,,an ,,embroidery ,,book                
,,ancient ,,egyptian1 ,,assyrian1       
,,and ,,persian ,,costumes ,,and        
,,decorations4      ,by ,mary ,g4       
,houston and ,florence ,s4 ,hornblower4 
,containing #be full-page illustrations1
 sixteen of them    in colour1 and #fj  
line diagrams in the text4      ,small  
crown quarto4      ,in this volume the  
history of ,costume is traced    from   
the earliest ages4 ,the illustrations   
7which are    taken chiefly from the    
,british ,museum7 are given in          
facsimile from the drawings of the      
artists of the period1    and1 where the
 drawing is too primitive to be easily  
understood1 a garment is also shown     
drawn in modern    style2 in addition1  
every type of garment illustrated    is 
accompanied by a flat pattern showing   
the cut4    ,information of this special
 character on ,ancient    ,costume is   
usually very difficult to obtain1 and it
 is    anticipated that the volume will 
be of first-rate    importance to dress 

designers1 to theatrical designers1     
and also to the schools in which        
historical costume    and the history of
 the progress of the human race    are  
subjects for study4      ,,published    
,,by ,a4  ,c4 ,,black1 ,,ltd41 #d1 #e   
#f1 ,,soho                  ,,square1   
,,london1 ,w4 #a4      ,,agents         
,,america      ,,the ,,macmillan        
,,company                   #fd  #ff    
,fifth ,avenue1 ,,new ,,york            
,,australasia  ,,oxford ,,university    
,,press                   #bje1         
,flinders ,lane1 ,,melbourne    ,,canada
       ,,the ,,macmillan ,,company ,,of 
,,canada1 ,,ltd4                   ,st4 
,martin's ,house1 #gj ,bond ,street1    
,,toronto    ,,india        ,,macmillan 
,,and ,,company1 ,,ltd4                 
,macmillan ,building1 ,,bombay          
#cji ,bow ,bazaar ,street1 ,,calcutta   
,illustration3 ,,plate ,i4    ,a ,,table
 ,,mat4 7,see page #da47                
,,an                                    
,,embroidery                            

,,book                                  
,,by                             ,,anne 
,,knox ,,arthur                         
,,glasgow ,,school ,,of ,,art           
,,containing ,,sixteen ,,full-,,page    
,,illustrations                         
--,,eight ,,of ,,them ,,in              
,,colour--,,and ,,eighty-               
,,seven ,,line ,,illustrations ,,in     
,,the ,,text                            
,a4  ,c4 ,,black1 ,,ltd4                
#d1 #e  #f1 ,,soho ,,square1 ,,london1  
,w4 #a4                                 
#aibj                     8,go1 little  
booke2 ,god send thee good passage0     
,,to                                    
,,my ,,mother          ,,note      ,the 
,author's thanks are due to the owners  
of the pieces of  embroidery illustrated
 in this book who kindly lent them to   
her for  reproduction3--,miss ,beatrice 
,brooks1 ,miss ,marion ,boyd1 ,miss     
,janetta  ,s4 ,gillespie1 ,miss ,mary   
,a4 ,gill1 ,miss ,martha ,stevenson1    
,miss ,elspeth  ,stewart1 ,miss ,jessie 

,gibson 7students of the ,glasgow       
,school of ,art72  also to ,miss ,kay1  
,parkhurst1 ,cedars1 ,derby1 for the    
loan of three  pieces worked by her     
pupils4          ,,foreword      ,now   
that many of our busy working people    
have better regulations as  regards the 
hours of the day's work1 there is great 
need to provide  occupation for the     
day's leisure2 and needlework1 as a     
leisure craft1  is one of the most      
refreshing and pleasant and profitable  
sources of  entertainment--provided     
always1 that those who undertake it     
realise  that1 with right thought and   
consideration on the part of every      
worker1  each should become1 as it were1
 a law unto herself1 so that she should 
realise also that she need1 under no    
circumstance1 be the slave of old       
traditions1 if she can give fitting     
reasons for making a change which  is to
 the purpose of her work4    ,to be in a
 healthy and living state1 our art      
should be constantly  changing its      

fashion2 if it stands still1 it is      
retrograde1 and for  some few           
generations we may say this of ,british 
embroidery4 ,what  changes it has       
undergone are due almost entirely to the
 commercial  enterprise of manufacturers
 of printed patterns--usually foreign   
ones4 ,the importation became very      
considerable with the introduction  of  
so-called ,berlin woolwork1 and since   
that period the ,british  needlewoman   
has set aside her own ingenious         
arrangements and follows  blindly where 
the merchant leads1 and ,british design 
for needlework1  as an expression of its
 people1 is almost a dead thing4        
,most people have a superstition that in
 knowledge of a multitude of  stitches  
lies the whole mystery of needlework4   
,this is emphatically  not the case4    
,there really is no mystery about       
stitches2 they are  but the letters of  
the needleworker's alphabet1 and the    
words of her  language--to be used      
according to her own ideas4 ,one may    

embroider  poems2 another may embroider 
prayers and praises for her church2     
another may beautify a fair woman's     
garment or sing a little song  in       
stitches for a baby's robe2 yet another 
may be like a treatise  on surgery1     
repairing and restoring that which has  
been damaged4  ,but needlework does not 
exist for the stitches4 ,it is the      
stitches  which--as they are well or    
ill-used--express the worker1 and1 if   
she is a wise worker1 she can find out  
for herself most of the  stitches she   
needs4 ,nor is it necessary to be at    
great expense in  needlework1 indeed1   
for those who take it up as a recreative
 craft  half the interest may lie in the
 fact that no material is too common  or
 too homely to be made into something   
fitting and1 therefore1                 
beautiful--since the truest art is to   
make a thing pleasing to the eye  and   
yet entirely suited to the purpose4     
,the commonest failing of the designers 
of this country is that they  think that

 beauty lies in the elaboration of      
ornament1 and this is why  the fashions 
of ,british dressmakers fall short of   
those abroad4 ,it is  the little simple 
contrivances1 that are almost no more   
than a sort  of loving finish to the    
actual construction of a piece of work1 
that  give the highest standard of style
 in garments3 and the best training  a  
needlewoman can have is to make her     
seams1 hems1 openings and  fastenings of
 garments or household fitments things  
of beauty1 while1  at the same time1 she
 considers the uses and purpose of her  
work4 ,it is  as a piece of engineering 
we should consider the construction of  
our  household hangings and covers of   
our garments--planning that decoration  
should be coarse or fine1 as fits the   
material1 and taking thought also  for  
the washing and wearing of it4    ,the  
fashions of to-day show a very marked   
tendency to decorative  construction1   
due in great measure to a change in the 
needlework  for school children         

introduced a few years ago4 ,the        
tendency shows  most interesting        
results1 especially in the fact that the
 shaping  of clothing has become very   
simple and that garments depend almost  
entirely on stitchery for their         
decoration1 rather than on manufactured 
braids and trimmings2 and the styles and
 shapes are infinitely less             
stereotyped1 so that clothing for women 
tends to express more nearly  the       
personality of the wearer than it has   
done for many generations4    ,the work 
of the hand--as apart from that of the  
machine--is more and  more in demand1   
and decorative needlework1 even in our  
shops1 is  becoming more to be desired1 
for unique and personal characteristics 
and expression1 than it has been for a  
very long period4 ,this being  the case1
 let our needlewoman take courage and   
realise that in each  mind there are    
possibilities of new ideas and new      
inventions--that  all materials open up 
new opportunities1 and that with little 

labour  she may greatly enhance and     
beautify the things she works and find  
appreciative opening for her skill4     
,never was there such universal  demand 
for handwork of every kind1 and for such
 household fittings1  which tend towards
 economy and labour saving in           
particular1 the need  is almost         
unlimited4 ,some of the most interesting
 embroideries done  during the last few 
years have been planned and carried out 
in some of  our ,scottish schools by    
untrained workers--designs so simple    
that the  workers do not realise that   
they are designing at all--since they   
draw  largely with needle and thread    
alone1 and have little assistance from  
chalk and other markings4 ,and it is    
this type of work1 usually sewn in      
coarse yarns and on rough canvas1       
flannel or homespun1 that is perhaps    
the most happy and most stimulating for 
a designer of needlework to  begin on4  
,the work is so quickly achieved--so    
gallant and bright in  colour--so       

utilitarian in purpose and of so little 
cost in outlay1 that  it is above all   
others to be recommended4 ,it needs no  
experience in  stitchery to work in     
bright wools1 if the material is firm   
and strong1  and the writer has pleasant
 experience of maid-servants and village
  wives in the north country making     
admirable rugs1 garments1 and other     
embroideries1 which command good prices 
at the ,artificers' ,guilds and  other  
places where a high artistic standard of
 design is required4    ,it is only by  
means of such counter attractions in    
stimulating leisure  crafts1 which pay  
their way as well as give pleasure to   
the workers1  that we can contend with  
the spirit of restless excitement and   
craving  for mere pleasure-giving that  
is so marked a sign of the early days of
  peace1 and reconstruction can only    
come by countering this mischievous     
tendency in young people by giving them 
something that gives stimulus  to their 
longing for brightness and yet does not 

unduly tax those  whose days may be     
occupied in strenuous employment4       
,how desirable it is that such          
gatherings of women and girls as church 
sewing meetings1 guilds and clubs1      
should take up such new ideas in        
needlework and apply for a competent    
instructor4 ,how almost more  desirable 
is it that men might realise the        
pleasure a needle can give  if applied  
to bold construction and original work4 
,it is by no means universal over the   
world that needlework is a women's      
craft2 in many countries it is done     
quite as much1 if not more1 by the  men1
 and it is probable that if our men took
 up this craft1 it would  show a very   
marked tendency to individual and       
original expression4    ,the power of   
invention is so great and serious a     
factor1 that it is  almost too big a    
thing to touch upon here4 ,we do not    
exaggerate its  importance when we say  
that this faculty in human beings is    
what we  can justly call the ,holy      

,ghost1 for it is that in us which      
comes1 not  of ourselves1 but from      
direct inspiration1 and the first       
principle  of education ought to be to  
open our minds to it1 in howsoever small
  and humble a fashion it comes1 and to 
make clear the way for its  development 
and growth towards greater things4      
,,ann ,,macbeth4    ,,glasgow ,,school  
,,of ,,art4          ,,contents         
,,chapter                               
,,page         ,i4 ,,introductory       
#a        ,,ii4 ,,the ,,art ,,and       
,,craft ,,of ,,embroidery--,,the        
,,six ,,points                          
#e       ,,iii4 ,,construction ,,and    
,,design                          #ah   
,,iv4 ,,darning                         
,,stitches--,,backgrounds ,,and         
,,fillings                              
#bi         ,v4                         
,,needle-,,weaving--,,russian           
,,open-,,work--,,linked                 
,,stitches                              
#dj        ,,vi4 ,,button-,,hole ,,and  

,,border ,,stitches--,,hemstitching     
,,and ,,open ,,fillings                 
#ee       ,,vii4 ,,laid ,,work--,,basket
 ,,and ,,line ,,stitches                
#fg      ,,viii4 ,,couching--,,french   
,,knots ,,and ,,bullion                 
,,stitch                                
#gi        ,,ix4 ,,braids ,,and         
,,design--,,faggoting--,,veining--,,anti
que          ,,seams--,,knot ,,insertion
 ,,and          ,,edging                
#hi         ,x4 ,,insertions ,,in       
,,needle-,,weaving--,,point ,,de        
,r,,prise--,,interlacing ,,and          
,,openwork          ,,background        
#aja        ,,xi4 ,,fringes ,,and       
,,tassels--,,hand-,,made                
,,braids--,,knots          ,,and        
,,picots                                
#aad       ,,xii4 ,,drawn-,,thread ,,and
 ,,white ,,work--,,rhodian1             
,,richelieu ,,and ,,hedebo              
#acd      ,,xiii4 ,,decorative ,,flowers
 ,,and ,,leaves--,,edging          ,,and
 ,,insertion                            

#aee      ,,index                       
#agi          ,,list ,,of               
,,illustrations        ,,plate          
,,facing ,,page         ,i4 99,a ,,table
 ,,mat                                  
,frontispiece        ,,ii4 ,,some       
,,useful ,,stitches                     
#ag       ,,iii4 ,a ,,runner ,,in       
,,crash                                 
#cb        ,,iv4 99,a ,,porti,,re       
#di         ,v4 99,a ,,bureau ,,scarf   
#fd        ,,vi4 ,a ,,sideboard ,,cloth 
#fi       ,,vii4 ,a ,,table ,,centre    
,,in ,,white ,,and ,,blue               
#gf      ,,viii4 99,a ,,luncheon ,,mat  
#ha        ,,ix4 99,,three ,,collars    
#if         ,x4 ,a ,,tea-,,cosy ,,cover 
#aja        ,,xi4 ,a ,,nightdress ,,case
                               #ajh     
,,xii4 99,,three ,,hat ,,bands          
#aac      ,,xiii4 99,a ,,bag ,,in       
,,canvas ,,and ,,wool                   
#abh       ,,xiv4 ,,corner ,,of ,,cot   
,,coverlet1 ,,unfinished                
#adi        ,,xv4 ,,two ,,simple        

,,baskets                               
#aef       ,,xvi4 99,a ,,cushion ,,cover
                                #afh    
99,these illustrations are in colour4   
,,an ,,embroidery ,,book      ,,chapter 
,i    ,,introductory     8,give her of  
the fruit of her hands2 and let her own 
works praise her   in the gates40       
,needlework1 as an artistic and         
practical craft1 is highly interesting  
from a decorative point of view1 and    
well within the scope of any            
intelligent worker4 ,it has distinct    
advantages over most crafts--it  neither
 requires great initial outlay for      
apparatus or materials1 nor  does it    
demand a special workshop2 thus1 as a   
domestic art1 it commends  itself to    
many of us on account of its            
adaptability to the conditions  of life1
 as well as for its decorative value--as
 a means of adding  grace and beauty to 
our daily surroundings4    ,during the  
thirteenth and fourteenth centuries     
,england was famed  for the beauty and  

magnificence of its ecclesiastical      
embroideries4  ,these wonderful works   
found their way into many countries and 
were  eagerly sought after by patrons of
 the beautiful2 many pieces still       
exist1 preserved in our museums1        
churches1 or in private collections1  to
 show us what extraordinary ability and 
invention these ancient  embroiderers   
must have had4 ,after the ,reformation1 
when there was  no longer the great     
demand for ecclesiastical               
work--embroiderers  turned their        
attention to the decoration of garments 
to be worn by the  wealthier classes4   
,in the 8,golden ,days of ,good ,queen  
,bess10 and for  some time later1 all   
the ingenuity and skill formerly applied
 solely  to church work was bestowed on 
the decoration and beautifying of       
personal clothing--dresses1 cloaks1     
coats1 waistcoats1 caps1 gloves1  etc42 
neither time1 labour1 nor expense was   
spared1 the worker's ideal  evidently   
being to obtain the highest result of   

which he or she was  capable4 ,some of  
the quaint pattern books of those days  
still exist1  and they consist mostly of
 elements--dainty flower sprays1 sprigs1
  fruits1 birds1 animals1 fishes1 border
 patterns and geometrical  forms--all   
intended to assist the workers in the   
composition and  building up of their   
designs and patterns4    ,in the busy   
world of nowadays1 we cannot hope ever  
to attain to such  perfection1 nor to   
regain for embroidery the high position 
it once held  in this country2 but we   
still have many clever needlewomen who  
could  produce beautiful work provided  
they had a better knowledge of how to   
set about it4    ,this book has been    
planned with the hope that it may be of 
use to many1  and that it may create in 
both girls and women the desire to      
construct  and decorate for themselves  
those simple articles of daily use which
  cost so much to buy and which can be  
made and embroidered1 in simple         
patterns1 with a little knowledge of    

construction and stitchery1 at a        
moderate expenditure of time and money4 
,perhaps the reason why so many workers 
buy their materials already  stamped    
with a design1 which often proves       
unsuitable to the purpose  for which it 
is intended1 and which gives small      
satisfaction when  embroidered1 is      
because of a certain distrust of        
themselves1 a want of  knowledge of     
their own powers of invention and       
ingenuity2 or it may be  a lack of      
energy and initiative1 a reluctance to  
plan and create for  themselves1 due to 
the fact that they have never been      
taught to express  their own ideas1 but 
rather to depend on those of others4    
,nevertheless1  the sense of beauty is1 
in a greater or less degree1 common to  
us all4  ,why1 therefore1 should a      
needleworker not develop her own ideas  
rather  than those of other workers8    
,the designer1 for example1 who may have
  as little knowledge of stitchery as   
the needlewoman has of design1 and  who1

 therefore1 cannot realise the labour   
involved in its execution1  may lose    
much of his effect and may waste the    
time of the embroiderer4  ,it is        
generally agreed that no two people have
 the same ideas2 it is  surely1 then1 of
 considerable importance that each one  
should at least  make some attempt to   
express his or her own4 ,if scope is    
given to the  creative and inventive    
powers they1 like other faculties1 will 
grow  in a most inspiriting manner2 new 
ideas1 inherent instincts1 perhaps      
dormant hitherto1 will spring up like   
flowers to encourage the beginner  on   
the upward path1 and as interest becomes
 keener and confidence  grows1          
difficulties which at first appeared    
insurmountable will quietly  disappear  
as the worker plans and thinks out a    
piece of embroidery from  the           
foundation4 ,how interesting and        
attractive it will be to execute  such a
 piece of work1 which will express the  
personality of the  worker in all parts1

 design1 colour and stitchery4 ,greater 
technical  excellence1 as well as charm1
 must accrue2 the embroideress will work
  with more judgment and understanding1 
and because it has gained so much  in   
interest to her1 she will be able to    
express herself more freely1  and her   
work will convey and suggest more to    
others4          ,,chapter ,,ii    ,,the
 ,,art ,,and ,,craft ,,of               
,,embroidery--,,the ,,six ,,points      
8,chaires1 ,stooles and ,screen1 the    
same1 all of ,satten ,stitch done in    
,worsteads40      ,we shall now consider
 the six important points of design4    
,art and ,craft4--,many women have an   
inherent instinct for  needlework--that 
is1 the craft of the needle--for the    
knowledge of how  to use a needle and   
thread is generally easily acquired2 but
 it is  quite otherwise when the design1
 the artistic or imaginative part1 has  
to be carried out1 as it ought to be1 by
 the worker4 ,then all sorts of         
difficulties arise1 mostly imaginary1 as

 those who make an attempt may  find4   
,let us here consider the design as a   
necessary part of the workmanship4  ,we 
shall be ambitious enough to study      
embroidery from an artistic  point1 for 
the art and the craft ought surely to go
 hand in hand4    ,the ,habit of        
,design4--,a special knowledge of       
drawing is not essential  for pattern   
making--a child will make delightful    
patterns--nor for  simple designs       
composed of straight lines and          
geometrical forms1 such  as might be    
happily applied to borders for articles 
of daily household  use or for personal 
wear4 ,a ruler1 a compass and a sheet of
 squared  paper are sufficient for      
initial efforts3 and once the habit of  
simple  designing is acquired it can    
become a wonderfully absorbing pastime1 
for eyes that are opened to see will    
find designs on every side4    ,good    
,taste and ,common ,sense4--,to carry   
out a piece of work  successfully1      
however1 the embroideress must possess  

good taste and  common sense2 these are 
indeed important qualities1 the         
possession of  which will help the      
beginner enormously3 add to these an eye
 for colour  and form1 a practical      
knowledge of the stitches commonly in   
use1 some  acquaintance with materials1 
their utility and adaptability1 and the 
worker will find herself fairly well    
equipped to start her design4    ,the   
,six ,points4--,there are about six     
points to be considered in  connection  
with a piece of embroidery3--    ,the   
,object and its ,use4--,we must decide  
this1 bearing in mind the  position the 
work will occupy when finished2 choosing
 a material  suitable for the purpose1  
and with due regard to the restrictions 
of  economy4    ,the ,colour            
,scheme4--,consider the environment1 and
 let the scheme be  in harmony with or  
in contrast to the background and       
surroundings4    ,the                   
,construction4--,plan carefully and     
arrange for the decoration1  which      

should never interfere with the         
usefulness of the finished work4    ,the
 ,building up of the ,pattern4--,this   
should always be done with a  view to   
the limitations of the material4    ,the
 ,stitchery4--,this must also be adapted
 to the material--with bold1  effective 
types for the coarser woven stuffs1 and 
daintier1 closer  stitchery for the     
firmly woven textiles4    ,finishing    
,touches4--,a beginner rarely realises  
the importance of  these1 yet it is well
 worth while bestowing thought on them2 
interest  may be considerably heightened
 by such additions or an otherwise good 
piece of work rendered less attractive  
by lack of care and thought at  the     
final stages4    ,it will now be seen   
that the design--the least mention of   
which strikes  terror to the soul of the
 uninitiated--does not consist in the   
drawing  or the making up of the pattern
 alone1 and that there are important    
preliminary stages to be gone through4  
,indeed the design is well on  its way  

by the time the worker reaches the      
fourth point1 i4e41 the  building up of 
the pattern4      ,,the ,,first ,,point3
 ,,on ,,the ,,choosing ,,of ,,materials1
 ,,threads1 ,,tools1 ,,etc4             
,materials4--,materials1 threads1 and   
needles are important items1 and  should
 be chosen carefully2 to spend time and 
labour on embroidery on a  poor         
foundation is an extravagance rather    
than an economy--the tendency  being to 
make up for the poorness of the quality 
by the profuseness of  the decoration4  
,materials need not be costly1 but they 
should be good  of their kind4          
,homely ,materials4--,charming things   
can be made out of homely cloths1       
remnants and oddments4 ,texture1 tone   
and colour should be considered1  both  
from a practical and an artistic point  
of view2 a background that  is pleasant 
to work upon is always an advantage4    
,linens1 of varying  quality and        
texture1 can be relied upon for domestic
 purposes--they  make for good          

stitchery1 they wash well1 and are very 
durable4 7,plate  ,,vii47 ,some         
unbleached materials are extremely      
economical4    ,greenhouse ,shading4--,a
 soft creamy netting used for greenhouse
  shading1 which may be obtained from   
any of the large seed merchants1 is     
made in different widths from #ed inches
 to #gb inches4 ,it has an open  mesh   
and lends itself to all types of darning
 and needle-weaving--the  narrow widths 
make excellent semi-transparent sash    
curtains1 which  may be brightened by   
applied bands of coloured linen or      
chintz1 and  finished with rows of      
simple running or tacking stitch in     
wools or in  some of the coarser makes  
of embroidery cottons4 7,plate ,,viii47 
,the  thicker quality has a closer mesh 
and is admirable for coverlets and      
hangings4 ,these1 when edged and        
decorated with lines of bright-coloured 
washing braids1 and wide borders of     
coloured cretonnes--which again  may be 
connected with bars of needle-weaving or

 darning1 or any simple  stitchery--make
 charming and economical articles1 such 
as any housewife  might well be proud to
 possess4 7,plates ,v4 and ,,vi47       
,covers and  runners to match might     
complete the set4 ,this would be a      
pleasant and  instructive work for a    
girl's leisure hours2 she might make    
just such  a set for her bedroom1 with  
the addition of chair covers and        
cushions1  adorning them beautifully    
with some simple design and a colour    
scheme  of her own choosing4    ,damask 
and ,huckaback4--,damask linens1 with   
simple-patterned  backgrounds1 twilled  
sheetings1 of various makes1 and        
huckabacks1 can  be used most           
effectively for runners1 mats1 and      
luncheon sets2 the  soft1 warm1 creamy  
tone of the unbleached material blends  
harmoniously  with bright-coloured      
threads and wools4    ,titian           
,canvas4--,many coarser and more loosely
 woven textures make  most charming and 
desirable backgrounds for bands of      

needle-weaving4  7,plate ,,vi47 ,coarse 
canvas in various colourings1 woollen   
hopsacks1  floor-cloths1 etc41 are      
adaptable for many household articles4  
,russian ,crash4--,a common roller      
towelling1 or ,russian crash1 as it is  
also called1 is a delightful material   
7,plate ,,iii471 and may be had in      
narrow widths1 varying from #ab inches  
to #bd inches2 it is woven by the       
,russian peasantry in small handlooms   
and varies considerably in texture  and 
quality--but in all cases it is a most  
durable and suitable linen  for domestic
 purposes4    ,the ,scottish            
,blanket4--,another pleasing material   
for wool decoration  is the well-washed1
 worn-out ,scottish blanket2 with the   
smaller pieces  one can make hassocks   
and cushions which look wonderfully well
 in  strong colours in any flat stitch2 
the larger single blanket can be  used  
for coverlets or hangings--with applied 
decoration where the  material is too   
frail for general hard wear4 ,decorated 

with edgings of  woollen braids1 etc41  
these will look almost new1 and         
certainly will  give immense            
satisfaction to the worker4    ,threads 
are to be had in great variety and in   
different makes1 many  of which are     
excellent for embroidery4 ,cottons and  
flaxes in various  sizes and thicknesses
 in a large range of colours can be     
combined most  successfully4            
,embroidery ,wools4--,wools and yarns1  
particularly the types known as         
fingering1 in three1 four1 and five-ply1
 are reliable both in colour  and       
quality4 ,it is always advisable to     
shrink wools before using them  for     
embroidery if they are to be applied to 
articles which require  frequent        
washing4 ,crewel and tapestry wools1 to 
be had in hanks1 8white  heather0       
mending in balls1 are very convenient   
for needle-weaving and  canvas work1 and
 they may be had in beautiful colours4  
,silks4--,silks of different makes1     
embroidery or knitting1 filosel1        

filo-floss and a soft1 thick variety    
known as 8,tyrian10 are all  good for   
various purposes4 ,the latter is        
particularly useful for  couching lines2
 filo-floss--a bright1 glossy silk with 
no twist in  it--requires some skill in 
the manipulating of it1 therefore       
filosel  or mallard floss1 each of which
 has a slight twist on it1 is better    
for the less-skilled worker4 ,carpet    
chenilles in colours1 both cotton  and  
woollen1 applied to coarse canvas or    
sacking1 are used for the  making of    
mats and rugs4 ,woollen and mohair1     
cotton and brush braids  of the common  
skirt type1 carpet and binding braids1  
cords and ,french  tapes1 coloured and  
washing gimps1 all may be used with     
advantage for  embroidery4 ,it is better
 to shrink some of the loosely woven    
skirt and  carpet braids before applying
 them to the material1 or they are apt  
to  pucker the material after washing4  
,good needles should always be used1    
with well-drilled1 good-sized  eyes4    

,care should be taken to choose them so 
that they may be exactly  suited to the 
thread and to the material2 the eye     
should be large  enough to hold the     
thread easily1 in which case it will    
make a hole in  the foundation of a     
sufficient size to allow the thread     
being pulled  through without roughening
 it4 ,scientific sharps are very        
pleasant to  use--numbers four1 five and
 six1 are suitable for cotton and       
flaxes1  crewel and chenille1 and       
long-eyed sharps for general embroidery 
and  needle-weaving4 ,for openwork      
backgrounds such as are shown in ,plate 
,,xi1 ,h1 ,i1 ,j1 ,k1 ,l1 where no      
threads are withdrawn from the material1
  a special needle with a large thick   
stem and a small eye is used2 it        
separates the threads of the material   
and makes them easier to gather  into   
groups by means of the tightened thread4
    ,in working on loosely woven        
materials--such as canvases--and for    
weaving patterns1 tapestry1 chenille1 or

 rug needles with blunt points  are the 
most comfortable to use2 if these are   
not to hand1 work with  the eye of the  
needle foremost4    ,a well-fitting     
thimble1 preferably vulcanite or silver 
lined with  steel1 is necessary4 ,it    
should be deeply pitted to catch the eye
 of the  needle and well finished1 so as
 not to roughen the thread4 ,scissors   
of different sizes are required3 a large
 pair with one sharp and one  rounded   
point--these for the cutting and        
preparing of the material2  a small     
sharply pointed pair for the snipping of
 threads2 a special  pair with a little 
square knob on the one blade and a sharp
 point on  the other for cutting out    
threads and sections between embroidered
 and  openworked parts2 these are a     
safeguard and prevent the snipping of   
the  work4    ,frames are not necessary 
for the simpler types of work1 but for  
wide  borders in needle-weaving1        
particularly for the novice1 a frame    
will  fix the warp threads by keeping   

them taut1 and prevent puckering of the 
material--little tambour frames which   
consist of a couple of rings1 the  one  
fitting into the other1 will serve the  
purpose4    ,finally1 a small emery     
cushion1 for polishing the needle should
 it  get sticky or rusty1 a piece of    
beeswax is useful for flax threads1 a   
stiletto for piercing eyelet holes1 a   
yard measure1 a bodkin1 and some  small 
pins1 are all necessary items1 which    
should always be at hand  when wanted4  
,,the ,,second ,,point3 ,,the ,,colour  
,,scheme4    ,colour lends an           
inexpressible charm to our daily        
life--it is in  nature that it exists in
 greatest beauty4 ,the wonderful robe of
  colour which she displays for us      
throughout all seasons and in all       
countries1 through the flowers and      
fruits1 trees and foliage1 sea  and sky1
 the birds1 animal and insect life1 all 
under different  aspects and            
ever-varying circumstances1 increase our
 admiration and  pleasure4 ,we reflect  

and gratify our need for colour in our  
intimate  surroundings--dress1 hangings1
 furniture1 carpets1 pottery and        
pictures4 ,the embroideress who has a   
fine instinct for colour will  arrange a
 scheme wherein beautiful combinations  
of hues1 tints1 and  shades will mingle 
and produce a harmonious whole4 ,it is  
for those  less favoured that the       
following hints are given4 ,a knowledge 
of  the principles of colour will serve 
as a guide1 while the use of a          
chromatic circle1 i4e41 a colour circle1
 will be invaluable to the  beginner4   
,this convenient arrangement wherein    
successive strips of all  the colours   
are placed concentrically in their due  
proportions--as in  the prismatic       
spectrum--will enable her to study the  
varieties1 the  relations and the       
peculiarities of colour and help her to 
arrange and  select those hues1 tints   
and shades which will combine well      
together2  it will aid her to obtain    
happy effects with some appreciation of 

its  harmonies and contrasts4    ,the   
three primary colours1 green1 red and   
blue--green being now  generally        
accepted as a primary instead of        
yellow--offer the greatest  contrast to 
each other4 ,they are the strongest and 
most powerful and  exercise a greater   
influence on the mind than any of the   
others2 add to  these1 orange1 yellow1  
violet1 white and black--the sum of     
these six  colours constitutes white1   
and the absence of all1 black--and we   
have  the eight from which all the other
 colours and their modifications can  be
 made1 easily and systematically4       
,red 7,complementary ,colour1           
,bluish-,green74--,red1 the strongest   
and  most powerful1 excites and         
stimulates the eye4 ,it was the first   
colour  to be used for decorative       
purposes by primitive man1 and the first
 to  receive a name3 it is the most     
predominant of the warm colours1 and  on
 account of its fresh1 bright1 cheerful 
character1 is much used by  beginners2  

but this very assertive quality makes it
 rather difficult  to combine with other
 hues1 therefore it is well to use it in
 small  quantities for general purposes4
 ,red1 in different hues1 has always    
been the symbol of power and            
distinction4 ,scarlet has been used for 
regal robes and state ceremonials1 as   
well as for military purposes--it       
indicates bloodshed and war1 fierceness 
and courage4 ,red of a rosy hue         
signifies divine love4 ,it has been a   
favourite colour with the poets  from   
the days of ,homer to our own time4 ,the
 complementary of red is  bluish-green4 
,blue 7,complementary ,colour1          
,yellow74--,blue followed red--it is of 
a quiet retiring nature1 soft and       
soothing in effect1 imparting the  same 
quality to all the hues in which it     
predominates4 ,it is one of the  cool   
colours and is symbolically emblematical
 of heaven1 piety1 and  intelligence4   
,the complementary of blue is yellow4   
,green 7,complementary ,colour1         

