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59.—Tatted Diamond.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40, or 80 if required finer; tatting-pin No. 3.
This pattern is meant to ornament lingerie; it is worked with fine tatting cotton in the following manner:—Work a * circle consisting of 6 double, 1 purl, 6 double, turn the circle downwards and work at a short distance another circle consisting of 5 double, 4 purl divided by 2 double, 5 double; at a similar distance a circle of 5 double fastened on to the last purl of the preceding circle, 2 double, 5 purl divided by 2 double, 5 double; then again a circle consisting of 5 double fastened on to the last purl of the preceding circle, 2 double, 3 purl divided by 2 double, 5 double: fasten the cotton on to the first circle. Then turn the work so that the last three circles are turned downwards, leave an interval of at least three-fourths of an inch, and repeat three times more from *, fastening the circles on to each other from illustration. Knot together the beginning and end of the cotton, work button-hole stitches round the cotton which joins the circles, as shown in illustration. The purl stitches of the four middle circles of the diamond are knotted together.
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60.—Tatted Cravat End.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50; tatting-pin No. 3; 2 shuttles.
This cravat end is given in full size. It is ornamented with a tatted medallion, edged with lace. The tatting is worked with tatting fine cotton and two shuttles. Make first the two rosettes which form the centre of the medallion, then the insertion-like part which edges the rosettes. The larger rosette is worked as follows:—Knot the cotton of both shuttles together and work with 1 shuttle only 1 circle consisting of 10 double, 1 purl one-fifth of an inch long, 10 double; * close to this circle, which is turned downwards, work over the cotton with the other shuttle, 1 double, 1 purl, 8 double; this forms one of the scallops joining two circles. Then turn the work again and work close to the just completed scallop another circle like the first, but which is joined to the first circle instead of working the purl. Repeat 4 times more from *. Then work another scallop and fasten both ends of cotton on to the cotton over which the first scallop has been worked, at the place where the scallop is joined to the first circle. The first round of the rosette is thus completed. Work then the 2nd round over the cotton on the 2nd shuttle, beginning to work where the two ends of cotton have been fastened, * 6 double, 1 purl, 5 double, fastened on to the purl of the next scallop of the preceding round, 5 double, 1 purl, 6 double fastened on to the cotton between two scallops of the
preceding round; repeat 5 times more from *. The larger rosette is now completed. The smaller rosette is worked like the first, only without the second round. The insertion-like border is worked in two halves as follows:—The half which touches the edge of the medallion is worked as follows:—Knot both ends of cotton together and *, work with 1 shuttle only 1 circle consisting of 8 double, 1 purl one-fifth of an inch long, 8 double; turn the circle downwards and work close to it over the cotton on the 2nd shuttle 6 double, 1 purl, 6 double; this forms a scallop of the border. Then turn the work again and work close to the scallop another circle like the first, but which is fastened on to the first circle instead of working the purl. Turn the work again, work a scallop like the preceding one, and repeat 15 times more from *, only the scallops at the lower edge of the medallion must have a few double stitches more, as can be seen in illustration. After working the last scallop fasten the two ends of the cotton on to the 1st circle; then cut them off. The second inner half is worked like the first; only the circles are worked without any purl stitch, and fastened on to the circles of the first half from illustration; the scallops of this half are somewhat smaller; each consists of 5 double, 1 purl, 5 double. The completed border is sewn on to the rosettes from illustration; the different pieces must be first fastened on cardboard. The cotton must be wound several times round the long threads, as seen in illustration. The medallion is then sewn into the muslin at the top only; the remaining border is edged, before joining it to the muslin, with a straight row of knots to be worked over cotton, and fastened on to each outer scallop of the border at regular intervals. The number of double stitches between two purl is different, as distinctly seen in illustration. For the lace knot both ends of cotton together, * work with one shuttle only 1 circle consisting of 8 double, 1 purl, 8 double; turn the work and make another circle consisting of 2 double, 9 times alternately 1 purl, 2 double; then fasten this circle on to the preceding one, where it has been joined into a circle, so that both circles meet as seen in illustration. After having turned the work again, work 9 double over the cotton on the 2nd shuttle, which form a scallop between the circles, and repeat from *. The lace is then sewn round the edge of the muslin.
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61.—Rosette in Tatting and Embroidery.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60, or No. 40 if desired in a larger size.
This rosette is suitable for ornamenting lingeries, cravats, &c. It is worked in white embroidery and lace stitch, and edged all round with a tatted lace. For the latter work with very fine cotton * 1 large circle, consisting of 5 double, 1 purl, 7 times alternately 2 double, 1 purl, then 5 double. At a short distance from this circle work a smaller one, consisting of 5 double fastened on to the last purl of the large circle, 5 double. Leave again an interval as small as the last, and repeat from * 11 times more. But in working the large circles, instead of working the 1st purl, fasten them on the same purl of the large circle on which the small circle has been fastened; besides this, in working the last (12th) large circle, instead of working the last purl, fasten it on the 1st purl of the 1st circle; the last small circle is fastened on to the same purl. The lace is thus joined into a circle, and is sewn round the outside of the rosette with button-hole stitches.
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62.—Cravat End in Tatting.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60; tatting-pin No. 3.
The illustration shows the end of a tatted cravat. Work first the middle row of the cravat at the same time with the row of circles on the left side of the middle row in illustration; begin with the first circle of the middle row. It consists of 7 times alternately 3 double, 1 small purl, then 3 double. Work close to this circle, which must be turned downwards, a Josephine knot, consisting of 5 plain stitches, then a circle consisting of 5 double, 1 purl one-fifth of an inch long, 5 times alternately 3 double, 1 small purl; 3 double, 1 long purl, 5 double. *Turn this circle (which is the first of the side row) downwards, work close to it a Josephine knot, then a circle consisting of 12 double, 1 small purl, 12 double. Turn this circle downwards, work a Josephine knot, and then again a circle like the first of the side row, but instead of working the first long purl, fasten it on to the last purl of the preceding circle of the same row. Then hold the work so that the circles of the side row are turned downwards, work a Josephine knot, 1 circle like the first circle of the middle row, turn the work, make 1 Josephine knot, and then a circle like the second circle of the side row. Repeat from * till the cravat is sufficiently long. The last circle of the middle row must correspond to the first circle of the same row. Then begin to work the lower edge at the same time with the last circle of the middle row, * 1 Josephine knot, then a circle like the circles of the side row, again 1 Josephine knot, fastened on to the next purl of the last circle of the middle row; repeat 3 times more from *. Then continue as before, and work on the right side of the middle row a row of circles exactly like those which have been worked at the same time with those of the middle row.
The fastening on of the cotton between two Josephine knots is seen in illustration. The circles at the other end of the cravat are fastened like those of the first-described end. The cravat is edged all round with a row of circles with Josephine knots worked exactly like those of the preceding row, and the manner of fastening which is seen in the illustration.
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63.—Rosette in Tatting and Embroidery.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60, or 40 if required larger; tatting-pin No. 3.
The centre of this rosette is worked in lace stitch on muslin, edged round with button-hole stitch and trimmed with a tatted lace, which is worked at the same time with the centre. Work first * a small circle consisting of 5 double, 1 purl, 3 double, fastened on to the button-hole stitch edging of the rosette, then 3 double, 1 purl, 5 double. Then turn the just-completed circle downwards, and afterwards work at a short distance a large circle consisting of 7 double, 6 times alternately 1 purl, 2 double, lastly 1 purl, 7 double, then 1 Josephine knot consisting of 7 plain. Then turn the work again, so that the last large circle is turned downwards, and repeat from * 12 times more; the large and small circles must be fastened on to one another, as seen in illustration. The fastening of the small circles on to the centre is likewise done from the illustration.
64.—Cravat End in Tatting and Darned Netting.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50; tatting-pin No. 3; square of netting; fine Mecklenburg thread No. 80.
The end of this cravat is ornamented with a square of darned netting, edged with a tatted border, and sewn on to the material of the cravat. But the diamond in tatting (page 18), or the square (page 31) will look very pretty with this border. The square is worked in diamond netting, and has seven holes in length and breadth. They are darned in linen stitch, darning stitch, and point d'esprit, with Mecklenburg thread. The ground is worked over a mesh measuring three-tenths of an inch round. For each square one more row than is needed must be worked, and the cast-on stitches are cut off, as they are longer than the stitches of the other rows. The tatted border is worked with fine tatting cotton. Fasten the cotton at one corner of the square and work * a circle consisting of 7 double, 1 purl, then six times alternately 2 double, 1 purl, 7 double, fasten the cotton on to the same stitch of the ground where it was first fastened; #work a second circle like the first, but fasten it, instead of working the first purl on to the last purl of the preceding circle; fasten the cotton again on to the same stitch, then on to the next stitch, and work a small circle, consisting of 5 double fastened on to the last purl of the preceding circle, 4 double, 1 purl, 5 double. The cotton is fastened on to the same netted stitch as before, and then on to the next stitch; repeat twice more from #, and then repeat from * in all three times more, so that the square is edged all round. It is sewn into the material from the illustration.
