CHAPTER XI
FRINGES AND TASSELS—HAND-MADE BRAIDS—
KNOTS AND PICOTS
“And bid them that they make them fringes in the borders of their garments.”
Fringes are used to form an ornamental border for various articles; they seem to be the most natural finish to many of the loosely-woven textures. They can be knotted in different ways into simple or elaborate patterns, or they can be enriched with groups and bands of coloured threads or beads. The most simple are those produced by the unravelling of the horizontal or weft threads. In planning out a piece of work to be finished off with a fringe, allow 6 or 7 inches for it—or whatever depth is wanted; finish it after the rest of the work has been completed, as the frayed edges are apt to get soiled and untidy if unravelled before.
Fig. 34.
To prepare a Fringe.—Withdraw a few threads at the head of the space and work a row of single hemstitching, or overcast it with large stitches. There is only a single ply of material, but this stitching, while giving firmness, adds a decorative value and prevents the loosening of the weft threads. Fig. 34 explains the method of hemstitching; if the strands or warp threads look rather poor and thin, additional weight may be given to the whole by darning in either some of the weft threads, which have been removed, or by adding various coloured ones.
Fig. 35.
Fig. 35 shows one way of adding threads. These are fixed into place most easily by means of a crochet hook.
Method:—Wind the thread round a piece of cardboard sufficiently wide—that is, almost twice the depth of the required fringe; cut the threads along one edge of the cardboard, and the strands are ready for use. Put the hook into the material near the edge from behind; lay the loop of the doubled length of thread on the hook and draw it through, then slip the two ends through this loop and tighten (Fig. 35).
Many pretty variations may be made by adding beads or narrow ribbons, tassels or knots (Plate VI.). Those tasteful finishing touches add greatly to the appearance of the work.
Fig. 36.
Knotted Fringe.—Fig. 36 has the strands in groups knotted together, then divided and knotted again. These knots take up a fair quantity of thread, thus the length allowed for the fringe must depend on the number of rows of knots, as well as on the coarseness or fineness of the thread used. The thicker and firmer the texture of the strands, the greater the length of thread required for the knots. The method of making the knots being shown in the figure, it needs little explanation. After the first row of knots is formed, the second row is made up of the groups of threads hanging from these knots—they are divided, and half a group is taken from the right and left respectively. Three or four rows may be added in this way, each succeeding row of knots coming between those of the row above.
Fig. 37.
A Flat Knot.—Fig. 37 gives a flat knot used in fringe-making by macramé workers. At one time (in the sixteenth century), priests’ vestments were frequently trimmed with this handsome type of fringe, consisting chiefly of knots grouped into various patterns. It was then known under the name of “punto a gruppo”; later it was called macramé, from an Arabic word meaning ornamental fringe or trimming. The Genoese used it for the trimming of bridal dresses. These knots can be added directly to a hem, or worked over a cord.
Fig. 38.
Method:—Arrange the thread in groups of two double strands, as in Fig. 37 a; take the two outside strands, and passing the left one under the middle strands, and the right-hand one over them—these middle strands meanwhile being held taut between the second and third fingers—bring the left-hand strand out, as Fig. 37, and the right-hand strand under so that their positions are reversed. Complete the knot by crossing the reverse way again and tighten to finish. Quite a pretty fringe can be made by working a row of four of these flat knots in succession over four strands, one knot below the other; the second row has the knots made on four strands—two strands taken from each of the groups immediately above—this brings the knots of the second row alternating with those of the upper row, as in Fig. 36.
Twisting and Crossing.—Fig. 39 gives a little hand-made braid, very useful for many purposes, for small headings, or for finishings, edges, or seams. It is a simple plait made with four strands of any firm thread or narrow braid—the latter is the more suitable for embroidery. Lace plaits similar to this require bobbins and a pillow, as well as a suitable lace or linen thread; but the gimps for embroidery can be made quite nicely by fixing the knots to some firm foundation and winding the cord, string, or braid on to a piece of cardboard. The plait is done by means of twisting and crossing. These terms are used in the making of pillow lace. “Twisting” always means passing the right-hand strand over the left (Fig. 38 A), and “crossing” means the passing of the inner left-hand strand over the inner right-hand strand (Fig. 38 B).
Fig. 39. Fig. 39a.
Hand-made Gimp.—Fig. 39 shows the braid in process. Each pair of threads is twisted once, then the inner threads are crossed; this is repeated to the end, care being taken to keep all threads as equal as possible. Fig. 39A is the same braid with picot edgings. These picots may be placed at every second loop instead of every fourth as in the figure. They are made with the help of pins fixed into the foundation; the outside thread is passed round the pin before twisting with the next strand.
