Artistic embroidery

Much of this is very ancient, and it is often so beautiful that it comes properly under the head of art-needlework.

POINT-CONTÉ,

Best known by its modern name of Guipure d’Art, is almost the only kind of ancient work which, in its modern revival, has retained some degree of beauty.

Ancient guipure was made of thin vellum covered with gold, silver, or silk thread; and the word guipure derives its name from the silk when thus twisted round vellum being called by that name. Cotton afterward replaced the vellum, and several modern laces are known as guipure; but the name is not correct, and is appropriate only to that kind of lace where one thread is twisted round another thread or substance, as in the ancient Guipure d’Art.

This is effected by netting a foundation, and darning a pattern over it with the same linen thread; so that the high-sounding point-conté is simply darned netting. But beautiful effects are produced with it, and it has a look of old church lace.

The groundwork should be netted with linen thread in the shape of a square; and the thread may be coarse or fine according to the purpose for which it is intended. The netting is begun with two stitches, and one is added at the end of every row, until there is one more stitch than is needed for the number of holes. Thus if a square of twenty-six holes is required, increase until there are twenty-seven stitches; then decrease one at the end of every row until only two stitches are left. The last two are knotted together without forming a fresh stitch.

Great care should be taken to have the netting true and even, so that it will stretch properly in the little frame used for the work.

Each corner of the netting should be fastened to the corresponding corner of the frame; and the lacing should be made as tight as possible, as it is much easier to work on than when loose.

The working of the most elaborate patterns in Guipure d’Art depends entirely upon a mastery of the stitches, of which there is quite a variety. Those in most common use are Point d’Esprit, Point de Toile, Point de Feston, Point de Reprise, Point de Bruxelles, and Wheels and Stars.

Point d’Esprit is a succession of small loops. Beginning in the lower right hand corner of the framed foundation, a row of loops should be worked of the length required; then the frame should be turned, and loops worked on the opposite half of each square, intersecting the first loops in the centre of each intervening bar of netting. The illustration will make the work quite plain. This stitch is worked with finer thread than that used in the foundation, No. 10, perhaps, on a netting of No. 6.

Point de Toile, or Linen Stitch, is merely plain and regular darning over and under each cross thread, making the foundation a closer piece of network. There must be the same number of stitches in each square both ways, to keep the foundation perfectly even; and although the illustration has only four squares within each of the larger ones, it is often made fine enough to contain six or eight.

Point de Feston is done in overcast stitches. At each stitch the frame is turned; the stitches are taken across the square, and increase in length at the top of the square.

Point de Reprise, or Darning, is begun by stretching two or three threads over one, two, or more squares. The threads are then darned over and under; and the last stitch, while passing through, is arranged with the needle to form the next. This is one of the easiest stitches to learn; and it is always worked with coarser thread than the foundation.

Point de Bruxelles is merely a kind of loose button-hole stitch, and is principally used for filling up squares. It will also form leaves when the number of stitches is lessened in each row until they finish off in a point.

Wheels are begun in the centre. Four threads are taken across, as shown in the first illustration; the thread is twisted in returning to the starting point, and the wheel formed by passing thread under and over the netting and the crossing threads. It is fastened off at the back of the wheel.

The next design is a square wheel. It is worked in the same way as the preceding, with the addition of loops in Point d’Esprit, through which and under and over the cross-twisted threads four or five rows of thread are passed.

Stars are of various forms, as shown in figures.

The first one is worked in Point de Feston around a single square hole, which is filled in by a small wheel, or rosette.

The second is worked alternately in Point de Feston and Point de Bruxelles around a centre crossed by Point d’Esprit threads.

Figure 123 is more elaborate. Begin at the place marked a (Figure 124), twist the thread three times round the nearest thread of the netting, draw it on to the knot, b; repeat this three times, following the order of the letters; twist the working thread also between the threads, as seen in the illustration, and fasten it underneath the knot, a; for the wheel, fasten on the cotton afresh, and work the rest of the pattern in Point de Reprise.

The small square is worked on a foundation which is netted over a mesh 2 1-10 inches round; this foundation has seven stitches each way. The embroidery is in Darning-Stitch, Point d’Esprit, and Wheels. The outer edge is button-holed. Larger squares can be made in the same way, with a few added rows in length and breadth. These pieces are easily joined together with a few stitches.