,purple74--,green1 the most prevalent   
colour in nature1 and the least         
stimulating1 has a remarkably distinct  
and striking effect on the eye4 ,it is  
highly refreshing as well as  soothing1 
and is the necessary restful colour1 the
 opposite of red4  ,yet the nervous     
power of the eye is sooner exhausted by 
strong greens  than by any other hue2   
thus1 a piece of work with a            
preponderance of  green is not so       
pleasing to look at constantly as the   
piece where blue  predominates4         
,symbolically1 green is the emblem of   
bountifulness1  youth1 happiness and    
prosperity4 ,the complementary of green 
is purple  7violet-red74    ,yellow     
7,complementary ,colour1                
,blue74--,yellow approaches white1  and 
is therefore a brilliant and advancing  
colour4 ,it possesses the  greatest     
power of reflecting light2 is rather    
difficult to combine  unless modified4  
,bright yellow has been used            
emblematically1 to express  charity1    

joyousness1 plenteousness and old       
age--greenish-yellow is the  symbol of  
jealousy and envy4 ,its complementary is
 blue4    ,orange 7,complementary       
,colour1 ,greenish-blue74--,orange1     
coming  between red and yellow1 partakes
 of the nature of both--it expresses    
warmth1 fruitfulness and wealth4 ,the   
complementary colour is blue with  a    
tinge of green4    ,purple              
7,complementary ,colour1                
,green74--,purple is the quietest of    
the rich colours1 being composed of red 
and blue4 ,it varies in tone  according 
to the amount of its constituents4 ,when
 blue is predominant  it is symbolical  
of mourning1 expressive of sorrow1      
sadness1 and is  called violet2 when    
inclining to red it becomes warmer and  
richer4 ,it  expresses dignity1 pomp1   
and regal power4 ,its complementary     
colour is  green4    ,these six bright  
colours1 when used in conjunction with  
black and  white1 with each other1 or   
with their complementaries1 will        

strengthen1  intensify and enrich each  
other without altering their true       
value--when  such vivid effects and     
sharp contrasts offend the taste of the 
worker1  when they appear too crude1 too
 conspicuous and too obtrusive--which   
they are apt to do--they may be         
harmonised quite simply1 either by      
modifying the complementaries or by     
using a tint or a shade1 that is1 a     
lighter or a darker tone of the same    
colour4 ,the strength and potency  of   
these startling contrasts are in this   
way tempered2 they become less  glaring1
 less assertive1 pleasanter and simpler 
to arrange1 and lose  the jarring effect
 they might have if used in their full  
brilliancy4  ,for simple household      
articles with little decoration these   
bright  colours may be used with        
charming effect4 ,it is well to         
remember1 in  choosing the tints and    
shades of a colour1 that the foundation 
material  will have a considerable      
influence on them4 ,on a white ground   

they will  appear stronger and brighter1
 their tone being heightened by the     
white  or light background1 while on a  
black ground they appear more distinct  
and brilliant1 particularly light ones1 
the contrast being greater4  ,dull hues 
gain in brightness when used with black 
and lose accordingly  when combined with
 white4    ,juxtaposition of            
,colour4--,colours1 then1 when          
associated1 influence  each other       
simultaneously in various ways1         
darkening and lightening1  adding to or 
detracting from1 as the case may        
be--thus1 by placing a  light and dark  
one in contact1 for example1 black and  
white1 the former  looks blacker1       
intenser1 while the latter looks more   
startlingly white  on account of its    
dark neighbour4    ,it is advisable1    
also1 in arranging the colour           
scheme--after taking  materials and     
positions into consideration--to        
determine at the very  outset what the  
leading features are to be1 and to have 

one colour in  the scheme more          
predominant than the others1 either in  
intensity or in  area4 ,there should be 
some central point or points of interest
 which  will attract the eye to certain 
parts of the construction4    ,a        
,dominant ,colour4--,a liberal use of a 
dominant colour1 by conveying  a        
definite impression1 will give decision 
of character as well as  beauty of tone 
to the work1 while a vague1 uncertain1  
or too equally  distributed arrangement 
will leave an unsatisfied and indefinite
  impression on the mind4               
,illustration3 ,,plate ,,ii4    ,,some  
,,useful ,,stitches 7,see p4 #bi7       
,there are abundant suggestions to be   
had from fields1 hedgerows1  flowers1   
plumage of birds1 etc41 for the         
embroideress who can adapt  them to her 
purpose1 but a simpler plan for the     
beginner is to choose  her colour scheme
 from a good picture1 a coloured        
illustration1 a  piece of chintz1       
cretonne or good brocade1 or1 when      

possible1 to study  the various pieces  
of old embroidery preserved in our      
museums1 as a  record of the time when  
we could compete with other countries1  
when  embroidery was almost the sole    
occupation of women of rank1 as it was  
of the occupants of the convents4       
,green4--,if we were to use one of the  
primaries as a dominating  colour1 say  
green1 a bluish-green1 we might have as 
a background a  deep pomegranate red1   
the design could be worked out in       
bluish-greens1  grey-greens1 soft blues 
and purples1 with touches of pale       
chamois  yellow here and there2 all the 
colours should have a tinge of          
bluish-green1 the combining colour4     
,blue4--,or we might choose blue1 the   
pleasantest1 simplest and most          
harmonious combining colour1 and select 
as a background a warm white or  cream4 
,the decoration could be carried out in 
various tones of blue1  deep rich blue1 
turquoise1 deep and pale orange1 and a  
blue grey--much  would depend on the    

tones used in combination and the manner
 in which  they were employed4 ,always  
avoid a spotty effect1 and do not       
contrast  colours too suddenly in an    
endeavour to emphasise special points4  
,red4--,red1 when used as the           
predominant or combining colour1 looks  
best on a dark blue or a cream          
background4 ,with a dark blue ground1   
white or cream1 bright greens and a     
touch of dull orange will work  in well 
with the reds1 the former combining to  
make the latter less  assertive4 ,with a
 white ground and the same colours1 the 
work becomes  suggestive of some of the 
beautiful ,bokhara embroideries in which
 reds1  greens1 blues and yellows--the  
latter used sparingly--are combined so  
gaily and instinctively4                
,,chapter ,,iii    ,,construction ,,and 
,,design     8,a cunning workman1 an    
embroiderer in blue and in purple and in
 fine   linen40      ,we shall now      
discuss the decorative points4    ,the  
construction and the building up of the 

pattern may be taken  together4    ,a   
,simple ,pattern in                     
,needle-weaving4--,the simplest design  
for an  initial effort should be one    
which could be executed in              
needle-weaving  such as is illustrated  
in ,plate ,i4 ,here the spaces for the  
decoration  are marked off on the       
material1 there being no necessity to   
put any  design on to paper--the weaving
 may be done in any simple primitive    
pattern1 or from some of the more       
interesting darning pattern samplers1   
or it may follow some idea or fanciful  
invention of the worker4 ,it  should be 
more or less symmetrical in colour and  
form1 and provided  that sufficient     
thought is taken in arranging the colour
 scheme and  that the technique is good1
 the result should be both pleasing and 
decorative4 7,see ,chapter ,v4 on       
needle-weaving47 ,supposing the material
  and the colour scheme to have been    
already decided1 and that a loosely     
woven texture--which demands a simple   

conventional pattern with bold          
stitchery and bright colour effects--has
 been chosen 7let it be a  runner1 table
 cover or any article suitable for      
household use74 ,it  would be best1 as  
simplicity must be the keynote1 to have 
a marginal  or border design1 built up  
entirely on straight lines and          
geometrical  forms4 ,first plan out the 
material and arrange for the decoration2
  decide whether the pattern is to be   
placed on to a wide hem1 or inside  a   
narrow one1 or whether it is to be      
applied as wide bars at the ends  and   
edges of the runner4 ,the limited space 
at the disposal of the  designer will   
often aid and suggest the pattern4      
,the decoration should1 when possible1  
strengthen the construction4  ,be       
careful at all times to place it where  
it will not interfere with  the         
usefulness of the object4 ,a cushion1   
for example1 ornamented with  raised    
embroidery or with large beads1 conveys 
the idea of discomfort  rather than of  

comfort1 which is1 after all1 the raison
 d'tre of a  cushion1 the addition to a 
room1 by means of colour and decoration1
  being a secondary point4    ,in the   
early days1 when decoration was so      
freely applied by primitive  peoples to 
seams1 hems1 shoulder-straps1 indeed to 
all objects1 it was  their aim to       
increase the usefulness of the article  
rather than to  decorate it4    ,a      
,border ,pattern4--,when the            
above-mentioned points have been        
decided1  take squared paper1 ruler1 and
 pencil1 and draw a few nicely spaced   
lines2 duplicate the outer ones to give 
weight to the edges4 ,all these  lines  
crossing at the corners will form the   
framework of the design4  ,regularity   
and order are as essential in needlework
 as in most crafts1  therefore the care 
and precision taken in the earlier      
stages will aid  in the working of the  
later4    ,the ,construction4--,plan    
carefully and arrange for the           
decoration1  which should never         

interfere with the usefulness of the    
finished work4    ,the ,corners4--,the  
treatment of the corners presents the   
greatest  difficulty4 ,in a frame they  
are structurally the weakest parts2 for 
this reason the ornamentation is placed 
at these parts to bind and  strengthen1 
as well as to decorate them4 ,in a piece
 of needlework with  a simple border    
design they are again the most          
important4 ,one expects  to find unity1 
enrichment and massiveness there where  
the lines cross2  we add1 therefore1 a  
few extra lines or chequers to the      
corners4  ,by this means we enlarge     
them1 and by so doing append dignity and
  importance4 ,still greater emphasis   
and the necessary note of interest  will
 be given by the colour and the         
stitchery--the treatment of which       
should always be in the foreground of   
the mind of the designer4    ,principle 
of ,repetition4--,do not aim at great   
variety of form2  repetition is one of  
the first principles of design4 ,the    

beginner will  save herself much worry  
and labour if she keeps this principle  
before  her1 instead of striving--as she
 invariably does--after variety4 ,she   
should make her form--a square1 an      
oblong1 or whatever simple element  she 
may have chosen--recur at regular       
intervals1 and all corners should  be   
alike4    ,masses connected by          
,lines4--,masses should be joined by    
connecting  lines and the spacing so    
arranged as to give value to the rest of
 the  work4    ,value of ,spaces4--,a   
form or element should never be cramped 
into a  space nor stretched out unduly  
in order to fill one2 it should be      
planned and balanced to look as if it   
just belonged to it4 ,a design is  well 
balanced when the elements are so       
adjusted that they are neither  too     
monotonous by over repetition nor       
confused by too much variation4         
,diagonal ,lines4--,it is safer at the  
earlier stages to avoid diagonal  lines1
 or forms made up of such lines1 for    

several reasons3 they give  a restless  
effect which should be avoided if       
possible1 they present to  the          
embroideress considerable difficulty of 
manipulation--coming1 as  they must1 on 
the bias of the material1 which may     
easily be tightened1  puckered or pulled
 out of shape in the working by the     
inexperienced  hand4    ,the ,game of   
,design4--,there is really no limit to  
the possible  patterns which may be     
built up on straight lines and          
geometrical forms4  ,the needlewoman has
 only to try with a ruler1 pencil and   
squared paper  in order to discover that
 she may1 after some little practice1   
make  most elaborate designs with       
interesting results4 ,there are1 of     
course1  certain fundamental principles 
which will help her1 but they are not   
many1 and with the suggestions already  
given she should be able to  arrange    
many simple designs suitable for her own
 use4 ,it might be  quite a pleasant    
occupation for the younger members of a 

household1  on a winter's evening1 to   
start and play at design4 ,a time limit1
  perhaps a quarter of an hour for the  
first effort1 and a longer period  as   
the patterns became more elaborate1     
might be given2 afterwards all  the     
designs could be exchanged1 compared1   
criticised1 and then judged  by an older
 member4 ,in this way a 8habit0 of      
pattern making might be  cultivated4    
,many of the designs should prove       
valuable to the craft  worker as well as
 interesting to the youngsters4         
,circles4--,from the making of patterns 
with straight lines we go on  to        
circular forms1 with radiating lines4   
,this opens up a wide field to  the     
embroideress1 allowing her to extend and
 vary her simple designs  indefinitely4 
,with this new element1 the circle1 she 
can formulate some of the more  definite
 floral shapes1 and arranging them in an
 orderly manner1  symmetrically1 can    
make a geometrical pattern suitable to  
her purpose2  she can make use of       

compasses1 or if these instruments are  
not at hand1  any circular form1 such as
 a plate or a coin1 will suit admirably4
  ,should these prove too small1 there  
is always the simple device of the      
fixed pin encircled by a thread1 with   
the pencil at the opposite end1  which1 
when the pin is held firmly in the      
centre of the space--as the  thread must
 remain taut--will form a circle1 the   
size being fixed by  the length of the  
thread4    ,circles at once suggest     
natural forms and growth1 but to begin  
with the  young designer must keep to   
the geometrical side of ,nature2 natural
  floral forms will come later4 ,if she 
examines carefully a number of  the     
flowers of the field or hedgerow she    
will find that many of these  beautiful 
forms are built up on a geometrical     
basis--she will note  the radiating     
lines of the flowers1 the sepals1 petals
 and stamens1  the venation of leaves1  
the manner in which the mid-rib gives   
off1  gradually1 the beautiful curving  

lines which flow into the outer edges1  
and the wonderful orderliness of the    
little seeds clinging to the  sides or  
centre of the seed vessel1 and thus she 
will realise that all  curving lines are
 but segments1 or parts of circles of   
various sizes4    ,to aid the designer  
in her first efforts let her turn to an 
elementary  text-book on botany--she    
will probably find there a number of    
diagrams  of horizontal sections of the 
commoner wild flowers4 ,these give the  
plan of each flower typical of the      
family to which it belongs--all the     
parts are arranged symmetrically in     
circles or whorls1 and show how  the    
flower is built up4 ,the embroideress   
should find these sections  full of     
suggestions2 she might take the simpler 
forms to begin with  and elaborate them1
 adding fresh details where necessary   
for the  development of her design4 ,by 
comparing the sections of one flower    
with  another--of the wild rose with the
 poppy1 the purple loosestrife with  the

 forget-me-not1 the primrose with the   
daffodil--she will be able  to obtain   
variety with simplicity and balance2    
then she will connect  and join all the 
masses with straight or curved lines1   
and thus give  completeness to her      
design4    ,with increased knowledge of 
the structure of flowers the            
embroideress  will gain a keener sense  
of observation which will be of great   
value  when she studies the natural     
forms4    ,setting forth once more on   
the high adventure of making her own    
design1  she will bring to her aid the  
principles already learnt in the making 
of straight lines while she was building
 up her patterns and designs4      ,,the
 ,,fifth ,,point3 ,,the ,,stitchery4    
,we express ourselves and our ideas in  
embroidery by means of stitches  and    
colour4    ,to have pleasure in the     
craft1 the needlewoman must have a      
fairly  accurate knowledge of the       
technique4 ,stitchery should at all     
times be  as simple as possible1 and    

carefully adapted to the material and   
the  design4    ,simpler ,types of      
,stitchery4--,the commoner types1 those 
which by  experience and long use have  
been proved to be the most beautiful or 
the most practical1 are the best4 ,all  
the more complicated forms are  merely  
modifications or combinations of these  
simple types1 many of  which are used in
 8plain0 needlework4 ,there are1 in     
fact1 few stitches  which a careful     
worker cannot master in a very short    
time4    ,stitchery not the ,most       
,important4--,it is wise to remember    
that  stitchery is not the most         
important factor1 but only one of the   
many which go to the making of good and 
artistic work4 ,beauty1 in  needlework1 
consists1 not in the variation and      
elaboration of stitch1  but in the      
harmony of material and technique1 as   
well as of form and  colour4    ,unity  
of ,stitch4--,where coloured threads are
 used it will often be  found           
advantageous to adopt one stitch only4  

,many of the charming  pieces of        
embroidery stored up in our museums give
 us an idea of what  can be done in this
 way1 and though we lack1 perhaps1 both 
time and  patience nowadays1 there is no
 reason why we should not1 by           
cultivation  of our tastes1 raise the   
level of the art considerably above its 
present standard and prove that we can  
still produce embroidery--of  the       
modest1 reticent type--adapted to our   
own conditions of life1 which  will     
reveal both refinement and artistic     
delight4    ,to execute a piece of work 
in one stitch would be excellent        
practice  for the young embroideress1   
whereby she would learn to know and use 
a stitch in all its varied aspects4 ,she
 need not fear monotony--the  coloured  
threads will give sufficient variety4   
,let her take the  simplest of all      
stitches to begin with--the tacking or  
basting  stitch--and keeping it and its 
many varieties in her mind when planning
  out the pattern1 she will find that   

she has many delightful ways of         
executing it4 ,tacking or basting       
stitch1 worked in rows1 becomes simple  
darning1 a background stitch with which 
she may make charming patterns  and     
fillings1 ad libitum4 7,plates ,,ii4 and
 ,,xii47 ,worked closer1 it is  a       
running stitch1 wherewith braids may be 
tacked in place 7,plate ,,iv471  frills 
gathered up1 seams of frocks connected1 
or smocking prepared4  ,finally1 when   
worked with the same quantity of thread 
on the under and  upper surfaces of the 
material1 it attains a new dignity1 and 
becomes  satin stitch--the stitch       
beloved of the young modern needlewoman1
  who is generally inspired and         
stimulated by the wonderful skill and   
precision of the ,eastern needleworkers4
    ,white ,backgrounds4--,white        
backgrounds1 when embroidered in white  
or with only a little colour1 may have  
much greater variation in  stitchery2 it
 is a relief to the worker and an       
improvement to the  work--indeed1 should

 the embroideress feel so disposed1 she 
has  here the opportunity of displaying 
her knowledge of stitchery to a         
considerable extent1 always keeping1 of 
course1 within the limits of  good      
taste4    ,she should endeavour to suit 
the stitchery to the work1 to produce   
the desired effect without too much     
labour--not that work should ever  be   
done in a hasty or untidy manner--but1  
as said before1 she should  adapt it to 
its purpose4 ,it is well to remember    
that large pieces of  embroidery1       
generally seen from a distance1 demand  
bold1 effective  treatment2 detail is   
lost1 so can be omitted2 smaller pieces1
 seen at  closer range1 should bear     
inspection1 therefore more delicate     
treatment  may be applied2 detail and   
finer stitches can be seen to advantage4
  7,see ,chapter ,,xii4 for stitches and
 the method of working47      ,,the     
,,sixth ,,point3 ,,the ,,finishings4    
,the aim of the embroideress is to make 
her work beautiful1 as well as  suitable

 for her purpose4 ,if she has the gift  
of originality she will  also make it   
distinctive1 possibly unconsciously1 by 
adding here and  there those little     
touches of individuality which will mark
 the work as  characteristic of herself4
    ,it is in the finishings that she   
has most scope for these dainty         
devices2 for by their means she may add 
interest and artistic detail to  the    
simple garment or article of domestic   
use and render them charming  things to 
look at4 ,she may attain this end1 not  
by obtaining expensive  fitments1 rich  
cords and silk tassels1 such as are     
sometimes applied1  most unsuitably1 to 
embroidered cushions1 table squares1 and
 other  objects that require frequent   
washing1 but by the use of braids       
7,plate  ,,vi471 and bindings 7,plate   
,,viii471 and bands 7,plate ,,iv471     
hand-made  cords and tassels1 linings1  
edges1 fringes1 beads and buttons1      
raffia  and plaited straw4    ,thus1 the
 amateur will find it well worth while  

giving some thought  to the making-up   
and finishing off of her embroidery4    
,she will soon  realise1 too1 the       
possibilities of making many of these   
ingenious  devices herself wherewith to 
adorn her work1 and she will feel well  
repaid in the end when she has contrived
 some simple embellishment at  little   
extra cost4    ,hand-made cords and     
tassels 7,figs4 #ch;,a and #da71 fringes
 and edgings  7,figs4 #cd and #db71 may 
soon be made by skilful fingers2        
bright-coloured  skirt braids and carpet
 bindings and hand-made cords of dyed   
string  or wool give a decorative effect
 to hems and borders--a wide hem  looks 
well with a heading of brush braid or a 
piping of coloured  galoon or narrow    
,russian braid oversewn with wool1 or a 
narrow band  of needle-weaving4         
,material and edges may be joined1 chair
 backs and  runners may be brightened1  
dress fitments may be completed simply1 
artistically and economically1 by means 
of these braids1 connected with  dainty 

joining stitches 7,figs4 #bf and #bi74  
,wools of various qualities may be      
brought into service to make fringes    
and cords for cushions1 etc42 seams may 
be decorated and joined with  insertion 
stitches1 worked by hand 7,fig4 #be71 or
 by the crochet needle  7,fig4 #fc72    
fastenings may be secured by latchets of
 wool1 thread1 or  silk1 or cord1 all of
 which are easy of manipulation and much
 prettier  than machine-made articles4  
,by referring to ,plate ,,xiii41 it may 
be seen that much may be achieved  by   
means of braid in the decoration of a   
useful bag2 for description1  see page  
#aec4    ,charming hand-made braids     
which may be used for many purposes1    
such as  waist cords1 latchets1 ties1   
belts1 hat bands 7,fig4 #dj71 may be    
made by  means of an embroidery frame1 a
 lace cushion or a small hand loom4     
,for the handles and joinings of bags1  
see chapter on needle-weaving4    ,beads
 and buttons are useful for             
ornamentation--they give richness and   

weight wherever they may be placed2 and 
as an addition to fringes 7,fig4  #ce71 
tassels and ties1 they are most         
effective4 ,flat beads and buttons  may 
be applied to embroidery provided they  
do not interfere with the  use of the   
object2 this they would do if it were in
 such constant use  as to require       
frequent washing4    ,small beads may   
often take the place of ,french knots1  
giving much the  same appearance to a   
border or hem4    ,washing galoons and  
gimps1 bindings and trimmings1 may be   
effectively  applied to dainty little   
tea and luncheon sets1 as well as to    
children's dresses and overalls1 they   
may be further embellished with  narrow 
borders of needle-weaving worked in     
coloured cottons or in flax  threads4   
,for method of making fringes1 tassels  
and braids1 etc41 see ,chapter ,,xi4    
,,chapter ,,iv    ,,darning             
,,stitches--,,backgrounds ,,and         
,,fillings    8,the needle's work       
pleased her1 and she graced it40        

,there is an infinite variety of pattern
 to be made with darning  stitches1 and 
fortunately many needlewomen have       
sufficient originality  to invent little
 variations to suit their work and      
material4 ,most of  the patterns on     
,plate ,,ii4 are intended to be worked  
on a loosely woven  foundation where the
 threads are easily counted1 such as    
some of the  coarser linens1 single     
thread canvases1 greenhouse shading1 and
 tammy  cloth for finer work4 ,these    
darning patterns are better worked with 
a  blunt needle and a long thread1 as it
 is rather awkward1 at times1 to  join  
new threads in the middle of a pattern1 
especially an openwork  one 7see ,fig4  
,h74 ,simple fillings like these may    
greatly enhance the  effect of a piece  
of embroidery4 ,it will be seen by      
referring to ,plate  ,,ii4 that they    
might be worked so as to form quite a   
number of patterns  in straight lines   
7,fig4 ,a71 in waves or chevron pattern 
7,fig4 ,c71 in  clusters or stars 7,fig4

 ,f71 in lines of slanting stitches     
7,fig4 ,d71 in  groups of squares or    
chequers 7,fig4 ,e71 in vandykes 7,fig4 
,g71 or in any  of the openwork stitches
 as ,figs4 ,j and ,l4    ,a ,simple     
,openwork ,filling4--,fig4 ,j is a      
pretty little pattern  suitable for a   
border1 for the foot of a child's frock1
 for a jumper1  for table mats1 or for  
any article where a dainty openwork     
appearance  is wanted4 ,it consists of  
straight lines in a vertical overcast   
stitch1  worked in rows1 from left to   
right and from right to left4    ,these 
upright stitches are in groups of two1  
worked over four threads  of the        
material2 each row is separated from the
 other by two strands of  the material4 
,to ,work ,fig4 ,j4--,unfortunately the 
,fig4 ,j does not show this filling  to 
advantage4 ,when the pattern is worked  
it will be seen that the  intervening   
strands1 in conjunction with the open   
spaces1 form tiny  little crosses1 which
 add transparency to the work4    ,a    

filling more tedious to work1 but with a
 more open appearance1 is got  by       
overcasting every stitch on the         
advancing row1 and on the return row    
working the upper part of each stitch   
into the lower space of the row  above1 
thus leaving no strands between the     
stitches or rows4    ,vandyke ,border1  
,fig4 ,g4--,this pointed pattern1 worked
 in a single  row1 makes a good finish  
for a border or hem4    ,to work as     
,fig4 ,g1 each group requires seven     
stitches to form it1 the  shortest      
covering four threads and the longest   
twelve2 the last stitch  of each group  
forms the first of the next one4        
,pyramid ,filling4--,the size of the    
groups may vary2 large and small        
vandykes may alternate4 ,another filling
 somewhat similar may be made  by taking
 the stitches horizontally instead of   
vertically2 in this way  groups of      
little pyramids are formed4 ,each row   
should be worked with  alternating      
pyramids4 ,the simplest method is to    

begin at the top with  a short stitch   
over two threads1 work five more        
horizontal stitches1  increasing in     
width1 right and left1 by one thread1 so
 that the sixth  stitch covers twelve   
threads of the material4 ,work in       
oblique rows4    ,strips of vandyke     
pattern may be worked over large        
backgrounds with  good effect4 ,make    
five horizontal stitches over five      
strands of canvas1  each stitch being   
below the other1 but one thread to the  
right of the  last2 then work four      
stitches beneath these1 each stitch     
being this  time one thread to the left 
of the one above it2 continue for length
  required4 ,start the second row on a  
level with the first and six or  seven  
strands to the right of it4    ,fig4 ,b1
 ,arrow-head ,filling4--,this is a      
useful stitch for covering the  ground  
quickly4 ,the three stitches are here   
formed over six vertical  and ten       
horizontal threads1 but1 of course1 the 
number must always  depend upon the     

quality of the material4 ,the vertical  
stitch is worked  first1 then the left  
slanting stitch1 followed by the right4 
,in working  with loosely woven cloth1  
it is necessary to carry the working    
thread  up behind the material to the   
top to start each stitch4 ,this uses    
rather more thread1 but the stitches lie
 better and the work is not  puckered4  
,fig4 ,f1 ,star ,filling4--,here1 a     
number of stars are worked in           
successive rows4 ,to make them quite    
regular1 each one should be begun  at   
the same point4 ,in the ,fig4 ,f they   
are worked over sixteen strands3  start 
at the top left corner with a double    
stitch1 then make the  horizontal stitch
 below1 and so on till complete4 ,by    
tightening the  working thread a little 
a hole is formed at each corner1 and in 
the  centre of each star1 which makes   
the pattern an open one1 provided the   
working thread is not too thick1 in     
which case it would fill up the  hole4  
,an equally good background for a firmer

 material is to work stars in  two rows1
 diagonally1 one up1 one down1 leaving  
always an equal number  of strands      
between each star4 ,in this way the     
material itself is formed  into little  
diamond-shaped panels or lozenges4      
,fig4 ,c1 ,wave ,pattern4--,this is one 
of the more elaborate darning  patterns4
 ,it makes a more solid filling and     
takes rather longer to  work than some  
of the others4 ,many pleasing variations
 may be formed  with darning stitches1  
where the background weft or warp       
threads are  utilised to form the       
pattern4    ,damask                     
,darning4--,materials may be repaired by
 a linen1 twill1 or  damask darn1 in    
which case the weft threads have to be  
put in first by  the worker before the  
pattern can be woven4    ,work ,fig4 ,c 
by lifting two weft threads in          
descending rows and passing  over seven2
 after working six rows the pattern is  
changed by the two  weft threads being  
lifted in ascending rows1 the last of   

the descending  counting as the first of
 the ascending row4    ,in a twill darn1
 the pattern of weft threads descends   
all the time in  regular diagonal lines4
    ,it is quite worth while copying    
some of these damask patterns from      
table napery1 and reproducing them on a 
larger scale in bright  colours--in     
order to see what effective designs they
 are2 they might  well be utilised as   
fillings for squares1 stools1 or        
cushions4    ,illustration3 ,,plate     
,,iii4    ,a ,,runner ,,in ,,crash 7,see
 p4 #fc7    ,fig4 ,a1 ,single           
,darning4--,a simple grounding pattern1 
such as that of  ,fig4 ,a1 is useful2 it
 is quickly worked1 too1 a number of    
threads being  lifted by the needle at  
each stitch4 ,start at the left corner2 
pass  over four and lift two weft       
threads alternately for the first two   
rows2  for the next two rows1 lift the  
two weft threads in a line with the     
centre of the long stitch1 and so on4   
,basket ,pattern4--,a basket or brick   

pattern may be got by working  four rows
 with the lifted threads in a line1     
instead of two1 as ,fig4  ,a1 before    
changing the stitch4 ,this pattern looks
 very well when the  chequers are worked
 with contrasting colours4 ,work four   
vertical  stitches first1 in lines1 and 
in one colour1 over eight strands2 then 
take the contrasting colour and fill in 
all the horizontal stitches4  ,if one   
colour only is used these squares may be
 worked in rows1 the  vertical and      
horizontal sections alternately4        
,fig4 ,h4--,this type of work makes a   
rather more open background than  some  
of the others2 it is very suitable for  
filling in small spaces1  for           
handkerchief sachets1 nightdress bags or
 borders for collars or  handkerchiefs4 
,it should be worked with a fine        
coloured or white lace thread1          
sufficiently strong to draw the strands 
firmly together1 yet fine  enough to    
leave the spaces as clear as possible4  
,as a filling it is  easily and quickly 

worked1 as no threads are drawn out1    
which is a  recommendation4    ,the     
pattern is worked over six threads both 
ways--with the exception of  the first  
stitch--and in two horizontal lines4 ,it
 will be noted that  the stitches are   
not quite vertical1 being inclined      
towards each other  in twos4    ,a ,good
 ,filling4--,to form the first stitches1
 bring the needle out  at the top left  
corner2 count down over six strands and 
three to the  right2 insert the needle  
and take a horizontal stitch under six  
strands  to the right4 ,the slanting    
stitch is now formed by inserting the   
needle  into the hole on the upper line 
made by the first stitch1 and taking  a 
horizontal stitch under six strands to  
the right on that line--the  upper one2 
proceed in this way to the end of the   
space4 ,the next row is  worked from    
right to left4 ,the thread should be    
tightened after each  stitch to increase
 the open space4    ,fig4 ,d1 ,diagonal 
,filling4--,this grounding pattern      

consists of rows  of slanting stitches1 
worked downwards over six strands of    
material2  the working thread is taken  
across from corner to corner of a       
square1  each successive stitch being   
taken three strands below the upper one2
  a strand of the material forms a      
mid-rib between the inverted rows4 ,if  
preferred1 these rows might be separated
 by a line of backstitching1  in which  
case two threads should divide each row 
of slanting stitches2  this gives a     
clear line for the backstitching4       
,these backgrounds and darning stitches 
described above are well suited  for    
working on coarse materials with thick  
threads--as well as with  finer ones2   
although the patterns for the majority  
of workers are too  laborious for very  
fine stuffs1 they may be used for small 
spaces in  linen embroidery such as     
fillings for flowers1 or initials4      
,charming open groundings may be worked 
without removing the threads  of the    
foundation material1 but by drawing them

 in clusters tightly  together1 by means
 of stitches4 ,compare ,plate ,,ii41    
where the fillings1  ,figs4 ,h1 ,i1 ,b1 
,k1 ,l1 and ,m1 are worked in this way4 
,these patterns can be only shown       
properly on a loosely woven cloth1  such
 as canvas1 linen1 or cambric4 ,for fine
 material a fine lace thread  is        
required4    ,fig4 ,i4--,this pattern   
consists of little squares and crosses4 
,in ,fig4  ,i it has been worked with a 
thick thread and the strands have not   
been  pulled together--in order to show 
the method of working2 but as already   
explained1 it requires a fine thread and
 tightened strands to show to           
advantage4    ,a ,filling in            
,squares4--,begin the pattern with      
vertical stitches1  in horizontal rows  
over six strands1 exactly as in ,fig4   
#aj1 until  the required space is       
filled1 drawing each group of threads   
tightly  together2 then work the        
horizontal stitches over five strands to
  complete the squares1 tightening them 

also1 but not to such an extent  as to  
pucker the material4 ,the squares may be
 made smaller and the open  spaces      
larger if each stitch is worked over    
twice with a very fine  thread4    ,fig4
 ,k1 ,squares and ,stars4--,here1 each  
square takes up sixteen  strands of     
linen1 and each one is completed before 
going on to the  next4 ,work by         
overcasting all round the outside of the
 square over  four strands1 and make an 
inner square1 as ,fig4 ,i1 with a cross 
stitch  in the centre1 taking care to   
finish with the needle in a position to 
begin the next square4    ,fig4 ,l1     
,square ,stitch and ,rhodian            
,embroidery4--,this pattern is  made up 
of rows of square stitches separated by 
vertical ones4 ,it  is usually worked   
without removing any threads from the   
material1  although with a very firm    
cloth it is rather an advantage to do so
  when an insertion is wanted2 in the   
latter case the vertical threads        
connecting the rows of square stitch are

 left out4    ,this is a stitch one     
frequently finds in old linen           
embroideries1  particularly of old      
,german and ,italian work--where it is  
used either  as a border or insertion1  
or as a separating line between squared 
or  diamond-shaped forms2 there is a    
similarity in the working of it to the  
stitches used by the people of the      
,island of ,rhodes--latterly known  as  
,rhodes embroidery or punch work--the   
only difference being that it  covers   
the entire background in ,rhodian       
embroideries and the threads  are more  
closely drawn together4 ,in these       
,rhodian embroideries the  rose is      
frequently to be met with4 ,it is the   
symbol which invariably  accompanies the
 head of ,helios on its coins1 and to   
which the classic  isle owes its name4  
,square stitch can be worked in straight
 or in  slanting lines1 see ,fig4       
,m--the former is the simpler1 as each  
square  is completed in one row1 while  
the latter requires two rows to complete

  it4    ,to work on horizontal lines1  
,fig4 ,l1 begin at the right-hand side  
and  make an upright stitch over six    
threads2 take a slanting stitch at the  
back and bring the needle out six       
threads to the left at the base4 ,take  
a horizontal stitch to the right1       
inserting the needle at the foot  of the
 vertical stitch2 take an upwards       
slanting stitch at the back  to the left
 and insert the needle into the top of  
the first stitch4  ,this forms three    
sides of the square4 ,now bring the     
needle out in  position to start as for 
the first upright stitch4 ,if properly  
worked1  the reverse side forms a series
 of crosses4 ,fig4 ,l has a row of these
  square stitches with an alternate row 
of upright stitches worked from  left to
 right between them4 ,this is a pretty  
and unusual combination  of stitches1   
and it makes a charming border worked in
 colour on a  loosely textured material 
for a collar or other small article4    
,another  variation of the same type1   

and still more open1 is to have double  
rows  of square stitch between each row 
of vertical stitches1 the lower row  of 
little squares coming between those of  
the upper row4    ,fig4 ,i1 ,square     
,stitch in ,slanting ,lines4--,to work  
this stitch in  slanting lines is rather
 a slower process4 ,the first row forms 
a series  of zig-zags or little steps on
 the right side1 while on the wrong     
side it forms two single lines on the   
bias of the material4 ,begin at  the    
right-hand side of the work2 take a     
horizontal stitch from left  to right   
over six threads2 a slanting stitch at  
the back to the left  brings the needle 
out six threads below the               
starting-point4 ,take an  upright stitch
 and put the needle into this point--two
 sides of the  square are now formed4   
,take a slanting stitch at the back and 
bring the  needle out six threads to the
 left of the base of the upright stitch 
and continue for the distance required4 
,this slanting line of square  stitch is

 easily acquired if the worker remembers
 the appearance of the  stitch1 on the  
8wrong0 side as well as the right4    ,a
 ,table ,scarf in ,russian              
,crash4--,this design is another of the 
direct  type in which the needle-woven  
border forms the principal subject4     
,the material is very pleasant to       
work--it is of a soft greyish-cream     
colour1 which combines well with the    
wools and braids1 and the texture  is   
sufficiently open to allow of the       
threads being easily removed1  which is 
a recommendation when preparing for the 
needle-weaving and the  fringe4 ,the    
stitchery is all done in wools1 and the 
colours are dark  heliotrope with two   
lighter tints1 blues 7two tones71       
greens1 a dark  and light emerald1 and  
deep orange4 ,the broad braid is of soft
 blue1  the narrow of straw colour4 ,the
 design forms a deep border divided into
  panels by bands of braid2 the bands   
are tacked into place by short          
button-hole stitches in the darker shade

 of emerald green1 between  which are   
tiny little loop stitches 7,fig4 #c71 in
 orange4 ,the centre  panel has a wide  
band of needle-weaving1 about three     
inches deep1 which  is divided up into  
five groups2 the groups are worked from 
the outside1  inwards1 as in ,plate ,i41
 and the various colours are introduced 
into  them4 ,the most prominent colour  
in the scheme is blue1 accentuated in   
this case by the blue braid1 the blue   
edging1 and the second and fourth       
groups of weaving1 which are worked in  
two shades of blue4 ,the first  and     
fifth groups are woven in heliotrope    
with orange in the centre2 the  middle  
group has light heliotrope on the outer 
parts and pale green on  the inner4     
,this same green is worked in oriental  
stitch on each side of  the central     
#c-;inch bar1 while the stitchery       
between the rows of wide  blue braid is 
in the lightest tint of heliotrope1     
tacked down with tiny  stitches of the  
darkest shade4 ,the two side panels are 

worked in satin  stitch in two tones of 
heliotrope1 each row of chequers being  
connected  by small chequers in light   
green--they also are worked in satin    
stitch4 ,the lines of straw-coloured    
braid are sewn down with ,french  knots 
in heliotrope 7,figs4 #bb;,a1 #bb;,b74  
,the pattern of the stitching on  the   
bands of braid which border the design  
is worked in the same way  as loop or   
oriental stitch2 the needle is brought  
out on one side of  the braid and       
inserted on the other side1 just        
opposite1 then brought  out again in the
 centre to the right1 where the wool is 
tacked down  with a tiny stitch2 the    
needle is again brought out on the edge 
of the  braid1 about half an inch       
further on1 inserted on the lower edge  
and  brought out in the middle again in 
order to tack the wool down4 ,these  two
 stitches reversed give the diamond     
shape of the insertion2 three  satin    
stitches in orange give a bright little 
note to the edging4 ,these  looped or   

petal stitches worked in different ways 
can be used to form  many pretty        
headings4 ,the narrow edging on the     
selvedges between the  lines of blue    
braid is charming2 it consists of two   
loops of heliotrope  in two shades--the 
one worked within the other--with a     
closed looped  stitch in orange between 
each pair4 ,when all the embroidery is  
finished1 the weft threads are withdrawn
 from the remaining ends of the         
material1 which have been left for the  
fringe4 ,sometimes a fringe of a  closer
 texture or of a different type is      
worked1 or the material may  be too     
short to allow of one--in all of which  
cases a strip of cloth  could be        
inserted under the braid and sewn down  
with the pattern1 then  fringed4    ,it 
is generally advisable when working with
 narrow braids to take the  ends through
 the material where they can be stitched
 firmly in place2  wider ones are often 
tied at the ends to prevent spreading1  
then turned  in and stitched4           