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65.—Tatted Antimacassar. (See pages 574-5.)
Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 30, or tatting cotton No. 24, or for a larger size tatting cotton No. 20; tatting-pin No. 1; large shuttle.
The illustration shows the fourth of the antimacassar and the whole of the rosette which forms the centre. Begin with the latter, with the five-branched pattern in the centre, at the same time with the following round of circles:—*Work first one circle of this round, consisting of 3 double, 1 purl, 4 times alternately 2 double, 1 purl, 3 double; then at a short distance a circle like the one just made, in which, however, instead of working the first purl, the cotton must be joined on to the last purl of the preceding circle. Then work at a short distance the first leaf of the five-branched pattern, which consists of 4 double, 1 purl, 4 double. When this branch is completed, repeat at a short distance 4 times more from *; but in working the branches of the five-branched pattern, instead of working the purl, join it on to the purl of the first branch of the five-branched pattern (this purl forms the centre of the pattern). All the circles must also be joined one to each other, as can be seen from illustration. Then work the scallops round the border of the rosette, * fasten the cotton on to the purl which joins the two next circles of the preceding round, and work one scallop consisting of 11 times alternately 2 double, 1 purl, then 2 double. Repeat 9 times more from *. When the rosette is completed, work eight rosettes in the same manner and join them into a circle from illustration by means of small three-branched patterns, and then join them on to the middle rosette.
The strip of insertion which comes next is worked in two halves as follows:—Work first, for the half turned towards the centre, two rows of circles lying opposite each other; begin with one of the largest circles, consisting of 4 double, 1 purl, 3 times alternately 2 double, 1 purl, then 4 double; * at a short distance work a smaller circle of 4 double, 1 purl, 4 double; after another short distance, a circle like the first joined on to it; then again a smaller circle, which at the place of the first purl is joined on to the purl of the preceding small circle. A short distance from this work again one of the larger circles just described, which is fastened on to the preceding similar circle; then repeat from * till the double row has nine larger and eight smaller circles. The first half of the strip of insertion is completed; the second outer half is worked like the first, only the small circles must here be worked without any purl, and two of them together must always be fastened on to the two joined small circles of the first half, as was done for the five-branched pattern of the rosette; besides this, each of the large circles has 4 double, 1 purl, 4 times alternately 2 double, 1 purl, then 4 double. When eight similar patterns have been worked, join them into a circle from illustration by means of small rosettes; this circle is then joined to the already-finished part of the cover. The small rosettes and remaining patterns of the antimacassar are easily worked from illustration. The completed patterns are joined together in the course of the work.
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TATTING COTTON
Is supplied by Messrs. Walter Evans and Co., of Derby, in all sizes from 20 to 120. Crochet Cotton, which is preferred by some Tatters, is sold in all sizes from to 120.
The following table will assist ladies in selecting the size of either tatting or crochet cotton. All these cottons are on reels containing 100 yards:—
- - Tatting. Crochet. - - Petticoat Edgings and Insertions 20 0 and 12 Night Dress Trimmings 40 60 Lingerie Trimming 50 70 Collars and Cravats 50 70 Pocket Handkerchiefs 100 120 Parasol Covers 100 120 Antimacassars 20, 30 0 and 20 Pincushions 60 80 Caps 100 120 Lace 60, 80, 100 80, 100, 120 Insertions 20, 40, 80 40, 80, 100 - -
Ladies at a distance from town or on the Continent will be glad to have some guide as to the quantity of cotton required to complete their work. The quantity of tatting or crochet cotton used by an average worker is found to be two yards to the square inch with a single shuttle; three yards to the square inch with two shuttles.
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EMBROIDERY
INSTRUCTIONS.
The art of embroidering with cotton on linen, muslin, cambric, pique, &c., is very easy to learn by strictly attending to the following instructions.
The size of the thread and needle must correspond to that of the material on which you embroider; the needle must not be too long, and the cotton must be soft. Messrs. Walter Evans and Co.'s embroidery cotton is the best. Skilful embroiderers never work over anything, because when you tack the material on paper or cloth each stitch shows, and if the material is very fine, leaves small holes; but for those that are learning we should advise them to tack the material to be embroidered upon a piece of toile ciree. If you work without this, place the material straight over the forefinger of the left hand; the material must never be held slantways. The three other fingers of the left hand hold the work; the thumb remains free to give the right position to each stitch. The work must always, if possible, lie so that the outline of the pattern is turned towards the person who works. For the sake of greater clearness one part of the following illustrations is given in larger size than nature. Preparing the patterns is one of the most important things in embroidery, for the shape of the patterns is often spoiled merely because they have not been prepared with sufficient care.
ILLUSTRATION 66 shows how to prepare a scallop. Take thicker cotton than that with which you work; never commence with a knot, and do not take a thread longer than sixteen or eighteen inches. The outlines of the scallops are first traced with short straight stitches. In the corners particularly the stitches must be short. The space between the outlines is filled with chain stitches, as can be seen from illustration; they must not be too long, otherwise the embroidery will look coarse. It is in this way that every pattern to be worked in button-hole or satin stitch is to be prepared.
ILLUSTRATION 67 shows the double overcast stitch or button-hole stitch in a straight line. After having traced the outline begin to work from left to right; fasten the cotton with a few stitches, hold it with the thumb of the left hand under the outline, insert the needle downwards above the outline, draw it out under the same above the cotton which you hold in the left hand, and draw it up. Repeat for all the stitches in the same manner; they must be regular and lie close to one another. Great care should be taken that the material on which you embroider is not puckered.
ILLUSTRATION 68 (Overcast Stitch).—The double overcast and the button-hole stitches are worked from left to right, whilst back stitches, knotted and satin stitches are worked from right to left. The stitch is worked in the same way as the double overcast, only the needle must never be drawn out above, but below, the cotton with which you work, and which you keep down with the thumb of the left hand.
ILLUSTRATION 69.—The slanting overcast stitch is worked without tracing the outline, always inserting the needle downwards—that is, from top to bottom. The needle must be inserted in the manner shown in illustration—that is, not straight, but slanting; insert it a little farther than the last stitch, and draw it out close to it. The wrong side of the work must show back stitches. This sort of stitch is used for the fine outlines in patterns or letter.
ILLUSTRATION 70.—This shows the back stitch, the working of which is well known; it is worked in several rows close to each other.
ILLUSTRATIONS 71 & 72 show another kind of back stitch, called point croise, which is only used on very thin and transparent materials. This stitch forms on the wrong side a sort of darned pattern, which is seen by transparence on the right side, and gives the embroidered pattern a thicker appearance, contrasting with the rest of the work (see the lower leaves of the flower on illustration 110). For this stitch insert the needle into the material as for the common back stitch, draw it out underneath the needle on the opposite outline of the pattern, so as to form on the wrong side a slanting line. Insert the needle again as for common back stitch; draw it out slanting at the place marked for the next stitch on the opposite outline, as shown in illustration 71.
ILLUSTRATION 73 shows the knotted stitch; the simplest way of working it is to work two back stitches at a short distance from each other over the same thread.
The knotted stitch seen in ILLUSTRATION 74 is worked thus:—Take about four threads of the material on the needle, draw the needle half out, wind the cotton twice round the point of the needle, hold it tight with the thumb, draw the needle out carefully and insert it at the place where the stitch was begun, and draw it out at the place where the next stitch is to be worked.
The knotted stitch seen on ILLUSTRATION 75 is worked in nearly the same manner as the preceding one. Before drawing the cotton out of the material hold it tight with the left-hand thumb; leave the needle in the same position, wind the cotton twice round it, turn the needle from left to right, so (follow the direction of the arrow) that its point arrives where the cotton was drawn out (marked by a cross in illustration), insert the needle there, and draw it out at the place of the next stitch.
ILLUSTRATIONS 76 & 77.—Raised satin stitch is principally used for blossoms, flowers, leaves, letters, &c. After having traced the outlines of the pattern, fill the space left between them with chain stitches in a direction different from that in which the pattern is to be embroidered; begin at the point of the leaf, working from right to left, make short straight stitches, always
inserting the needle close above the outline and drawing it out below. The leaves on the flowers, as well as on the branches, must be begun from the point, because they thus acquire a better shape. If you wish to work a leaf divided in the middle, as seen in illustration 77, you must trace the veining before you fill it with chain stitches, then begin at one point of the leaf and work first one half and then the other.
ILLUSTRATION 78 shows the so-called point de plume on a scalloped leaf. It is worked like the satin stitch, only the needle is drawn through the material in a slanting direction.
ILLUSTRATION 79 (Point de Minute).—This stitch is often used instead of satin stitch when the patterns must appear raised. Wind the cotton several times round the point of the needle, which is inserted into the material half its length (the number of times the cotton is to be wound round the needle depends on the length of the pattern), hold fast the windings with the thumb of the left hand, draw the needle and the cotton through the windings, insert the needle into the material at the same place, and draw it out at the place where the next stitch is to begin.
