Beeton's Book of Needlework by Isabella Beeton - HTML preview

PLEASE NOTE: This is an HTML preview only and some elements such as links or page numbers may be incorrect.
Download the book in PDF, ePub, Kindle for a complete version.

The ornamentation of this box is both novel and tasteful. It is embroidered in coloured silks, upon light blue cashmere. Part of the embroidery pattern is given in full size. All the outlines are worked in overcast, the stitches being made rather long and slanting, and the small leaves are each composed of one stitch, as in point Russe. The leaves are alternately red and yellow upon a green stem; the scalloped outline which has no leaves is red. The pine patterns are worked in satin stitch--the centre one is green, edged with red; the side ones are pink, edged with red; the small wing-like figures are black, edged with maize; the diamond, maize, edged with black, with an outer rim of maize. In the round pattern the centre is pink; the edge red, with red and yellow leaves; the 3 outer circles are successively white, green, and red; at the top the centre branch is yellow, the leaves red and yellow, the side ones are green, with the leaves pink and green.

The strip of embroidered cashmere is lined with blue silk, slipped through the bamboo-canes of the mounting, and joined together at the side by a seam. The cover is lined with plain blue cashmere, upon which initials might be embroidered at discretion. The four corners are ornamented with pretty silk tassels, of colours to match with the embroidery. To fasten the box, sew on a blue ribbon to the cover, and one to the box.

* * * * *


176 _and_ 177.--_Hanging Letter Case_.


Materials: Crimson velvet; white satin beads; gold soutache; and fine gold bouillon.


No. 176 shows the letter case when completed in a reduced size, No. 177 the principal part of the embroidered pattern in full size.

The letter case is composed of two parts. The larger part is 11 inches long, 8 inches wide; it is ornamented on the upper part with a pattern in gold soutache, and the word LETTERS or LETTRES embroidered in gold bouillon; underneath there is a pattern embroidered in oval white satin beads, edged round with fine white chenille; the scroll pattern is embroidered in gold bouillon.

The second part is placed over the lower part of the first, and forms the pocket which contains the letters. The centre flower is composed of 11 oval beads, edged round with white chenille; another white bead is placed in the centre, and edged with gold bouillon. The other flowers are also composed of white satin beads, edged with gold bouillon.

[Illustration: 176.--Hanging Letter Case.]


[Illustration: 177.--Pattern for Embroidered Letter Case.]


* * * * *


178.--_Embroidered Edging_.


Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 24


[Illustration: 178.--Embroidered Edging.]

This edging is worked in broderie Anglaise or overcast stitch; the edge in scallop button-hole stitch; the ovals and dots in raised satin stitch. The stems are worked in slanting overcast stitch (No. 122, _Embroidery Instructions_).

* * * * *


179.--_Border in Oriental Embroidery_.


Materials: Purse silk of the following shades:--dark red, bright red, 2 shades of green, 2 of blue, 2 of yellow violet.


[Illustration: 179.--Border in Oriental Embroidery.]

The four ovals placed together are worked of four contrasting colours. These ovals are composed of two rows of chain stitch. The outer row of the first oval is dark red, and the inner one bright red. Following the same arrangement, the second oval is of two shades of green; the third of two shades of blue; and the fourth of two shades of yellow. The knotted stitch in the centre is violet. The dots outside the ovals are worked in satin stitch, and are alternately red, yellow, violet, and blue. The stems are long stitches of black silk. The arabesque patterns between those formed of four ovals are worked in chain stitch with silk of two shades of brown. The colours of the ovals may be varied as much as you please, but the brown shades of the arabesque patterns should remain the same for the whole of the border.

* * * * *


180 _and_ 181.--_Embroidery Stars_.


Materials: Fine linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.

These stars are designed for medallions, to be worked on linen collars and cuffs. No. 180 is worked in successive rows of back-stitching, round an open wheel; ladder stitch (see No. 81, _Embroidery Instructions_) is worked round this, and a raised scallop in button-hole stitch forms the edge.