,,chapter ,v                            
,,needle-,,weaving--,,russian           
,,open-,,work--,,linked ,,stitches      
8,a web made fair in the weaving40      
,needle-weaving is a form of decoration 
common to all countries2 it  was        
practised by primitive peoples and must 
have preceded embroidery4  ,it was a    
means of adding richness and colour much
 in favour with the  early ,egyptians1  
who decorated their garments with       
fringes and bands of  needle-weaving4   
,mummy cloths treated in this way are to
 be seen in the  ,british ,museum2 also 
specimens of early ,coptic work1        
preserved in the  ,victoria and ,albert 
,museum1 show that they were in the     
habit of weaving  little panels and     
borders with the needle1 with which to  
decorate  their garments4 ,this desire  
to enrich and decorate with the needle1 
by  means of colour and pattern1 the    
more important parts of their apparel   
followed on the discovery of how to     
weave cloth1 and so we find that  these 

early workers frequently left out the   
weft threads and wove in  beautiful     
patterns1 rich in colour1 with the      
needle into these spaces4  ,later1      
little panels1 bars and medallions were 
worked in this way and  inserted into   
their garments4 ,this needle-weaving1   
which is practically  tapestry with the 
needle1 seems to have reached a great   
degree of  perfection in the fifth      
century4 ,there is very little to       
distinguish  needle-weaving from        
tapestry1 except that the latter is done
 with the  shuttle instead of the       
needle4    ,this weaving of patterns    
directly on to the material is          
fascinating  work4 ,it is so effective1 
so rich in result1 and so charmingly    
appropriate to the material2 there must 
always be a certain stiffness  and      
rigidity in the pattern1 caused by the  
upright warp threads1 which  demand     
simplicity of treatment4 ,weaving1      
whether done with needle1  bobbins or   
shuttle1 is just a method of            

interweaving the warp threads  with the 
weft2 these weft-threads may consist of 
wools1 silks1 cottons1                  
or--decoratively1 of raffia1 or even    
gold and silver threads4    ,this type  
of work may be applied to all kinds of  
useful household  articles--table linen1
 bed linen1 cushions1 bags1 chair backs1
  footstools1 book covers2 also bands   
and insertions for garments4  ,there is 
room for such simple pattern1 combined  
in some cases with  other stitchery1 on 
these and many other articles1 where a  
marginal  decoration is appropriate4    
,description of ,frontispiece4--,plate  
,i4 shows a table square worked  on     
8,titian0 canvas of a soft brown tint4  
,the original was #cf inches by  #ah    
inches4 ,the edges of the canvas should 
be turned up and the spaces  arranged   
for the needle-weaving and coloured     
bands before the weft  threads are      
removed4 ,allow about #c inches for the 
open-work4 ,cut the  weft threads and   
pull them out4 ,fig4 #ca shows method of

 working2 begin  at the right-hand      
corner and weave the pattern over six   
groups1 three  strands in each          
group--these are worked in gold and     
yellow2 repeat  the same pattern on the 
opposite side--it simplifies the work   
and  saves time and trouble if the      
weaving is done from the ends1 working  
inwards2 thus two similar patterns are  
woven1 one after the other4 ,if  the    
band of weaving is carefully examined1  
it will be seen that the  gold-coloured 
threads form a definite pattern on the  
background2 if  these are woven in      
first1 it will aid the worker and act as
 a guide  for the interlacing of the    
other colours4 ,the next group1 in lemon
  and purple1 is worked on nine groups  
of threads3 throughout all these        
patterns a group consists of three      
strands4 ,the purple lines are sewn  in 
with a back stitch4 ,the third group is 
formed of a large cross  in orange      
surrounded with gold-coloured squares1  
which in turn are  completed with blue  

squares at the corners4    ,the fourth1 
or central group1 has two narrow bars on
 each side1 worked  in soft green1 blue1
 purple and gold4    ,the inner cross of
 lemon wool with purple and gold can be 
easily  followed from the plate4    ,the
 broad band of needle-weaving is edged  
by rows of variegated chain  stitch in  
brown and cream 7for the working of     
which1 see ,fig4 #a1 p4  #df71 and      
followed by rows of button-hole in      
orange 7,fig4 #aa74    ,the wide        
braid-like line in oriental stitch1     
along the top1 is worked  very closely2 
along the sides the same stitch is seen 
with wider  spacing4 ,this stitch is of 
the herring-bone type--the needle is    
inserted vertically1 instead of         
horizontally1 as in the case of the     
commoner and better-known stitch4 ,it is
 effective and economical1 as  the bulk 
of the thread is on the surface4    ,the
 tassels are of soft brown and bright   
blue wool hung on to  button-holed      
loops1 for the making of which1 see     

,fig4 #eg1 ,chapter  ,,xiii42 and for   
the tassels1 ,fig4 #da4 ,the ribbon     
border is worked in  gold and purple    
silk4    ,a sideboard runner worked     
similarly1 but with two wide bands of   
needle-weaving at each end and rather   
wider lines of stitchery at the  sides1 
was made to match this table runner2 the
 light colours of the  border gave a    
very gay touch to an otherwise sombre   
room4    ,plate ,,ii41 ,fig4 ,n1        
illustrates another type of open-work   
which is  practised by the peasantry of 
,russia4 ,it is interesting and quite   
different in appearance from some of the
 other peasant work4 ,one               
distinguishing feature is that two rows 
are worked in conjunction1  and another 
is the number of rows and the manner in 
which they are  worked4 ,this form of   
open-work deserves to be better known in
 this  country4 ,the pattern is formed  
by means of blocks of stitches1 which   
are not worked in the ordinary darning  
or weaving stitch but by the            

overcasting of laid threads2 indeed1    
with the exception of the first  and    
final rows--which are hemstitched--the  
entire work consists of the  overcasting
 of threads2 bars1 strands or groups1   
all are worked from  right to left4 ,the
 ,russian peasantry work most elaborate 
borders on  handsome linen of an open   
texture2 these borders vary in width    
from  #b inches to #ah inches1 and are  
applied to all kinds of articles for    
household and personal use4 ,this form  
of open-work is more durable  than the  
type usually done in this country2      
indeed1 the material is  strengthened by
 the stitchery rather than weakened1 as 
is frequently  the case with the usual  
method of treating drawn-thread work4   
,to work a border similar to ,plate     
,,ii41 ,fig4 ,n1 begin by removing two  
threads2 work a row of single hemstitch 
into the space1 over four  threads1     
dividing the material into clusters with
 six warp threads in  each--the         
hemstitching is done from left to right 

in the usual way4 ,to  prepare for the  
next two rows1 leave a narrow bar of    
five weft threads  and draw out six     
threads--the number of threads to be    
removed will1  of course1 vary according
 to the quality of the material1 but the
  horizontal intervening bars are always
 narrower than the open spaces4  ,begin 
at the right hand2 make the number of   
upright stitches necessary  to carry the
 thread to the left of the group1 which 
is to be worked  into a solid block2 lay
 the thread across this group1 and      
returning1  bring the needle out between
 the first and second cluster of        
threads1  on the right of the cluster2  
now put the needle over the laid thread 
and bring it out under the laid thread  
at the next group4 ,put the  needle over
 the thread again and bring it out at   
the left of the entire  group2 in other 
words1 overcast the laid thread from    
right to left of  the group--always pass
 the needle behind a cluster of threads 
between  each overcasting stitch2       

continue to lay the thread and overcast 
back  until the space is filled1 then   
work one straight stitch over the upper 
horizontal bar2 overcast one vertical   
cluster2 slip the carrying thread  up   
behind2 work another upright stitch2    
overcast the second vertical  cluster2  
again slip the thread up through the    
back of the stitchery2  then work the   
upright stitches and repeat the laying  
and overcasting to  make the solid      
pattern again4 ,once the method is      
acquired1 it will be a  simple matter to
 arrange these solid masses in such a   
way as to form a  pattern4 ,it is better
 to prepare and cut the threads of each 
row just  before working it2 there is1  
in this way1 less risk of making        
mistakes  by cutting the wrong threads4 
,another reason for preparing the rows  
step by step is that the material is    
easier to hold before the removal  of   
the weft threads than it would be after 
they have been withdrawn4    ,,linked   
,,stitches4    ,chain and ,tambour ,work

 7,fig4 #a74--;,chain stitch1 which is  
said to  have come to us from ,china1   
has been for a long time little used in 
this country4 ,tambour stitch--in high  
favour and greatly used by our          
grandmothers--was produced later by the 
machine in such quantities and  in so   
mechanical and inartistic a manner that 
it fell into disfavour1  and            
unfortunately chain stitch--which is    
practically the same1 except  that it is
 worked with the needle instead of with 
a crochet hook--fell  with it4          
,nevertheless1 it is a stitch which is  
most useful and  charming in its even   
and somewhat monotonous regularity1     
especially  where a great variety of    
colour is used and a broad effect is    
wanted4  ,a particularly adaptable      
stitch1 it lends itself1 on account of  
its  linked nature1 to the following of 
curves and spirals1 outlines and  the   
filling of circular and oval forms4 ,it 
can be worked singly--as a              
powdering--or in a zig-zag pattern--with

 two colours at once--which  produces an
 interesting result 7,plate ,i471 or    
with a twist4 ,worked  openly with the  
needle inserted first to the left then  
to the right  to give a broader line1 it
 is known as ladder stitch1 while       
twisted  chain1 worked closely1 is known
 as rope stitch4 ,linked chain and cable
  chain 7,fig4 #h7 are more elaborate   
forms of the same stitch4 ,much of the  
beautiful ,persian quilting done on     
linens is worked in chain stitch  on the
 wrong side1 which gives the 8quilting10
 or back stitch1 on the  right side4    
,the ,working of ,tambour               
,stitch4--,tambour stitch1 though of    
little use  for small work1 might still 
be employed very effectively as a       
quilting  stitch1 and for large pieces  
of work1 such as table covers or        
hangings2  it is worked on a frame1 and 
one can quickly acquire facility with   
the  hook and accuracy in the working of
 it4    ,method3--,the material is put  
in a frame2 the thread is kept          

underneath1 where the left hand guides  
it2 a sharp-pointed hook is kept  in the
 right hand and passed through the      
material from the surface2 it  catches  
the thread from the under side and bring
 it up in a loop2 the  hook is inserted 
again and the thread is again brought up
 in a loop  through the preceding loop4 
,illustration3 ,,fig4 #a4    ,to ,work  
,chain ,stitch 7,fig4 #a74--,to work    
chain stitch1 bring the  thread out at  
the beginning of the line2 hold it down 
with the left  thumb2 place the needle  
into the hole1 which the thread already 
occupies1 and take up a small piece of  
the material--this will vary  from      
one-sixteenth to one-eighth of an inch  
according to the thread and  material2  
draw the thread through1 and the first  
link of the chain is  complete2 insert  
the needle again at the spot where the  
thread comes  out and proceed as before4
 ,a cord-like effect may be got by      
overcasting  each link of the chain with
 another colour3 the eye of the needle  

should be used1 as the overcast stitch  
is taken over the links only4    ,chain 
,stitch in ,two ,colours4--,a variation 
to a border may be given by  working    
alternate links of different colour4    
,method3--,take two threads in the      
needle1 a black and a white1 or a  blue 
and a green1 or any two contrasting     
colours2 bring the needle out  at the   
starting point2 hold the black thread1  
which should be to the  left1 under the 
thumb--the white thread is placed aside 
out of the way2  insert the needle1 as  
for chain stitch1 beside the held thread
 and draw  through--a chain stitch of   
black has been formed4 ,next1 hold the  
white  thread under the thumb1 and form 
the white link1 the black thread being  
placed aside to the right this time4    
,work in this way alternate black  and  
white links2 a little manipulation is   
sometimes required to keep  the thread  
not in use out of sight 7,plate ,i474   
,split ,stitch4--,split stitch may be   
used for very fine work1 or for  fixing 

down laid stitches1 for which it is     
particularly suitable2 it  has the      
appearance of a fine chain stitch1 but  
is in reality a single  stitch which is 
split1 in the process of working1 by the
 needle4 ,up to  the fourteenth century1
 it was generally used in figure        
embroidery to  express form1 folds of   
drapery1 and features1 and was a stitch 
well  adapted for the purpose2 but as   
figure embroidery is quite beyond the   
scope of this book and the simpler      
pieces of embroidery it advocates1  it  
is sufficient perhaps to explain the    
method of working1 rather than  go into 
the particulars of its history4 ,it is  
worked from left to right4              
,method3--,bring the thread to the      
surface at the left2 take a stitch1     
one-sixteenth of an inch1 to the right  
with the point of the needle  towards   
the left2 pierce the thread which covers
 this space and draw  the needle through
 it1 splitting the thread and forming a 
link-like  stitch4    ,illustration3    

,,fig4 #b4    ,coral ,stitch 7,fig4     
#b74--;,coral stitch is a good          
decorative line  stitch1 easily and     
quickly executed4 ,it is known under    
several names1  such as snail-trail and 
knotted stitch1 etc4 ,it is composed of 
single  knots1 worked with the          
connecting thread on the surface2       
sometimes  the knots are worked so      
closely together as to have the         
appearance of  beads1 or they may be    
worked half an inch apart1 and in rows1 
when they  make good lines for filling  
large spaces or borders4    ,method of  
working3--,bring the thread through to  
the front2 place the  left thumb on it1 
beyond the point where the knot is to be
 made2 take a  stitch under the held    
thread and at right angles to it2 draw  
the needle  through1 still holding the  
thread under the thumb1 and tighten4    
,this  stitch is suitable for working   
with wools on fine material4            
,illustration3 ,,plate ,,iv4 ,a         
,,porti,,re4    ,petal or ,loop ,stitch 

7,fig4 #c74--;,another useful stitch is 
shown  in ,fig4 #c4 ,it is invaluable   
for the making of small flowers and     
borders1 for picking out edges1 and for 
emphasising lines 7,plates ,,iv41       
,,xiii474 ,the working of a small flower
 is shown in ,figs4 #c and #c;,a4       
,illustration3 ,,fig4 #c4               
,illustration3 ,,fig4 #c;,a4            
,illustration3 ,,fig4 #c;,b4            
,method3--,bring the needle out in the  
centre of the space2 insert it  again at
 the same point2 bring it out near the  
tip of the petal1 as in  ,fig4 #c;,a1   
and tack it down with a small stitch4   
,larger flowers can be quite            
artistically worked by beginning with a 
small stitch at the foot of the petal1  
and increasing by successive  stitches  
until the outline is reached 7,fig4     
#c;,b74 ,the outer stitch can  be worked
 in a different colour or tone with     
pleasing effect4 ,one of  the large     
conventional flowers in ,plate ,,xi4 has
 an outline of these  stitches1 while   

another has the inner circle worked in  
the same way  7,plate ,,iv474           
,illustration3 ,,fig4 #d4    ,feather   
,stitch 7,fig4 #d74--,one of the feather
 stitches1 all of which  are composed of
 button-hole stitches1 is illustrated in
 ,fig4 #d4 ,it is  worked vertically1 a 
stitch being made alternately from left 
to right4  ,the width of the stitch may 
vary1 but it must be regularly worked   
and  uniform in size1 to look well1 when
 it presents a braid-like appearance    
which is most ornamental for underlinen 
and other purposes4 ,the diagram        
explains the method of working4         
,fish-bone ,stitch 7,fig4               
#e74--;,fish-bone stitch is another of  
the  feather or button-hole type4 ,there
 are so many variations of those        
stitches1 which are well known to most  
needle-women--having been used  for the 
decoration of underlinen for the last   
generation or two--that  only a few need
 be mentioned here4    ,illustration3   
,,fig4 #e4    ,quite a pretty and       

uncommon variety 7,fig4 #e7 is useful   
for the filling  of leaf forms1 as well 
as for borders4 ,the stitch appears to  
be made  up of two long outer and two   
short inner ones1 but as will be seen by
  looking carefully at the diagram1     
there are only two movements4 ,it  is   
worked just as in ,fig4 #d1 from left to
 right4 ,it is very easily  worked on   
loosely-woven material1 but where the   
texture is close1 it is  simpler and    
safer to mark four lines on the material
 for guidance1 two  outer and two inner1
 the latter closer together4    ,,to    
,,work ,,fig4 #e4--;,begin to work from 
one of the central lines--the  one to   
the right2 insert the needle on the left
 outer line and bring  it out on the    
left inner line1 keeping the working    
thread under the  needle2 continue in   
this way1 working vertically and keeping
 the  stitches regular and equally      
spaced4 ,the outside stitches may be    
made  still longer and closer than those
 in the diagram with good effects1      

particularly when used for a filling for
 petals and leaves4    ,cretan          
,stitch4--,a still more pleasing        
variety1 known as ,cretan stitch  and   
frequently seen on ,cretan or ,eastern  
embroideries1 is worked  similarly in   
horizontal lines1 but the outer and     
longer stitches are  small1 straight and
 closely worked together1 so that it    
makes an  excellent solid border stitch1
 which looks very handsome when worked  
in  metal threads4    ,to work ,cretan  
or ,oriental ,stitch4--,draw four lines 
on the material2  start as in ,fig4 #e1 
on the right inner line2 insert the     
needle on  the left outer line1 and     
bring it out on the left inner one with 
the thread under the needle2 take a     
stitch on the right outer line2  bring  
it out on the left inner line with the  
thread under the needle2  continue      
alternately from left to right1 taking  
care to keep the  stitches exactly below
 each other4 ,the appearance of the line
 can be  slightly varied by increasing  

or decreasing the outer stitches4 ,the  
inner plaiting is regulated by the size 
of the stitches taken on the  outer     
edges4 ,see ,plate ,i41 where the solid 
blue line enclosed within  the chequered
 chain-stitched lines is worked in this 
way4 ,the lines on  either side of the  
runner show the stitch worked more      
openly4    ,illustration3 ,,fig4 #f4    
,link ,stitch 7,fig4 #f74--,this is     
rather an unusual stitch1 being  formed 
of links connected by short stitches4   
,to be effective1 it should  be worked  
with thick twisted thread4 ,it is easily
 done on a ground  where the warp and   
weft threads are sufficiently open to   
guide the  worker1 otherwise two lines  
parallel should be marked from a quarter
 to  half an inch apart4                
,illustration3 ,,fig4 #f;,a4    ,to work
 ,link ,stitch 7,fig4 #f;a74--,begin    
with the smaller stitches  7,fig4       
#f;,a72 bring the needle out in the     
middle of the space to be  covered2     
insert on the upper edge to the left1   

and bring out still  further to the left
 on the lower edge4 ,pass the eye of the
 needle down  through the small stitch  
and insert again on the lower edge      
slightly  to the left of the previous   
one2 take a vertical stitch upwards and 
a  little beyond the centre1 having the 
thread under the needle as in ,fig4  #f2
 pull the needle through4 ,these three  
movements complete the stitch1  the     
thread being now in position to make the
 first small stitch again4  ,this stitch
 is called linked1 or knotted chain4    
,illustration3 ,,fig4 #g4               
,illustration3 ,,fig4 #g;,a4    ,to work
 ,tte de ,buf 7,fig4 #g74--;,another    
variation of the loop or  petal stitch  
is called ,tte de ,buf4 ,work a loop    
stitch as ,fig4 #g;,a1  then take a     
stitch across from left to right2 bring 
the needle out  above the stretched     
thread4 ,make another loop stitch1 which
 fixes this  in place4 ,this stitch is  
often used as a powdering4 ,it makes a  
good  border stitch4    ,to work ,cable 

,chain 7,fig4 #h74--;,cable chain can be
 worked in two  ways4 ,two guiding lines
 will be of assistance4 ,bring the      
needle out  at the starting point in the
 middle of the space2 form a small loop 
by  throwing the thread round as ,fig4  
#h2 insert the needle in the centre of  
this loop1 which will vary in size      
according to the thickness of the       
thread and the size of the cable wanted2
 bring it out about a quarter  of an    
inch lower down1 taking care to keep the
 thread under the point  of the needle2 
tighten the small loop to the proper    
size with the right  hand1 then1 placing
 the thumb on the stitch1 pull the      
thread through4  ,this forms both the   
small and large link and the thread is  
in position  to start again4 ,when      
worked in a firmly twisted thread1 such 
as ,knox's  linen 8cord0 floss thread1  
it makes a pretty border or line stitch4
 ,a  row of couching makes a good edging
 and emphasises the line if required4   
,illustration3 ,,fig4 #h4    ,by the    

second method1 the small stitch is made 
first1 and the needle  brought out to   
the surface about a quarter of an inch  
lower down2 put  the needle through the 
small stitch from left to right and     
place the  thumb on it2 put the needle  
through the large loop in process of    
making  from right to left and tighten  
the thread sufficiently4 ,the small     
stitch has now to be made4              
,illustration3 ,,fig4 #i4    ,braid     
,stitch 7,fig4 #i74--,when a fairly     
heavy line is necessary1 ,fig4  #i can  
be used4 ,it has a braid-like           
appearance1 and for that reason is      
generally known as braid stitch4 ,work  
from right to left and start on  the    
lower edge4 ,bring the thread out and   
place the thumb on it1 and  twist the   
needle round the held thread1 so forming
 a loose twist on it  7,fig4 #i;,a74    
,then insert the needle in the upper    
line1 a little to the  left of the      
starting point2 bring it out on the     
lower line1 exactly  beneath2 place the 

thread under the needle1 and draw       
through1 keeping  the thumb on the      
stitch till tightened sufficiently to   
form the link4    ,illustration3 ,,fig4 
#i;,a4          ,,chapter ,,vi          
,,button-,,hole ,,and ,,border          
,,stitches--,,hemstitching ,,and ,,open 
,,fillings     8,and she that is wise1  
her time will pris40      ,part of a    
,curtain4--,this illustration 7,plate   
,,iv47 gives a part of  a curtain1 which
 is a fine piece of work4 ,the design   
has been well  considered4 ,the simple  
masses are admirably juxtaposed2 they   
have been  skilfully arranged in a      
manner singularly appropriate to the    
work4  ,as a piece of embroidery that   
would generally be looked at from some  
distance there has been no time spent on
 minute detail which would  involve     
unnecessary labour4 ,the bold1 yet      
dainty treatment of the  needlework is  
first-rate1 and the whole arrangement of
 the design1  colour and stitchery show 
that the purpose for which the          

embroidery was  meant must have been    
continually in the mind of the worker4  
,the circular massed forms in rich      
reddish-orange are set1 most            
successfully1 the one against the other2
 the green masses1 so simple  in shape  
and satisfactory in colour1 are clearly 
silhouetted against  the dark           
background2 the white oblongs with the  
little orange circles1  the applied hem 
and bands in vivid blue1 the interesting
 variation  in stitchery1 all go to make
 a charmingly harmonious piece of simple
  decoration4 ,work of this type can be 
made from materials which are  quite    
inexpensive1 and its value on that      
account is increased tenfold4  ,in the  
illustration1 the various parts of the  
design1 colour and  stitchery are so    
clearly brought out that a detailed     
description is not  required4 ,the      
background is of linen of a firm        
quality2 the applied  forms may be of   
linen or of any firm material in wool or
 cotton2 the  embroidery is in wools1   

cottons and silks4 ,for the method of   
working  the button-hole filling1 see   
,fig4 #aa4 ,the large circular forms are
  fixed to the foundation with a row of 
chain stitch2 the little orange  circles
 on the white ground are in the same    
stitch 7,fig4 #a74 ,the  blue bands are 
applied with darning or tacking stitch  
outlined with  coral stitch 7,fig4 #b71 
the hem with button-hole stitch4 ,the   
effective  little groups of white on the
 green ground are in petal stitch 7,fig4
  #c74 ,all the little square blocks are
 in satin stitch4 ,how interesting  this
 constructional design can become to the
 needlewoman who uses her  powers of    
mind and brain1 and who applies her     
ideas to decorate all  manner of things4
 ,she would no longer be content to work
 detached  sprays of flowers and leaves1
 strewn promiscuously over her work1    
once  she discovered what good patterns 
she could make with simple shapes  and  
with the aid of small pieces of         
bright-coloured patches and short       

lengths of material1 which she might    
adapt and use for many purposes4        
,various ,button-hole                   
,stitches4--,button-hole stitch is one  
of the most  useful of stitches1 owing  
to its construction and adaptability1   
and  the decision with which it marks a 
line4 ,it can be used equally well  for 
plain needlework1 embroidery1 or        
needle-point lace2 for borders or       
fillings1 either open or solid1 for the 
covering of raw edges1 the  outlining of
 appliqu forms1 or the working of       
flowers or leaves4 ,the  direction1     
spacing and grouping of the stitch may  
be arranged to suit  the work and curved
 lines may be followed with the utmost  
facility4    ,indeed1 the interesting   
variations and combinations which may be
  obtained by an ingenious worker are   
endless4    ,illustration3 ,,fig4       
#aj;,a4    ,there are two ways of       
working the stitch1 single button-hole  
7,fig4  #aj;,a71 and double or tailor's 
button-hole2 the former1 when worked    

with rather a wide space between each   
stitch1 is generally known as  blanket  
stitch4 ,fig4 #aj;,a gives a corner for 
a border1 which will also  make a       
suitable finish or heading to the neck  
of a dress or blouse2  it may be spaced 
in various ways1 worked in slanting     
lines1 or with  stitches of equal       
lengths1 worked over threads or narrow  
braids of a  different colour or tone4  
,when the heading forms a close line1 it
 is  usually considered as a button-hole
 stitch4 ,plate ,i4 shows two lines of  
button-holing worked in groups of three1
 in orange wool1 between two  rows of   
chequered chain stitch1 where they serve
 to connect the broad  bands of orange  
which surround the border of the runner4
    ,for the making of an actual        
button-hole1 or where a firmer and more 
decorative heading is wanted1 it is     
better to use the variety known as      
tailor's button-hole1 which has an extra
 knot added to it2 it is this  knot     
which gives greater firmness as well as 

beauty to the stitch4    ,to work       
,blanket ,stitch 7,fig4                 
#aj;a74--,blanket1 or single button-hole
  stitch1 is so well known that it is   
hardly necessary to describe it4  ,bring
 the needle out at the left end of the  
line or border2 place the  thread under 
the left thumb and insert the needle as 
shown in ,fig4 #aj;,a2  draw it through1
 still keeping the thumb on the         
thread--the needle is  thus brought out 
over it4    ,tailor's ,button           
,stitch4--,tailor's button-hole--the    
method of  working3--,put the needle    
into the same position1 with the thread 
under  it1 as for the single stitch1    
then take the thread1 near the eye of   
the needle1 in the right hand and pass  
it from right to left again  under the  
needle2 draw the needle through both    
loops and the stitch is  complete4      
,illustration3 ,,fig4 #aj4    ,crossed  
,button-hole 7,fig4 #aj74--;,fig4 #aj   
shows another variety  of the stitch4   
,the threads are crossed by sloping the 

needle to the  right for the one1 and to
 the left for the other4 ,when worked on
 a  loosely-woven material they can     
easily be kept exact4 ,the knotted edge 
may be further strengthened by a row of 
chain stitch1 which always  improves the
 line4 ,as may be seen from the figure1 
either the under or  upper stitches may 
be the longer1 but they should not be   
varied on the  same border1 otherwise   
the regularity of the work will be      
impaired4    ,flowers in ,button-hole   
,stitch 7,plate ,,xiii474--,fig4 #aa may
 be used  for a solid or open           
groundstitch2 it makes a charming       
filling when  worked over the material  
for the petals of large flowers1 each   
petal  being outlined with chain stitch1
 couching1 or back stitching 7,plate    
,,xi474 ,when working over a foundation1
 the first row and the last only  are   
fixed to the material2 the intervening  
rows are worked into the  headings or   
loops of the preceding rows4 ,when the  
spaces to be filled  with stitchery of  

this type are not of such a form as to  
allow of  working continuously1 each row
 of stitchery must be attached to the   
material at the sides1 to keep it in    
position2 the rows are then worked  to  
and fro from right to left1 or vice     
vers4    8,a ,portire0 7,plate          
,,iv474--,in this piece of work an      
excellent  example of this method of    
filling is seen2 the groups of five     
stitches  worked in lemon wool1 on a    
black linen background1 make a bright   
chequered effect1 which adds both       
interest and distinction to the  design4
    ,illustration3 ,,fig4 #aa4          
,button-hole ,filling of a ,space 7,fig4
 #aa74--;,fig4 #aa shows clearly  the   
method of filling an open space in this 
way4 ,the edges must be  button-holed in
 the manner described for white work1   
unless a braid is  used1 when the firm  
edge which it gives is sufficient       
without extra  stitching4 ,begin at the 
right upper corner2 make three small    
overcast  stitches to carry the thread  

into position for working the first row1
  which consists of groups of three     
button-hole stitches worked loosely     
into the edges of the braid or material2
 at the end of the row fasten  the      
thread to the braid2 again overcast     
three stitches2 work the second  row of 
button-hole into the loops or spaces of 
the previous row2  continue in this way 
until the space is filled2 the last row 
should be  worked into the braid1 in    
order to keep the others in position4   
,plate ,x4 has the central portion      
enriched by a filling worked in         
button-hole in blue flax thread4 ,it is 
commenced from the centre2 the  lines of
 the pattern are then followed towards  
the outer edges 7see  description on p4 
#aab74 ,plate ,,xi4 shows a similar     
filling1 in the  flower at the corner1  
which is also worked in colour and      
finished on  the inner row of           
button-holing by a line of back stitch4 
,illustration3 ,,fig4 #ab;,a4    ,a     
,diapered ,border 7,fig4 #ab;a74--,quite

 an interesting solid diapered          
background may be obtained by working   
these stitches in rows1 in groups  of   
three or five4 ,the clusters are worked 
closely at the top2 the  second row has 
the apex of each cluster fitting into   
the base of the  preceding one4 ,a very 
pleasing border in contrasting colours  
may be  obtained in this way2 the two   
firm lines of button-holing will1 of    
course1 form the outer edges4           
,illustration3 ,,fig4 #ab;,b4    ,double
 ,button-hole 7,fig4 #ab;b74--,double   
button-holing has two rows  of button   
stitch 7,fig4 #ab;,b74 ,the first must  
have the stitches spaced  so as to allow
 of the second row of stitches          
dovetailing into those of  the first4   
,this variety can be applied very       
successfully to braid or  galoons1 in   
which cases the stitches need not reach 
to the opposite  side as in ,fig4       
#ab;,b4    ,leaves in ,button-hole      
,stitch4--,a very good method of filling
 leaves  is to work them in two rows of 

button-holing1 back to back1 the firm   
central line forming the mid-rib of the 
leaf and the rather broken  outer line  
suggesting the serration of the edges4  
,small flowers1 flower  centres and     
berries are frequently worked in this   
way 7,plate ,,xiii474  ,the heading of  
the stitch forms the outline4 ,an       
old-fashioned1 but  quaint variety of   
ground-filling to be seen on some of the
 earlier  samples consisted of          
successive rows of these little eyelet  
stitches4  ,the material was first      
pierced by a stiletto at regular        
intervals2  each hole was then          
button-holed or overcast round4 ,the    
insertion of  the needle into a common  
centre formed an opening which gave a   
lighter  effect to the background4      
,illustration3 ,,fig4 #ac4              
,decorative ,back ,stitch 7,fig4        
#ac74--,this figure is simply back      
stitch4 ,to be effective and to make    
room for the interlacing thread1  it    
should be worked rather larger than     

usual1 and with a thicker  thread1 from 
one-eighth to a quarter of an inch in   
length4 ,a thread of  a contrasting tone
 is then laced through1 eye of the      
needle foremost1  the loops of each     
stitch being regulated before passing on
 to the next4  ,back stitch was greatly 
in use in the seventeenth and early     
eighteenth  centuries1 for the adornment
 of all sorts of articles4 ,quilts1     
hangings1 and personal clothing were    
ornamented in this way with bands  and  
patterns4 ,these were sometimes produced
 by chain stitch worked on  the wrong   
side of the material1 which1 as an      
embroideress knows1 forms  a row of back
 stitching on the reverse side--the     
right side in this  case4    ,reversible
 ,back ,stitch4--,sometimes these       
patterns were worked in  reversible back
 stitch1 in order to make both sides of 
the stitching  alike1 for in those days 
needleworkers did not grudge either the 
time  or the patience spent on their    
embroideries4    ,reversible back       

stitch1 so-called1 is a running or      
darning stitch4  ,all should be regular 
and equal in length1 or the appearance  
of the  work1 when finished1 will not   
resemble back stitch4 ,the 8back0 stitch
  is formed by going over the line a    
second time with a running stitch1      
which fills up the spaces on both sides 
of the material and renders it          
reversible4    ,illustration3 ,,fig4    
#ad4    ,honeycomb ,filling 7,fig4      
#ad74--,this pattern has an advantage   
over  some of the more elaborate        
background stitches2 it is easily and   
quickly worked1 and most of the thread  
is on the surface4 ,it is known  to some
 needlewomen as honeycomb stitch1 to    
others as ,mexican stitch4    ,to work  
,honeycomb or ,mexican ,stitch4--,to    
obtain the best result  work the small  
foundation stitches in one tone and the 
interlacing  in another4 ,if worked on a
 material where the warp and weft       
threads  are distinct the small stitches
 may be kept quite regular without      

difficulty1 otherwise it is better to   
mark their position by means of a  ruler
 and pencil4 ,the spacing will vary     
according to the material and  the      
thread used2 about half an inch should  
be left between each small  stitch for  
bold effective work1 and the second row 
should alternate  with the first4 ,when 
all are in position1 a long thread is   
taken for  the interlacing1 which is    
done in rows4 ,fasten the thread at the 
right  top corner1 and1 eye of needle   
foremost1 pass through the first stitch 
in the top row1 down to the second1 up  
to the top row again1 and so on1  as    
shown in ,fig4 #ad4 ,as the edges are   
undefined1 this stitch requires a  good 
firm outline round it4    ,table ,runner
 7,plate ,v47 of cream cotton canvas1 or
 netting1 is of a  very open texture2 it
 is treated in a simple direct manner1  
which is  both pleasing to the eye and  
interesting to the worker4    ,it may be
 made of half-a-yard of material1 #ed   
inches by #ah inches4 ,the  pattern is  

worked in wools and thick cottons1 in   
stitchery eminently  suited to the      
loosely-woven texture4    ,method of    
working3--,turn over on to the front    
surface a single fold  of about #a inch 
on each side and tack in place to       
prevent fraying2  later on these raw    
edges will be covered with galoon or    
braid4 ,allow  about #ab inches at each 
end for the wide hem1 and from there    
about  #ad inches for the               
needle-weaving4 ,get the centre line by 
means of a  measuring tape2 cut ten warp
 threads at each end of the bar1 which  
in  this material is about              
three-quarters of an inch4 ,great care  
must be  taken in cutting the top       
threads to see that they correspond     
exactly  with those already cut4 ,it is 
a good plan to draw the two outer       
threads  a little1 the tightening of    
which will indicate the exact place to  
cut the upper ones4 ,this bar should be 
worked before the adjacent  bars are    
cut4 ,leave a strip of material about   

half an inch wide on  either side1 then 
proceed to cut the weft threads1 as     
before1 for the  broader bands--each is 
about one-and-three-quarter inches wide1
 so that  twenty-four threads are       
withdrawn4    ,illustration3 ,,plate ,v4
    ,a ,,bureau ,,scarf4    ,in weaving 
these wide strips1 a frame is of        
assistance on account of  the very soft 
nature of the material3 the pattern     
should be easily  followed from the     
illustration1 but perhaps a few         
suggestions might  help the beginner4   
,fig4 #ca gives the method of weaving4  
,start with  cream cotton or flax2 run a
 few stitches on the under side2 bring  
the  needle to the point and weave1 by  
passing over three of the double  warp  
threads and under three1 backwards and  
forwards1 until these  upright threads  
are completely covered--it is necessary 
during this  process to press down the  
threads closely from time to time1 and  
care  must be taken not to tighten the  
groups too much or the material will    

get puckered4 ,repeat these woven bars  
in different groups of colour  to the   
end of the strip1 which gives five      
groups in cream flax and  three in      
colour1 jade green1 reddish-purple1     
royal blue4 ,cover the  half-inch bands 
of material with a herring-bone or      
oriental stitch1  worked in cream linen 
floss embroidery thread4 ,take up the   
strands in  groups of three on either   
side--this separates the threads into   
groups  and simplifies the weaving of   
the next strip4 ,proceed now with the   
more elaborate weaving4 ,it will be     
noticed that the weaving moves in  a    
step-like manner1 and that the pattern  
changes three times in each  ascending  
or descending line1 so that each line   
from edge to edge is  divided into      
threads4 ,begin with the green group and
 pass under and  over four groups of    
thread 7in ,plate ,v4 the group worked  
in purple is  the most distinct74 ,each 
group1 as before1 consists of three     
double  warp strands2 weave one-third of

 the space1 then leave out the fourth   
group2 continue to weave on three groups
 for another third of the  space2 leave 
out the third group2 finish with two    
groups4 ,overcast one  stitch into the  
canvas and weave over two fresh groups  
downwards for  one-third of the         
distance1 then over the next two groups 
of the second  third2 then take up the  
two next groups and weave to the edge of
 the  threads--thus weaving diagonally  
in groups of two from the bottom of  the
 bar1 this last row produces a series of
 steps4 ,repeat the same in  ascending  
groups2 finish exactly in the same      
manner as before1 with the  exception   
that the weaving over four groups is    
this time at the top of  the bar--these 
masses of weaving are separated by plain
 bars of cream1  woven over four groups4
 ,the cut threads at the top are        
button-holed  to keep them secure4      
,lines of darning stitches connect the  
edges with  the woven bars4 ,the bands  
of galoon are now laid over the         

turned-over  folds1 hemstitched on the  
one side and button-holed on the other1 
with  dull blue2 a line of tacking      
stitch in cerise gives a touch of bright
  colour to the outer edge4    ,turn up 
about #f inches at each end to give     
weight to the hems2 fill  the central   
parts with darning stitches worked in   
rows--it is best  to mark off the       
central unworked space with lines before
 beginning  this darning2 this serves as
 a guide and prevents the stitching from
  encroaching on the space4    ,the     
galoon on either side is attached with  
button-holing and ,french  knots--the   
spaces being filled with laid threads in
 cream1 couched in  the same colour4    
,latchet darns give emphasis and connect
 the green  bars4 ,finally1 the band of 
green is placed over the hem to finish  
it4  ,the edges of the galoon are       
button-holed with blue to correspond    
with  the rest of the runner4           
,latchet darns are bands of weaving2 the
 upright threads are laid1 not  too     

