as well as the passing of threads from one part to another, all of which makes the one side unpresentable.
Another Pattern.—Some simple insertions may be worked by varying, slightly, the arrangement of the groups. Begin as in Fig. 31, but weave over three groups of threads instead of two; having arrived at the centre, carry on weaving over two more groups to the right and include the last group of the block just darned, to form the beginning of the new block. By repeating these groups of three alternately at the top and at the foot, always using the last of the previously darned block as the first of the next, a pretty little pattern is formed—a central cluster of threads is left between each block, which may afterwards be oversewn with a contrasting colour, or left with the warp threads of the material exposed. A very open and particularly effective insertion for a hem is made by working over two groups of four threads each—three or six strands of thread in each cluster if preferred. Begin exactly as in Fig. 31, at the left lower corner, and weave to the centre; then take in one more cluster and weave in with it the last one of the previous block; work to the top; slip the thread down to the centre; weave over two clusters, adding one of those previously woven with another group; continue in this way to the end. By adding a new cluster to the one already in use the threads are pulled further apart, and a wider opening between the groups is the result. With these few suggestions, the worker will find that she can arrange and vary these insertions to suit her material and her own taste.
Filet Background.—Small squares, ovals, circles, or indeed any shaped space may be filled in with a net or filet background, then darned in with a simple pattern. The usual way of opening a square or oval (Plate X.) is to button-hole the form round the outside, then turn the work on to the wrong side and cut the horizontal threads at the edge—near the button-holing; draw and cut again at the opposite side these same threads. The whole of the space is cut and divided up; a bar of threads is left between each of the open spaces, always leaving the same number of threads between each three or four, and cut and draw the next three or four. When the horizontal threads are cut and drawn, cut the vertical ones in the same way; when these are finished, begin to oversew each line, with one stitch into each hole backwards and forwards, until each line, horizontal and vertical, is oversewn. Care must be taken to make all oversewn stitches lie the same way. Note—the preparation of the background is done on the wrong side. Little geometrical shapes and patterns may now be darned in. As said above, the number of threads left in between these open spaces may vary; the fewer there are, the more open the squares will be. The result of this cutting and pulling of threads is a net background which can be worked in many different ways. The usual method is to oversew all the horizontal lines first, taking care to let the stitches lie the same way in each row; turn the work half round to oversew the remaining lines in the same way.
There is another way of making an open background which might commend itself to those who are averse to removing the threads, that is, by cutting the material which forms the background into narrow strips and oversewing the bars. It should be marked off in double horizontal lines rather less than an eighth of an inch apart; place these double lines at regular intervals about half an inch apart; rule them in chalk or pencil, then mark off the half-inch spaces into vertical lines an eighth of an inch apart; these vertical lines are then cut two or three at a time with a sharp pair of scissors and oversewn one by one in rows, overseaming the upper and lower horizontal bars by the way.
Very charming needle-woven bands can be arranged for different purposes by button-holing squares or oblongs, cutting and withdrawing four threads each way and leaving eight between. When a square is button-holed—with twenty-eight vertical and horizontal threads in the enclosure—there will be four solid squares connecting nine open ones, that is, one open square in the centre with the four solid squares at each corner, and the open ones surrounding them. Each solid square has eight single threads surrounding it; divide these into two groups by interweaving four threads under two and over two. When finished, there will be two woven bars connecting each side of the small squares with each other and with the outer button-holed square. These woven bars could occur at regular intervals among the more solid needle-woven portions.
Many very charming things may be made in this way with woven threads. These primitive patterns can be worked with ease in such varied forms, alone or as adjuncts to embroidery (Plate VI.), that an inventive needle-woman can ornament in rich colours, or without the aid of colour, many interesting pieces of work, provided she takes care to weave regularly and keeps her design simple and suited to the material.
Fig. 32.
