The ladies' guide to needle work, embroidery, etc ... : being a complete guide to all kinds of ladies' fancy work

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Introduction

NEEDLEWORK.

There is no occupation so essentially feminine, at the same time so truly ladylike, as needlework in every branch, from the plain, useful sewing that keeps household and person neat and orderly, to the exquisite, dainty fancy work that adds beauty to every room.

From the earliest age women of every rank have employed themselves with needlework in every variety, and some of the specimens still extant of old-time embroidery and lace -work excite the wonder as well as the admiration of all beholders, being marvels not only of skill but of patience.

Spinning, weaving, tapestry, lace- work and embroidery, have all been women's work since those primitive times when the mistress sat among her maids in her chamber, controlling and directing their work, while busily employed upon her own. Fancy as well as fact dates the use of the needle to the remotest ages, for the rivalry of Minerva and Arachne, and the wondrous webs they wove, are in every mythology, and all are familiar with the stories of the webs woven by Pene- Jope and Philomela.

The sisters of King Ethelstan were famous for their skill in spinning, weaving, and embroidery, their father having educated them to give their entire attention to letters first, and afterwards to the distaff and needle. The queen of Edward the Confessor was well known as an expert needlewoman, and the celebrated Bayeaux tapestry, worked by the wife of the Conqueror, is a grand proof of what ran be done with that feminine implement, the needle.

4- INTRODUCTION.

Martha Washington received her lady friends, rising from her knitting or sewing, Rnd resuming the work of her fingers while conversing, and there are specimens ot her skill still treasured.

Too much cannot be said in favor of this branch of feminine education, and it is a grievous error to allow girls to arrive at maturity ignorant of the full use of the needle. It should be introduced into the daily routine of every school, more especially the plainer and more useful branches, and as early as possible every girl should be required to make and keep in perfect repair the articles in her own wardrobe.

Fancy work is a secondary consideration, although this little book will be for the guidance of those, who, having conquered the mysteries of plain sewing, turn for recreation to the daintier and prettier arts of embroidery and fancy knitting.

The march of progress extends into this domain as well as all others, and every day some new fancy is displayed in needlework simply for ornamentation. But while the variety of form and use is endless, close examination will generally prove to the expert needlewoman that the most complicated and bewildering combinations reduce themselves to some simple stitch or rule perfectly familiar to them, and the embroidery, crochet, or knitting needle already in possession is the only implement required.

The stores for the sale of fancy work, also supply every variety of material carefully prepared for use, simplifying every branch of needlework. To attempt to describe every article in detail would far exceed the compass of this little volume, but the rules and directions here given will be found to contain the foundation for one and all of the new devices.

Chapter I, Embroidery

The word embroidery covers the largest and most varied of all fancy wot?*, while comprising the most elegant and artistic effects. In colors it is truly needlepainting, since the combination and shading require the taste and skill of an artist to design and execute. Flowers, birds and arabesque patterns with infinite varieties *>f grouping are the favorite patterns, and are supplied ra all fancy stores where they are stamped upon the material.

Cotton Embroidery.

is used principally for the trimming of undergarments, though much in vogue now for linen and cambric dresses and for children's suits. Many kinds of stitches are required, the most used of all, being

button- hole Stitch.

This is used for the edges of all kinds of cotton embroidery, and the stamped patterns have a variety of points and scallops, the lines of which are to be carefully followed in this manner : Between the upper and lower lines run three or four

rows of embroidery cotton, in long, loose stitches, to give the work a rich, raised appearance.

When this is done, put the point of the needle into the upper line, passing it under to come out upon the lower line; the thread must be held with the thumb of the left hand under the needle point, so as to be confined in a loop when 1 the stitch is taken. A succession of such loops forms the edge called button-hole stitch.

The entire beauty of scallops and points so Fig. 1. — button -hole stitch, worked consists in their being perfectly even,

and this can bo attained only by following the lines of the pattern with the most careful accuracy. Scallops can be made with one clear edge or with the inside curve clear, and the outside one graduated in smaller curves. Either forms a pretty finish to muslin embroidery, the first being easiest to work evenly.