A quarter of a large square is given on page 121. The outer border is done in Point d’Esprit; next to this there is a border in linen stitch. In each corner there is a large star, which is worked in raised darning-stitch, and fastened to the netting at each point; there is a wheel edged with button-hole stitch in the centre of the star. The pattern for the centre of the square—only a quarter of which is shown in the illustration—consists of four branches forming small triangles in Point de Bruxelles, four open-work stars or wheels worked over four holes of the netting, and a four-branched centre of Point de Feston with a wheel in the middle.

Fig. 127 is a pretty square that has the advantage of being very quickly worked. The border and groundwork are done in Point d’Esprit, the centre star in Point de Reprise, the pattern in Point de Toile. The four holes in the centres of the darned squares are filled in with wheels.

Small squares are very pretty for cuffs, handkerchiefs, or cravat ends. They are worked with very fine cotton in the same manner as the larger ones, beginning on two stitches in one corner. The different stitches in the two patterns given will be recognized as Point de Feston, Point de Reprise, Point de Toile, and Point d’Esprit.

The handsome square (Fig. 130), is worked in Point d’Esprit, with an outline edging of Point de Reprise. This part may also be done in close button-hole stitch. The groundwork is in Point de Toile, with Point de Reprise worked on it. It is very effective, and large and small squares may easily be multiplied by different combinations.

ROSETTES, INSERTIONS, ETC.

The first Rosette is worked in Point de Toile and small wheels. The central wheel is larger, and is ornamented with a round of overcast.

The star-shaped one has a knitted groundwork, which is made by casting on six stitches, joining the stitches in a circle, and knitting in the first round two stitches in every stitch. For the next eight rounds, two stitches in every increased stitch; in all the other stitches, one stitch. The last, or tenth round, is worked without increasing. The rosette is then darned in darning-stitch, linen-stitch, and Point d’Esprit. The edge is worked in button-hole stitch, three button-hole stitches to every selvedge stitch.

The netted foundation of the inserting pattern is six holes wide. Begin the netting at one corner with two stitches; work five rows, at the end of each of which increase one stitch; continue to work the strip with the same number of stitches—alternately decreasing one at the end of one row, and increasing one at the end of the next. To decrease, net two stitches together; to increase, net two in one hole. When the strip is long enough, finish it by decreasing in the same proportion as the increasing at the beginning.

The pattern is worked in Point de Feston and star-wheel; the border is of Point d’Esprit. The strip is finished on each side with a row of button-hole stitches.

The four patterns given above will be found very useful for filling up small squares, or for varying the groundwork of Point d’Esprit.

Figure 134 is a succession of Point-de Feston stitches, which half fill each square of the netting. This pattern, to look well, must be worked very evenly.

Figure 135 is a kind of double Point d’Esprit.

Figure 136 is a twisted thread taken across each square, and resembles lace stitches.

Figure 137 is a succession of small, close wheels, mingled with Point d’Esprit. This makes a very effective grounding.

This flower, which can be used for many purposes, is worked in Point de Reprise, and may be done either with linen thread or with purse silk in colors.

The pretty corners for cushions, handkerchiefs, etc., are worked in Point d’Esprit, Linen, and Darning-stitch; and the netted foundation is done by casting on two stitches, and working in rows backwards and forwards—increasing one stitch at the end of every row.

The corner border requires a strip of netting nine squares wide, cut out in Vandykes on one side, and worked round in button-hole stitch. The embroidery is done in Darning-stitch, Point d’Esprit, Linen-stitch, bars, and wheels. It is edged with button-hole stitch on the outside, on which is worked a row of crochet-purl.

For this, work one double in every button-hole stitch; after every other stitch draw out the loop on the needle about one-tenth of an inch; take out the needle and leave the loop as a purl; take up one loop in the last double stitch, and cast it off with the next double stitch.

Besides being used for tidies, cushions, etc., this border makes very pretty inserting.

But we must leave the fascinating subject of Guipure d’Art, and turn our attention to one or two other kinds of Linen Lace-Work.

POINT COUPÉ,

Or Cut-work, improperly called Greek lace, is made on a foundation of linen, of which some of the threads are cut away and the others worked over, making regular square spaces.

A clearly defined ground plan is thus produced, and the pattern, however rich and varied, is subdued and confined by guiding lines, and may be made to form stars, circles, crosses, or cobwebs, of a geometrical character.

This kind of work is very durable, and has all the respectability of age. Old specimens of it are frequently seen, and the seventeenth century painters were very partial to it, using it for the turned-up cuffs of the vandyke dress, and to edge the falling collars. The finer kinds of it are very laborious, and one beautiful variety wrought on thin linen fabrics is known as Spanish nun-work.