ILLUSTRATIONS 80 & 81 show the ladder stitch, often used in ornamental embroidery. Trace first the outlines as seen in illustrations; mark also the cross stitches between the outlines, so that the first touch the outlines only at both ends. The outlines are embroidered in overcast stitch or double overcast; the material is cut away underneath the ladder stitch between the outlines.
We have now shown the different kinds of stitches used in embroidery; the following illustrations show them used for different patterns.
ILLUSTRATIONS 82 TO 85 (Different Button-hole Stitch Scallops).—These scallops are prepared as above described. Take care to have the stitches even and regular; the scallops must be wide in the centre and very fine at both ends.
ILLUSTRATIONS 86 & 87 (Button-holes and Eyelets).—This kind of embroidery is used only in round or long patterns. Trace first the outline of the hole, cut away a small round piece of material, not too close to the outlines (when the button-hole is very small merely insert the point of the scissors or a stiletto into the material), fold the edge of the material back with the needle, and work the hole in overcast stitch, inserting the needle into the empty place in the centre and drawing it out under the outline. Some button-holes are worked separately; sometimes they are in a row; if so, take care to begin to work each button-hole at the place where it touches the next. In the following button-holes the outside must be traced double, so as to reach as far as the next one, but each button-hole is finished at once. Illustration 86 shows a button-hole worked round in button-hole stitch, 87 an eyelet-hole worked in overcast.
ILLUSTRATIONS 88 & 89.—Shaded button-holes are worked like the others, only they are prepared, as can be seen in illustration 89, so as to mark the thickness. The stitches must gradually get narrower or wider, and be worked very close to each other.
ILLUSTRATIONS 90 & 91 (Two Leaves in Raised Satin Stitch).—In a leaf like the one seen in 90 work first the outline and veining in overcast stitch; work one half of the leaf in satin stitch, and the other half between the overcast outline and veining in back stitch. The stem of a leaf is always worked last.
ILLUSTRATIONS 92 & 93 (Two Leaves in Satin Stitch and Point de Plume).—For leaves like the one seen in 93 begin with the veinings, then work the inner points, then the outer ones, and lastly the raised spots in the centre. The leaf seen in 92 is worked, one half in point de plume, the other half in back stitch or point d'or.
ILLUSTRATION 94.—- The outline of this leaf is embroidered in overcast stitch; the open-work veining consists of eyelets; one half of the leaf is worked in back stitch, the other half in a kind of satin stitch worked without chain stitches underneath; the stitches are worked across the leaf, leaving between two stitches an interval as wide as the stitch itself. The next row is then worked in these intervals, and each stitch begins half-way up the one before and after it.
ILLUSTRATIONS 95 to 97 (_Leaf in Raised Embroidery).—This kind of embroidery is particularly beautiful, as it is worked separately and sewn on the material with an outline in very fine cotton, this produces the shade seen in 95 (see also illustrations 98 to 113). For such leaves work first one half in overcast and satin stitch (illustration 96); the other half is worked on a separate piece of material (see illustration 97); cut away the material along the overcast outline, and fasten it on the foundation material along the outline which forms the veining on illustration 96.
ILLUSTRATIONS 98 TO 100 show a similar leaf; both halves are worked separately (see 99); the centre is worked in open lace stitch. The latter (see No. 100) is traced, then make ladder stitches across, work the outlines in overcast stitch, and cut away the material underneath the ladder stitch. The cross stitches are then worked in darning stitch with very fine cotton wherever two threads meet.
ILLUSTRATION 101 (Blossom in Satin Stitch).—The eyelet is worked in overcast stitch, then work the upper part of the blossom all in one piece as far as the beginning of the veining, thence the blossom is worked in two halves.
ILLUSTRATIONS 102 & 103 (Blossom in Satin Stitch).—The raised centre of this flower is formed by a bead, over which the embroidery is worked. When the leaves have been worked one after the other, place a bead in the centre, left free in such a manner that one hole lies on the material, and work over the bead by inserting the needle into its upper hole, then underneath the material, drawing it out above the material close to the bead, and so on (see 103).
ILLUSTRATION 104 (Star Pattern in Satin Stitch).—The centre, which forms a wheel, is worked first. Draw the threads across the circle marked by an outline; in the centre they are wound round, always taking one thread on the needle and leaving the next thread under the needle, as can be seen in 122 on the half-finished pattern. The material underneath the wheel is only cut away when the rest of the pattern has been embroidered.
ILLUSTRATIONS 105 & 106 (Patterns in Back, Satin, and Ladder Stitches).—The small star in the centre of No. 105 is worked in point de reprise.
ILLUSTRATION 107 (Flower in Satin Stitch).—The fine veinings are worked with fine black silk in point russe, which renders the effect of the flower very beautiful.
ILLUSTRATIONS 108 & 109 (Rose in Satin Stitch).—No. 109 shows one petal larger than full size. The outer circle only is prepared with chain stitches underneath, so as to appear raised; the inner circles are worked flat. The centre of the rose is embroidered in open work.
ILLUSTRATION 110 (Embroidered Heartsease).—For the knotted stitch see No. 75. for the point croise see 71 and 72.
ILLUSTRATION 111 (Flower in Raised Satin Stitch).
ILLUSTRATION 112 (An Ear of Corn in Point de Minute).
ILLUSTRATIONS 113, 114, & 116 (Bluebell in Raised Satin Stitch).—This flower is worked partly in separate pieces, as has been described. Illustration 116 shows the raised part stretched out flat. When it is finished it is fastened down along the dotted line on No. 114, which shows the inner part of the flower.
ILLUSTRATION 115 (Flower in Point de Minute).—This stitch is here worked over a thick foundation of chain stitches. For raised patterns it looks very well.
ILLUSTRATIONS 116 & 117 (Flower worked in Applique).—To work in applique, two materials, either similar or different, are needed. You can work either in applique of muslin on muslin, or of muslin on net, or of net on net. Muslin on Brussels net is the prettiest way of working in applique; we will therefore describe it: the other materials are worked in the same manner. Trace the pattern on the muslin, fasten the latter on the net, and trace the outlines of the pattern with very small stitches work them in overcast stitch with very fine cotton, taking care not to pucker the material. The veinings are worked in overcast. When the pattern has been embroidered cut away the muslin round the outlines with sharp scissors, so that the net forms the grounding (see No. 117). The greatest care is required in cutting out the muslin to avoid touching the threads of the net.
ILLUSTRATIONS 118 & 119 (Narrow Borders).—It will be easy to work these borders from the above instructions. Observe only that on border 118 the outer row of scallops is worked first, then the button-hole stitch row, and the rest afterwards. The spots are edged all round in knotted stitch. The wheels in the centre of the eyelets of No. 119 are worked with very fine cotton in loose button-hole stitch; they are wound round with the cotton in a second row.
ILLUSTRATIONS 120 TO 122.—Three strips of insertion, which are worked nearly like the ladder stitch. For No. 120, in tracing the outlines, make two small knots at short distances by winding the cotton four times round the needle, as can be seen in illustration; the windings are held down with the thumb of the left hand, draw the needle through, and a knot is formed. The outlines are worked in button-hole stitch only when all the knots have been made, and then the material is cut away underneath.
Illustration 121 is a variety of the slanting ladder stitch.
Illustration 122.—The cross threads are worked in two rows in the common herring-bone stitch, as can be seen by the black lines on the illustration. The straight lines at the top and at the bottom are worked in double overcast; lastly, the wheels are worked in a row as described for the star pattern, No. 104.
ILLUSTRATIONS 123 To 129 (Embroidered Initials).—To learn to work initials the Roman characters are the easiest to begin with. They must be traced and prepared like other embroidery in satin stitch, only the chain stitches underneath must not be too thick: it would take away the shape of the letters. All depends on the fineness and regularity of the stitches; they must be worked in overcast stitch. Work from left to right, and the letter when completed must look rather like raised printing than like embroidery. Gothic letters are much more difficult to work on account of the many flourishes; it requires great practice in needlework to embroider them well. Illustration 123.—The small black dots are worked in black silk on the thick parts of the letter: the fine strokes are covered with cross threads of black silk. Illustration 124.—The outlines of the letter and the fine strokes are worked in black silk. Illustration 125.—This letter is embroidered in raised satin stitch and point de plume. Illustration 126.—This letter is worked in back stitches, over which are worked at regular distances cross stitches of black silk. Illustration 127.—Letter in satin and back stitch. Illustration 128 to be worked in overcast and double overcast.
Illustration 129.—Letter G in point russe with black silk.
ILLUSTRATION 130 (Embroidered Figures).—They are worked like the letters in point de plume and overcast; the dots are worked in knotted stitch.
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EMBROIDERY.
[In working the following Embroidery Patterns it will be found advisable to trace the design clearly upon tracing-paper with a sharp-pointed lead pencil. The pattern thus traced must be perforated with a fine needle in a succession of tiny holes, at the rate of about twenty to the inch. Those ladies who possess a sewing-machine will find no difficulty in accomplishing this. Several thicknesses of paper can be perforated at the same time, if required, by any ordinary machine. To transfer the traced and perforated design to the fabric to be embroidered, it is only necessary to rub a small quantity of powder blue through the holes.]