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IZyelct Holes are extensively used in cotton embroidery, and require practice and care to work

prettily and evenly. The plain eyelet hole is pierced first with a stiletto and worked over and over in very close, even stitches. Graduated eyelets have a double circle upon one side, and this must be worked in longer stitches, and care taken not to draw the thread tightly. If large, the double line should be filled in with long, loose stitches, as the scallops are filled.

.

Fig. 2. — EYELET HOLES.

Satin Stitch

is the long stitch that follows the pattern of leaves,

flowers and figures, by filling the spaces between the

linos. This space must be first carefully Tossed and re-crossed by long threads

running in the contrary way from those designed to cover them, being put in to

give the work the proper raised appearance. When this

is done, the working stitches, very close and fine, must

follow the pattern carefully, w ith a perfectly even edge.

H Leaves must have the threads starting from the centre of

# ^^^^^% 1 l^c vemin& anc* running out to the points in every case,

: never worked across, as they will certainly appear uneven.

The veining should be carefully marked, but never

stitched, as it is properly defined by the meeting of the

satin stitches. Flowers must be w- rked from the centre,

i every petal separately, each being properly defined if the

Fig. 3. — satin stitch, satin stitch is even and close.

Spot Stitch is used for dots ouly, large or small, the cotton being carried across the stamped

circle twice, one row of stitches lay- I ing over the other.

Minute Stitch

1 is used for exceedingly small dots, I and is done in what is called minute 1 cotton, very coarse. It is merely a 1 short back stitch covering the tiny | stamped dot, the cotton passing on 1 the wrong side from one dot to an- 1 other.

With a perfect knowledge of these stitches all the varieties of cotton embroidery can be worked, the English embroidery being usually in less elaborate patterns than the French.

Patterns are stamped for a trifle at all fancy stores, and where they can be so procured are usually more accurate than those traced i over impression paper, or upon thin muslin.

L^^^^^&i^ : The thread must be graduated according to the fine or coarse texture of the material to be embroidered, and where linen is used, linen thread will be found both handsome and durable.

Fjg. 5. — minute stitch. In embroidering initials, borders or corners for

Fig. 4. — SPOT STITCH.

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pocket handkerchiefs, the finest thread must be selected, and great care taken to keep the wrong as well as the right side of the work perfectly even. Leaves and flowers in handkerchief embroidery are very effective if worked upon one side of the vetoing in satin stitch, and upon the other in very fine dots close together. In this very fine work, the veining is frequently worked after the flower or leaf is filled in, with a close over-stitch. Lines, such as stems of flowers, must be followed in a very fine close over-stitch, slanting one thread only from a straight line. Care must be taken to raise but little of the material with the needle, no more being taken up than will suffice to hold the embroidery thread smooth and firm.

In French embroidery there is frequently introduced the

Wheel Stitch.

The wheels are cut out with a pair of fine embroidery scissors, and the space tilled with long threads knotted by a loop stitch to form a small, even circle in the centre, from which the threads radiate to a strongly- worked edge.

There are many patterns, and the stitch requires great practice, as the beauty is gone if there is the slightest uneven appearance in edge, centre or the thread spokes.

Pig. 6.

WHKEL STITCH.

HerringS one Stitch

Fig. 7.

WHEEL STITCH.

is extensively used in cotton embroidery for children's aprons and ornament- —T^^^^^^m *UK cneaP garments where there is not time for emh broidery. It is done by alternating loops and long stitches and sewing backwards. Patterns are stamped, but every needlewoman understands folwing a seam or hem in herring-bone.

Chain Stitch

I is also an easy stitch, formed by holding the thread

"■ firmly over the point of the needle while it is drawn

out, so as to form a loop. The needle is set back

into the centre of this loop, and the thread again

Fig. 8.

