CHAPTER XIII
DECORATIVE FLOWERS AND LEAVES—EDGING
AND INSERTION
“Take the gifts, too, to serve as monuments of my hand labour.”
These little flowers are a dainty trimming for hat bands (Plates IX. and XII.), collars, ribbon, ties and jumpers, for dress decoration, or as an addition to almost any article of daily wear: further, they are so simple to work that a very few directions will enable any one to make and apply them to whatever object may be chosen for decoration.
Crochet.—All crochet consists of a series of little loops made by a needle or hook, these being worked or drawn together in various ways to form patterns or designs suitable for edgings, insertions, motifs, etc., for domestic use, and innumerable articles of personal wear.
The foundation stitch is a chain, and all patterns commence with it—two or three or more, according to the article to be formed. Most crochet patterns are worked in rows, backwards and forwards, or all from one end; in the former case, the work must be turned at the end of the row, after making two or three stitches to allow for turning; therefore, the second, fourth, and sixth row, etc., will be worked on the opposite side from the first, third, and fifth, etc. When the rows are all started from the same end, the wool must be cut off at the end of each row, and commenced again at the beginning of the next. Crochet is worked, as in ordinary needlework, from right to left.
Fig. 63.
Chain Slip-knot (Fig. 63).—We will start then with a slip-knot, which forms the first loop for the chain (Fig. 63). Wind the wool once round the first two fingers of the left hand and pull the long end of the wool through the circle thus made in a such a way as to form a loop; insert the hook; pull both ends of the wool and tighten the knot sufficiently to leave an easy passage for the hook through it. The next stitch is made by taking up the long end of the wool with the hook and drawing it through the loop. Repeat this process until the length of chain required has been obtained (Fig. 64). A little practice will soon give the regularity of stitch necessary.
Fig. 64.
Single Stitch.—To practise single crochet, make a chain about 12 inches long; put the hook into the upper half-loop of the second chain; throw the wool over the point and draw it through this half-loop and through the loop which is already on the hook. Proceed in this way to the end of the chain; work one chain; turn and work back again, taking care to put the hook into the upper half of the stitch of the previous row. Thus the first stitch of each succeeding row is always worked into the back of the last stitch of the preceding row.
PLATE XV.
TWO SIMPLE BASKETS ([See p. 169])
Double Stitch.—Double stitch is not very different from single stitch. Put the hook into the upper half of the third chain from the hook, as in single stitch; pass the wool over the hook and draw it through. There are now two loops on the hook. Pass the wool over again and draw it through these two loops; continue to the end of the chain and turn as in single stitch.
Treble Stitch.—This stitch uses up much more wool than the two preceding ones. Begin by passing the wool over the hook, then insert it in the upper half of the chain already made; draw the wool through and there will be three loops on the hook. Put the wool over the hook and draw it through two loops; put it over a third time and draw through the two remaining stitches. That completes a treble stitch. It will now be noticed that for a single stitch the wool passes over the hook once, for a double stitch it passes over twice, and for a treble stitch it passes over three times.
Long Treble Stitch.—Long trebles are made by passing the wool twice over the hook to begin with, then working it by drawing the needle through two by two, always remembering to pass the wool over the hook, just as in treble stitch. When working trebles to and fro, four or five chain stitches must always be made at the end of each row before turning. When the work is turned, these chain stitches form, or rather replace, the first treble, which is skipped. This keeps the edges more regular.
Fig. 65.
Ladder Insertion (Fig 65).—Fig. 65 forms a useful little insertion or ladder on which to place the crochet flowers. It connects the groups and prevents the spotty appearance which would be rather a disadvantage if the flowers were scattered in arrangement (Plate XII.). It is very simply worked. Make a chain the required length, then add three or four stitches for turning, to allow for the depth of the treble; insert the hook into the fifth half-loop, counting backwards, and make a treble stitch as described (p. 157); crochet one or two chain between each treble stitch to correspond with the number of chain stitches passed over.
Hooks.—In making the flowers, it is better for a novice to work with a bone crochet hook and wool; steel hooks are used for fine threads, flax, silk, or cotton, and are not quite so easy to manipulate as bone or wooden ones. The point of the hook ought to be quite free from roughness, as the wool or thread of any kind is so easily ruffled.
