The Ladies' Hand Book of Fancy and Ornamental Work: Directions and Patterns from the Civil War Era
240
The Ladies' Hand Book of Fancy and Ornamental Work: Directions and Patterns from the Civil War Era
240eBook
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Overview
More than 262 engraved patterns, drawn from English, French, and German sources, encompass a tremendous array of handcrafts: applique, bead work, braiding, crochet, embroidery, knitting, knotting, lace-work, netting, patchwork, quilting, tapestry, tatting, and many other techniques. A rich source of authentic patterns, this volume also provides a historic view of the lives of nineteenth-century women in terms of their pastimes and their forms of creative self-expression.
Product Details
| ISBN-13: | 9780486816319 |
|---|---|
| Publisher: | Dover Publications |
| Publication date: | 10/05/2016 |
| Series: | Dover Crafts: Clothing Design |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 240 |
| File size: | 43 MB |
| Note: | This product may take a few minutes to download. |
About the Author
Read an Excerpt
The Ladies HandBook of Fancy and Ornamental Work
Directions and Patterns from the Civil War Era
By Florece Hartley
Dover Publications, Inc.
Copyright © 2016 Florece HartleyAll rights reserved.
ISBN: 978-0-486-81631-9
CHAPTER 1
LADIES' HAND BOOK
OF FANCY AND ORNAMENTAL WORK.
* * *
APPLIQUÉ, OR APPLICATION.
Appliqué, or application, is the laying of one kind of material over another. Pieces of different forms and colors are placed one over another, and secured at the edges by braids, cords, or embroidery. If neatly done and arranged with taste and ingenuity, it is exceedingly handsome. It has been applied very successfully to ladies' cloaks, for some years past.
Appliqué may be used on any material, such as cloth, velvet, silk, leather, or muslin, and lace. In forming the pattern, it should be carefully drawn on the material intended for the appliqué, and a corresponding one on that intended for the ground, which may consist of the same or other material. Velvet can be beautifully arranged upon cloth, or satin upon velvet, or silk upon satin, muslin on lace, or lace upon muslin. If velvet, satin, or silk is used, it is necessary to paste a thin paper over the back, before the appliqué is cut, to render it firm and prevent its unraveling. The pieces, when cut, are to be carefully tacked down on the material, and the edges secured either by cord, braid, or satin-stitch embroidery, varying the colors according to taste. Where flowers are chosen, the color of the flowers or leaves is preferable. What are called Turkish designs are peculiarly suited for this kind of work. Vine leaves are also very handsome, and the tendrils can be formed by cord, chenille, &c.
For bags of various kinds, merino and cashmere can be used, making the appliqué of velvet and silk. This is also suitable for slippers, sofa-pillows, &c. It can be edged with gold cord, or braid, or chenille. Slippers of kid, with velvet appliqué, or velvet slippers with kid appliqué are very handsome.
A set pattern is much the handsomest for table covers, ottomans, or large pieces of work.
As appliqué requires stamping tools and machinery for any extensive piece of work, it can only be used by private persons, on a comparatively small scale; but when neatly done, for bags, slippers, ottomans, &c., it richly repays the trouble taken.
The two sides of this beautiful traveling bag are made of gray leather, or cashmere. The black pattern is cut from velvet, and fastened on with gum and a carefully sewn edge — the white spots are beads — steel beads to be preferred. The pattern may be drawn of any size desirable, on writing paper, and then traced with a sharp-pointed bodkin, through the paper on the leather.
SLIPPER, IN APPLIQUÉ.
Materials. — Half a yard of the finest black cloth; nearly the same quantity of scarlet or crimson velvet. Gold thread, of the finest quality, No. 3, two skeins; and fancy cord, of the color of the velvet.
Cut out of a sheet of foolscap paper, the exact size required for the slipper; lay this on the cloth, and mark the outlines of the slipper with white thread. Then draw the pattern, enlarging it to the required size.
Draw only one-half of the slipper, and mark the other half from it. The parts engraved in white horizontal lines, are to be velvet, which is cut out in the proper shape, that for each slipper being in one entire piece.
Take a broad paint brush, and wash over the back of the velvet lightly with very thin glue; then lay it on the cloth, and tack it, to keep it in its place. Lay it, with the velvet side downwards, on a thickly folded cloth, and put some books on it as weights, until the velvet and cloth adhere. The velvet chosen should be of the best description, with a very short pile. If at all crushed, a warm iron may be held upright, and the back of the cloth passed lightly over it. This will raise the pile. The edges of the velvet are finished off with two lines of gold thread, between which the fancy cord is laid. They are respectively to be sewed over with silk of the same colors, and the ends drawn through the cloth. Quilted silk or satin should be used for lining these slippers.
BEAD WORK.
THIS work is done in tent-stitch, on canvas, of silk or imitation silk. The beads must be very carefully adapted to the canvas, that each one may just cover the space allotted to it.
