CHAPTER XII
DRAWN-THREAD AND WHITE WORK—RHODIAN,
RICHELIEU AND HEDEBO
“Be rich in patience if thou in goods be poor.”
Many of the pretty delicate lace stitches which look so complicated when worked in fine lace threads, on a net or cambric foundation, can be used with admirable effect for the filling in of spaces and the covering of surfaces of some of the coarser stuffs; worked in wools and thick threads they lose their filmy and lace-like appearance, and can be adapted quite nicely to the more utilitarian articles. The arrangement of the stitches may be chosen to suit all kinds of materials; they may be very open or only partly so, but as a rule, the simpler these surface stitches are, the better they look. The main idea being to bring the background into tone with the rest of the work, the worker should choose a stitch which will have just the amount of colour to give the right tint or shade to the material. Diapers are also commonly used to tone in the background; single spots or groups of spots, which may be represented by French knots or bullion knots, flower or leaf sprigs worked in loop stitch, and all simple types of darning may be requisitioned for the purpose. Interlacing patterns can frequently be made up of two or more stitches combined, and may often be invented on the spur of the moment by the interested needlewoman. There are endless varieties to be made out of button-hole stitch, which is the foundation stitch of most needle-point laces (Figs. 53 and 11). Weaving stitch—interweaving of threads—is another upon which many laces, needle-point and pillow, are built up (Figs. 32, 62, 17 and 40). These two are often combined (Figs. 54 and 55); add to them darning stitch, both simple and patterned, and we have got one step towards lace-making. But lace-making is not for the busy woman or householder, who has her day fully occupied, but rather for the few who possess skill, good patience, and many unoccupied hours—these must belong to the woman who would excel in the art of producing the delicate fabric. It is most interesting to trace the development of lace; how needle-weaving of the more simple, primitive type later became drawn-thread work or openwork, in which finer threads and materials were used; under the skilful fingers of the inhabitants of the convents works of exquisite skill were produced, vestments and hangings, all destined to ornament the church. In England in the sixteenth and seventeenth centuries lace came into general use, and was worn in great profusion by Queen Elizabeth and her Court. Fine steel needles were made in England during this reign. Naturally this must have had some effect on embroidery, but the change does not appear to have been noticeable. Linen was embroidered in silk in various colours, and further ornamented with drawn work. This drawn work was followed by cut work, and from these we have the origin of lace. These first laces were of two kinds: Lacis and Cut Work. They were heavy in texture and suited to the costumes of the period.
Lacis.—In lacis the background consisted of a network of squared meshes upon linen on which a pattern was darned in linen thread, coloured silks, or gold threads; it was worked usually in large pieces, for coverlets and bed hangings, curtain borders, and altar cloths.
Cut Work.—Cut work had the background at certain parts drawn, other parts were cut away and the edges button-holed. Probably this stitch was invented for the purpose of protecting these cut edges. This darned netting and cut work, point coupe, were often combined on the one piece.
Reticella.—The next step, of course, was to work without a linen foundation. The threads were arranged in a frame, on a foundation which was only there to hold the threads in position while they were worked into various patterns, and filled with button-hole stitches. All the laces of this period were geometric in design—squares and circles combined with cut work, drawn work and embroidery. It was not until about the end of the seventeenth century that these gave place to flowing lines and more elaborate and complicated workmanship with a net background.
Some of the earlier peasant embroideries are singularly interesting. There is a personality and a quaintness of thought combined with those spontaneous designs, a brightness of colour so instinctive, and an inventiveness of method so freely displayed that one has only to see the embroideries to realise their charm.
The art and craft has passed from generation to generation. Some nations are distinguished by the exquisite skill with which the work is executed, others by the multiplicity of colours; the patterns predominating are mostly of the geometrical type. Some of the sixteenth and seventeenth-century Italian drawn work (punto tirato), in which the weft or warp threads were removed; punto tagliato (cut work), in which both the weft and warp threads were cut away, leaving only connecting bars of the linen, are inspiring to the needlewoman of leisure.
From these embroidered and cut-linen works reticella and needle-point laces arose.
