20161209 WhiteEmbroideryChapterVEncyclopediaofNeedlework,EmbroideryStitches,EmbroideryPatterns,embroideryalphabets,scallops,eyelet

ENCYCLOPEDIA
OF
NEEDLEWORK
By
ThrsedeDillmont

S TRIPEINFLATANDRAISEDSATINSTITCH,ANDMADEIRAEMBROIDERY.

Home
Preface WhiteEmbroideryV
TableofContents We have retained the familiar term, white embroidery, for this kind of
needlework, for convenience sake, in spite of its inaccuracy, now that
ThisChapter: colouredmaterialsarequiteasmuchusedforitaswhite.

ChapterVWHITEEMBROIDERY It is executed, either on a backing of oilcloth, or in an embroidery frame,

calledtambourframe.Onlyskilfulworkerscandispensewiththese,foran
untrained hand can hardly avoid puckering. If you work without a
foundation, the material must be held, quite smoothly over the forefinger,
sothatthethreadslieperfectlystraight,otherwise,thepatternisveryapt
togetpulledoutofshapeintheworking.Withyourthreeotherfingersyou
hold the material fast, the thumb resting on the work itself, beyond the
outline of the pattern, which must be turned towards the worker. It is
alwaystheoutsidelineofapatternthatisdrawnindoublelines,thatshould
beturnedtowardsthepalmofthehand.

Tracingpatterns.Patternsaregenerallytobehadreadytraced,butasit
Stitches 77
isoftennecessarytorepeat,enlarge,orreducethem,descriptionsofseveral
Differentkindsofscallops 79 modesofdoingso,willbefoundattheendoftheconcludingchapter.

Eyeletholes 80 Materials.A loose, soft make of cotton, the looser the better, and very
Sixwaysofmakingdots 81 littletwisted,isthebestmaterialforembroidery.Werecommendforwhite
embroideryingeneral,CotonbroderD.M.CNos.16to150formonograms
Venetianembroidery 82 on cambric, Coton broder surfin D.M.C Nos. 100, 120, 150[A] and for
Embroideryframes 83 EnglishorMadeiraembroidery,CotonMadeiraD.M.CNos.40,50,60[A]for
padding,orraisingtheembroidery,allthedifferentkindsofCotonrepriser
Alphabetsandborders 83
D.M.C[A]canbeused.

Outlining and padding.The outlining of a pattern is a very important

preliminary.Awantofprecisionintheultimateeffectisoftendue,merelyto
Chapters carelessoutlining.Thispartoftheworkshouldbedonewithratheracoarser
cotton than the embroidery itself. Fasten in the thread by a few running
stitches, never with a knot, a rule to be observed also in embroidering,
exceptinveryrarecases.Finishoffyourthreadbydrawingitthroughthe
IPLAINSEWING
tracingstitches,orthroughsomepartofthepatternthatisalreadyfinished.
Fill in the spaces between the lines with a padding of run threads, run
IIMENDING loosely,andsothattheyliethicklyandsolidlyinthecentre,andshadeoff
on both sides. The fullness, and roundness of embroidery, depends on the
firmness of this substratum of threads. The outlining and the padding of
IIISINGLEANDCUTOPENWORK the different rounded and pointed scallops, as well as of other figures that
occurinwhiteembroidery,areillustratedinfigs.181,182,183,184, 185,

187,189,190and191.
IVNETANDDAMASKSTITCHES
Blanket,orbuttonholestitch(fig.171).Workfromlefttorightrunin
afoundationline,holddowntheworkingthreadbelowtherunlinewiththe
VWHITEEMBROIDERY rightthumbinserttheneedleaboveandbringitoutbelowtherunlinebut
abovetheworkingthreadtightentheloopthusformed,withoutdrawingup

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VIFLATSTITCHANDGOLD the stuff, and continue in this manner, setting your stitches closely and
EMBROIDERY regularly,sidebyside.