131.—Insertion in Embroidery.
Material: Messrs. Walter Evans and Co.'s embroidery cotton No. 16.
This insertion is worked in raised satin stitch and button-hole stitch. The outlines must first be traced and the space filled up with chain stitches. To work a leaf, begin at the point, working from right to left, making short stitches, and always inserting the needle close above the outline and drawing it out below. The holes left for the ribbon to pass through are worked in plain button-hole stitch, the dots are worked in raised satin stitch.
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132.—Insertion in Embroidery and Stitching.
Materials: Messrs. Walter Evans and Co.'s embroidery cotton Nos. 10 and 16.
The veinings of this pretty insertion must be worked in overcast stitch (No. 68, Embroidery Instructions), the leaves and flowers in raised satin stitch, the scallops in button-hole stitch, and the outer edge of the leaves in back stitch (No. 70, Embroidery Instructions) with No. 10 cotton.
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133.—Cravat End in Embroidery.
Materials: Muslin, cambric, or linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 24, or fine black China silk.
This graceful design is worked in raised satin stitch (see Nos. 76 and 77, Embroidery Instructions) and back stitching, or point Russe. Black silk may be introduced at will, and the delicate leaves may be stitched in fine black silk, and the flowers embroidered in white, with the stamens in black silk.
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134.—Basket Embroidered in Chenille.
Materials: A basket of fine wicker-work; 1 skein of black chenille, and 3 of blue chenille.
This small round basket measures seven inches across; it has a cover and two handles. The wicker is very delicately plaited, and is ornamented with a pattern in chenille which is very easy to work. Upon the cover, work in point Russe one large star in blue chenille, with the centre and outer circle in black. All round, work small stars in blue chenille, with a black stitch in the centre. The position of these stars is shown in our illustration. The basket requires no mounting; it is not even lined.
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135.—Pattern for Collars and Cuffs in Embroidery.
Materials: Muslin, cambric or lawn; Messrs. Walter Evans and Co.'s embroidery cotton perfectionne No. 40.
Work the outer circle in long even scallops (see page 90 of Embroidery Instructions) in raised button-hole stitch; the spray of flowers is embroidered in raised satin stitch, the leaves in the same, and the rosebud calyx in tiny eyelet-holes. The centres of the roses are embroidered in open-work.
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136.—Cravat End in Embroidery.
Materials: Muslin, Brussels net; Messrs. Walter Evans and Co.'s embroidery cotton No. 30.
Tack the traced muslin over the net and work the scallop of the inner edge; next the design in the centre must be worked in raised satin stitch (see No. 77 in Embroidery Instructions). The raised dots are also worked in satin stitch (see page 90 of Embroidery Instructions). Lastly, work the outer edging of round scallops and the lines of raised dots, and with a pair of embroidery scissors carefully cut away the muslin from the outer edge and from the leaves of the centre pattern.
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137.—Embroidery Pattern for Collars, Cuffs, &c.
Materials: Linen; Messrs. Walter Evans and Co.'s cotton perfectionne No. 40.
This pretty star should be worked in fine overcast stitch (see No. 68 in Embroidery Instructions). The centre is worked in raised satin stitch leaves round a circle of button-hole stitch, in the middle of which a wheel is worked thus:—Slip the cotton under the thick edge and fasten it, then cross it over and back so as to make 8 bars, then twist the cotton twice round 1 bar; this will bring it to the centre; work over and under each of the bars until a thick dot is formed; fasten the cotton beneath this, and twist it twice round the bar opposite to the first one you worked, and finish off.
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138.—Embroidery Covering for a Quilted Counterpane.
Materials: Cashmere, cambric muslin, or linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 4.
This is an embroidery-pattern for a woollen or silk quilted counterpane. Such counterpanes generally have a lining which is turned back on the right side, and buttoned down at the point of each scallop. The pattern is a quilted counterpane of scarlet cashmere; the lining is of fine linen. Before embroidering it, make the points for the corners. The embroidery is worked in button-hole stitch, overcast, satin, and ladder stitch. It can also be worked on fine cambric or muslin, and then the embroidered pattern sewn on the piece of linen which forms the cover on the wrong side. Make the button-holes as seen on illustration, and sew on mother-of-pearl or china buttons.
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139.—Embroidery Pattern for Ornamenting Collars, Cuffs, &c.
Materials: Muslin, cambric, or linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.
This pattern is worked in satin stitch, point Russe, and point d'or on muslin, cambric, or linen; it is suitable for collars, or cravat ends, or handkerchief corners.
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140.—Handkerchief in Embroidery
Materials: French cambric; Messrs. Walter Evans and Co.'s embroidery cotton No. 50.
Three rows of hem-stitching ornament this handkerchief; the pattern forms an insertion within the outer rows, the flowers are worked in raised satin stitch, with eyelet-hole centres (see No. 87 of Embroidery Instructions); the tendrils are worked in overcast stitch; three rows of raised dots, in groups of four, are worked on the inner side of the last row of hem-stitching. This pattern looks very handsome on a broad-hemmed handkerchief.
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141.—Convolvulus Leaf Insertion.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 20.
The convolvulus leaves are worked in raised satin stitch, the veinings and stems in overcast stitch, the eyelet-holes in slanting overcast stitch. (See No. 69 of Embroidery Instructions.)
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142.—Insertion.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 20.
This simple insertion is worked in raised satin stitch, the stems alone excepted; these are embroidered in overcast stitch.
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143 and 144.—Two Patterns in Embroidery for Trimming Lingerie.
Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 20, and Mecklenburg thread No. 50.
These patterns are worked in point Russe and stitching; the spots in satin and knotted stitch. Illustration 143 is ornamented in the centre with lace stitches.
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145 and 146.—Insertion.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16.
The two insertions, Nos. 145 and 146, are worked partly in satin stitch, partly in open-work embroidery, and are edged on either side with an open-work hem.
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147.—Couvrette in Applique Embroidery.
Materials: Net, fine muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16.
The pattern must be traced on the muslin, which should be tacked on the net. The outline of the design must be traced with very small stitches, and worked in overcast stitches, as are also the veinings; the dots are worked in raised satin stitch; the border is embroidered with satin stitch flowers and scallop button-hole stitch. To work applique on net, see No. 117 of Embroidery Instructions.
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148.—Wreath for centre of Pincushion or Toilet Mat.
Materials for Pincushion: Jaconet muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16. For toilet mat: White pique; cotton No. 12.
The leaves and flowers are worked in satin stitch; the eyelet-holes and stems in overcast stitch.
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149.—Corner for Handkerchief In Point Russe.
Materials: French cambric, fine China black sewing-silk, or filoselle.
Point Russe stitch is made by a succession of back stitches. These stitches carefully follow every line of the design, and are worked in black China sewing-silk or filoselle. The pattern should be repeated at each corner of the handkerchief.
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150 to 152.—Borders and Insertions.—White Embroidery.
Materials: Lawn; Messrs. Walter Evans and Co.'s embroidery cotton No. 30, and Mecklenburg thread No. 50; fine black sewing-silk.
For the border No. 150, trace first the outlines of the scallop, then draw the threads which are to form the wheel in each scallop (take for this fine Mecklenburg thread, for the rest embroidery cotton), fasten them at the places where they cross each other, and work at these places small and large spots in satin stitch. Then work the scallops in button-hole stitch; edge each larger spot with button-hole stitch all round, and make a row of button-hole stitches for the upper edge of the border, and above this a row of herring-bone stitches. The material is cut away underneath the wheels.
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The corner borders, illustrations 151 and 152, are worked in point Russe, chain and satin stitch, with fine black sewing silk.
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153.—Muslin Cravat.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 50; No. 40 for the edges.
This cravat is worked on fine muslin, embroidered upon both ends in raised satin stitch; the scalloped edge is worked in button-hole stitch; the bouquet in the centre is worked in applique satin stitch—that is, the leaves of the rose and the foliage are worked separately on muslin; they are then cut out and worked in applique (see Nos. 113 and 116, Embroidery Instructions) upon the cravat, as seen in the illustration.
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154.—Sandwich Case.
Materials: Strip of grey kid; strip of oil silk; 1 skein black silk; 1 skein red purse silk; 1 hank steel beads; steel button.
This case will be found very useful on the occasion of a journey or picnic, as it can be carried in the pocket without any inconvenience.
The case is made of a strip of grey kid, scalloped out at the edges. The words "Bon appetit," or "Good appetite," at will, are worked over it in overcast with black purse silk and steel beads, the scroll pattern in chain stitch with red silk. The back and front of the case are formed of the same strip, which is lined with oilskin, and to which narrow side-pieces are added to form the pocket. These pieces are lined and scalloped out in the same way as the back and front, and then the scallops of both sides are joined together, and worked round in button-hole stitch with purse silk.
The case is fastened down with a steel button.