[Illustration: 180.--Embroidery Star.]


* * * * *


[Illustration: 181.--Embroidery Star.]


No. 181 is worked in raised satin stitch; the interior of the star is filled with lace wheels.


* * * * *


182 _and_ 183.--_Key Bag_.

Materials: Grey kid; grey silk; steel-coloured glace silk; purse silk of 5 shades of blue-green, 4 shades of brown, and silver-grey, scarlet, and white; grey silk cord; grey glace silk ribbon.

This bag is made of grey kid, and lined with grey silk. The embroidery imitates on one side a key formed of poppies, leaves, and stems, in the upper part of which sits an owl, "the

[Illustration: 182.--Key Bag.]


[Illustration: 183.--Key Bag.]

bird of night." The poppies are worked with blue-green purse silk in 5 shades; the plumage of the owl is worked with brown silk of 4 shades in satin stitch, the colours blending one into the other, as can be clearly seen in illustration No. 182. The eyes of the owl are embroidered in scarlet and white silk. Illustration No. 183 shows the other side of the bag, which is ornamented with steel-coloured silk applique figures, in the form of a Gothic lock. They are edged with fine grey silk cord. The screws of the lock are imitated in satin stitch embroidery with silver-grey silk. After having lined each part, join the two halves of the bag with a border of grey glace silk ribbon, which must, of course, continue round the revers. The bag is fastened by means of a loop and steel button.

* * * * *


184 _and_ 185--- _Embroidery Patterns for Trimming Cravats, Bodices, Morning Caps, &c._


[Illustration: 184--Embroidery Pattern for Cravats, &c.]


Materials: Muslin or cambric; Messrs. Walter Evans and Co.'s No. 24 for lingerie, No. 12 for couvrettes.

These patterns, worked on muslin or cambric, are suitable for trimming various articles of lingerie; joined on to other squares they make pretty covers. They can also be embroidered with coloured silk, wool, or thread, on cloth, rep, or cashmere, for trimming couvrettes and toilet pincushions. The patterns should be embroidered in satin stitch and edged with chain stitch; they can also be worked in button-hole stitch. When the pattern is worked on woollen material this material must be cut away inside the leaves and spots.

[Illustration: 185.--Embroidery Pattern for Cravats, &c.]


* * * * *


186 _and_ 187.--_Pen-Wiper in Cloth Applique_.

Materials: 4 circles of black cloth; 1 large white, 4 small white, and 4 red circles of cloth; 4 white and 4 red stars of cloth; small black beads; gold and black purse silk; small ivory handle or figure.

This pretty little pen-wiper is covered with small circles of cloth. No. 187 is one of these circles seen in full size. There are 4 white and 4 red ones, and they are pinked out round the edge. In the centre of each red circle place a white, and in the centre of each white circle a red star, and work a cross over it with small round black beads. The border, in herring-bone stitch, is worked with gold-coloured purse silk on the red, and with black on the white cloth. The centre of the pen-wiper is covered with a circle of white cloth larger than the side ones, worked in point Russe and point Mexico in black silk. When all the circles are prepared, sew them neatly on to a round piece of red cloth, placing alternately 1 white and 1 red, so as to overlap one another, and between each a circle of black cloth, also pinked out round the edge. The work is then fastened upon a round of cardboard lined with black glazed calico, and a
[Illustration: 186.--Pen-wiper in Embroidery.]

small handle of carved ivory, or an ivory figure, is fixed in the centre. The circles of black cloth are used to wipe the pens.


[Illustration: 187.--Full-sized Circle for Pen-wiper.]


* * * * *




Materials: Fine muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 30.


[Illustration: 188.--Insertion.]

The flowers of this insertion are embroidered in raised satin stitch round an open eyelet hole, worked in overcast stitch the stars are worked in point Russe stitch; the four eyelet holes which surround each flower, in overcast stitch; and the edge is finished with a row of hem-stitching on each side.

