Free Vintage Embroidery Pattern:

We have now shown the different kinds of stitches used in embroidery (here); the following illustrations show them used for different patterns.

ILLUSTRATIONS 82 TO 85 (Different Button-hole Stitch Scallops).--These scallops are prepared as above described. Take care to have the stitches even and regular; the scallops must be wide in the centre and very fine at both ends.

ILLUSTRATIONS 86 & 87 (Button-holes and Eyelets).--This kind of embroidery is used only in round or long patterns. Trace first the outline of the hole, cut away a small round piece of material, not too close to the outlines (when the button-hole is very small merely insert the point of the scissors or a stiletto into the material), fold the edge of the material back with the needle, and work the hole in overcast stitch, inserting the needle into the empty place in the centre and drawing it out under the outline. Some button-holes are worked separately; sometimes they are in a row; if so, take care to begin to work each button-hole at the place where it touches the next. In the following button-holes the outside must be traced double, so as to reach as far as the next one, but each button-hole is finished at once. Illustration 86 shows a button-hole worked round in button-hole stitch, 87 an eyelet-hole worked in overcast.

ILLUSTRATIONS 88 & 89.--Shaded button-holes are worked like the others, only they are prepared, as can be seen in illustration 89, so as to mark the thickness. The stitches must gradually get narrower or wider, and be worked very close to each other.

ILLUSTRATIONS 90 & 91 (Two Leaves in Raised Satin Stitch).--In a leaf like the one seen in 90 work first the outline and veining in overcast stitch; work one half of the leaf in satin stitch, and the other half between the overcast outline and veining in back stitch. The stem of a leaf is always worked last.

ILLUSTRATIONS 92 & 93 (Two Leaves in Satin Stitch and Point de Plume).--For leaves like the one seen in 93 begin with the veinings, then work the inner points, then the outer ones, and lastly the raised spots in the centre. The leaf seen in 92 is worked, one half in point de plume, the other half in back stitch or point d'or.

ILLUSTRATION 94.--- The outline of this leaf is embroidered in overcast stitch; the open-work veining consists of eyelets; one half of the leaf is worked in back stitch, the other half in a kind of satin stitch worked without chain stitches underneath; [94]the stitches are worked across the leaf, leaving between two stitches an interval as wide as the stitch itself. The next row is then worked in these intervals, and each stitch begins half-way up the one before and after it.

ILLUSTRATIONS 95 to 97 (Leaf in Raised Embroidery).--This kind of embroidery is particularly beautiful, as it is worked separately and sewn on the material with an outline in very fine cotton, this produces the shade seen in 95 (see also illustrations 98 to 113). For such leaves work first one half in overcast and satin stitch (illustration 96); the other half is worked on a separate piece of material (see illustration 97); cut away the material along the overcast outline, and fasten it on the foundation material along the outline which forms the veining on illustration 96.

ILLUSTRATIONS 98 TO 100 show a similar leaf; both halves are worked separately (see 99); the centre is worked in open lace stitch. The latter (see No. 100) is traced, then make ladder stitches across, work the outlines in overcast stitch, and cut away the material underneath the ladder stitch. The cross stitches are then worked in darning stitch with very fine cotton wherever two threads meet.

ILLUSTRATION 101 (Blossom in Satin Stitch).--The eyelet is worked in overcast stitch, then work the upper part of the blossom all in one piece as far as the beginning of the veining, thence the blossom is worked in two halves.

ILLUSTRATIONS 102 & 103 (Blossom in Satin Stitch).--The raised centre of this flower is formed by a bead, over which the embroidery is worked. When the leaves have been worked one after the other, place a bead in the centre, left free in such a manner that one hole lies on the material, and work over the bead by inserting the needle into its upper hole, then underneath the material, drawing it out above the material close to the bead, and so on (see 103).

ILLUSTRATION 104 (Star Pattern in Satin Stitch).--The centre, which forms a wheel, is worked first. Draw the threads across the circle marked by an outline; in the centre they are wound round, always taking one thread on the needle and leaving the next thread under the needle. The material underneath the wheel is only cut away when the rest of the pattern has been embroidered.

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 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.

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 (Embroidered Heartsease).--For the knotted stitch see No. 75. for the point croisé see 71 and 72.

ILLUSTRATION 111 (Flower in Raised Satin Stitch).

ILLUSTRATION 112 (An Ear of Corn in Point de Minute).

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 in Point de Minute).--This stitch is here worked over a thick foundation of chain stitches. For raised patterns it looks very well.

ILLUSTRATIONS 116 & 117 (Flower worked in Appliqué).--To work in appliqué, two materials, either similar or different, are needed. You can work either in appliqué 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 appliqué; 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.

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