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 LIBRARY OF THE

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Jeanne Hammond
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“€ross-Stiteh Book

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Published by

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Cross-Stitch Embroidery
BY

HARRIET CUSHMAN WILKIE

PUBLISHED BY

THE PRISCILLA PUBLISHING COMPANY

BOSTON, MASS.
 Copyright, 1899
By the PRISCILLA PUBLISHING COMPANY
Boston, Mass.

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PRINTED BY THE T. W. RIPLEY CO. :

THE SOUTHGATE PRESS, BOSTON
 Cross Stitch
By HARRIET
The familiar cross stitch is at once one of the oldest and most
simple of embroidery stitches. There is historical evidence that
it was in common use with the Phrygians, the Egyptians and the
Hebrews, and it is no
stretch of fancy to believe
that the rich pomegran-
ates on the linen hang-
ings of the Tabernacle
were formed by this
stitch. So popular has
this style always been,
that every decade or two
sees a revival. Perhaps
the most notable occurr-
ed in the 11th century,
when many famous ta-
pestries were embroider-
ed in cross stitch.
During the 13th cen-
tury cross stitch again
became the popular style
of embroidery, and as it
was extensively used by
the nuns in the numer-
ous convents for kneel-
ing mats and altar cush-
ions, it was called ‘‘cush-
ion style.’’ It was also
used for Church vest-
ments. Many elaborate
specimens are still pre-
served.
Tt was as far back as
1804, that colored pat-
terns were first published
Fig. 1. German Sham Towel, used as a wall in Berlin, and the old
decoration style then received a new
name, by which it is usu-
ally known at present. The method of twisting and dyeing
crewels was invented about the same time, and when our grand-
mothers were maidens, the new-old Berlin work flourished in its
glory. The specimens of embroidery of the period seem crude
and inharmonious now, for in the present revival of this old
-method of embroidery the designs, colors and applications are
effected by wider knowledge and higher taste in art.
There is much confusion on one point of nomenclature. Rus-
sian work may be done in cross stitch, but all cross stitch is not
Russian. Tie distinction lies in the colors.
2The real Russian designs are different from the German, and
in the latter more variety of color is used, excepting in the work
Embroidery
CUSHMAN WILKIE
found in the eastern provinces of Russia. Russian designs have
a quaint character of their own: in the German, heraldic animals
and scroll work appear, and they are altogether more elab-
orate.
The true Russian work, became first known to any extent in
England after the marriage of the Duchess of Edinburgh, and
the first specimens of it of any importance which were seen were
on the towels forming part of her Royal and Imperial Highness’s
trousseau, and kindly lent by her to the exhibitation of lace held
in that year at South Kensington. It may be best defined as em-
broidery in red and blue cotton upon linen, in conventional pat-
terns, executed in ¢#ree different stitches, only one of which,
potnt crotse, or cross stitch will be considered here.
Russian work, we need hardly say, is now greatly in request
for almost every article on which it can possibly appear, not only
on linen for tea cloths, towels, serviettes, sideboard cloths and
bedroom furniture, but on silk for borders, ties, gloves and slip-
pers. The linen canvas |
exactly reproduced from
the old material is the
best for working upon
where it can be used;
but when Russian em-
broidery is applied to
fine linen or silk, ordi-
nary canyas must be
first tacked on to the
material, and the work
done over it, the threads
to be afterward drawn
away. The linen can-
vas should be worked
either with silk or cot-
ton of ingrain colors.
A “purist” will, how-
ever, say that the Rus-
sian work should onlybe
seen in the true Russian
colors, the positive red
and dark blue, and de-
cided yellow and green,
the pale and half tints,
light pinks and iilacs
being wholly inadmissi-
ble. The Russian apron
illustrated here is made
of strips of twill in red,
Fig. 2. Russian Apron
blue and white worked
in cross stitch in embroidery cotton with two shades of blue, ene
each of red and yellow and white and black knitting silk. The
blue strips may be worked with red, white and yellow, the red which the canvas was basted. Where the whole surface is to be
ones with dark blue, white, black and yellow, and the white ones covered in this stitch a scroll or key design is mast suitable,
with all the colors. worked in one direction while the background is filled in the
Cross Srircu. The first stitch illustrated (Fig. 3) is the opposite way.
familiar cross stitch on canvas, and is so simple that a descrip- GosBeLin Stitcu. May be defined as a flat one that covers
tion seems needless. One point however must be noted, all the canvas in parallel rows. One thread only may be covered by
stitches must be one stitch, or a dozen, or any number. Figs. 5 and 6 illustrate
Sf coe oe Sy ay a fF crossed in the it fully. In Fig. 7 an example of slanting Gobelin is seen.
= | = Fl ; = = same direction, Here three stitches are needed to fill each square. In Fig. 5 part
Se | ST it fs Sf SEES and care must be of the canvas has been removed, showing the completed design
| & Ss FS BSS taken to avoid upon the fabric. Gobelin stitch is sometimes called flat stitch.
: | net Be a} ikEa drawing the
needle through
5 4 the threads of
SS ot | aa ian. thecanvas. The
ET Tie hie purposes for
& which this stitch
are - et i S may be used are
14 | simply legion.
5 We aE 7 = i The secret of
; aa the long-contin-
Fig 3 Cross Stitch ued success of
cross stitch lies
in the very fascination ofseeing the intricacies of the pattern grad-
ually growing beneath the hand, and in the consciousness that
the power of producing any particular pattern lies with the work-
er herself, and is by no means dependent upon a machine-printed Fig.5. Gobelin Stitch
model.
Any cross stitch pattern may be enlarged by counting four, Any design that may be worked in common cross stitch, may
nine or any perfect square for each stitch in the design. also be carried out in slanting Gobelin. A pleasing method of Ss