* * * * *




Materials: Fine muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 24.

This insertion is entirely embroidered in raised satin stitch; the dots and stems should be worked first, and the leaves afterwards. It is edged on both sides with a row of hem-stitching.

[Illustration: 189.--Insertion.]


* * * * *


190.--_Cigar Case_.


Materials: Russia leather; fine silk cord; black purse silk; gold thread.

The material of this cigar case should be finely-embossed light brown Russia leather; the centre pattern to be embroidered in well-raised satin stitch with black purse silk. All the lighter outlines shown in the illustration are worked in gold thread. The border to be worked in fine silk cord of the same colour as the leather, with a network of black purse silk, stitched with gold at all the crossings. On the opposite side of the cigar case
[Illustration: 190--Cigar Case.]

initials may be worked. The lining of light brown watered silk, or fine leather, and the mountings gilt or steel.


* * * * *


191.--_Wicker Waste Paper Basket_.


Materials: Basket and stand; coloured Berlin wools; cloth fringe; and glazed calico.


[Illustration: 191.--Waste Paper Basket.]

The basket may be of any size, but of the shape of the pattern. It rests upon two brass hooks fastened upon a stand. This stand can be made by any joiner, and should match the furniture of the room. The trimming consists of an embroidered border, lined with glazed calico, and put on round the edge; the lower part of the border is trimmed with a woollen fringe. The shades selected should correspond with the prevailing colour of the room.

* * * * *


[Illustration: 192.--Insertion.]




Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 16.

The edge of this insertion is worked in raised button-hole stitch, and embroidered in sharply-pointed scallops; the dotted line is worked in raised satin stitch, as are also the flowers which compose the centre wreath; the eyelet holes are worked in overcast stitch.

* * * * *


[Illustration: 193.--Embroidered Linen Collar.]


193 _and_ 194.--_Embroidered Linen Collars_.


Materials: Double linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.

These patterns are to be worked on linen taken double. No. 194 is worked in button-hole, satin, and knotted stitch (see Nos. 81, 82, 76, and 73 of _Embroidery Instructions_), and point d'or with white cotton, and point Russe with black silk. No. 193 is worked entirely with white cotton in button-hole, satin, knotted ladder, and overcast stitch. (See Nos. 82, 76, 73, 81, and 68 of _Embroidery Instructions_.)

[Illustration: 194.--Embroidered Linen Collar.]


* * * * *


[Illustration: 195--What-not in the Shape of a Hammock.]


195 _and_ 196.--_What-not_.

Materials: Fine canvas; 3 shades of violet floss silk; 4 shades of green floss silk; sea-green wool, or floss silk; 1 skein of yellow floss silk; green chenille; cord and tassels.

[Illustration: 196.--Pattern for What-not (full size).]

This small what-not or jewel-stand is very elegant. It is meant to place upon the toilet-table. No. 195 shows the hammock when completed, No. 196 one-half of the embroidery pattern in full size; it is worked upon fine canvas. The violets are in floss silk of three shades of violet, with a raised spot worked in yellow silk in the centre, the leaves are worked in Berlin wool of various shades of green, and the stems in overcast of a light green shade. The pattern is grounded in tent stitch with sea-green silk. The hammock is composed of two sides and an under-piece cut out in cardboard, covered with the embroidered canvas outside, lined and quilted with plain green silk inside. It is edged round the top with green chenille. The mounting is composed of bamboo-canes; the hammock is fastened on to it with green silk cord, finished off with tassels.

* * * * *


197.--_Embroidered Handkerchief_.


Materials: Grass lawn or French cambric; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.

