Artistic embroidery

Appliqué, as it is usually called, is the most simple kind of decorative needlework, being nothing more than a pattern cut out of one material and transferred on another. It must, of course, like all fancy-work, be neatly done, with no rough edges or mis-matching figures, and embroidery of some kind is used as a finish; but the same amount of skill and practice is not required as in other artistic work.

When properly done, it is very rich and effective; and it recommends itself by the charming results produced with comparatively little labor. The materials may be of almost any kind; but it is necessary that the ornamental part should harmonize with the foundation. One would not think, for instance, of applying velvet on cotton, or linen—while on satin, it makes the richest kind of applied work.

Appliqué may be fine or coarse according to the purpose for which it is intended; if fine, it is safer to put it in a frame before beginning the work. If the groundwork is velvet, satin, or silk, holland should be stretched in a frame, and the design drawn upon it and upon the velvet or other material; they should then be pasted together, and cut out with a sharp pair of scissors. Cloth and commoner materials do not require this “backing,” as it is called; but may be cut after the pattern is traced, and pasted directly on the groundwork.

The gum, or paste, used for this purpose should be as thick and dry as possible, for fear of its coming through and staining the material; and before pasting on cloth or velvet, it will be well to lay the pieces down where they are to be fastened, and view them from various points to see that the pile always goes the same way—or a different shade of color will be the result.

When the material is particularly delicate, isinglass is used instead of paste; and the piece applied should be very carefully smoothed before it is left to dry—as a curved or cross-cut piece is apt to get out of its proper curves or to stretch too much.

With a complicated design, the pattern should be traced on the material, and the duplicate parts numbered that they may fit perfectly together. One way of fastening the edges down is to button-hole them with a lighter or darker shade of silk than the material applied. The veins of leaves are defined by long stitches, also of a lighter or darker shade.

In the commoner kinds of appliqué, cloth, for instance, on duck, or Turkish towelling, or on cloth of another color, basting will generally answer the purpose of keeping the pattern securely in its place.

Magnificent work is done in appliqué; curtains of gold-colored satin with garnet velvet leaves—the edges defined with a white cord, in which a little blue was mingled; cushions of Moorish arabesques, scarlet velvet on white satin—the velvet edged with gold braid; mantel-lambrequins of brown velvet figures on a groundwork of dead-gold; these suggest endless variations, which a little taste and some eye for color may make beautiful in the extreme.

Ivy leaves are especially satisfactory in this kind of work; and so is any large, clearly-defined figure. The accompanying illustration will be found useful for a bordering. The leaves and flowers are made of crimson cloth—the stems and veinings of black embroidery silk. This would be very effective on a gray ground; but any color both of cloth and silk may be used. It would be particularly pretty for a basket or a table-cover.

Our next illustration is

A LAMBREQUIN IN APPLIQUÉ.

Beautiful combinations may be made with white, scarlet, and blue cloth, embroidered with black, gold-colored, and maroon silks, in feather-stitch and point-russe—which are the principal stitches used in this kind of work. For small lambrequins, to decorate baskets and brackets, such combinations are very effective; and the illustration shows a particularly pretty one.

The upper part of the lambrequin is of white cloth cut in points, and pinked in a small pointed pattern; the under part, of which the points are larger and pinked in scallops, is of garnet color. On the white points are star-like flowers with buds of blue cloth; and on the claret-colored ones, the same in pink cloth—ornamented with point-russe stitches of silk to match. The middle of each flower is a round piece of yellow cloth fastened with point-russe stitches of red silk. The stems and sprays are done in stalk, chain, and feather stitches of light green silk.

The dark points have, near the pinking, a line of twisted button-hole stitches in maize-colored silk—and the light points have a similar line of red silk. Both are also ornamented with steel beads.

A handsome tobacco pouch may be made from the illustrations, which represent the two patterns used—each side being duplicated.

Four such pieces are cut out of crimson or scarlet cloth, and worked in appliqué. In the first one, the chain-stitch border (not the outer edge) is worked with green silk. The knot from which the different articles are suspended is done with black silk; the cigar-case is of yellow cloth; the cigars worked in satin-stitch with brown silk. The case has two bands of chain-stitch in blue silk, and is edged all round with button-hole stitch in the same color. The pipes are of white cloth shaded with long stitches of gray silk, and edged with yellow. The upper part of the pouch is of blue cloth, with a white silk edging and yellow dots; the under part of brown cloth, with black edging and a pattern worked in chain-stitch with white; the three tassels are embroidered with black and yellow silk.