User or Symports. Many of the designs are to be worked in working slanting Gobelin is to employ both silk and wool of the
many different colors, each of which is represented in the design same shade in filling one square. The longer stitch may be of
by a certain mark or symbol, printed within the square. Thus wool and the two shorter ones of silk.
one stitch may be a cross, another a circle, one white and the RENAISSANCE StitcH. A very pretty and at the same time
next black, or gray. These will then be signs of different col- rapid stitch for covering large surfaces, such as sofa pillows or
ors. As many shades must be used as there are symbols in the chair backs, is known as Renaissance stitch, and an exceedingly
pattern. When the background is imprinted as is usually the explicit illustration is given in Fig. 8. Two rows of the canyas
case, it may be filled in with any desired color, or left according are covered at the same time, and the method of doing so is
to the material. shown with two colors, holding the needle in the two positions
Harr Cross STIvrcu. In Fig. 4 we have an example of half that give character to the stitch. Renaissance stitch is also suit
cross stitch. The able in working conventional designs on the large rug canyas.
stitches of one row
are placed in the same
direction over a long
stitch of the wool or
silk, which helps to
cover the canvas but
does not show on the
right side. The man-
ner of first laying the
filling stitch and then
working over it, is
very clearly shown in
the illustration.
By working row
teh:
after row in the same igizs
el;
Were)

