1840. Alternative Picots
Picots are also sometimes made with the needle and cotton in working over these bars.
1841. Instructions in Knitting
1842. Improvements in Process
Although the art of knitting is known perhaps more generally than almost any other kind of fancy work, still as the knowledge is not universal, and there have been of late years great improvements in many of the processes, we hope that a short account of all the stitches, and the elementary parts of the craft, will be welcomed by many of our friends—and most seriously would we recommend them to attain
perfection
in this branch of work, because, above all others, it is a resource to those who, from weak eyes, are precluded from many kinds of industrial amusement, or who, as invalids, cannot bear the fatigue of more elaborate work. The fact is that knitting does not require eyesight at all; and a very little practice ought to enable any one to knit whilst reading, talking, or studying, quite as well as if the fingers were unemployed. It only requires that the fingers should be properly used, and that one should not be made to do the duty of another.
1843. Implements for Knitting
These are rods or pins of ivory, bone, or steel. The latter are most commonly used, and should have tapered points, without the least
sharpness
at the extremity.
1844. Casting On
The first process in knitting is casting on. To effect this, hold the end of cotton between the first and second fingers of the left hand; bring it over the thumb and forefinger, and bend the latter to twist the cotton into a loop; bend the needle in the loop; hold the cotton attached to the reel between the third and little fingers of the right hand, and over the point of the forefinger; bring the thread round the needle by the slightest possible motion; bend the needle towards you, and tighten the loop on the left-hand finger, in letting it slip off to form the
first
stitch.
1845. Formation of Stitches
Now take that needle with the loop on it in the left hand, and another in the right. Observe the position of the hands. The left hand needle is held between the thumb and the second finger, leaving the forefinger free, to aid in moving the points of the needles. This mode of using the forefinger, instead of employing it merely to hold the needle, is the great secret of being able to knit without looking at the work, for so extremely delicate is the sense of touch in this finger, that it will, after a little practice, enable you to tell the sort of stitch coming next, in the finest material, so that knitting becomes merely mechanical. Insert the point in the loop, bringing it behind the other needle, slip the thread round it, bring the point in front, and transfer the loop to the left-hand needle without withdrawing it from the right hand. Repeat the process for any number of stitches required.
1846. Plain Knitting
Slip the point of the right-hand needle in a loop, bring the thread round it, and with the forefinger push the point of the needle off the loop so that the thread just twisted round forms a new one on the right hand.
1847. Purling
The right-hand needle is slipped in the loop
in front of
the left-hand one, and the thread, after passing between the two, is brought round it; it is then worked as before. The thread is always brought forward before beginning a purled stitch, unless particular directions to the contrary are given.
1848. Mode of making Stitches
To make one, merely bring the thread in front before knitting, when, as it passes over the needle, it makes a loop; to make two, three, or more, pass the thread
round the needle in addition
, once for 2, twice for 3, and so on.
1849. To Decrease
Take one stitch off without knitting; knit one, then slip the point of the left-hand needle in the unknitted stitch and draw it over the other. It is marked in receipts d. To decrease 2 or more, slip 1, knit 2, 3, or more together,
as one
, and pass the slip stitch over.
1850. How to Join a Round
Four or five needles are used in round work, such as socks, stockings, &c. Cast on any given number of stitches on one needle, then slip another needle in the last stitch, before casting any on it; repeat for any number. When all are cast on, knit the first 2 stitches off on to the end of the last needle. One needle is always left unused in casting on for a round.
1851. How to Join Toe of Sock, &c.
Divide all the stitches on to two needles, hold both in the left hand, as if they were one, and in knitting take a loop off each one, which knit together.
1852. To Cast off
Knit 2 stitches; with the left-hand needle draw the first over the second; knit another; repeat. Observe that the row before the casting off should never be very tightly knitted.
1853. To Knit Three Stitches Together
To knit three stitches 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 Stitch
To raise a stitch is to knit the bar of thread between the two stitches as one.
1855. Abbreviations
The abbreviations used are:
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 coarse. 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 entitled 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 stitch.
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' aprons, 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 stitch, is generally known.