In the second pattern, the outer border is yellow, the knots black; the small pattern at the top is of blue cloth edged with yellow; the pipes of white cloth edged with blue and shaded with gray. The bundle of cigars is of brown cloth shaded with black stitches, and fastened on with double rows of chain-stitch in yellow silk. The cigar-case is of light green cloth edged with white; the Grecian pattern and dots are embroidered over it with white silk also.

To make the pouch up, join the four pieces together by seams—which are concealed by gold braid; cut out also and join four similar pieces of white kid for the lining; fasten this to the outside at the top only. Sew small brass rings around the top, and run a double piece of crimson silk cord through them. Put silk tassels of various colors at the bottom of the pouch and at each of its four corners.

Appropriate devices for needlebooks, work-baskets, toilet-boxes, etc., may be made from these suggestions; and there is no reason why the small articles in daily use should not be as complete and artistic in their way as more pretentious undertakings. Many who cannot attempt large pieces of work will appreciate these small patterns.

Figure 55 gives a quarter of a very handsome lamp-mat in application and embroidery.

The foundation is a square piece of olive-green cloth, on which is applied a rim of pale-blue cloth two inches wide. The edge is bordered with a thread of dark-blue and light-brown double zephyr worsted, which is overcast on the foundation with fawn-colored silk floss.

Having transferred the outlines of the design to the rim and to the olive-green cloth foundation, as shown in the illustration, work the buds in the centre of the foundation with pale pink and light yellow bourette worsted—and the calyxes with réséda worsted, in two shades, in diagonal button-hole stitch; the loops of which meet in the middle of each leaf, forming the vein. The vines are worked in herring-bone stitch with old gold-colored filling silk. Chain stitches of similar silk define the stems.

On the blue cloth, the flowers are worked with pink and yellow bourette worsted in two shades; and the leaves and calyxes with olive and réséda worsted, in several shades, in diagonal button-hole stitch. The vines and stems are worked in chain-stitch with yellowish-brown filling silk in three shades. The calyxes are defined with satin-stitches of light-yellow filling silk, which are edged with chain-stitches of dark-yellow silk.

The rim is embroidered in point-russe with light-brown double zephyr worsted in the manner shown in the illustration. For the trimming on the outer edge of the mat, overcast a thread of yellow-brown and a thread of light yellow double zephyr worsted in double rows with dark and light yellow silk floss on the foundation in scallops—fill the interval with knotted stitches of pale pink worsted, and border the scallops alternately with a long and a short button-hole stitch of old-gold-colored filling silk. Trim the pinked edge of the foundation with tassels of worsted in the colors of the embroidery.

These pretty borders may also be used as strips for afghans and chair-covers.

For Figure 56, a strip of blue cloth an inch and a quarter wide is placed on a foundation of écru linen; and through the middle is run a white braid with horizontal stitches of green, vertical stitches of yellow-brown, and cross-stitches of pink worsted. The blue strip is bordered on both sides with dark-green worsted braid, sewed on with a cross-stitch of light-green worsted, which is wound with maroon worsted. Diagonal stitches of light and dark red worsted, crossed with horizontal stitches of dark-blue worsted, border the braid on the outside.

The border in Figure 57 is made also of écru linen, on which claret-colored braid three-quarters of an inch wide is basted. On the latter, dark-green braid a quarter of an inch wide is fastened with a cross seam of white split filling silk, caught down with black. The crossed stitches on the inner edge of the maroon braid are in blue and gold—the point-russe stitches beyond in scarlet and black.

In the middle of the border, apply round pieces of white cloth with point-russe stitches of green silk; and connect them with vertical stitches of maroon, which are fastened on the foundation at the middle with cross stitches of the same color.

KEY-BAG IN APPLIQUÉ AND EMBROIDERY.

Both sides of this handsome key-bag are given in Figures 58 and 59. It is made of gray kid and lined with gray silk.

