Tusseh silk or, as some term it, "Tussore," is spun from the silk of the perforated coc.o.o.n of the tusseh-moth. This silk is seldom dyed, being the natural colour of the coc.o.o.n, which cannot be satisfactorily extracted; nor will it absorb dye perfectly.

1891. Embroidery Silk.

Embroidery silk is bright and l.u.s.trous, and composed of two rather loosely twisted large threads. _Sadler's Silk_ and _Purse-Silk_ have three threads. _Sewing Silk_ has two. _Tailor's Twist_ three threads.

1892. Chenille.

Chenille is of two kinds. _Chenille a broder_ (the finest sort), and _chenille ordinaire,_ which is stiff, and about the thickness of a quill: both are round. The extreme richness of the appearance of chenille makes it suitable for any work requiring great brilliancy; as the plumage of birds, some flowers, and arabesques. Silk canvas is much embroidered with chenille, but is extremely expensive, and very soon injured by dust. It should only be employed for articles intended to be glazed, such as pole-screens, the tops of work-boxes, and screens.

1893. Arrasene.

Arrasene is a perfectly flat silk-chenille--and is used for embroidery on all descriptions of material.

1894. Braids.

Braids are of various kinds. Russian silk braids are generally employed for dresses, slippers, &c.; but for many of these purposes the new Albert braid recently manufactured in England is much richer and far more effective. Russian silk braid is generally narrow, and the plait is of that kind which is termed Grecian--all the strands going from the edge to the centre. In French braid, on the contrary, the plait of every two strands over each other. French braid, in silk, is very little used in this country. Slippers and other small articles worked in braid have the effect greatly improved by laying a gold thread on one or both sides of the braid.

1895. Victoria, Adelaide, or Coronation Braid.

Victoria, Adelaide, or Coronation braid (for the same article has been called by all these various names), is a cotton braid, which, when laid on net or muslin, looks something like satin-st.i.tch. It is composed of thick and thin parts alternately, and is made in only two sizes.

1896. Albert Braid.

Albert braid is a sort of silk cord, made in many beautiful colours.

It is intended for either application, in braiding, and being _raised,_ looks extremely well, with very small outlay of time or money.

1897. Gold and Silver Braids.

Gold and silver braids are often used in Mosaic work, and for slippers, blotting-cases, &c. The Mosaic braid, which is comparatively cheap, is generally used.

1898. St.i.tches.

Various st.i.tches are used in embroidery with crewels and silk.

1899. Stem St.i.tch.

Stem st.i.tch, also Crewel st.i.tch, is that used for stems and for ordinary filling-in of flowers and arabesques. Instead of working from right to left, the st.i.tches are smoother if worked from left to right.

In stems a long st.i.tch is made, and then a second halfway the length of the first, and half-way beyond it, till a stem is formed; and to complete it work from right to left, placing the needle under a st.i.tch of the stem, not of the material, and so work back upon the top of the previous st.i.tches. In the stem first worked only the tiniest piece of the material is taken up on the needle, so that the wool or silk is all on the surface.

1900. Stem St.i.tch in Flowers, &c.

In flowers and arabesques the stem-st.i.tch is worked straight, but each st.i.tch differing in length from the other, so as to make the wool smooth. Commence the work at the lowest part of the petals, and work upwards to the edge.

1901. Split Stem St.i.tch.

Having worked one st.i.tch, in making the second split the first st.i.tch in the centre with the needle. In the st.i.tch, the thread is continued under the material.

1902. Couching.

Couching is a laying down on the outline of the design, a thick strand of filoselle, or cord or wool or silk of any kind, and then over-st.i.tching it down with a fine silk of the same, or a contrasting colour.

1903. Basket-work St.i.tch and Diaper St.i.tch.

These are done with gold, silver, or silk cords, st.i.tched on the material in patterns, with silk of another, or of the same colour. The cords are just pa.s.sed through the back of the work to its surface; either one, two, or three at a time are held in place by the left hand, the over-st.i.tching being done by the right hand.

1904. Canvas for Cross-st.i.tch Work.

The Penelope is now universally used where the ground is filled in.

Formerly it resembled the silk canvas now used where no grounding is required, but by accident a manufacturer observing some cross-st.i.tch work unpicked, took the hint, and the result was the "Penelope canvas," of which there are different degrees of fineness, determined by the number of double-crossed threads that may fill the s.p.a.ce of one inch.

1905. Elephant Penelope Canvas.

Elephant Penelope Canvas is extremely coa.r.s.e--fitted for working rugs and eight or twelve thread wools.

1906. Silk Canvas.

Silk canvas requires no grounding; it is made of a cotton thread overcast with silk, and resembles coa.r.s.e even-threaded cheese cloths, but is silky.

1907. Mode of doing Canvas Work.

This is always done by the thread,--particular care should in all cases be taken that the size of the various materials is properly proportioned. Placing the canvas in a frame, technically termed _dressing the frame_, is an operation which requires considerable care. The frame itself, especially for a large piece of work, should be substantially made; otherwise the stress upon it will be apt to warp it, and drag the canvas. If this occurs to any extent, the injury can never be repaired.

1908. To Frame Canvas.

After herringboning the raw edges of the canvas, sew them, _by_ the thread, to the webbing of the frame,--that is, to the top and bottom.

Then stretch the ends till the canvas is extended to its utmost length, put in the pegs, and brace the sides with fine twine. If the canvas is too long for the frame, and any part has to be rolled over the end, let the wood be first covered with a few thicknesses of silver paper.

1909. Design on Cloth.