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.
186 and 187.–Pen-Wiper in Cloth Appliqué.
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.
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.
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.)
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.
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 cirée. 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.
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.
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 appliqué 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 appliqué 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 appliqué 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.
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 piqué. Work any Berlin wool work pattern in the common cross stitch over the ribs of the piqué. For the vandyke border work in every other button-hole stitch, 2 double divided by 3 chain stitches.
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 appliqué 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.
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.
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.
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 appliqué by placing muslin over net, sewing all the outlines in fine overcast stitch, and when finished, carefully cutting away the muslin.
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.
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 appliqué 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.
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.
213 to 215.–Pattern for a Couvrette in Appliqué. (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.
CROCHET
CROCHET INSTRUCTIONS
A Crochet-Needle
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.
ILLUSTRATION 233 (Hollow Spots).–The ground is worked in double crochet (illustration 220). These spots, which appear raised, consist of 5 treble stitches; they are worked in every other row at intervals of 5 stitches. For working them leave 1 loop on the needle, insert the needle between the 2 long sides of the last-worked double stitch, and work 5 treble stitches, always inserting the needle into the front part of 1 stitch of the preceding row. The first 4 treble are completed entirely without taking up the loop which was on the needle; with the fifth treble stitch only the 3 loops are cast off together by winding the cotton round the needle. Miss 1 stitch of the preceding row under the spot.
ILLUSTRATION 234 (Open-work Spots).–These spots are treble stitches divided by 2 chain; miss 2 stitches under the latter; for the rest, they are worked like the raised spots (illustration 232).
ILLUSTRATION 235 (Raised Treble Stitch).–These stitches are long treble worked on a ribbed ground (illustration 222), and are thrown across 3 rows of the same. The raised treble are always worked on the same side of the work and in the long side of the corresponding stitch of the last row but two. After every row with treble stitch comes a row in ribbed stitch. At the beginning work 3 rows of ribbed stitch; the treble stitches begin only in the 4th row.
ILLUSTRATION 236 (Purl Stitch).–These purl stitches imitate a lace edging perfectly well. Work 1 double, draw out the loop to a certain length (this forms the purl), take the needle out of it, insert it in the front part of the last stitch which has been worked (see illustration), wind the cotton round the needle and draw it through as a loop; 1 double, 1 purl, and so on.
ILLUSTRATION 237 (Purl Stitch turned upwards).–Work 1 treble, then 7 chain stitch. Insert the needle into the 2nd of the 7 chain stitch downwards, so that the chain stitches form a scallop upwards (see illustration), wind the cotton round the needle and draw the cotton through; work 1 chain stitch and 1 treble in the next stitch but 3, missing 3 stitches under it.
ILLUSTRATION 238 (Purl Stitch turned downwards).–The chain stitches form a scallop turned downwards. After having worked the 7 chain stitches take the needle out of the loop, insert it underneath the upper chain of the 2nd chain stitch, from right to left, and draw it through the loop in the direction of the arrow. Wind the cotton round the needle and cast all the loops off together. It is evident that the purl stitches may be worked at larger or smaller distances.