VIITAPESTRYANDLINEN
EMBROIDERY

VIIIKNITTING

IXCROCHETWORK
FIG.171.BLANKET,ORBUTTONHOLE
STITCH .

XTATTING Straightstemstitch(fig.172).Workfromlefttoright.Theneedlemust
alwaysbeinsertedabovetherunthread,andbroughtoutunderneathit.In
thecaseofaverydelicatepattern,takeuponlyjustasmuchstuffasthe
XIMACRAM
runthreadcovers.

XIINETTING

XIIIIRISHLACE

XIVLACESOFDIFFERENTKINDS

FIG.172.S TRAIGHTSTEM STITCH.
XVMISCELLANEOUSFANCYWORK
Sloping stem stitch (fig. 173).Work without a run thread insert the

needle from right to left in a slanting direction, under 1 or 2 horizontal
XVIPRACTICALDIRECTIONS threads,and5or6perpendicularonessothateachstitchreacheshalfway
backtothelast.



More!!

NeedlemadeLaces,Tatting,and FIG.173.S LOPINGSTEM STITCH.

EmbroideryonNetting
Thiskindofstemstitchischieflyusedforthefineupstrokesoflettersand
PDFBookseditedbyThrsede
numbers,andforlinenembroidery.
Dillmont
Backstitching (fig. 174).Backstitching, that is small, even stitches set
closelytogether,isdonefromrighttoleft,alongastraightline,andischiefly
usedforfillinginthecentresofletters,leavesandflowers.
Letothersknowaboutus!Stealour
button,butnotourbandwidth:)

FIG.174.BACKSTITCHING.

VisitOurotheronlinevintage Crossedbackstitch(figs.175 and 176).Used, generally speaking, only

needleworkbooks: forverytransparentmaterialsitformsacloseseamofcrossstitch,onthe
wrong side, and two straight rows of backstitching on the right. To work,
Beeton'sBookofNeedlework,byIsabella insert the needle as if for an ordinary backstitch, pass it under the stuff,
Beeton slopingitalittletowardsthesecondoutlineofthepattern,anddrawitout
almostinfrontofthefirststitch.Aftermakingabackstitch,passtheneedle
upagainunderthestuffandbringitoutatthespotwherethenextstitchis
tobe.

ExercisesinKnitting,byCorneliaMee

HandbookofEmbroiderybyL.Higgin

FIG.175.CROSSEDBACK
STITCH .RIGHTSIDE.

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QuiltsTheirStory,byMarieWebster

FIG.176.CROSSEDBACKSTITCH.
W RONGSIDE.

Fig.176 shows the interlacing of the stitches on the wrong side, and the
wayinwhichthisstitch,whenitisusedforfillingincentres,canbeworked
ontherightside.

Simple knot stitch (fig. 177). This consists of two backstitches, side by
side, covering the same threads it is chiefly used for filling in leaves,

embroideredonverythinmaterials,orinconjunctionwithflatstitch.

FIG.177.S IMPLEKNOTSTITCH.

Twistedknotstitch(fig.178).Toworkholdtheworkingthreaddownwith
the thumb close to the spot where you first brought it out, twist it twice
round the needle, turn the needle round from left to right, following the
direction indicated by the arrow, pass it through the fabric at the place

whichismarkedbyadot,anddrawitoutattheplacewherethenextstitch
istobe.

FIG.178.TWISTEDKNOTSTITCH.

Post stitch (fig. 179).Something like knot stitch and much used for
patterns, composed of small flowers and leaves, where it often takes the
place of raised satin stitch. The illustration represents five leaves finished,

andthesixthinprocessofbeingworked.

FIG.179.POSTSTITCH.

Towork,bringtheneedleupfromthebackandtwistthethreadrounditas
manytimesasthelengthofthestitchrequires,holdtheleftthumbonthe
speciesofcurlthusformed,andpassingtheneedleandthreadthroughit,
insertitattheendoftheleafwhereitfirstcameout,anddrawitoutatthe
rightplaceforthenextstitch.

