Enquire Within Upon Everything Part 150

1853. To Knit Three St.i.tches Together.

To knit three st.i.tches together, so that the centre one shall be in front.--Slip 2 off the needle together knit the third, and draw the others over together.

1854. To Raise a St.i.tch.

To raise a st.i.tch is to knit the bar of thread between the two st.i.tches as one.

1855. Abbreviations.

The abbreviations used are:

K, knit; P, purl; D. decrease; K 2 t, knit two together; P 2 t, purl 2 together; M 1, make one.

1856. Size of Needles.

Take care to have needles and cotton or wool that are suitable to each other in size. The work of the best knitter in the world would appear ill done if the needles were too fine or too coa.r.s.e. In the former case, the work would be close and thick; in the latter it would be too much like a cobweb.

1857. Instructions in Embroidery and Canvas Work.

1858. Embroidery.

Embroidery, properly speaking, includes every sort of ornamental work done with a sewing needle of any kind; but in its popular acceptation, it applies only to the ornamentation of any article by the eye, or from drawn or marked patterns--whatever may be the material, or combination of materials employed; Berlin or canvas work, on the contrary, is the usual designation of all kinds of embroidery on canvas, _done by counting threads_, and frequently by the aid of a painting on checked paper.

1859. Distinction in Embroidered Work.

Although these two different sorts of work are really equally ent.i.tled to the designation of _embroidery_, yet for the sake of making our hints as intelligible as possible, we will adopt the popular terms, and confine our present remarks to that sort of embroidery which is not executed by the st.i.tch.

[BE A FRIEND TO VIRTUE--A STRANGER TO VICE.]

1860. Materials.

Every sort of embroidery material may be used for embroidering upon.

The most common are muslin, cambric, velvet, satin, cloth, and leather.

1861. Application.

The simplest style of embroidery is that termed _Application,_--that is, where the pattern is in one material, laid on another which forms the ground. In this way muslin is worked on net, velvet is laid on cloth, or on another velvet, and cretonne designs cut out and laid on another material, the edges being either sewed over, or ornamented with fancy cord, braid, gold thread, or any other appropriate material.

1862. Braiding.

Another very easy style of ornamentation is that known as braiding.

Children's dresses are worked with narrow silk or worsted braid, the latter being also used for ladies' ap.r.o.ns, flounces, &c. Gold and silver braid enter largely into various sorts of decorated needlework, and the Victoria braid, of cotton, which has something of the appearance of satin st.i.tch, is generally known.

1863. St.i.tches in Braiding.

There is considerable art required to achieve putting on the Victoria braid evenly and firmly. The st.i.tches should be taken across the braid. This makes it lie flat.

1864. Elaborate Embroidery.

But the most elaborate kinds of embroidery are those which represent flowers, fruit, and other devices on any material; and these may be divided into white and coloured embroidery.

1865. Broderie Anglaise.

White embroidery, or embroidery on muslin, is used for a great variety of articles of ladies' dress. The simplest is termed Broderie Anglaise. In this style, the pattern is either in satin st.i.tch, or from left to right, formed of holes cut out of the muslin, and sewed over with embroidery cotton. The great art in working broderie is to make the holes all of the same size, and to take the st.i.tches closely and regular.

1866. Satin St.i.tch.

Satin st.i.tch is a smooth raised work, used for leaves, flowers, &c. It is done by first tracing the outlines accurately with soft cotton, then taking st.i.tches from point to point of the part to be raised, so as to have the greatest thickness of cotton in the centre, and sewing it over, in st.i.tches taken close together, but slightly slanting, and completely across the part outlined. The veining of leaves is generally formed by taking the st.i.tches from the vein to the edge, first on one side and then on the other. The borders of embroidered muslin collars, &c., are usually finished with b.u.t.tonhole st.i.tch, worked either the width of an ordinary b.u.t.tonhole, or in long st.i.tches, and raised like satin st.i.tch. Eyelet holes are made by piercing round holes with a stiletto, and sewing them round.

1867. Fancy St.i.tches.

There are many fancy st.i.tches introduced into muslin work, but these require to be practically taught.

1868. Frame for Embroidery.

The kind of frame on which muslin is most easily worked, consists of two hoops of wood, about eight inches in diameter. One is rather smaller than the other. On it the muslin is stretched, and the larger one being slipped over it, and fitting tightly, keeps the muslin in its place.

1869. Embroidery on Satin, &c.

Satin and velvet are embroidered in coloured silks, gold and silver bullion, pearls, &c. A very fas.h.i.+onable style is the work with _ombre_ or shaded silks.

1870. Netting Silk in Embroidery.

The most delicate kinds of embroidery are worked with fine netting silk, one strand of which is drawn out. This makes the silk appear softer and richer.

1871. Shading in Silks.

It requires considerable care to work well with ombre silks, to avoid incorrect shading. Nature should be followed as closely as possible.

Not only must the form be carefully preserved, but the lights and shades must be disposed in an artistic manner. For instance: the point of a leaf is never the darkest part, nor should the lower leaves and flowers of a group of the same kind be light.