Part 12

In the Surface Darning at H (34) long threads are first carried from edge to edge of the square, there only piercing the stuff, and then darned across by other stitches, again only piercing it at the edges.

An oblique version of this is given at C (34).

The Lace Buttonholing at B (34) is worked as follows:--Buttonhole three stitches into the stuff from left to right, not quite close together, and further on three more; then, working from right to left, make three buttonhole stitches into the thread connecting the stitch groups; but do not stitch into the stuff except at the ends of the rows. The last row must, of course, be worked into the stuff again.

Net Passing, as at F (34), is not very differently worked from A or B. It is much more open, and the first row of horizontal stitches is crossed by two opposite rows of oblique stitches, which are made to interlace.

The square at G is worked by first making rows of short upright stitches worked into the stuff, and then threading loose stitches through them.

The square at D is worked on the open lattice shown; the solid parts are produced by interlacing stitches from side to side, starting at the angle.

In the square at E (Japanese Darning) horizontal lines are first darned, and then zigzag lines are worked between them, much as in G; but, as they penetrate the material, this is scarcely a surface stitch.

The horizontal lines at top and bottom of the square at A are back-stitching, the intermediate ones simply long threads carried from one side to the other; they are laced together by lines looped round them.

The band at L is begun by making horizontal bar stitches. A row of crewel-stitch and one of outline-stitch, worked on to the bars, and not into the stuff, makes the central chain.

The band at K is merely surface buttonholing over a series of slanting stitches.

The band at J is buttonhole stitching wide apart, the bars filled in with surface crewel-stitch.

Most delicate surface stitching occurs in Illustration 35, the fine net being worked only from edge to edge of the spaces it fills, and not elsewhere entering the stuff; which accounts for most of it being worn away. The flower or scroll-work is bonâ fide embroidery, worked through the stuff. The delicate network of fine stitching, which once covered the whole of the background, is for the most part neither more nor less than a floating gossamer of lacework. One cannot deny that that is embroidery, though it has to be said that lace-stitches are employed in it.

Stern embroiderers would like to deny it. Of course it is frivolous, and in a sense flimsy, but it is also delicate and dainty to a degree. It is suited only to dress, and that of the most exquisite kind. A French marquise of the Regency might have worn it, and possibly did wear it, with entire propriety--if the word is not out of keeping with the period.

The frailty of this kind of thing is too obvious to need mention, and that, of course, is a strong argument against it.

All attempt to give separate names to diapers of this kind, whether worked upon the surface or into the stuff, is futile. They ought not even to be called stitches, being, in fact, neither more nor less than stitch patterns, to which there is no possible limit, unless it be the limit of human invention. Every ingenious workwoman will find out patterns of her own more or less. They are very useful for filling in surfaces (pattern or background) which it may be inexpedient to work more solidly.

The greater part of such patterns are geometric (Illustrations 35 and 73), following, that is to say, the mesh of the material, and making no secret of it. On Illustration 3 you see very plainly how the rectangular diaperings are built up geometrically on the square lines of the mesh, as was practically inevitable working on such a ground. The relation of stitch to stuff is here obvious.

The choice of stitch patterns of this kind is invariably left to the needlewoman. The utmost a designer need do is to indicate on his drawing that a "full," "open," or "intermediate" diaper is to be used. And the alternation of lighter and heavier diapers should be planned, and not left altogether to impulse, though the pattern may be. Moreover, there is room for the exercise of considerable taste in the choice of simpler or more elaborate patterns, freer or more geometric. Many a time the shape of the space to be filled, as well as its extent, will suggest the appropriate ornament. The diaper design is not, of course, drawn on the stuff, but points of guidance may be indicated through a kind of fine stencil plate.

The patterns used for background diapering need not, as a rule, be intrinsically so interesting as those which diaper the design itself, nor are they usually so full. They take more often the form of spot or sprig patterns, not continuous, in which the geometric construction is not so obvious, nor even necessary. In either case the prime object of the stitching is not so much to make ornamental patterns as to give a tint to the stuff without entirely hiding it with work; and the worker chooses a lighter or heavier diaper according to the tint required. If the work is all in white it is texture, instead of tint, that is aimed at.

For a background, simple darning more or less open, in stitches not too regular, is often the best solution of the difficulty. The effect of the ground grinning through is delightful.

SATIN-STITCH AND ITS OFFSHOOTS.

SATIN-STITCH is par excellence the stitch for fine silkwork. I do not know if the name of "satin-stitch" comes from its being so largely employed upon satin, or from the effect of the work itself, which would certainly justify the title, so smooth and satin-like is its surface. Given a material of which the texture is quite smooth and even, showing no mesh, satin-stitch seems the most natural and obvious way of working upon it. In it the embroidress works with short, straight strokes of the needle, just as a pen draughtsman lays side by side the strokes of his pen; but, as she cannot, of course, leave off her stroke as the penman does, she has perforce to bring back the thread on the under side of the stuff, so that, if very carefully done, the work is the same on both sides.

Satin-stitch, however, need not be, and never was, confined to work upon silk or satin. In fact, it was not only worked upon fine linen, but often followed the lines of its mesh, stepping, as in Illustration 9, to the tune of the stuff. This may be described as satin-stitch in the making--at any rate, it is the elementary form of it, its relation to canvas-stitch being apparent on the face of it. Still, beautiful and most accomplished work has been done in it alike by Mediæval, Renaissance, and Oriental needleworkers.

To cover a space with regular vertical satin stitches (A on the sampler, Illustration 36), the best way of proceeding is to begin in the centre of the space and work from left to right. That half done, begin again in the centre and work from right to left.

In order to make sure of a crisp and even edge to your forms, always let the needle enter the stuff there, as it is not easy to find the point you want from the back.

In working a second row of stitches, proceed as before, only planting your needle between the stitches already done. Fasten off with a few tiny surface stitches and cut off the silk on the right side of the stuff: it will be worked over.

To cover a space with horizontal satin stitches (B on sampler), begin at the top, and work from left to right. The longer stretches there are not, of course, crossed at one stitch; they take several stitches, dovetailed, as it were, so as not to give lines.

The easiest, most satisfactory, and generally most effective way of working flat satin stitch is in oblique or radiating lines (C, D, E), working in those instances, as in the case of A, from the centre, first from left to right and then from right to left.

Stems, narrow leaflets, and the like, are best worked always in stitches which run diagonally and not straight across the form.