Buttonholebars (fig. 180).When a pattern is ornamented with open
workbars,beginbytracingtheoutsideparallellines.Thenbuttonholethe
whole lower line and the upper one, till you come to the place where the

firstbaristobethenyoucarryyourthreadacrossandbringuptheneedle
from below through one of the loops, as, shown in the figure lay three

threadsinthismanner,insertingyourneedlethethirdtimeoneloopfurther
on.Thencoverthethreethreadsthicklywithbuttonholing.

FIG.180.BUTTONHOLEBARS.

Differentkindsofscallops(figs.181,182,183).Theoutlining,padding
and buttonholing of these scallops is executed in the manner already
described. Be careful to adapt the length of the stitches to the shape and
sizeofthescallops.Iftheyarepointed(figs.182,183),thestitcheswillhave

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to be set very closely together on the inner line, and a little play allowed
them on the outer, to come exactly to the point, which should be very
sharplydefined.

FIG.181.ROUND,BUTTONHOLEDSCALLOPS.

FIG.182.LARGE,POINTED,BUTTONHOLEDSCALLOPS.

FIG.183.S MALL,POINTED,BUTTONHOLEDSCALLOPS.

Rosescallops(figs.184 and 185).These are, large buttonholed scallops

with indented edges, in the one case, rounded at the top and sharply
pointed at the join in the other, pointed at the top, and joined at the
bottombyastraightbarofbuttonholing.

FIG.184.ROUNDEDROSESCALLOPS.

FIG.185.POINTEDROSESCALLOPS.

Eyeletholes(figs.186,187,188).Outlinetheeyeletholesverycarefully
firstbyrunningathreadroundthem,thencutouttheenclosedstuffwitha
sharppairoffinelypointedscissors,andedgetheholewithplainovercasting
stitches,workedfromlefttoright.

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FIG.186.OVERCASTEYELETHOLES.

Whenyouhavealongrowofeyeletholestomake,outlinetheupperand
lowerhalvesalternately,firstononesideandthenontheother,usingtwo
threads, and then overcast them in the same way. The double crossing of
theworkingthreadsbetweentheeyeletholesmakesthemmuchstronger,
than if each hole were finished off separately, and the thread passed
underneathfromonetotheother.

FIG.187.BUTTONHOLEDSHADEDEYELETHOLES.

FIG.188.S HADEDEYELETHOLESHALFOVERCAST,HALFBUTTONHOLED.

Thelowerhalvesofshadedeyeletholes,(seefigs.187and188),areworked
withveryshortstitches,andtheupperhalveswithlongonestheymaybe
edgedentirely,eitherwithbuttonholingorovercasting,orhalfwithoneand
halfwiththeother.

Sixleavesinraisedsatinstitch(fig.189).Raisedsatinstitchischiefly
usedforworkingflowers,leaves,petals,dots,initialsandmonograms.After
tracing the outline of the design, fill in the centres with a padding of long,
close stitches for which you can again take Coton repriser D.M.C[A] and
then, beginning always at the point of the leaf, see letter A, cover it with
flat, perfectly even stitches, worked from righttoleft. B illustrates a leaf,
divided through the middle by a line of overcasting C, one with a corded
veinD,adividedleafworkedinslopingsatinstitchE,aleaf,withacorded
veinandframedinslopingsatinstitchF,aleafworkedhalfinsatinstitch,
halfinbackstitchandstraightstemstitch.

FIG.189.S IXLEAVESINRAISEDSATINSTITCH.

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Leaves and flowers of all descriptions, can be executed in any of these
stitches,andindifferentcombinationsofthesame.

Sixwaysofmakingdots(fig.190).Dots,whentheyarewellmade,are
exceedinglyeffectiveinwhiteembroidery,particularlyiftheyareworkedina
varietyofstitches.DotAisworkedinraisedsatinstitchB,inraisedsatin
stitch,framedinbackstitchC,inraisedsatinstitch,framedintwistedknot
stitch D is composed of several post stitches of different lengths, set in a
frameofstemstitchesEisworkedinbackstitch,andFconsistsofasmall
eyelethole,withacordedsetting,whichformsthecentre.