On one side is embroidered a key formed of poppies, with their leaves and stems and at the top of the key is perched an owl. The poppies are worked with five shades of blue-green silk; the plumage of the owl with four shades of brown silk—the shades all blending almost imperceptibly together. The owl’s eyes are worked in scarlet and white silk.

The other side of the bag has appliqué figures of steel-colored silk in the form of a Gothic lock. They may be edged either with gold cord or with fine gray silk cord. The screens are done in satin-stitch with silver-gray silk.

After lining each side, the two parts of the bag are joined with a border of gray ribbon, continued around the whole as in the illustrations. It is stitched on with fine gray silk. The bag is fastened with a steel button and a silk loop.

Figures 60 and 61 are rich border patterns suitable for table-covers, mats, and brackets. The embroidery is in button-hole, point-russe stitches and knots; the veinings of the leaves in Figure 60 in stalk-stitch and long embroidery stitch. The colors can be arranged to suit the taste of the worker.

SILK APPLIQUÉ WORK.

This is principally used for flowers and leaves; and when care is taken in shading, the effect is almost if not quite equal to embroidery.

The pansy is one of the easiest flowers to imitate in this way—the two upper petals being made of purple silk, and the lower ones of violet, or yellow; with the edges button-holed round, and a few long stitches put in by way of veining.

Rose petals may he beautifully done by selecting silk of the prevailing hue of the petal, and shading with fine embroidery or split filling silk. Stalks and tendrils, and leaf-veinings are worked with embroidery silk.

A cluster of apple-blossoms is very pretty in this kind of work; and may be done on a ground of pale-blue, gray, or olive. Satin or velvet would make a very handsome foundation. So delicate a piece of work should be done with great care; and besides the edging in button-hole and the long stitches in embroidery-silk, delicate shading is done with filling silk.

The main steins and tendrils are worked in stalk-stitch with green and brown embroidery-silk; where the stems join flower or bud, and for other little finishing touches, satin-stitch is used. The centres of the blossoms are of yellow silk in knot-stitch and common embroidery-stitch.

Silk is sometimes applied on lace with good effect; and the finest specimen known of this work is the beautiful shawl made for the Empress Eugénie, and for some time past on exhibition at Stewart’s. Seen through its glass-case, it is a marvel of coloring and truth to nature; the roses almost perfume the air, and the graceful droop of the wisteria in the centre is perfect. This piece of art-needlework fully deserves its name, and is valued at $100,000; but it is a question if all that weary labor with those minute pieces of silk (so joined on the under side that the points of meeting can be seen only through a magnifying-glass), to say nothing of the cobweb-lace foundation (also hand-made), could possibly be remunerated with money.

CRETONNE-WORK.

The subject of appliqué could not be exhausted without some reference to this popular branch of it—which, when new, was considered the most bewitching fancy-work ever invented.

The most desirable flowers and figures for cretonne-work are to be found in the fine, soft, French cretonne; and the most tiresome part of the work is that which has to be done first—the careful cutting out of these figures with a sharp pair of scissors. They are then to be gummed, or fastened with a few stitches done with fine cotton on the foundation. Much basting is not desirable, as it pulls the material and frays the applied work.

Black satin is a very effective foundation for cretonne-work, as it throws out all the bright and delicate colors; and farmer’s-satin answers very nicely. Soft gray and blue silesia are often very satisfactory for this purpose; and a work-basket, made by the writer, of gray silesia, with pink rosebuds and leaves in cretonne-work on each panel, and lined with blue silesia, quite exceeded her expectations.

Workers differ about the best methods of doing cretonne application; some suggesting for the edge a loose button-hole of rather fine silk, on the plea that this prevents raggedness and answers the purpose of making the work subservient to the application. But the most approved method is to treat the cretonne merely as a design and a guide to color—covering the flowers and leaves almost entirely with split floss and embroidery silk. A thick outline in satin stitch secures the edges; and the leaves besides being veined are frequently ornamented with small French knots, or short back-stitches. Flower-centres are done in French knots.

Chairs and mantels may be handsomely ornamented by a rich stripe of cretonne-work in pink or red roses on a black satin ground; and table-cover borderings may be made in the same way, and attached to the main body. Sofa-cushions, foot-rests, portfolios, and many other things, may be decorated in the same way.