Fig. 66.
Flowers (Fig. 66).—To make the simplest flower, work five chain and join (Fig. 66 a). This figure is worked very loosely in order to show the method. Then make seven chain and one double crochet into the ring; five chain and one double crochet into the ring. Work in this way until seven little petals have been formed, then join into the third chain; finish off by cutting the wool and pulling it through. Thread a needle with the cut end, and slip it down the chain to fasten off. This forms a tiny flower, which may be duplicated in various tones of the same colour and sewn on to the foundation with cross stitch or French knots. The sizes of the flowers will vary considerably according to the thickness of the hook and thread used, as well as to the method of working, but it is always better to crochet flowers firmly to keep them in shape.
Fig. 67.
A more elaborate Flower (Fig. 67).—Fig. 67 gives a slightly more elaborate flower.
Method:—Work six or seven chain and join by pulling the loop through the first stitch. To make the petals, work four chain; three treble stitches into the ring; four chain and one single or double stitch into the ring—this completes a petal. Notice that the four chain at the beginning and end form the sides of the petal. Be careful not to split the wool while working, as this spoils the appearance of the flower. Make five, six, or seven petals and join at the ring as before.
If a larger flower is wanted, make a small flower as Fig. 66 for the centre, and work the petals into the openings instead of into the ring; the petals may be made fuller also by adding more treble stitches to each one.
Figs. 66 and 67, if worked in silk, cotton, or flax, make quite a pretty decoration; the flowers may be folded into various shapes and an interesting touch of colour or a stitch here or there, or an outline of button-holing will add richness and variety to the work (Plate XV.).
Fig. 68.
Leaves (Fig. 68).—Leaves are quite simple to make, and, of course, will vary in size and form, just as the flowers do, according to the size of the hook and the thickness of wool used. A chain forms the mid-rib of the leaf, and into this double, treble and long treble stitches are worked up one side of the chain and down the other, the long trebles coming at the widest part and decreasing towards the tip.
Method:—Make nineteen chain as a foundation; work one single stitch into the second chain from the hook, one double crochet into each of the next two chain, one treble stitch into each of the next two chain, one long treble into each of the next eight chain, one treble into each of the next two chain, one double crochet into the next chain, three double crochet into the last chain. These three stitches form the tip of the leaf. Continue with one double crochet into the next chain; on the other side of the chain a treble stitch into each of the next two chain, and so on—repeating the stitches as on the ascending side—to the end of the chain (Plate XII.). This leaf may be enlarged by working a row of double stitch all round, while a smaller one may be made by starting with thirteen or fifteen chain and putting in fewer long trebles.
Fig. 69.
Wired Leaves (Fig. 69).—Another type of leaf (Fig. 69) is made with two lengths of covered green millinery wire—any wire will do so long as it is covered—which are tied together in the centre with green silk and then bent into the form of a leaf and fastened at the foot with silk or wool. The wire is then interlaced with wool, flax, or silk, or chenille, in green, blue, or any colour desired. As the weaving proceeds in and out, take care to push the rows closely together until the tip is reached; pass the needle and thread twice round the tip and slip the needle down the centre to the stem, where the thread is wound round and round until it is firm and a sufficient length of stem is covered.
Wired Flowers.—Flowers may be made in the same way, each petal being treated as a leaf; five or six are then tied together to form the stem, and French or bullion knots added in another colour—to give stamens and pistil for the centre.
Fig. 70.
A Useful Cord (Fig. 70).—Fig. 70 makes a very good finish for various purposes; it is a chain made with double stitch. Begin with two chain; put the hook into the first chain; pass the thread over and draw it through in a loop; pass the thread over again and draw it through the two loops on the hook; put the hook into the left side of the stitch just made; pass the thread over the hook and draw it through; pass the thread again over the hook and draw it through both stitches; continue in this way till length required has been worked. This little cord will be useful for bags, edgings for coats and jumpers and many other articles.
