may be introduced irregularly or alternately, by stitches of varying length. A combination of dull green or dull gold filoselles, will produce three, if not four color effects, according to the ground, and the light in which the work is shown; in one light there will be a shading of dull green, in another a touch of old gold, in a third a glimmer of bronze green. When deeper, fuller coloring is employed—for instance, in rich antique blues, and old bronze—the changing sheen of peacock's feathers will be seen. In two shades of gray silk, silvery and steel effects are attainable; in dull pinks and ambers, purple and citrine, green and russet, pale violet and lemon, and other combinations, the most lovely transformations are wrought by this simple grounding. Where darned work is used for filling in outlines, the design should be so composed that the unworked spaces may present ornamental shapes, for they will attract the eye, and hold as important a part in the finished work as flower and leaf spaces on a darned background. In darning within the outlines, it is not necessary to darn the whole composition, though it may thus be treated and stand boldly out on a plain background with artistic effect; certain portions all through the design, say the blossoms of an apple or cherry design, may be simply outlined and veined in silk or crewel, while the fruit and leaves are darned in one or two colors, or shades of color. Care must be taken to so distribute the darned or open spaces as to avoid striping or spottiness. As it not possible to follow nature in round effects by darned work, which is conventional, it is best to use conventional coloring, or else, low tones of the natural color of the subject. Light grounds look best with a well diffused design, and dark grounds well with the design wrought in silk of a lighter shade than their own color."
The Art Amateur thus describes a remarkable table-cover worked by the Decorative Needle-Work Society in London:—
"In looking at the picture, many persons imagine that the cloth is embroidered with silver; but this is not the case, the beautiful, bright effect being produced by very simple means. The material is cream satin, and the design is outlined in blue and green silks, while the ground of the pattern is filled in with darning, in shades of pale gold filoselle, thus leaving the satin to catch the lights. The border is of green plush, on which is embroidered a handsome antique pattern, harmonizing with and relieving the centre."
Pongee is a beautiful material for darning. It is much used for tidies or chair backs, as they are now called.
Fig. 6.
An exceedingly pretty one at the Decorative Art Society had a border formed by a floral design outlined in pale green, with yellow berries, the background being darned in a darker green. In another, the outlining was done in old gold, and the darning in shades running from a dull red to pink.
A remarkably pretty and simple border can be worked on fine burlaps in red. Sprays of the sassafras form the design, which is outlined in a dark red, with a background darned in a brighter shade of the same color. This scarf was finished with a knotted fringe, while above the border was an inch wide strip of drawn work. The same idea would be very pretty for a heading for curtains. The modern darned work is principally used as a background in straight, horizontal stitches, but these may be varied according to the inclination or taste of the worker. It is sometimes used to represent a diapered ground; thus, it may be worked in an open diamond pattern. Again, it may be worked in rows of circles of either varying or uniform size, or in a succession of wave-like lines. Instead of the darning stitches, some fancy stitches may be used for filling in a background. Water, clouds, etc., are generally rendered by darning stitches.
Fig. 6 is a curtain of Queen Anne's time done in outline with a darned background. A very handsome quilt may be worked from the same design on huckaback towelling. The easiest way to manage it is to work a square for the centre and join side pieces all around. The darning stitches have a very fine effect run under the threads of the towelling.
Fig. 7 gives another suggestion for work of this kind, showing a different way of filling the background. As shown in the illustration, a pleasing variety may be introduced by filling in the background in one part of the work, and the design in another. Very gorgeous effects are produced by using gold thread in darning designs on huckaback.
Fig. 7.
FILLED IN EMBROIDERY.
Under this head a number of stitches and various modes of treatment are included, but the stitch chiefly used is the one already described under the head of outline work, being merely a modification of stem stitch, the whole design, however, being covered with needle work appropriately colored and shaded. Much of this work is done in conventional designs, the coloring of which is also conventional, but for the beginner the semi-realistic or natural designs are much easier and as a rule more satisfactory. There are a variety of stitches that may be employed in this work, which I will briefly describe. Of these, one of the most important is feather stitch, which is the one generally employed in shading- flowers, etc. It consists of an alternate long and short stitch. The stitches must not, however, terminate in regular lines, as this would give a stiff appearance to the work. In working the petals of flowers, you must always work from the outer part of the petal toward the centre (Fig. 8), and so directing the stitches as to
Fig. 8.
follow the lines of the petals. It is a good plan to keep two or three needles threaded with the different shades, and work them in as required. It is often a good plan to work the whole of a leaf or petal in the shade that is predominant, making the stitches a little spreading, so that the other shades can be worked in afterward. When finished, the shades should blend into each other, showing no harsh outlines. It is much better to begin working in the middle of a leaf or petal, and throw your thread to opposite sides of your needle in the two halves. In working leaves, study their formation and direct your work accordingly. In a chrysanthemum or oak leaf, for instance, it is easier to treat each division as a separate leaf, beginning at the top of each and working down toward the main stem, so directing your stitches meanwhile as to join the parts harmoniously. It is an excellent plan to keep a sampler on which to try stitches and effects of color. In working flowers with petals closely set together, as the chrysanthemum, corn-flower, etc., it is sometimes necessary to divide the petals by a line of a darker shade. This should be put in the last thing, as otherwise it is liable to be lost in the work. This holds true of veinings also. It is well to remember that needle-work is decorative mainly, and should not be elaborated like a painting. Two or three shades, are as a rule, sufficient in leaf or flower, and where either is small a single shade may answer. Narrow leaves look best worked in satin stitch. The centres of many flowers are worked in what is called the French knot. It is also used for working the anthers to some flowers. To make it, having brought your needle through the material at the spot where your knot is to be made, wind the thread three times round the needle close to the spot where the thread came through. Then turn the point of the needle down through the place where it first came up, holding the thread firmly in the left hand until it is quite drawn through (Fig. 9). The twisted threads must be held very close to the work, or the knot will have a loose, untidy appearance. When the work is coarse, the thread can be doubled or the number of knots increased. In filled in embroidery, as with outline work, the materials are very much the worker's own choice. Crewels and silks are chiefly used for working, and may both be used to great
Fig. 9.
advantage