Hedebo Embroidery.—The embroidery done by the peasantry of Denmark is worked almost entirely in button-hole stitch, on a firm linen ground, and with a coarse linen thread. (The Danish women always wear a little shield of metal when they are working on the second joint of the little finger to protect it—the constant friction would be apt to cut the finger otherwise.)
It is an exceedingly durable type of embroidery or lace—for it partakes of the nature of both—and is simple to work. The designs are mostly of the geometrical type, consisting of squares, circles, ovals, etc., worked in button-hole stitch, arranged to form borders, corners, or centres for table and bed linen. By combining other embroidery stitches with the button-hole stitch many charming pieces of work might be produced without much difficulty. Many of the Danish peasantry earn their livelihood by means of this beautiful work.
Plate XIV. illustrates the corner for a panel for a pram or cot coverlet in process. The centres of the forms are all worked in the typical hedebo work, while the outer parts are filled in with a variety of stitches. To prepare the simple design, make a series of squares and circles in paper and connect them with double lines; arrange and space them symmetrically. Leave sufficient space between each circle to allow for the surrounding stitchery (see [chapter on design]). Then, when finished, draw directly on to the linen with compasses or any small round shape; leave sufficient material for a hem or border. The linen should be of a good firm quality. Use a sewing needle—No. 6 scientific sharp—and a lace thread—Taylor’s Mecklenberg, No. 6, or Knox’s two-cord linen lace thread, No. 25 or 30, are suitable.
Method:—To prepare a circle, outline it with two rows of tacking stitch, keeping most of the thread on the surface by lifting a tiny stitch of linen. Tack the piece to be worked over toile cirée or over a stiff piece of brown paper; with sharp pointed scissors snip a small piece out of the centre of the circle, and by the warp and weft threads, cut up almost to the edge to allow the material to be turned back quite close to the edges of the double row of tacking, about six cuts to the half-circle. Begin to work in the following way:—Secure the thread at the edge nearest the worker by running it along the outline for a short distance—knots are never used—and bring it out on the surface; hold the material so as to be able to work towards the centre of the circle—that is, away from the worker; make the first stitch by inserting the needle from underneath; draw up the thread until there is only a small loop left; put the needle through the loop from underneath and tighten with a jerk of the thread. Repeat these stitches, but not too closely, round the circle, turning the material under as the work proceeds; finish with the last stitch into the first loop. The button-hole stitches should not be worked either too closely or too tightly—about six or seven stitches to a quarter of an inch. The inner row is worked in open button-hole loops (see [Fig. 52]), one loop into the head of every fourth stitch; this can be strengthened by working back along the top, one stitch into each loop. A close row of button-holing, or, if preferred, another row of open button-holing, should be sufficient to fill the circle. Carry the thread down over the first button-hole loop, which is a single thread, and secure it at the back of the linen.
The centre filling, composed of groups of three loops and pyramids, is worked as in Fig. 59. The working of continuous pyramids is described in connection with the cosy slip. Isolated pyramids are worked in a slightly different manner. Starting from the left, work seven button-hole stitches into the heads of the seven stitches surrounding the open space; overseam back to the left; work six button-hole stitches into the previous row; overseam back; work five button-hole stitches and overseam back, when there is only one stitch left; overseam down the right side of the pyramid; this brings the needle into position to work the next group of loops. When all pyramids and loops are finished, pick up a pyramid and a loop alternately with a button-hole stitch into each; overseam one stitch into each loop, then down the side of the last-made pyramid; fasten off at the edge.
The flowers in Plate XIV. are worked down the outer edges in blue and white linen embroidery thread. The stitchery used can be fairly well seen from the illustration. The largest flower in the corner has a row of eyelet holes, made at equal distances to finish the hedebo centre; the space is further ornamented with open button-holing (Fig. 53, Plate X.) in blue. This stitching should be commenced at the centre; the final row is worked into the linen and headed by a line of back stitch in white; a line of chain stitch in blue finishes the flower. The flower on the left has a waved line of closely set French knots, filling up the space, followed by a row of chain stitch in white. The little outer spaces between the curves are filled in with oriental stitch (Fig. 18); these alternate with French knots worked in blue. The flower on the right is filled in with loop or petal stitch, and finished with a double row of blue knots.