direction the stitch is Ay

useful and rapid for
filling in plain back-
grounds, in sofa pil-
eleva
lows, chair backs and Vig.4, Half Cross Stitch
rugs. But by chang-
ing the direction of the stitches variety is given to a monotone Fig. 6. Gobelin Stitch
that produces the effect of colors and is often very effective. The
manner of working a design in this method is quite clearly shown. Hosein StitcuH. Another variety of cross stitch is popularly
In this example the canvas is to be left plain for a background. known as Holbein stitch, and looks very much like simple stitch-
{t may also be pulled away, leaving a design on the fabric on ing. It is executed by taking up, and leaving alternate threads
of the canvas or fabric. It is customary to continue it with sim- regular spacing of the canvas serves as a guide to keep the work
ple cross stitch as in Figs. 9 and ro. Here the body of the each true and aids in copying the design. The stitch serves admirably
initia!, is formed of the cross stitch, and the Holbein is used fora for filling in grounds as shown in Fig. 1g, and in the use it is
border and ornament. A detail of Fig. 9 is shown in Fig. 11. The often called ‘ bird’s-eye” stitch. In Fig. 20 we have a very
very rich alphabets, Figs. handsome design in chain stitch
55; 59, and 60 are worked over canvas on a plush or velvet
jn this manner. Also the foundation. When the canvas is
ornamental borders, Figs. pulled away a peculiar lace-like pat-
62, 79, and 105, and the tern appears. The effect is rich, del-
figures for ecclesiastical icate and novel. Much of the ori-
embroidery, Figs. 115, 116 ental embroidery is done in this
and 123. Several other de- stitch upon a coarse linen, that does
signs may be varied by not require canvas. The stitches
AJs Uaii: bh,eee ee adding outlines or finish are laid with the regularity of ma-
404 Wh beae YiheWe“Lt
in this stitch. chine work, and are usually seen in
Square StTitcu. Figs. masses. Fig. 21 gives a variety of cl 3
12, 13, 14. This variety this same stitch ina slanting posi- Fig. 9 Biolernand Cross
hls
a GUE Yin Bau:Vt suggests Holbein at first tion, which is rich and effective for
thee Yo LSSLLDLL YLLee a ayWStL, glance. Two details are backgrounds. Many of the ecclesiastical designs on page 31 may
bey SMA URDIV LY given showing the posi- be pleasingly varied by using this stitch, especially Figs. 120, 122
% Vie Wy WN eeeaee stage
tions of each single stitch and 124.
ALE, that forms the square. PriusH Stitcw. An old-fashioned filling stitch is shown in
Whe
he WUWLILL, tu:L ebetoty
Spe LWIIRIILS LLB. The dotted lines represent Fig. 22 and is called ‘“‘plush” stitch. The canvas is first
WIL, AAULLDE iw, Y, Lod the crossing ofthe threads covered with twin rows of common cross stitch leaving one
tH:Whe LLLLLYLGHBIA
y WL ISDILYLNID LLL IL GS Lit at the back. Many de- row of canvas exposed between each set. As this part of the
5a Sirs
signs for single cross work does not show, any odds and ends of worsted may be used
Fig. 7. Slanting Gobelin Stitch stitch may be executed in up in the process. But care must be taken that all is of the same
this manner, notably the size or an uneven surface will result. The wool for the outer
borders, Figs. 2 and 15, and many figures and alphabets. surface is worked over the twin rows of cross stitch, pulling the
LeviATHIAN StitcH. Allied to simple cross stitch is the needle through the holes in the canvas, first on one side and then
more complicated star or Leviathan stitch. Here a square of over the other, always taking up a thread
three meshes of the canvas is required to form one stitch or star. which brings the point of the needle just
The method of placing the needle is shown in Fig. 16, while back of a preceding stitch. The manner
Fig. 15 exhibits an initial in the same stitch, on some square of weaving the threads back and forth in
woven fabric. Any design forsimple cross stitch may be doubled lattice fashion will be readily seen on
in size by working in star stitch. It is exceedingly effective when referring to the illustration. Several
covering large surfaces, such as rugs, and borders on afghans or rows of the lattice stitch are worked, one
portiéres. Simple initials become ornamental in this stitch. over the other, and the work is cut
Another application is as a filling stitch in the Russian work now through the middle with a sharp knife
Fig. 10. Holbein and
so popular. The leaf or petal of a flower is covered with the Cross Stitches when completed and evenly clipped, thus
stitch in such an open manner that the linen foundation shows producing aridged effect. When finished
through the interstices. The edge may be formed of Holbein a raised plush effect is produced that is exceedingly beautiful,