HERRING-BONE STITCH.

over the point to form a second one, and so on, the succession of loops forming the chain. Braiding patterns worked in chain stitch, in colored cotton, are very effective and will wash and wear better than the braid.

Cotton embroidery is always fashionable for undergarments, handkerchiefs, housekeeping linen and children's clothing.

fi»

Fig. 9.— CHAIN STITCH.

JVecktie l?nd i?i Embroidery,

This can be worked upon fine Swiss or French muslin, the end hemmed, or if preferred, worked in a button-hole stitch scallop. The work is satin stitch, excepting the middle of the large leaves, which are worked in spot stitch, well raised.

LADIES GUIDE TO NEEDLEWORK.

to be worked in satin and minute stitch, with either hemstitched or button -hole scallop border.

Silk and Wool I?mb?'oidery

may come under the same head, as they are frequently used in combination, and are done upon the same materials and in the same manner.

Both require a frame in order to be perfectly worked, and great care is necessary in adjusting both frame and work. The standing frame is the best, being adjustable by means of screws which raise or lower it to the height desired. But table frames can be used, aud for small pieces of work the lap frame is very convenient.

To prepare work for a frame it should be strongly bound with coarse musliu or linen to baste to the webbing that should be attached to the frame. When the material to be embroidered is strongly bound, it must be basted into the frame with the selvages at the sides, by threads that are sufficiently strong to hold it firmly in place.

If too long for the frame, roll the material at the top, and fasten the roll firmly with strong threads. Fig. 10. — necktie fnd.

The materials for silk or wool embroidery are velvet, satin, silk, cloth, aud at this time ticking and crash, both of which have been lately discovered to make an effective background for the bright colors of embroidery silk and zephyr.

The patterns to be worked must be first carefully stamped or traced upon the material, aud the colors of the embroidery silk carel fully selected and shaded, shades being artistically toned so as not

(^ to offend the eye by violent contrast.

^k In embroidering dowers and leaves, the best rule is to follow the

r^^ natural colors as nearly as possible, using the various greens for = .=^ foliage as they would occur in the bouquet of real flowers.

Ik Loug stitehes must be used, starting iu variably from the centre of leaf or flower near the stem, where the darkest shades should be employed, shading to lighter ones ^ near the edges. The stitches must vary in length to follow the pattern, and must be close and perfectly ^=- even, to produce a good effect.

Leaves must be worked outward from centre stem to the points, ^and always lengthwise, and the '^^^^m., Ikiveining should be worked in, always in a darker shade than that

Fig. 11. — HANDKERCHIEF CORNER.

employed in working the leaves. Stems should be worked in darker shades than leaves or flowers, and browns are very effective. The stitch for stems should slant lengthwise slightly, excepting where the stein is thick, when it should be worked straight across.

All leaves and petals should be done in satin stitch, carefully filled by long crosswise stitches of the same silk as that used for working.

If the work is done in shaded silks, which can now be obtained in every color, of the best quality, care must be taken to match the shades exactly when joining on new stitches, or the effect will be broken and patched. But if carefully used iu this respect, the shaded silk is very effective and much less trouble in working.

Knotted Embroidery :

In forming knots for embroidery, for the centre of flowers or arabesque work, bring the needle up in the spot where you wish to place the knot. Wind the silk twice round the needle and push it down in exactly the spot where it was pushed tip. Let the silk be drawn through slowly, being careful it does not tangle, and the twist around the needle will form the knot. It requires some practice to do knotted embroidery well, but it can be introduced with good effect into many kinds of silk embroidery.

^Raised Embroidery,

in silk or wool, is made by covering the space to be worked with very fine jeweller's cotton, which is tacked down on the edges. It must be entirely covered with stitches close together, sewed across, and this again covered by satin stitch.