closely1 to represent the warp threads1 
then the weft threads are  woven in     
backwards and forwards2 the edges are   
kept free exactly as  in the other woven
 bars4 ,these latchet darns make an     
excellent finish  either to a bag1 where
 they serve to hold the drawing-up      
cords1 or to a  dress1 where they       
ornament or keep the belt in position4  
,all strands withdrawn1 when of a useful
 length1 should be carefully  kept4     
,they can be used in many different ways
 to make cords1 tassels1  or fringes4   
,,chapter ,,vii    ,,laid               
,,work--,,basket ,,and ,,line ,,stitches
     8,and thou shalt embroider the coat
 of fine linen1 and thou shalt make     
the girdle of needlework40      ,a      
,sideboard ,cloth4--,plate ,,vi4 gives  
an example of a very handsome  sideboard
 cloth4 ,the canvas is of the tough     
hard-wearing type1  generally used to   
cover basket hampers1 but under the     
skilful fingers  of the embroideress it 
became a beautiful piece of work1 with  

which  one might well adorn a good piece
 of furniture4 ,the illustration shows  
the design1 which is of the simple      
straight-line type4 ,the canvas1  of    
rather a heavy weight1 is of a rich warm
 brown2 the threads of  floss embroidery
 linen are in rich blue1 tussore colour1
 emerald  green1 grey-green1 a pale     
blue-green and brown4 ,the design is    
placed  at the ends1 where it forms bars
 and blocks of rich colouring4 ,it      
occupies about #h or #i inches1 #f      
inches for the embroidery1 and #b       
inches for the wide band of braid4 ,the 
stitchery is made up of bars  of        
needle-weaving with bars and blocks of  
solid embroidery4 ,the wide  bands at   
the top and foot1 enclosing the central 
portion1 are of  needle-weaving in a    
perfectly simple pattern4 ,each band is 
about #a inch  wide2 they are worked in 
blue-brown and three shades of green4   
,the bar  in the central panel is woven 
in tussore and light green1 surrounded  
by a border in satin stitch of emerald  

green4 ,the upright bars or  straps on  
either side are woven in bright blue    
with blue-green crosses  in the centre2 
the chequered squares in tussore and    
blue are enclosed  by emerald green     
bands in satin stitch4 ,the background  
of the central  panel is worked in      
chequers of blue tussore and light      
bluish-green2 the  little crosses1      
hardly visible in the illustration1 are 
all in emerald1  while the darning      
stitch1 which forms the background1 is  
in bright blue4    ,square              
,stitch4--,the remainder of the         
background is worked in square  stitch  
7see ,figs4 ,l and ,m74 ,a fold of the  
canvas turned over on to the  right side
 has a frayed edge2 three or four       
threads are withdrawn--this  gives a    
pretty soft effect2 the fold is tacked  
down over a creamy-fawn  skirt braid1   
with lines of couching in tussore4      
,these lines have the  appearance of    
back stitching1 but are in reality      
couched down2 they  are sewn in that    

interesting method of bygone days1 when 
embroiderers  worked much in gold       
threads4    8,point rentr et            
retir40--,the surface thread is pulled  
through  and caught underneath by means 
of another thread which never appears   
upon the surface at all2 this method has
 been applied to backgrounds  worked in 
silk1 as well as in gold 7p4 #ha74 ,it  
is economical in use  and very durable4 
,one can well understand the reason of  
its use1 but  not the cause of its      
falling out of use4 ,probably this was  
due to the  gradual decadence of        
embroidery in this country towards the  
end of the  fourteenth century1 or      
perhaps the then new method of          
couching--in use  at the present        
day--involved less time and labour4     
,illustration3 ,,plate ,,vi4    ,a      
,,sideboard ,,cloth    ,the wide dark   
bar at the end of the work is of dark   
brown braid1  about #b inches wide1 with
 straps of the lighter braid couched    
down in  brown thread2 these straps are 

carried down over the fringe which has  
been added in the various colours with a
 crochet hook 7p4 #aae74 ,the  sideboard
 cloth is #ed inches by #bb inches wide4
 ,the fringe is about #d  inches deep4  
,laid ,work4--,laid work is particularly
 effective for the filling of  large    
surfaces1 where a bold definite mass of 
colour is required4  ,it is a method of 
applying threads which gives a rich     
appearance  almost similar to that      
achieved by the appliqu of some rich    
silk  material4 ,the stitches are on the
 surface only and are generally very    
long2 they have to be crossed and       
recrossed by other strands1 which  in   
their turn are tied down by little      
stitches4 ,when worked in floss  silk1 a
 favourite medium with ,eastern         
embroiderers1 it is a stitch  par       
excellence for showing off the beauty   
and lustrous sheen of the  thread1 but  
it is not a very durable type of work1  
and is therefore  only suitable for such
 articles as are not exposed to hard    

wear1 unless  worked in wools or thick  
cottons4 ,all the threads on the surface
  are 8laid10 as the term is1 in        
parallel lines either vertical or in    
whatever direction is best1 in order to 
allow the couching lines to  accentuate 
the form or pattern2 it adds to the     
durability of the work  if these threads
 are laid rather widely apart to begin  
with1 as it  allows the needle to get a 
firmer hold of the material2 the spaces 
are then filled up by working over the  
surface a second time4 ,compare  ,fig4  
#ae and note first layer of stitches4   
,for example1 let us suppose  the       
vertical threads are laid--the          
horizontal ones1 of another colour      
perhaps1 could be placed over them1     
about three-quarters of an inch  apart2 
small upright stitches1 about half an   
inch apart1 could couch1  or fasten     
these down1 one row alternating with the
 other4 ,this is a  most decorative     
method of filling in large flowers or   
leaves4 ,single  petals can be laid     

diagonally1 crossed and tied down1 or a 
complete  flower may have laid lines    
radiating from the centre1 with the     
second  layer of threads in concentric  
circles couched down with small stitches
  of a contrasting colour4              
,illustration3 ,,fig4 #ae4    ,chequered
 or ,basket ,pattern 7,fig4             
#ae74--;,fig4 #ae gives a plaited  or   
basket pattern2 after the vertical      
threads are laid or placed in  position 
in such a way as to lie easily--just    
filling the form--the  weaving in of the
 cross threads is a simple matter4      
,to work a ,chequered ,pattern4--,begin 
at the right-hand corner and pass  the  
needle over and under three strands for 
three rows1 then reverse  the chequer by
 lifting the stitches previously passed 
over4 ,this work  looks much better if  
the darning is all done from right to   
left4 ,it  is not so economical in      
thread1 but much more practical on      
account of  its greater durability1 as  
the threads all lie the same way2 they  

are  carried back behind the material   
instead of being worked to and fro as   
in ordinary darning4    ,the ,italian1  
,spanish and ,japanese embroiderers make
 great use of these  laid stitches      
which1 like most other stitches1        
probably originated in  the ,east1 as   
they are to be met with in most oriental
 embroideries4    ,illustration3 ,,fig4 
#af4    ,basket or ,stroke ,stitch      
7,fig4 #af74--,this figure gives another
 good  line in rather high relief       
stitchery4 ,it is sometimes called      
plaited  stitch1 sometimes fishbone1 but
 it is really a stroke stitch2 it is    
most effective and useful for a solid   
line1 whether worked on coarse  material
 with a thick twisted thread1 or on fine
 material with a  correspondingly fine  
twisted silk thread4 ,it has a strong   
resemblance  to some of the plaited     
,slav or ,algerian stitches4 ,it may be 
easily  worked on most materials1       
especially if a couple of guiding lines 
are  traced before setting to work4     

,quite a broad border may be attempted  
which will look well if worked in a     
coarse thread4    ,to work ,basket      
,stitch4--,bring out the needle at the  
top of the line  on the left2 make a    
slanting stitch downwards to the right  
line2 pass  the needle under the        
material and bring it out on the left   
opposite2  take a slanting stitch       
upwards over the first stitch to the    
right and  insert the needle a little   
lower than the level of the first       
stitch2  then pass under the material to
 the left side again and bring it out   
just under the first stitch2 take a     
slanting stitch downwards again and     
continue by taking a cross and a        
slanting stitch alternately4            
,illustration3 ,,fig4 #ag4    ,net      
stitch can also be used as a surface    
stitch or as a filling for an  open     
space4 ,it is a method of interlacing   
which one frequently finds  on the seats
 of small chairs1 in the construction of
 baskets and other  wicker articles4 ,it

 may be worked with the lines set       
further apart than  those in the figure4
 ,the horizontal lines are stretched    
first1 not  too tightly2 these are      
followed by oblique lines which start   
from the  left lower corner4 ,the final 
row1 also in oblique lines1 starts at   
the  right2 each row is interlaced with 
two others4 ,it is useful and most      
effective when used as a surface stitch1
 as a filling for geometrical  forms2   
when used as a lace stitch worked in a  
linen thread the lines  may be          
duplicated4 ,this net is generally the  
foundation on which the  design is made4
    ,openwork ,hems 7,fig4              
#ab74--,openworked hems may usually be  
applied to  all types of woven          
materials1 to drawn thread work1 and to 
household  linen4 ,they are more        
decorative than the ordinary hem4       
,method3--,draw out the number of       
threads required--this will always      
depend on the quality of the material1  
and varies from two to six2  lay the    

folds for the hem and tack them just    
above the open space2  fasten the thread
 on the left and insert the needle from 
right to  left under four1 five1 or six 
threads2 pull through the needle and    
re-insert1 taking a vertical stitch     
under three or four threads of the      
folded material4 ,plate ,v4 shows a     
border of green galoon fixed with       
hemstitching on the inner side2 as the  
material is very loosely woven1  no     
threads have been withdrawn4 ,the same  
stitch is used for a heading  for a     
fringe 7,fig4 #cd72 it prevents the     
material from fraying and  collects the 
strands into groups4    ,ladder         
,hemstitch4--,a more open appearance may
 be given by withdrawing  a few more    
threads and hemstitching the lower edges
 also2 this makes  a narrow insertion1  
for by grouping the same threads        
together1 as in  the upper row1 little  
perpendicular strips are formed which   
gives wider  spacing--the bars suggest  
the rungs of a ladder1 and on this      

account it  is generally known as ladder
 hemstitching4    ,vandyke              
,insertion4--,a vandyke form is also    
effective2 it is worked by  grouping the
 stitches of the second or lower row1   
after hemstitching  the upper row1 in   
the following method3--,take up half the
 threads of  the first cluster and half 
of the second on the needle1 then       
proceed  as in upper row2 by dividing   
the groups of the upper row in this way 
a  series of slanting stitches is formed
 when the lower row is complete4        
,antique ,hemstitch4--,there are several
 other ways of hemstitching  which only 
vary slightly2 perhaps the most         
decorative form is that  usually seen on
 old embroideries1 where the thread is  
carried round a  narrow rolled hem1 not 
a folded one4    ,method3--,work from   
right to left1 beginning at the right   
corner2 pass  the needle over and under 
a cluster of four threads2 draw it out  
at the  place inserted2 pass it over the
 edge of the rolled hem and bring it    

out on the left of the cluster1 ready to
 take the next stitch1 over and  under  
the second group of four strands4       
,illustration3 ,,fig4 #ah4    ,roumanian
 ,stitch 7,fig4 #ah74--;,cretan1        
oriental1 or ,roumanian are  the various
 names applied to this well-known       
stitch4 ,it is frequently  to be met    
with in the early ,english embroideries1
 particularly those  of the seventeenth 
century4 ,it is one of those adaptable  
stitches  which are so helpful for the  
decoration of borders1 fillings1 leaves1
  flowers2 it has therefore always been 
much used by embroiderers4    ,to work  
,fig4 #ah4--,this figure hardly needs   
description1 being merely  a long stitch
 tacked down4 ,begin on the left of the 
space to be filled2  insert the needle  
on the right edge and bring it up in the
 centre2 take  a small stitch over the  
stretched thread to fix it down and     
bring the  needle out at the left edge  
again1 just below the first stitch4 ,if 
the  thread is stretched loosely across 

as in the ,v-shaped portion of the      
braid collar1 ,plate ,,ix41 a broad and 
effective means of filling narrow       
spaces or tacking a braid in position   
can be obtained with economy of  time   
and material4    ,illustration3 ,,fig4  
#ai4    ,to work ,fern or ,fish-bone    
,stitch 7,fig4 #ai74--,this stitch1     
somewhat  similar in form1 also makes a 
good border line or even a filling1 if  
worked in rows1 see ,fig4 ,d1 ,plate    
,,xi41 where a centre line of material  
gives the rib4 ,in ,fig4 #ai the        
stitches meet in the centre and have a  
definite central rib4 ,a central line   
should be marked on the material  before
 starting to work it4 ,bring the thread 
out at the left2 take a  slanting stitch
 towards the centre and insert the      
needle just beyond  the line2 bring it  
out at the opposite edge2 take another  
slanting  stitch and insert just beyond 
the line again4 ,this slight overlapping
  of the stitches in the middle gives   
the solid effect to the stitch4         

,chequered ,fern ,stitch4--,a pleasing  
variation may be introduced into  a     
quiet border by working this stitch in  
two colours2 two or three  stitches     
worked in each colour will give a       
chequered effect1 and help  to relieve  
monotony if necessary4 ,work with two   
threads1 bringing  each to the surface  
as required4 ,this stitch makes a good  
filling for  leaves1 the mid line being 
suggestive of the mid-rib4              
,illustration3 ,,fig4 #bj4              
,loop-stitch ,border 7,fig4 #bj74--,this
 border is of the familiar loop  or     
petal stitch4 ,it has been already      
described 7,figs4 #c;,a and #c;,b74 ,it 
makes a very pretty border between broad
 bars of needle-weaving4 ,the  method of
 working is quite the same1 the only    
difference being in the  length of the  
tying stitch1 which in this border forms
 the stem1 while  in the flowers it ties
 the edges of the petals2 the loops are 
thus  reversed in the working4 ,the     
border may easily be followed from ,fig4

  #bj4 ,plate ,,viii4 shows this stitch 
applied to the edges of the squares  at 
the corners1 where it serves to         
accentuate them as well as to soften    
their outline4    ,table ,mat of ,white 
,linen4--,plate ,,vii4 gives a table mat
 embroidered  in blue2 it is the central
 mat of an afternoon tea set4 ,the      
design is  of a very simple nature1     
composed by the loops and curves of the 
,french  tape4 ,the main curves are     
formed of four short lengths which meet 
at  the ends and sides4 ,each piece of  
tape takes a curve at the centre  and   
begins and ends with a spiral2 the outer
 sides can be put in with  one length of
 braid--eight short pieces will do      
equally well2 little  remainders may be 
economically disposed of in this way4   
,the inner parts  of the curves give the
 opportunity for openwork detail which  
enriches1  while it lightens the        
background4 ,the design should be drawn 
out on  paper4 ,all lines which         
represent the braid must be parallel and

 spaced  as nearly as possible to       
correspond to the width of it2 it is    
important  to remember that braid       
spreads when curving and therefore the  
centres  of loops or circles become     
smaller when placed on the material2    
this  must be allowed for in the drawing
 out of the design4 ,care and accuracy  
are necessary both in forming the curves
 and in tacking on the braid2  the      
beauty of the work would be marred by   
uncertain lines and unequal  curves4    
,illustration3 ,,plate ,,vii4    ,a     
,,table ,,centre ,,in ,,white ,,and     
,,blue    ,plate ,,vii4 has not much    
variety of stitch2 the relief given by  
the blue  stitches prevents any feeling 
of monotony4    ,method3--,tack on the  
braid round the outer edges2 overseam   
the  inner edges of the parts which take
 the curves2 prepare for the more  open 
spaces by snipping the linen1 the way of
 the warp and the weft1  quite close to 
the braid2 then turn the edges in under 
the braid and  button-hole with blue    

thread1 not too closely1 the needle     
should  enter easily into the head of   
the stitches for the making of the lace 
stitch--8,point de ,rprise40 ,these     
openings may be backed by small  pieces 
of toile cire2 a little medallion of    
button-holed linen  should be placed in 
the centre and tacked firmly in place4  
,the  connecting threads for the weaving
 of the little bars or bridges are  laid
 in two or four strands1 according to   
the fineness of the thread4  ,begin at  
the outer edge2 carry the thread to the 
inner medallion1 and  slip the needle1  
eye first1 through a loop of button-hole
 stitch2  overcast the next one1 and    
carry the thread from there back to the 
outer edge2 then weave over and under   
these two strands till the centre  is   
reached4 ,oversew one or two button-hole
 loops and lay the threads  for the next
 bridge2 this1 when woven1 will finish  
at the outer edge  again4 ,oversew the  
stitches until the position for the next
 bar is  reached1 and continue till the 

circle is filled in4 ,the corners are   
worked similarly with a few added       
bridges here and there to fill in       
spaces1 which would otherwise be rather 
empty4 ,these oval openings and  ends   
might be worked in what is known as     
,richelieu work1 instead of in  the     
manner described4 ,it is rather a       
quicker method1 but not quite so  firm1 
nor are the bars so flat4               
,method3--,button-hole the inner edge of
 the space1 also round the edge  of the 
little inside medallion2 then lay three 
strands of thread as the  foundation of 
the bridges 7see ,fig4 #bd72 button-hole
 these to the edge  and oversew the     
button-hole stitches of the outer edge  
until the thread  is in position for the
 next strap4    ,when the work is       
finished1 the linen under the bars is   
carefully cut  away with a very sharp   
pair of embroidery scissors4    ,run    
round the outer edges of the spaces     
which are to be filled in with  a filet 
or net pattern with two rows of tacking 

stitch to strengthen1  and button-hole  
over this4    ,to prepare the mesh      
background1 turn on the wrong side1 then
 cut six  and pass six horizontal       
threads alternately2 remove the cut     
threads2  turn the work half round and  
prepare the threads1 previously the     
vertical ones1 in the same way1 that is1
 cut and withdraw six1 pass  six4 ,turn 
the work to the right side again and    
oversew the strands1  one stitch into   
each little space1 taking care to let   
the stitches  slant in the same         
direction on the return row4 ,this      
groundwork is also  described in        
connection with ,plate ,,xv4 ,the braid 
has a row of ,french  knots in blue to  
finish the inner edge4 ,for the         
finishing of the edges  of the mat1 a   
firmer edge will be made by cutting the 
linen a quarter  of an inch beyond the  
braid and turning it back under the     
braid1 then  button-hole this double    
edge and the braid together in blue4    
,the little  lace edge may be worked    

with the needle or with the crochet     
hook2 in  ,plate ,,vii4 the latter was  
used4 ,the lower loops are worked in    
white1  the edging in blue with picots  
is worked into it4 ,for description1 see
  ,chapter ,,xiii4 on crochet edgings4  
,,chapter ,,viii    ,,couching--,,french
 ,,knots ,,and ,,bullion ,,stitch       
8,when she rode in coach abroad1 was    
always knotting thread40      ,couching 
is a pleasant and most useful method of 
applying threads1  cords or braids to   
materials of various kinds4 ,for filling
 in forms1  circles1 or squares it is   
equal to chain stitch1 and should be    
worked  similarly--all forms1 whether   
squares or curves1 are better to be     
commenced from the outer edge and worked
 inwards1 in order to preserve  the     
shape4 ,special care is required for the
 outlining of squares or  angular forms 
where the tendency is to tighten the    
applied material1  whether threads or   
braids1 in turning the corners4 ,at     
these points the  threads or braids     

should lie easily and they should be    
firmly sewn  down with closer stitchery4
 ,couching is one of the simplest means 
of  decorating velvet1 a material always
 difficult of manipulation1 and         
particularly so for the beginner1 on    
account of the pile1 which is apt  to   
cause irregularity in the stitchery4    
,illustration3 ,,fig4 #ba4              
,illustration3 ,,fig4 #ba;,a4           
,couching 7,figs4 #ba1 #ba;a74--,this   
stitch is often worked in a  frame--it  
is easier to keep the material          
stretched2 when working  diagonal lines 
or circles1 where much of the stitchery 
comes on the  cross of the material1 it 
is advisable to do so4 ,by means of     
couching1  the embroideress may sharply 
define an outline1 fill in various      
forms1  geometric or otherwise1 repair a
 worn surface1 work diaper patterns1 or 
attach metal threads and braids to her  
embroidery 7,plate ,,xvi474    ,it is a 
name applied to a method of attaching   
threads singly or in  groups to a       

foundation by means of another thread1  
usually a single  one4 ,under all       
circumstances this should be finer than 
the thread or  cord sewn down4 ,it is   
most economical in use as the threads   
lie on the  surface--a point well worth 
consideration 7,plate ,,iii474          
,probably it was originally used for the
 sewing on of gold  threads1 which were 
too precious to be wasted1 being made of
 pure  metal--naturally the difficulty  
of drawing these metal threads through  
the material would lead to the simplest 
means of attachment4 ,at any  rate1 this
 method of sewing on gold threads was in
 general use all over  ,europe as early 
as the twelfth century4                 
,illustration3 ,,plate ,,viii4    ,a    
,,luncheon ,,mat4 7,see page #hf47      
,couching is particularly useful as an  
outline to stitching1 especially  where 
a weak line requires defining4 ,an      
irregularly sewn form1 whether  floral  
or geometrical1 may be much improved1   
and the colour may also  be enhanced1 by

 a firmly couched outline4 ,it is most  
convenient for  sewing down applied     
work4 ,primarily it covers the join1 and
 is of  considerable importance in      
aiding the colour scheme 7,plate ,,iv474
  ,where simple treatment shows to      
advantage1 couched threads1 outlined    
with metal cord1 give the necessary     
means of expressing taste and  choice of
 colour1 and with a little extra        
stitching to indicate  veinings or      
whatever detail there may be1 couching  
can again be applied  with good results1
 instead of resorting to another stitch4
 ,it is worked  from right to left2 the 
small tying down stitches may be        
straight or  slanted1 but they ought not
 to be placed too far apart--for simple 
decorative work1 from a sixteenth to a  
quarter of an inch1 the latter  for the 
attaching of wools or yarns and narrow  
braids1 the former for  finer work4 ,one
 of the commonest mistakes of a beginner
 is to couch  with a thick thread1 each 
stitch varying from a half to           

one-and-a-half  inches apart4 ,this     
entirely destroys the character and     
effect of the  applied threads4 ,when   
couching a straight line with cord or   
braid  it should be held rather tightly1
 while with wool or silk a pretty       
bead-like appearance can be got by      
holding the thread rather loosely       
7,plate ,,xvi474    ,the fashion of     
sewing on a cord invisibly--as in       
upholstery--by  untwisting the cord     
slightly between each stitch should     
never be  resorted to for embroidery4   
,ancient method of ,couching1 8,point   
rentr et retir40--,a most  interesting  
method of couching1 which unfortunately 
fell out of use1  was practised up till 
the middle of the fourteenth century4   
,the  couching thread was on the reverse
 side1 and was generally of strong      
waxed linen thread1 which did not appear
 on the surface at all4 ,the  ground    
material was formed of two layers of    
linen1 and the gold or silk  thread was 
kept on the surface1 only penetrating   

the layers of linen  at intervals where 
the linen couching thread had drawn it  
through4    ,some of the beautiful      
specimens of early ,english work1 the   
famous ,syon  ,cope and the ,jesse      
,cope1 to be seen in the ,victoria and  
,albert ,museum1  the backgrounds of    
which are covered with couching done in 
this quaint  and durable fashion1 are   
well worth studying4 ,the linen         
background of  the ,syon ,cope is       
couched in coloured silk1 that of the   
,jesse ,cope in  fine gold4    ,the two 
lines on the outer edges of the         
sideboard runner1 which has  almost the 
appearance of back stitching1 are worked
 in this way 7,plate  ,,vi474           
,illustration3 ,,fig4 #bb;,a4           
,illustration3 ,,fig4 #bb;,b4    ,french
 ,knots 7,figs4 #bb;a1 #bb;b74--,french 
knots can be applied with  artistic     
effect in many ways1 not as an outline1 
but as an adjunct to  some of the line  
stitches1 such as chain stitch1         
couching1 back stitch1  etc4 7,plate    

,,xiv474 ,they may be used to add       
touches of colour to a  pattern1 to     
modify or enrich it 7,plate ,,xiii472 to
 powder backgrounds1  either single or  
in clusters1 qualifying both texture and
 colour2 to  outline or fill in flower  
centres1 to form stamens 7,plate ,,xi472
 to fill  in lattice patterns or any    
form that requires some contrast of     
stitch  or colour4    ,method3--,to work
 a ,french knot1 bring out the needle at
 the point  where the knot is to be2    
place the thumb of the left hand over   
the  thread 7,fig4 #bb;,a72 twist the   
needle once round this tightened thread2
  turn the point to the right--thumb    
still holding the thread--and insert  it
 just behind the point where it came    
out1 and draw the thread through  to the
 back1 or when some experience has been 
gained1 the needle may be  drawn through
 on the right side in position for the  
next knot4    ,the ,chinese1 who are    
adepts1 frequently work entire pieces of
  embroidery in knots with such care and

 precision that they are almost         
mechanical in appearance4 ,they have a  
method of knotting their thread  first1 
then sewing each knot down4 ,this method
 was also common in  ,england about the 
seventeenth century4 ,at that time      
ladies used to work  up hanks of thread1
 and1 by means of a small cushion and a 
netting  needle1 work a succession of   
knots on the entire length2 these hanks 
were wound up into balls ready for      
applying to the work in hand4    ,it is 
better in making ,french knots to use a 
thick thread1 or if a  large knot is    
required1 two or more threads in the    
needle are more  satisfactory than      
twisting one several times round the    
needle4 ,plate ,v4  shows knots applied 
to the edges of the galoon1 which serve 
to fix it  down1 as well as to give a   
finish to the latchet darns4            
,illustration3 ,,fig4 #bc4    ,bullion  
,knots 7,fig4 #bc74--;,bullion knots are
 frequently used in  white embroidery   
where variety of stitch is made use of  

in order to  relieve the monotony4 ,they
 consist of little tight coils of thread
 and  can be used most successfully to  
form the centres of large flowers1      
either in a mass or in pattern4 ,squares
 or lozenge-shaped forms with a  ,french
 knot in each space make rather         
interesting fillings4    ,fig4 #bc shows
 how bullion knots might be applied in  
lines radiating  from the centre to form
 small flowers4    ,flower ,centre in   
,bullion ,stitch4--,method of           
working3--,bring the  thread up on the  
surface at the centre2 insert the needle
 at the outer  edge of the circle1 and  
draw it out for half its length at the  
centre1  beside the thread1 which now   
take hold of with the right hand1 and   
twist firmly1 but not too tightly1 round
 the needle six or eight times          
according to the size of knot required4 
,then place the thumb of the  left hand 
on the coil and draw the thread         
carefully through till it is  tight4 ,it
 is always advisable to keep the thumb  

over the coil during  the whole process 
if possible4    ,a ,good ,flower        
,centre4--,make a number of bullion     
knots to fit the  circle1 then surround 
the outer circle with one or two rows of
 close  regularly-sized ,french knots4  
,bullion stitch may be used for small   
flowers--each petal being made of two   
knots1 meeting at the tip--for  leaves1 
inside fillings1 ground powderings and  
sprigs4    ,fig4 #bc a shows how to make
 picots in bullion stitch4 ,they are    
generally worked into a bar or loop of  
button-hole stitch1 which may  form an  
edging1 as in ,fig4 #cg1 or an open     
loop1 as in ,fig4 #bc b4  ,picots of    
this type when worked in a fine linen   
thread are used for  the outlines and   
edgings of laces4 ,to work as ,fig4 #bc 
a1 make the  required number of         
button-hole stitches1 then insert the   
needle for  half its length through the 
head of the last one2 twist the thread  
round the needle from left to right six1
 eight1 or ten times1  according to the 

thickness of the thread and the size of 
the picot  required2 place the thumb of 
the left hand over the coil and draw the
  needle and thread gently through2     
keeping the thumb still on the coil1    
tighten the thread until the stitch has 
been drawn up into a small  semi-circle2
 then continue the button-hole stitch   
till the next picot  is reached4 ,note  
,fig4 #bc b--the thread is placed under 
the needle  before it is drawn through4 
,if a larger picot is required1 it may  
be made in button-hole stitch  instead  
of bullion stitch4 ,button-hole the bar 
or loop to the left of  the required    
picot1 and lay the foundation or padding
 threads for the  picot by carrying a   
thread to and fro three times from the  
left to the  right2 pass the needle each
 time through the edges of the          
button-hole2  when the third thread is  
laid the needle is at the right side of 
the  picot2 button-hole the loop closely
 till it is covered1 then continue  on  
to the next point4 ,open-looped         

button-hole edging looks very well  with
 three bullion stitch picots1 but the   
worker requires to be of a  patient     
temperament1 as each loop takes some    
time to work4    ,bullion knots are used
 very frequently in ,mount-mellick work4
 ,this  type of needlework originated in
 ,ireland2 it is of a very elaborate    
nature1 generally done in coarse white  
threads on a strong white linen  or jean
 foundation4 ,here monotony in tone     
allows for a great variety of           
stitching4 ,openwork is not combined    
with it1 as the patterns in which  it is
 worked are mostly of a bold            
conventional floral type2 most of  the  
stitches used are those which give a    
raised effect1 such as the  different   
linked stitches1 chain1 cable1          
raised-stem stitches1 ,french  and      
bullion knots1 and padded satin stitch4 
,the flowers are filled in  with a great
 variety of lace stitches4              
,button-hole bars are useful for        
connecting two edges such as the two    

sides of a lined bag1 the seams of a    
child's frock1 or for adding a  false   
hem to any dainty article4 ,they are in 
common use for modern  openwork         
embroidery1 where they form connecting  
links between the  various parts of the 
design4    ,illustration3 ,,fig4 #bd4   
,button-hole ,bars 7,fig4 #bd74--;,fig4 
#bd shows the method of working         
connecting bars4 ,the objects to be     
joined together may be of any  shape1   
provided the lines are more or less     
parallel with each other4  ,begin by    
button-holing one part of the work1     
which will give a basis  or line into   
which the bars may be worked1 then      
button-hole the part  to be joined to it
 a few stitches1 until the place where  
the bar is  to be is reached2 lay each  
of the threads into a different loop of 
the button-holing--this gives a greater 
strength and wider surface to  work     
upon2 when finished1 button-hole along  
the edge as before1 until  the next     
point where a bar is to be worked is    

reached4 ,these bars are  worked over   
three threads1 and should1 when worked  
in lines1 be made  before the material  
is cut1 otherwise it is better to have  
the two  parts to be joined tacked down 
on to a piece of stiff linen1 glazed    
calico1 or brown paper4    ,a ,luncheon 
,set4--,this illustration gives a table 
centre in cream  canvas embroidered in  
bright blue1 green1 red1 cream1 yellow1 
heliotrope and black4 ,the design is    
simple2 it is more or less governed  by 
the mesh of the material and the method 
of working it1 which  renders the       
construction so simple and gives a      
quaintness and rigidity  admirable in   
effect4 ,by examining the illustration  
it will be seen  that the central       
portion of the design is occupied by a  
broad band of  needle-weaving1 about two
 inches wide1 worked on the weft        
threads1  the warp or vertical threads  
having been withdrawn to the required   
depth4 ,the weaving forms seven separate
 groups1 each of which is  composed of  

two colours4 ,the whole mass1 rich in   
effect1 is finished  on either side with
 two bars of latchet darning2 these are 
worked  similarly to repairing darns1   
but are left free at the sides4 ,they   
are  edged with an oriental stitch in   
blue which may be worked much closer    
and more regularly 7see ,plate ,i41     
where1 as a heading to the band of      
needle-weaving1 it has almost the effect
 of a braid74 ,the corners1  which      
balance the wide needle-woven bar1 are  
worked in chequers of red1  green1 and  
blue2 the larger squares are in green1  
worked in a simple  stitch similar to   
,fig4 #ah4 ,a row of equally distributed
 petal or loop  stitches 7,fig4 #c1 p4  
#di7 breaks the severity of the line2   
seven lines  of couching--sewn in       
self-colours--connect the two ends4 ,the
 edges of  the cloth are turned over on 
the surface and finished with a row of  
blue galoon--,prussian binding2 this is 
tacked in place on each side  with      
little triangular stitches in green     

embroidery cotton4 ,through  these      
stitches a thread of bright red is      
interlaced2 this is followed  by a      
second one in cream colour4 ,large      
tassels 7,fig4 #da1 p4 #abj7 in  blue   
make a finish to the corners4 ,six      
little mats1 #ab inches by #i  inches1  
when finished1 were made to match1 each 
having a border and  couched lines      
similar to those of the scarf4 ,little  
blue tassels of  appropriate size       
completed this useful little set4       
,one yard of material1 #ed inches wide1 
is required to make the complete  set1  
that is the table scarf1 #ed inches wide
 by #bd inches1 and six  little mats1   
#ad inches by #aj inches2 this allows   
for folds at ends and  sides4 ,if braid 
is used for finishing the hems1 after   
calculating the  quantity an extra yard 
should be allowed1 as with so many      
corners to  turn one is apt to be too   
short in the end1 and these braids are  
often  difficult to match4    ,wools and
 thick cotton threads may be used and a 

large-eyed  blunt-pointed needle for the
 weaving and darning4          ,,chapter
 ,,ix    ,,braids ,,and                 
,,design--,,faggoting--,,veining--,,anti
que ,,seams--,,knot ,,insertion  ,,and  
,,edging      8,there's nothing neere at
 hand1 or fartherest sought1    ,but    
with the needle may be shap'd and       
wrought40      ,braids4--,braids in     
different widths are invaluable to the  
embroideress who wishes to execute      
rapidly a piece of work suitable for    
daily household use1 which may possibly 
be exposed to the smoky and  foggy city 
atmosphere1 and on which she does not   
wish to expend much  time1 labour1 or   
money4    ,braids of various kinds and  
qualities--mohair1 alpaca1 woollen1     
cotton  or silk--can be utilised in many
 ways1 and for different objects1 as    
well as for the finishing and decoration
 of hems and borders 7,plates  ,,ix4 and
 ,,xii474    ,those which have an       
unbroken edge are the best for          
ornamental purposes4  ,they may form the

 basis of simple geometrical patterns   
7,fig4 #de72 lines  may be arranged to  
go in different ways1 running vertically
 from end  to end of a table scarf      
7,plate ,,vi471 horizontally1 as ,plate 
,,iii41 or  diagonally--the direction is
 immaterial2 all are simple to arrange1 
with the exception of diagonal lines1   
which always require care in the        
placing and stitching1 on account of the
 different stretching qualities  of the 
braid and of the material4 ,sometimes   
the bands of braid are  placed singly1  
sometimes in pairs1 one braid--usually  
in a contrasting  colour--being         
superimposed on the other4 ,they may    
cross each other at  right angles1 they 
may entwine or interlace 7,plate ,x471  
or they may be  formed into circles or  
spirals 7,figs4 #de1 #ea74    ,the      
manner in which braids themselves are   
made1 with the twistings  and           
interlacings of strands and groups of   
threads1 is interesting2  this renders  
them peculiarly suitable for the        

designing of interlacing  patterns1 both
 simple and intricate 7,figs4 #di1 #ej74
    ,the word 8braid0 is taken from the 
verb of the old ,anglo-,saxon           
8bregdan10 or 8bredan10 signifying to   
weave1 to entwine1 to braid2 the  latter
 word bearing1 in those days1 the       
meaning 8to plait10 a word  which came  
into use at a later date4    ,the use of
 braid for decorative purposes has come 
down to us from very  early times--it   
has always been used by ,eastern peoples
 much more than  by those of the        
,western countries4 ,some of the        
elaborately worked  pieces of ,indian   
and ,persian work1 where tinsel braids  
are freely  employed1 are things to     
marvel at4    ,the peasant costumes of  
many countries--particularly those for  
gala  days--are made gorgeous by the    
addition of bands of brilliantly        
coloured braids1 enriched in many cases 
by embroidery4 ,braids are used  on     
uniforms1 in an official sense1 where   
they are considered as symbols  of      

honour--the higher the grade1 the more  
elaborate the decoration4    ,care must 
be taken with the arrangement of these  
patterns--all curves  must be exact1    
interlacing designs must be correct1 the
 series of  bands always passing        
alternately the one under the other4    
,the possibilities for the treatment of 
braids and bands1 for the  decoration   
and enrichment of them1 open up an      
interesting field to the  young         
designer4 ,by comparing some of the     
plates it will be seen that  much has   
been done in a simple way by the use of 
these braids and tapes4    ,many of the 
old illuminated manuscripts show        
wonderful interlacing  designs1 many of 
which were copied or adapted by         
embroiderers of the  period4    ,an old 
,venetian pattern book1 published in    
#aefb1 gives beautiful  examples of the 
letters of the alphabet worked first    
with an outline in  narrow braid1 an    
elaborate twisted design being then     
woven in and out  of the double lines   

with a narrow braid1 with the help of a 
tapestry  needle2 the delicate points   
and finishings of the letters being     
finished in satin stitch4    ,perhaps   
the best way to go about a design in    
which bands of braid  are to form the   
foundation of the design would be to    
take one form  and try how it might be  
adapted to suit the conditions of space 
and  material4 ,a border for a circular 
form is simpler in construction than    
one for a square--the corners of the    
latter always requiring special         
attention--but after a few preliminary  
trials it will be readily seen  what the
 possibilities are4    ,interlacing     
,knots4--,interlacings of knots and     
bands are always  interesting1 and the  
working out of these designs should be a
  profitable exercise for a beginner4   
,there is such variety in their         
construction1 such simple or intricate  
patterns to be made out of  these       
continuous and interlacing lines1 that  
all craft workers have  found in them a 

ready means of ornamentation4 ,knot     
designs of a  simple kind may be applied
 in the form of braids and cords to many
  useful articles of domestic use2 the  
most direct way to work out some        
elementary designs would be to take a   
length of soft cord and some  pins1 and 
using the back of a cushion as a        
foundation1 or a covered  table1 pin out
 a geometrical design--a square would be
 suitable for the  first attempt--and   
develop it4 ,the first square might have
 the braids  twisted into small loops at
 the corners1 the second might have the 
sides indented or looped1 and so on4    
,make a series of these with every      
possible variation2 then all could be   
drawn in a note-book1 in squared        
paper--for the sake of ease and         
accuracy4 ,the ends of the cords or     
braids should be pinned together in     
order to form a continuous band4    ,the
 next step would be to interweave a     
second length of cord into those        
already formed4 ,care is necessary to   

interlace the bands1 so that  each      
passes over and under the other in      
regular rotation4 ,this second  band    
might take the form of another square1  
set the reverse way1 or a  circular form
 might be introduced4 ,when all         
possibilities have been  worked out1    
they also should be noted4 ,by degrees  
more complicated and  intricate knots   
may be attempted4    ,sometimes an      
elaborate form may be worked out on     
paper to begin with1  then interlaced   
and pinned out in cord4 ,the            
embroideress will find  a note-book and 
a square of canvas very useful for      
reference1 also  as aids to memory3 in  
the former1 she can make notes of       
designs and  suitable detail1 of colour 
schemes taken from pictures1 materials  
and  embroideries1 suggestions for      
finishing and fastenings of garments1   
little notes and quotations suitable for
 embroidery--all sorts of  interesting  
matter which the eye is quick to see but
 which the memory  cannot always recall 

at the right moment4 ,in the square of  
canvas  or coarse linen1 divided into   
sections1 might be worked some of the   
more interesting or unusual stitches1 or
 groups of stitches2 or  pleasing       
combinations of stitches and colour     
might be preserved as the  opportunity  
occurred4 ,these might serve to suggest 
or recall methods  and varieties        
suitable to some work in hand4          
,faggoting4--,faggoting is a stitch     
which is used to connect two edges1     
particularly such edges as require a    
dainty finish1 or to fill in an  open   
space1 or to serve as a foundation for  
some interlacing stitch4 ,it  is much   
used for joining ribbons1 braids1 or    
thin materials1 such as  ninon1 chiffon1
 or crpe4    ,method3--,prepare the     
material for faggoting by tacking it on 
to a  piece of stiff toile cire1 glazed 
calico1 or if that is not at hand1      
stiff brown paper will answer the       
purpose4 ,this is done in order to  keep
 the edges at an equal distance4 ,the   

width of the space may vary  from       
one-quarter to three-quarters of an     
inch2 the joining thread  should vary in
 thickness--the wider the space1 the    
thicker the thread4  ,draw two parallel 
lines on the foundation as a guide1 if  
necessary1 and  tack the material to    
these lines4 ,if a braid or ribbon or   
any material  with a finished edge is   
used1 there is no need for turnings1 but
 with  a raw edge it is necessary to    
turn in three-eighths of an inch and to 
press them with an iron before starting4
    ,to work the stitch1 begin at the   
upper end of the left-hand corner with  
a small stitch2 cross to the opposite   
side2 take a stitch1 keeping the  thread
 under the needle2 work alternately from
 side to side1 always  inserting the    
needle from the outside4 ,keep the      
stitch regular1 the  same size and the  
intervals of equal distance4            
,faggoting is practically a herring-bone
 stitch1 but the needle is  inserted    
vertically4 ,see ,plate ,i4 and compare 

the stitchery in blue  which forms a    
line up either side4 ,it forms the      
foundation for many  interlacing        
stitches of which there are quite a     
variety adaptable to  various purposes4 
,illustration3 ,,fig4 #be4    ,by       
interlacing threads as in ,fig4 #be1    
where the dotted line represents  the   
interwoven thread1 the whole of the     
foundation stitches can be  covered4 ,it
 must be done in rows1 one after the    
other4 ,the first row  is drawn much    
tighter than the one in ,fig4 #be1 each 
successive row  being placed on the     
outside of the previous row1 till       
eventually the  faggoting foundation has
 almost disappeared4    ,a very good    
line of raised stitchery can be worked  
on to a foundation  of herring-bone     
stitching4 ,the threads are laced in1   
one row at a time1  as shown in ,fig4   
#be4 ,see ,plate ,,xiv41 where it is    
worked round the outer  edge1 also in   
the nightdress case 7,plate ,,xi471     
where it forms the  narrow inner border4