Rhodes embroidery is rather different from the other peasant embroideries. It is less varied, and so it is more monotonous and less interesting to work than many of the openwork or drawn-thread varieties. It seems to be of very ancient origin, and though it has been brought into prominence lately, under different names, it is only a revival of the old form of needlework done by the people of the Isle of Rhodes and adapted to modern methods. The old work was done on hand-made linen; the background was worked in red and the design left in the linen, with an outline stitch to define it; it was thrown strongly into relief by the colour of the worked background.
“Punch Work.”—In America this embroidery is known under the name of “Punch work.” It is much used as dress trimmings and for bed linen and table wear; as the fabric is not weakened by the withdrawal of the threads, it stands wonderfully well for articles of daily household use.
The linen should be loosely-woven so that the warp and weft threads can be gathered easily together without puckering the work—if hand-made, so much the better; a linen working thread, strong but fine, and a thick needle are required so as to separate the strands of the material. Special needles may be had from needlework depots at 1d. each. The strong fine thread draws the clusters together and yet does not fill up the open spaces which are a feature of the background. Fig. M, Plate II., gives an idea of how the stitch is worked, but in the figure the working thread is cotton, and each group of five threads is gone over twice, so that the open spaces are rather smaller than they would be if a linen thread had been used. When the material has been chosen and the design traced on, fix the work on to a drawing-board, and with a ruler mark off the dots in rows one-eighth of an inch apart; note particularly in starting the first row of dots, that they are in a perfectly straight line—with the warp or weft of the linen; this is very important, as the work will not look well unless care is taken in marking these dots. If the warp and weft lines of the material are easily followed without strain to the eyes, these dots need not be marked, but in many cases it is better to have a guide of some sort, particularly when fine linen or muslin is used. Another method of marking in the pattern of dots is to use an open canvas as a guide; this can be placed over the linen and fixed with drawing-pins at the top; the dots can be marked with a knitting needle or traced at regular intervals through the threads of the canvas with a sharp-pointed pencil. The only difficulty in using the canvas is that the lines of warp and weft of the linen are hidden, so care must be taken to make both materials correspond, otherwise the dots will be off the straight line and the work will prove most unsatisfactory when finished. Some workers prefer to do the outlining of the design first and the background afterwards, others reverse the process—much depends on the worker herself; the background can be kept free from puckering by placing the work in a frame.
To work Fig. M.—Tie the thread to begin with; bring the needle out at the first dot of the top left-hand corner; put it down through the dot to the right; pull the three or four strands together and repeat this horizontal stitch to tighten; pass the needle diagonally under to the second left-hand dot—exactly under the first; make an upward stitch into the first dot; pull strands together; repeat stitch and tighten—this brings the needle to the surface again with one horizontal and one vertical stitch completed. Repeat these two stitches to the end of the row. These stitches should form three sides of a square, the fourth side being added with the second row.
When the edge of the space is reached, turn the work round so as to be able to work from the top down, as at starting. Make a little stitch to keep the thread firm, on the wrong side, then bring the needle out at the dot to the left; put it down through the previous hole—horizontal stitch; repeat; take a vertical stitch, putting the needle down into the previous hole, and, completing the square (Fig. M), repeat; pass the needle diagonally under the material to the next dot, and so on. When a very fine material is used the groups of threads may be held together by a single stitch instead of a double one. This background may be worked in a different way, all the horizontal stitches being worked first, and then the whole turned half round and the vertical stitches, which are now horizontal, worked next. This may commend itself to some, being rather a simpler method; it is done entirely in horizontal stitches and needs no description after studying the first method. After the background is finished the design may be worked in with satin stitch, chain stitch, outline stitch or button-hole stitch. This should be done in the hand.