or outline stitches. When an art linen, or any one of regular when rich colors are employed.
and rather coarse thread is used no canvas will be needed. Knot Stircu. The method of forming a raised stitch that is
Rosette Stircu. Fig. 17, is a variety of the same stitch on familiarly known as a ‘‘French knot” and its application to
the plan of four instead of three. It is commonly called star or canvas work is explicitly shown in Fig. 24. Here the wool is
rosette stitch. Fig. loosely wound around the needle twice, and the point is then
18 shows the manner inserted in the mesh of the canvas as in simple cross stitch;
of working in which the direction in which the needle
one half of a row is moves is shown by the dotted line,
first worked and then and arrow point. The thread may be
the canvas is turned wound around the needle as many
and the second half times as desired. This stitch is use-
is worked back to the ful for working rugs, cushions and
starting point. Fig. similiar articles. In Fig. 23 we have
17 shows a letter on an example of a border worked in
linen in the same this manner, in two colors, which
stitch. Very fine might be applied to a frieze of a
scrim may be basted portiére as well as to a rug. The
in the corner of a cut illustrates the effect upon a fab-
Fig.8. Renaissance Stitch
cambric handkerchief ric, but the stitch may be used to Fig. 11. Detail of Holbeir
Stitch
and an initial worked in this stitch in fine embroidery cotton, carry out almost any cross stitch
with delicate and pleasing effect. Of course the scrim is pulled design on canvas with a background of the common stitch. A
away, thread by thread when the work is done. This stitch has border in arrasene on a velvet or plush background would be
the same range apa application as the one described above. exceedingly rich in this stitch.
Cuain Stitca. The adaptation of the familiar old chain Smyrna StitcH. This stitch is used for rugs almost exclu.
stitch and cross stitch embroidery may be novel to many. The sively and is usually worked with double thread dceubled so that
four strands are employed, which are cut on the surface leaving One of the first that suggests this method is the familiar Java
a pile, somewhat similar to the well known machine rugs, hence canvas. This may be used as the entire article for sideboard,
the name. This effect may be reached in more than one way, bureau and stand covers, and
and examples of the three principal methods for cushions and tidies, or it
are illustrated. Fig. 25 shows the way of may be cut in strips and em-
first inserting the needle into the canvas so ployed as a decoration to
that the end of the thread shall be on the some other material. The
right side; while in Fig. 26 we have the background is left open.
easiest way of looping and tying the threads. Congress canvas or scrim is
Fig. 27 shows the same with some of the also familiar to all who have
threads still uncut, and also the manner of embroidered in this stitch.
working a design in different colors, and of It is a favorite with the Ger-
Fig.12.
forming a fringe or tassel border.
Square Stitch
Another mans. It is used without
method of making this stitch is shown in filling in the background,
Figs. 28 and 29. The needle is first inserted as in Fig. 25, and and to form the whole arti-
drawn until the threads extend on the right side for about one- Fig. 16. cle or is employed in bands
Detail of Leviathan Stitch
half or three-eighths of an inch, and is then carried to the mesh and applied either as insert-
that is next higher and brought ing or upon some other material. In the present fad for decora-
out of the one in which it was ting garments with narrow bands of cross stitch embroidery,
e
S
first inserted. The method of bands of this scrim are extremely pop-
dividing the strand around ular. Fig. 31 shows one figure that pow-
the tuft which ties or holds it dered a table cover of scrim, worked in
in place can be best under- three colors. The edge was finished with
stood by studying the illus- a buttonhole scallop. Many of the borders
tration. A continuation of illustrated in this manner, are beautiful for
the process is shown in Fig. this purpose, especially Figs. 84, 85 anda
2g, and the starting point of half of g0 or 96. For the same use Figs.
a new stitch is shown by the Fig. 13. Detail of Square Stitch 103 and 161 may also be used. Scrim may
arrow-head. When the rug be basted upon ribbon or any fabric, as Fig. 17. Rosette Stitch
is covered, the stitches must be carefully and evenly trimmed will be described later, and the threads
and then combed out. pulled away after the work is completed. For simple border
The method of carrying out across stitch design with pieces patterns upon congress canvas or scrim of ordinary mesh, rope

