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CHAPTER VI.
FANCY NEEDLEWORK.
EXPLANATION OF STITCHES.
The Art of Fancy Needlework is closely allied to the sister ones of
Painting and Design; and appears to have been well understood amongst
the most polished nations of antiquity. We know that the art was
practised with considerable success, by the Babylonians, Egyptians,
Persians, and Arabians, as well as by the Greeks and Romans. The Jews
brought the art of needlework with them, out of Egypt, as we learn from
the directions for building the Tabernacle, and preparing the holy
garments; and Sidon is celebrated for the rich wares of broidered
cloths, in which part of her extensive traffic consisted. In more modern
times, we find the fair hands of the ladies of Europe employed in
depicting the events of history, in tapestry, of which the much
celebrated Bayeux tapestry—supposed to have been wrought by Matilda,
the beloved wife of William the Norman—detailing the various
occurrences in the life of Harold, from his arrival in Normandy, to the
fatal battle of Hastings, is a standing proof. Ladies of high rank
employed themselves thus, for various purposes, previous to the
reformation; and it is a fact, worthy of especial notice, that in those
ages, when it has been required for the adornment of the[64] temples, and
the encouragement of honorable valor and has thus become associated with
the sanctifying influences of religion and manly virtue, it has
flourished most.[64-*] Queen Adelicia, wife of Henry I.; Ann, queen of
France; Catherine, of Aragon; Lady Jane Grey; Mary Queen of Scots; and
Queen Elizabeth, all excelled in this delightful art. At the
Reformation, or soon after that event, needlework began sensibly to
decline, and continued to do so, until the commencement of the present
century. At that time, a new and elevated development of mind began to
appear, which was accompanied by a very visible advancement in every
department of arts and sciences. This revival of the fine arts, like the
mental and sacred gushing forth of mind, which gave it birth, was often
in extremely bad taste; but as the latter becomes more purified and
exalted, the former advances in improvement—mind asserts its
superiority over matter, and infuses into the useful and ornamental, a
living spirit of moral affection and enlightened sentiment. The year
1800 gave to the world, the celebrated Berlin patterns; but it was not
until a lapse of thirty years, that their merits became generally
appreciated; but now, such is the perfection attained in the cultivation
of the art of needlework, that some of its productions, for delicacy and
expression, may almost bear comparison with painting in oil.
Tent Stitch.—Work the cross way of the canvas, bringing your needle up
through the diagram, No. 2 down 11, one stitch; up 3 down 12, up 4 down
13, and so continue to the end. This stitch is proper for grounding, and
for groups of flowers; but in the latter case, it will produce the best
effect if[65] the flowers are done in tent stitch, and the grounding in
tent cross stitch (which is the same as tent stitch, only crossed.)
Cross Stitch.—Is the same as marking stitch; bring your needle up 21
down 3, up 23 down 1, one stitch, up 41 down 23, up 43 down 21, and so
continue till your work is finished. All the stitches must incline to
the right, or the work will appear imperfect and unsightly.
Double Cross Stitch.—This is a stitch very easy of execution. Bring
your needle up No. 41, over four threads, down 5, up 1 down 45, up 43
down 25, up 3 down 25, up 3 down 21, up 43 down 21, one stitch. Four,
six, or eight threads may be taken in depth, and two in width, according
as taste may suggest. This is an admirable stitch for large pieces of
work. Gold thread introduced between each row is a desirable addition to
its attractive beauty.
Straight Cross Stitch.—This is a new invention, and has a pretty
appearance. Bring your needle up No. 11 down 13, up 2 down 22, one
stitch; up 31 down 33, up 22 down 42, and so on in like manner, till the
work is finished.
Double Straight Cross Stitch.—Bring your needle up No. 3 down 43, up 21
down 25, up 14 down 32, up 12 down 34, one stitch. Owing to the number
of times the wool is crossed, each stitch has a very bead-like
appearance. A piece wholly worked in this, has an admirable effect.
[66]
Gobelin Stitch.—This truly beautiful stitch is especially calculated
for working on canvas traced with flowers, leaves, &c.; and also for
working designs, copied from oil paintings. Bring your needle up No. 2
down 21, one stitch, up 3 down 22, up 4 down 23, and so on to the end of
the row. The stitches may be taken either in height or width, as may
best accord with the taste, or with the subject represented.
Basket Stitch.—This is the same as Irish stitch, but the arrangement is
different. Work three stitches over two threads; these are called short
stitches; and then the long ones are formed by working three over six
threads, the centre of which are the two on which the short stitches
were worked. Thus you must continue the short and long stitches
alternately, until you have finished the row. In the next, the long
stitches must come under the short ones; and this diversity must be kept
up until all the rows are completed. To finish the pattern, you have
only to run a loose film of wool under the long stitches on each of the
short ones, and the task is done.