Richelieu Embroidery.—Richelieu embroidery—another of the embroideries worked in button-hole stitch—is even simpler in execution than Danish work, as the material is not cut away until the button-holed bars—which connect the pattern—are finished. It is worked in the hand, generally over a piece of toile cirée—American cloth specially made for embroidery. The entire design is outlined in small tacking stitches with embroidery cotton; the bars are then worked in—they always have picots, which is characteristic of Richelieu work. For the working of bars see [Fig. 24], and of picots, [Fig. 57]. Care must be taken to secure the ends of the bars, by passing the needle through the linen to the back and making a stitch, before running the stitches along the outline to the point for the making of the next bar. The design is then button-holed all over in equal-sized stitches; the flower centres are worked in, and finally the linen is cut away very close to the button-holed design with a sharp pair of embroidery scissors.
Fig. 52.
Edging: Point de Bruxelles (Fig. 52).—This Fig. 52, which consists of a piece of Honiton braid with an edging, shows the working of one of the most elementary of the lace stitches. It will be seen at a glance that it is the familiar button-hole stitch worked in loose loops; to lace-makers it is known as point de Bruxelles. It is a stitch constantly in use with them as it forms a good foundation net, and charming patterns may be made with it when worked in rows, backwards and forwards. Point de Bruxelles is frequently found in laces of different types as it may be worked closely or openly to suit various styles and designs. The stitches are worked into the loops of the previous row; sometimes a strengthening thread is stretched from right to left, in which case the button-hole loops are worked from left to right over this thread, as well as into the loops of the upper row. There are many beautiful varieties of patterns for covering spaces or openwork fillings to be made from this simple foundation stitch, by varying the grouping of some and duplicating others (Fig. 53). What is known as double-net stitch has two button-hole stitches worked into each of the loops of the previous row. When used as a surface stitch worked in coarse threads the loops may be fairly loose, provided care is taken to keep them regular in shape and size. For those who are not expert a frame is helpful or a piece of stiff glazed calico or brown paper—either might be utilised to keep the material stretched.
As a filling for an open space they should be worked much smaller and closer in a linen thread, the size mainly depending upon the opening to be filled in.
Fig. 53.
Point de Sorrento.—In this (Fig. 53) there is a pleasing variety of the same stitch. It also has a special name among laceworkers—point de Sorrento, although only varying slightly in the arrangement of the loops from point de Bruxelles. It is used principally for the filling of open spaces and is comparatively quickly worked. Good results, too, can be had by filling in large spaces with woollen threads of the twisted type. In the first row the stitches are taken rather closely together but equally distributed in the second row; one stitch is worked into the last loop of the first row; one loop is missed; one stitch into each of the two following loops, and so on across the space. The pattern starts on the left side and is worked to and fro, the third row, therefore, starts from the left again with one stitch into the smaller loop and three into the wider loop.
Fig. 54. Fig. 54a.
Fig. 54 is rather a favourite pattern, but the making of the small wheels or roses is just a little tedious. The foundation is a row of looped button-hole stitches, similar to Fig. 52, worked into a circle of braid or a row of not too closely worked button-holed material as described on p. 138. If the circle is small, another row added to this and drawn up by overcasting the inner circle will often be sufficient. The little wheels take up quite a large space themselves, but where such elaborate stitching is wanted they look very effective.
Method:—After the row of open loops has been made, overcast a single stitch into each loop and draw up the thread to tighten the circle; the first row of open button-holing should be nicely spaced to leave room for the forming of the little wheels. The little wheel-like forms are woven in and out of the connecting stitches as is clearly shown in Fig. 54A. Another method of filling in a circle is as follows:—Make a row of open button-holing as Fig. 52, spaced widely, so that there may be eight or ten loops in the round. This done, draw them up by overcasting one stitch into each loop; then carry the thread back to the edge of the braid at the starting point of the first button-hole loop—this is necessary to complete the first loop, the last half of which, so far, has only got one strand. Add two more threads to this half-loop by carrying the needle to the centre and back again; this acts as a strengthening or padding thread to the half-loop, which has now to be button-holed from the outer edge to the inner circle. Each loop is worked in the same way, always adding the padding threads and starting the button-holing from the braid, and from there working towards the centre. When each loop has been worked, button-hole round the inner circle with the heading towards the outer ring; slip the thread up through the first bar and finish off neatly.