1863. Stitches in Braiding
There is considerable art required to achieve putting on the Victoria braid evenly and firmly. The stitches 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 stitch, 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 stitches closely and regular.
1866. Satin Stitch
Satin stitch is a smooth raised work, used for leaves, flowers, &c. It is done by first tracing the outlines accurately with soft cotton, then taking stitches 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 stitches taken close together, but slightly slanting, and completely across the part outlined. The veining of leaves is generally formed by taking the stitches 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 buttonhole stitch, worked either the width of an ordinary buttonhole, or in long stitches, and raised like satin stitch. Eyelet holes are made by piercing round holes with a stiletto, and sewing them round.
1867. Fancy Stitches
There are many fancy stitches 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 fashionable 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.
1872. Materials used in Embroidery and Canvas Work
The materials for canvas work and embroidery may be classed under the names of wool, silk, chenille, and braid; beads, straw, and a variety of other fancy materials, are also brought into use. A knowledge of the proper mode of using them, and the varieties of each which are made, is one of the most useful things it is possible for the amateur needle-woman to become acquainted with. We will, therefore, take them in their order.
1873. Wool
German wool (or Berlin wool, as it is commonly called) is the most beautiful material manufactured for canvas-work. The vast variety of shades, the exquisite tints produced, the softness and evenness of the fabric, are beyond all praise. We speak of Berlin wool
as it ought to be
; for no article is more frequently of inferior quality. From damp, or bad packing, or many other causes, it is frequently crushed and injured, and in that state is not fit to be used for good work. Berlin wool is supposed to be all dyed, as well as made, abroad; at present a large proportion is entirely produced in our own country, which is little, if at all, inferior to the foreign. Berlin wool is made only in two sizes, 4-thread and 8-thread; unless the latter is specified in directions, the other is always implied.
Berlin wools are either dyed in one colour, or in shades of the same colour, or (
very rarely
) in shades of several colours. Technically, a silk or wool dyed in shades of the same colour, going gradually from light to dark, and from dark to light again, is termed an
ombre
, or
shaded
wool or silk, whereas
chine
is the term employed when there are several
colours
used. There are, also, what are called
short
and
long
shades; that is, in the former the entire shades, from the lightest to the lightest again, will occur within a short space, a yard or so; whereas, in
long
shades the gradation is much more gradually made.
We notice these apparently trifling differences that readers may comprehend the importance of obtaining precisely the proper materials for each design. If we prescribe a certain article, it is because
it
and no other will give the effect. Transparent, white, or silver beads are usually worked with white silk, but clear glass beads, threaded on cerise silk, produce a peculiarly rich effect by the coloured silk shining through transparent glass. The silk used must be extremely fine, as the beads vary much in size. A change of material, which might appear of no consequence whatever, would completely spoil the effect of the design.
1874. Fleecy Wool
Fleecy wool is the sort of wool used for jackets and other large articles. Some of the tints are quite as brilliant as those of Berlin wool. It is made in 3, 4, 6, 8, and 12 threads, and is much cheaper than German wool. It does very well for grounding large pieces of canvas work.
1875. Shetland Wool
Shetland wool is very fine and soft, is much used, and prized for shawls and neckties and for veils.
1876. Eis Wool
A pure German wool of silky brightness, is used for the same purpose as Shetland wool excepting for veils. It is also used instead of silk for embroidering on velvet, as tea cosies, &c.
1877. Andalusian Wool
Andalusian wool is a medium wool, less thick than Berlin wool, is used for cuffs and shawls.
1878. Other kinds of Wool
There are also other names given to wools by the vendors or manufacturers of them: for instance, "The Peacock Wool" and "The Coral Wool" are trade marks, and not particular wools.
1879. Scotch Fingering Wool
Scotch fingering wool is used for knitting stockings and socks, and gentlemen's kilt hose.
1880. Thin Lambs' Wool and Wheeling Yarn
Scotch yarns, used principally for children's socks and stockings.
1881. Merino Wool
Merino wool is the produce of a Spanish breed of sheep. The wool was introduced into this country about the close of the last century. George III. was a great patron of this breed. French Merino is made from this peculiariy soft wool; so also Berlin wool, used for canvas embroidery.