Irish Stitch.—This is the production of an Irish lady of high rank.
Bring your needle up No. 1 over four threads down 41, one stitch back
two threads, up 22 down 62, up 43 (observe this is in a line with 41)
down 83, up 64 (in a line with 62) down 104, up 102 down 62, up 81 down
41, continuing thus over the square. The spaces left between every other
stitch must be filled up with half stitches; for instance, up 81 down
101, up 83 down 103. It is also some[67]times worked covering six and eight
threads of the canvas at a time, coming back three or four threads, in
the same proportion as the directions given. This stitch is proper for
grounding, when the design is worked in tent or cross stitch; and the
effect would be heightened by two strongly contrasted shades of the same
color. It can be applied to a great variety of devices, diamonds and
vandykes for example, and many others which will suggest themselves to
the fair votaries of this delightful art. It looks pretty, and is easy
of execution.
Feather Stitch.—This, as its name implies, has a light and feathery
appearance, and will be found proper for any work in which lightness
should predominate. You must proceed as in tent stitch, and work over
twelve threads or less, but not more; then bring your needle out one
thread below, and cross on each side of your straight stitch: you must
so continue, taking care to drop a thread in height and keeping the
bottom even with the long stitch with which you began. Thus proceed
until you have ten threads on the cross, which will make a square: of
course you must, in the same manner, form all the squares necessary to
complete the row. You can vary the pattern considerably by making the
edges irregular, which is done by lowering your slant stitches, the
first one two, and the next one thread, and so proceeding. This will, in
our opinion, improve the appearance of the work. You can introduce as
many shades as you please, only taking care that a proper contrast is
duly preserved. You finish by stitching up the centre of each row on a
single thread. For this purpose, silk or gold thread may be introduced
with advantage. It should be remarked, that each row must be worked the
contrary way to the[68] one that preceded it, so that the wide and narrow
portions may meet and blend with each other.
Point Stitch.—To work this stitch, take four threads straight way of
the canvas, and bring the needle three steps up, and so proceed until
your point is of a sufficient depth. This stitch looks pretty, worked in
different and well contrasted shades, and may be applied to many useful
and ornamental purposes.
Queen Stitch.—Work over four threads in height and two in width,
crossing from right to left, and back again. Finish each row by a stitch
across, between them, taking a thread of each, and, of course, working
upon two threads. This is a very neat stitch.
Queen’s Vandyke.—This is supposed to be the invention of Princess
Clementina, one of the daughters, we believe of a king of France. Take
twelve threads, and reduce two each stitch, until the length and breadth
are in conformity. It can be introduced into a variety of work, and
looks well.
Single Plait Stitch.—Pass the needle across the canvas through two
threads, from right to left; you then cross four threads downward, and
pass the needle as before; then cross upward over two threads aslant,
and again pass over four threads, always working downward, and passing
the needle from right to left, across two threads, until the row is
completed as far as you desire.
[69]
Double Plait Stitch.—This stitch is from left to right across four
threads aslant downward, and crossed from right to left, the needle
passing out at the left, in the middle of the four threads just crossed,
and so continue working downward, until you have finished the pattern.
Velvet Stitch.—This is a combination of cross stitch and queen stitch,
and is very ornamental when properly done. You work in plain cross
stitch three rows, then leave three threads, and again work three rows
as before; thus proceed until your canvas is covered, leaving three
threads between every triple row of cross stitch. Then across the rows
work in queen stitch with double wool; but instead of taking two
distinct threads for each stitch, you may take one thread of the
preceding stitch; this will give an added thickness to your work. It
will be advisable to work the wool over slips of card or parchment, as
doing so will make it better to cut. If you work it in squares, they
should not be larger than seventeen stitches; and to look well, they
must each be placed the contrary way to the other.
Algerine Work.—This work much resembles a Venetian carpet, but is
finer; it looks best done in very small patterns. It is worked over
cotton piping cord, the straight way of the corners; the stitches are
over three threads. Your work as in raised work, putting the colors in
as you come to them, and counting three stitches in width, as one stitch
when you are working Berlin pattern. The paper canvas is No. 45 and the
cord No. 00. It is proper for table mats and other thick kinds of work.
To Fill up Corners.—Work in any stitch you prefer and shade in
accordance with the subject. In these, and ornamental[70] borders, &c.,
there is much room for the development of taste and judgment. In all
that, you undertake, it will be well for you to recollect, that nothing
is lost by taking time to think. However trivial and unimportant our
actions may be, they should always be preceded by mature deliberation. A
habit of thought once established will remain through life, and protect
its possessor from the countless miseries of rash actions, and the
agonies of remorse and unavailable repentance.
[64-*] The presentation of an embroidered scarf was a common
mark of approval in the ages of chivalry.
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