If another colour is preferred, the sandwich case can be made of brown kid. The scroll pattern should then be worked in rich blue purse silk, and gold beads used for the letters, which should be embroidered as before in black silk. The edge may be worked in double overcast stitch in blue or black silk. A gold button must replace the steel when this alteration of colour is made.
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155.—Insertion.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16.
This insertion is worked in raised satin stitch between two rows of hem-stitching; a small eyelet-hole is worked in the centre of each flower.
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156.—Cravat End in Raised Embroidery.
Materials: Messrs. Walter Evans and Co.'s. embroidery cotton Nos. 50 and 16.
This pattern is a muslin cravat 32 inches long. The greater part of the embroidered ends is worked in satin stitch; the leaves in the bouquet of the centre are worked in raised embroidery. (See Nos. 113 and 116, Embroidery Instructions.)
The dotted lines are raised by taking four threads of the muslin on the needle, draw it half out, wind the cotton twice round the point, holding it tightly under the thumb, draw the needle out and insert it at the place where the stitch was begun, and draw it out where the next stitch is to be worked.
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157.—Lady's Purse.
Materials: Russia leather; blue silk; black purse silk; blue silk soutache; fine gold braid; and gold thread.
This purse is embroidered upon Russia leather; an oval-shaped medallion is cut out in the centre; a piece of blue silk is gummed on under the leather so as to show within the oval; both leather and silk are then lined with calico and stretched upon a small embroidery frame. The front and back of the purse are made all of one piece, the centre of which is the bottom; after the embroidery is completed a piece of leather is added on each side to give the necessary fullness. Four flowrets are worked over the blue silk, with black purse silk, in raised satin stitch, with a dot in gold thread for the centre. The stems are black and the leaflets gold. The inner border round the oval medallion is worked in gold braid, and the outer one in blue soutache. The network upon the leather is formed of threads of black purse silk, fastened at every crossing with a stitch of gold thread; the outer border round this network is formed entirely of gold braid. On the opposite side of the purse initials may be worked in black and gold, over the blue silk oval medallion.
The purse is lined with brown watered silk, and mounted with a clasp of gilt steel.
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158.—Table-Napkin Ring.
Materials: Crimson cashmere; toile ciree; 1 reel each of white, black, green, blue, and yellow Chinese silk.
Stretch a strip of cashmere of a bright shade of crimson over a piece of toile ciree, and work the pattern over it in point Russe with fine silk. The outer borders have white and black outlines, and leaflets of green silk. The stars have black and blue outlines, a yellow cross and dots. The figure between the stars is black and yellow.
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159 and 160.—Knife Basket.
Materials: Grey American cloth; red cloth; black jet beads and bugles; red worsted braid, three-quarters of an inch wide; some strong wire; a cigar-box.
This basket is meant for holding dessert knives. It consists of a common cigar-box nine inches and two-fifths long, five inches and four-fifths wide, and two inches and one-fifth high, covered inside and out with grey American cloth, which is ornamented with embroidery worked in applique. The seams are made in overcast stitch. The feet consist of four pieces of strong wire three inches and two-fifths long. These pieces of wire are first covered with wool, and then with jet beads; they are then bent into loops, and fastened on at the bottom of the box by means of holes bored into it for that purpose. The feet must be fastened before covering the inside of the box. The inside of the basket is ornamented with an embroidered pattern in applique, which must also be worked before covering the box. The leaves are made of red cloth, the stems and veinings of black bugles. No. 160 shows the pattern in full size; the flowers and leaves are edged with light grey purse silk, over which small stitches in black silk are fastened at regular intervals. Inside the box fasten a deal board covered on both sides with American cloth, so as to divide the basket into two compartments, and fasten on to this board a handle consisting of a piece of wire seven inches long, wound round with beads. The basket is ornamented with ruches of red worsted braid; between two box pleats of the ruche a black bugle is fastened.
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161.—Satin Stitch Embroidery.
Materials: Purse silk of two colours, in 4 shades of green and 4 shades of red or magenta for the flowers, gold twist.
This branch is embroidered with purse silk of the natural colours of the flowers and leaves, or in different shades of one colour, on silk canvas. Fuchsia blossoms are here designed, and should be worked in raised embroidery; the stamens to be worked in gold twist.
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162.—Acacia Spray in Raised Satin Stitch Embroidery.
Materials: Four shades of green purse silk for the leaves; 1 skein of brown silk; 3 shades of white or gold silk for the flowers.
This spray of acacia is worked in raised satin stitch embroidery; the flowers should be carefully shaded, and the veinings should be worked before the leaves are embroidered. The flowers may be worked gold colour, or imitate the white acacia blossom.
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163 and 164.—Tobacco Pouch.
Materials: Fine crimson cloth; bits of coloured and white cloth for the pattern; purse silk of various colours; white kid; brass rings; gimp cord; and silk tassels.
This pouch is cut in four pieces, two of which are given in full size; the two others must be worked after the same patterns. These patterns represent the attributes of a lover of tobacco; they are cut out of cloth and worked in applique over crimson cloth.
In No. 163 the outer chain stitch border is green. The knot from which the different articles are suspended is black, the cigar-case yellow in cloth applique, the cigars brown in satin stitch. The case is crossed by two rows of chain stitch in blue silk, and edged all round with button-hole stitch, also blue. The two pipes are of white cloth, edged round with yellow silk; the shade is imitated by long stitches of grey silk. The upper part of the pouch is of blue cloth, with a white silk edging and yellow dots; the under part of brown cloth with a black edging and a pattern worked in chain stitch with white; the three tassels are embroidered with black and yellow silk.
In No. 164 the outer border is yellow, the knots black, the small pattern at the top is of blue cloth edged with yellow; the pipes of white cloth edged with blue and shaded with grey. The bundle of cigars is of brown cloth, shaded with black silk stitches, and fastened on with double rows of chain stitch in yellow silk. The cigar-case is of light green cloth, edged with white; the Grecian pattern and dots are embroidered over it with white silk also.
To make up the pouch, cut out the four pieces and join them together by seams, which are hidden under yellow soutache; cut out also and join in the same way four pieces of white kid for the lining, and fasten it on to the crimson cloth at the top only. Sew small brass rings round the top, and pass a double piece of crimson silk cord through them. Add silk tassels of various colours at the bottom of the pouch, and at each of its four corners.
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165.—Insertion
Materials: Linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 16.
This strong and simple insertion is useful for petticoat trimmings. It is worked in button-hole stitch; the stems in overcast stitch; the circles can be filled up with lace stitches or with wheels, or the pattern may be worked upon Brussels net and the linen cut away.
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166.—Embroidery Pattern for Ornamenting Needlebooks, Workbaskets, &c.
Materials: Coloured purse silk; silk or cashmere; glace silk; gold beads.
This pattern is worked in French embroidery and point Russe, with coloured purse silk on silk or cashmere. The thimble, cotton, and ribbon are worked in applique with glace silk. The colours are chosen according to personal taste. The thimble is ornamented with small gold beads. A bead is placed in the centre of each pair of scissors to imitate the screw.
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167.—Embroidery Pattern for Ornamenting Needlebooks, &c.
Materials: Coloured purse silk; silk or cashmere; beads.
The shuttlecocks are worked in raised satin stitch; the feathers in point Russe; the battledores in very thickly raised double overcast; the interior is filled with a netting worked in chain stitch or dotted stitch; the flowers are worked in satin stitch and beads; the ribbon is embroidered in applique, with a contrasting shade of silk ribbon.
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168 and 169.—Travelling Bag
Materials: 20 inches of Java canvas; single Berlin wool of 2 shades of a pretty green; 2 shades of bronze colour and white; floss silk—white, brown, and 2 shades of yellow; purse silk—black, yellow, cerise, blue, and grey; steel beads; brown silk fancy braid.
This pattern is of the ordinary shape of travelling-bags, but it is very prettily worked. Besides the engraving showing the bag when completed, the bouquet in the centre in full size is given. This bouquet is also worked upon the Java canvas. For each petal the white wool is passed several times from one stitch of the canvas to another till the required thickness is obtained, then 1 stitch is worked at the point with white silk. The centres are filled up in point d'or with 2 shades of yellow silk. The buds are made like the petals, but with 3 stitches of white silk at the point instead of 1. The leaves are worked in 2 shades of green wool with 1 stitch of brown silk in the centre; the stems are embroidered in overcast with light brown wool. The scroll-pattern border round the bouquet is made with brown fancy braid put on with steel beads.
The remaining space outside this border is worked in coloured purse silk. The 1st outline of the squares is worked in black silk, by inserting the needle in and out of the stitches of the canvas. When you have worked all the square thus, 12 stitches one from the other, work on either side, at one stitch's distance, the outlines of yellow silk, which are worked in back stitch, two strips of the Java canvas being covered by each stitch. Next to the inner yellow outline comes a border worked over two strips of the canvas, in slanting stitches; this border is alternately blue in one square and grey in the other. A star is embroidered in point Russe in the centre of each square; it is grey in the blue squares and blue in the grey; a steel bead is placed in the middle of each star. The small crosses between the squares are worked in cerise. The outer border of the work is composed of a piece of black soutache, edged with a tiny trefoil pattern in cerise silk. The front and back pieces of the bag are worked in the same manner. The side pieces are made of plain Java canvas. The embroidered part measures 14 inches in its widest part, and is 11 inches deep. The bag is lined with light brown silk, and made up with a steel clasp.