This embroidery pattern is worked between the borders of a handkerchief, which may be either of French cambric or grass lawn. The design is simple, but effective, and very easy to work. If worked on fine French cambric, the handkerchief should be lightly tacked upon _toile ciree_. The rows of raised dots should be worked first, and then the graceful branches of pointed leaves in satin stitch. The plain round dots might be worked in bright red marking cotton in either of the patterns. To produce a good effect, rather fine cotton must be selected, and No. 40 will be found very effective on either lawn or cambric. For mourning wear, this pattern should be embroidered with black filoselle, or the leaves can be worked in white cotton, and the dots in filoselle.

[Illustration: 197.--Handkerchief Border.] * * * * *


198 _and_ 199.--_Two Medallions for a Purse in Embroidery_.


Materials: Light brown russia leather; black, scarlet, and gold silk; steel or gold clasp.


These medallions are intended to ornament a small purse, but may be employed on a variety of articles.


[Illustration: 198.--Medallion for a Purse in Embroidery.]


[Illustration: 199.--Medallion for a Purse in Embroidery.]

The raised spots of No. 198 should be worked in black silk, in satin stitch, the branched sprays in point Russe in scarlet and gold, the four largest being in scarlet and the intermediate sprays in gold silk. Medallion No. 199 is worked entirely in point Russe, and may be embroidered in one colour, or in alternate branches of scarlet and gold, or scarlet and black.

* * * * *



Materials: Drab cloth; small pieces of cloth of different colours; embroidery silk of different colours; scarlet satin; red silk braid; red cord; cardboard; cotton wool; and a strap of light-coloured leather.

[Illustration: 200.--Work Bag.]

This work-bag is made in the shape of a rolled-up plaid. The outside consists of drab cloth, trimmed with applique embroidery. The inside of the bag is slightly wadded and lined with red satin, which is quilted in diamonds. The seams are covered with red braid, and a leather strap completes the whole. Cut out a good pattern in paper, and then cut the satin and wadding and the drab cloth which forms the outside. After having traced the pattern on the cloth, work it with small pieces of coloured cloth in applique embroidery. The different figures are sewn over the centre partly in point Russe, partly in button-hole stitches, with embroidery silk. The stems in the middle are worked with silk in chain stitches. The colours may be chosen according to taste. Cut a pattern in cardboard, and fasten the drab cloth on it. The edge must be bordered with red satin, and the satin lining must be sewed in. The ends of the bag are likewise cut out of cardboard; the inside is wadded and lined with red satin; the outside worked in applique embroidery like the rest of the bag. All the seams are covered with red silk cord. The straps are fastened with a few stitches, as seen in the illustration.

* * * * * 201 _to_ 203.--_Pattern for Braces_.


Materials: Java canvas; black silk; red wool; calico.


[Illustration: 201.--Pattern for Braces (full size).]

These braces are made of Java canvas lined with calico ornamented with embroidery in black silk and red wool, and edged on either side with loose button-hole stitch and crochet vandykes in red wool. Illustration 201 shows part of the embroidered braces, full size. Work first the embroidery of the braces, then line them with calico; work loose button-hole stitch and crochet vandykes on all the edges of the cross bands as well as at the top and bottom of these strips, and sew on the tabs for the braces between the lining and the canvas. The latter are then edged with button-hole stitch and crochet-vandykes. The vandykes are worked as follow--in one row: 1 double in 1 button-hole stitch, * 1 purl (3 chain, 1 double in the 1st), missing the next button-hole stitch under it; 1 double in the following button-hole stitch, repeat from *. The tabs are made of tape worked round with red button-hole stitch, with button-holes worked with red cotton. No. 203 shows another

[Illustration: 102.--Embroidered Braces.]

way of working these braces on fine ribbed pique. Work any Berlin wool work pattern in the common cross stitch over the ribs of the pique. For the vandyke border work in every other button-hole stitch, 2 double divided by 3 chain stitches.

[Illustration: 203.--Pattern for Braces (Full size).]


* * * * *


204.--_Embroidery Border for a Reading-Desk_.


Materials: White silk rep; black velvet, rep, or cloth; gold and silver brocade; gold and silver braid; silk cord and thread.