    8,point d',alencon40--,faggot or    
,russian is one of the stitches used in 
the making of point lace or ,honiton    
point4 ,as a lace stitch1 it goes  under
 the name of 8,point d',alencon40 ,it is
 used to join the braids2  it also makes
 one of the principal filling stitches  
for leaves or oval  spaces4             
,illustration3 ,,fig4 #bf4    ,veining  
7,fig4 #bf74--;,fig4 #bf shows a        
well-known joining stitch1  which looks 
well if done in a twisted silk1 wool1 or
 linen4 ,it makes  a pretty insertion1  
and adds much to the appearance of a    
seam4 ,it is  a narrow line stitch1     
therefore the two edges of the material 
should  not be too widely spaced4       
,prepare the edges in the same manner as
 for  faggoting and tack them on to a   
stiff foundation4    ,method3--,fasten  
the thread to the edge of the material2 
carry the  needle across to the opposite
 edge2 insert it under and bring it     
through the material2 twist the thread  
twice round the needle and  insert it on

 the opposite side from underneath1 as  
shown in the  diagram2 oversew a few    
stitches along the edge to carry the    
thread into  position for the next      
stitch4 ,this insertion is useful for   
joining  braids1 for dress fitments and 
other purposes2 it is much in vogue for 
the joining of thin materials1 such as  
chiffon and ninon or crpe2  these       
require to have a fold laid and pressed 
before being tacked on to  the paper4   
,a very pretty addition to a border1    
whether for a piece of ornamental  work1
 for the edging of a collar1 the joining
 up of a bag1 or for the  foot of a     
jumper1 is made by inserting between the
 material a line of  gold tinsel or     
velvet ribbon1 braid1 or even material  
of a contrasting  colour4 ,this must be 
tacked on firmly to a foundation of     
stiff calico  or brown paper1 then      
attached by an insertion to the edges of
 the  material4    ,this stitch1 whether
 used as an insertion or as a filling1  
must also  in this case be carefully    

arranged and regularly worked1 otherwise
 the  appearance of the work is spoiled4
 ,the threads should in all cases be    
tightened sufficiently to give the      
necessary firm twist to the line4  ,to  
obtain the technique of many of these   
insertion stitches it is only  needful  
to practise them for a few minutes on a 
piece of material as  a preliminary to  
the actual working of them4 ,this       
enables the worker  to see what size of 
thread to use1 and it gives her the     
opportunity  of trying and comparing    
various colours without the irksome task
 of  unpicking4    ,illustration3 ,,fig4
 #bg4    ,fig4 #bg is worked much the   
same as ,russian stitch 7,fig4 #be71    
except  that it is worked closer and the
 thread picked up by the point of the   
needle before it is inserted on the     
opposite side--this twisted faggot      
stitch is really a combination of the   
veining and faggot insertion and  is    
used for the same purposes4             
,illustration3 ,,plate ,,ix4    ,,three 

,,collars4 7,see page #afb47    ,antique
 ,seam 7,fig4 #bh74--;,in earlier times1
 when the linens were  woven in narrower
 widths1 the seams were always connected
 in a more  interesting method than at  
the present day1 when1 if a flat seam is
  wanted1 the selvedges are invariably  
oversewn4 ,one of the older  methods is 
shown in ,fig4 #bh4 ,it makes a firm1   
flat and decorative  row of stitching4  
,for the joining of selvedges of        
bed-linen a narrow  slanting stitch sewn
 in white was used2 for more decorative 
purposes a  coloured and a larger       
straight stitch was used1 as ,fig4 #bi4 
,to work1  lay the two selvedges        
parallel to each other and tack or pin  
them quite  flat4 ,begin on the left    
side and insert the needle from below on
 the  right and left sides alternately2 
in this way the threads cross each      
other between the selvedges4 ,in        
connecting a very thin material in this 
way it makes a good finish4             
,illustration3 ,,fig4 #bh4              

,illustration3 ,,fig4 #bi4              
,illustration3 ,,fig4 #bi;,a4    ,fig4  
#bi gives an effective stitch for a     
decorative joining of two  edges4 ,it   
may be applied to bands1 cushion covers 
and household  embroideries generally4  
,to work3--,prepare the seams by placing
 the two selvedges flat on to  a stiff  
foundation1 say quarter of an inch      
apart2 secure the thread on  the left   
upper edge2 insert the needle at the    
lower edge a little to  the right2 pull 
through with the thread to the right of 
the needle2  make a little stitch1 as   
,fig4 #bi2 pull through with the thread 
under  the needle4 ,this makes a good   
firm insertion2 a thick twisted thread  
is  the most suitable4 ,fig4 #bi shows  
the insertion rather widely spaced4     
,plate ,,xii4 shows this stitch worked  
in wool1 where it is applied to the     
edges of braids1 which form the         
foundation for a useful collar4         
,illustration3 ,,fig4 #cj4    ,a ,useful
 ,edging4--,fig4 #cj gives a knotted    

loop stitch which is again  borrowed    
from the many useful lace stitches4 ,it 
is an edging which may  be worked in    
silks1 flax1 cotton1 threads1 or wools4 
,in ,plate ,,xii4  it forms the finish  
to the braid collar1 where it is worked 
in thick  cotton thread4 ,this loop     
stitch makes a charming insertion if    
worked on  to the edges of any suitable 
material--narrow ribbon or hat straws4  
,the  working of the stitch is clearly  
shown in ,fig4 #cj4 ,the two edges are  
joined with an interlacing stitch of a  
contrasting colour1 with raffia1  cord1 
or narrow ribbon4 ,bands of hat straw   
could be joined in this way  and made up
 into delightful light and economical   
summer hats4 ,the shape  could be then  
placed over a foundation of wire and the
 brim stiffened  with wire1 button-holed
 on to the straw with a silk1 flax1 or  
raffia  thread4    ,a ,collar of        
,braid4--,plate ,,xii4 illustrates an   
interesting piece of  work1 built up of 
oddments of skirt braid1 silver tinsel1 

braid1 silks  and wools4    ,very       
charming dress and coat fitments may be 
made in this way1 and all  sorts of     
scraps and remainders of trimmings and  
braids1 silk patches  and patterns may  
be utilised4 ,the construction is very  
simple4 ,the best  way to set about the 
making of these braid collars1 cuffs1 or
 bands  is to cut out the desired       
shape--the exact size wanted4 ,the      
pattern  is then placed on to a piece of
 glazed calico and the outline traced   
firmly upon it4 ,a still more direct    
method is to cut out the pattern  in    
stiff brown paper and utilise it as the 
foundation on which to  tack the braids4
 ,care must be taken to have the shape  
correct before  starting to work with   
the materials4 ,this being assured1     
arrange a  braid or cross-bar of        
material round the outer part2 tack it  
at the  outer edge with bright-coloured 
wool on to the paper foundation1 then   
adjust the bars and panels1 allowing the
 ends of the braids to slip  under the  

outer braid4 ,circles or squares of     
ribbon1 velvet1 or tinsel1  placed in   
the most important parts and tied to the
 outer edges with  lines of braid or    
ribbon1 which1 in turn1 might be        
connected with open  stitchery1 fork-pin
 insertion 7,fig4 #gc71 or some small   
beads1 are very  pretty4 ,all give scope
 for individual taste and ingenuity in  
colour  and material4 ,if the collar is 
on the round1 the outer bands must be   
flexible1 in order to take the curve    
nicely4    ,the collar in the           
illustration has for the outer row a    
skirt braid of a  soft dove grey4 ,it is
 tacked in place with a line of couching
 in royal  blue wool1 sewn on with a    
silk thread--reel twist is very good--of
 the  same colour2 the stripes of       
cream-coloured braid are ornamented with
  coral-coloured wool in long stitches1 
tacked down the centre to form  a point4
 ,the smaller panels have been placed in
 position previously2  they consist of  
chequered silk ribbon in grey and       

heliotrope4 ,all the  short lines are   
connected with ,russian stitch worked in
 coral wool1  the bands of cream braid  
being laid on over them and then sewn   
down2  finally the inner edge of the    
border is couched down4 ,the edges are  
now  all tucked out of sight1 the brown 
paper is cut away from the back1 all    
ends1 edges and tags are secured and    
made neat with tiny overcasting         
stitches1 and the collar may either be  
lined or sewn on in place  without      
lining1 as the case may be4    ,it is   
often necessary to confine the cut edges
 of the broad braid1  in order to       
prevent them from spreading1 by winding 
a thread round  and tying it just above 
the part to be cut--this often saves    
time and  trouble in the long run4      
,illustration3 ,,plate ,x4    ,a        
,,tea-,,cosy ,,cover 7,see p4 #aab47    
,,chapter ,x    ,,insertions ,,in       
,,needle-,,weaving--,,point ,,de        
,r,,prise--,,interlacing ,,and          
,,openwork ,,background      8,there she

 weaves1 by night and day1    ,a magic  
web with colours gay40      ,a          
,chequered ,pattern 7,fig4              
#ca74--;,chequered patterns look well in
  needle-weaving4 ,a number of colours  
may be introduced if the spacing        
permits4    ,illustration3 ,,fig4 #ca4  
,fig4 #ca shows a diagram of            
needle-weaving which gives the method of
  working a chequered pattern on the    
upright or warp threads4 ,prepare the   
bar or band by removing the weaker      
7weft7 threads2 a little decorative     
line of stitchery may then be added by  
hemstitching1 button-holing1  or        
herring-boning the edges2 this adds a   
finish and groups the warp  threads into
 clusters which is an advantage--it     
saves trouble when  the actual weaving  
begins by keeping the weft threads in   
place2 cross  stitch and oversewing are 
useful stitches for the same purpose4   
,the  worker should be careful to group 
the strands equally by dividing them    
into clusters of three1 four1 or six    

threads4 ,in ,fig4 #ca the upper row  is
 hemstitched loosely1 to show the method
 7see also ,fig4 #cd1 p4 #aad1  for     
hemstitching74 ,the lower edge of the   
diagram is not hemstitched2 if  the     
threads are woven in closely it is not  
always necessary to do so1  although a  
line of stitchery is an improvement--it 
softens the edge and  adds to the       
appearance of the weaving 7see ,chapter 
,v474    ,method of working ,fig4       
#ca3--,withdraw the threads of the      
material for  three-quarters of an inch 
wide1 and of the desired length2 cut the
 weft  threads at one end and the       
corresponding threads at the opposite   
end4  ,if the bar is long1 correctness  
of line may be ensured by pulling and   
tightening a single thread on the upper 
and lower edges--these will  indicate   
the exact spot for cutting them without 
risk of mistake4 ,take  a fairly long   
thread of wool and a blunt-pointed      
tapestry needle2 a  loose but           
regularly-woven canvas is the best      

material to work on to  begin with1 and 
wool or flax threads give the best      
results4 ,the threads  are easily seen  
and counted1 and there is not the same  
chance of their  being dragged or       
over-tightened4 ,secure the thread by   
running a few  stitches on the under    
side2 bring the needle up between two   
groups of  threads2 pass it alternately 
over one group and under the other until
 a  piece the size of the chequer wanted
 has been filled in4 ,as the needle     
passes to and fro it should press down  
each row of weaving closely  together2  
this has the same effect as the 8comb0  
which the weaver uses  to press down the
 weft threads of his fabric4 ,the first 
block being  finished1 pass to the next 
two groups by carrying the needle over  
and  under as before1 and pressing down 
each row with the needle2 the  second   
compact mass will then be woven as in   
the diagram4 ,to reach  the next block1 
slip the needle down the back of the    
second chequer2  this will bring it into

 position to work the lower block4      
,continue  in this way to the end of the
 row1 always passing the needle--at the 
back--through the group of woven threads
 to get into position for the  next     
block4    ,reversible                   
,needle-weaving4--,these chequers may be
 worked in slanting  rows1 or they may  
form a vandyke pattern1 ascending and   
descending in a  series of little steps2
 the ,v-shaped spaces between at top and
 bottom  of the line may be filled in   
with another pattern or with rows of    
chequers in a contrasting colour4 ,both 
sides of the patterns are alike1  and   
when the beginnings and finishings of   
threads are neatly done it  may be      
reversible4 ,this is one difference     
between needle-weaving and              
tapestry-weaving2 in the latter the work
 is done with the wrong side or  back of
 the pattern uppermost2 it shows the    
starting and fastening off  of threads1 
as well as the passing of threads from  
one part to another1  all of which makes

 the one side unpresentable4    ,another
 ,pattern4--,some simple insertions may 
be worked by varying1  slightly1 the    
arrangement of the groups4 ,begin as in 
,fig4 #ca1 but weave  over three groups 
of threads instead of two2 having       
arrived at the  centre1 carry on weaving
 over two more groups to the right and  
include  the last group of the block    
just darned1 to form the beginning of   
the  new block4 ,by repeating these     
groups of three alternately at the top  
and at the foot1 always using the last  
of the previously darned block  as the  
first of the next1 a pretty little      
pattern is formed--a central  cluster of
 threads is left between each block1    
which may afterwards  be oversewn with a
 contrasting colour1 or left with the   
warp threads  of the material exposed4  
,a very open and particularly effective 
insertion for a hem is made by working  
over two groups of four threads         
each--three or six strands of thread in 
each cluster if preferred4  ,begin      

exactly as in ,fig4 #ca1 at the left    
lower corner1 and weave to the  centre2 
then take in one more cluster and weave 
in with it the last one  of the previous
 block2 work to the top2 slip the thread
 down to the  centre2 weave over two    
clusters1 adding one of those previously
 woven  with another group2 continue in 
this way to the end4 ,by adding a new   
cluster to the one already in use the   
threads are pulled further apart1  and a
 wider opening between the groups is the
 result4 ,with these few  suggestions1  
the worker will find that she can       
arrange and vary these  insertions to   
suit her material and her own taste4    
,filet ,background4--,small squares1    
ovals1 circles1 or indeed any  shaped   
space may be filled in with a net or    
filet background1 then  darned in with a
 simple pattern4 ,the usual way of      
opening a square or  oval 7,plate ,x47  
is to button-hole the form round the    
outside1 then  turn the work on to the  
wrong side and cut the horizontal       

threads at  the edge--near the          
button-holing2 draw and cut again at the
 opposite  side these same threads4 ,the
 whole of the space is cut and divided  
up2 a bar of threads is left between    
each of the open spaces1 always  leaving
 the same number of threads between each
 three or four1 and  cut and draw the   
next three or four4 ,when the horizontal
 threads are  cut and drawn1 cut the    
vertical ones in the same way2 when     
these are  finished1 begin to oversew   
each line1 with one stitch into each    
hole  backwards and forwards1 until each
 line1 horizontal and vertical1 is      
oversewn4 ,care must be taken to make   
all oversewn stitches lie the  same way4
 ,note--the preparation of the          
background is done on the wrong  side4  
,little geometrical shapes and patterns 
may now be darned in4 ,as  said above1  
the number of threads left in between   
these open spaces  may vary2 the fewer  
there are1 the more open the squares    
will be4 ,the  result of this cutting   

and pulling of threads is a net         
background which  can be worked in many 
different ways4 ,the usual method is to 
oversew  all the horizontal lines first1
 taking care to let the stitches lie the
  same way in each row2 turn the work   
half round to oversew the remaining     
lines in the same way4    ,there is     
another way of making an open background
 which might commend  itself to those   
who are averse to removing the threads1 
that is1 by  cutting the material which 
forms the background into narrow strips 
and oversewing the bars4 ,it should be  
marked off in double horizontal  lines  
rather less than an eighth of an inch   
apart2 place these double  lines at     
regular intervals about half an inch    
apart2 rule them in chalk  or pencil1   
then mark off the half-inch spaces into 
vertical lines an  eighth of an inch    
apart2 these vertical lines are then cut
 two or three  at a time with a sharp   
pair of scissors and oversewn one by one
 in  rows1 overseaming the upper and    

lower horizontal bars by the way4       
,very charming needle-woven bands can be
 arranged for different  purposes by    
button-holing squares or oblongs1       
cutting and withdrawing  four threads   
each way and leaving eight between4     
,when a square is  button-holed--with   
twenty-eight vertical and horizontal    
threads in the  enclosure--there will be
 four solid squares connecting nine open
 ones1  that is1 one open square in the 
centre with the four solid squares at   
each corner1 and the open ones          
surrounding them4 ,each solid square has
  eight single threads surrounding it2  
divide these into two groups by         
interweaving four threads under two and 
over two4 ,when finished1 there  will be
 two woven bars connecting each side of 
the small squares with  each other and  
with the outer button-holed square4     
,these woven bars  could occur at       
regular intervals among the more solid  
needle-woven  portions4    ,many very   
charming things may be made in this way 

with woven threads4  ,these primitive   
patterns can be worked with ease in such
 varied forms1  alone or as adjuncts to 
embroidery 7,plate ,,vi471 that an      
inventive  needle-woman can ornament in 
rich colours1 or without the aid of     
colour1 many interesting pieces of work1
 provided she takes care to  weave      
regularly and keeps her design simple   
and suited to the material4             
,illustration3 ,,fig4 #cb4    8,point de
 ,rprise0 or ,darning ,stitch4--,fig4   
#cb shows an insertion  worked on a     
foundation or trellis4 ,this stitch1    
which may be used as a  filling for open
 spaces or for the decoration and       
joining of two edges1  is an interesting
 one1 and most effective when worked4   
,in cottons1  wools1 or silks it could  
be applied to many different purposes   
quite  suitably2 worked on linen with   
silk or flax threads1 it might provide  
a dainty insertion for some article of  
personal wear2 worked in wool1  it could
 decorate simply collars1 cuffs and     

bands for a dress or jumper  suit4 ,fig4
 #cb gives merely one form with the     
method of weaving1 but  there are many  
others to which the woven pyramid is    
applied4 ,it is much  quicker and       
simpler in execution than the           
button-hole pyramid1 which  is firmer   
but much more tedious to work--the      
former1 too1 looks well  in wools and   
thick threads1 while the latter requires
 lace thread4  ,woven pyramids are      
frequently used by point lace workers2  
this is  called by them 8point de       
rprise10 and applied to the fillings of 
circles and leaf shapes where the little
 cone-like forms work in very           
appropriately4 ,the foundation of ,fig4 
#cb is a double line of faggoting  in   
,russian stitch2 a single line is worked
 first2 the stitches are  taken widely  
apart1 then a second row is worked      
between the spaces of  the other1 so    
that a series of little diamond-shaped  
spaces are formed  as in ,fig4 #be4     
,begin at the edge of the braid and     

weave the pyramid  from the base so that
 the points may meet at the centre2 be  
careful to  weave an equal number of    
threads into each cone-like shape1 or   
they  will vary in size4    ,pyramid    
,insertion4--,an insertion of alternate 
pyramids1 with the  bases at the centre1
 is more open and does not take so long 
to work4  ,make a foundation of faggot  
stitch1 a single row this time1 then    
carry  the thread to the point of one of
 those stitches and weave over two      
threads to the centre4 ,as these little 
cones should always be worked  from the 
point1 carry the thread to the top of   
the braid by overcasting  the faggot    
thread2 weave again towards the centre2 
when finished1 the  bases of the        
pyramids will form a central line4      
,an equally simple insertion and quite  
as effective is to work the  pyramids in
 button-hole stitch on to each faggot   
thread4 ,after forming  the foundation  
stitches--the trellis--begin at the     
point as before1  and work two          

button-hole stitches on each side before
 crossing over  to the other side2      
otherwise it is worked exactly as the   
former  pattern detailed above4 ,two    
rows of faggot stitch may be used for   
the foundation of quite a number of     
different woven patterns4 ,little       
rosettes or wheels are formed by five   
threads2 at the junction of the         
stitches--at the centre of the          
space--are four threads2 add another by 
carrying a central thread to the first  
group2 work the rosettes over  the five 
threads in a similar manner to ,fig4    
#ed1 weaving the threads in  and out2   
when finished1 slip the needle under the
 finished rosette to  the next          
intersection of the stitches and work   
the second rosette and  so on4          
,descriptions are always tedious to     
follow--the best way is for  one to work
 with needle and thread while another   
reads the directions  aloud4            
,illustration3 ,,plate ,,xi4    ,a      
,,nightdress ,,case 7,see p4 #abh47     

,interlacing ,stitch 7,fig4 ,p1 ,plate  
,,ii474--,this interesting insertion    
stitch is one which will well repay the 
worker for her trouble in  mastering it4
 ,although not a complicated stitch1    
there are little  points to be noted in 
the laying of the foundation threads    
which1 if  omitted1 prevent the         
interlacing threads from working in     
properly4    ,illustration3 ,,fig4 #cc4 
,fig4 #cc shows a diagram with the      
method of laying the foundation         
stitches3--,one row is worked over the  
other2 this lattice work supports  the  
interlacing threads1 which also require 
two rows to work them4 ,fig4  ,p shows  
the insertion completed4 ,at a casual   
glance1 ,fig4 #cc appears to  consist of
 two rows of herring-bone stitch1 the   
one superimposed upon  the other2 but if
 a short line of herring-boning is      
worked and compared  with the diagram   
the difference will be noted at once4   
,in working the  foundation1 let the    
threads lie loosely on the surface to   

allow for the  interlacing threads4     
,method3--,secure the thread at the left
 lower line2 take a short  horizontal   
stitch1 three-quarters of an inch to the
 right on the upper  line4 ,note--place 
the thread under the needle when drawing
 the stitch  through2 this keeps the    
working thread under the diagonal stitch
  just formed4 ,cross to the lower line1
 and three-quarters of an inch  further 
on take a horizontal stitch1 but this   
time the thread is not  kept under the  
needle1 as it comes out on top and lies 
over the last  diagonal4 ,proceed in    
this way until the end of the row is    
finished1  then compare carefully with  
the diagram4 ,make sure before starting 
the second row that all the diagonal    
stitches beginning at the left  of the  
upper row pass under those crossing from
 right to left2 this  is achieved1 as   
said above1 by keeping the thread under 
the needle on  the upper row4 ,the first
 row of the lattice being finished1     
start at  the left of the upper line and

 work in the same way as before2 cross  
to the lower line1 and take the         
horizontal stitch exactly beneath that  
of the previous row2 then slip the eye  
of the needle under the thread  of the  
diagonal stitch and take the horizontal 
stitch on the upper  line with the      
thread under the needle4 ,working in    
this way1 little  diamond-shaped spaces 
are formed4 ,with the completion of the 
second  row1 it will be seen that the   
stitches are all interlaced over and    
under each other with the utmost        
regularity4 ,for the inter-threading of 
the pattern1 take a long thread and a   
blunt-pointed needle2 the thread  only  
enters the material at the starting and 
finishing of the work4  ,secure the     
thread at the left in the middle of the 
space between the  upper and the lower  
lines2 if an open insertion1 it must be 
secured at  the top4 ,in ,fig4 #cc1 the 
thin dotted line represents the         
interlacing  thread1 which passes over  
and under the little crosses on the     

upper  line and down to the crossing at 
the centre2 thus the first row of       
interlacing threads are all worked on   
the upper half of the foundation        
stitches4 ,when the end of the line is  
reached1 turn the thread round  the last
 central cross and return1 interlacing  
the threads on the  lower half of the   
herring-bone foundation4 ,note1 in      
passing to the  centre of the line1 that
 the threads interlace regularly with   
those  of the upper row1 as they must   
pass to the upper side of the central   
crosses4 ,by this time it will be seen  
how beautifully these threads fit  into 
one another1 but should any little      
mistake have occurred in the  foundation
 stitches--the supporting lattice       
work--the equal and regular             
inter-threading will be found           
impossible4 ,the thread must be chosen  
to suit the size of stitch--the         
foundation threads are practically      
covered4 ,in ,fig4 ,p they are shown    
rather too clearly at the edges2 also   

in ,fig4 #cc the interlacing thread is  
not in proportion to the size of  the   
lattice work1 but a little practice will
 soon show the worker the  size of      
thread suitable for a border2 a         
half-inch border requires a  good stout 
thread to fill the space--too thin a    
thread will make the  insertion rather  
poor in appearance1 while too thick a   
thread will make  the interlacing       
difficult to manipulate4 ,this insertion
 looks well  with all types of threads1 
therefore it can be used for many       
purposes4  ,for making decorative hems  
for household linen it is most useful1  
and  gives one quite a pleasant change  
from the usual hemstitch2 it is also    
more practical1 because much more       
durable4 ,no threads are withdrawn2  a  
single fold of the material turned over 
to the front surface is the             
preliminary2 this is firmly secured by  
the two lines of herring-bone  stitch4  
,large decorative initials could be     
worked with the same stitch2  placed in 

the centre just below the hem1 they     
would look very well--it  would be      
better to draw these out on squared     
paper for the first trial1  one or four 
squares to each cross1 according to the 
size of the initial  wanted4 ,the       
insertion could be used for many        
purposes4 ,in some of the  old ,german  
linen work of the fourteenth century    
this stitch is applied  to household    
linen--in geometrical patterns to       
borders1 insertions  and corners1 where 
it looks very appropriate2 they are     
worked with  white thread on white      
linen1 but there is no reason why they  
should  not be embroidered on a coloured
 linen--blue would look very effective  
worked in white threads or vice vers4   
,at a later date1 some of the  ,eastern 
countries adapted this stitch to their  
own type of work and  design1           
conventional flowers being carried out  
with admirable effect in  coloured      
silks4 ,the worker would find this      
adaptation rather difficult  unless she 

had done a fair amount of line work4    
,cosy ,cover4--,plate ,x4 illustrates a 
piece of work suitable for  everyday    
use4 ,it is a washable cosy slip worked 
in white linen with  a pattern in braid4
 ,in this example the braid is flexible 
enough to  take the curves of the design
 easily2 it is tacked on1 as previously 
described in the nightdress case 7,plate
 ,,xi471 on the outer edges1 and        
gathered up with tiny oversewn stitches 
on the inner1 to make the  curves lie   
nicely4 ,the design is very simple2 it  
is made up with ,french  braid in       
varying lengths formed into curves at   
the corners2 the ground  is of white    
linen4 ,the braid is sewn on in blue    
cotton with a small  button-hole stitch2
 the little daisies of loop stitch and  
the surface  filling of the centre are  
also in colour4 ,the open web in the    
centre is  a simple lace stitch worked  
in button-holing4    ,illustration3     
,,plate ,,xii4    ,,three ,,hat ,,bands 
7,see p4 #abi47    ,method3--,cut away  

the linen 7see description1 ,plate ,x472
 work round  the opening a row of       
button-hole stitch not too closely set1 
then  work ten loose loops similar to   
,fig4 #ed4 ,catch the last loop of the  
circle into the first to join2 then on  
the last-formed loop work six           
button-hole stitches2 pass the next     
loop2 work six button-hole stitches     
again into the following loop--the      
third2 proceed in this way to the  end  
of the row4 ,work on in continuous rows 
until the centre is reached2  each group
 of pyramids must have one stitch less  
in each row as the  circle becomes      
smaller4 ,finally1 at the apex1 the     
thread is twisted  once round each loop2
 carry the thread to the edge of the    
material by  overseaming the edge of the
 first pyramid2 finish it off on the    
back of  the linen4 ,the square mesh for
 the open-work is prepared as described 
on p4 #abg4 ,the open-work clusters of  
the background may be grouped           
differently from those in the           

illustration1 where they are oversewn   
horizontally and vertically4 ,quite a   
pretty variety would be to work  them in
 diagonal lines securing each cluster   
with a knot stitch4    ,method3--,start 
the thread at a part on the left where a
 definite  oblique line may be laid4    
,work a stitch with the thread under the
  needle1 through the stitch and tighten
 the knot2 carry the thread  obliquely  
to the next cluster and repeat the knot4
 ,another method is1  after preparing   
the background1 to fill up the spaces   
with four open  loops of button-hole    
stitch2 work each loop into half the    
cluster of  surrounding threads--the    
other half is used in working the       
adjacent  square2 in other words1 the   
open square is filled in with four      
little  loops1 the needle being passed  
through the first loop to join it with  
the last before passing on to the next  
square1 and the clusters of  loose warp 
and weft threads are divided and pulled 
apart by the loops1  leaving a little   

oval-shaped opening4 ,the edges of the  
cosy are worked  round with loops 7see  
,fig4 #eg74 ,these finish the sides and 
serve as a  means of lacing the two     
halves together4 ,this manner of        
finishing makes  for simplicity in the  
washing and ironing4          ,,chapter 
,,xi    ,,fringes ,,and                 
,,tassels--,,hand-,,made                
,,braids--,,knots ,,and ,,picots        
8,and bid them that they make them      
fringes in the borders of their         
garments40      ,fringes are used to    
form an ornamental border for various   
articles2  they seem to be the most     
natural finish to many of the           
loosely-woven  textures4 ,they can be   
knotted in different ways into simple or
  elaborate patterns1 or they can be    
enriched with groups and bands  of      
coloured threads or beads4 ,the most    
simple are those produced by  the       
unravelling of the horizontal or weft   
threads4 ,in planning out a  piece of   
work to be finished off with a fringe1  

allow #f or #g inches  for it--or       
whatever depth is wanted2 finish it     
after the rest of the  work has been    
completed1 as the frayed edges are apt  
to get soiled and  untidy if unravelled 
before4    ,illustration3 ,,fig4 #cd4   
,to prepare a ,fringe4--,withdraw a few 
threads at the head of the  space and   
work a row of single hemstitching1 or   
overcast it with  large stitches4 ,there
 is only a single ply of material1 but  
this  stitching1 while giving firmness1 
adds a decorative value and prevents    
the loosening of the weft threads4 ,fig4
 #cd explains the method of             
hemstitching2 if the strands or warp    
threads look rather poor and thin1      
additional weight may be given to the   
whole by darning in either some  of the 
weft threads1 which have been removed1  
or by adding various  coloured ones4    
,illustration3 ,fig4 #ce4    ,fig4 #ce  
shows one way of adding threads4 ,these 
are fixed into place  most easily by    
means of a crochet hook4                

,method3--,wind the thread round a piece
 of cardboard sufficiently  wide--that  
is1 almost twice the depth of the       
required fringe2 cut the  threads along 
one edge of the cardboard1 and the      
strands are ready for  use4 ,put the    
hook into the material near the edge    
from behind2 lay the  loop of the       
doubled length of thread on the hook and
 draw it through1  then slip the two    
ends through this loop and tighten      
7,fig4 #ce74    ,many pretty variations 
may be made by adding beads or narrow   
ribbons1  tassels or knots 7,plate      
,,vi474 ,those tasteful finishing       
touches add  greatly to the appearance  
of the work4    ,illustration3 ,fig4    
#cf4    ,knotted ,fringe4--,fig4 #cf has
 the strands in groups knotted together1
  then divided and knotted again4 ,these
 knots take up a fair quantity  of      
thread1 thus the length allowed for the 
fringe must depend on the  number of    
rows of knots1 as well as on the        
coarseness or fineness  of the thread   

used4 ,the thicker and firmer the       
texture of the  strands1 the greater the
 length of thread required for the      
knots4  ,the method of making the knots 
being shown in the figure1 it needs     
little explanation4 ,after the first row
 of knots is formed1 the  second row is 
made up of the groups of threads hanging
 from these  knots--they are divided1   
and half a group is taken from the right
 and  left respectively4 ,three or four 
rows may be added in this way1 each     
succeeding row of knots coming between  
those of the row above4                 
,illustration3 ,fig4 #cg4    ,a ,flat   
,knot4--,fig4 #cg gives a flat knot used
 in fringe-making by  macram workers4   
,at one time 7in the sixteenth century71
 priests'  vestments were frequently    
trimmed with this handsome type of      
fringe1  consisting chiefly of knots    
grouped into various patterns4 ,it was  
then known under the name of 8punto a   
gruppo02 later it was called  macram1   
from an ,arabic word meaning ornamental 

fringe or trimming4 ,the  ,genoese used 
it for the trimming of bridal dresses4  
,these knots can be  added directly to a
 hem1 or worked over a cord4            
,method3--,arrange the thread in groups 
of two double strands1 as in  ,fig4 #cg 
a2 take the two outside strands1 and    
passing the left one  under the middle  
strands1 and the right-hand one over    
them--these  middle strands meanwhile   
being held taut between the second and  
third  fingers--bring the left-hand     
strand out1 as ,fig4 #cg1 and the       
right-hand  strand under so that their  
positions are reversed4 ,complete the   
knot  by crossing the reverse way again 
and tighten to finish4 ,quite a  pretty 
fringe can be made by working a row of  
four of these flat knots  in succession 
over four strands1 one knot below the   
other2 the second  row has the knots    
made on four strands--two strands taken 
from each of  the groups immediately    
above--this brings the knots of the     
second row  alternating with those of   

the upper row1 as in ,fig4 #cf4         
,illustration3 ,,fig4 #ch4    ,twisting 
and ,crossing4--,fig4 #ci gives a little
 hand-made braid1 very  useful for many 
purposes1 for small headings1 or for    
finishings1 edges1  or seams4 ,it is a  
simple plait made with four strands of  
any firm  thread or narrow braid--the   
latter is the more suitable for         
embroidery4  ,lace plaits similar to    
this require bobbins and a pillow1 as   
well as a  suitable lace or linen       
thread2 but the gimps for embroidery can
 be made  quite nicely by fixing the    
knots to some firm foundation and       
winding  the cord1 string1 or braid on  
to a piece of cardboard4 ,the plait is  
done by means of twisting and crossing4 
,these terms are used in the  making of 
pillow lace4 8,twisting0 always means   
passing the right-hand  strand over the 
left 7,fig4 #ch ,a71 and 8crossing0     
means the passing of  the inner         
left-hand strand over the inner         
right-hand strand 7,fig4 #ch ,b74       

