Braids are of various kinds. Russian silk braids are generally employed for dresses, slippers, &c.; but for many of these purposes the new Albert braid recently manufactured in England is much richer and far more effective. Russian silk braid is generally narrow, and the plait is of that kind which is termed Grecian—all the strands going from the edge to the centre. In French braid, on the contrary, the plait of every two strands over each other. French braid, in silk, is very little used in this country. Slippers and other small articles worked in braid have the effect greatly improved by laying a gold thread on one or both sides of the braid.
1895. Victoria, Adelaide, or Coronation Braid
Victoria, Adelaide, or Coronation braid (for the same article has been called by all these various names), is a cotton braid, which, when laid on net or muslin, looks something like satin-stitch. It is composed of thick and thin parts alternately, and is made in only two sizes.
1896. Albert Braid
Albert braid is a sort of silk cord, made in many beautiful colours. It is intended for either application, in braiding, and being
raised
, looks extremely well, with very small outlay of time or money.
1897. Gold and Silver Braids
Gold and silver braids are often used in Mosaic work, and for slippers, blotting-cases, &c. The Mosaic braid, which is comparatively cheap, is generally used.
1898. Stitches
Various stitches are used in embroidery with crewels and silk.
1899. Stem Stitch
Stem stitch, also Crewel stitch, is that used for stems and for ordinary filling-in of flowers and arabesques. Instead of working from right to left, the stitches are smoother if worked from left to right. In stems a long stitch is made, and then a second halfway the length of the first, and half-way beyond it, till a stem is formed; and to complete it work from right to left, placing the needle under a stitch of the stem, not of the material, and so work back upon the top of the previous stitches. In the stem first worked only the tiniest piece of the material is taken up on the needle, so that the wool or silk is all on the surface.
1900. Stem Stitch in Flowers, &c.
In flowers and arabesques the stem-stitch is worked straight, but each stitch differing in length from the other, so as to make the wool smooth. Commence the work at the lowest part of the petals, and work upwards to the edge.
1901. Split Stem Stitch
Having worked one stitch, in making the second split the first stitch in the centre with the needle. In the stitch, the thread is continued under the material.
1902. Couching
Couching is a laying down on the outline of the design, a thick strand of filoselle, or cord or wool or silk of any kind, and then over-stitching it down with a fine silk of the same, or a contrasting colour.
1903. Basket-work Stitch and Diaper Stitch
These are done with gold, silver, or silk cords, stitched on the material in patterns, with silk of another, or of the same colour. The cords are just passed through the back of the work to its surface; either one, two, or three at a time are held in place by the left hand, the over-stitching being done by the right hand.
1904. Canvas for Cross-stitch Work
The Penelope is now universally used where the ground is filled in. Formerly it resembled the silk canvas now used where no grounding is required, but by accident a manufacturer observing some cross-stitch work unpicked, took the hint, and the result was the "Penelope canvas," of which there are different degrees of fineness, determined by the number of double-crossed threads that may fill the space of one inch.
1905. Elephant Penelope Canvas
Elephant Penelope Canvas is extremely coarse—fitted for working rugs and eight or twelve thread wools.
1906. Silk Canvas
Silk canvas requires no grounding; it is made of a cotton thread overcast with silk, and resembles coarse even-threaded cheese cloths, but is silky.
1907. Mode of doing Canvas Work
This is always done by the thread,—particular care should in all cases be taken that the size of the various materials is properly proportioned. Placing the canvas in a frame, technically termed
dressing the frame
, is an operation which requires considerable care. The frame itself, especially for a large piece of work, should be substantially made; otherwise the stress upon it will be apt to warp it, and drag the canvas. If this occurs to any extent, the injury can never be repaired.
1908. To Frame Canvas
After herringboning the raw edges of the canvas, sew them,
by
the thread, to the webbing of the frame,—that is, to the top and bottom. Then stretch the ends till the canvas is extended to its utmost length, put in the pegs, and brace the sides with fine twine. If the canvas is too long for the frame, and any part has to be rolled over the end, let the wood be first covered with a few thicknesses of silver paper.
1909. Design on Cloth
Sometimes, to save the trouble of grounding, a design is worked on cloth, over which canvas is laid. Whenever this is the case, the cloth must be carefully damped, to remove the gloss, before it is put into the frame. Then, as cloth will always stretch much more than canvas, it must be cut a little smaller both ways. The raw edges of the cloth should be turned in, and tacked to the canvas before they are framed. Some people withdraw the threads of canvas after the work is done; but it has a much richer effect if the threads of canvas are cut close to the outer stitches; and if there are any small spaces in the pattern, where the ground should be seen, they may be worked in wool of the colour of the ground.