FIG.190.S IXWAYSOFMAKINGDOTS.

Venetian embroidery (fig. 191).Scallops, worked in very high relief,

calledVenetianembroidery,areanimitationonstuffofVenetianlace.

Real Venetian point is entirely needlemade in the embroidered imitations

ofit,thestufftakestheplaceoftheneedlemadelacefoundation.Tomake
it more like the original however, the ground is seldom left plain, but is
covered with fancy stitches, such as are represented in the illustration, or
with one or other of the damask stitches in figs. 146 to 170. The button
holebarsmaybemadewithorwithoutpicots.Afulldescriptionofthelatter
willbefoundinthechaptersonnetembroidery,andIrishlace.Thespaceto
bebuttonholed,mustbewellpadded,forthereondependstheroundnessof
the embroidery. For this purpose take 6 or 8 threads of Coton repriser
D.M.C No. 25,[A] and fasten them down on to the pattern with loose
stitches, laying on extra threads, and cutting them gradually away,
accordingtothewidththelineistobe.Thestuffunderneaththebarsshould
onlybecutawaywhentheembroideryisquitefinished.

FIG.191.VENETIANEMBROIDERY.

Renaissanceembroidery (figs. 192 and 193).This is the term applied,

moreespeciallyinFrance,toembroiderypatterns,whichareworkedentirely
in buttonholing, and connected by buttonhole bars without picots, as

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shewn in the two accompanying figures. The outside edge in fig. 193, is
embellishedwithpicots,describedinthechaptersjustreferredto.

FIG.192.RENAISSANCEEMBROIDERY.

FIG.193.RENAISSANCEEMBROIDERY.

Richelieu embroidery (fig. 194).The name given to embroidery of a

similarkindtotheformer,butinwhichtheconnectingbars,insteadofbeing
leftplainastheyareintheRenaissanceembroidery,areornamentedwith
picots.

FIG.194.RICHELIEUEMBROIDERY.

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Madeira work (figs. 195, 196, 197).This kind of embroidery, which
consistschieflyofeyeletholes,andisdistinguishedfortheexcellenceofits
workmanship used to be known as English, but is now generally called
Madeirawork,fromtheislandwhereitoriginated.Thescallopsinfigs.195
and197,areborderedwithshadedeyeletholes,workedhalfinbuttonhole
stitch, half in overcasting the finely scalloped edge, in fig. 196, is entirely
buttonholed.Inworkingeyeletholes,thematerialmustalwaysbeturned
in,uptotheinsideline,andcompletelyworkedin,underneaththeinorder
thatnoloosethreadsmaybevisibleonthewrongside.

FIG.195.MADEIRAWORK.

FIG.196.MADEIRAWORK.
MATERIALS:CotonMadeiraD.M.CNo.40,50or60.(SpecialcottonforMadeirawork) [A]

FIG.197.MADEIRAWORK.
MATERIALS:CotonMadeiraD.M.CNo.40,50or60.(SpecialcottonforMadeirawork).

Swiss embroidery frame (fig. 198).Letters, monograms, coronets and

the like, require extreme care in the working, and can only be really well
doneinaframe.TheroundSwissframe,ortambourframe,istheonemost
commonly used. It consists of two wooden hoops, fitting loosely into each
othertheinnerone,fastenedtoasupportwithawoodenscrewletintothe
lower part of it, with which to fasten the frame to the table. The outside
hoopisloose.

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Placethefabrictobeembroideredoverthesmallerhoop,thepatterninthe
middle,andpresstheotherdownoveritsothatitistightlystretchedand
fixedbetweenthetwohoops.

Aleathernstrapwithholesandabuckle,sometimestakestheplaceofthe
secondhoop.

FIG.198.S WISSEMBROIDERYFRAME.