This pattern is embroidered on white silk rep with silver and gold thread, and sewn on over a black velvet, rep, or cloth centre. The dark patterns are worked in applique with black velvet, the two other shades in gold and silver brocade. The embroidery is worked in satin stitch with gold and silver braid, silk and cord of the same material. The border can also be worked upon the material for the centre if it is not intended to contrast with it. The pattern can also be worked entirely in silk with satin stitch. The size of the border may, of course, be increased if desired, but the third pattern in the darkest shade must, in any case, form the centre of it.
[Illustration: 204.--Embroidery Border for a Reading Desk.]

* * * * *


[Illustration: 205.--Lappet or Sash End in Venetian Embroidery.]


205.--_Lappet or Sash End in Venetian Embroidery._


Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 6 and No. 12; net and muslin.

The pattern must first be traced on muslin, which is then tacked over net. The outlines are worked in button-hole stitch, and the veinings are sewn over, using the coarse cotton for tracing; the muslin is then cut away all round the pattern.

* * * * *


206.--_Venetian Border._


Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 12 and No. 16; net and muslin.


[Illustration: 206.--Venetian Border.]

This design is elegant and effective, without there being a great deal of work in it. It is useful for tuckers for evening dresses or handkerchief borders. The muslin is laid over the net, sewn neatly over, and then cut away between the pattern, leaving the net for the ground work.

[Illustration: 207.--Lace Insertion.]


* * * * *


_207.--Lace Insertion._


Materials: Fine black sewing silk; black Brussels net.

This lace insertion is first outlined in running stitch upon the net; the leaves are then darned across the net holes; the stems are worked in overcast stitch; the dots are embroidered by darning across the circle previously outlined; the lace stitches in the centre are formed by gently enlarging the net holes with a fine stiletto, and then sewn lightly round, the remaining holes being filled with lace stitches consisting of fine button-hole stitches, very evenly worked over the entire space surrounding the open holes.

To be effective the very finest black silk should be employed. This pattern may be worked in applique by placing muslin over net, sewing all the outlines in fine overcast stitch, and when finished, carefully cutting away the muslin.

* * * * *


208 _and_ 209.--_Slipper on Java Canvas._

Materials: Light brown Java canvas; green silk; green filoselle and purse silk; green silk ribbon three-fifths of an inch wide; some wadding; 2 cork soles.

[Illustration: 208.--Slipper on Java Canvas.]

This slipper is very pretty, and easy to work. It is made of light brown Java canvas, and embroidered in point Russe with green filoselle. It is lined with green silk, and slightly quilted. The soles are of cork. The slipper is trimmed all round with a ruche of green silk ribbon three-fifths of an inch wide, pleated in double box pleats. The heel is turned down inside. No. 209 shows the pattern of the point Russe stitch nearly full size.

[Illustration: 209.--Point Russe Stitch for Slipper (No. 208)]


* * * * *


210 _and_ 211.--_Medallions in Point Russe_.


Materials: Coloured filoselle, cloth, velvet, cashmere, or silk.

These medallions can be alternated for ornamenting small covers, cushions, borders, &c. They are worked with coloured filoselle in point Russe, herring-bone stitch, coral stitch, and knotted stitch, on cloth, velvet, cashmere, or silk. The middle oval of both medallions contrasts with the colour of the ground, and must therefore be worked in applique on the latter with herring-bone stitch, before working the outer border. The wreath on No. 211 is worked in coral stitch; the knots, which imitate small blossoms, in knotted stitch. The choice of colours is left to the personal taste of the worker.

[Illustration: 210.--Medallion in Point Russe.]


[Illustration: 211.--Medallion in Point Russe.]


* * * * *


212.--_Butterfly for Handkerchief Corner_.


Materials: French lawn or cambric; fine black silk.