1910. Stretching Work
Should a piece of work be a little drawn when taken out of the frame, damp the back well with a clean sponge, and stretch it again in the frame in the opposite direction. Whenever Berlin-work is done on any solid thick material, as cloth, velvet, &c., a needle should be used with an eye sufficiently large to form a passage for this wool. This prevents the latter from being crushed and impoverished as it passes through.
1911. Stitches in Canvas Work
There are five kinds of stitch used in canvas work—
Cross Stitch, Tent Stitch, Tapestry Stitch, German Stitch, and Irish Stitch
.
1912. Cross Stitch
Cross stitch is generally known. The needle is brought up in one pole of the canvas and down on another, two threads higher and more to the right. The slanting thread is then crossed in the opposite direction. A cross-stitch covers two threads in each direction.
1913. Tent Stitch
Tent stitch occupies one-fourth the space of cross-stitch. It is taken from one hole to the next above, and on the right hand side of a previous stitch.
Every One Basteth the Fat Hog, while the Lean One Burneth.
1914. Tapestry Stitch
Tapestry stitch crosses two threads of the canvas in the length, and one in the width. It is sometimes called Gobelin stitch, because it resembles somewhat the Gobelin tapestry. It is not suited for coarse canvas, and, in working from a Berlin pattern,
two
straight stitches must be counted as one square cross stitch.
1915. German Stitch
German stitch is worked diagonally, and consists of the first part of a cross stitch, and a tent stitch alternately worked.
1916. Irish Stitch
Irish stitch is worked parallel with the selvedges of the canvas. None of the stitches cross the threads in the
width
. In the first row, take the thread alternately over four and two threads; in all future rows take the stitches over four threads,—which, as they rise—first from the long and then from the short stitch, will produce the same appearance in others.
1917. Handling Wool
With regard to wools, they should never be wound, as the least handling crushes the pile and spoils them. Chenille needs still more careful handling.
1918. Stiffening Work
To stiffen large pieces of work, wet the wrong side thoroughly with gum water or gum tragacanth, and dry it before a fire (the wet side nearest the fire), before removing it from the frame.
1919. Beads in Canvas Work
Beads in canvas work have the treble merit of being at once brilliant, durable, and attractive.
1920. Tapestry Painting
Tapestry painting is an imitation of the famed Gobelin tapestry, which is hand-woven over fine cord. The imitation is painted on a machine-woven rep canvas: the term rep is a corruption of the Saxon term
wrepp
, or
rape
, a cord, Dutch
roop
, from which we get the word rope. In the Gobelins the shading of the different tints of wool that form a picture, or other designs, are put in by hand work, or shuttles moved by the hand, and on the wrong side of the picture, and the threads of wool, the weft run longitudinally, not horizontally, so that when the design is finished the picture is turned horizontally, and is complete. In Tapestry Painting the
rep
of the canvas is from right to left (horizontal), and this is then painted over and forms a picture in imitation of the Gobelin tapestry. The latter is so named after its French inventor, Giles Gobelin, about 1520. He was a famous dyer who discovered the celebrated Gobelin's scarlet dye. The house in which he lived was purchased by Louis XIV for a manufactory of tapestry for adorning palaces, the designs for which were drawn by Le Brun, a celebrated French painter, about 1666. Her Majesty Queen Victoria has recently caused to be established at Windsor, an establishment where the art of making "Gobelin Tapestry" is successfully taught.
1921. Tapestry of Auxerre
This town, in the northern part of the province of Burgundy, was once famous for its tapestry of a peculiar make. The design was handwoven in small patches of colour, and then was sewed together at the back to form the picture. Tapestry painting in blocks or masses of a single colour successfully imitate this tapestry, only that where the joining is of the real Auxerre tapestry is in tapestry painting marked by a black outline.
1922. Terra Cotta Painting
Terra Cotta is an Italian term for "burnt-earth." Bricks are a coarse kind of terra cotta. The new building erected at Kensington for the reception of valuable remains and subjects of natural history, is built entirely of terra cotta slabs. Terra Cotta vases of the early and late Etruscan period, such as those in the British Museum, are priceless. These are painted in various designs, and burnt in. The Doulton Ware is a close, if not exact, representation of these matchless specimens. Terra Cotta painting is simply vases and plates of red terra cotta, painted in Greek designs with ordinary black paint, and then varnished, or plates painted with a similar medium, in flowers of various colours. These last, of course, are no imitations of the antique.