1882. Angola Wool
The produce of an African breed of sheep; is a soft hairy wool. Is used for making Angola shawls and gloves, valued for their extreme softness and warmth. These were popular till the cotton manufacturers introduced a very poor imitation make entirely of cotton.
1883. Camel-hair Wool
Camel-hair wool is the production of the llama, or al-lama, a native of South America. This ruminant animal resembles in its nature, but not in its form, a camel. The back and sides of the llama are clothed with fine long woolly hairs, becoming smooth, silky, and shining towards the tips, the general colours being of a uniform bright brown. The native Indians use it in the manufacture of stuffs, ropes, bags, and mats.
1884. Alpaca
Al-Paco produces the alpaca wool. This creature is also a species of camel, though different in shape. Cavier regarded the paco as a variety of the llama; so also the vicugua. The llama is generally used as a beast of burden, while the former are used chiefly for their flesh and wool.
1885. Yak Lace and Fringe
This is said to be made from the tail hair of an animal resembling an ox, a horse, and sheep; the first for its shape, the next for its tail, and the third for its wool. The tail, under the Indian name of
Chowrie
, is often mounted in horns and silver, and used as a switch to keep off flies. The yak inhabits the coldest parts of Tibet, India.
1886. Silk
This well known production of the silk-worm in its natural state, as reeled from the cocoon, is termed "raw silk;" and before this can be used for weaving it requires to be twisted, or, as it is technically termed, "thrown;" that is to say, it is not two threads twisted one over the other, but the single filament itself is twisted so as to render it firmer; this is termed "singles." The next process is termed "tram." This is two threads loosely twisted together. This usually constitutes the "weft" silk, which is thrown by the shuttle across the long threads, or "warp," of the piece-silk.
1887. Organzine
Organzine, or hard silk, generally constitutes the "warp," or length of the silk. This is made by first twisting each individual thread of silk, and then two or more of the threads are twisted together by the "throwing" mill (throw one thread over the other). In this state it must be boiled, to discharge the gum which renders the silk hard to the touch, and unfit to receive the dye. It is now boiled in soap and water for four hours, and then boiled in clear water to discharge the soap; after which it is glossy, soft, and fit for wearing.
1888. Filoselle Silk
Filoselle silk was formerly a "spun silk," and the product chiefly of the silkworm, which naturally eats its way through its cocoon. It is only comparatively of late years that this silk has been used. The short filaments are spun in the same way that cotton and wool are spun, and is afterwards woven. A great deal of this silk is used for stockings and socks, and for weaving in with wool-fabrics, but there is also another kind of Filoselle used in needlework. This is two-thread silk, or "tram." Eight or ten of these slightly twisted threads form a strand of silk, so that, according to the purpose required, one, two, or more threads of it can be used for embroidery. This is glossy as satin.
1889. Floss Silk
Floss silk consists of several filaments of untwisted silk sufficient to make a strand of silk. It is used for working on the surface of wool stitches to heighten the effect and give brilliancy.
1890. Tusseh Silk
Tusseh silk or, as some term it, "Tussore," is spun from the silk of the perforated cocoon of the tusseh-moth. This silk is seldom dyed, being the natural colour of the cocoon, which cannot be satisfactorily extracted; nor will it absorb dye perfectly.
1891. Embroidery Silk
Embroidery silk is bright and lustrous, and composed of two rather loosely twisted large threads.
Sadler's Silk
and
Purse-Silk
have three threads.
Sewing Silk
has two.
Tailor's Twist
three threads.
1892. Chenille
Chenille is of two kinds.
Chenille à broder
(the finest sort), and
chenille ordinaire
, which is stiff, and about the thickness of a quill: both are round. The extreme richness of the appearance of chenille makes it suitable for any work requiring great brilliancy; as the plumage of birds, some flowers, and arabesques. Silk canvas is much embroidered with chenille, but is extremely expensive, and very soon injured by dust. It should only be employed for articles intended to be glazed, such as pole-screens, the tops of work-boxes, and screens.
1893. Arrasene
Arrasene is a perfectly flat silk-chenille—and is used for embroidery on all descriptions of material.
1894. Braids