Another form of raised embroidery is called tufted work, but can be done only in wools. The darkest shade is worked like the stem work, only in stitches straight across and very close together. The next shade is worked over the first, but the needle is not passed across underneath, but takes a very tiny stitch first on one side and then on the other over and over until the first stitches are covered. The shades are thus worked in one after another, each one as close as possible to the line of the last until the lightest shade covers all. Then the whole is cut through, exactly in the middle, and the tufts form themselves. Dahlias, birds, animals' heads, and shells, are very handsome worked in this way.

A new and most beautiful style of embroidery has lately been introduced into this country, an imitation of

Turkish Embroidery.

It is worked upon very fine thick cloth in every shade and color, from the palest neutral tints to black. The patterns are stamped, and consist of lines similar tc those used in braiding, formiug graceful designs, according to the use for which they are to be adapted. These lines are followed in a very fine close chain stitch in bright-hued silks of every color, harmoniously blended and contrasted. The effect is very rich and beautiful, and the work is iu great favor. Chair coverings, foot-stools, table-cloths, lambrequins, and a great variety of household ornamentation is done in the Turkish embroidery, and when it is evenly worked it cannot bo distinguished from the imported work. Gold and silver thread may be introduced with good effect, but has the fault of tarnishing very soon.

Slippers, smoking-caps, pincushions and many small articles are worked in

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Turkish embroidery upon velvet, satin, or silk, and are new and fashionable. Flowers and leaves may be so worked by filling the spaces with fine close rows of chain stitching, but the effect is not so good as in arabesque patterns.

Crash J??nb?*oidery

is another fashionable freak for tidies, sofa cushions, and other articles. It is very easily done, and very effective. The crash must be of linen, with the pattern stamped upon it. It is usually a large star. This must be filled, and worked across in shaded zephyr, each star in a different color, or the colors arranged to form liues, diamonds, blocks, or circles. After the embroidery is done, the edge

must be fringed by

knotting in lengths

of the zephyr, or if

preferred, au edge

can be worked in

button -hole stitch

scallops. The very

coarse crash is not

so effective for a

background as a

finer quality, and

the darker shades

of lead color are the

best contrast to the

gay zephyr. Tidies

of this work are

very useful as they

are strong, wear

well, and do not

soil easily.

Fig.

12. — CASE FOR BOOK (OPEN).

Case for Book.

This case may be used to preserve a book in travelling, or a choicely-bound volume in the library. The case may be of cloth or holland, according to taste. It is ornamented with a simple pattern in embroidery in silk of any color, and is bound with sarcenet ribbon.

The back, front, flap, and sides are cut in one piece, and the sides are joined to the back.

The case must be cut to the size of the book

for which it is intended. It is fastened with a band of elastic, and straps are put ou to carry il by.

Fig. 13. — CASE FOR BOOK

(closed).

Ticking J?mbroidery

is another fashionable freak. The material which is used for bedding, would have been, one might suppose, the last thing to form the groundwork of ladies' fancy work, but the effect is excellent. Coarse colored netting silk and gold braid are all that is needed besides the ticking to embroider a pair of slippers which will have the effect of Moorish work. Between the stripes of the ticking a coral stitch must be worked, alternating with herring-bone stitch, the gold braid being run on between the black stripes of the ticking with very tine gold-colored silk. Being very easy and inexpensive, this is a work in which even a little girl could soon produce a pair of slippers handsomer than wool work, aud wearing equally well.

The celebrated authoress Jean Ingelow contributes to an English magazine the following description of some specimens of needlework, which will give my readers some useful hirts and instructions in embroidery. She writes :

" You were saying the other day that you should like to have a description from me of some of the kinds of needlework that we possess which are either peculiar or pretty.

" Of these T think a pair of pictures of dead game, worked by my aunt, after Miss Liuwood's style, come first. They are seldom noticed by our friends for the simple reason that they always pass for oil paintings ; but when closely iuspected as they hang on the wall, every stitch is visible. They are not done on canvass, and are neither in tapestry stitch nor square stitch, but iii a long irregular stitch. Here and there shadows have been worked in as an after thought, or deeper tiuts have been laid over the already worked ground. The stitches in the birds' heads are almost as fine as touches in a miniature ; but a falling feather, which seems to be coining down as Kghtly as a snow-flake, shows on investigation that the whole ground of the picture was finished before it was worked on, and the stitches forming it go across and over the other.