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170.—Embroidery Trimming for Muslin Bodices.
Materials: Fine muslin; fine black silk; Messrs. Walter Evans and Co.'s embroidery cotton No. 24.
This pattern is very easily worked, and looks very nice for a trimming. It is worked on fine white muslin; the border is worked in button-hole stitch with white cotton; these scallops are covered with loose button-hole stitch in black silk. The feather-like branches are worked likewise in black silk in herring-bone stitch. The white spots are worked in raised embroidery. The large oval openings through which a narrow ribbon velvet is drawn are worked round with button-hole stitches:
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171, 172, and 173—Toilet Cushion Cover in White Embroidery.
This handsome embroidery pattern is to be worked on fine muslin; if lined with coloured silk or satin it is very effective. The patterns, which are covered white dots on illustration, are worked in point d'or; the outlines of these patterns are worked in fine double overcast. The flower-leaves and wings of birds, which appear raised on illustration on account of the dark shadows, are worked separately and sewn on at the corresponding places. No. 172 shows the wing of a bird, No. 173 a rose-leaf somewhat increased in size; the former is worked entirely in button-hole stitch, or trimmed with a ruche of coloured ribbon. This pattern may also be worked on glace silk with purse silk.
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174 and 175.—Glove Box.
Materials: 15 inches of French blue cashmere; silks of various colours. A shape in bamboo cane, painted brown and varnished.
The ornamentation of this box is both novel and tasteful. It is embroidered in coloured silks, upon light blue cashmere. Part of the embroidery pattern is given in full size. All the outlines are worked in overcast, the stitches being made rather long and slanting, and the small leaves are each composed of one stitch, as in point Russe. The leaves are alternately red and yellow upon a green stem; the scalloped outline which has no leaves is red. The pine patterns are worked in satin stitch—the centre one is green, edged with red; the side ones are pink, edged with red; the small wing-like figures are black, edged with maize; the diamond, maize, edged with black, with an outer rim of maize. In the round pattern the centre is pink; the edge red, with red and yellow leaves; the 3 outer circles are successively white, green, and red; at the top the centre branch is yellow, the leaves red and yellow, the side ones are green, with the leaves pink and green.
The strip of embroidered cashmere is lined with blue silk, slipped through the bamboo-canes of the mounting, and joined together at the side by a seam. The cover is lined with plain blue cashmere, upon which initials might be embroidered at discretion. The four corners are ornamented with pretty silk tassels, of colours to match with the embroidery. To fasten the box, sew on a blue ribbon to the cover, and one to the box.
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176 and 177.—Hanging Letter Case.
Materials: Crimson velvet; white satin beads; gold soutache; and fine gold bouillon.
No. 176 shows the letter case when completed in a reduced size, No. 177 the principal part of the embroidered pattern in full size.
The letter case is composed of two parts. The larger part is 11 inches long, 8 inches wide; it is ornamented on the upper part with a pattern in gold soutache, and the word LETTERS or LETTRES embroidered in gold bouillon; underneath there is a pattern embroidered in oval white satin beads, edged round with fine white chenille; the scroll pattern is embroidered in gold bouillon.
The second part is placed over the lower part of the first, and forms the pocket which contains the letters. The centre flower is composed of 11 oval beads, edged round with white chenille; another white bead is placed in the centre, and edged with gold bouillon. The other flowers are also composed of white satin beads, edged with gold bouillon.
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178.—Embroidered Edging.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 24
This edging is worked in broderie Anglaise or overcast stitch; the edge in scallop button-hole stitch; the ovals and dots in raised satin stitch. The stems are worked in slanting overcast stitch (No. 122, Embroidery Instructions).
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179.—Border in Oriental Embroidery.
Materials: Purse silk of the following shades:—dark red, bright red, 2 shades of green, 2 of blue, 2 of yellow violet.
The four ovals placed together are worked of four contrasting colours. These ovals are composed of two rows of chain stitch. The outer row of the first oval is dark red, and the inner one bright red. Following the same arrangement, the second oval is of two shades of green; the third of two shades of blue; and the fourth of two shades of yellow. The knotted stitch in the centre is violet. The dots outside the ovals are worked in satin stitch, and are alternately red, yellow, violet, and blue. The stems are long stitches of black silk. The arabesque patterns between those formed of four ovals are worked in chain stitch with silk of two shades of brown. The colours of the ovals may be varied as much as you please, but the brown shades of the arabesque patterns should remain the same for the whole of the border.
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180 and 181.—Embroidery Stars.
Materials: Fine linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.
These stars are designed for medallions, to be worked on linen collars and cuffs. No. 180 is worked in successive rows of back-stitching, round an open wheel; ladder stitch (see No. 81, Embroidery Instructions) is worked round this, and a raised scallop in button-hole stitch forms the edge.
* * * * *
No. 181 is worked in raised satin stitch; the interior of the star is filled with lace wheels.
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182 and 183.—Key Bag.
Materials: Grey kid; grey silk; steel-coloured glace silk; purse silk of 5 shades of blue-green, 4 shades of brown, and silver-grey, scarlet, and white; grey silk cord; grey glace silk ribbon.
This bag is made of grey kid, and lined with grey silk. The embroidery imitates on one side a key formed of poppies, leaves, and stems, in the upper part of which sits an owl, "the
bird of night." The poppies are worked with blue-green purse silk in 5 shades; the plumage of the owl is worked with brown silk of 4 shades in satin stitch, the colours blending one into the other, as can be clearly seen in illustration No. 182. The eyes of the owl are embroidered in scarlet and white silk. Illustration No. 183 shows the other side of the bag, which is ornamented with steel-coloured silk applique figures, in the form of a Gothic lock. They are edged with fine grey silk cord. The screws of the lock are imitated in satin stitch embroidery with silver-grey silk. After having lined each part, join the two halves of the bag with a border of grey glace silk ribbon, which must, of course, continue round the revers. The bag is fastened by means of a loop and steel button.
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184 and 185—- Embroidery Patterns for Trimming Cravats, Bodices, Morning Caps, &c.
Materials: Muslin or cambric; Messrs. Walter Evans and Co.'s No. 24 for lingerie, No. 12 for couvrettes.
These patterns, worked on muslin or cambric, are suitable for trimming various articles of lingerie; joined on to other squares they make pretty covers. They can also be embroidered with coloured silk, wool, or thread, on cloth, rep, or cashmere, for trimming couvrettes and toilet pincushions. The patterns should be embroidered in satin stitch and edged with chain stitch; they can also be worked in button-hole stitch. When the pattern is worked on woollen material this material must be cut away inside the leaves and spots.
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186 and 187.—Pen-Wiper in Cloth Applique.
Materials: 4 circles of black cloth; 1 large white, 4 small white, and 4 red circles of cloth; 4 white and 4 red stars of cloth; small black beads; gold and black purse silk; small ivory handle or figure.
This pretty little pen-wiper is covered with small circles of cloth. No. 187 is one of these circles seen in full size. There are 4 white and 4 red ones, and they are pinked out round the edge. In the centre of each red circle place a white, and in the centre of each white circle a red star, and work a cross over it with small round black beads. The border, in herring-bone stitch, is worked with gold-coloured purse silk on the red, and with black on the white cloth. The centre of the pen-wiper is covered with a circle of white cloth larger than the side ones, worked in point Russe and point Mexico in black silk. When all the circles are prepared, sew them neatly on to a round piece of red cloth, placing alternately 1 white and 1 red, so as to overlap one another, and between each a circle of black cloth, also pinked out round the edge. The work is then fastened upon a round of cardboard lined with black glazed calico, and a
small handle of carved ivory, or an ivory figure, is fixed in the centre. The circles of black cloth are used to wipe the pens.
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188.—Insertion.
Materials: Fine muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 30.
The flowers of this insertion are embroidered in raised satin stitch round an open eyelet hole, worked in overcast stitch the stars are worked in point Russe stitch; the four eyelet holes which surround each flower, in overcast stitch; and the edge is finished with a row of hem-stitching on each side.
* * * * *
189.—Insertion.
Materials: Fine muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 24.
This insertion is entirely embroidered in raised satin stitch; the dots and stems should be worked first, and the leaves afterwards. It is edged on both sides with a row of hem-stitching.
* * * * *
190.—Cigar Case.
Materials: Russia leather; fine silk cord; black purse silk; gold thread.
The material of this cigar case should be finely-embossed light brown Russia leather; the centre pattern to be embroidered in well-raised satin stitch with black purse silk. All the lighter outlines shown in the illustration are worked in gold thread. The border to be worked in fine silk cord of the same colour as the leather, with a network of black purse silk, stitched with gold at all the crossings. On the opposite side of the cigar case
initials may be worked. The lining of light brown watered silk, or fine leather, and the mountings gilt or steel.