Fig. 40.
To make a Lace Pillow-Cushion.—Fig. 40 is a still more elaborate braid, consisting of five double strands. It could be more easily worked on a cushion—a large pin-cushion tilted against a table would do, or the worker could make a pillow-cushion for herself, such as some lace-makers use, in the following way: Cut a piece of firm cotton or linen about 20 or 22 inches wide and 22 to 24 inches long; join up the length by the machine; hem the two ends and run a drawing string through them to close the ends. Cut two circles of cardboard 4 or 5 inches in diameter; draw up one end of the pillow and place a circle of cardboard in against the closed end; fill the cushion with bran or cork—such as is used for packing grapes—horsehair, or sawdust; stuff tightly; then place the other circle of cardboard on top and tighten up the second end by means of a strong cord run through the edges. This little cushion can be placed into a wooden box or basket, which is better to be weighted a little to keep it steady. Some pillows are made like a cylinder and fitted into a box, which is higher at the back than at the front; others are made with an axis which is fitted into grooves cut in the side of the box; this enables the worker to turn the pillow and also allows the lace as it is worked off to fall behind into the box.
Braid.—To work Fig. 40, fix on to the cushion in a straight line five lengths of braid, knotted as in Fig. 38.
Method:—Twist the first and second pair once; cross; twist the second and third pair once; cross; twist the third and fourth pair once; cross; twist the fourth and fifth pair once; cross; place a pin at the right-hand edge; twist the fourth pair once; twist the fifth pair once; cross; twist the third and fourth pair once; cross; twist the second and third pair once; cross; twist the first and second pair once; cross; place a pin at the left-hand edge; twist the first pair twice; twist the second pair once; cross, and repeat from: twist the second and third pair once; cross, and so on for length required. This braid when worked with bobbins and a stout linen thread will be excellent for teaching the method of making grounds for some of the simpler pillow laces.
Simple Tassels.—Fig. 41 gives a small tassel.
Fig. 41. Fig. 41a. Fig. 41b.
Method:—Take a piece of cardboard, rather wider than the length of the finished tassel, and wind some wool rather slackly round it, twelve to twenty times, according to the size and thickness of the tassel to be made. Take a long large-eyed needle with a doubled thread; slip it through the wool close to the cardboard; pass the ends through the loop and pull firmly to tighten. Cut the wool at the opposite edge of the cardboard. Pass the thread through the centre of the bunch of wool and knot it two or three times to form a padding for the head. Sometimes a wooden bead helps to fill out the head, the needle being passed through it to keep it in place; after which the thread is knotted. Figs. 41 and 41B give the making of the neck of the tassel. Take a needle with a double thread and wind it round the neck two or three times; pass the needle through the loop, then up the centre of the head and out at the top—here another bead adds to the appearance of the finished tassel—the ends serving to attach it to the embroidery. A much more elaborate finish may be made by button-holing the head of the tassel, beginning at the neck and working in rows towards the top. If the tassel is large enough to admit of it, a crochet-covered top, beginning with a chain and working upwards, is very quickly made; long chains ending with beads may finish the lower part effectively. Plate VIII. shows simple tassels made in this way—those on Plate I. are rather more elaborate.
Fig. 42.
Needle-made Picots (Fig. 42).—This edging requires a good stout thread, linen, twisted silk, wool, or fine string, according to the purpose for which it is required. It may be worked on a braid, a cord, or the edge of the material. There is no great difficulty in the working of these picots, but absolute regularity of the loops and knots is essential—in order to secure this, a mesh, or if that is not to hand, a pencil may be used to keep the loops uniform in size. After some practice, the worker will probably dispense with a mesh and use a pin to keep the loops in place while making the knot.
Fig. 42 shows the method of working. Fasten the thread securely and take the first stitch, which is of the button-hole type, with the thread under the needle; then slip the thread round the mesh, passing it behind and bringing it out over the front of it; put the needle behind the loop (see [Fig. 42]) and twist the thread round the needle, over and under it; pull through and tighten the knot. If a pin is used, pass the needle behind the first little loop, then put the pin into position—a quarter or half an inch below the edge; pass the thread round the head of it; make a loop round the point of the needle and tighten.
Fig. 43.
Fig. 43 shows the same edging with an additional row worked over a narrow braid—several threads could be substituted for the braid.
Button-holed Rings.—Button-holed rings are useful. They are generally made over a foundation of soft threads, which serves the double purpose of padding and strengthening them.
Fig. 44.
