[Illustration: 105.--Star in Point de Reprise.]
ILLUSTRATIONS 105 & 106 (_Patterns in Back, Satin, and Ladder Stitches_).--The small star in the centre of No. 105 is worked in _point de reprise_.
[Illustration: 106.--Star.]
[Illustration: 107.--Flower in Satin Stitch.]
ILLUSTRATION 107 (_Flower in Satin Stitch_).--The fine veinings are worked with fine black silk in _point russe_, which renders the effect of the flower very beautiful.
[Illustration: 108--Rose in Satin Stitch.]
[Illustration: 109.--Petal for Rose.]
ILLUSTRATIONS 108 & 109 (_Rose in Satin Stitch_).--No. 109 shows one petal larger than full size. The outer circle only is prepared with chain stitches underneath, so as to appear raised; the inner circles are worked flat. The centre of the rose is embroidered in open work.
[Illustration: 110.--Heartsease.]
ILLUSTRATION 110 (_Embroidered Heartsease_).--For the knotted stitch see No. 75. for the _point croise_ see 71 and 72.
[Illustration: 111.--Raised Flower]
ILLUSTRATION 111 (_Flower in Raised Satin Stitch_).
[Illustration: 112.--Ear of Corn.]
ILLUSTRATION 112 (_An Ear of Corn in Point de Minute_).
[Illustration: 113.--Bluebell.]
[Illustration: 114.--Inner part of Bluebell.]
ILLUSTRATIONS 113, 114, & 116 (_Bluebell in Raised Satin Stitch_).--This flower is worked partly in separate pieces, as has been described.
Illustration 116 shows the raised part stretched out flat. When it is finished it is fastened down along the dotted line on No. 114, which shows the inner part of the flower.
[Illustration: 115.--Flower.]
ILLUSTRATION 115 (_Flower in Point de Minute_).--This stitch is here worked over a thick foundation of chain stitches. For raised patterns it looks very well.
[Illustration: 115.--Outer part of Bluebell.]
[Illustration: 117.--Flower appliqued on Net.]
ILLUSTRATIONS 116 & 117 (_Flower worked in Applique_).--To work in applique, two materials, either similar or different, are needed. You can work either in applique of muslin on muslin, or of muslin on net, or of net on net. Muslin on Brussels net is the prettiest way of working in applique; we will therefore describe it: the other materials are worked in the same manner. Trace the pattern on the muslin, fasten the latter on the net, and trace the outlines of the pattern with very small stitches work them in overcast stitch with very fine cotton, taking care not to pucker the material. The veinings are worked in overcast. When the pattern has been embroidered cut away the muslin round the outlines with sharp scissors, so that the net forms the grounding (see No. 117).
The greatest care is required in cutting out the muslin to avoid touching the threads of the net.
[Illustration: 118.--Border.]
ILLUSTRATIONS 118 & 119 (_Narrow Borders_).--It will be easy to work these borders from the above instructions. Observe only that on border 118 the outer row of scallops is worked first, then the button-hole stitch row, and the rest afterwards. The spots are edged all round in knotted stitch. The wheels in the centre of the eyelets of No. 119 are worked with very fine cotton in loose button-hole stitch; they are wound round with the cotton in a second row.
[Illustration: 119.--Border.]
[Illustration: 120.--Insertion.]
ILLUSTRATIONS 120 TO 122.--Three strips of insertion, which are worked nearly like the ladder stitch. For No. 120, in tracing the outlines, make two small knots at short distances by winding the cotton four times round the needle, as can be seen in illustration; the windings are held down with the thumb of the left hand, draw the needle through, and a knot is formed. The outlines are worked in button-hole stitch only when all the knots have been made, and then the material is cut away underneath.
Illustration 121 is a variety of the slanting ladder stitch.
Illustration 122.--The cross threads are worked in two rows in the common herring-bone stitch, as can be seen by the black lines on the illustration. The straight lines at the top and at the bottom are worked in double overcast; lastly, the wheels are worked in a row as described for the star pattern, No. 104.
[Illustration: 121.--Insertion.]
[Illustration: 122.--Insertion.]
[Illustration: 123. U]
[Illustration: 124. C]
[Illustration: 125. B]
[Illustration: 126. O]
ILLUSTRATIONS 123 To 129 (_Embroidered Initials_).--To learn to work initials the Roman characters are the easiest to begin with. They must be traced and prepared like other embroidery in satin stitch, only the chain stitches underneath must not be too thick: it would take away the shape of the letters. All depends on the fineness and regularity of the stitches; they must be worked in overcast stitch. Work from left to right, and the letter when completed must look rather like raised printing than like embroidery. Gothic letters are much more difficult to work on account of the many flourishes; it requires great practice in needlework to embroider them well. Illustration 123.--The small black dots are worked in black silk on the thick parts of the letter: the fine strokes are covered with cross threads of black silk. Illustration 124.--The outlines of the letter and the fine strokes are worked in black silk. Illustration 125.--This letter is embroidered in raised satin stitch and _point de plume_. Illustration 126.--This letter is worked in back stitches, over which are worked at regular distances cross stitches of black silk. Illustration 127.--Letter in satin and back stitch. Illustration 128 to be worked in overcast and double overcast.
Illustration 129.--Letter G in _point russe_ with black silk.
[Illustration: 127.]
[Illustration: 128.]
[Illustration: 129.]
[Illustration: 130.]
ILLUSTRATION 130 (_Embroidered Figures_).--They are worked like the letters in _point de plume_ and overcast; the dots are worked in knotted stitch.