“Point de Réprise” or Darning Stitch.—Fig. 32 shows an insertion worked on a foundation or trellis. This stitch, which may be used as a filling for open spaces or for the decoration and joining of two edges, is an interesting one, and most effective when worked. In cottons, wools, or silks it could be applied to many different purposes quite suitably; worked on linen with silk or flax threads, it might provide a dainty insertion for some article of personal wear; worked in wool, it could decorate simply collars, cuffs and bands for a dress or jumper suit. Fig. 32 gives merely one form with the method of weaving, but there are many others to which the woven pyramid is applied. It is much quicker and simpler in execution than the button-hole pyramid, which is firmer but much more tedious to work—the former, too, looks well in wools and thick threads, while the latter requires lace thread. Woven pyramids are frequently used by point lace workers; this is called by them “point de réprise,” and applied to the fillings of circles and leaf shapes where the little cone-like forms work in very appropriately. The foundation of Fig. 32 is a double line of faggoting in Russian stitch; a single line is worked first; the stitches are taken widely apart, then a second row is worked between the spaces of the other, so that a series of little diamond-shaped spaces are formed as in Fig. 25. Begin at the edge of the braid and weave the pyramid from the base so that the points may meet at the centre; be careful to weave an equal number of threads into each cone-like shape, or they will vary in size.
Pyramid Insertion.—An insertion of alternate pyramids, with the bases at the centre, is more open and does not take so long to work. Make a foundation of faggot stitch, a single row this time, then carry the thread to the point of one of those stitches and weave over two threads to the centre. As these little cones should always be worked from the point, carry the thread to the top of the braid by overcasting the faggot thread; weave again towards the centre; when finished, the bases of the pyramids will form a central line.
An equally simple insertion and quite as effective is to work the pyramids in button-hole stitch on to each faggot thread. After forming the foundation stitches—the trellis—begin at the point as before, and work two button-hole stitches on each side before crossing over to the other side; otherwise it is worked exactly as the former pattern detailed above. Two rows of faggot stitch may be used for the foundation of quite a number of different woven patterns. Little rosettes or wheels are formed by five threads; at the junction of the stitches—at the centre of the space—are four threads; add another by carrying a central thread to the first group; work the rosettes over the five threads in a similar manner to Fig. 54, weaving the threads in and out; when finished, slip the needle under the finished rosette to the next intersection of the stitches and work the second rosette and so on. Descriptions are always tedious to follow—the best way is for one to work with needle and thread while another reads the directions aloud.
PLATE XI.
A NIGHTDRESS CASE ([See p. 128].)
Interlacing Stitch (Fig. P, Plate II.).—This interesting insertion stitch is one which will well repay the worker for her trouble in mastering it. Although not a complicated stitch, there are little points to be noted in the laying of the foundation threads which, if omitted, prevent the interlacing threads from working in properly.
Fig. 33.
Fig. 33 shows a diagram with the method of laying the foundation stitches:—One row is worked over the other; this lattice work supports the interlacing threads, which also require two rows to work them. Fig. P shows the insertion completed. At a casual glance, Fig. 33 appears to consist of two rows of herring-bone stitch, the one superimposed upon the other; but if a short line of herring-boning is worked and compared with the diagram the difference will be noted at once. In working the foundation, let the threads lie loosely on the surface to allow for the interlacing threads.
Method:—Secure the thread at the left lower line; take a short horizontal stitch, three-quarters of an inch to the right on the upper line. Note—place the thread under the needle when drawing the stitch through; this keeps the working thread under the diagonal stitch just formed. Cross to the lower line, and three-quarters of an inch further on take a horizontal stitch, but this time the thread is not kept under the needle, as it comes out on top and lies over the last diagonal. Proceed in this way until the end of the row is finished, then compare carefully with the diagram. Make sure before starting the second row that all the diagonal stitches beginning at the left of the upper row pass under those crossing from right to left; this is achieved, as said above, by keeping the thread under the needle on the upper row. The first row of the lattice being finished, start at the left of the upper line and work in the same way as before; cross to the lower line, and take the horizontal stitch exactly beneath that of the previous row; then slip the eye of the needle under the thread of the diagonal stitch and take the horizontal stitch on the upper line with the thread under the needle. Working in this way, little diamond-shaped spaces are formed. With the completion of the second row, it will be seen that the stitches are all interlaced over and under each other with the utmost regularity. For the inter-threading of the pattern, take a long thread and a blunt-pointed needle; the thread only enters the material at the starting and finishing of the work. Secure the thread at the left in the middle of the space between the upper and the lower lines; if an open insertion, it must be