ZZ?

ee
ita re
> op
aria

rm il vas eS Te PZ
= ial

N 3 a= = at” ALE SS

iia
imimimiinis:
minimis
Fig. 14. Square Stitch Completed

of cloth is shown in Fig. 30. The

pieces may be cut in rounds, ob-
longs or stars, and are sewed to
imiisi
Pane
Fig. 18. Detail of Rosette Stitch
the rug canvas bya strong carpet
thread, which however, does not show when the pieces are silk is at once one of the richest ana most beautiful threads to
drawn tightly into place. A hit-or-miss center with a border in employ. There are also several si!k or French canvases.
colors, black foundation, using a simple scroll or key design is Besides these canvases there is a close woven one of a beauti- a

the most satisfactory manner of using this method. There is no ful cream color, to be worked with silk; and an imitation of the
objection to copying the more intricate old Gobelin, but in cotton, and bearing the same name. Art
designs of a woven rug, but that requires linen comes in buff, cream and white, and is
more skill. The pieces may be sewed on very firm material. There are several other
coarse burlaps coffee sacking, that is linens, from the coarse, heavy butcher’s, to
woven in a square mesh instead of on the the sheer French linen, and as many dam-
regular rug canvas. The latter is prefer- asks. Then comes duck in cream and white,
able for elaborate designs. and in fancy weave, and twill and drill, either
We have thus far considered the various dark blue or white, and suggestive of Russian
stitches and their modifications, that may work. All these are suitable for cross stitch
be used in cross stitch embroidery. We Fig.15. Leviathan Stitch embroidery and may be embroidered with silk,
will now extend their application to vari- but usually require cotton or linen thread. Fig.19, Chain Stitch
ous fabrics, striving to cover the whole field. First we will Fabrics that rank next to the canvases in
consider such materials woven with a square thread that do not ease of working are ginghams, cheviots and checked goods. Thr
need the aid of the ordinary Berlin or Penelope canvas in count- example (Fig. 32) shows a pretty design in cross stitch upor
ing the stitches and keeping them true. gingham, which is suitable for trimming a dress or an apro*
This is worked in white linen. Cheviot is usually worked in or ribbon, and worked with filoselle and gold thread. An ex
crewel or silk, and applied as a border on wool gowns. quisite center for a toilet cushion might be fashioned in this way,
A material that may be used without canvas with success for using such square designs as given in Figs. 88 or 150, or the
bordering gowns or top garments is bunting. A cream ground quaint griffin in Fig. 145.
is a generai favorite, as it shows off rich colors admirably. The Or by employing ribbon in harmonizing colors working in
rich yet simple designs and joining the strips together, lovely
fan bags might be
made. Such em-
broidered strips
might also be used
in decoration of din-
ner dresses, and tea
gowns in Russian
style.
A method of va-
rying these borders
is to work the back- Fig. 23. Knot Stitch
ground only leay-
ing the canvas or bunting to show in the design. This is seen
in Fig. 34. In working on linen also, or upon towels, thi:
method yields a pleasing variety. Care will be needed in
selecting patterns that give connected masses as these only are
successful. Those borders shown in Figs. 57, 62 and 75, and sev-
eral others, would give satisfaction in this style. Much of the
true Russian embroidery is worked in this manner. It is some-
times desirable to decorate straw goods with embroidery. Fig.
35 shows a pattern
worked upon abas-
ket in three colors
in star and simple
cross stitches.
Common net as
well as the newer
fish-net, may also
be decorated with
Fig. 20. Chain Stitch
cross stitch, and
regular weave renders the material almost as easy to work on as used for borders or
canvas. It should be worked ina frame. The borders shown in hangings. A dain-
Figs. 127 and 160, as well as the ones mentioned above are ty toilet table may
adapted to this style. The bands should be fastened to the gar- Fig. 24. Detail of Knot Stitch be fashioned in this
ment with fancy feather stitches. manner. Thehang-
Cheese cloth or batiste is also used as a foundation for the ings are powdered with set designs like the cross in the accom-
popular borders in cross stitch. The design is worked upon panying cut (Fig. 36) or the clover leaf taken from border Fig,
strips which are used for trimming children’s aprons and dresses. 70, or any simple flower. The lace may be worked with the border
Fig. ror, in one color of course, buttonholing the edge and cut-
ting out the scallop.
GuipureE D’ArT. Fiiet and grenadine are materials that serve
as foundations for some exceedinsly dainty embroidery. The

Fig. 21. Slanting Chain Stitch Fig. 22. Plush Stitch

In Fig. 33 we have an example of a band worked in two colors

upon white braid, or a strip of bunting or similar material, Fig. 25. Detail of Smyrna Stitch Fig. 2€. Detail of Smyrna Stitch
and the method of applying it to the garment with fancy stitches.
Rope or embroidery silk is generally used upon woolen or silk stitch belongs more properly to the darning or lace order, than
foundations. For dainty work, tarletan may be laid over satin to cross stitch embroidery. But as articles so decorated require
eimilar designs, it is illustrated here. In Fig. 37 we see the askew. Then it must be basted securely so that it will not slip
method of weaving the thread back and forth, and in Fig. 38 in working. Care is especially necessary in placing it on plush
or velvet. Fig. 39 shows the proper manner of basting. Cross
stitches are used at intervals to prevent slipping. In Fig. 40 we
have a strip of canvas basted
upon twill, for one of those
Russian aprons shown in
Fig. 2 and partially worked.
In working, care must be
taken to put the needle
through both the canvas and
the cloth, otherwise when
the canvas is removed the =
~

stitch will be loose, and that

portion of the work will have
ee = pret nk ii A : to be done over again. When

eeeen J18
5 pau sysnSanten
en asn sus
a frame is used,
stitches are taken back and
and the

Sint
eatatalaa aliens!
Fig. 31. Cross Stitch on Scrim
forth, there is little danger
of this vexing mistake happening. Another fault to be guarded
Fig. 27. Smyrna Stitch
against is bringing the needle through any of the threads of the
the completed design. It is used for the decoration of dresses, canvas itself; if this should happen it will be difficult to draw
crowns of hats and for many of the purposes of net. away the thread when the work is finished without disarranging
BastinG Canvas Upon Fasrics. The first step and a very some of the cross stitches. In this case it is well to draw the
important one in attempting to embroider in cross stitch upon thread and cut it where it is caught down by the stitch, than to
plush, silk, broadcloth, or any material that is not woven in finish removing it by drawing it in the opposite direction. It
is best to use the common embroidery hoops whenever possible.
This removes the possibility of warping the foundation; the

