Fig. K, Squares and Stars.—Here, each square takes up sixteen strands of linen, and each one is completed before going on to the next. Work by overcasting all round the outside of the square over four strands, and make an inner square, as Fig. I, with a cross stitch in the centre, taking care to finish with the needle in a position to begin the next square.
Fig. L, Square Stitch and Rhodian Embroidery.—This pattern is made up of rows of square stitches separated by vertical ones. It is usually worked without removing any threads from the material, although with a very firm cloth it is rather an advantage to do so when an insertion is wanted; in the latter case the vertical threads connecting the rows of square stitch are left out.
This is a stitch one frequently finds in old linen embroideries, particularly of old German and Italian work—where it is used either as a border or insertion, or as a separating line between squared or diamond-shaped forms; there is a similarity in the working of it to the stitches used by the people of the Island of Rhodes—latterly known as Rhodes embroidery or punch work—the only difference being that it covers the entire background in Rhodian embroideries and the threads are more closely drawn together. In these Rhodian embroideries the rose is frequently to be met with. It is the symbol which invariably accompanies the head of Helios on its coins, and to which the classic isle owes its name. Square stitch can be worked in straight or in slanting lines, see [Fig. M]—the former is the simpler, as each square is completed in one row, while the latter requires two rows to complete it.
To work on horizontal lines, Fig. L, begin at the right-hand side and make an upright stitch over six threads; take a slanting stitch at the back and bring the needle out six threads to the left at the base. Take a horizontal stitch to the right, inserting the needle at the foot of the vertical stitch; take an upwards slanting stitch at the back to the left and insert the needle into the top of the first stitch. This forms three sides of the square. Now bring the needle out in position to start as for the first upright stitch. If properly worked, the reverse side forms a series of crosses. Fig. L has a row of these square stitches with an alternate row of upright stitches worked from left to right between them. This is a pretty and unusual combination of stitches, and it makes a charming border worked in colour on a loosely textured material for a collar or other small article. Another variation of the same type, and still more open, is to have double rows of square stitch between each row of vertical stitches, the lower row of little squares coming between those of the upper row.
Fig. I, Square Stitch in Slanting Lines.—To work this stitch in slanting lines is rather a slower process. The first row forms a series of zig-zags or little steps on the right side, while on the wrong side it forms two single lines on the bias of the material. Begin at the right-hand side of the work; take a horizontal stitch from left to right over six threads; a slanting stitch at the back to the left brings the needle out six threads below the starting-point. Take an upright stitch and put the needle into this point—two sides of the square are now formed. Take a slanting stitch at the back and bring the needle out six threads to the left of the base of the upright stitch and continue for the distance required. This slanting line of square stitch is easily acquired if the worker remembers the appearance of the stitch, on the “wrong” side as well as the right.
A Table Scarf in Russian Crash.—This design is another of the direct type in which the needle-woven border forms the principal subject. The material is very pleasant to work—it is of a soft greyish-cream colour, which combines well with the wools and braids, and the texture is sufficiently open to allow of the threads being easily removed, which is a recommendation when preparing for the needle-weaving and the fringe. The stitchery is all done in wools, and the colours are dark heliotrope with two lighter tints, blues (two tones), greens, a dark and light emerald, and deep orange. The broad braid is of soft blue, the narrow of straw colour. The design forms a deep border divided into panels by bands of braid; the bands are tacked into place by short button-hole stitches in the darker shade of emerald green, between which are tiny little loop stitches (Fig. 3), in orange. The centre panel has a wide band of needle-weaving, about three inches deep, which is divided up into five groups; the groups are worked from the outside, inwards, as in Plate I., and the various colours are introduced into them. The most prominent colour in the scheme is blue, accentuated in this case by the blue braid, the blue edging, and the second and fourth groups of weaving, which are worked in two shades of blue. The first and fifth groups are woven in heliotrope with orange in the centre; the middle group has light heliotrope on the outer parts and pale green on the inner. This same green is worked in oriental stitch on each side of the central 3-inch bar, while the stitchery between the rows of wide blue braid is in the lightest tint of heliotrope, tacked down with tiny stitches of the darkest shade. The two side panels are worked in satin stitch in two tones of heliotrope, each row of chequers being connected by small chequers in light green—they also are worked in satin stitch. The lines of straw-coloured braid are sewn down with French knots in heliotrope (Figs. 22A, 22B). The pattern of the stitching on the bands of braid which border the design is worked in the same way as loop or oriental stitch; the needle is brought out on one side of the braid and inserted on the other side, just opposite, then brought out again in the centre to the right, where the wool is tacked down with a tiny stitch; the needle is again brought out on the edge of the braid, about half an inch further on, inserted on the lower edge and brought out in the middle again in order to tack the wool down. These two stitches reversed give the diamond shape of the insertion; three satin stitches in orange give a bright little note to the edging. These looped or petal stitches worked in different ways can be used to form many pretty headings. The narrow edging on the selvedges between the lines of blue braid is charming; it consists of two loops of heliotrope in two shades—the one worked within the other—with a closed looped stitch in orange between each pair. When all the embroidery is finished, the weft threads are withdrawn from the remaining ends of the material, which have been left for the fringe. Sometimes a fringe of a closer texture or of a different type is worked, or the material may be too short to allow of one—in all of which cases a strip of cloth could be inserted under the braid and sewn down with the pattern, then fringed.
It is generally advisable when working with narrow braids to take the ends through the material where they can be stitched firmly in place; wider ones are often tied at the ends to prevent spreading, then turned in and stitched.
CHAPTER V
NEEDLE-WEAVING—RUSSIAN OPEN-WORK—
LINKED STITCHES
“A web made fair in the weaving.”