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.
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.