iyVW} Ve
M/E
Fig.28. Detail of Smyrna Fig. 29. Detail of Smyrna Fig. 32. Cross Stitch on Gingham
Stitch Stitch
prominent or regular threads, is the method of properly basting threads can also be drawn tighter, so that the stitch will not be
Penelope canvas, scrim or a similar material upon the chosen too loose when the canvas is pulled. When the design is com-
surface. This is neither so easy, nor so simple as appears. pleted the canvas must be taken away with great care. The first
thing to be done is to remove the tacking threads which hold
the canvas down to the material; the canvas is then pulled away
thread by thread so carefully as not in any way to disturb the set
of the stitches. Some of the patterns are so complicated there
is no opportunity of cut-
ting away any part of the
canvas to render the task
of removing the threads
less tedious, as may often
be done in the case of less
well-covered designs. It
is as well to draw the
shortest threads first, for
it is difficult to take out
the long ones along the
whole length of the strip
until this is done. The
worker will find, too, that Fig. 33. Cross Stitch on Braid.
Fig. 30. Method of Working Rug
it does not answer to try
First the canvas must be placed upon the fabric squarely thread to draw out more than one, or at most, two threads at a time
by thread, or when itis afterwards removed the design will be all until nearly all in one direction have been removed. She wilt
 9
alSo see that too much vigor is apt to disturb the embroidery, heavy silk or wool. ‘This c Jes away with the necessity of count-
which has to be worked rather tightly so that it shall not set too ing every stitch in the second working. Gobelin stitch may also
loosely against the material when the canvas threads have been be used, and on a heavy fabric like broadcloth is particularly
drawn away. When the canvas is all removed the work must be
pressed with a moderately warm flat iron. Workers must notice
that I advisedly use the word “‘ pressed” instead of ‘‘ ironed,” for

Peres es
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Fe
Ae

te
Se
AAG
bh
he

Se eh
RS
-
oe
ihatess ee
ptatates ( oy
SOR tas ies

rich. The canvas threads may be pulled out or cut away as

described above.
Cross StircH iy Crocuet. A simple way of working cross
stitch patterns is in crochet. In this method the open work is
Fig. 34. Cross Stitch used as a Background formed in squares (on a chain foundation) by working i1tcina
ch, ch 2, miss 2 ch, r tc in next ch,etc., The solid squares form-
a too vigorous ironing, without due regard to the general ‘“‘ set”
of the work is likely as not to force it out of shape, and thereby to
render it crooked. A skillful hand will manage the iron so that
it does away with existing imperfections instead of creating fresh
ones. If theiron is too hot the colors of embroidery worked with
colored cotton will be apt to be affected by it, and the yellow
more especially, though the makers guarantee that it will wash
thoroughly well, is likely to deepen in tone under the influence
of the heat. These general directions apply to ordinary fabrics
that require the use of canvas. Plush and velvet are the excep-
tion. Here the stitch must always be taken perpendicularly and
the canvas need not be removed in the case of separate figures.
We have an example in Fig. 41. In this case, work the figure Fig. 37. Detailof Darned Net Fig. 38. Darned Net
to the last row; then
\ AN NENA «=cut the canvas in such ing the design are made by having 2 t c between, instead of the
“7 a way, that the last 2ch. Any cross stitch pattern may thus be followed. A narrow
; NY ‘“ ¥ stitches cover the ends border design with scallop added, makes a pretty lace, the bor-
of the threads. This der alone .orming the insertion. Wide borders set together
saves the trouble of with ribbon or embroidered bands of linen may be used for bed-
pulling out the spreads, table covers, cur-
threads. Very elegant tains, etc; while squares
effects may be produc- and other large designs
ed in rope silk upon may be used for chair-
plush. Of course this backs, cushion covers, etc.
work must never be One has only to remem-
pressed as that destroys ber that the open squares
the elasticity of the pile are formed of 2 tc separa-
and the beauty of the ted by 2 ch, and the solid
plush. Therefore great squares of 4 tc, placing
aS <a Z
care must be taken not the two tc between, in-
Fig. 35. Cross Stitch on Straw
to draw or warp the stead of the 2 ch. Of
‘ fabric while working course these proportions
the design. A variation of this method is to trace the pattern can be varied at pleasure.
upon the canvas after it is basted upon the cloth, by means of The squares shown in
long horizontal stitches. Afterwards the whole is worked over Figs.149 and i5oaresuit- =&
in half cross stitch, and-every feature of the design is well able for bedspreads in cro- ‘Fig. 39. Canvas basted upon fabric reacy
for working
shown up. See Fig. 42. The best imported designs are usually chet. We have an exam-
worked in this manner. Split zephyr or crewel, in the proper ple of using cross stitch patterns in crochet work in Fig. 43, which
colors, are used for the foundation, and are worked over with is simply a detail of alarger design. The manner of working ie
 10

