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.