Ordinary embroidery frame (fig. 199).Tambour frames can only be

used for embroidering pockethandkerchiefs and other small articles all
largerworkhastobedoneinanordinaryframe.Sewapieceofstrongstuff
into the frame, stretch it as tightly and evenly as possible, and cut out a
square in the middle to the size of the pattern. Then tack your work in
underneath,straighttothethread,dividingitoutcarefullywithpinsfirst,to
ensureitsbeingsetinperfectlyevenly.Rollorfolduptherestofthestuff
over theedges of the frame, and secure it with a few stitches or pins, to
keepitoutofthewayofyourhandasyouwork.

FIG.199.ORDINARYEMBROIDERYFRAME.

Alphabets for monograms (figs. 200 to 205).On account of the

difficultyofdevisingagoodmonogramformarkingunderlinen,wesubjoin
twoalphabets,bytheaidofwhichourworkerswillbeabletocomposetheir
own.

The letters are of a good medium size, which can be magnified or reduced
accordingtotheworker'sowntaste.

For any such modifications, we would again draw our reader's attention to
the directions given in the concluding chapter. The three first plates
represent large wide letters, intended to contain or encompass the more
elongated ones, represented in the fourth and fifth plates, figs. 203 and
204.

Theinterlacingofthelettersrequirestobecarefullydone,andourworkers
shouldstudythefollowingspecimens,soastolearnthestitchesalso,which
aremostsuitableforthisbranchofembroidery.

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FIG.200.ALPHABETSFORMONOGRAMS.OUTSIDELETTERSATOH.

FIG.201.ALPHABETSFORMONOGRAMS.OUTSIDELETTERSJTOQ.

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FIG.202.ALPHABETSFORMONOGRAMS.OUTSIDELETTERSRTOY.

FIG.203.ALPHABETSFORMONOGRAMS.I NSIDELETTERSATOL.

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FIG.204.ALPHABETSFORMONOGRAMS.I NSIDELETTERSMTOX.

FIG.205.ALPHABETSFORMONOGRAMS.LASTINSIDEANDOUTSIDELETTERS.

Monogram composed of letters A and D (fig. 206).Here, letter A is

worked in flat satin stitch, in BleuIndigo 312, and set in stem stitch,
worked in RougeTurc 321. D as a contrast to A, is embroidered in
transverse bars, the left part in pale blue and white, the right in pale blue
anddarkblue.Thelittleornamentsmaybeworkedaccordingtofancy,either
inwhite,orinoneofthegivencolours.

FIG.206.MONOGRAM
COMPOSED OFLETTERS AAND

DDRAWNFROM THE
ALPHABETS OFMONOGRAMS .

MATERIALS:Coton
broderD.M.CNos.100
to150.

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COLOURS:BleuIndigo
334,RougeTurc321
andwhite.[A]

MonogramcomposedoflettersVandS(fig.207).Theflatsatinstitch
inbothlettersisworkedinwhitethesetting,isinred,inshortstemstitch,
orifpreferred,inknottedbackstitch.

FIG.207.MONOGRAM
COMPOSED OFLETTERS VAND

SDRAWNFROM THE
ALPHABETS OFMONOGRAMS .

MATERIALS:Coton
broderD.M.CNo.120.
COLOURS:Whiteand
RougeCardinal305.
[A]

MonogramcomposedoflettersRandC(fig.208).Theseareworkedin
blackandgrey,formourningthewayCisdivided,admitsofavarietyinthe
stitchforinstance,thebackstitches,intheillustration,maybereplacedby
verysmalleyeletholes.

FIG.208.MONOGRAM
COMPOSED OFLETTERS RAND

CDRAWNFROM THE
ALPHABETS OFMONOGRAMS .

MATERIALS:Fildentelle
D.M.CNo.150.
COLOURS:GrisCendre
318andNoirgrand
Teint310.

Monogram composed of letters G and E (fig. 209).The flat satin

stitching and backstitching in E, and the stemstitched edges of G are
workedinwhiteCotonbroderD.M.CtheinsideofGinivorywhiteCoton
surfinD.M.C.