The simpler kinds of appliqué-work have been made very common by the immense number of animals, insects, and figures, such as were never seen in earth, air, or sea, exposed for sale in all the fancy shops, and offering easy inducements to amateurs to fasten them in almost any way upon whatever material their fancy might dictate. The Turkish-towelling fever raged throughout the length and breadth of the land; and although a little of this work, when well done, is very effective, especially in a cottage parlor, it has been carried to such an excess and much of it so bunglingly done, that there is a very general pushing of it aside for something newer.

Dragons and Chinamen, the most popular figures for this kind of work, were never known to infest Turkey; and whatever else we are in fancy-work, it is desirable to be harmonious. Rich arabesques in colored cloth of the true Oriental hues, edged with black to give them greater brilliancy on the pale brown groundwork, would be far more in character; and the inevitable ruche of scarlet braid should be toned down to a more quiet red, or whatever color is most suitable as the key-note.

We may be artistic even with Turkish-towelling and cloth application; but unless we are this, let us not be ornamental.

CRAPE PICTURES IN APPLIQUÉ.

Among the newest materials for application-work, are those preposterous representations on a ground of crinkly material known as Chinese pictures. These are of various sizes, and are found now in most of the fancy stores; and although they usually defy all the rules of reason and of color, they are, nevertheless, highly ornamental.

One of these works of art is before us now, divided into four compartments by bands of bright yellow, and tending generally to ornithology on original principles. Two skies are pink, one green, and one yellow; surrounded by the pink sky, a small bird of the sparrow order, with notoriously short legs and unwebbed feet, is walking at ease on some lead-colored water, while a small forest of foliage springs apparently from his back; under the yellow sky, a maize-colored bird on an inky bough opens his mouth evidently at a mulberry a few feet below him. Nemesis is upon him, however, in the shape of a silkworm that is attempting to climb his back. The best that can be said of the mulberries is that they are deeply, darkly, unmistakably purple; and we know them for mulberries because they are purple, and because the green leaf cannot be intended for anything else.

The other divisions are perfectly harmonious; and as an art-study, this “bit of color” would not be recommended. Skilfully applied, however, and “touched up” with embroidery, it would be found very ornamental.

Many of these pictures have Chinese or Japanese figures on them; and the confused coloring is best brought out by a frame-work of black velvet ribbon. They make pretty tidies sewn on gray Java canvas, with a bordering of black velvet from two to three inches wide embroidered in feather-stitch—and beyond that an equal width of the canvas worked in a sort of mosaic pattern in point-russe with floss-silks—then a fringe of the canvas, with the different colored silks mixed in, about two inches deep.

Lace is often used as a trimming for these tidies, but it is very unsuitable. Long embroidery stitches of silk, as in cretonne-work, improve these pictures very much; and many of them are so brightly-colored in themselves, that they are as decorative as Chinese fans. They may be used for a variety of purposes; and appliquéd on black velveteen, make handsome hangings for mantels.

LINEN APPLIQUÉ.

Handsome embroidery is sometimes done by working the design on linen, and then applying it to richer materials. The embroidery, when finished, is “backed” by paper before taking it from the frame, to give it firmness; when quite dry, it is taken out and cut carefully round the figures with a sharp pair of scissors, leaving about a sixteenth of an inch as a margin. It must then be laid on the material and tacked down, if the latter is loose—if it is framed, the piece of embroidery should be fastened on it by small pins thrust perpendicularly through it. It must then be more fully secured by sewing it over in small stitches.

The linen edge is covered by a gold or silver cord, fastened down with fine silk matching the cord in color. It is well to paint the back of the embroidery with paste, that the ends of silk may be secured.

A great deal of Eastern embroidery has the look of applied work—being done in the long embroidery-stitch in regular lines from east to west, or across the shape to be filled, instead of from north to south; no attempt being made to follow the natural lines of the leaf or flower.

This style has a rich effect in purely conventional forms, but is not suitable for floral designs; a line of black or gold around the figures is nearly always used. We saw some Cretan work lately, that was several hundred years old, done in this way with silk and a sort of flat gold thread on coarse linen; and the effect was very gorgeous.