Fig. 55.
Fig. 55 gives a simple method of filling in a square opening with a circular form. It is not so complicated as one might suppose. Start at the lower left-hand corner and lay the threads for the square; then the first diagonal line is stretched across to the top right-hand corner; overcast it back—in the method shown in the diagram—as far as the centre only. From this point—the centre—each thread is laid in succession to the edge—vertical, diagonal, horizontal, each one in turn—and overcast back to the centre; when the circle is complete, overcast the second part of the first diagonal back to the edge. The loose button-hole loops are then worked, two into each side of the side and the thread, passing round the first incomplete loop, is interlaced round the inner circle to strengthen and tighten it (compare Fig. 55). Now complete the first button-hole loop; make the final outside circle and finish off the thread. If the filling looks rather thin when finished it may be solidified by working a row of close button-holing round the inner circle.
This stitch is an interesting one and rather less used than the common point de Bruxelles, on account of the initial difficulty of keeping it quite regular; a little practice very quickly gives facility to a careful worker.
Fig. 56.
A Netting Knot (Fig. 56).—The knot is similar to that used for netting. In working an open space as in Fig. 56, it will be found of considerable aid—towards the equalising of the loops—if horizontal lines are drawn on the foundation material. The loop may be fixed with a pin into position, and the needle being inserted behind the loop of the upper row and the stretched thread, the working thread is then twisted over and under the needle before the thread is drawn up. This stitch can also be worked without the strengthening horizontal lines, either in diagonal or straight lines. To work it diagonally, make the first loop in the left top corner of the square; overcast a few stitches along the top to reach the position for starting the second row; each loop is secured with the knot as in Fig. 56, their regularity and equal length being ensured by the pin which is stuck into the foundation. In netting, a knitting needle or small mesh is used instead of a pin.
PLATE XIV.
CORNER OF COT COVERLET—UNFINISHED ([See p. 138])
Edgings.—A very dainty and durable little edging may be made by working this knot on to a coloured or a lace braid. In Fig. 30 the knot comes at the edge of the material, while with this point Turc knot the edge of the loop is knotted. If the loop in the edging in Fig. 30 is worked rather tighter, it also makes a very durable finish.
Fig. 57.
Picots (Fig. 57).—The little pin picot is occasionally used as a finish to a button-hole edging. It is rather ineffective, having only a single thread, which is apt to disappear after a little wear. Fig. 23 gives a much more substantial picot in bullion stitch.
To work Fig. 57, button-hole a few stitches along the edge or bar as the case may be; fix a pin into the material or bar and pass the thread under it; take a stitch into the material; bring the needle out at the back; slip it under the three threads from left to right (see Fig. 57) and draw through. Make a firm knot close to the edge of the material, then continue the button-holing till the next point is reached.
Venetian Picot.—A more substantial picot is used in Venetian lace and embroidery as follows:—Make a connecting bar by stretching three threads across from one edge of the opening to the other, as in Fig. 26. Button-hole half-way across, then insert a pin as Fig. 57, but pass the thread under the pin and over the bar twice; then begin to button-hole the picot at the point where the pin is inserted and work five or six button-hole stitches till the bar is reached; the point must be closely covered, then continue the button-holing of the bar.
Fig. 58.
Fig. 58, a, b, c, show how a solid little picot may be worked as an edging; it should have some decorative stitch to join up the picots, such as large overcasting, button-hole, chain or couching stitch. It is generally easier to work the picots with the edge held away from the worker. Make a loop as at a; fasten it with a pin; then take the thread to the top of the loop and pass it round as b. Then interlace backwards and forwards, passing the needle under the thread before going over to the opposite side, c. Repeat four or five times until the loop is filled. A twisted thread of a fairly thick make is most suitable for these picots.
Fig. 59.
A Button-hole Edging.—Fig. 59 shows how to work an edging which is particularly suitable for household linen, table mats, towels, etc.; being both strong and durable, it will stand the hard wear which household articles in daily use are subjected to.
