Artistic embroidery

This is a simple and truly artistic kind of needlework, chaste and elegant in design and correct in style; its beauty depending not upon strong contrasts or striking patterns, but on its exquisite finish and neatness.

Holbein work is a kind of linen decoration with colored threads; and was highly popular several centuries ago. Lingerie table-linen, towels, and bed-linen, were thus adorned in a charming and tasteful manner; and as instruction in this branch of needlework, of which so few remnants remain, is chiefly given through the master works of the younger Holbein, it has been named from him.

This great painter has reproduced the embroidery with wonderful fidelity, showing plainly its charming peculiarity of being alike on both sides. It differs in this respect from all other embroidery, except that of some Oriental nations, and has literally no wrong side to show, and requires, therefore, no lining to conceal defects. “Divers colors of needlework on both sides,” is the oldest kind of ornamental needlework of which there is any mention.

To accomplish this work on both sides is by no means difficult, as might at first be supposed; and many articles for which no other kind of embroidery would be appropriate may be very tastefully ornamented with Holbein work. The effect is that of colored lines on a white ground after the fashion of a pen-drawing—the design being equally distinct on both sides.

The foundation for this embroidery is usually white linen Java canvas, which washes better, and is of smoother and firmer texture than cotton canvas. If linen canvas cannot be obtained, the ordinary cotton canvas, or colored Java canvas, may be used instead.

A piece of canvas, a canvas needle with a dull point, red Turkish cotton No. 30, or else several threads of colored or black silk (somewhat coarser than ordinary sewing-silk), are all that is required for Holbein work.

No knot should be made, to look ugly on the under side, in the beginning; and to avoid this, insert the needle between the double layer of the threads of the canvas, so that the working thread is concealed on both sides; let the end of the thread project a little, so that it may be held in the hand, pass the needle around one of the four threads forming a square (with the ordinary cotton canvas, only half of a thread should be caught), carry it back the same way it was inserted (see Figure 63), and draw the stitch tight—at the same time holding fast the projecting thread.

The single thread on which the working thread is fastened is drawn in between the double threads of the canvas in tightening the stitch, so that the latter is not visible on either side. The manner of doing this is shown in Figure 64.

Then work the second stitch (see Figure 64) similarly to the first; but underneath the nearest threads running in an opposite direction, draw the stitch tight, so that it is concealed; and then repeat the first stitch once more completely, in order to fasten the thread securely. After working these three stitches, the thread should be quite firm; and the fastening should scarcely be visible.

Cut off the projecting end of thread close to the canvas, and begin the embroidery. To work a straight line, as in Figure 65, make a horizontal stitch of two squares of the canvas, pass over two squares, work another horizontal stitch on the following two squares—and continue the first row in this way, always taking up two squares for one stitch, as shown by Figure 66. This is called running stitch.

When the line has been worked of the length desired, for instance, ten stitches, there will be five running stitches and five intervals on each side; and the stitches on one side will always come on the intervals of the other side. In order to close the line, and fill all intervals, work, going back, just as in the first row (see Figure 67), which completes the line, and brings the working thread back to the point where the work was begun. This point is always indicated by * in the illustrations.

Work this straight line, consisting of ten stitches, from right to left in the order of the figures given in Figure 67. Only the upper stitches are counted and numbered; but, as a matter of course, the other side of the work is to present the same appearance as the side on which it is done. The regularity of the work will be increased if, in working straight lines, the needle is always, in the second row, inserted underneath, and drawn out above the threads in the first row; in this way the threads of both rows are regularly intertwined, and the stitches are slightly slanting, as plainly shown in the last illustration.

A diagonal line, as in Figure 68, is worked similarly to the straight line, except that instead of crossing two squares in a straight direction, they are taken up diagonally, as in ordinary cross-stitch. The first stitch, therefore, exactly resembles half of a cross-stitch; and between the first and second stitches, an interval of the same number of threads remains, which forms half of a cross-stitch on the other side. The line a, Figure 69, shows the first row of a diagonal line of five stitches; and the line b shows this line finished by the second row.

For the zigzag line in Figure 70, take a diagonal stitch upward over two squares of the canvas, pass over two squares, and insert the needle downward diagonally in the opposite direction; take another diagonal stitch upward; and continue in this manner, as shown by a in Figure 71. In the first row, all the stitches on both sides appear slanting to the left. In working the second row, going back, fill all the intervals, as indicated by the figures on the line b in Figure 71.

For the Greek line in Figure 72, take a vertical stitch downward over two squares, pass over two squares in a horizontal direction, take a second vertical stitch upward over two squares, so that the stitches always inclose four squares. In this design, all vertical stitches come on the upper side (and all horizontal stitches, consequently, on the under side) in the first row, as shown by a in Figure 73; while in filling the intervals in the second row the order is reversed, and all horizontal lines come on the upper side, and the vertical lines on the under side. The line b, in Figure 73, shows the Greek line in course of work, and indicates by figures the order in which the stitches should be taken.

For the stair line in Figure 74, work a horizontal stitch from right to left on two squares, pass the needle straight down under two squares, and draw it out; repeat this three times, and then work three stitches upward again. In this design all the horizontal stitches come on the upper side, and all vertical stitches on the under side in the first row, which is shown by a in Figure 75; while b shows the lines finished by the second row, and indicates the order of stitches by figures.

The thread, which is always carried back to the point where the work is begun, should be sewn in firmly, as described for the beginning, so that the fastening cannot be detected, and then cut off close to the canvas.