* * * * *
191.—Wicker Waste Paper Basket.
Materials: Basket and stand; coloured Berlin wools; cloth fringe; and glazed calico.
The basket may be of any size, but of the shape of the pattern. It rests upon two brass hooks fastened upon a stand. This stand can be made by any joiner, and should match the furniture of the room. The trimming consists of an embroidered border, lined with glazed calico, and put on round the edge; the lower part of the border is trimmed with a woollen fringe. The shades selected should correspond with the prevailing colour of the room.
* * * * *
192.—Insertion.
Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 16.
The edge of this insertion is worked in raised button-hole stitch, and embroidered in sharply-pointed scallops; the dotted line is worked in raised satin stitch, as are also the flowers which compose the centre wreath; the eyelet holes are worked in overcast stitch.
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193 and 194.—Embroidered Linen Collars.
Materials: Double linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.
These patterns are to be worked on linen taken double. No. 194 is worked in button-hole, satin, and knotted stitch (see Nos. 81, 82, 76, and 73 of Embroidery Instructions), and point d'or with white cotton, and point Russe with black silk. No. 193 is worked entirely with white cotton in button-hole, satin, knotted ladder, and overcast stitch. (See Nos. 82, 76, 73, 81, and 68 of Embroidery Instructions.)
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195 and 196.—What-not.
Materials: Fine canvas; 3 shades of violet floss silk; 4 shades of green floss silk; sea-green wool, or floss silk; 1 skein of yellow floss silk; green chenille; cord and tassels.
This small what-not or jewel-stand is very elegant. It is meant to place upon the toilet-table. No. 195 shows the hammock when completed, No. 196 one-half of the embroidery pattern in full size; it is worked upon fine canvas. The violets are in floss silk of three shades of violet, with a raised spot worked in yellow silk in the centre, the leaves are worked in Berlin wool of various shades of green, and the stems in overcast of a light green shade. The pattern is grounded in tent stitch with sea-green silk. The hammock is composed of two sides and an under-piece cut out in cardboard, covered with the embroidered canvas outside, lined and quilted with plain green silk inside. It is edged round the top with green chenille. The mounting is composed of bamboo-canes; the hammock is fastened on to it with green silk cord, finished off with tassels.
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197.—Embroidered Handkerchief.
Materials: Grass lawn or French cambric; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.
This embroidery pattern is worked between the borders of a handkerchief, which may be either of French cambric or grass lawn. The design is simple, but effective, and very easy to work. If worked on fine French cambric, the handkerchief should be lightly tacked upon toile ciree. The rows of raised dots should be worked first, and then the graceful branches of pointed leaves in satin stitch. The plain round dots might be worked in bright red marking cotton in either of the patterns. To produce a good effect, rather fine cotton must be selected, and No. 40 will be found very effective on either lawn or cambric. For mourning wear, this pattern should be embroidered with black filoselle, or the leaves can be worked in white cotton, and the dots in filoselle.
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198 and 199.—Two Medallions for a Purse in Embroidery.
Materials: Light brown russia leather; black, scarlet, and gold silk; steel or gold clasp.
These medallions are intended to ornament a small purse, but may be employed on a variety of articles.
The raised spots of No. 198 should be worked in black silk, in satin stitch, the branched sprays in point Russe in scarlet and gold, the four largest being in scarlet and the intermediate sprays in gold silk. Medallion No. 199 is worked entirely in point Russe, and may be embroidered in one colour, or in alternate branches of scarlet and gold, or scarlet and black.
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200.—Work-Bag.
Materials: Drab cloth; small pieces of cloth of different colours; embroidery silk of different colours; scarlet satin; red silk braid; red cord; cardboard; cotton wool; and a strap of light-coloured leather.
This work-bag is made in the shape of a rolled-up plaid. The outside consists of drab cloth, trimmed with applique embroidery. The inside of the bag is slightly wadded and lined with red satin, which is quilted in diamonds. The seams are covered with red braid, and a leather strap completes the whole. Cut out a good pattern in paper, and then cut the satin and wadding and the drab cloth which forms the outside. After having traced the pattern on the cloth, work it with small pieces of coloured cloth in applique embroidery. The different figures are sewn over the centre partly in point Russe, partly in button-hole stitches, with embroidery silk. The stems in the middle are worked with silk in chain stitches. The colours may be chosen according to taste. Cut a pattern in cardboard, and fasten the drab cloth on it. The edge must be bordered with red satin, and the satin lining must be sewed in. The ends of the bag are likewise cut out of cardboard; the inside is wadded and lined with red satin; the outside worked in applique embroidery like the rest of the bag. All the seams are covered with red silk cord. The straps are fastened with a few stitches, as seen in the illustration.
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201 to 203.—Pattern for Braces.
Materials: Java canvas; black silk; red wool; calico.
These braces are made of Java canvas lined with calico ornamented with embroidery in black silk and red wool, and edged on either side with loose button-hole stitch and crochet vandykes in red wool. Illustration 201 shows part of the embroidered braces, full size. Work first the embroidery of the braces, then line them with calico; work loose button-hole stitch and crochet vandykes on all the edges of the cross bands as well as at the top and bottom of these strips, and sew on the tabs for the braces between the lining and the canvas. The latter are then edged with button-hole stitch and crochet-vandykes. The vandykes are worked as follow—in one row: 1 double in 1 button-hole stitch, * 1 purl (3 chain, 1 double in the 1st), missing the next button-hole stitch under it; 1 double in the following button-hole stitch, repeat from *. The tabs are made of tape worked round with red button-hole stitch, with button-holes worked with red cotton. No. 203 shows another
way of working these braces on fine ribbed pique. Work any Berlin wool work pattern in the common cross stitch over the ribs of the pique. For the vandyke border work in every other button-hole stitch, 2 double divided by 3 chain stitches.
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204.—Embroidery Border for a Reading-Desk.
Materials: White silk rep; black velvet, rep, or cloth; gold and silver brocade; gold and silver braid; silk cord and thread.
This pattern is embroidered on white silk rep with silver and gold thread, and sewn on over a black velvet, rep, or cloth centre. The dark patterns are worked in applique with black velvet, the two other shades in gold and silver brocade. The embroidery is worked in satin stitch with gold and silver braid, silk and cord of the same material. The border can also be worked upon the material for the centre if it is not intended to contrast with it. The pattern can also be worked entirely in silk with satin stitch. The size of the border may, of course, be increased if desired, but the third pattern in the darkest shade must, in any case, form the centre of it.
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205.—Lappet or Sash End in Venetian Embroidery.
Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 6 and No. 12; net and muslin.
The pattern must first be traced on muslin, which is then tacked over net. The outlines are worked in button-hole stitch, and the veinings are sewn over, using the coarse cotton for tracing; the muslin is then cut away all round the pattern.
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206.—Venetian Border.
Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 12 and No. 16; net and muslin.
This design is elegant and effective, without there being a great deal of work in it. It is useful for tuckers for evening dresses or handkerchief borders. The muslin is laid over the net, sewn neatly over, and then cut away between the pattern, leaving the net for the ground work.
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207.—Lace Insertion.
Materials: Fine black sewing silk; black Brussels net.
This lace insertion is first outlined in running stitch upon the net; the leaves are then darned across the net holes; the stems are worked in overcast stitch; the dots are embroidered by darning across the circle previously outlined; the lace stitches in the centre are formed by gently enlarging the net holes with a fine stiletto, and then sewn lightly round, the remaining holes being filled with lace stitches consisting of fine button-hole stitches, very evenly worked over the entire space surrounding the open holes.
To be effective the very finest black silk should be employed. This pattern may be worked in applique by placing muslin over net, sewing all the outlines in fine overcast stitch, and when finished, carefully cutting away the muslin.
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208 and 209.—Slipper on Java Canvas.
Materials: Light brown Java canvas; green silk; green filoselle and purse silk; green silk ribbon three-fifths of an inch wide; some wadding; 2 cork soles.
This slipper is very pretty, and easy to work. It is made of light brown Java canvas, and embroidered in point Russe with green filoselle. It is lined with green silk, and slightly quilted. The soles are of cork. The slipper is trimmed all round with a ruche of green silk ribbon three-fifths of an inch wide, pleated in double box pleats. The heel is turned down inside. No. 209 shows the pattern of the point Russe stitch nearly full size.
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210 and 211.—Medallions in Point Russe.
Materials: Coloured filoselle, cloth, velvet, cashmere, or silk.
These medallions can be alternated for ornamenting small covers, cushions, borders, &c. They are worked with coloured filoselle in point Russe, herring-bone stitch, coral stitch, and knotted stitch, on cloth, velvet, cashmere, or silk. The middle oval of both medallions contrasts with the colour of the ground, and must therefore be worked in applique on the latter with herring-bone stitch, before working the outer border. The wreath on No. 211 is worked in coral stitch; the knots, which imitate small blossoms, in knotted stitch. The choice of colours is left to the personal taste of the worker.