FIG.209.MONOGRAM
COMPOSED OFLETTERS GAND

EDRAWNFROM THE
ALPHABETS OFMONOGRAMS .

MATERIALS:Coton
broderD.M.CNo.120
whiteandCoton
surfinD.M.CNo.120,
unbleached.

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Border in Gobelin stitch(fig.210).Gobelin embroidery is merely raised
satin stitch, worked directly upon the pattern, without any foundation, or
padding. The effectiveness of this kind of embroidery, which appears so
complicated and is really so easy, and the many ways in which it can be
utilised,soonbroughtitintofavour.Itcanbeworkedonthearticleitself,or
on stripes, laid on afterwards, with a hemstitch bordering. The original of
fig.210wasinblueandredBleuIndigo312forthegrounding,RougeTurc
321,forthesettinginstemstitch.Theherringboningalongtheedgesofthe
pattern,topandbottom,isalsoinred.

FIG.210.BORDERINGOBELINSTITCH.
MATERIALS:CotonbroderD.M.CNo.35intwodifferentcolourssuchas:BleuIndigo312
andRougeCardinal304,RougeGrenat358and309or,GrisTilleul393andRouge
Cardinal305.[A]

Shouldadifferentselectionofcoloursbemade,itisimportanttoremember
thatinallcasesasharpcontrastisdesirable.

Alphabet and numerals, left blank, and outlined by the grounding,

workedinGobelinstitch(figs.211to215).

FIG.211.ALPHABETLEFTBLANKANDOUTLINEDBYTHEGROUNDING.LETTERSA
TON.

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FIG.212.ALPHABETLEFTBLANKANDOUTLINEDBYTHEGROUNDING.LETTERS
OTOZ.

FIG.213.LETTERO,FROM THE
ALPHABETGIVENINFIGS .211AND

212.

FIG.214.NUMERALSLEFTBLANKANDOUTLINEDBYTHEGROUNDING.

TheborderworkedinGobelinstitch,illustratedinfig.210,suggestedtous
theideaofanalphabetandnumerals,tobeexecutedinasimilarstyle,left
blank, that is to say, and outlined by a grounding in Gobelin stitch, which
arebettersuitedtoembroideriesofthekindthanthosegenerallyused.Our
limitedspacepreventsusfromgivingallthelettersinthediagonalposition
they are intended to occupy on the article itself. O and W only, are
represented in the right position. No difficulty will be found in copying the
otherletters,ingivingthemtheproperdirection.

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FIG.215.LETTERW,FROM THE
ALPHABETGIVENINFIG.211AND

212.

In order to economize room, J and H are represented in one square, but

theyareeasilydistinguishablefromeachother.

Fig.214representsthenumerals,executedinthesameway.Weshouldlike
to draw our readers attention to a few other ways in which letters and
numeralsmaybeoutlinedbythebackgroundforexample,thesolidparts
canbeworkedeitherinplainortwistedknotstitch(figs.177and178) in
veryfinechainstitchinoldGermanknotorbeadstitch(fig.873),oreven
inpiquembroidery(fig.877).

Border outlined by grounding, worked in Gobelin and stem stitch

(fig.216).Thegroundingofthispatternisworkedonstiffwhitelinen,and
entirelyinRougeTurc321,andtheoutlininginNoirgrandTeint310.The
samepattern can equally well be worked on gauzes and other transparent
stuffs, but with Coton repriser, instead of Coton broder D.M.C, for the
solidparts.TwoshadesofRougeGrenat,onedarkandoneverylight,may
be taken instead, or two of JauneRouille, or of VioletMauve, employing
alwaysthelightershadeforthegroundingandthedarkerforthesetting.

FIG.216.BORDER,OUTLINEDBYTHEGROUNDINGWORKEDINGOBELINANDSTEM STITCH.
Firstpart.