Time and Tide Tarry for No Man.
1923. Lustra Painting
Lustra painting is a recent invention that so much resembles silk embroidery as to be mistaken for it. The outline of a design is sketched either on Roman satin or any smooth fabric, and then bronze powders of different colours are rubbed in with a preparation which is a trade secret. The leaves and stems are outlined in silk, this rendering the imitations more complete.
1924. Hints upon Etiquette
1
Footnote 1:
See "Etiquette and Social Ethics." 1s. London: Houlston and Sons
return to footnote mark
1925. Introduction to Society
Avoid all extravagance and mannerism, and be not over-timid at the outset. Be discreet and sparing of your words. Awkwardness is a great misfortune, but it is not an unpardonable fault. To deserve the reputation of moving in good society, something more is requisite than the avoidance of blunt rudeness. Strictly keep to your engagements. Punctuality is the essence of politeness.
1926. The Toilet
Too much attention cannot be paid to the arrangements of the toilet. A man is often judged by his appearance, and seldom incorrectly. A neat exterior, equally free from extravagance and poverty, almost always proclaims a right-minded man. To dress appropriately, and with good taste, is to respect yourself and others. A gentleman walking, should always wear gloves, this being one of the characteristics of good breeding. Fine linen, and a good hat, gloves, and boots, are evidences of the highest taste in dress.
1927. Visiting Dress
A black coat and trousers are indispensable for a dinner, or a ball. Either a white or black waistcoat is proper on such occasions. Morning dress is sufficient for an ordinary visit of ceremony.
1928. Officers' Dress
Upon public and state occasions all officers should appear in uniform.
1929. Ladies' Dress
Ladies' dresses should be chosen so as to produce an agreeable harmony. Never put on a dark-coloured bonnet with a light spring costume. Avoid uniting colours which will suggest an epigram; such as a straw-coloured dress with a green bonnet.
1930. Arrangement of the Hair
The arrangement of the hair is most important. Bands are becoming to faces of a Grecian caste. Ringlets better suit lively and expressive heads. Avoid the extremes of fashion, whatever the fashion may be, especially those fashions which tend to spoil the hair and render it unfitted for plainer styles.
1931. Excess of Lace and Flowers
Whatever be your style of face, avoid an excess of lace, and let flowers be few and choice.
1932. Appropriateness of Ornaments
In a married woman a richer style of ornament is admissible. Costly elegance for her—for a young girl, a style of modern simplicity.
1933. Simplicity and Grace
The most elegant dress loses its character if it is not worn with grace. Young girls have often an air of constraint, and their dress seems to partake of their want of ease. In speaking of her toilet, a women should not convey the idea that her whole skill consists in adjusting tastefully some trifling ornaments. A simple style of dress is an indication of modesty.
1934. Cleanliness
The hands should receive special attention. They are the outward signs of general cleanliness. The same may be said of the face, the neck, the ears, and the teeth. The cleanliness of the system generally, and of bodily apparel, pertains to Health, and is treated of under this head.
1935. The Handkerchief
There is considerable art in using this accessory of dress and comfort. Avoid extreme patterns, styles, and colours.
Never be without a handkerchief. Hold it freely in the hand, and do not roll it into a ball. Hold it by the centre, and let the corners form a fan-like expansion. Avoid using it too much. With some persons the habit becomes troublesome and unpleasant.
Punctuality Begets Confidence.
1936. Visits and Presentations
1937. Balls and Evening Parties
(
For the Figures of Dances, see pars.
139
-
159
.—
See
Hints Upon Etiquette
,
par
2024
.)
1938. Marriage Arrangements
1939. Special Licences
Special licences are dispensations from the ordinary rule, under which marriages can only take place canonically in the parish church, or other places duly licensed for that purpose. They can only be obtained from the Metropolitan or archbishop of the province, and often with no small difficulty, not being readily granted; and when obtained the fees are about £50.
1940. Common Licences
Common Licences enable persons of full age, or minors with consent of parents or guardians, to be married in the church of the parish in which one of them has resided for three weeks. They are procured from Doctors' Commons, or from any surrogate, at the cost of about £2 10s.
1941. Banns