"These pictures have been worked about seventy years, aud are as fresh as ever. They may almost be called works of art, instead of which the lainb's-wool work generally done can rank no higher than the merest ornament, and it does not last ten years.

" I think any one who has a knowledge of drawing and a picture to copy might easily do this work.

" When a child, I sometimes heard my old aunt describe the process. Mrs. Linwood, mother of the celebrated Miss Linwood, had a school at Leicester, and the daughter gave lessons in it, on this peculiar work. My aunt was educated by Mrs. Linwood. She showed a remarkable aptitude for painting thus with the needle, but unluckily she regarded the art as a mere accomplishment, and hardly ever troubled herself to exercise it after she left school.

" The two pictures are all we have of her doing. She told my mother they were worked iu a frame on a stiff twilled material called ' tammy.' An outline of the picture to be copied was drawn in chalk, and the worker stood at her frame, and retired every few minutes to observe the effect from a distance. No stitches were ever pulled out, but worked over.

" Miss Linwood employed a special dyer to make innumerable shades of colors for her. She used either a harsh thin worsted, or a very fine crewel. Lamb'swool and silk will not do, as they fade. Any one who has a taste for drawing, and a good oil painting for a copy, might work a picture thus. It is, of course, understood that the whole ground is to be carefully worked over. Landscapes look remarkably well, fruit and flower pieces, also birds and most animals.

" Then J must mention a kind of work that my mother often does, and that you admired. Many years ago an aunt of mine was describing to my mother some work she had seen done at Taunton. It was satin-stitch embroidery, cut out, arranged in some kind of regular pattern, and the interstices connected together with a net work of fine crochet. I may as well remark in passing that satin stitch,1 however old and worn the fabric may be from which it is cut, does not fray ; it re-^

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mains intact anil hard. My mother cut out the satin stitch patterns from some old India muslin gowns, babies' caps and robes, and instead of connecting it with crochet, made a very much richer and far handsomer fabric with it thus:

" She took a piece of stiff writing paper, and with a needle and thread fastened down upon it the cutout work, face downward. She took care to uso such a variety of forms and sizes that no regular pattern could be traced in the work. At some point or other each piece of satiu stitch touched the next. A great deal of the richness of the effect was found to depend on there not being too much groundwork.

A very fine thread was then drawn from point to point of the satin stitch, and worked over in buttonhole stitch till the whole was quite secure, so that iu wearing no point could rise, the fabric being firm enough to be cut away from the paper. We generally make this work in pieces about as large as the palm of the hand, and put them together afterwards.

This insures tlieir being perfectly clean. The effect is more beautiful than most kinds of ancient lace, and the fabric is very durable, a large berthe made by my mother twenty-five years ago being still in perfectly good condition, though it has been very much worn.

" Of course the beauty depends partly on the richness and variety of the work used. Any one can make it who has satin-stitch patterns to cut out } but I must repeat that the fiue effect greatly depends on the endless intricacies of the pattern, and this is an accidental perfection, depending upon there being plenty of work to select from, and from the carefulness of the worker to avoid repetition. Several people, friends of our own, who have copied this work, have been induced, on the contrary, to make a decided pattern. This is always found to spoil the effect.

" My mother invented another kind of needlework, but neither she nor I can describe it ; for it is done without any pattern, and must be invented by the worker as she goes on. The annexed drawing may assist.

" The fabric is cloth, and the flowers are. worked ill wool iu their natural colors."