Laces, Edgings, Central Fillings.—Danish needle-workers use these rings a great deal as foundations for making both laces, and edgings, also central fillings. The former they apply to their beautifully worked embroideries as insertions or finishings; the latter have some arrangement of grouped stitches worked round a button-holed ring, then sewn on to the parts prepared for them. They use a ring stick, which is graduated in such a way as to enable them to make rings in several sizes, also to make any number in the one particular size desired. Rings are quite simply made. The thread is wound round the stick six to ten times, according to the size of the ring, and a stitch or two of button-holing is worked before removing it; then work round the threads until it is complete and finish by passing the needle through the head of the first stitch and slipping it inside—and along the line of strengthening threads; cut off neatly. Rings may have pyramids worked round them, in which case a definite number of button-hole stitches should be made. If a ring is covered with twenty-eight button-hole stitches, four pyramids of six stitches each could be made, with one stitch between each pyramid; with thirty stitches, six smaller pyramids, with one stitch between each, could be worked in.
Rings could be made over a metal or bone foundation when they are used to support any weight, as for the draw strings of a bag, or to attach a splasher to a wall; for lacing or connecting the front or shoulders of a jumper or child’s frock they can be either made on threads or metal rings.
Note the interesting method of applying rings in Plate XIII.; see also [Fig. 23 b], which shows method of working rings with picots of bullion stitch.
Very useful indestructible buttons can be made of very thickly padded small rings in which the stitches practically fill up the centre; twisted bars, crossed, should be worked at the back for the purpose of attaching these buttons to the garments which they are to adorn.
Ornamental Knot (Fig. 45).—Knot work, like embroidery and lace, seems to have originated in the East.
All of the following knots may be worked more simply from the diagram than from the description.
Fig. 45.
Fig. 45 is commenced at the top or foot, where the X is marked. The braid is joined there under the curve; it is formed of one piece of braid, and can make a very good centre for a cushion, applied in a coloured braid, if sufficiently enlarged. It could have a decoration within the curves of conventional flowers, or, on the other hand, it might be enclosed by a narrow geometrical border. It could also be worked in chain, couching, or oriental stitches instead of braid.
Fig. 46.
Weaver’s Knot (Fig. 46).—The weaver’s knot, used by all weavers for the joining of warp threads—weft threads are worked with the weaving—is a well-known knot. It is illustrated in Fig. 46 and consists of two loops interlaced; when finished, one loop has the ends crossed while the other has the two lines lying parallel. It can be easily followed from the figure. A simple method of tying it is to take the end of the new joining thread and form it into a loop with the threads crossed; note that the short end is under and pointing to the left, and the long upper end is pointing to the right. Place this loop between the finger and the thumb of the left hand and hold it upright; take the end of the working thread in the right hand, and putting it from behind up through the loop, pass it round between the thumb and the first finger, under the short end of the new thread and over the long one, down into the upright loop again. Tighten the ends of both threads.
Fig. 47.
The Carrick Bend (Fig. 47).—This knot is simple and ornamental. It could be used quite successfully for embroidery and braiding. It is used by sailors for tying hawsers. To arrange the knot take one piece of narrow braid or cord and form it into a loop on the table; cross the ends—the under and shorter one points towards the worker; take the second cord in the right hand and pass it under the complete curve of the loop in a diagonal direction (see Fig. 47); passing then over the long and under the short end, enter into the loop and pass it under the diagonal line and out over the loop. This knot looks well—tighter or looser according to the width—when placed at intervals on a border and connected by lines of stitches.
Fig. 48.
The Reef Knot.—This knot varies slightly from Fig. 46. It forms a rather neater one than the weaver’s knot and is also more ornamental.
Method:—Make a loop as before at the end of the new thread. Hold it upright between the thumb and the first finger of the left hand, but do not cross the ends; take the end of the working thread and pass it up through the loop from behind: put it round between the thumb and the finger, under the two ends of the held thread, then down through the loop again; draw up both pairs of threads. The reef knot, as its name indicates, is used by sailors for tying the reef points of a sail.
Fig. 49.
Fig. 49 shows a knot which may be made of braid or of two rows of cord, on a larger scale, or it may be worked in chain stitch as a smaller knot. When made in narrow braid or cord the second cord is laced through after the knot has been formed by the first cord. This knot could be used for a border, placed at regular intervals with lines of cords connecting the one knot with the next; to fill up a corner the central loop could be made larger. It looks well when worked in chain stitch or in couched lines.
Fig. 50.
The Chinese Knot (Fig. 50).—This knot, used for the ornamentation of a sailor’s collar, is made of one cord. One loop is made long enough to pass round the neck, under the collar. Used as a part of the border design the end loops may be made as long as required to fill the space. The Chinese knot makes an ornamental fastening for anything that might require it. To make it, start at the X; from there it can be easily followed from Fig. 50. It takes the form of two hearts reversed and interlaced; the outer loops are formed in the process.