This butterfly is worked in the finest black silk procurable, in order more closely to imitate etching. It is worked in point Russe and scallop stitch; the dark shaded scallops are worked in button-hole scallop stitch, the stitches being taken very closely together, but not raised by the usual method of placing chain stitches beneath the button-hole stitches. The outlines and flowers are worked in point Russe, the dot in knotted stitch (see No. 73, _Embroidery Instructions_.)

[Illustration: 212.--Butterfly for Handkerchief Corner.]


The initials are embroidered in raised slanting overcast stitch, and should be worked with great regularity.


* * * * *


213 _to_ 215.--_Pattern for a Couvrette in Applique_. (_see pages 576-7_.)

Materials: Messrs. Walter Evans and Co.'s embroidery cotton Nos. 24 and 30; cambric muslin; Brussels net; flesh-coloured silk; sewing silk of the same shade; 1 skein of a darker shade; blue silk; brown silk; gold thread.

This style of work is most effective for couvrettes or bed covers. It is worked in cambric muslin and silk, over Brussels net.

The arabesque patterns are worked in cambric muslin, the outlines are embroidered in overcast, and the material is cut away all round. The medallions are made of blue silk; the figures upon them are cut out of flesh-coloured silk, and are gummed first upon tissue-paper, then upon the blue silk; the figures are further fastened upon the medallions in overcast stitch with fine silk of a rather darker shade of flesh-colour. The scarfs are cut out of bright rose-coloured silk; the quiver and arrows and all the other attributes are worked in gold thread; the hair in fine brown silk. The edge of the blue silk medallions is worked round in button-hole stitch, but so as to be easily unripped when the couvrette has to be cleaned. A border in open ladder stitch is worked round them (see No. 81, _Embroidery Instructions_). The openings in the centre pattern are also filled in with lace stitches.

* * * * *




INSTRUCTIONS. [Illustration: A Crochet-Needle]

Cotton or thread, wool or silk, with a crochet-needle, are the materials required for working crochet. The needle, whether it be steel or bone, must be smoothly polished. The long wooden and bone crochet-needles are used for wool; for cotton and silk work short steel needles screwed into a bone handle are best. The beauty of the crochet-work depends upon the regularity of the stitches, as is the case with every other style of needlework. The stitches must be elastic, but if too loose they look as bad as if too tight. The size of the needle and that of the cotton or wool must correspond; work only with the point of the needle, and never move the stitch up and down the needle. The cotton with which you work must be of the very best quality; for borders, insertions, rosettes, imitation of guipure, use Evans's crochet cotton; for couvrettes, counterpanes, covers, &c., use knitting-cotton. All crochet-work patterns are begun on a foundation chain; there are three kinds of foundation chains--the plain foundation, the double foundation, and the purl foundation chain.

The plain foundation chain consists of chain stitches.


[Illustration: 216.--Plain Foundation Chain.]

ILLUSTRATION 216.--Form a loop with the cotton or other material with which you work, take it on the needle, and hold the cotton as for knitting on the forefinger and other fingers of the left hand. The crochet-needle is held in the right hand between the thumb and forefinger, as you hold a pen in writing; hold the end of the cotton of the loop between the thumb and forefinger of the left hand, wind the cotton once round the needle by drawing the needle underneath the cotton from left to right, catch the cotton with the hook of the needle and draw it as a loop through the loop already on the needle, which is cast off the needle by this means and forms one chain stitch. The drawing the cotton through the loop is repeated until the foundation chain has acquired sufficient length. When enough chain stitches have been made, take the foundation chain between the thumb and forefinger of the left hand, so that these fingers are always close to and under the hook of the needle. Each stitch must be loose enough to let the hook of the needle pass easily through. All foundation chains are begun with a loop.

[Illustration: 217.--Double Foundation Chain.]

ILLUSTRATION 217 (_The Double Foundation Chain_).--Crochet 2 chain stitches, insert the needle downwards into the left side of the 1st chain stitch, throw the cotton forward, draw