,illustration3 ,,fig4 #ci4              
,illustration3 ,,fig4 #ci;,a4           
,hand-made ,gimp4--,fig4 #ci shows the  
braid in process4 ,each pair of  threads
 is twisted once1 then the inner threads
 are crossed2 this is  repeated to the  
end1 care being taken to keep all       
threads as equal as  possible4 ,fig4    
#ci;,a is the same braid with picot     
edgings4 ,these picots  may be placed at
 every second loop instead of every     
fourth as in the  figure4 ,they are made
 with the help of pins fixed into the   
foundation2  the outside thread is      
passed round the pin before twisting    
with the  next strand4    ,to make a    
,lace ,pillow-,cushion4--,fig4 #dj is a 
still more elaborate  braid1 consisting 
of five double strands4 ,it could be    
more easily  worked on a cushion--a     
large pin-cushion tilted against a table
 would  do1 or the worker could make a  
pillow-cushion for herself1 such as     
some lace-makers use1 in the following  
way3 ,cut a piece of firm cotton  or    

linen about #bj or #bb inches wide and  
#bb to #bd inches long2 join up  the    
length by the machine2 hem the two ends 
and run a drawing string  through them  
to close the ends4 ,cut two circles of  
cardboard #d or #e  inches in diameter2 
draw up one end of the pillow and place 
a circle  of cardboard in against the   
closed end2 fill the cushion with bran  
or  cork--such as is used for packing   
grapes--horsehair1 or sawdust2 stuff    
tightly2 then place the other circle of 
cardboard on top and tighten up  the    
second end by means of a strong cord run
 through the edges4 ,this  little       
cushion can be placed into a wooden box 
or basket1 which is  better to be       
weighted a little to keep it steady4    
,some pillows are made  like a cylinder 
and fitted into a box1 which is higher  
at the back than  at the front2 others  
are made with an axis which is fitted   
into grooves  cut in the side of the    
box2 this enables the worker to turn the
 pillow  and also allows the lace as it 

is worked off to fall behind into the   
box4    ,illustration3 ,,fig4 #dj4      
,braid4--,to work ,fig4 #dj1 fix on to  
the cushion in a straight line  five    
lengths of braid1 knotted as in ,fig4   
#ch4    ,method3--,twist the first and  
second pair once2 cross2 twist the      
second and third pair once2 cross2 twist
 the third and fourth pair  once2 cross2
 twist the fourth and fifth pair once2  
cross2 place a pin  at the right-hand   
edge2 twist the fourth pair once2 twist 
the fifth  pair once2 cross2 twist the  
third and fourth pair once2 cross2 twist
  the second and third pair once2 cross2
 twist the first and second  pair once2 
cross2 place a pin at the left-hand     
edge2 twist the first  pair twice2 twist
 the second pair once2 cross1 and repeat
 from3 twist  the second and third pair 
once2 cross1 and so on for length       
required4  ,this braid when worked with 
bobbins and a stout linen thread will be
  excellent for teaching the method of  
making grounds for some of the  simpler 

pillow laces4    ,simple                
,tassels4--,fig4 #da gives a small      
tassel4    ,illustration3 ,,fig4 #da4   
,illustration3 ,,fig4 #da;,a4           
,illustration3 ,,fig4 #da;,b4           
,method3--,take a piece of cardboard1   
rather wider than the length of  the    
finished tassel1 and wind some wool     
rather slackly round it1 twelve  to     
twenty times1 according to the size and 
thickness of the tassel to  be made4    
,take a long large-eyed needle with a   
doubled thread2 slip it  through the    
wool close to the cardboard2 pass the   
ends through the loop  and pull firmly  
to tighten4 ,cut the wool at the        
opposite edge of the  cardboard4 ,pass  
the thread through the centre of the    
bunch of wool and  knot it two or three 
times to form a padding for the head4   
,sometimes a  wooden bead helps to fill 
out the head1 the needle being passed   
through  it to keep it in place2 after  
which the thread is knotted4 ,figs4 #da 
and #da;,b give the making of the neck  

of the tassel4 ,take a needle with  a   
double thread and wind it round the neck
 two or three times2 pass  the needle   
through the loop1 then up the centre of 
the head and out  at the top--here      
another bead adds to the appearance of  
the finished  tassel--the ends serving  
to attach it to the embroidery4 ,a much 
more  elaborate finish may be made by   
button-holing the head of the tassel1   
beginning at the neck and working in    
rows towards the top4 ,if the  tassel is
 large enough to admit of it1 a         
crochet-covered top1 beginning  with a  
chain and working upwards1 is very      
quickly made2 long chains  ending with  
beads may finish the lower part         
effectively4 ,plate ,,viii4  shows      
simple tassels made in this way--those  
on ,plate ,i4 are rather  more          
elaborate4    ,illustration3 ,,fig4 #db4
    ,needle-made ,picots 7,fig4         
#db74--,this edging requires a good     
stout  thread1 linen1 twisted silk1     
wool1 or fine string1 according to the  

purpose for which it is required4 ,it   
may be worked on a braid1 a  cord1 or   
the edge of the material4 ,there is no  
great difficulty in  the working of     
these picots1 but absolute regularity of
 the loops and  knots is essential--in  
order to secure this1 a mesh1 or if that
 is not  to hand1 a pencil may be used  
to keep the loops uniform in size4      
,after  some practice1 the worker will  
probably dispense with a mesh and use a 
pin to keep the loops in place while    
making the knot4    ,fig4 #db shows the 
method of working4 ,fasten the thread   
securely and  take the first stitch1    
which is of the button-hole type1 with  
the  thread under the needle2 then slip 
the thread round the mesh1 passing  it  
behind and bringing it out over the     
front of it2 put the needle  behind the 
loop 7see ,fig4 #db7 and twist the      
thread round the needle1  over and under
 it2 pull through and tighten the knot4 
,if a pin is used1  pass the needle     
behind the first little loop1 then put  

the pin into  position--a quarter or    
half an inch below the edge2 pass the   
thread  round the head of it2 make a    
loop round the point of the needle and  
tighten4    ,illustration3 ,,fig4 #dc4  
,fig4 #dc shows the same edging with an 
additional row worked over a  narrow    
braid--several threads could be         
substituted for the braid4              
,button-holed ,rings4--,button-holed    
rings are useful4 ,they are  generally  
made over a foundation of soft threads1 
which serves the  double purpose of     
padding and strengthening them4         
,illustration3 ,,fig4 #dd4    ,laces1   
,edgings1 ,central ,fillings4--,danish  
needle-workers use these  rings a great 
deal as foundations for making both     
laces1 and edgings1  also central       
fillings4 ,the former they apply to     
their beautifully  worked embroideries  
as insertions or finishings2 the latter 
have some  arrangement of grouped       
stitches worked round a button-holed    
ring1 then  sewn on to the parts        

prepared for them4 ,they use a ring     
stick1 which  is graduated in such a way
 as to enable them to make rings in     
several  sizes1 also to make any number 
in the one particular size desired4     
,rings are quite simply made4 ,the      
thread is wound round the stick six to  
ten times1 according to the size of the 
ring1 and a stitch or two of            
button-holing is worked before removing 
it2 then work round the threads  until  
it is complete and finish by passing the
 needle through the head  of the first  
stitch and slipping it inside--and along
 the line of  strengthening threads2 cut
 off neatly4 ,rings may have pyramids   
worked  round them1 in which case a     
definite number of button-hole stitches 
should be made4 ,if a ring is covered   
with twenty-eight button-hole  stitches1
 four pyramids of six stitches each     
could be made1 with  one stitch between 
each pyramid2 with thirty stitches1 six 
smaller  pyramids1 with one stitch      
between each1 could be worked in4       

,rings could be made over a metal or    
bone foundation when they are used  to  
support any weight1 as for the draw     
strings of a bag1 or to attach a        
splasher to a wall2 for lacing or       
connecting the front or shoulders of  a 
jumper or child's frock they can be     
either made on threads or metal  rings4 
,note the interesting method of applying
 rings in ,plate ,,xiii42 see also      
,fig4 #bc b1 which shows method of      
working rings with picots of bullion    
stitch4    ,very useful indestructible  
buttons can be made of very thickly     
padded  small rings in which the        
stitches practically fill up the centre2
  twisted bars1 crossed1 should be      
worked at the back for the purpose of   
attaching these buttons to the garments 
which they are to adorn4    ,ornamental 
,knot 7,fig4 #de74--,knot work1 like    
embroidery and lace1  seems to have     
originated in the ,east4    ,all of the 
following knots may be worked more      
simply from the diagram  than from the  

description4    ,illustration3 ,,fig4   
#de4    ,fig4 #de is commenced at the   
top or foot1 where the ,x is marked4    
,the braid is joined there under the    
curve2 it is formed of one piece  of    
braid1 and can make a very good centre  
for a cushion1 applied in a  coloured   
braid1 if sufficiently enlarged4 ,it    
could have a decoration  within the     
curves of conventional flowers1 or1 on  
the other hand1 it  might be enclosed by
 a narrow geometrical border4 ,it could 
also be  worked in chain1 couching1 or  
oriental stitches instead of braid4     
,illustration3 ,,fig4 #df4    ,weaver's 
,knot 7,fig4 #df74--,the weaver's knot1 
used by all weavers  for the joining of 
warp threads--weft threads are worked   
with the  weaving--is a well-known knot4
 ,it is illustrated in ,fig4 #df and    
consists of two loops interlaced2 when  
finished1 one loop has the ends  crossed
 while the other has the two lines lying
 parallel4 ,it can be  easily followed  
from the figure4 ,a simple method of    

tying it is to take  the end of the new 
joining thread and form it into a loop  
with the  threads crossed2 note that the
 short end is under and pointing to the 
left1 and the long upper end is pointing
 to the right4 ,place this loop  between
 the finger and the thumb of the left   
hand and hold it upright2  take the end 
of the working thread in the right hand1
 and putting it  from behind up through 
the loop1 pass it round between the     
thumb and  the first finger1 under the  
short end of the new thread and over the
  long one1 down into the upright loop  
again4 ,tighten the ends of both        
threads4    ,illustration3 ,,fig4 #dg4  
,the ,carrick ,bend 7,fig4 #dg74--,this 
knot is simple and ornamental4  ,it     
could be used quite successfully for    
embroidery and braiding4 ,it is  used by
 sailors for tying hawsers4 ,to arrange 
the knot take one piece  of narrow braid
 or cord and form it into a loop on the 
table2 cross the  ends--the under and   
shorter one points towards the worker2  

take the  second cord in the right hand 
and pass it under the complete curve of 
the loop in a diagonal direction 7see   
,fig4 #dg72 passing then over the  long 
and under the short end1 enter into the 
loop and pass it under the  diagonal    
line and out over the loop4 ,this knot  
looks well--tighter or  looser according
 to the width--when placed at intervals 
on a border and  connected by lines of  
stitches4    ,illustration3 ,,fig4 #dh4 
,the ,reef ,knot4--,this knot varies    
slightly from ,fig4 #df4 ,it forms a    
rather neater one than the weaver's knot
 and is also more ornamental4           
,method3--,make a loop as before at the 
end of the new thread4 ,hold it  upright
 between the thumb and the first finger 
of the left hand1 but do  not cross the 
ends2 take the end of the working thread
 and pass it up  through the loop from  
behind3 put it round between the thumb  
and the  finger1 under the two ends of  
the held thread1 then down through the  
loop again2 draw up both pairs of       

threads4 ,the reef knot1 as its name    
indicates1 is used by sailors for tying 
the reef points of a sail4              
,illustration3 ,,fig4 #di4    ,fig4 #di 
shows a knot which may be made of braid 
or of two rows of cord1  on a larger    
scale1 or it may be worked in chain     
stitch as a smaller  knot4 ,when made in
 narrow braid or cord the second cord is
 laced  through after the knot has been 
formed by the first cord4 ,this knot    
could be used for a border1 placed at   
regular intervals with lines of  cords  
connecting the one knot with the next2  
to fill up a corner the  central loop   
could be made larger4 ,it looks well    
when worked in chain  stitch or in      
couched lines4    ,illustration3 ,,fig4 
#ej4    ,the ,chinese ,knot 7,fig4      
#ej74--,this knot1 used for the         
ornamentation  of a sailor's collar1 is 
made of one cord4 ,one loop is made long
 enough  to pass round the neck1 under  
the collar4 ,used as a part of the      
border  design the end loops may be made

 as long as required to fill the space4 
,the ,chinese knot makes an ornamental  
fastening for anything that might       
require it4 ,to make it1 start at the   
,x2 from there it can be  easily        
followed from ,fig4 #ej4 ,it takes the  
form of two hearts reversed  and        
interlaced2 the outer loops are formed  
in the process4    ,fig4 #ea is made up 
of two pieces of braid4 ,the crosses    
show where the  ends disappear under the
 curves4 ,this knot could be used       
similarly to  ,figs4 #de and #di4       
,knots are not generally used in        
embroidery for the starting or          
finishing of threads1 but sometimes a   
new thread has to be joined  directly on
 to the old one1 in which case a firm1  
non-slipping knot is  necessary4 ,figs4 
#df1 #dg1 #dh are all useful for joining
 threads4    ,illustration3 ,,fig4 #ea4 
,nightdress ,case in ,blue and          
,white4--,plate ,,xiv4 shows a charming 
and useful nightdress case in white     
linen1 embroidered in white and  blue   

flax4 ,the simple interlacing design is 
laid on in white ,french  tape1 which   
develops into leaves at the centre and  
corners1 and gives  scope for a pleasant
 change in stitchery4 ,the braid is     
fixed in place  on the outer edge by a  
button-hole stitch worked in flax thread
  over three strands of blue4 ,the      
material is cut and turned in and       
button-holed--this gives a little raised
 edge and accentuates the outer  line2  
the inner edge is marked out by a line  
of back stitching 7,fig4  #ac71 and     
,french knots worked in blue 7,fig4     
#bb74 ,the spaces between  the          
interlacing braids are worked in a filet
 or net pattern--which  is simply worked
 but rather tedious on account of the   
necessary  preparation4                 
,method3--,remove four vertical threads 
and leave four of the linen2  repeat    
this within the space2 then remove four 
horizontal threads and  leave four2     
repeat4 ,these little groups of threads 
are kept closely  together by means of  

overcasting stitches--which should be   
done with  a very fine thread--worked in
 rows over the warp threads1 then over  
the weft4 ,the linen in the centre of   
the leaf forms at the centre and        
corners should be cut1 turned under the 
braid and button-holed1 as  described in
 ,plate ,,xiv4 ,the outer ones are      
filled in with button-holed  bars1 which
 may be worked as described in ,fig4    
#bd1 or they may be  inserted after the 
button-hole edge is finished1 by laying 
two or three  strands1 button-holing    
them1 and overcasting three or four     
stitches  along the edge to carry the   
needle into position for the next bar4  
,the  opening in the centre is worked in
 pyramids and bars1 alternately 7see    
description of ,plate ,,xiv474 ,it will 
be seen that the two outer leaves  of   
the centre group are worked in a weaving
 stitch which gives the  appearance of  
mid-rib and veins4    ,method3--,after  
the inner edge is button-holed1 carry   
six threads  to and fro from point to   

base to form the foundation2 then weave 
by  passing the thread over three and   
under three strands until the point  for
 the first vein is reached4 ,press the  
threads closely together  with the      
needle to make the line solid2 then     
carry the working thread  across to the 
edge to and fro and back to the edge2   
weave into and  out of these three      
strands until the mid-rib is reached    
again2 weave  a couple of threads into  
the centre rib1 then form the vein on   
the  opposite side in the same way1 and 
proceed in this way until the base  is  
reached4 ,the stitch must be very evenly
 worked and well pressed up  by the     
needle continuously to get the right    
effect4 ,the inner leaves  are worked   
with a row of open button-holing1 after 
which button-holed  loops 7,fig4 #ei7   
and pyramids are arranged to fill up the
 space4  ,the braid-like appearance of  
the inner border is obtained by working 
a row of herring-bone stitch to form a  
foundation2 a long flax thread  is then 

interlaced as shown in ,fig4 #be4 ,see  
also border to ,plate ,,xiv4  ,this     
interlacing thread is worked in1 row    
after row1 until the desired  thickness 
has been got4 ,in ,plate ,,xi4 the      
foundation stitch is in blue  and the   
interlacing in white flax thread--the   
little blue points of the  herring-bone 
stitch peeping out on either side give a
 pretty effect4  ,two rows of fine chain
 stitch 7,fig4 #a7 finish the dainty    
border4    ,illustration3 ,,plate       
,,xiii4    ,a ,,bag ,,in ,,canvas ,,and 
,,wool4 7,see page #aec47    ,the outer 
edges following the curves of the braid 
are worked in open  button-holed loops  
7,fig4 #ei7 which in ,plate ,,xi4 are   
done with the  needle2 but this edging  
may be done more simply1 if desired1    
with a  crochet hook1 by forming a row  
of chain loops1 then covering them with 
double crochet stitch 7see p4 #aeg for  
description74    ,the edging of         
needle-made loops is1 of course1        
preferable to any other1  but in these  

days1 when most of the household linen  
must go to the  laundry1 these little   
crochet edgings might quite suitably be 
worked  directly on to little mats1     
table-napkins1 and many other articles4 
,they are quickly worked and wear       
excellently4    ,hat ,bands4--,the      
illustration shows two hat bands1 both  
of which might  be made in a colour to  
go with a hat or suit4    ,a ,flowered  
,hat ,band 7,plate ,x,i,ia474--,plate   
,,xiia4 consists of a piece  of         
cotton--celtic canvas--about #e inches  
wide2 the length will vary  and must    
depend on the shape and size of the hat4
 ,to make a similar  band1 prepare a    
fringe about half an inch deep on one   
side only2 turn  the fringed edge over  
the plain one and tack into position2   
crochet  two lines of insertion 7,fig4  
#fe7 in wool or in any material         
preferred4  ,make the flowers as in     
,figs4 #ff and #fg2 those in the centre 
of the  illustration are made up of     
three separately worked flowers1 the    

smallest one is in silver tinsel4 ,the  
large flower groups are placed  on the  
band alternately with the smaller       
sprigs4 ,for the making of the  leaves  
see ,fig4 #fh1 p4 #afj4 ,this band may  
be made in a very short time2  it is a  
very suitable hat decoration for rough  
weather1 as rain does  not destroy      
either the foundation or the crochet    
flowers4    ,a ,velvet ,hat ,band with  
,cross ,stitch 7,plate                  
,x,i,ic474--,cross stitch1  so little   
used nowadays in this country1 except   
for the marking of  household linen1    
seems to have been well known from a    
very early date  by all needle-workers4 
,it1 and many other varieties of a      
similar  nature1 was worked on canvas or
 linen in patterns where the threads    
were counted4 ,at one time these        
embroideries were so characteristic  of 
the various countries that their origin 
was generally recognised  by the pattern
 and the colour in which they were      
worked4 ,the ,italian  cross stitch1    

embroidered on a very fine linen1 was   
mostly done in  a reddish-purple1 and   
frequently worked in a two-sided stitch4
 ,red1  blue and yellow were the        
predominating colours of the ,slav1     
,hungarian  and ,swedish peasantry4     
,very large pieces1 destined for wall   
hangings1  were worked in tent stitch or
 cross stitch1 in designs suggestive  of
 those used for tapestry weaving4 ,these
 have even been called  tapestries on   
that account4 ,the famous ,bayeux       
tapestry represents an  interesting     
series of events of ,english history    
from the accession of  ,edward the      
,confessor to the death of ,harold at   
,hastings2 it is worked  in coloured    
wools on linen canvas3 this is1 of      
course1 not really  tapestry2 a true    
tapestry is formed by the interlacing or
 weaving of  warp and weft threads by   
means of a needle or a shuttle 7see     
chapter on  needle-weaving74    ,plate  
,x,i,ic4 shows a dainty band made on    
velvet ribbon2 the quaint  little basket

 of flowers in cross stitch on a        
gold-coloured foundation  may be worked 
quite simply on to any material1 but in 
order to keep  the rigidity which is    
characteristic of the stitch it is      
necessary to  have a piece of fine      
canvas as a foundation4 ,the ribbon is  
tacked on  over it1 and the design is   
worked over the two materials4 ,in the  
case  of velvet this method is reversed1
 as the pile is always an obstacle in   
the way of accurate sewing4 ,the canvas 
is laid on top of the velvet2  the cross
 stitch is then easily worked and the   
threads of the canvas  are removed1 one 
by one1 when the work is finished4 ,the 
centre piece of  ,fig4 ,c is of         
gold-coloured velvet worked in this way4
 ,it is caught down  on the outer edges 
by gold tinsel threads1 couched closely 
to keep them  in position2 the strips of
 orange-coloured velvet applied on      
either  side and peeping through the    
stitchery give a gay little touch to the
  panel1 which is finished off by lines 

of gold thread and two little  gold     
beads4 ,the strips of decoration at     
equal intervals are somewhat  similar1  
but not so elaborate4 ,no cross stitch  
is used except in the  front4    ,much  
may be done with canvas stitches1       
provided they are applied to  designs   
which are treated in a conventional     
manner4 ,the form of the  stitch1       
occupying a square space1 would enable  
the worker to make out  patterns on     
squared paper2 chair seats and cushions 
could be worked  very satisfactorily in 
geometrical designs4    ,baskets and    
bags1 worked on canvas in wools1 cottons
 and raffia1 can  be very useful2 the   
canvas should always be worked with a   
thread which  fills the mesh4 ,for fine 
embroidery it is often better to work it
 in  a frame1 particularly for fine     
cross stitch or petit point1 or when    
worked over two plies of cloth--the     
frame prevents the under cloth from     
puckering4    ,some of the darning      
stitches1 too 7,plate ,,ii471 could be  

applied  successfully to bags2 if small1
 they could be worked in silk on a      
fine-meshed canvas4 ,cross stitch       
requires no description1 except that  it
 is worked in two rows2 this allows the 
threads of the second row--on  the      
return journey--to cross over those of  
the first4 ,a quick method of  filling a
 line is to work a half-stitch over a   
stretched thread4    ,tent ,stitch or   
,petit ,point4--the finest of the canvas
 stitches--is1  like the first half of  
the cross stitch1 worked over a single  
thread of  canvas4    ,goblin stitch is 
worked over one vertical and two        
horizontal strands4  ,a close           
herring-bone stitch looks well          
alternating with rows of an  upright    
stitch for a canvas-made basket in      
various colours4    ,there are many     
other canvas stitches1 but varieties    
will be easily  constructed by the      
worker4 ,canvas may be bought with a    
single or double  thread1 of a coarse or
 fine quality4 ,a wide-meshed canvas of 

a stiff  quality1 used for rugs1 is very
 satisfactory for the making up of work 
bags or baskets with raffia4    ,a      
,braid ,hat ,band 7,plate ,x,i,ib474--,a
 hat band or collar made from           
remainders of braids is illustrated on  
,plate ,x,i,ib4 ,the original was  made 
as a collar to wear with a suit1 but it 
looked so fascinating  as a hat band    
that it was worn as such4 ,it is a      
perfectly straight  band and the        
illustration shows very clearly some of 
the insertion  stitches already         
mentioned 7see ,figs4 #be and #bi74     
,prepare it in the  manner already      
described for the braid collar 7,plate  
,,ix474 ,cut a  piece of brown paper to 
the size wanted and tack the braids upon
 it4  ,in the illustration three rows of
 black skirt braid1 with a row of  black
 chenille in the centre1 go to form the 
foundation4 ,the upper and  central rows
 have a line of blue braid laid over    
them1 just close to  the chenille4 ,join
 the braids with faggot stitch on the   

one side 7,fig4  #be7 and a knot stitch 
7,fig4 #bi7 on the other4 ,the knot     
stitch is in  turquoise blue wool1 the  
faggot in jade green with a stronger    
green  interlaced4 ,the lines of bright 
blue braid are connected at one side    
and the edging 7,fig4 #cj7 is worked    
over the other4 ,this edging has a      
thread intertwined with it so that the  
loops are connected1 instead of  being  
detached as in ,fig4 #cj4 ,when all the 
braids are connected the  paper is cut  
away from the back4          ,,chapter  
,,xii    ,,drawn-,,thread ,,and ,,white 
,,work--,,rhodian1 ,,richelieu ,,and    
,,hedebo     8,be rich in patience if   
thou in goods be poor40      ,many of   
the pretty delicate lace stitches which 
look so complicated  when worked in fine
 lace threads1 on a net or cambric      
foundation1 can  be used with admirable 
effect for the filling in of spaces and 
the  covering of surfaces of some of the
 coarser stuffs2 worked in wools  and   
thick threads they lose their filmy and 

lace-like appearance1  and can be       
adapted quite nicely to the more        
utilitarian articles4  ,the arrangement 
of the stitches may be chosen to suit   
all kinds of  materials2 they may be    
very open or only partly so1 but as a   
rule1 the  simpler these surface        
stitches are1 the better they look4 ,the
 main idea  being to bring the          
background into tone with the rest of   
the work1  the worker should choose a   
stitch which will have just the amount  
of  colour to give the right tint or    
shade to the material4 ,diapers are     
also commonly used to tone in the       
background2 single spots or groups  of  
spots1 which may be represented by      
,french knots or bullion knots1  flower 
or leaf sprigs worked in loop stitch1   
and all simple types of  darning may be 
requisitioned for the purpose4          
,interlacing patterns can  frequently be
 made up of two or more stitches        
combined1 and may often  be invented on 
the spur of the moment by the interested

 needlewoman4  ,there are endless       
varieties to be made out of button-hole 
stitch1 which  is the foundation stitch 
of most needle-point laces 7,figs4 #ec  
and  #aa74 ,weaving stitch--interweaving
 of threads--is another upon which  many
 laces1 needle-point and pillow1 are    
built up 7,figs4 #cb1 #fb1 #ag  and     
#dj74 ,these two are often combined     
7,figs4 #ed and #ee72 add to them       
darning stitch1 both simple and         
patterned1 and we have got one step     
towards lace-making4 ,but lace-making is
 not for the busy woman or  householder1
 who has her day fully occupied1 but    
rather for the few  who possess skill1  
good patience1 and many unoccupied      
hours--these  must belong to the woman  
who would excel in the art of producing 
the  delicate fabric4 ,it is most       
interesting to trace the development of 
lace2 how needle-weaving of the more    
simple1 primitive type later  became    
drawn-thread work or openwork1 in which 
finer threads and  materials were used2 

under the skilful fingers of the        
inhabitants  of the convents works of   
exquisite skill were produced1 vestments
  and hangings1 all destined to ornament
 the church4 ,in ,england in the        
sixteenth and seventeenth centuries lace
 came into general use1 and was  worn in
 great profusion by ,queen ,elizabeth   
and her ,court4 ,fine steel  needles    
were made in ,england during this reign4
 ,naturally this must  have had some    
effect on embroidery1 but the change    
does not appear to  have been           
noticeable4 ,linen was embroidered in   
silk in various colours1  and further   
ornamented with drawn work4 ,this drawn 
work was followed by  cut work1 and from
 these we have the origin of lace4      
,these first laces  were of two kinds3  
,lacis and ,cut ,work4 ,they were heavy 
in texture and  suited to the costumes  
of the period4    ,lacis4--,in lacis the
 background consisted of a network of   
squared  meshes upon linen on which a   
pattern was darned in linen thread1     

coloured silks1 or gold threads2 it was 
worked usually in large pieces1  for    
coverlets and bed hangings1 curtain     
borders1 and altar cloths4    ,cut      
,work4--,cut work had the background at 
certain parts drawn1 other  parts were  
cut away and the edges button-holed4    
,probably this stitch  was invented for 
the purpose of protecting these cut     
edges4 ,this darned  netting and cut    
work1 point coupe1 were often combined  
on the one  piece4    ,reticella4--,the 
next step1 of course1 was to work       
without a linen  foundation4 ,the       
threads were arranged in a frame1 on a  
foundation which  was only there to hold
 the threads in position while they were
 worked  into various patterns1 and     
filled with button-hole stitches4 ,all  
the  laces of this period were geometric
 in design--squares and circles         
combined with cut work1 drawn work and  
embroidery4 ,it was not until  about the
 end of the seventeenth century that    
these gave place to  flowing lines and  

more elaborate and complicated          
workmanship with a net  background4     
,some of the earlier peasant            
embroideries are singularly interesting4
  ,there is a personality and a         
quaintness of thought combined with     
those  spontaneous designs1 a brightness
 of colour so instinctive1 and an       
inventiveness of method so freely       
displayed that one has only to see  the 
embroideries to realise their charm4    
,the art and craft has passed from      
generation to generation4 ,some  nations
 are distinguished by the exquisite     
skill with which the work  is executed1 
others by the multiplicity of colours2  
the patterns  predominating are mostly  
of the geometrical type4 ,some of the   
sixteenth  and seventeenth-century      
,italian drawn work 7punto tirato71 in  
which  the weft or warp threads were    
removed2 punto tagliato 7cut work71  in 
which both the weft and warp threads    
were cut away1 leaving only  connecting 
bars of the linen1 are inspiring to the 

needlewoman of  leisure4    ,from these 
embroidered and cut-linen works         
reticella and needle-point  laces arose4
    ,hedebo ,embroidery4--,the          
embroidery done by the peasantry of     
,denmark  is worked almost entirely in  
button-hole stitch1 on a firm linen     
ground1 and with a coarse linen thread4 
7,the ,danish women always wear a       
little shield of metal when they are    
working on the second joint of the      
little finger to protect it--the        
constant friction would be apt to cut   
the finger otherwise47    ,it is an     
exceedingly durable type of embroidery  
or lace--for it  partakes of the nature 
of both--and is simple to work4 ,the    
designs are  mostly of the geometrical  
type1 consisting of squares1 circles1   
ovals1  etc41 worked in button-hole     
stitch1 arranged to form borders1       
corners1  or centres for table and bed  
linen4 ,by combining other embroidery   
stitches with the button-hole stitch    
many charming pieces of work might  be  

produced without much difficulty4 ,many 
of the ,danish peasantry earn  their    
livelihood by means of this beautiful   
work4    ,plate ,,xiv4 illustrates the  
corner for a panel for a pram or cot    
coverlet in process4 ,the centres of the
 forms are all worked in the  typical   
hedebo work1 while the outer parts are  
filled in with a variety  of stitches4  
,to prepare the simple design1 make a   
series of squares  and circles in paper 
and connect them with double lines2     
arrange and  space them symmetrically4  
,leave sufficient space between each    
circle to  allow for the surrounding    
stitchery 7see chapter on design74      
,then1 when  finished1 draw directly on 
to the linen with compasses or any small
  round shape2 leave sufficient material
 for a hem or border4 ,the linen  should
 be of a good firm quality4 ,use a      
sewing needle--,no4 #f scientific       
sharp--and a lace thread--,taylor's     
,mecklenberg1 ,no4 #f1 or ,knox's       
two-cord linen lace thread1 ,no4 #be or 

#cj1 are suitable4    ,method3--,to     
prepare a circle1 outline it with two   
rows of tacking  stitch1 keeping most of
 the thread on the surface by lifting a 
tiny  stitch of linen4 ,tack the piece  
to be worked over toile cire or  over a 
stiff piece of brown paper2 with sharp  
pointed scissors snip a  small piece out
 of the centre of the circle1 and by the
 warp and weft  threads1 cut up almost  
to the edge to allow the material to be 
turned  back quite close to the edges of
 the double row of tacking1 about six   
cuts to the half-circle4 ,begin to work 
in the following way3--,secure  the     
thread at the edge nearest the worker by
 running it along the  outline for a    
short distance--knots are never         
used--and bring it out  on the surface2 
hold the material so as to be able to   
work towards the  centre of the         
circle--that is1 away from the worker2  
make the first  stitch by inserting the 
needle from underneath2 draw up the     
thread  until there is only a small loop

 left2 put the needle through the loop  
from underneath and tighten with a jerk 
of the thread4 ,repeat these  stitches1 
but not too closely1 round the circle1  
turning the material  under as the work 
proceeds2 finish with the last stitch   
into the first  loop4 ,the button-hole  
stitches should not be worked either too
 closely  or too tightly--about six or  
seven stitches to a quarter of an inch4 
,the inner row is worked in open        
button-hole loops 7see ,fig4 #eb71 one  
loop into the head of every fourth      
stitch2 this can be strengthened by     
working back along the top1 one stitch  
into each loop4 ,a close row of         
button-holing1 or1 if preferred1 another
 row of open button-holing1  should be  
sufficient to fill the circle4 ,carry   
the thread down over the  first         
button-hole loop1 which is a single     
thread1 and secure it at the  back of   
the linen4    ,the centre filling1      
composed of groups of three loops and   
pyramids1 is  worked as in ,fig4 #ei4   