Tricot (Fig. 71).—Fig. 71 represents another type of crochet, sometimes called Victorian or Tunisian crochet or simply crochet tricot. It makes a firm, close, yet elastic piece of work, and is specially suited to the making of children’s slippers, scarves, bonnets, reins, braces, collars, hat bands, etc. It is always worked in rows—never in rounds—and a long straight hook with a knob at the end is necessary as all the stitches on the advancing row are kept on the hook and worked off on the return row—these two rows complete the stitch, which is worked on the right side backwards and forwards.
Fig. 71.
Tricot crochet is commenced with a chain the exact length and finished off with single stitch.
A Tricot Collar (Plate IX.).—The collar in Plate IX. is worked in Knox’s linen “cord” floss thread. Make sixteen chain and work three rows of double stitch to keep the ends from curling up as they would do if the tricot stitch was started right away. For the tricot, the loop row is worked thus:—Put the hook through the first stitch; pass the thread over and draw it through in a loop; put the hook through the second stitch and pass the thread over; draw through in a loop; continue in this way to the end of the row, when there should be sixteen loops on the hook. Put the thread over the hook and draw it through one loop; pass the thread over and draw it through two loops; keep on repeating this, passing the thread over and drawing through two loops until there is only one stitch left on the hook. These two rows complete the stitch. In the next row, the loop row, put the hook through the hole between the first and second stitches; pass the thread over and draw it through; pass the thread over the hook again and draw it through the first of the two loops on the hook; repeat to end of row, always putting the hook into the hole between the stitches; count the stitches at the end of the rows, as it is quite a common mistake for a beginner to increase or decrease by missing or making stitches.
The collar is finished with a row of single stitch right round, a deep picot fringe to the ends with flowers worked in Knox’s linen “cord” floss thread in delicate tints edged with silver thread and placed in groups to give weight, interest and finish to the whole.
Picots.—Picots (Fig. 72) make a dainty finish for an edging of crochet, needlework, or lace. Collars, table mats and many small articles may be improved by these light points of various shapes; the one objection to them is that they lose in appearance after washings and so are not suitable for rough wear unless substantially made.
Plain Crochet Picots.—Crochet picots are quickly and easily worked. For a plain triangular point, make six chain, then work one treble stitch into the first chain made, that is the stitch furthest from the hook. Repeat six chain and one treble into the first chain for the length required—the six chain form the little triangular points or picots, the treble stitch forms the heading.
Dropping Picots.—These dropping picots are a little more solid in appearance than the plain picots. Make five chain; withdraw the hook from the loop and insert it in the second of the five chain stitches just made; take up the loop dropped; pass the thread over the needle and draw it through the two loops; repeat with five chain; drop the last loop; insert in second chain; take up the dropped loop; put the thread over the hook and draw through both loops. Continue in this way for the length required.
Crochet Lace Picots (Fig. 73).—Lace picots, as the name suggests, are generally worked in fine threads; nevertheless, they can make very effective trimmings if worked in wool or stout thread over a mesh, and will wear wonderfully well.
Two-chain Picots.—Commence with two chain; put the hook into the first chain; pass the wool over and draw it through the stitch—there are now two loops on the hook; work two chain, then slip the loop nearest the end of the hook off on to a thin wire or mesh and repeat. Put the hook into the first of the two chain; pass the wool over and draw it through the stitch; work two chain and slip off the last loop. It is sometimes easier to withdraw the needle from the two loops instead of slipping the last loop off the end of the hook and to replace it into the front loop.
This edging may be sewn to a piece of work.
Fig. 72.
Picots (Fig. 72).—The following picot is worked directly on to the edge of the finished piece of crochet, or it may be worked into a length of chain and overcast to the edge of any article suitable. Put the hook into the first stitch; pass the wool over and draw through; work one double crochet (see [p. 157]) into the next chain; draw out the loop to the desired length for the picot and slip it on to a mesh or pencil; insert the hook into the horizontal stitch at the foot of the loop; pass the wool over the hook and draw a loop through; make a double crochet stitch into the next chain; draw out the loop and slip on to the mesh; repeat to the end of the work.