Roman JZmbroidery

Fig. 14. — KMBROIDERY.

is one of the new devices for combinations of stitches. It is done on stout brown linen, which comes in the fancy stores already stamped for every suitable article, such as screens, comb-bags, pin-cushions, watch-pockets, or other trifles. It is worked with a brown linen thread that comes especially for this use. The principal stitch is button-hole, and the object of the work is to make the edge of the button-hole stitch meet in the pattern, and' wherever it does go a piece of the linen is cat out. Care must be taken not to cut where the button-hole stitch does not meet The centres of the pattern are done in satin stitch. After the work is finished and cut out, silk of any color should be put underneath, the brighter the better, as the design is then well thrown out.

A very handsome piece of this work was made into a shawl bag for travelling, the brown linen and embroidery being made over French cambric, highly glossed, of a deep rich crimson, the buttons being eovered with the cambric, and the edges button-hole stitched with crimson thread to match,

Mediaeval Embroidery

is another popular fancy. It is done in crewells, or fine Berlin wool, the first being the best for articles requiring washing, the latter the most effective. The designs are, as the name infers, from the old tapestries. They are traced on linen by means of transfer paper, and then a line is worked round the margin in black chain stitch, and each petal or portion of design is filled up with chain stitch in one shade. The stalks are made by using double ere well and bringing the needle out between the two threads. The work is very durable, and is handsome and easily done.

Embroidery after JVature.

This style of work is often called u painting in wools." It consists of working flowers in their natural forms and colors, and can only be doue by persons who have a knowledge of painting. First, the flower must be drawn boldly on the piece of coarse unbleached linen.

The margin of the petal is worked in long close stitches, making a firm, thick edge, half an inch deep, the threads lying in the direction of the veins of the petal. Other shades are then worked in, to fill up the petal, in long unequal stitches, care being taken to bring the needle up in the middle of the threads forming the margin, so as to blend the work and make all smooth. Both in leaves and flowers it is necessary to place the stitches in the direction of the veining. When the flower is worked, veins in a darker shade can be added, if the nature of the bloom requires them, or spots of any size or shade. Middles are worked in the knotting stitch already described. If great care is taken not to draw the hand tight in the working, no anxiety need be felt as to the apparent puckering. When the work is finished, it must be stretched, face downwards, on a Iwtard, and strongly starched at the back ; then dried quickly and removed, when the effect will satisfy the most fastidious judge. The fluwers stand up from the ground, which is now quite flat, and really seem as if they could be taken up. A country woman, seeiug furniture covered with this work exclaimed, ** Why, surely, it is a flower garden."

Ladies who do this work become wholly fascinated by it, and it is quickly done, as well as being so effective. Sometimes a groundwork is added of feather stitch in black machine silk. This has the effect of a tracery background, neither heightening the effect of the flowers nor detracting from it, but disguising the roughness of the material and preventing its soiling so quickly.

ladies' guide to needlework.

Chinese Embroidery,

These specimens of needlework, requiring great skill and care in execution, arc usually framed when finished, and we give a drawing, as they are difficult to describe. The work from which it is copied is on black satin, very thick and glossv fltfaf l

RSI

. mm§^J

Si

Fig. 15. — CHINESE EMBROIDERY.

The birds are brilliantly colored and worked in fine floss silk in long irx-c*,^ stitches, one being vivid shades of blue, the other scarlet. The foliage is of vary bright and dark green artistically blended, and the finer dots are of gold thread The spots are iu red and white silk worked over and over.

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Feather Embroidery.

The piece of stuff, cloth, net, muslin, or velvet, which you would embroider, must be stitched into a frame, and the design traced on it. Having selected the leathers of such colors as you require for the" flower or bird you wish to represent, take a paint brush and carefully cover the inside of them with green ; when dry, v&-r&s

.

Tig. 16.—LAMP-MAT IN FEATHER EMBROIDERY.

cut them with a sharp pair of scissors, in the shape of the petals or leaves required ; this being done, take a needle threaded with fine silk of the color of the feather and secure it to the design, carefully fastening the ends of the silk. This embroidery is very beautiful, and is rare, owing to the difficulty of procuring small, higheolored feathers.