clearly shown. A very handsome design is given in the next tion may be the usual canvases and fabrics, or the pattern may
cut (Fig. 44) which may be used for any of the purposes men- be followed in knitting or crochet. In the latter case the beads
tioned and also for insertion in a short curtain of scrim. are first strung; and then knit or crocheted in place in the same
In these examples, but one color is used, and the foundation manner in which a design is worked out, and which has already
of the desizn is leftin open work. But in the next two cuts (Figs. been explained. The style is particularly suitable for silk and

cavesannenen ae
errr

Fig. 40. Strip of Russian Apron in process of working

45 and 46) we have an example of solid work in short crochet, bead purses and the like. Simple figures, initials or monograms
and the method of working this design, requires three colors (Figs. 48 and 49) may be worked with beads. Sometimes
and the manner of carrying one thread at the back of the work spangles and beads are mingled with cross stitch in the same
too well know to need description. Fig. 46 gives a section of decoration as seen in Fig. 50, which is a border on a drapery
the completed strip, which is especially suitable for an afghan. of scrim.
It may also be carried out in tricot, as the squares formed by that In examining the varied and beautiful designs that are printed
stitch form a good guide for working cross stitch patterns. in this book, many uses are discovered that have not yet been
Short crochet is a stitch much used in making half shawls of mentioned. The numerous alphabets are particularly handsome
Germantown. The middle may be of white ora solid color, and for marking blankets and towels. It is a fad worthy of
the border in black and several shades of one color. The rich becoming a custom, to copy the Germans in working appro-
border, Fig. 93, might be crocheted in four shades of soft wood
browns or any color upon a white ground, using eight rows of
the lightest shade for the top, and graduating by eight rows each,
to the darkest at the LA =
ANNA
bottom. A row or wn Y

two of black may be

crocheted above and
below as a finish.
Fig. 92 is adapted to A NINATNG
the same purpose. NINN ANN”! AAVAQNAN.LT
KNITTING AND MAYAN
q==? =
Cross Stircu. In
working across stitch
design by knitting,
common garter and
purl stitches and two
needles are used.
The ground is formed
by the garter stitch,
Fig. 41, and the design by
Cross Stitch Applique
purling one for every
square in the pattern. Two colors may be used and the thread Fig. 42. Cross Stitch Applique
carried behind in the usual manner. We have a very perfect
example in Fig. 47, which might be used for a bedspread, priate sentiments upon the serviettes and other pieces of
or any of the purposes mentioned for crocheting cross stitch table linen. For this purpose, such alphabets as 64 and 66
patterns. are suitable. E
Bgeap WorK. A pleasing way in which to enrich a pattern These mottoes are placed above or between rows of embroid-
in cross stitch, is by the introduction of beads. One bead is ery. A square that may be used for center piece, five o’clock
used in the place of each square in the design. The founda- tea cloth, and other purposes, is edged with German lace,
 i

above that a rich border in cross stitch running around the personal linen, especially on the large napkins or towel» which
four sides, and inside of that a motto, one line on each side are found alike in the very poorest Russian huts and in the royat
“ Rein Sie die Liebe, palaces. Some of these are heirlooms in peasant families, and
Rein Sie der Mund, they are highly ornamental, because on féte days they are hung
Rein Sie der Trank, up as decorations. The = :
Das Herz gesund.”*
embroidery of a true
Russian napkin or towel
will be in three divis-
AW ea ions, sometimes separated rt
pW by bands of colored linen
2. RAR ANATAY
h a
Te
LEE
PTA
LE
o*
ed TS oe
pa
aed LZ7
=F
> LL
.
Si
OLCC % bls
at
Ba
SSS oa.
HY Sx Rs}
SUNRISE
Do OU TT os
4a

NAS

Sen a aah a
WS We WZ

\\'hel
\) NN KFS
LA
aay
va
Fig. 45. Detail of Cross Stitch Fi}
N A \ 7 Design worked in Crochet
Sane Aaa
ANCHE or cotton and fines of aa
eh
SSTy
yFLint’
SIt

oe
ET

Big, 43. Detail of Cross Stitch Design worked in Crochet

drawn work, of which the 3
central or principal one is
Which miay be translated: the design proper, and the
** Pure is the appetite, narrower on either side (3 S333
Pure is the food,
are called the frieze or
ry
a le saecs
Pure is the drink,
That God gives.”” cornice. For these three LV,
=
ae