Point Coupé is very effective in furniture decoration, and for this purpose it can scarcely be too coarse. Brown packing-cloth makes a good foundation; worked with brown thread in a suitable pattern, simple enough to be clearly defined by the thick threads, it will make a beautiful border. A Macramé fringe, made of the same thread as that used for the work, will form a pretty finish, if the knotted pattern is simple and unobtrusive, as it should not divide attention with the border, to which it is only an appendage.

Cut-work is particularly suitable for the ends of a white linen altar-cloth, worked on stout linen with a thick, soft, white linen thread, and in a very rich pattern. The lace should be firmly finished off with a flat hem of the linen all round, making it complete in itself. A fringe of linen thread is a suitable finish to the Point-Coupé.

After the cover, of finer linen, has been washed and gotten up without starch, the cut-work borders should be sewn on the ends with an open stitch, which may be easily cut when the cloth becomes soiled; which will occur much oftener than with the borders.

Afternoon tea-cloths, cake-covers, etc., may be very prettily ornamented with this linen work. When intended for a border, it should be finished with close button-holing to make it strong.

For a tea-cloth, holland or crash makes a good foundation; and a suitable pattern for this purpose is made by drawing out nine threads each way, and stitching all around the square spaces—taking up three threads with every stitch. In the openings thus made, wheels, stars, or other figures, are worked.

POINT-TIRÉ,

Or drawn-work, is also suited to decorative purposes; it is very simple and easy of execution—being very effective in proportion to the labor spent upon it. It is an Italian invention, and is very ornamental for the ends of table-cloths, toilet-cloths, tidies, or towels—the last especially being its original use.

Point-tiré is made in the material of the cloth itself; some of the threads being drawn out, and the remainder worked into patterns more or less elaborate. A hem-stitch like that used for pocket-handkerchiefs is useful in this work; it may be done singly along a row of drawn threads, or for a broader line on both sides the row—either taking up the same threads as those taken on the other side, so making little bars, or taking half the threads from each of two of the opposite stitches, and thus forming a zigzag.

Other patterns may be made by passing a thick linen thread along the centre of a row of threads from which the weft has been drawn, and either twisting them over each other or knotting them into groups. It adds to the beauty of an article to embroider the spaces of plain linen between the rows of drawn work, either with silk, or with red or blue embroidery cotton, mixing a little of whichever is used with the fringe. The patterns should be very simple: line patterns, dots, stars, etc.

Figure 142 is a good specimen of embroidered drawn-work.

The materials used for this cover are white linen and coarse white embroidery cotton. The linen must not be very fine, and it should be of rather loose texture.

When cut to the desired size the first thing to be done is to ravel out the threads for the purpose of forming the fringe, which should be about an inch deep. It should at first be ravelled on only three sides: the selvedge and the two cross sides—the other selvedge side being left until the work is nearly finished.

For the work, draw out twenty-seven threads close together; then leave a space, and draw out twenty-seven more in the same manner. The space from which the threads are drawn is worked in a kind of open-stitch with coarse embroidery cotton. Twelve threads are taken up with the needle, and fixed by a back-stitch. Six threads are dropped; and then again twelve are taken up in the same way as before—thus forming the chain pattern shown in the illustration.

From the middle of the opaque stripe a single thread is drawn, and worked in common hem-stitch; and on each side, narrow stripes in satin-stitch form a sort of herring-bone pattern.

The work consists entirely of a series of opaque and open stripes. When the requisite number of stripes is complete, the fringe may be ravelled out on the fourth side, and the cover is finished.

This work washes well; but it should not be starched or ironed. The proper way of doing it up is to pin or baste it flat and tight while wet, upon a board, or the floor, and let it dry.

IMITATION OF ANTIQUE LACE.

A very rich kind of work founded upon old lace is done by drawing patterns on linen and overcasting or button-holing the outlines. The ground between is then cut away, and the patterns enriched with bars, cords, and raised work.

This kind of linen embroidery may be made very beautiful and lace-like; the exquisite patterns of Venetian, rose, raised, or bone point, can easily be reproduced in it, although, while preserving the peculiar beauty of their forms and proportions, they should, to adapt them to this work, be considerably enlarged and their details much simplified. Unless these rules are carefully followed, the linen-work will appear only a coarse and unsuccessful imitation of the original lace.

This work is sometimes outlined with gold thread, which has an exceedingly rich and beautiful effect; and with a lining of amber, or golden-brown satin, a handsome and unique covering may be made for a variety of articles.