Two-pronged Fork.—A very quickly worked insertion, fringe, or edging may be made by means of a two-pronged fork. The little implement can be manufactured quite easily at home. For a fringe, a wooden fork is necessary, with one wide and one narrow prong. The usual fork is of thick steel wire and varies in size, but as steel wire is too hard for the unskilled worker to manipulate, a softer metal would be more satisfactory. A length of copper wire about one-eighth of an inch in diameter and 15 inches long, could be beaten into the form of a hairpin (Fig. 73) by means of a hammer; if the metal is too hard to take the curve it can be softened by annealing it. The width between the prongs may vary in different forks according to the width of the insertion to be made, from half an inch to 3 inches apart is the usual spacing. The stitch is made with a crochet needle, which will also vary in size according to the material used; for working in fingering wool, three or four ply, a No. 1 steel crochet needle does very well. Cotton, flax, wool, raffia, string and metal threads, all may be worked up to form various useful articles for decorative purposes. An effective fringe could be made by threading beads into the wool; the beads could be kept at the edge of the wide prong.
Fig. 73.
An Insertion or Fringe.—Method of working:—This insertion may be worked in two ways. By looking at Fig. 73 it will be seen that the stitch is a very simple one. Make a slip-knot as Fig. 63, and one chain; withdraw the hook. Place the fork with the prongs upwards in the left hand, between the thumb and the middle finger; slip the chain stitch on to the left prong with the thread towards the worker. Insert the hook from below into it, then carry the thread round the right prong and pass it over the point of the hook; pull it through the loop; make one chain; put the thread round the left prong and turn the fork to the right—slipping the hook over the right prong at the same time so that it remains in the same position between the prongs with the handle to the worker; insert the hook into the stitch on the left prong from below; catch the thread and pull through; there are now two loops on the hook; close these by putting the thread over and drawing it through both. Repeat with the thread round the left prong as before.
Raffia.—A simple braid is done in three movements, the fork being turned between each three. When the fork is filled, closely covered, slip off the loops and reinsert the two prongs into the last five or six loops, then continue for the required length. Two or three braids may be joined together by slipping one loop over another, or a contrasting thread may be taken and two loops on the one side may be joined together by a double stitch; then make three chain; two loops on the other side, joined again, then three chain; working in this way, the joining forms a little row of vandykes in chain stitch. The outer edges are then strengthened by one double stitch into two loops; two chain; one double stitch into the next two loops; two chain, and so on.
Carpet and skirt braids may be joined together by means of an insertion made in twine or raffia—the latter being the more decorative. After making a row of gimp on a wide-pronged fork, connect it to the carpet braid by working two double crochet stitches into each loop and two into the braid—if a sufficient number of rows are joined together a strong and useful shopping bag may be made, finished with handles of plaited raffia and braid.
A pretty crochet edging suitable for finishing off many articles of personal wear or for domestic use, which wears and washes well, may be worked directly on to the material. Work a row of button-hole stitch into the edges of the material; space the stitches rather widely so as to allow of an easy entrance for the crochet hook—this makes a daintier edging than inserting the needle directly into the material. It is worked in three rows—a linen thread gives the best effect. To work the first row, begin with one double stitch into a button-hole loop, then two chain, and one double crochet into every second button-hole loop; on approaching the corners, work into every loop so as to allow the next row to lie easily round them—nothing spoils good work so much as to see the stitching tightened and strained round the edges and corners. When the first row is finished join the stitches with a single stitch and commence the second row. Make eight or ten chain according to the thread used and size of loop wanted, then work double crochet into every third or fourth loop of the previous row—give ease to the corners by working three double crochet into each loop at the finish of the row; join as in second row. For the third row work ten or twelve double crochet stitches over the chain loops, as these stitches should cover the chain loops closely, when they look similar to button-hole stitching. The appearance of this edging will naturally vary considerably according to the size of the needle and thread used. A very serviceable edging, not too minute, is made with a No. 4 steel crochet hook and linen “L.C.” crochet thread, No. 14.
PLATE XVI.
A CUSHION COVER.