secured at the top. In Fig. 33, the thin dotted line represents the interlacing thread, which passes over and under the little crosses on the upper line and down to the crossing at the centre; thus the first row of interlacing threads are all worked on the upper half of the foundation stitches. When the end of the line is reached, turn the thread round the last central cross and return, interlacing the threads on the lower half of the herring-bone foundation. Note, in passing to the centre of the line, that the threads interlace regularly with those of the upper row, as they must pass to the upper side of the central crosses. By this time it will be seen how beautifully these threads fit into one another, but should any little mistake have occurred in the foundation stitches—the supporting lattice work—the equal and regular inter-threading will be found impossible. The thread must be chosen to suit the size of stitch—the foundation threads are practically covered. In Fig. P they are shown rather too clearly at the edges; also in Fig. 33 the interlacing thread is not in proportion to the size of the lattice work, but a little practice will soon show the worker the size of thread suitable for a border; a half-inch border requires a good stout thread to fill the space—too thin a thread will make the insertion rather poor in appearance, while too thick a thread will make the interlacing difficult to manipulate. This insertion looks well with all types of threads, therefore it can be used for many purposes. For making decorative hems for household linen it is most useful, and gives one quite a pleasant change from the usual hemstitch; it is also more practical, because much more durable. No threads are withdrawn; a single fold of the material turned over to the front surface is the preliminary; this is firmly secured by the two lines of herring-bone stitch. Large decorative initials could be worked with the same stitch; placed in the centre just below the hem, they would look very well—it would be better to draw these out on squared paper for the first trial, one or four squares to each cross, according to the size of the initial wanted. The insertion could be used for many purposes. In some of the old German linen work of the fourteenth century this stitch is applied to household linen—in geometrical patterns to borders, insertions and corners, where it looks very appropriate; they are worked with white thread on white linen, but there is no reason why they should not be embroidered on a coloured linen—blue would look very effective worked in white threads or vice versâ. At a later date, some of the Eastern countries adapted this stitch to their own type of work and design, conventional flowers being carried out with admirable effect in coloured silks. The worker would find this adaptation rather difficult unless she had done a fair amount of line work.
Cosy Cover.—Plate X. illustrates a piece of work suitable for everyday use. It is a washable cosy slip worked in white linen with a pattern in braid. In this example the braid is flexible enough to take the curves of the design easily; it is tacked on, as previously described in the nightdress case (Plate XI.), on the outer edges, and gathered up with tiny oversewn stitches on the inner, to make the curves lie nicely. The design is very simple; it is made up with French braid in varying lengths formed into curves at the corners; the ground is of white linen. The braid is sewn on in blue cotton with a small button-hole stitch; the little daisies of loop stitch and the surface filling of the centre are also in colour. The open web in the centre is a simple lace stitch worked in button-holing.
PLATE XII.
THREE HAT BANDS ([See p. 129.])
Method:—Cut away the linen (see description, [Plate X.]); work round the opening a row of button-hole stitch not too closely set, then work ten loose loops similar to Fig. 54. Catch the last loop of the circle into the first to join; then on the last-formed loop work six button-hole stitches; pass the next loop; work six button-hole stitches again into the following loop—the third; proceed in this way to the end of the row. Work on in continuous rows until the centre is reached; each group of pyramids must have one stitch less in each row as the circle becomes smaller. Finally, at the apex, the thread is twisted once round each loop; carry the thread to the edge of the material by overseaming the edge of the first pyramid; finish it off on the back of the linen. The square mesh for the open-work is prepared as described on p. 127. The open-work clusters of the background may be grouped differently from those in the illustration, where they are oversewn horizontally and vertically. Quite a pretty variety would be to work them in diagonal lines securing each cluster with a knot stitch.
Method:—Start the thread at a part on the left where a definite oblique line may be laid. Work a stitch with the thread under the needle, through the stitch and tighten the knot; carry the thread obliquely to the next cluster and repeat the knot. Another method is, after preparing the background, to fill up the spaces with four open loops of button-hole stitch; work each loop into half the cluster of surrounding threads—the other half is used in working the adjacent square; in other words, the open square is filled in with four little loops, the needle being passed through the first loop to join it with the last before passing on to the next square, and the clusters of loose warp and weft threads are divided and pulled apart by the loops, leaving a little oval-shaped opening. The edges of the cosy are worked round with loops (see [Fig. 57]). These finish the sides and serve as a means of lacing the two halves together. This manner of finishing makes for simplicity in the washing and ironing.