The greater part of such patterns are geometric (Illustrations [35] and [73]), following, that is to say, the mesh of the material, and making no secret of it. On Illustration [3] you see very plainly how the rectangular diaperings are built up geometrically on the square lines of the mesh, as was practically inevitable working on such a ground. The relation of stitch to stuff is here obvious.
The choice of stitch patterns of this kind is invariably left to the needlewoman. The utmost a designer need do is to indicate on his drawing that a "full," "open," or "intermediate" diaper is to be used. And the alternation of lighter and heavier diapers should be planned, and not left altogether to impulse, though the pattern may be. Moreover, there is room for the exercise of considerable taste in the choice of simpler or more elaborate patterns, freer or more geometric. Many a time the shape of the space to be filled, as well as its extent, will suggest the appropriate ornament. The diaper design is not, of course, drawn on the stuff, but points of guidance may be indicated through a kind of fine stencil plate.
The patterns used for background diapering need not, as a rule, be intrinsically so interesting as those which diaper the design itself, nor are they usually so full. They take more often the form of spot or sprig patterns, not continuous, in which the geometric construction is not so obvious, nor even necessary. In either case the prime object of the stitching is not so much to make ornamental patterns as to give a tint to the stuff without entirely hiding it with work; and the worker chooses a lighter or heavier diaper according to the tint required. If the work is all in white it is texture, instead of tint, that is aimed at.
For a background, simple darning more or less open, in stitches not too regular, is often the best solution of the difficulty. The effect of the ground grinning through is delightful.
SATIN-STITCH AND ITS OFFSHOOTS.
Satin-stitch is par excellence the stitch for fine silkwork. I do not know if the name of "satin-stitch" comes from its being so largely employed upon satin, or from the effect of the work itself, which would certainly justify the title, so smooth and satin-like is its surface. Given a material of which the texture is quite smooth and even, showing no mesh, satin-stitch seems the most natural and obvious way of working upon it. In it the embroidress works with short, straight strokes of the needle, just as a pen draughtsman lays side by side the strokes of his pen; but, as she cannot, of course, leave off her stroke as the penman does, she has perforce to bring back the thread on the under side of the stuff, so that, if very carefully done, the work is the same on both sides.
Satin-stitch, however, need not be, and never was, confined to work upon silk or satin. In fact, it was not only worked upon fine linen, but often followed the lines of its mesh, stepping, as in Illustration [9], to the tune of the stuff. This may be described as satin-stitch in the making—at any rate, it is the elementary form of it, its relation to canvas-stitch being apparent on the face of it. Still, beautiful and most accomplished work has been done in it alike by Mediæval, Renaissance, and Oriental needleworkers.
to work A, [36].
To cover a space with regular vertical satin stitches (A on the sampler, Illustration [36]), the best way of proceeding is to begin in the centre of the space and work from left to right. That half done, begin again in the centre and work from right to left.
In order to make sure of a crisp and even edge to your forms, always let the needle enter the stuff there, as it is not easy to find the point you want from the back.