Another Edging (Plate VII.).—A very effective edging is worked into a row of needle button-hole stitch. Like the one above, it wears and washes well. First row: work one double crochet into one of the button-hole headings; make ten chain; pass six button-hole loops and work one double crochet into sixth loop; continue making ten chain and one double crochet until the row is complete. Break off the thread. Start the second row with one double crochet in the centre of the chain loop; make ten chain and work one double crochet into the centre of the next loop, and so on to the end of the row; then join and break off the thread. The third row is worked in a coloured thread. Take a blue linen or cotton thread and start this row by working into the first loop. Two double crochet, four chain, four double crochet, four chain and two double crochet. Work the same number of stitches in each loop. The chain stitches form little picots; this makes a dainty little finish to a table centre. Compare Plate VII.
Plate XVb. gives an example of a work bag made from rug canvas. It is worked in cross stitch in two shades of blue, light green and a reddish-purple raffia. The edges are turned in and finished off with a border of soft blue brush braid; the handles are of raffia, plaited, in the different colours; the basket is lined with a printed silk which matches the various colours.
Plate XV. gives a Japanese basket woven in grass, trimmed with cherry-coloured braid and crocheted flowers—the flowers are sewn on with dark blue; the lining consists of two shades of blue. The handles are of cherry-coloured carpet braid. These baskets are so very useful for the holding of odds and ends, mending, or embroidery. Some of the simplest woven Japanese baskets look very well when trimmed with braids in gay colourings and little crochet flowers. The busy woman might well have one of these useful little baskets with work ready to her hand, or suitable in their contents to her various rooms.
A Cushion Case (Plate XVI.).—The original is a charming piece of work. The background, of a soft blue tone, is worked in blues, bright greens, heliotrope and cream. The design, in straight lines and circles, has two bars of needle-weaving, the definite pattern of which is shown to advantage by the plain woven bars on either side. The bars are worked similarly to the latchet darns which are frequently used instead of rings to support the draw strings of bags.
The design is so simple that it might be drawn directly on to the material—this should not be a difficult matter if the threads of the canvas are regularly woven. Put in the main lines first—in the illustration these lines are worked in satin stitch; use a ruler and a chalk pencil—the latter is easily rubbed out if a mistake is made—then run in the design in wool or thread. Measure off the bars for needle-weaving, but do not cut and draw the threads until ready to work them. Great care must be taken in planning out the various parts of the design to have all lines running accurately with the warp and weft of the material, otherwise, when the woven bars are put in, they will accentuate any mistake made. The corners are in “laid” stitch, that is, the threads are stretched loosely across from one side of the square to the other, horizontally, then vertically—or vice versâ; they are then sewn down at the junctions with tiny cross stitches, which requires some care if the squares are not to be displaced. The rows of running or tacking stitches accentuate the oval in the centre. Cut and draw the threads for the needle-weaving after the outer band of satin stitch has been worked. The plain bars should be worked in first, as they are simpler in construction. When these plain bars are finished, divide up the strands into groups of seven for the pattern, and one group of eight—the latter forms the start and finish of the pattern which should have four groups in each. Weave in all the purple blocks to begin with; these, as may be seen from the illustration, are widest at the base. Weave over seven groups for one-eighth of the space; leave out a group of threads on either side and weave over five; then over three, and then over one group; each step is fully one-eighth in height. This process is then reversed, and the weaving finishes at the opposite side over seven groups. The start and finish over four groups can be followed from the illustration. The central figures alternating in green and blue will then be woven in without difficulty.
The circles in the centre are worked in rows of satin stitch; the flat green beads are surrounded by French knots in cream, and each circle is surrounded on the outer edge by button-holing in blue of a lighter tint than the canvas.
Useful Hints.—As a preliminary to the embroidery of a piece of work comes the putting on of the pattern. This may be done in different ways, but whichever way is chosen, it is well to realise from the outset that accuracy is essential. All possible care should be taken with the drawing on or tracing of the pattern or design; all straight lines should follow the warp and the weft of the material, when they are visible—the slightest unevenness causes unnecessary trouble in the after-working.