,the working of continuous pyramids is  
described  in connection with the cosy  
slip4 ,isolated pyramids are worked in  
a slightly different manner4 ,starting  
from the left1 work seven  button-hole  
stitches into the heads of the seven    
stitches surrounding  the open space2   
overseam back to the left2 work six     
button-hole  stitches into the previous 
row2 overseam back2 work five           
button-hole  stitches and overseam back1
 when there is only one stitch left2    
overseam down the right side of the     
pyramid2 this brings the needle  into   
position to work the next group of      
loops4 ,when all pyramids and  loops are
 finished1 pick up a pyramid and a loop 
alternately with a  button-hole stitch  
into each2 overseam one stitch into each
 loop1 then  down the side of the       
last-made pyramid2 fasten off at the    
edge4    ,the flowers in ,plate ,,xiv4  
are worked down the outer edges in blue 
and  white linen embroidery thread4 ,the
 stitchery used can be fairly well  seen

 from the illustration4 ,the largest    
flower in the corner has a row  of      
eyelet holes1 made at equal distances to
 finish the hedebo centre2  the space is
 further ornamented with open           
button-holing 7,fig4 #ec1  ,plate ,x47  
in blue4 ,this stitching should be      
commenced at the centre2  the final row 
is worked into the linen and headed by a
 line of back  stitch in white2 a line  
of chain stitch in blue finishes the    
flower4  ,the flower on the left has a  
waved line of closely set ,french knots1
  filling up the space1 followed by a   
row of chain stitch in white4 ,the      
little outer spaces between the curves  
are filled in with oriental  stitch     
7,fig4 #ah72 these alternate with       
,french knots worked in blue4  ,the     
flower on the right is filled in with   
loop or petal stitch1 and  finished with
 a double row of blue knots4    ,rhodes 
embroidery is rather different from the 
other peasant  embroideries4 ,it is less
 varied1 and so it is more monotonous   

and  less interesting to work than many 
of the openwork or drawn-thread         
varieties4 ,it seems to be of very      
ancient origin1 and though it has  been 
brought into prominence lately1 under   
different names1 it is only  a revival  
of the old form of needlework done by   
the people of the  ,isle of ,rhodes and 
adapted to modern methods4 ,the old work
 was done  on hand-made linen2 the      
background was worked in red and the    
design  left in the linen1 with an      
outline stitch to define it2 it was     
thrown  strongly into relief by the     
colour of the worked background4        
8,punch ,work40--,in ,america this      
embroidery is known under the name  of  
8,punch work40 ,it is much used as dress
 trimmings and for bed linen  and table 
wear2 as the fabric is not weakened by  
the withdrawal of the  threads1 it      
stands wonderfully well for articles of 
daily household use4    ,the linen      
should be loosely-woven so that the warp
 and weft threads can  be gathered      

easily together without puckering the   
work--if hand-made1  so much the better2
 a linen working thread1 strong but     
fine1 and  a thick needle are required  
so as to separate the strands of the    
material4 ,special needles may be had   
from needlework depots at #a;d4  each4  
,the strong fine thread draws the       
clusters together and yet does  not fill
 up the open spaces which are a feature 
of the background4 ,fig4  ,m1 ,plate    
,,ii41 gives an idea of how the stitch  
is worked1 but in the  figure the       
working thread is cotton1 and each group
 of five threads is  gone over twice1 so
 that the open spaces are rather smaller
 than they  would be if a linen thread  
had been used4 ,when the material has   
been  chosen and the design traced on1  
fix the work on to a drawing-board1  and
 with a ruler mark off the dots in rows 
one-eighth of an inch apart2  note      
particularly in starting the first row  
of dots1 that they are in  a perfectly  
straight line--with the warp or weft of 

the linen2 this is  very important1 as  
the work will not look well unless care 
is taken  in marking these dots4 ,if the
 warp and weft lines of the material are
  easily followed without strain to the 
eyes1 these dots need not be  marked1   
but in many cases it is better to have a
 guide of some sort1  particularly when 
fine linen or muslin is used4 ,another  
method of  marking in the pattern of    
dots is to use an open canvas as a      
guide2  this can be placed over the     
linen and fixed with drawing-pins at the
  top2 the dots can be marked with a    
knitting needle or traced at regular    
intervals through the threads of the    
canvas with a sharp-pointed  pencil4    
,the only difficulty in using the canvas
 is that the lines of  warp and weft of 
the linen are hidden1 so care must be   
taken to make  both materials           
correspond1 otherwise the dots will be  
off the straight  line and the work will
 prove most unsatisfactory when         
finished4  ,some workers prefer to do   

the outlining of the design first and   
the  background afterwards1 others      
reverse the process--much depends on    
the worker herself2 the background can  
be kept free from puckering by  placing 
the work in a frame4    ,to work ,fig4  
,m4--,tie the thread to begin with2     
bring the needle out  at the first dot  
of the top left-hand corner2 put it down
 through  the dot to the right2 pull the
 three or four strands together and     
repeat this horizontal stitch to        
tighten2 pass the needle diagonally     
under to the second left-hand           
dot--exactly under the first2 make an   
upward stitch into the first dot2 pull  
strands together2 repeat stitch  and    
tighten--this brings the needle to the  
surface again with one  horizontal and  
one vertical stitch completed4 ,repeat  
these two stitches  to the end of the   
row4 ,these stitches should form three  
sides of a  square1 the fourth side     
being added with the second row4        
,when the edge of the space is reached1 

turn the work round so as to be  able to
 work from the top down1 as at starting4
 ,make a little stitch to  keep the     
thread firm1 on the wrong side1 then    
bring the needle out at  the dot to the 
left2 put it down through the previous  
hole--horizontal  stitch2 repeat2 take a
 vertical stitch1 putting the needle    
down into  the previous hole1 and1      
completing the square 7,fig4 ,m71       
repeat2 pass  the needle diagonally     
under the material to the next dot1 and 
so on4  ,when a very fine material is   
used the groups of threads may be held  
together by a single stitch instead of a
 double one4 ,this background  may be   
worked in a different way1 all the      
horizontal stitches being  worked first1
 and then the whole turned half round   
and the vertical  stitches1 which are   
now horizontal1 worked next4 ,this may  
commend  itself to some1 being rather a 
simpler method2 it is done entirely in  
horizontal stitches and needs no        
description after studying the first    

method4 ,after the background is        
finished the design may be worked in    
with satin stitch1 chain stitch1 outline
 stitch or button-hole stitch4  ,this   
should be done in the hand4             
,richelieu ,embroidery4--,richelieu     
embroidery--another of the  embroideries
 worked in button-hole stitch--is even  
simpler in  execution than ,danish work1
 as the material is not cut away until  
the  button-holed bars--which connect   
the pattern--are finished4 ,it is       
worked in the hand1 generally over a    
piece of toile cire--,american  cloth   
specially made for embroidery4 ,the     
entire design is outlined in  small     
tacking stitches with embroidery cotton2
 the bars are then worked  in--they     
always have picots1 which is            
characteristic of ,richelieu work4  ,for
 the working of bars see ,fig4 #bd1 and 
of picots1 ,fig4 #eg4 ,care  must be    
taken to secure the ends of the bars1 by
 passing the needle  through the linen  
to the back and making a stitch1 before 

running the  stitches along the outline 
to the point for the making of the next 
bar4 ,the design is then button-holed   
all over in equal-sized stitches2  the  
flower centres are worked in1 and       
finally the linen is cut away  very     
close to the button-holed design with a 
sharp pair of embroidery  scissors4     
,illustration3 ,,fig4 #eb4    ,edging3  
,point de ,bruxelles 7,fig4 #eb74--,this
 ,fig4 #eb1 which consists  of a piece  
of ,honiton braid with an edging1 shows 
the working of one of  the most         
elementary of the lace stitches4 ,it    
will be seen at a glance  that it is the
 familiar button-hole stitch worked in  
loose loops2  to lace-makers it is known
 as point de ,bruxelles4 ,it is a stitch
  constantly in use with them as it     
forms a good foundation net1 and        
charming patterns may be made with it   
when worked in rows1 backwards  and     
forwards4 ,point de ,bruxelles is       
frequently found in laces of  different 
types as it may be worked closely or    

openly to suit various  styles and      
designs4 ,the stitches are worked into  
the loops of the  previous row2         
sometimes a strengthening thread is     
stretched from right  to left1 in which 
case the button-hole loops are worked   
from left to  right over this thread1 as
 well as into the loops of the upper    
row4  ,there are many beautiful         
varieties of patterns for covering      
spaces or  openwork fillings to be made 
from this simple foundation stitch1 by  
varying the grouping of some and        
duplicating others 7,fig4 #ec74 ,what is
  known as double-net stitch has two    
button-hole stitches worked into  each  
of the loops of the previous row4 ,when 
used as a surface stitch  worked in     
coarse threads the loops may be fairly  
loose1 provided care  is taken to keep  
them regular in shape and size4 ,for    
those who are not  expert a frame is    
helpful or a piece of stiff glazed      
calico or brown  paper--either might be 
utilised to keep the material stretched4

    ,as a filling for an open space they
 should be worked much smaller and      
closer in a linen thread1 the size      
mainly depending upon the opening to  be
 filled in4    ,illustration3 ,,fig4    
#ec4    ,point de ,sorrento4--,in this  
7,fig4 #ec7 there is a pleasing variety 
of  the same stitch4 ,it also has a     
special name among laceworkers--point   
de ,sorrento1 although only varying     
slightly in the arrangement of the      
loops from point de ,bruxelles4 ,it is  
used principally for the filling  of    
open spaces and is comparatively quickly
 worked4 ,good results1 too1  can be had
 by filling in large spaces with woollen
 threads of the  twisted type4 ,in the  
first row the stitches are taken rather 
closely  together but equally           
distributed in the second row2 one      
stitch is  worked into the last loop of 
the first row2 one loop is missed2 one  
stitch into each of the two following   
loops1 and so on across the  space4 ,the
 pattern starts on the left side and is 

worked to and fro1  the third row1      
therefore1 starts from the left again   
with one stitch  into the smaller loop  
and three into the wider loop4          
,illustration3 ,,fig4 #ed4              
,illustration3 ,,fig4 #ed;,a4    ,fig4  
#ed is rather a favourite pattern1 but  
the making of the small  wheels or roses
 is just a little tedious4 ,the         
foundation is a row of  looped          
button-hole stitches1 similar to ,fig4  
#eb1 worked into a circle  of braid or a
 row of not too closely worked          
button-holed material as  described on  
p4 #ach4 ,if the circle is small1       
another row added to this  and drawn up 
by overcasting the inner circle will    
often be sufficient4  ,the little wheels
 take up quite a large space themselves1
 but where  such elaborate stitching is 
wanted they look very effective4        
,method3--,after the row of open loops  
has been made1 overcast a single  stitch
 into each loop and draw up the thread  
to tighten the circle2 the  first row of

 open button-holing should be nicely    
spaced to leave room  for the forming of
 the little wheels4 ,the little         
wheel-like forms are  woven in and out  
of the connecting stitches as is clearly
 shown in ,fig4  #ed;,a4 ,another method
 of filling in a circle is as           
follows3--,make a row  of open          
button-holing as ,fig4 #eb1 spaced      
widely1 so that there may be  eight or  
ten loops in the round4 ,this done1 draw
 them up by overcasting  one stitch into
 each loop2 then carry the thread back  
to the edge of  the braid at the        
starting point of the first button-hole 
loop--this  is necessary to complete the
 first loop1 the last half of which1 so 
far1 has only got one strand4 ,add two  
more threads to this half-loop  by      
carrying the needle to the centre and   
back again2 this acts as a              
strengthening or padding thread to the  
half-loop1 which has now to be          
button-holed from the outer edge to the 
inner circle4 ,each loop is  worked in  

the same way1 always adding the padding 
threads and starting  the button-holing 
from the braid1 and from there working  
towards the  centre4 ,when each loop has
 been worked1 button-hole round the     
inner  circle with the heading towards  
the outer ring2 slip the thread up      
through the first bar and finish off    
neatly4    ,illustration3 ,,fig4 #ee4   
,fig4 #ee gives a simple method of      
filling in a square opening with a      
circular form4 ,it is not so complicated
 as one might suppose4 ,start at  the   
lower left-hand corner and lay the      
threads for the square2 then  the first 
diagonal line is stretched across to the
 top right-hand  corner2 overcast it    
back--in the method shown in the        
diagram--as far  as the centre only4    
,from this point--the centre--each      
thread is laid  in succession to the    
edge--vertical1 diagonal1 horizontal1   
each one in  turn--and overcast back to 
the centre2 when the circle is complete1
  overcast the second part of the first 

diagonal back to the edge4 ,the  loose  
button-hole loops are then worked1 two  
into each side of the side  and the     
thread1 passing round the first         
incomplete loop1 is interlaced  round   
the inner circle to strengthen and      
tighten it 7compare ,fig4  #ee74 ,now   
complete the first button-hole loop2    
make the final outside  circle and      
finish off the thread4 ,if the filling  
looks rather thin when  finished it may 
be solidified by working a row of close 
button-holing  round the inner circle4  
,this stitch is an interesting one and  
rather less used than the common  point 
de ,bruxelles1 on account of the initial
 difficulty of keeping  it quite        
regular2 a little practice very quickly 
gives facility to a  careful worker4    
,illustration3 ,,fig4 #ef4    ,a        
,netting ,knot 7,fig4 #ef74--,the knot  
is similar to that used for  netting4   
,in working an open space as in ,fig4   
#ef1 it will be found of  considerable  
aid--towards the equalising of the      

loops--if horizontal  lines are drawn on
 the foundation material4 ,the loop may 
be fixed with  a pin into position1 and 
the needle being inserted behind the    
loop of  the upper row and the stretched
 thread1 the working thread is then     
twisted over and under the needle before
 the thread is drawn up4 ,this  stitch  
can also be worked without the          
strengthening horizontal lines1  either 
in diagonal or straight lines4 ,to work 
it diagonally1 make  the first loop in  
the left top corner of the square2      
overcast a few  stitches along the top  
to reach the position for starting the  
second  row2 each loop is secured with  
the knot as in ,fig4 #ef1 their         
regularity  and equal length being      
ensured by the pin which is stuck into  
the  foundation4 ,in netting1 a knitting
 needle or small mesh is used  instead  
of a pin4    ,illustration3 ,,plate     
,,xiv4    ,,corner ,,of ,,cot           
,,coverlet--,,unfinished 7,see p4 #ach7 
,edgings4--,a very dainty and durable   

little edging may be made by  working   
this knot on to a coloured or a lace    
braid4 ,in ,fig4 #cj the knot  comes at 
the edge of the material1 while with    
this point ,turc knot  the edge of the  
loop is knotted4 ,if the loop in the    
edging in ,fig4 #cj  is worked rather   
tighter1 it also makes a very durable   
finish4    ,illustration3 ,,fig4 #eg4   
,picots 7,fig4 #eg74--,the little pin   
picot is occasionally used as a  finish 
to a button-hole edging4 ,it is rather  
ineffective1 having only a  single      
thread1 which is apt to disappear after 
a little wear4 ,fig4 #bc  gives a much  
more substantial picot in bullion       
stitch4    ,to work ,fig4 #eg1          
button-hole a few stitches along the    
edge or bar as  the case may be2 fix a  
pin into the material or bar and pass   
the thread  under it2 take a stitch into
 the material2 bring the needle out at  
the  back2 slip it under the three      
threads from left to right 7see ,fig4   
#eg7  and draw through4 ,make a firm    

knot close to the edge of the material1 
then continue the button-holing till the
 next point is reached4    ,venetian    
,picot4--,a more substantial picot is   
used in ,venetian lace  and embroidery  
as follows3--,make a connecting bar by  
stretching three  threads across from   
one edge of the opening to the other1 as
 in ,fig4  #bf4 ,button-hole half-way   
across1 then insert a pin as ,fig4 #eg1 
but  pass the thread under the pin and  
over the bar twice2 then begin to       
button-hole the picot at the point where
 the pin is inserted and work  five or  
six button-hole stitches till the bar is
 reached2 the point  must be closely    
covered1 then continue the button-holing
 of the bar4    ,illustration3 ,,fig4   
#eh4    ,fig4 #eh1 a1 b1 c1 show how a  
solid little picot may be worked as  an 
edging2 it should have some decorative  
stitch to join up the picots1  such as  
large overcasting1 button-hole1 chain or
 couching stitch4 ,it  is generally     
easier to work the picots with the edge 

held away from  the worker4 ,make a loop
 as at a2 fasten it with a pin2 then    
take the  thread to the top of the loop 
and pass it round as b4 ,then interlace 
backwards and forwards1 passing the     
needle under the thread before  going   
over to the opposite side1 c4 ,repeat   
four or five times until  the loop is   
filled4 ,a twisted thread of a fairly   
thick make is most  suitable for these  
picots4    ,illustration3 ,,fig4 #ei4   
,a ,button-hole ,edging4--,fig4 #ei     
shows how to work an edging which is    
particularly suitable for household     
linen1 table mats1 towels1 etc42  being 
both strong and durable1 it will stand  
the hard wear which  household articles 
in daily use are subjected to4    ,figs4
 #fj and #fa are very good surface      
stitches1 both of which make  bold and  
most effective headings to a border or  
band of needle-weaving4  ,both depend   
considerably on the care with which the 
foundation stitches  are worked2 if     
these are not equally distributed and   

the interlacing  thread carefully       
adjusted to form the circles or links of
 the pattern  the decorative value of   
the line or filling is spoilt4          
,illustration3 ,,fig4 #fj4    ,a ,border
 ,stitch 7,fig4 #fj74--,to work as ,fig4
 #fj three rows are  required to        
complete the stitch4 ,first make a row  
of horizontal  stitches on a level with 
each other2 then take a long thread and 
pass  the needle1 eye foremost1 up under
 the first small stitch1 down through   
the second1 and so on1 till the first   
row is finished--the second row  of     
interlacing completes the link4         
,illustration3 ,,fig4 #fa4    ,an       
,interlacing ,border or ,filling 7,fig4 
#fa74--,the stitch may also be  used as 
a background or filling1 in which case  
the ground must first  be patterned over
 with alternating rows of horizontal and
 vertical  stitches1 equally spaced4    
,the vertical stitches hold the lower   
and  upper edges of the links           
together--one such stitch is seen on the

 left  of ,fig4 #fj4 ,fig4 #fa looks    
well if the foundation stitches are     
worked  in one colour and the           
interlacing threads in another4 ,by     
looking at  the figure it will be seen  
that four small horizontal stitches are 
required to support the interlacing     
threads1 in groups of two4 ,these  must 
be equally spaced so that the rings may 
be equal in size4 ,after  the foundation
 stitches are worked proceed exactly as 
in ,fig4 #fj4 ,take  a long thread for  
the interlacing of the first row2 pass  
the eye of the  needle foremost through 
the small stitches to prevent splitting 
of the  threads2 follow by a second row1
 which completes the ring4    ,fig4 #ac 
gives a row of large back stitching with
 an interlacing thread  which is worked 
in a similar way1 and which makes a good
 firm line or  heading to a border or   
hem4    ,illustration3 ,,fig4 #fb       
,two ,leaf ,fillings 7,fig4 #fb74--,this
 filling for a leaf or oval form  is    
quickly worked2 it may be used equally  

well for a surface stitch4  ,fig4 #fb   
represents a leaf with a lace braid for 
the outline4 ,the  central thread which 
forms the mid-rib is stretched first1   
the loosely  worked loops are then      
threaded over this4 ,this very simple   
arrangement  looks remarkably well1 and 
can be still further enriched by spacing
 the  loops much wider apart1 stretching
 horizontal lines across the spaces  and
 forming little woven wheels1 or        
rosettes1 over them1 down the  mid-rib4 
,this is1 of course1 a much more        
elaborate type of leaf1 and  would be   
used to fill quite a large space4       
,there are many simpler methods of      
filling leaf forms or oval spaces--a    
row of button-holing1 point de          
,bruxelles 7,fig4 #eb7 worked round the 
inner edge1 followed by one or two rows 
of looped button-hole stitch  7,fig4    
#ec71 and closed down the centre by a   
line of faggot1 or ,russian  stitch1    
finally overcasting a few stitches to   
the edge in order to  finish off the    

thread neatly4    ,similarly1 ,fig4 #fb 
b1 may also be worked either as a       
surface filling  or as an open one4 ,the
 horizontal lines are stretched first1  
then  overcasting from left to right of 
the straight lines fixes these          
transverse threads2 otherwise they would
 be apt to get out of place1 as  they   
are only threaded over the one line and 
under the other4    ,point de ,venise   
7,fig4 #fb a74--,this can be worked on  
to baby  garments1 or to any article    
where a dainty finish is required4 ,it  
looks  even better if the heading is of 
some of the lace braids4 ,the thread is 
secured at the edge and a looped stitch 
is taken as a foundation thread  into   
which are worked four button-hole       
stitches--to form a scallop4  ,this     
charming edging is much used in point de
 ,venise4 ,the same stitch  also makes a
 beautiful filling pattern4    ,a       
,useful ,bag4--,plate ,,xiii4           
illustrates what may be done with such  
simple materials as canvas1 braid and   

wool4 ,the foundation of canvas  has the
 design traced on to the material2 it   
consists of a series  of little circles 
and half-circles1 which overlap here and
 there1  and which are eventually turned
 into gay little conventional flowers   
by means of bright-coloured wools4      
,these flowers are mostly worked  in    
petal stitch 7,fig4 #c;,a71 and ,french 
knots 7,fig4 #bb;,a74 ,the band is      
enclosed by two rows of braid1 oversewn 
with green1 blue and purple  wool4 ,the 
foot of the bag is made up of an oval of
 braid worked in rows  from the centre  
outwards2 the tassels1 also of braid1   
are brightened  by rings and tags of    
wool2 little thin lines of tinsel       
threads are  darned into the            
canvas--these serve to connect the      
embroidered band  with the upper        
decoration4 ,the embroidered rings which
 hold the draw  strings are extremely   
pretty4 ,this note of originality1 and  
indeed1  the whole bag1 conveys to one's
 mind the impression of the bright      

personality of the worker who thus gives
 outward expression of the joy  it gives
 her to work with her needle4           
,,chapter ,,xiii    ,,decorative        
,,flowers ,,and ,,leaves--,,edging ,,and
 ,,insertion     8,take the gifts1 too1 
to serve as monuments of my hand        
labour40      ,these little flowers are 
a dainty trimming for hat bands 7,plates
 ,,ix4  and ,,xii471 collars1 ribbon1   
ties and jumpers1 for dress decoration1 
or  as an addition to almost any article
 of daily wear3 further1 they are  so   
simple to work that a very few          
directions will enable any one to  make 
and apply them to whatever object may be
 chosen for decoration4                 
,crochet4--,all crochet consists of a   
series of little loops made by a  needle
 or hook1 these being worked or drawn   
together in various ways  to form       
patterns or designs suitable for        
edgings1 insertions1 motifs1  etc41 for 
domestic use1 and innumerable articles  
of personal wear4    ,the foundation    

stitch is a chain1 and all patterns     
commence with  it--two or three or more1
 according to the article to be formed4 
,most  crochet patterns are worked in   
rows1 backwards and forwards1 or all    
from one end2 in the former case1 the   
work must be turned at the end  of the  
row1 after making two or three stitches 
to allow for turning2  therefore1 the   
second1 fourth1 and sixth row1 etc41    
will be worked on  the opposite side    
from the first1 third1 and fifth1 etc4  
,when the rows  are all started from the
 same end1 the wool must be cut off at  
the end  of each row1 and commenced     
again at the beginning of the next4     
,crochet  is worked1 as in ordinary     
needlework1 from right to left4         
,illustration3 ,,fig4 #fc4    ,chain    
,slip-knot 7,fig4 #fc74--,we will start 
then with a slip-knot1  which forms the 
first loop for the chain 7,fig4 #fc74   
,wind the wool once  round the first two
 fingers of the left hand and pull the  
long end of  the wool through the circle

 thus made in a such a way as to form a 
loop2 insert the hook2 pull both ends of
 the wool and tighten the knot          
sufficiently to leave an easy passage   
for the hook through it4 ,the next      
stitch is made by taking up the long end
 of the wool with the hook and  drawing 
it through the loop4 ,repeat this       
process until the length of  chain      
required has been obtained 7,fig4 #fd74 
,a little practice will soon  give the  
regularity of stitch necessary4         
,illustration3 ,,fig4 #fd4    ,single   
,stitch4--,to practise single crochet1  
make a chain about #ab  inches long2 put
 the hook into the upper half-loop of   
the second chain2  throw the wool over  
the point and draw it through this      
half-loop and  through the loop which is
 already on the hook4 ,proceed in this  
way to  the end of the chain2 work one  
chain2 turn and work back again1 taking 
care to put the hook into the upper half
 of the stitch of the previous  row4    
,thus the first stitch of each          

succeeding row is always worked into    
the back of the last stitch of the      
preceding row4    ,illustration3 ,,plate
 ,,xv4    ,,two ,,simple ,,baskets 7,see
 p4 #afi7      ,double ,stitch4--,double
 stitch is not very different from      
single  stitch4 ,put the hook into the  
upper half of the third chain from the  
hook1 as in single stitch2 pass the wool
 over the hook and draw it  through4    
,there are now two loops on the hook4   
,pass the wool over again  and draw it  
through these two loops2 continue to the
 end of the chain  and turn as in single
 stitch4    ,treble ,stitch4--,this     
stitch uses up much more wool than the  
two  preceding ones4 ,begin by passing  
the wool over the hook1 then insert it  
in the upper half of the chain already  
made2 draw the wool through and  there  
will be three loops on the hook4 ,put   
the wool over the hook and  draw it     
through two loops2 put it over a third  
time and draw through  the two remaining
 stitches4 ,that completes a treble     

stitch4 ,it will now  be noticed that   
for a single stitch the wool passes over
 the hook once1  for a double stitch it 
passes over twice1 and for a treble     
stitch it  passes over three times4     
,long ,treble ,stitch4--,long trebles   
are made by passing the wool twice  over
 the hook to begin with1 then working it
 by drawing the needle  through two by  
two1 always remembering to pass the wool
 over the hook1  just as in treble      
stitch4 ,when working trebles to and    
fro1 four or  five chain stitches must  
always be made at the end of each row   
before  turning4 ,when the work is      
turned1 these chain stitches form1 or   
rather  replace1 the first treble1 which
 is skipped4 ,this keeps the edges more 
regular4    ,illustration3 ,,fig4 #fe4  
,ladder ,insertion 7,fig #fe74--;,fig4  
#fe forms a useful little insertion  or 
ladder on which to place the crochet    
flowers4 ,it connects the  groups and   
prevents the spotty appearance which    
would be rather a  disadvantage if the  

flowers were scattered in arrangement   
7,plate ,,xii474  ,it is very simply    
worked4 ,make a chain the required      
length1 then add  three or four stitches
 for turning1 to allow for the depth of 
the  treble2 insert the hook into the   
fifth half-loop1 counting backwards1    
and make a treble stitch as described   
7p4 #aeg72 crochet one or two  chain    
between each treble stitch to correspond
 with the number of chain  stitches     
passed over4    ,hooks4--,in making the 
flowers1 it is better for a novice to   
work with  a bone crochet hook and wool2
 steel hooks are used for fine threads1 
flax1 silk1 or cotton1 and are not quite
 so easy to manipulate as bone  or      
wooden ones4 ,the point of the hook     
ought to be quite free from  roughness1 
as the wool or thread of any kind is so 
easily ruffled4    ,illustration3 ,,fig4
 #ff4    ,flowers 7,fig4 #ff74--,to make
 the simplest flower1 work five chain   
and join 7,fig4 #ff a74 ,this figure is 
worked very loosely in order to  show   

the method4 ,then make seven chain and  
one double crochet into the  ring2 five 
chain and one double crochet into the   
ring4 ,work in this way  until seven    
little petals have been formed1 then    
join into the third  chain2 finish off  
by cutting the wool and pulling it      
through4 ,thread a  needle with the cut 
end1 and slip it down the chain to      
fasten off4 ,this  forms a tiny flower1 
which may be duplicated in various tones
 of the  same colour and sewn on to the 
foundation with cross stitch or ,french 
knots4 ,the sizes of the flowers will   
vary considerably according to  the     
thickness of the hook and thread used1  
as well as to the method of  working1   
but it is always better to crochet      
flowers firmly to keep them  in shape4  
,illustration3 ,,fig4 #fg4    ,a more   
elaborate ,flower 7,fig4 #fg74--;,fig4  
#fg gives a slightly more  elaborate    
flower4    ,method3--,work six or seven 
chain and join by pulling the loop      
through  the first stitch4 ,to make the 

petals1 work four chain2 three treble   
stitches into the ring2 four chain and  
one single or double stitch into  the   
ring--this completes a petal4 ,notice   
that the four chain at the  beginning   
and end form the sides of the petal4 ,be
 careful not to split  the wool while   
working1 as this spoils the appearance  
of the flower4  ,make five1 six1 or     
seven petals and join at the ring as    
before4    ,if a larger flower is       
wanted1 make a small flower as ,fig4 #ff
 for the  centre1 and work the petals   
into the openings instead of into the   
ring2  the petals may be made fuller    
also by adding more treble stitches to  
each one4    ,figs4 #ff and #fg1 if     
worked in silk1 cotton1 or flax1 make   
quite a  pretty decoration2 the flowers 
may be folded into various shapes and an
  interesting touch of colour or a      
stitch here or there1 or an outline of  
button-holing will add richness and     
variety to the work 7,plate ,,xv474     
,illustration3 ,,fig4 #fh4    ,leaves   

7,fig4 #fh74--,leaves are quite simple  
to make1 and1 of course1  will vary in  
size and form1 just as the flowers do1  
according to the  size of the hook and  
the thickness of wool used4 ,a chain    
forms the  mid-rib of the leaf1 and into
 this double1 treble and long treble    
stitches are worked up one side of the  
chain and down the other1 the  long     
trebles coming at the widest part and   
decreasing towards the tip4             
,method3--,make nineteen chain as a     
foundation2 work one single stitch  into
 the second chain from the hook1 one    
double crochet into each of  the next   
two chain1 one treble stitch into each  
of the next two chain1  one long treble 
into each of the next eight chain1 one  
treble into each  of the next two chain1
 one double crochet into the next chain1
 three  double crochet into the last    
chain4 ,these three stitches form the   
tip  of the leaf4 ,continue with one    
double crochet into the next chain2 on  
the other side of the chain a treble    

stitch into each of the next two  chain1
 and so on--repeating the stitches as on
 the ascending side--to  the end of the 
chain 7,plate ,,xii474 ,this leaf may be
 enlarged by working  a row of double   
stitch all round1 while a smaller one   
may be made  by starting with thirteen  
or fifteen chain and putting in fewer   
long  trebles4    ,illustration3 ,,fig4 
#fi4    ,wired ,leaves 7,fig4           
#fi74--;,another type of leaf 7,fig4    
#fi7 is made  with two lengths of       
covered green millinery wire--any wire  
will do  so long as it is covered--which
 are tied together in the centre with   
green silk and then bent into the form  
of a leaf and fastened at  the foot with
 silk or wool4 ,the wire is then        
interlaced with wool1  flax1 or silk1 or
 chenille1 in green1 blue1 or any colour
 desired4 ,as  the weaving proceeds in  
and out1 take care to push the rows     
closely  together until the tip is      
reached2 pass the needle and thread     
twice  round the tip and slip the needle

 down the centre to the stem1 where  the
 thread is wound round and round until  
it is firm and a sufficient  length of  
stem is covered4    ,wired              
,flowers4--,flowers may be made in the  
same way1 each petal being  treated as a
 leaf2 five or six are then tied        
together to form the stem1  and ,french 
or bullion knots added in another       
colour--to give stamens  and pistil for 
the centre4    ,illustration3 ,,fig4    
#gj4    ,a ,,useful ,,cord 7,,fig4      
#gj74--;,fig4 #gj makes a very good     
finish for various  purposes2 it is a   
chain made with double stitch4 ,begin   
with two chain2  put the hook into the  
first chain2 pass the thread over and   
draw it  through in a loop2 pass the    
thread over again and draw it through   
the  two loops on the hook2 put the hook
 into the left side of the stitch  just 
made2 pass the thread over the hook and 
draw it through2 pass the  thread again 
over the hook and draw it through both  
stitches2 continue  in this way till    

length required has been worked4 ,this  
little cord  will be useful for bags1   
edgings for coats and jumpers and many  
other  articles4    ,illustration3      
,,fig4 #ga4    ,tricot 7,fig4           
#ga74--;,fig4 #ga represents another    
type of crochet1  sometimes called      
,victorian or ,tunisian crochet or      
simply crochet  tricot4 ,it makes a     
firm1 close1 yet elastic piece of work1 
and is  specially suited to the making  
of children's slippers1 scarves1        
bonnets1 reins1 braces1 collars1 hat    
bands1 etc4 ,it is always worked  in    
rows--never in rounds--and a long       
straight hook with a knob at the  end is
 necessary as all the stitches on the   
advancing row are kept on  the hook and 
worked off on the return row--these two 
rows complete the  stitch1 which is     
worked on the right side backwards and  
forwards4    ,tricot crochet is         
commenced with a chain the exact length 
and finished  off with single stitch4   
,a ,tricot ,collar 7,plate ,,ix474--,the

 collar in ,plate ,,ix4 is worked in    
,knox's linen 8cord0 floss thread4 ,make
 sixteen chain and work three  rows of  
double stitch to keep the ends from     
curling up as they would  do if the     
tricot stitch was started right away4   
,for the tricot1 the  loop row is worked
 thus3--,put the hook through the first 
stitch2 pass  the thread over and draw  
it through in a loop2 put the hook      
through  the second stitch and pass the 
thread over2 draw through in a loop2    
continue in this way to the end of the  
row1 when there should be  sixteen loops
 on the hook4 ,put the thread over the  
hook and draw it  through one loop2 pass
 the thread over and draw it through two
 loops2  keep on repeating this1 passing
 the thread over and drawing through    
two loops until there is only one stitch
 left on the hook4 ,these two  rows     
complete the stitch4 ,in the next row1  
the loop row1 put the hook  through the 
hole between the first and second       
stitches2 pass the thread  over and draw

 it through2 pass the thread over the   
hook again and draw  it through the     
first of the two loops on the hook2     
repeat to end of  row1 always putting   
the hook into the hole between the      
stitches2 count  the stitches at the end
 of the rows1 as it is quite a common   
mistake  for a beginner to increase or  
decrease by missing or making stitches4 
,the collar is finished with a row of   
single stitch right round1 a deep  picot
 fringe to the ends with flowers worked 
in ,knox's linen 8cord0  floss thread in
 delicate tints edged with silver thread
 and placed in  groups to give weight1  
interest and finish to the whole4       
,picots4--,picots 7,fig4 #gb7 make a    
dainty finish for an edging of  crochet1
 needlework1 or lace4 ,collars1 table   
mats and many small  articles may be    
improved by these light points of       
various shapes2 the  one objection to   
them is that they lose in appearance    
after washings  and so are not suitable 
for rough wear unless substantially     

made4    ,plain ,crochet                
,picots4--,crochet picots are quickly   
and easily worked4  ,for a plain        
triangular point1 make six chain1 then  
work one treble  stitch into the first  
chain made1 that is the stitch furthest 
from the  hook4 ,repeat six chain and   
one treble into the first chain for the 
length required--the six chain form the 
little triangular points or  picots1 the
 treble stitch forms the heading4       
,dropping ,picots4--,these dropping     
picots are a little more solid in       
appearance than the plain picots4 ,make 
five chain2 withdraw the hook  from the 
loop and insert it in the second of the 
five chain stitches  just made2 take up 
the loop dropped2 pass the thread over  
the needle  and draw it through the two 
loops2 repeat with five chain2 drop the 
last loop2 insert in second chain2 take 
up the dropped loop2 put the  thread    
over the hook and draw through both     
loops4 ,continue in this way  for the   
length required4    ,crochet ,lace      