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FIG.216.Secondpart.
MATERIALS:CotonbroderD.M.CNo.50.COLOURS:RougeTurc321andNoirgrandTeint
310.[A]

Be careful, in the grounding, not to make the red stitches near the edge,
longer than they are represented in the illustration and to set the black
stemstitchesascloseaspossibletothegrounding.

Thepattern,whichcouldonlybereproducedintheoriginalsize,hadtobe
dividedintwo,tofitthepage.Incopyingit,jointheAandBofthefirstpart
totheAandBofthesecondthesameinfig.217,eachtimethepatternis
repeated,theflowersaretodroopfromthe+asseenfromthepositionof
thebudsinthefirstpart,atthebeginningofthedrawing.

Flowergarlandindifferentkindsofstitches(figs.217and218).Most
of the stitches, described at the beginning of this chapter, will be found in
this graceful garland, in the execution of which a considerable variety of
colours can be introduced. The rosebuds may be worked in two shades of
VertPistache and of RougeGrenat, in the stitches described in figs. 173,
177,189Atheforgetmenots,intwooreventhreeshadesofBleuIndigo,
inraisedsatinstitchandknottedstitchtheslendergreenleavesinVertde
gris,orGrisTilleul,thestamensinJauneCitron,andthestalksoftheroses
inBrunAcajou.

FIG.217.FLOWERGARLANDINDIFFERENTKINDSOFSTITCHES.

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Firstpart.

FIG.217.Secondpart.
MATERIALS:CotonbroderD.M.CNo.40.
COLOURS:RougeGrenat326and335,BleuIndigo312and334,VertPistache319and
320,Vertdegris474and475,BrunAcajou301,Jaunecitron446.

FIG.218.S HOWINGTHEWORKINGOFTHEOUTSIDESTITCHESINFIG.217.

The border that completes this charming pattern, consists of four rows of
button holing, worked in four colours. The first row in our illustration is
workedinpalepink,followedbythreeshadesofgreen,thepalestofwhichis
usedforthesecondrowofstitches.

When these rows are worked upon a satine or cambric foundation, it is

advisable to begin by making a small drawing, in which the height of the
stitches and the distance between them is accurately marked out, then
prickthepatternthroughandpounceituponthematerialbeneath.

Whentheyareworkedonamaterial,thethreadsofwhichcanbecounted
nosuchprecautionisnecessary.

InsertioninGobelinandstemstitch(fig.219).Owingtotheshortness
ofthestitches,thispatterniseasiertoworkthantheforegoingones.The
little flowers are embroidered alternately in dark and light red the setting
varies to correspond, the light red flower being set in dark red, and vice
versa.Theinterioroftheleavesisinlightgreenandthesetting,aswellas
theconnectingbars,indarkgreen.

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FIG.219.I NSERTIONINGOBELINANDSTEM STITCH.

MATERIALS:CotonbroderD.M.CNo.35COLOURS:RougeCardinal347andRouge
Granium352withGrisTilleul392and331,orBleuIndigo312and334withVert
Mousse469and471,orVioletMauve375and376withJauneRouille364365.[A]

Stripes of embroidery with lace insertion between (fig. 220).We

conclude this chapter, by showing how stripes of embroidery can be used
alone,orinconjunction,eitherwithbandsofopenwork,orlace,crochet,or
netinsertion.Suchcombinationsareusefulforornamentingaprons,table
cloths, curtains etc., every description in short of household linen and of
children's garments. One great advantage, moreover, which stripes of this
kind, have over larger pieces of embroidery is that they require neither
framenorpillow,norwearisomecountingofstitches,butcanbeworkedin
thehand,atalltimesandplaces.

FIG.220.S TRIPESOFEMBROIDERYWITHINSERTIONBETWEEN.

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FOOTNOTES:
[A] Seeattheendoftheconcludingchapter,thetableofnumbers
(besuretoclickonthecharttomagnify)andsizesandthelistof
coloursoftheD.M.Cthreadsandcottons.

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