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212.—Butterfly for Handkerchief Corner.
Materials: French lawn or cambric; fine black silk.
This butterfly is worked in the finest black silk procurable, in order more closely to imitate etching. It is worked in point Russe and scallop stitch; the dark shaded scallops are worked in button-hole scallop stitch, the stitches being taken very closely together, but not raised by the usual method of placing chain stitches beneath the button-hole stitches. The outlines and flowers are worked in point Russe, the dot in knotted stitch (see No. 73, Embroidery Instructions.)
The initials are embroidered in raised slanting overcast stitch, and should be worked with great regularity.
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213 to 215.—Pattern for a Couvrette in Applique. (see pages 576-7.)
Materials: Messrs. Walter Evans and Co.'s embroidery cotton Nos. 24 and 30; cambric muslin; Brussels net; flesh-coloured silk; sewing silk of the same shade; 1 skein of a darker shade; blue silk; brown silk; gold thread.
This style of work is most effective for couvrettes or bed covers. It is worked in cambric muslin and silk, over Brussels net.
The arabesque patterns are worked in cambric muslin, the outlines are embroidered in overcast, and the material is cut away all round. The medallions are made of blue silk; the figures upon them are cut out of flesh-coloured silk, and are gummed first upon tissue-paper, then upon the blue silk; the figures are further fastened upon the medallions in overcast stitch with fine silk of a rather darker shade of flesh-colour. The scarfs are cut out of bright rose-coloured silk; the quiver and arrows and all the other attributes are worked in gold thread; the hair in fine brown silk. The edge of the blue silk medallions is worked round in button-hole stitch, but so as to be easily unripped when the couvrette has to be cleaned. A border in open ladder stitch is worked round them (see No. 81, Embroidery Instructions). The openings in the centre pattern are also filled in with lace stitches.
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CROCHET
INSTRUCTIONS.
Cotton or thread, wool or silk, with a crochet-needle, are the materials required for working crochet. The needle, whether it be steel or bone, must be smoothly polished. The long wooden and bone crochet-needles are used for wool; for cotton and silk work short steel needles screwed into a bone handle are best. The beauty of the crochet-work depends upon the regularity of the stitches, as is the case with every other style of needlework. The stitches must be elastic, but if too loose they look as bad as if too tight. The size of the needle and that of the cotton or wool must correspond; work only with the point of the needle, and never move the stitch up and down the needle. The cotton with which you work must be of the very best quality; for borders, insertions, rosettes, imitation of guipure, use Evans's crochet cotton; for couvrettes, counterpanes, covers, &c., use knitting-cotton. All crochet-work patterns are begun on a foundation chain; there are three kinds of foundation chains—the plain foundation, the double foundation, and the purl foundation chain.
The plain foundation chain consists of chain stitches.
ILLUSTRATION 216.—Form a loop with the cotton or other material with which you work, take it on the needle, and hold the cotton as for knitting on the forefinger and other fingers of the left hand. The crochet-needle is held in the right hand between the thumb and forefinger, as you hold a pen in writing; hold the end of the cotton of the loop between the thumb and forefinger of the left hand, wind the cotton once round the needle by drawing the needle underneath the cotton from left to right, catch the cotton with the hook of the needle and draw it as a loop through the loop already on the needle, which is cast off the needle by this means and forms one chain stitch. The drawing the cotton through the loop is repeated until the foundation chain has acquired sufficient length. When enough chain stitches have been made, take the foundation chain between the thumb and forefinger of the left hand, so that these fingers are always close to and under the hook of the needle. Each stitch must be loose enough to let the hook of the needle pass easily through. All foundation chains are begun with a loop.
ILLUSTRATION 217 (The Double Foundation Chain).—Crochet 2 chain stitches, insert the needle downwards into the left side of the 1st chain stitch, throw the cotton forward, draw it out as a loop, wind the cotton again round the needle and draw it through the two loops on the needle, * draw the cotton as a loop through the left side of the last stitch (see illustration), wind the cotton round the needle, and draw it through both loops on the needle. Repeat from * till the foundation chain is long enough.
ILLUSTRATION 218 (Purl Foundation Chain).—* Crochet 4 chain stitch, then 1 treble stitch—that is, wind the cotton round the needle, insert the needle downwards into the left side of the 1st of the 4 chain stitches, wind the cotton round the needle, draw it through the stitch, wind the cotton again round the needle, and at the same time draw the cotton through the last loop and through the stitch formed by winding the cotton round the needle. Wind the cotton once more round the needle, and draw it through the 2 remaining loops on the needle. The 4 chain stitches form a kind of scallop or purl. Repeat from *. The following crochet stitches require foundation chains like Nos. 216 and 217; they are all worked in separate rows excepting the two Nos. 222 and 234. Make a loop at the beginning of every row, as has been described (No. 216), and take it on the needle.
ILLUSTRATION 219 (Slip Stitch).—Draw the needle through the back part of a foundation chain stitch, or in the course of the work through the back part of a stitch of the preceding row, wind the cotton round the needle, and draw it through the stitch and loop on the needle. The illustration shows a number of slip stitches, the last of which is left quite loose; the arrow marks the place where the needle is to be inserted for the next stitch.
ILLUSTRATION 220 (Double Stitch).—These are worked nearly like the preceding ones. Draw the cotton as a loop through the back part of a stitch, wind the cotton round the needle, and draw it through the two loops on the needle.
ILLUSTRATION 221.—These double stitches are worked nearly like the preceding ones; the 1st row is worked like that of No. 220; in the following ones insert the needle into the two upper sides of a stitch of the preceding row.
ILLUSTRATION 222 (The Ribbed Stitch).—This stitch is worked backwards and forwards—that is, the right and wrong sides are worked together, which forms the raised ribs. Insert the needle always into the back part of every stitch. Work 1 chain stitch at the end of every row, which is not worked, however, in the following row.
ILLUSTRATION 223 (Slanting Stitch, double stitch).—This stitch is worked like that described in No. 220; the cotton is not wound round the needle the first time in the usual manner, but the needle is placed in the direction of the arrow, above the cotton. Draw the cotton through as a loop; the stitch is finished like the common double stitch.
ILLUSTRATION 224 (Cross Stitch).—This stitch is worked like No. 223 on a foundation like No. 217, only insert the needle through the two upper sides of a stitch.
Illustration 225 (Long Double).—For this stitch wind the cotton round the needle, insert it into the back part of a stitch, draw the cotton out as a loop, wind the cotton again round the needle, and cast off together the two loops and the loop formed by winding the cotton round the needle.
ILLUSTRATION 226 (Treble Stitch).—These stitches are worked as has been described for the purl foundation chain, No. 218. The treble stitches are worked on a foundation chain or in the stitches of the preceding row.
ILLUSTRATION 227 (Long Treble).—These are worked like treble stitches, only the cotton is wound twice round the needle; the double long treble (illustration 228) is worked by winding the cotton three times round the needle. The loops formed by winding the cotton round the needle are cast off one by one with one of the loops on the needle. The two loops that remain at the end are cast off together after winding the cotton round the needle.
ILLUSTRATION 229-231 (Cross Treble).—Illustration 229 shows this stitch completed; illustrations 230 and 231 show them in the course of the work. Wind the cotton twice round the needle as for a long treble, insert the needle into the stitch in which the first half of the cross treble is to be worked, wind the cotton round the needle, draw the cotton through as a loop, wind the cotton again round the needle and cast off together with the same the loop on the needle and the loop formed by throwing the cotton forward; you have now 3 loops left on the needle, 1 of which has been formed by winding the cotton round the needle; missing these, wind the cotton again round the needle, miss the 2 next stitches of the foundation chain, and draw a loop through the third stitch. You have now 5 loops on the needle. Always cast off 2 loops at a time till only 1 loop remains on the needle. Work 2 chain stitches (if you wish to have the stitches more or less) slanting, work 1, 2, or 3 chain stitches, missing, of course, the same number of foundation chain, work 1 treble stitch, inserting the needle, as shown by the arrow on No. 231, into the 2 cross chain of the completed treble stitch.
ILLUSTRATION 232 (Raised Spots).—The grounding on which these spots are worked consists of double crochet. They are worked across 3 rows of the ground, and formed of treble stitches, the spots of one row being placed between those of the preceding. Work first 2 rows of double stitch, in the 3rd row work first 2 double stitches and then 1 spot as follows:—1 treble, inserting the needle into both sides of 1 stitch of the first row (the preceding row is missed); the treble stitch is only completed so far that 2 loops remain on the needle; then work 2 treble stitches in the same stitch as the first, which are also only completed as far as the first treble stitch, so that after the 2nd treble there remain 3 loops and after the 3rd 4 loops on the needle (see illustration). The 4 loops are cast off together by winding the cotton once more round the needle and drawing it through. Miss under the spot the next double stitch of the preceding row; the spots are repeated at intervals of 5 stitches and in every other row. |
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