A serviette with a wide border, composed of several rows ES

Sess
o harmonizing designs and drawn work, bears this motto ip
0.
Giese
on one end: =>)
PIs SEL
“‘Salz und Brod Gebe PZ
Gott.” aLES 284ne)
ab. Dees
And on the other 5ay REELESSAE
CLEL26.
=a
the initials and date
in Roman numer-
als.
Another motto in Fig.46. Section of Cross Stitch Fig. 47. Cross Stitch Design carried out
old German reads: Design worked in Crochet in Knitting

*« An Got nit Verzag divisions we select Figs. 67, 79 and 105, working them in the
Glueck kombt Alle order named and in the conventional colors. For marking such
Tag.”
a towel, letters wiil be chosen from alphabets, Figs. 55 or 60.
A free translation Fig. 1 at the beginning of the book iilustrates these sham
is something like German towels, with loops for hanging on the wall.
this: The quaint patterns given in Figs. 70, 111, 112 or 156 may be

“Never despait, luck

comes every day.””

The ornate capi-

tals which are giv- :
en in four very rich
and different styles,
are exceedingly ef-
fective in working
initials upon broad-
cloth carriage robes
or afghans, hand-
bags or shawl cases.
Many of the de-
Fig. 48. Cross Stitch Design worked Fig. 49. Cross Stitch Design
signs are appropri- in Beads worked in Beads
Fig. 44. Cross Stitch Design worked in Crochet
ate for the Russian
towels that now taken for the mo#zf, and any of the narrow bands added at pleas-
grace every guest room with pretense of elegance. ure. Figs. 106, 140 and 148 are also strongly German in style.
These red and blue embroideries appear on ali household and Another of the many designs adapted to these very fashionable
sham towels is Fig. 104. Many others are scattered over the pages. _rug design is seen in Fig. 139, which is worked on the large rug
Fora nursery blanket or a crawling rug, Fig.97 may be chosen, canvas in Smyrna stitch. It may also be copied in knot stitch,
the designs being orinknitting. The different colors are expressed by symbols.
worked on aborder Fora child’s bib the humorous designs, Figs. 140 and 147 never
of burlap or appli fail to please the wearer.
quéd on cloth while
Figs. 98 and gg at
once suggest chair
backs and afghans.
For ecclesiastical
embroidery a num-
Kig.50. Cross Stitch Design worked in silk, beads
and spangles ber of very rich de-
signs are shown
from Figs. 113 to 124. These are appropriate for stoles, chasu-
bles, altar cloths, etc.
A very beautiful model is shown in Fig. 52.
The classic cross given in Fig. 125, is appropriate for the cover
of a prayer book, altar frontal, lectern hanging or Bible marker.
The size of the canvas must be varied for these different uses.
Fig. 52. Altar Cloth

A magnificent piece of embroidery was a plush slum~

ber roll worked with Fig. 154 in rope silk. - The all-
over designs given in Figs. 155, 157 and 158, and else-
é ; where are used for bags and for articles of burlap
- Ga6 Pema canvas. A
An elaborate ‘‘runner” for the dinner table is given
in Fig. 54, showing two-thirds of the whole. A
similar choice and arrangement of designs might be
used for a bedspread. A wide border should be worked
from top to bottom through the middle of the piece of
linen, and horizontal stripes on each side as in the
cut. One large sheet of linen may be used for such a
spread, or for convenience, it may be composed of
separate strips joined. Don’t forget to work initials
and date of year. Such a spread would require leisure
and perseverance, but would be an heirloom when fin-
Fig. 51. Serviette
ished. Fringe may edge the sides or heavy German lace.
A very rich design for a super-frontal for the altar may be work- There is scarcely a pattern in this book that may not be
ed with Fig. 131, in several colors and gold thread. The proper applied to a dozen different uses or materials, or worked in
symbols are employed to designate each color. many different stitches. And here lies one great charm of

Fig. 54, Table Runner

The design at Fig. 135 is suitable for a chair seat, although cross-stitch embroidery, the latitude enjoyed by the worker.
the vines may be used for many other purposes. Fora sofa pillow And in the frequent revivals of this stitch we have certainly ar
nothing could be more beautiful than Fig. 137. A quarter ofa example of the ‘‘ survival of the fittest.”
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