,picots 7,fig4 #gc74--,lace picots1 as  
the name suggests1  are generally worked
 in fine threads2 nevertheless1 they can
 make very  effective trimmings if      
worked in wool or stout thread over a   
mesh1 and  will wear wonderfully well4  
,two-chain ,picots4--,commence with two 
chain2 put the hook into the  first     
chain2 pass the wool over and draw it   
through the stitch--there  are now two  
loops on the hook2 work two chain1 then 
slip the loop  nearest the end of the   
hook off on to a thin wire or mesh and  
repeat4  ,put the hook into the first of
 the two chain2 pass the wool over  and 
draw it through the stitch2 work two    
chain and slip off the last  loop4 ,it  
is sometimes easier to withdraw the     
needle from the two loops  instead of   
slipping the last loop off the end of   
the hook and to  replace it into the    
front loop4    ,this edging may be sewn 
to a piece of work4    ,illustration3   
,,fig4 #gb4    ,picots 7,fig4           
#gb74--,the following picot is worked   

directly on to  the edge of the finished
 piece of crochet1 or it may be worked  
into a  length of chain and overcast to 
the edge of any article suitable4 ,put  
the hook into the first stitch2 pass the
 wool over and draw through2  work one  
double crochet 7see p4 #aeg7 into the   
next chain2 draw out  the loop to the   
desired length for the picot and slip it
 on to a mesh  or pencil2 insert the    
hook into the horizontal stitch at the  
foot of  the loop2 pass the wool over   
the hook and draw a loop through2 make a
  double crochet stitch into the next   
chain2 draw out the loop and slip  on to
 the mesh2 repeat to the end of the     
work4    ,two-pronged ,fork4--,a very   
quickly worked insertion1 fringe1 or    
edging  may be made by means of a       
two-pronged fork4 ,the little implement 
can  be manufactured quite easily at    
home4 ,for a fringe1 a wooden fork is   
necessary1 with one wide and one narrow 
prong4 ,the usual fork is of  thick     
steel wire and varies in size1 but as   

steel wire is too hard  for the         
unskilled worker to manipulate1 a softer
 metal would be more  satisfactory4 ,a  
length of copper wire about one-eighth  
of an inch in  diameter and #ae inches  
long1 could be beaten into the form of a
 hairpin  7,fig4 #gc7 by means of a     
hammer2 if the metal is too hard to take
 the  curve it can be softened by       
annealing it4 ,the width between the    
prongs  may vary in different forks     
according to the width of the insertion 
to be made1 from half an inch to #c     
inches apart is the usual spacing4  ,the
 stitch is made with a crochet needle1  
which will also vary in size  according 
to the material used2 for working in    
fingering wool1 three or  four ply1 a   
,no4 #a steel crochet needle does very  
well4 ,cotton1 flax1  wool1 raffia1     
string and metal threads1 all may be    
worked up to form  various useful       
articles for decorative purposes4 ,an   
effective fringe  could be made by      
threading beads into the wool2 the beads

 could be kept  at the edge of the wide 
prong4    ,illustration3 ,,fig4 #gc4    
,an ,insertion or ,fringe4--,method of  
working3--,this insertion may be  worked
 in two ways4 ,by looking at ,fig4 #gc  
it will be seen that the  stitch is a   
very simple one4 ,make a slip-knot as   
,fig4 #fc1 and one  chain2 withdraw the 
hook4 ,place the fork with the prongs   
upwards in  the left hand1 between the  
thumb and the middle finger2 slip the   
chain  stitch on to the left prong with 
the thread towards the worker4 ,insert  
the hook from below into it1 then carry 
the thread round the right  prong and   
pass it over the point of the hook2 pull
 it through the loop2  make one chain2  
put the thread round the left prong and 
turn the fork  to the right--slipping   
the hook over the right prong at the    
same time  so that it remains in the    
same position between the prongs with   
the  handle to the worker2 insert the   
hook into the stitch on the left prong  
from below2 catch the thread and pull   

through2 there are now two loops  on the
 hook2 close these by putting the thread
 over and drawing it  through both4     
,repeat with the thread round the left  
prong as before4    ,raffia4--,a simple 
braid is done in three movements1 the   
fork being  turned between each three4  
,when the fork is filled1 closely       
covered1  slip off the loops and        
reinsert the two prongs into the last   
five  or six loops1 then continue for   
the required length4 ,two or three      
braids may be joined together by        
slipping one loop over another1 or a    
contrasting thread may be taken and two 
loops on the one side may be  joined    
together by a double stitch2 then make  
three chain2 two loops on  the other    
side1 joined again1 then three chain2   
working in this way1  the joining forms 
a little row of vandykes in chain       
stitch4 ,the outer  edges are then      
strengthened by one double stitch into  
two loops2 two  chain2 one double stitch
 into the next two loops2 two chain1 and

 so on4    ,carpet and skirt braids may 
be joined together by means of an       
insertion  made in twine or raffia--the 
latter being the more decorative4 ,after
  making a row of gimp on a wide-pronged
 fork1 connect it to the carpet  braid  
by working two double crochet stitches  
into each loop and two  into the        
braid--if a sufficient number of rows   
are joined together a  strong and useful
 shopping bag may be made1 finished with
 handles of  plaited raffia and braid4  
,a pretty crochet edging suitable for   
finishing off many articles of  personal
 wear or for domestic use1 which wears  
and washes well1 may  be worked directly
 on to the material4 ,work a row of     
button-hole  stitch into the edges of   
the material2 space the stitches rather 
widely so as to allow of an easy        
entrance for the crochet hook--this     
makes a daintier edging than inserting  
the needle directly into the  material4 
,it is worked in three rows--a linen    
thread gives the best  effect4 ,to work 

the first row1 begin with one double    
stitch into a  button-hole loop1 then   
two chain1 and one double crochet into  
every  second button-hole loop2 on      
approaching the corners1 work into every
  loop so as to allow the next row to   
lie easily round them--nothing  spoils  
good work so much as to see the         
stitching tightened and strained  round 
the edges and corners4 ,when the first  
row is finished join the  stitches with 
a single stitch and commence the second 
row4 ,make eight  or ten chain according
 to the thread used and size of loop    
wanted1 then  work double crochet into  
every third or fourth loop of the       
previous  row--give ease to the corners 
by working three double crochet into    
each  loop at the finish of the row2    
join as in second row4 ,for the third   
row work ten or twelve double crochet   
stitches over the chain loops1  as these
 stitches should cover the chain loops  
closely1 when they look  similar to     
button-hole stitching4 ,the appearance  

of this edging will  naturally vary     
considerably according to the size of   
the needle and  thread used4 ,a very    
serviceable edging1 not too minute1 is  
made with  a ,no4 #d steel crochet hook 
and linen 8,l4,c40 crochet thread1 ,no4 
#ad4    ,illustration3 ,,plate ,,xvi4   
,a ,,cushion ,,cover4    ,another       
,edging 7,plate ,,vii474--,a very       
effective edging is worked  into a row  
of needle button-hole stitch4 ,like the 
one above1 it wears  and washes well4   
,first row3 work one double crochet into
 one of the  button-hole headings2 make 
ten chain2 pass six button-hole loops   
and  work one double crochet into sixth 
loop2 continue making ten chain and  one
 double crochet until the row is        
complete4 ,break off the thread4  ,start
 the second row with one double crochet 
in the centre of the chain  loop2 make  
ten chain and work one double crochet   
into the centre of the  next loop1 and  
so on to the end of the row2 then join  
and break off the  thread4 ,the third   

row is worked in a coloured thread4     
,take a blue linen  or cotton thread and
 start this row by working into the     
first loop4  ,two double crochet1 four  
chain1 four double crochet1 four chain  
and  two double crochet4 ,work the same 
number of stitches in each loop4 ,the   
chain stitches form little picots2 this 
makes a dainty little finish to  a table
 centre4 ,compare ,plate ,,vii4         
,plate ,,xvb4 gives an example of a work
 bag made from rug canvas4 ,it  is      
worked in cross stitch in two shades of 
blue1 light green and a  reddish-purple 
raffia4 ,the edges are turned in and    
finished off with a  border of soft blue
 brush braid2 the handles are of raffia1
 plaited1 in  the different colours2 the
 basket is lined with a printed silk    
which  matches the various colours4     
,plate ,,xv4 gives a ,japanese basket   
woven in grass1 trimmed with            
cherry-coloured braid and crocheted     
flowers--the flowers are sewn on  with  
dark blue2 the lining consists of two   

shades of blue4 ,the handles  are of    
cherry-coloured carpet braid4 ,these    
baskets are so very useful  for the     
holding of odds and ends1 mending1 or   
embroidery4 ,some of the  simplest woven
 ,japanese baskets look very well when  
trimmed with braids  in gay colourings  
and little crochet flowers4 ,the busy   
woman might well  have one of these     
useful little baskets with work ready to
 her hand1 or  suitable in their        
contents to her various rooms4    ,a    
,cushion ,case 7,plate ,,xvi474--,the   
original is a charming piece  of work4  
,the background1 of a soft blue tone1 is
 worked in blues1  bright greens1       
heliotrope and cream4 ,the design1 in   
straight lines and  circles1 has two    
bars of needle-weaving1 the definite    
pattern of which  is shown to advantage 
by the plain woven bars on either side4 
,the bars  are worked similarly to the  
latchet darns which are frequently used 
instead of rings to support the draw    
strings of bags4    ,the design is so   

simple that it might be drawn directly  
on to the  material--this should not be 
a difficult matter if the threads of    
the canvas are regularly woven4 ,put in 
the main lines first--in the            
illustration these lines are worked in  
satin stitch2 use a ruler  and a chalk  
pencil--the latter is easily rubbed out 
if a mistake is  made--then run in the  
design in wool or thread4 ,measure off  
the bars  for needle-weaving1 but do not
 cut and draw the threads until ready to
  work them4 ,great care must be taken  
in planning out the various parts  of   
the design to have all lines running    
accurately with the warp and  weft of   
the material1 otherwise1 when the woven 
bars are put in1 they  will accentuate  
any mistake made4 ,the corners are in   
8laid0 stitch1  that is1 the threads are
 stretched loosely across from one side 
of the  square to the other1            
horizontally1 then vertically--or vice  
vers2  they are then sewn down at the   
junctions with tiny cross stitches1     

which requires some care if the squares 
are not to be displaced4 ,the  rows of  
running or tacking stitches accentuate  
the oval in the centre4  ,cut and draw  
the threads for the needle-weaving after
 the outer band  of satin stitch has    
been worked4 ,the plain bars should be  
worked in  first1 as they are simpler in
 construction4 ,when these plain bars   
are  finished1 divide up the strands    
into groups of seven for the pattern1   
and one group of eight--the latter forms
 the start and finish of the  pattern   
which should have four groups in each4  
,weave in all the purple  blocks to     
begin with2 these1 as may be seen from  
the illustration1  are widest at the    
base4 ,weave over seven groups for      
one-eighth of the  space2 leave out a   
group of threads on either side and     
weave over five2  then over three1 and  
then over one group2 each step is fully 
one-eighth  in height4 ,this process is 
then reversed1 and the weaving finishes 
at  the opposite side over seven groups4

 ,the start and finish over four  groups
 can be followed from the illustration4 
,the central figures  alternating in    
green and blue will then be woven in    
without difficulty4    ,the circles in  
the centre are worked in rows of satin  
stitch2 the flat  green beads are       
surrounded by ,french knots in cream1   
and each circle is  surrounded on the   
outer edge by button-holing in blue of a
 lighter tint  than the canvas4         
,useful ,hints4--,as a preliminary to   
the embroidery of a piece of work  comes
 the putting on of the pattern4 ,this   
may be done in different  ways1 but     
whichever way is chosen1 it is well to  
realise from the  outset that accuracy  
is essential4 ,all possible care should 
be taken  with the drawing on or tracing
 of the pattern or design2 all straight 
lines should follow the warp and the    
weft of the material1 when they  are    
visible--the slightest unevenness causes
 unnecessary trouble in the             
after-working4    ,transferring the     

,design4--,as previously mentioned1 in a
 design for  coarse canvas a geometric  
pattern may be put on with a ruler and a
  chalk pencil1 but as chalk gives a    
thickish blunt line and is also  very   
easily rubbed off1 it is necessary to   
fix the design1 either by  running it   
round with a needle and thread1 or by   
taking a fine brush  and going over the 
chalk lines with ,chinese white or oil  
paint thinned  with turpentine4 ,another
 method is to lay a sheet of tracing    
paper over  the design and trace it     
through clearly and accurately2 then1   
following  the plan of the little ones  
in the kindergarten with their          
embroidery  cards1 lay the traced       
design1 face up1 on a pad of felt1 or on
 two or  three folds of woollen         
material1 and prick little holes very   
closely  together1 along the lines of   
the design4    ,pouncing4--,a needle or 
a fine glass-headed steel pen will serve
  as a pricker4 ,lay the pricked design 
face downwards on to the                

material--which has previously been     
pinned on to a drawing board2 fix  the  
tracing1 and with a soft pad dipped in  
powdered chalk and charcoal  rub lightly
 across the holes from left to          
right--keep always rubbing  in the same 
direction2 on removing the tracing1 the 
pattern should  be perfectly clear4     
,take a fine brush and go over the      
design with  ,chinese white or red oil  
paint thinned with turpentine2 this is  
called  pouncing4 ,the superfluous chalk
 or charcoal will blow off4    ,carbon  
,paper4--,a simpler method is to use    
carbon paper1 which may be  had in      
yellow1 blue and red4 ,fix the material 
on a board and place the  design        
carefully and evenly on to it4 ,secure  
with drawing-pins at the  top           
line--leave the lower part free2 raise  
the design--like a flap--and  place the 
carbon paper1 colour downwards1 on to   
the material1 then pin  down the lower  
edges of the design4 ,do not put the    
pins through the  carbon paper as they  

leave an ugly mark wherever pressure is 
applied2  thus rings and bracelets      
should be removed before tracing4 ,the  
upper  pins keep the design in position1
 and progress may be noted by removing  
the lower pins and lifting the tracing  
and the carbon paper without  disturbing
 the position of the design4    ,yet    
another way is to trace the design      
through on to a piece of  tarlatan--an  
open-meshed muslin2 this being done1    
place the tarlatan  over the material1  
take a drawing pen1 and with ,indian ink
 run over the  lines already there4 ,if 
this is quickly done1 a clear line      
should show  on the material4           
,stretching4--,embroidery sometimes gets
 rather puckered while working4  ,it can
 be much improved1 not by ironing1 which
 is apt to flatten too  much1 but by    
stretching4 ,simple needle-weaving with 
flat stitchery may  be laid on to two or
 three folds of blanket and pressed     
without harm4  ,for most other kinds of 
work it is better to lay it face        

downwards on  a board which has already 
been covered with a napkin or a fine    
towel2  fix it at regular intervals with
 drawing-pins1 and while doing so       
stretch the material into its right     
shape1 if possible2 be careful not  to  
stretch it out of shape1 which would be 
worse than ever2 then lay a  damp cloth 
over the work1 leave it over-night to   
dry1 and the puckering  should have     
disappeared by the time it is dry4      
,there is really no need to pucker work 
if it is held properly4 ,some  stitches 
are more inclined to tighten than       
others1 but it is generally  when       
working across the material that they   
tighten it4 ,the work should  always be 
held in a convex position over the      
fingers1 and when working  in           
wools--which are sometimes very         
elastic--the needle-worker should  see  
that the threads lie easily over the    
surface4 ,if the background  appears    
rounded at the worked part on the       
under-side1 the wools are too  tightly  

strained4 ,when mistakes are made it is 
always wiser to cut them  out than to   
unpick--it does not harm the material in
 the same way1 and  it is not           
extravagant1 as threads are generally   
too much roughened for  use after       
unpicking4    ,knots1 as a rule1 should 
be avoided2 threads should always be    
cut1  not broken off4 ,the best way to  
commence a new thread is to run a few   
stitches on the right side on a part    
which will be covered afterwards  by    
embroidery4 ,this keeps the wrong side  
tidier1 and the threads more  secure4 ,a
 long thread does not make for good     
work1 as a rule2 it gets  roughened     
before it is finished and takes longer  
to pull through4    ,braids and thick   
threads can be taken through to the     
wrong side by  making a hole with a     
stiletto1 or by using a needle and      
thread4 ,bring  the needle through the  
hole and pass it round the braid1 then  
pass  it back through the same hole and 
pull the braid through the hole  with   

it2 in the case of a coarse thread1 the 
needle will make a large  enough hole4  
,in working with flax1 note the         
direction of the fibre by  drawing it   
through the fingers4 ,the needle should 
be threaded at the  smooth end1 so that 
when the thread is drawn through the    
material it  is not roughened4 ,in      
working with double wool1 cotton1 or    
silk1 pass  two separate threads through
 the eye--both threads are then running 
the  same way4 ,always keep the finished
 part of the embroidery covered up      
while working1 if possible2 it keeps it 
fresher and the threads do not  get     
rubbed4 ,hot hands discolour the        
threads1 roughened fingers ruffle  them4
 ,washing in warm water with the free   
use of pumice stone will help  in both  
cases4    ,washing ,woollen             
,embroideries4--,the soap should be of a
 good quality  and free from alkali1    
which injures the colours4 ,flake the   
soap and  dissolve it in boiling water2 
whip it into a lather2 add cold water   

until it is of a comfortable heat for   
the hands1 and put the embroidery  in4  
,squeeze and work it gently--but on no  
account rub it--until it is  clean1 then
 rinse in warm water1 and again in      
cooler water2 squeeze  the water out2   
hang up immediately--in the open air1 if
 possible2 dry  quickly and pin out on a
 board1 and iron damp on the wrong side 
on a  folded blanket4 ,white work may be
 washed in a lather of ,lux--any soap   
which does not contain alkali may be    
used4 ,proceed as for coloured  work1   
squeezing the dirt out1 not rubbing2    
rinse and stretch over a  towel or put  
in the open air till almost dry4 ,it is 
then laid face  downwards on several    
folds of blanket1 a damp cloth placed   
over it1 and  a hot iron passed         
backwards and forwards until it is quite
 dry--the  cloth prevents the iron from 
soiling the material on the back and    
equalises the moisture4 ,velvet should  
be held while being pressed1 or  the    
iron should be fixed face up and the    

velvet passed over it4 ,all  wools      
should be shrunk before being worked on 
to articles such as sash  curtains and  
coverlets1 which require washing4 ,steep
 them in a bath of  hot water for some  
hours2 hang them up--in the hank--to    
drip2 when dry1  they will be as soft as
 when new4    ,braids should be         
subjected to the same treatment--they   
may probably  lose a very little colour 
if they are not reliable of their kind4 
,practical ,hints about                 
,materials4--,there is sometimes        
difficulty in  obtaining threads and    
materials of a coarse make and weave    
suitable for  carrying out articles     
similar to those illustrated throughout 
the book4  ,a short list of the names of
 firms where such may be bought is given
  below for the benefit of readers4     
,canvases and crashes particularly      
suited to needle-weaving may be         
obtained from ,messrs4 ,brown and       
,beveridge1 ,ltd41 #aid1 ,bath ,street1 
,glasgow4 ,these are of good quality1 in

 great variety and excellent  colouring4
    ,titian canvas1 one of the heaviest 
makes1 is very suitable for runners1    
table covers and large objects          
generally2 it may be had in three       
widths1 #bg inches1 #ej inches and #gb  
inches1 in mole1 blue and soft  brown4  
,art canvas and antique canvas1 both of 
a regular weave in quiet  colours1 are  
lighter in make4    ,in vandyke canvases
 the warp and weft threads1 which are of
 different  colours1 blend very         
harmoniously4 ,art linens and bloom     
linens are  charming2 the latter are    
woven in two colours4 ,celtic canvas in 
cream1  fawn1 red1 green1 and a         
beautiful rich blue1 are guaranteed fast
 dyed4    ,cotton repps and ,sundour    
unfadeable materials are also suitable  
and  useful for household decoration4   
,messrs4 ,brown and ,beveridge1 ,ltd41  
also supply tapestry and crewel  wools  
and a soft thick silk thread known as   
,tyrian embroidery silk4    ,linens of  
different makes and colours can be      

obtained so easily that it  is not      
necessary to mention any special firm4  
,heavy unbleached linen  sheetings and  
towellings can be procured from some of 
the ,irish linen  manufacturers4        
,messrs4 ,murphy and ,orr1 ,donegal     
,street1 ,belfast1 make a heavy twill   
unbleached linen to be recommended for  
coverlets4    ,messrs4 ,j4 and ,j4      
,baldwin and ,partners1 ,ltd41 supply1  
through their  various agents1 wools and
 yarns of a soft quality and in         
excellent  ranges of colour4 8,white    
,heather10 three-ply1 and a thicker     
8,rainbow0  embroidery wool1 sold in    
balls1 are both good4    ,fingering     
wools1 three1 four and five-ply1 in     
light colours1 may be had  from any of  
the numerous ,scotch wool               
shops--,messrs4 ,fleming and ,reid1     
,greenock4    ,messrs4 ,w4 and ,j4      
,knox1 ,ltd41 ,kilbirnie1 manufacture   
linen and lace  crochet threads in      
cream1 ecru and ,paris white1 also linen
 floss  embroidery threads in a wide    

range of beautiful colours4 ,l4,c4 linen
  lace thread in various thicknesses1   
numbering from #h to #gj4 ,the  medium  
sizes from #ce to #ej are suitable for  
the background of ,rhodian  embroidery4 
8,cord0 floss1 a thick twisted thread1  
is suitable for knitting2 hats1         
collars1 short jumpers1 bags1 etc41 may 
be made from it4    ,messrs4 ,kirkby1   
,beard  ,co41 ,redditch1 supply needles 
of a reliable  quality4                 
,blunt-pointed tapestry needles1 ,no4   
#ah1 suitable for needle-weaving1       
crewel and chenille needles1 and the    
excellent 8,scientific ,sharps0 may  be 
had from most of the needlework depots1 
or through any of their  agents4        
,simple wooden looms for the making of  
braids1 hat bands1 ties1 girdles1  etc41
 with instructions and with a piece of  
work started1 may be had  from the      
,dryad ,works1 #db1 ,nicholas ,street1  
,leicester4 ,the same firm  supplies    
raffia in brilliant colours and raffia  
needles4          ,,index               

,american cloth1 #adc      ,antique     
hemstitch1 #gc      ,antique seam1 #if  
,applied work1 #hj      ,arrow-head     
filling1 #ca      ,art and craft1 #e    
,art canvas1 #agg        ,background1   
open1 #aje      ,backgrounds1 #be1 #bi1 
#hb1 #ajd      ,back stitching1 #aeb    
,bag1 a useful1 #aec      ,bag1 work1   
#afi      ,bags1 #acb      ,balance1 #bc
      ,bands1 needle-woven1 #aje        
,basket1 ,japanese1 #afi      ,basket or
 stroke stitch1 #ga      ,basket        
pattern1 #cc1 #gj      ,basket stitch1  
#fg      to work1 #ga      ,baskets1    
#acb      ,beads1 #ai1 #bh              
,blanket1 ,scottish1 #i      ,blanket   
stitch1 to work1 #eh      ,bokhara      
embroideries1 #ag      ,border1 #abi    
diapered1 #fj      geometrical1 #abd    
interlacing1 #aea      pattern1 #ai     
stitch1 #aea      vandyke1 #cj          
,braid hat band1 #acc      ,braid1      
,honiton1 #add      ,braid stitch1 #ec  
,braids1 #bh1 #gf1 #hi1 #aai            
,braids1 hand-made1 #bh1 #aag           

,brocade1 #af      ,building up of the  
pattern1 #f      ,bullion knots1 #hc    
,bullion stitch1 #hd      ,button-hole  
stitches1 #ef      bars1 #hf            
crossed1 #eh      double1 #fa           
edging1 #aej      filling of a space1   
#ei      loops1 open1 #aci      pyramid1
 #ajg      rings1 #abb      ,button-hole
 stitch1 flowers in1 #ei                
,button-hole stitch1 leaves in1 #fa     
,buttons1 #bh      ,buttons1            
indestructible1 #abc        ,cable      
chain1 #eb      ,cable chain1 to work1  
#eb      ,canvas1 #h1 #fg1 #abi1 #aca1  
#acb1 #agg      ,canvas stitches1 #aca  
,carbon paper1 #agc      ,carpet        
chenilles1 #aj      ,carrick bend1 #abe 
,celtic canvas1 #abi      ,central      
fillings1 #abb      ,chain stitch1 #de1 
#gi1 #abf1 #adc      in two colours1 #dg
      to work1 #df      twisted1 #de    
,chenilles1 carpet1 #aj      ,chequered 
fern stitch1 #ge      ,chequered        
pattern1 #gj1 #aja      ,chequered      
pattern1 to work1 #gj      ,chequers1   

#bi      ,chinese knot1 #abf            
,circles1 #bb1 #gi      ,colour1 #ab-ag 
,colour1 juxtaposition of1 #af          
,colour1 restful1 #ad      ,colour      
scheme1 #f1 #hj      ,colours1 six      
bright1 #ae      ,colours1 warm1 #ac    
,common sense1 #f      ,construction1   
#f1 #bj      ,cool colours1 #ad         
,cope1 ,jesse1 #hb      ,cope1 ,syon1   
#hb      ,coptic work1 #dj      ,coral  
stitch1 #dh      ,cords1 #ff            
,cords1 hand-made1 #bg      ,corners1   
#bj      ,cosy cover1 #aab      ,cot    
coverlet1 #ach      ,couching1 #fh1 #gi 
,couching1 ancient method of1 #ha       
,crash1 ,russian1 #i1 #cg      ,cretan  
stitch1 #ea      ,cretonne1 #af         
,crochet1 #fi1 #aee      a useful cord1 
#afa      chain slip-knot1 #aef         
double stitch1 #aeg      dropping       
picots1 #afd      flowers1 #aeh         
hooks1 #gh1 #aeh      insertion1 an1    
#aff      lace picots1 #afd      ladder 
insertion1 #aeg      leaves1 #afj       
long treble stitch1 #aeg      mesh1 #afe

      picots1 #afc1 #afe      plain     
picots1 #afd      raffia1 #afg          
single stitch1 #aef      treble stitch1 
#aeg      tricot1 #afb      two-chain   
picots1 #afd      ,crossed button-hole1 
#eh      ,cross stitch1 #aja1 #acj1 #aca
      ,cross stitch1 ,italian1 #acj     
,curtain1 part of a1 #ee      ,curving  
lines1 #bc      ,cushion case1 #agj     
,cut work1 #acf        ,damask1 #h      
,damask darning1 #cb      ,darning      
patterns1 #bi      ,darning1 single1 #cc
      ,darning stitches1 #bi1 #ajf      
,darns1 latchet1 #ff1 #agj              
,decorative back stitch1 #fa            
,decorative initials1 #aaa      ,design1
 #ba      ,design1 habit of1 #e         
,design1 transferring the1 #agb         
,designs1 interlacing1 #ij1 #abg        
,diagonal filling1 #cd      ,diagonal   
lines1 #ba1 #gi      ,diapered border1  
#fj      ,dominant colour1 #af          
,double button-hole1 #fa                
,double-net stitch1 #add      ,drawing1 
#e      ,drawn work1 ,italian1 #acg     

,eastern embroiderers1 #fi              
,ecclesiastical embroideries1 #a        
,edgings1 #i1 #bg1 #abb1 #adi           
,embroiderers1 ,eastern1 #fi            
,embroideries1 ,bokhara1 #ag            
,embroideries1 ecclesiastical1 #a       
,embroideries1 peasant1 #acf1 #adj      
,embroideries1 washing woollen1 #age    
,embroidery1 ,hedebo1 #acg              
,embroidery1 ,rhodian1 #ce1 #cf1 #adj   
,embroidery1 ,richelieu1 #adc           
,embroidery threads1 linen floss1 #agg  
,embroidery1 white1 #hc      ,emery     
cushion1 #ab      ,eyelet holes1 #adj   
,faggoting1 #ic      ,fern stitch1 #gd  
,filet background1 #ajd      ,filet     
pattern1 #gg      ,fillings1 #bi        
arrow-head1 #ca      central1 #abb      
diagonal1 #cd      honeycomb1 #fb       
in squares1 #ce      leaf1 #aeb         
openwork1 #bi1 #add      pyramid1 #cj   
star1 #ca      ,fingering wools1 #agg   
,finishing touches1 #f1 #aae            
,finishings1 #bf      ,fishbone1 #ga    
,fishbone stitch1 #ej      ,fitments1   

#bf1 #bg      ,flat knot1 a1 #aaf       
,flowered hat band1 #abi      ,flowers  
in button-hole stitch1 #ei              
,fork-pin insertion1 #ii                
,foundation net1 #add      ,frames1 #aa1
 #gi      ,french knots1 #bh1 #hb       
,french tape1 #ge      ,fringe1 knotted1
 #aae      ,fringe1 to prepare a1 #aad  
,fringes1 #bh1 #ff1 #fh1 #aad           
,galoon1 #fe1 #ff1 #hc      ,galoons and
 gimps1 washing1 #bh      ,geometrical  
border1 #abd      ,geometrical forms1   
#e1 #ai      ,german linen work1 #aaa   
,gimp1 #aag      ,goblin stitch1 #acb   
,good filling1 a1 #cd      ,good taste1 
#f      ,greenhouse shading1 #h         
,groundings1 open1 #cd        ,habit of 
design1 #e      ,hand-made braids1 #bh1 
#aag      ,hand-made cords1 #bg         
,harmony1 #bd      ,hat bands1 #abi     
,hedebo embroidery1 #acg      ,hems1    
openwork1 #gb      ,hemstitch1 antique1 
#gc      ,hemstitching1 method of1 #aae 
,herring-bone1 #fe      ,herring-bone   
foundation1 #aaj      ,herring-bone     

stitch1 #id      ,hints about materials1
 practical1 #agf      ,hints1 useful1   
#agb      ,honeycomb filling1 #fb       
,honeycomb1 to work1 #fc      ,honiton  
braid1 #add      ,huckaback1 #h         
,indestructible buttons1 #abc           
,indian work1 #ij      ,individuality1  
#bf      ,initials1 decorative1 #aaa    
,insertion stitches1 #acc      pyramid1 
#ajg      simple1 #ajc      vandyke1 #gc
      ,interlacing border1 #aea         
,interlacing designs1 #ij1 #abg         
,interlacing knots1 #ia                 
,interlacing stitch1 #ajh      ,isolated
 pyramids1 #ajg      ,italian cross     
stitch1 #acj      ,italian drawn work1  
#acg        ,japanese basket1 #afi      
,jesse ,cope1 #hb      ,joining of      
selvedges1 #ig      ,juxtaposition of   
colour1 #af        ,knot1 a flat1 #aaf  
,knot work1 #abc      ,knots1 #hc1 #abf1
 #abg      ,knots1 ,french1 #bh1 #hb2   
netting knot1 #adh2      ornamental     
knot1 #abc2      reef knot1 #abe2       
weaver's knot1 #abd      ,knotted       

fringe1 #aae        ,lace edge1 #gh     
,lace-making1 #ace      ,lace           
pillow-cushion1 to make a1 #aah         
,lace stitch1 simple1 #aab      ,lace   
stitches1 #add      ,point d',alencon1  
#ie      ,point de ,bruxelles1 #add     
,point de ,rprise1 #gf1 #ajf1 #ajg      
,point de ,sorrento1 #ade      ,point de
 ,venise1 #aec      ,point rentr et     
retir1 #ha      ,point ,turc1 #adi      
,laces1 #abb      ,laces1 needle-point1 
#ace1 #acg      ,lacis1 #acf            
,ladder hemstitch1 #gb      ,ladder     
stitch1 #de      ,laid stitches1 #gj1   
#aga      ,laid work1 #fg1 #fi          
,latchet darns1 #ff1 #agj      ,latchets
 of wool1 #bg      ,leaf fillings1 #aeb 
,leaves1 #acj      ,leaves in           
button-hole stitch1 #fa      ,line      
stitch1 #fg      ,linen floss embroidery
 threads1 #agg      ,linen work1        
,german1 #aaa      ,linens1 #g          
,lines1 #bj      ,lines1 curving1 #bc   
,lines1 diagonal1 #ba1 #gi      ,lines1 
straight1 #e1 #ai1 #bb1 #bc1 #bi        

,link stitch1 #ea      ,link stitch1 to 
work1 #eb      ,linked chain1 #df       
,loop stitch1 #ih      ,loop stitch     
border1 #ge      ,luncheon set1 #hf     
,macram1 #aaf      ,masses1 #bj         
,material1 practical hints about1 #agf  
,materials1 #g      ,mesh1 #aba         
,metal rings1 #abc      ,mexican stitch1
 #fc      ,mexican stitch1 to work1 #fc 
,mount-mellick work1 #he                
,needle-made picots1 #aba               
,needle-point laces1 #ace1 #acg         
,needle-weaving1 #bh1 #fg1 #hg1 #aja    
,needle-weaving1 pattern in1 #ah        
,needle-weaving1 reversible1 #ajc       
,needle-woven bands1 #aje      ,needles1
 #aj      ,net stitch1 #ga      ,netting
 knot1 #adh      ,nightdress case in    
blue and white1 #abg        ,oddments1  
remnants and1 #g      ,open background1 
#aje      ,open button-hole loops1 #aci 
,open groundings1 #cd      ,openwork    
fillings1 #bi1 #add      ,openwork hems1
 #gb      ,orange1 #ad      ,oriental   
stitch1 #db1 #ea1 #fe      ,originality1

 #bi      ,ornamental knot1 #abc        
,oversewing1 #aja      ,outline stitch1 
#adc        ,pattern book1 venetian1 #ia
      ,pattern1 building up of the1 #f  
,pattern in needle-weaving1 #ah         
,pattern making1 #e      ,pattern1      
primitive1 #ah1 #ajf      ,pattern1     
wave1 #cb      ,patterns1 #bi1 #gj1 #acg
      ,peasant embroideries1 #acf1 #adj 
,persian quilting1 #df      ,persian    
work1 #ij      ,personality of the      
worker1 #d      ,petal or loop stitch1  
#dh      ,petit point1 #acb      ,picot1
 ,venetian1 #adi      ,picots1 #adi     
,picots in bullion stitch1 #hd          
,picots1 needle-made1 #aba      ,plaited
 stitch1 #ga      ,portire1 a1 #ei      
,pouncing1 #agb      ,primitive pattern1
 #ah1 #ajf      ,principle of           
repetition1 #bj      ,principles of     
colour1 #ab      8,punch work10 #ada    
to work1 #adb      ,punto a gruppo1 #aaf
      ,pyramids1 #abc      filling1 #cj 
insertion1 #ajg      isolated1 #aci     
,quilting1 ,persian1 #df        ,raised 

stitchery1 #id      ,reef knot1 #abe    
,remnants and oddments1 #g              
,repetition1 principle of1 #ab          
,restful colour1 #ad      ,reticella1   
#acf      ,reversible back stitch1 #fb  
,reversible needle-weaving1 #ajc        
,rhodian embroidery1 #ce1 #cf1 #adj     
,ribbon1 velvet1 #if      ,richelieu    
embroidery1 #adc      ,richelieu work1  
#gg      ,ring stick1 #abb      ,rings1 
#abc      ,rings1 metal1 #abc      ,rope
 stitch1 #df      ,rosettes1 #ajh       
,roumanian stitch1 #gc      ,rugs1 #acc 
,runner1 table1 #fc      ,russian crash1
 #i1 #cg      ,russian stitch1 #if      
,satin stitch1 #be1 #fg1 #adc           
,seam1 antique1 #if      ,selvedges1    
joining of1 #ig      ,scissors1 #aa     
,scottish blanket1 #i      ,sideboard   
cloth1 #fg      ,silks1 #aj      ,simple
 insertions1 #ajc      ,simple lace     
stitch1 #aab      ,simplicity1 #bc      
,single darning1 #cc      ,six bright   
colours1 #ae      ,snail-trail1 #dh     
,snail-trail1 method of working1 #dh    

,spaces1 value of1 #bj      ,split      
stitch1 #dg      ,square stitch1 #ce1   
#cf1 #fh      ,square stitch in slanting
 lines1 #cg      ,star-filling1 #ca     
,stitches1 antique hem1 #gc2            
arrangement of1 #acd2      back1 #aeb2  
basket or stroke1 #ga2      blanket1    
#eh2      border1 #aea2      braid1 #ec2
      bullion1 #hd2      button-hole1   
#ef2      canvas1 #aca2      chain1 #de1
 #gi1 #abf1 #adc2      chequered fern1  
#ge2      coral1 #dh2      ,cretan1 #ea2
      decorative back1 #fa2             
double-net1 #add2      fern1 #gd2       
fish-bone1 #ej2      goblin1 #acb2      
herring-bone1 #id2      insertion1 #acc2
      interlacing1 #ajh2      ,italian  
cross1 #acg2      lace1 #aab2           
ladder hem1 #gb2      ladder1 #de2      
laid1 #gj1 #aga2      line1 #fg2        
link1 #ea2      loop1 #ih2              
,mexican1 #fc2      net1 #ga2           
,oriental1 #db1 #ea1 #fe2      outline1 
#adc2      petal or loop1 #dh2          
plaited1 #ga2      raised1 #id2         

reversible back1 #fb2      rope1 #df2   
,roumanian1 #gc2      ,russian #i1 #cg2 
satin1 #be1 #fg1 #adc2      simple lace1
 #aab2      split1 #dg2      square1    
#ce1 #cf1 #fh2      square stitch in    
slanting lines1 #cg2      surface1 #aea1
 #aeb2      tacking1 #be1 #ff2          
tailor's button1 #eh2      tambour1 #de2
      tent1 #acj1 #acb2      unity of1  
#bd2      weaving1 #abh4                
,stitchery1 #f1 #bd      ,straight      
lines1 #e1 #ai1 #bb1 #bc1 #bi           
,stretching1 #agc      ,stroke stitch1  
basket or1 #ga      ,surface stitches1  
#aea1 #aeb      ,syon ,cope1 #hb        
,table mat of white linen1 #ge          
,table runner1 #fc      ,tacking stitch1
 #be1 #ff      ,tailor's button stitch1 
#eh      ,tambour stitch1 #de           
,tape1 ,french1 #bh1 #hb                
,tapestry-weaving1 #ajc      ,tassels1  
#bh1 #ff      ,tassels1 simple1 #abj    
,technique1 #bd      ,tent stitch1 #acj1
 #acb      ,tte de ,buf1 #eb      ,tte  
de ,buf1 to work1 #eb      ,thimble1 #aa

      ,threads1 #i      ,toile cire1    
#gf1 #ic      ,transferring the design1 
#agb      ,treatment1 #bf      ,twisted 
chain1 #de        ,unity of stitch1 #bd 
,value of spaces1 #bj      ,vandyke     
border1 #cj      ,vandyke insertion1 #gc
      ,veining1 #ie      ,venetian      
pattern book1 #ia      ,venetian picot1 
#adi      ,velvet1 #gi1 #aca            
,velvet ribbon1 #if        ,warm        
colours1 #ac      ,washing galoons and  
gimps1 #bh      ,washing woollen        
embroideries1 #age      ,wave pattern1  
#cb      ,weaver's knot1 #abd           
,weaving1 #gg      ,weaving stitch1 #abh
      ,weft threads1 #da      ,white    
embroidery1 #hc      ,white ground1 #ae 
,white work1 washing1 #age      ,wool1  
latchets of1 #bg      ,woollen          
embroideries1 washing1 #age      ,wools1
 #i      ,wools1 fingering1 #agg        
,work bag1 #afi      ,worker1           
personality of the1 #d      ,working of 
tambour stitch1 #df      ,woven         
textures1 #i      ,,the ,,whitefriars   

,,press ,,ltd41 ,,london ,,and          
,,tonbridge4            ,transcriber's  
,notes3      ,bold type is shown as     
strong4      ,italics are shown thus3   
sloping4      ,variations in spelling   
and hyphenation are retained4           
,perceived typographical errors have    
been changed4