Transferring the Design.—As previously mentioned, in a design for coarse canvas a geometric pattern may be put on with a ruler and a chalk pencil, but as chalk gives a thickish blunt line and is also very easily rubbed off, it is necessary to fix the design, either by running it round with a needle and thread, or by taking a fine brush and going over the chalk lines with Chinese white or oil paint thinned with turpentine. Another method is to lay a sheet of tracing paper over the design and trace it through clearly and accurately; then, following the plan of the little ones in the kindergarten with their embroidery cards, lay the traced design, face up, on a pad of felt, or on two or three folds of woollen material, and prick little holes very closely together, along the lines of the design.
Pouncing.—A needle or a fine glass-headed steel pen will serve as a pricker. Lay the pricked design face downwards on to the material—which has previously been pinned on to a drawing board; fix the tracing, and with a soft pad dipped in powdered chalk and charcoal rub lightly across the holes from left to right—keep always rubbing in the same direction; on removing the tracing, the pattern should be perfectly clear. Take a fine brush and go over the design with Chinese white or red oil paint thinned with turpentine; this is called pouncing. The superfluous chalk or charcoal will blow off.
Carbon Paper.—A simpler method is to use carbon paper, which may be had in yellow, blue and red. Fix the material on a board and place the design carefully and evenly on to it. Secure with drawing-pins at the top line—leave the lower part free; raise the design—like a flap—and place the carbon paper, colour downwards, on to the material, then pin down the lower edges of the design. Do not put the pins through the carbon paper as they leave an ugly mark wherever pressure is applied; thus rings and bracelets should be removed before tracing. The upper pins keep the design in position, and progress may be noted by removing the lower pins and lifting the tracing and the carbon paper without disturbing the position of the design.
Yet another way is to trace the design through on to a piece of tarlatan—an open-meshed muslin; this being done, place the tarlatan over the material, take a drawing pen, and with Indian ink run over the lines already there. If this is quickly done, a clear line should show on the material.
Stretching.—Embroidery sometimes gets rather puckered while working. It can be much improved, not by ironing, which is apt to flatten too much, but by stretching. Simple needle-weaving with flat stitchery may be laid on to two or three folds of blanket and pressed without harm. For most other kinds of work it is better to lay it face downwards on a board which has already been covered with a napkin or a fine towel; fix it at regular intervals with drawing-pins, and while doing so stretch the material into its right shape, if possible; be careful not to stretch it out of shape, which would be worse than ever; then lay a damp cloth over the work, leave it over-night to dry, and the puckering should have disappeared by the time it is dry.
There is really no need to pucker work if it is held properly. Some stitches are more inclined to tighten than others, but it is generally when working across the material that they tighten it. The work should always be held in a convex position over the fingers, and when working in wools—which are sometimes very elastic—the needle-worker should see that the threads lie easily over the surface. If the background appears rounded at the worked part on the under-side, the wools are too tightly strained. When mistakes are made it is always wiser to cut them out than to unpick—it does not harm the material in the same way, and it is not extravagant, as threads are generally too much roughened for use after unpicking.
Knots, as a rule, should be avoided; threads should always be cut, not broken off. The best way to commence a new thread is to run a few stitches on the right side on a part which will be covered afterwards by embroidery. This keeps the wrong side tidier, and the threads more secure. A long thread does not make for good work, as a rule; it gets roughened before it is finished and takes longer to pull through.
Braids and thick threads can be taken through to the wrong side by making a hole with a stiletto, or by using a needle and thread. Bring the needle through the hole and pass it round the braid, then pass it back through the same hole and pull the braid through the hole with it; in the case of a coarse thread, the needle will make a large enough hole. In working with flax, note the direction of the fibre by drawing it through the fingers. The needle should be threaded at the smooth end, so that when the thread is drawn through the material it is not roughened. In working with double wool, cotton, or silk, pass two separate threads through the eye—both threads are then running the same way. Always keep the finished part of the embroidery covered up while working, if possible; it keeps it fresher and the threads do not get rubbed. Hot hands discolour the threads, roughened fingers ruffle them. Washing in warm water with the free use of pumice stone will help in both cases.