These simple designs being mastered, the learner is now prepared for more ambitious efforts; and the lines are frequently divided into branches richly ornamented, that form complicated patterns, and require some study to make both sides of the work alike.

The patterns now consist no longer of simple lines, but of long lines with short ones branching off from them, which may be called main lines and branches.

The design in Figure 76 consists of a main line with upright branches, which is worked in rounds going back and forth, and is thus completed in two rows; no stitch should be omitted on either side, nor should any stitch appear double; and the working thread should always return to the point where the work was begun.

Figure 77 shows the manner of working the first row of this design, the needle indicating how to take the last upright stitch. Begin the line from *, so that an interval always remains between every two stitches, and work to the point where the line branches off. These branches are worked separately, and are completed in two rows; so that in working the second row of the main line no attention need be paid to them.

Figure 78 shows the same design finished by the second round; the order of stitches is indicated by figures.

The same rules apply to design 79—which shows a main line with stair-line branches meeting the main line always at two points. In this case, too, the branches are always finished separately before working the main line beyond the point from which the stair-branches proceed.

Figure 80 shows the first row of this design; the first branch being finished, and the second in course of execution.

Figure 81 shows the design finished by the second round, the figures indicating how to take the stitches. The fact that the branches intersect the main line at two points does not affect the work in the least.

Sometimes the branches of the main lines are again furnished with smaller branches, as shown by the forked design in Figure 82.

In this case, the smaller branches are also worked separately from the point from which they proceed; but the middle line is worked similarly to a main line; working first one row with intervals, next forming the smaller branches or prongs, and then, going back, filling the intervals of the middle line, and returning to the main line.

Figure 83 shows the first row of this design and one of the branches just begun; Figure 84 shows the design finished, and the order of stitches indicated by figures. From time to time, it will be well to glance on the under side and see that the design appears precisely the same as on the right side, which will always be the case when the stitches are worked exactly in the order given in the illustrations.

Frequently the smaller lines branch off from the main line in opposite directions, as shown by Figure 85. In this design the forked figure appears on one side, and the stair-line on the other side—both meeting at one point of the main line.

With such patterns, begin with the main line and work to the point where the branches begin—always working these separately. It is immaterial which of the two branches is worked first; but they should both be finished in the first row, so that, in the second row, only the intervals in the main line need be filled. As a general rule, it is well to complete as much of the pattern as possible in the first row.

As Figure 85 is formed by a combination of figures similar to those shown in Figures 65 and 66, it will only be necessary to refer to the description of those figures to enable the worker to execute this design with ease.

Tree figures, shown in illustration 86, are worked so that the trunk forms the main line, and all the small lines the branches; but the main line should be worked to the point without the branches, the latter being formed in the second row going back. Thus the trunk, forming the middle line, will serve as a guide for placing the branches. Figure 87 shows the manner of working such a figure, the stitches being indicated as usual by numbers.

Each individual design requires separate sewing in of the thread; all connected lines, on the contrary, are worked without interruption. The working thread should always be taken as long as possible; and when it is used up, it should either be carefully sewed in, as described in the beginning, or it should be fastened to the new thread by means of a weaver’s knot. This knot has the advantage of being made small and strong at the same time.

Sufficient instructions have now been given to enable the beginner to do a very creditable piece of Holbein work; and Figure 88 is a particularly easy pattern for a towel-border that may be done in red or blue cotton or silk.

The towel may be made of heavy linen sheeting; or a bordering of linen embroidered in this way may be applied to either end of a damask towel with a line of feather-stitch. Sufficient material should be allowed for a deep, tied fringe.

This pattern will also be found pretty for a bureau or dressing-table cover, as well as a variety of other articles.

Figures 89 and 90 are very effective both for towels and covers.

Holbein work is frequently mixed with cross-stitch and satin-stitch, which give it a richer effect; and for elaborate designs, this is a great improvement. Figures 91, 92, and 93, show very handsome towels embroidered in this way.

These towels are made of a piece of linen sixty-eight inches long and seventeen inches wide, embroidered in cross-stitch and Holbein work with blue or red cotton. The towels are trimmed besides with an open-work design and knotted fringe, and are hemmed narrow on the sides with a cross seam of the colored cotton.

To make a towel, work eight inches from the bottom a rich design in Holbein embroidery, and edge it on both sides with a narrow border in cross-stitch embroidery. Each cross-stitch is worked over two threads in height, and the same in width. Above this border, at a distance of an inch, ornament the towel in a design worked in cross-stitch over canvas with colored cotton.

After finishing the embroidery, draw out the threads of the canvas, and between the borders execute an open-work design. For this, draw out always four threads of the linen lengthwise and crosswise, letting the same number of threads stand, and overcast them diagonally, first in one direction, and then, crossing the same square in the opposite direction; and finish the edge of the borders adjoining the open-work design with button-hole stitches.

Underneath the narrow border, draw out the crosswise threads of the linen, and knot the lengthwise threads to form fringe, as shown in the illustrations.

Handsome portières and curtains may be made of burlaps ornamented with Holbein and other embroidery.

For the design in Figure 94, draw out eight threads, each two inches and a half and five inches and three-quarters from the outer edge; cross every eight of the threads left standing, and run them with gold soutache. Between these open-work patterns work the border (see Figure 94) in satin-stitch with light and dark red filling silk; and in Holbein work with light and dark olive-green filling silk.

The open-work pattern is edged with point-russe stitches of dark brown and fawn-colored silk, and cross-stitches of dark red silk.