Figs. 60 and 61 are very good surface stitches, both of which make bold and most effective headings to a border or band of needle-weaving. Both depend considerably on the care with which the foundation stitches are worked; if these are not equally distributed and the interlacing thread carefully adjusted to form the circles or links of the pattern the decorative value of the line or filling is spoilt.
Fig. 60.
A Border Stitch (Fig. 60).—To work as Fig. 60 three rows are required to complete the stitch. First make a row of horizontal stitches on a level with each other; then take a long thread and pass the needle, eye foremost, up under the first small stitch, down through the second, and so on, till the first row is finished—the second row of interlacing completes the link.
Fig. 61.
An Interlacing Border or Filling (Fig. 61).—The stitch may also be used as a background or filling, in which case the ground must first be patterned over with alternating rows of horizontal and vertical stitches, equally spaced. The vertical stitches hold the lower and upper edges of the links together—one such stitch is seen on the left of Fig. 60. Fig. 61 looks well if the foundation stitches are worked in one colour and the interlacing threads in another. By looking at the figure it will be seen that four small horizontal stitches are required to support the interlacing threads, in groups of two. These must be equally spaced so that the rings may be equal in size. After the foundation stitches are worked proceed exactly as in Fig. 60. Take a long thread for the interlacing of the first row; pass the eye of the needle foremost through the small stitches to prevent splitting of the threads; follow by a second row, which completes the ring.
Fig. 13 gives a row of large back stitching with an interlacing thread which is worked in a similar way, and which makes a good firm line or heading to a border or hem.
Fig. 62
Two Leaf Fillings (Fig. 62).—This filling for a leaf or oval form is quickly worked; it may be used equally well for a surface stitch. Fig. 62 represents a leaf with a lace braid for the outline. The central thread which forms the mid-rib is stretched first, the loosely worked loops are then threaded over this. This very simple arrangement looks remarkably well, and can be still further enriched by spacing the loops much wider apart, stretching horizontal lines across the spaces and forming little woven wheels, or rosettes, over them, down the mid-rib. This is, of course, a much more elaborate type of leaf, and would be used to fill quite a large space.
There are many simpler methods of filling leaf forms or oval spaces—a row of button-holing, point de Bruxelles (Fig. 52) worked round the inner edge, followed by one or two rows of looped button-hole stitch (Fig. 53), and closed down the centre by a line of faggot, or Russian stitch, finally overcasting a few stitches to the edge in order to finish off the thread neatly.
Similarly, Fig. 62 b, may also be worked either as a surface filling or as an open one. The horizontal lines are stretched first, then overcasting from left to right of the straight lines fixes these transverse threads; otherwise they would be apt to get out of place, as they are only threaded over the one line and under the other.
Point de Venise (Fig. 62 a).—This can be worked on to baby garments, or to any article where a dainty finish is required. It looks even better if the heading is of some of the lace braids. The thread is secured at the edge and a looped stitch is taken as a foundation thread into which are worked four button-hole stitches—to form a scallop. This charming edging is much used in point de Venise. The same stitch also makes a beautiful filling pattern.
A Useful Bag.—Plate XIII. illustrates what may be done with such simple materials as canvas, braid and wool. The foundation of canvas has the design traced on to the material; it consists of a series of little circles and half-circles, which overlap here and there, and which are eventually turned into gay little conventional flowers by means of bright-coloured wools. These flowers are mostly worked in petal stitch (Fig. 3A), and French knots (Fig. 22A). The band is enclosed by two rows of braid, oversewn with green, blue and purple wool. The foot of the bag is made up of an oval of braid worked in rows from the centre outwards; the tassels, also of braid, are brightened by rings and tags of wool; little thin lines of tinsel threads are darned into the canvas—these serve to connect the embroidered band with the upper decoration. The embroidered rings which hold the draw strings are extremely pretty. This note of originality, and indeed, the whole bag, conveys to one’s mind the impression of the bright personality of the worker who thus gives outward expression of the joy it gives her to work with her needle.