Fig. 51.
Fig. 51 is made up of two pieces of braid. The crosses show where the ends disappear under the curves. This knot could be used similarly to Figs. 45 and 49.
Knots are not generally used in embroidery for the starting or finishing of threads, but sometimes a new thread has to be joined directly on to the old one, in which case a firm, non-slipping knot is necessary. Figs. 46, 47, 48 are all useful for joining threads.
Nightdress Case in Blue and White.—Plate XIV. shows a charming and useful nightdress case in white linen, embroidered in white and blue flax. The simple interlacing design is laid on in white French tape, which develops into leaves at the centre and corners, and gives scope for a pleasant change in stitchery. The braid is fixed in place on the outer edge by a button-hole stitch worked in flax thread over three strands of blue. The material is cut and turned in and button-holed—this gives a little raised edge and accentuates the outer line; the inner edge is marked out by a line of back stitching (Fig. 13), and French knots worked in blue (Fig. 22). The spaces between the interlacing braids are worked in a filet or net pattern—which is simply worked but rather tedious on account of the necessary preparation.
Method:—Remove four vertical threads and leave four of the linen; repeat this within the space; then remove four horizontal threads and leave four; repeat. These little groups of threads are kept closely together by means of overcasting stitches—which should be done with a very fine thread—worked in rows over the warp threads, then over the weft. The linen in the centre of the leaf forms at the centre and corners should be cut, turned under the braid and button-holed, as described in Plate XIV. The outer ones are filled in with button-holed bars, which may be worked as described in Fig. 24, or they may be inserted after the button-hole edge is finished, by laying two or three strands, button-holing them, and overcasting three or four stitches along the edge to carry the needle into position for the next bar. The opening in the centre is worked in pyramids and bars, alternately (see description of [Plate XIV.]). It will be seen that the two outer leaves of the centre group are worked in a weaving stitch which gives the appearance of mid-rib and veins.
Method:—After the inner edge is button-holed, carry six threads to and fro from point to base to form the foundation; then weave by passing the thread over three and under three strands until the point for the first vein is reached. Press the threads closely together with the needle to make the line solid; then carry the working thread across to the edge to and fro and back to the edge; weave into and out of these three strands until the mid-rib is reached again; weave a couple of threads into the centre rib, then form the vein on the opposite side in the same way, and proceed in this way until the base is reached. The stitch must be very evenly worked and well pressed up by the needle continuously to get the right effect. The inner leaves are worked with a row of open button-holing, after which button-holed loops (Fig. 59) and pyramids are arranged to fill up the space. The braid-like appearance of the inner border is obtained by working a row of herring-bone stitch to form a foundation; a long flax thread is then interlaced as shown in Fig. 25. See also border to [Plate XIV]. This interlacing thread is worked in, row after row, until the desired thickness has been got. In Plate XI. the foundation stitch is in blue and the interlacing in white flax thread—the little blue points of the herring-bone stitch peeping out on either side give a pretty effect. Two rows of fine chain stitch (Fig. 1) finish the dainty border.
PLATE XIII.
A BAG IN CANVAS AND WOOL. ([See page 153.])
The outer edges following the curves of the braid are worked in open button-holed loops (Fig. 59) which in Plate XI. are done with the needle; but this edging may be done more simply, if desired, with a crochet hook, by forming a row of chain loops, then covering them with double crochet stitch (see [p. 157] for description).
The edging of needle-made loops is, of course, preferable to any other, but in these days, when most of the household linen must go to the laundry, these little crochet edgings might quite suitably be worked directly on to little mats, table-napkins, and many other articles. They are quickly worked and wear excellently.
Hat Bands.—The illustration shows two hat bands, both of which might be made in a colour to go with a hat or suit.
A Flowered Hat Band (Plate XIIa.).—Plate XIIA. consists of a piece of cotton—celtic canvas—about 5 inches wide; the length will vary and must depend on the shape and size of the hat. To make a similar band, prepare a fringe about half an inch deep on one side only; turn the fringed edge over the plain one and tack into position; crochet two lines of insertion (Fig. 65) in wool or in any material preferred. Make the flowers as in Figs. 66 and 67; those in the centre of the illustration are made up of three separately worked flowers, the smallest one is in silver tinsel. The large flower groups are placed on the band alternately with the smaller sprigs. For the making of the leaves see [Fig. 68], p. 160. This band may be made in a very short time; it is a very suitable hat decoration for rough weather, as rain does not destroy either the foundation or the crochet flowers.