Washing Woollen Embroideries.—The soap should be of a good quality and free from alkali, which injures the colours. Flake the soap and dissolve it in boiling water; whip it into a lather; add cold water until it is of a comfortable heat for the hands, and put the embroidery in. Squeeze and work it gently—but on no account rub it—until it is clean, then rinse in warm water, and again in cooler water; squeeze the water out; hang up immediately—in the open air, if possible; dry quickly and pin out on a board, and iron damp on the wrong side on a folded blanket. White work may be washed in a lather of Lux—any soap which does not contain alkali may be used. Proceed as for coloured work, squeezing the dirt out, not rubbing; rinse and stretch over a towel or put in the open air till almost dry. It is then laid face downwards on several folds of blanket, a damp cloth placed over it, and a hot iron passed backwards and forwards until it is quite dry—the cloth prevents the iron from soiling the material on the back and equalises the moisture. Velvet should be held while being pressed, or the iron should be fixed face up and the velvet passed over it. All wools should be shrunk before being worked on to articles such as sash curtains and coverlets, which require washing. Steep them in a bath of hot water for some hours; hang them up—in the hank—to drip; when dry, they will be as soft as when new.
Braids should be subjected to the same treatment—they may probably lose a very little colour if they are not reliable of their kind.
Practical Hints about Materials.—There is sometimes difficulty in obtaining threads and materials of a coarse make and weave suitable for carrying out articles similar to those illustrated throughout the book. A short list of the names of firms where such may be bought is given below for the benefit of readers.
Canvases and crashes particularly suited to needle-weaving may be obtained from Messrs. Brown and Beveridge, Ltd., 194, Bath Street, Glasgow. These are of good quality, in great variety and excellent colouring.
Titian canvas, one of the heaviest makes, is very suitable for runners, table covers and large objects generally; it may be had in three widths, 27 inches, 50 inches and 72 inches, in mole, blue and soft brown. Art canvas and antique canvas, both of a regular weave in quiet colours, are lighter in make.
In vandyke canvases the warp and weft threads, which are of different colours, blend very harmoniously. Art linens and bloom linens are charming; the latter are woven in two colours. Celtic canvas in cream, fawn, red, green, and a beautiful rich blue, are guaranteed fast dyed.
Cotton repps and Sundour unfadeable materials are also suitable and useful for household decoration.
Messrs. Brown and Beveridge, Ltd., also supply tapestry and crewel wools and a soft thick silk thread known as Tyrian embroidery silk.
Linens of different makes and colours can be obtained so easily that it is not necessary to mention any special firm. Heavy unbleached linen sheetings and towellings can be procured from some of the Irish linen manufacturers.
Messrs. Murphy and Orr, Donegal Street, Belfast, make a heavy twill unbleached linen to be recommended for coverlets.
Messrs. J. and J. Baldwin and Partners, Ltd., supply, through their various agents, wools and yarns of a soft quality and in excellent ranges of colour. “White Heather,” three-ply, and a thicker “Rainbow” embroidery wool, sold in balls, are both good.
Fingering wools, three, four and five-ply, in light colours, may be had from any of the numerous Scotch wool shops—Messrs. Fleming and Reid, Greenock.
Messrs. W. and J. Knox, Ltd., Kilbirnie, manufacture linen and lace crochet threads in cream, ecru and Paris white, also linen floss embroidery threads in a wide range of beautiful colours. L.C. linen lace thread in various thicknesses, numbering from 8 to 70. The medium sizes from 35 to 50 are suitable for the background of Rhodian embroidery.
“Cord” floss, a thick twisted thread, is suitable for knitting; hats, collars, short jumpers, bags, etc., may be made from it.
Messrs. Kirkby, Beard & Co., Redditch, supply needles of a reliable quality.
Blunt-pointed tapestry needles, No. 18, suitable for needle-weaving, crewel and chenille needles, and the excellent “Scientific Sharps” may be had from most of the needlework depots, or through any of their agents.
Simple wooden looms for the making of braids, hat bands, ties, girdles, etc., with instructions and with a piece of work started, may be had from the Dryad Works, 42, Nicholas Street, Leicester. The same firm supplies raffia in brilliant colours and raffia needles.