A Velvet Hat Band with Cross Stitch (Plate XIIc.).—Cross stitch, so little used nowadays in this country, except for the marking of household linen, seems to have been well known from a very early date by all needle-workers. It, and many other varieties of a similar nature, was worked on canvas or linen in patterns where the threads were counted. At one time these embroideries were so characteristic of the various countries that their origin was generally recognised by the pattern and the colour in which they were worked. The Italian cross stitch, embroidered on a very fine linen, was mostly done in a reddish-purple, and frequently worked in a two-sided stitch. Red, blue and yellow were the predominating colours of the Slav, Hungarian and Swedish peasantry. Very large pieces, destined for wall hangings, were worked in tent stitch or cross stitch, in designs suggestive of those used for tapestry weaving. These have even been called tapestries on that account. The famous Bayeux tapestry represents an interesting series of events of English history from the accession of Edward the Confessor to the death of Harold at Hastings; it is worked in coloured wools on linen canvas: this is, of course, not really tapestry; a true tapestry is formed by the interlacing or weaving of warp and weft threads by means of a needle or a shuttle (see chapter on [needle-weaving]).
Plate XIIc. shows a dainty band made on velvet ribbon; the quaint little basket of flowers in cross stitch on a gold-coloured foundation may be worked quite simply on to any material, but in order to keep the rigidity which is characteristic of the stitch it is necessary to have a piece of fine canvas as a foundation. The ribbon is tacked on over it, and the design is worked over the two materials. In the case of velvet this method is reversed, as the pile is always an obstacle in the way of accurate sewing. The canvas is laid on top of the velvet; the cross stitch is then easily worked and the threads of the canvas are removed, one by one, when the work is finished. The centre piece of Fig. C is of gold-coloured velvet worked in this way. It is caught down on the outer edges by gold tinsel threads, couched closely to keep them in position; the strips of orange-coloured velvet applied on either side and peeping through the stitchery give a gay little touch to the panel, which is finished off by lines of gold thread and two little gold beads. The strips of decoration at equal intervals are somewhat similar, but not so elaborate. No cross stitch is used except in the front.
Much may be done with canvas stitches, provided they are applied to designs which are treated in a conventional manner. The form of the stitch, occupying a square space, would enable the worker to make out patterns on squared paper; chair seats and cushions could be worked very satisfactorily in geometrical designs.
Baskets and bags, worked on canvas in wools, cottons and raffia, can be very useful; the canvas should always be worked with a thread which fills the mesh. For fine embroidery it is often better to work it in a frame, particularly for fine cross stitch or petit point, or when worked over two plies of cloth—the frame prevents the under cloth from puckering.
Some of the darning stitches, too (Plate II.), could be applied successfully to bags; if small, they could be worked in silk on a fine-meshed canvas. Cross stitch requires no description, except that it is worked in two rows; this allows the threads of the second row—on the return journey—to cross over those of the first. A quick method of filling a line is to work a half-stitch over a stretched thread.
Tent Stitch or Petit Point.—the finest of the canvas stitches—is, like the first half of the cross stitch, worked over a single thread of canvas.
Goblin stitch is worked over one vertical and two horizontal strands. A close herring-bone stitch looks well alternating with rows of an upright stitch for a canvas-made basket in various colours.
There are many other canvas stitches, but varieties will be easily constructed by the worker. Canvas may be bought with a single or double thread, of a coarse or fine quality. A wide-meshed canvas of a stiff quality, used for rugs, is very satisfactory for the making up of work bags or baskets with raffia.
A Braid Hat Band (Plate XIIb.).—A hat band or collar made from remainders of braids is illustrated on Plate XIIb. The original was made as a collar to wear with a suit, but it looked so fascinating as a hat band that it was worn as such. It is a perfectly straight band and the illustration shows very clearly some of the insertion stitches already mentioned (see Figs. [25] and [29]). Prepare it in the manner already described for the braid collar (Plate IX.). Cut a piece of brown paper to the size wanted and tack the braids upon it. In the illustration three rows of black skirt braid, with a row of black chenille in the centre, go to form the foundation. The upper and central rows have a line of blue braid laid over them, just close to the chenille. Join the braids with faggot stitch on the one side (Fig. 25) and a knot stitch (Fig. 29) on the other. The knot stitch is in turquoise blue wool, the faggot in jade green with a stronger green interlaced. The lines of bright blue braid are connected at one side and the edging (Fig. 30) is worked over the other. This edging has a thread intertwined with it so that the loops are connected, instead of being detached as in Fig. 30. When all the braids are connected the paper is cut away from the back.