A great number of articles are now ornamented entirely in bead work, such as small tables, sofa-cushions, mats, baskets, slippers, screens, &c. The largest sized beads, No. 1, are used for tables; No. 2, for cushions, mats, &c.; and No. 3, for hand-screens, watch-cases, slippers, &c.
The stitch used is always tent. [See Tent Stitch.]
The designs for bead work are generally taken from the Berlin patterns. The material used for attaching the beads to the canvas, is a waxed sewing-silk, or a fine twisted cotton thread. The last is mostly used by the Germans, who greatly excel in all kinds of bead-work, and who apply it to nearly all kinds of ornamental articles. They use beads of all kinds, mingling them with patterns worked in silk or worsted.
A great difference exists in the quality of beads, particularly in the gilt and steel ones.
Where colored glass beads are used, it is better to arrange them in separate bags, with the color written on the outside of the bag.
BEAD VASES.
Bead Vases, which are now so fashionable, are very easily made. Procure a wire frame from a wire-worker, of any shape you wish, but the smallest ring is at the bottom. White and green beads are a pretty combination, or all green, or all white. The wires are carefully covered with a narrow white ribbon, wound round evenly. Then the beads are threaded in any fancy form desired, the small round more closely filled than the others. The wires should be about the size of one bead, and are covered with the beads, the thread passing round so as to leave the bead on the outside. A fringe of any pattern desired, passes all round the upper wire, and tassels can be added if desired. They can be suspended by double strings of beads, the strings uniting at the top; or by ribbon strings tied at the top, in a handsome bow and ends. A great variety of patterns can be made. They look extremely pretty filled with flowers, and suspended from the bottom of a chandelier.
Pendant flower-baskets have, of late years, become very general; hung before the upper part of a window, they act partly as a blind, and receive plenty of light for the growth of the plants. The only novelty, if so it may be termed, in this design, is the introduction of glass beads or bugles, which we think, to look well, should be white. A few amber-colored ones, introduced in select positions, would improve the effect; these to be strung on wire, to form the basket edge of the tray. This tray could be made of wood, zinc, or glass, but the latter would be expensive. Fine holes should be perforated all round the edge for the insertion of the wire. The beads forming the festoons would be better strung on strong twine, as they would hang more free; the chains from the top to be of wire. A brass rod passed through a glass tube, and inserted through the centre flower-pot, would support the tray, by having a cross-bar beneath, and a nut to screw on, and by this means the weight of the tray and its contents would be taken off the chains, which would hang the more gracefully. The centre flower-pot could have some delicate climbing plant, which would entwine itself around the supporting-rod, while the other pots should contain pendant flowers.
BUGLED PEN-WIPER FOR A TABLE.
Materials. — 1 reel No. 20 Messrs. Walter Evans & Co.'s Boar's Head Cotton; 3 nails of coarse Penelope canvas; 3 skeins of violet Berlin wool, 1 shade of dark, 1 middle tint, and 1 light; 1 skein of fine white silk; 1 oz. of bugles, which should fit on a cross stitch of the canvas.
On the canvas, with pencil, draw a circle the same size as in engraving. Cut the canvas round full two inches larger. With darkest wool, work, in cross-stitch, a line across the centre of canvas to the pencil-mark; then a line across the reverse way, so as to form a cross. (In working this, or any other cross-stitch, instead of crossing each stitch separately, work the whole line as if it were plain sewing, then turn back, and cross every stitch in the same way.) Now take the other two shades, and work on each side these dark lines in the same way. With the darkest wool, work, in cross-stitch, on the circle line, not going outside the ends of the cross, but keeping on a level with these. Now turn down the edge of the canvas close to this line, and stitch it neatly and firmly down, and press it on the wrong side with a hot iron; cut off the superfluouscanvas. With a pen, ink the edge of the canvas which is turned, and may show a little white. Now, with Boar's Head cotton (doubled) sew a bugle on each cross-stitch of the canvas, always placing it the same way that the wool-stitch is crossed. When finished, gum the back where the bugles are sewed on. When dry, line the canvas with black silk.
HOUR GLASS CANDLE STAND WITH BEAD FRINGE AND TASSELS.
Many persons experience great inconvenience arising from the candles on their dressing-table throwing the light upwards instead of downwards. This of course, is not the case where gas is introduced into the chambers, but where it is not used these candle stands are very convenient, and can be made very handsome, or very plain. The engraving represents one with a heavy bead fringe. The foundation is made of two flat rounds of wood, connected together by a stem having a groove cut in its exact centre. These rounds are about six inches across, and the stem about eight inches in height. Cover the top first, nailing on the material, which may be satin, silk, brocade, furniture-chintz, or white marseilles. Then take a piece a little longer than the exact height, and nail it carefully round the top and bottom. Ornament it in any way you like; if brocade, with a heavy bead fringe — satin, with a silk fringe mixed with beads — silk, with a handsome silk fringe alone — or marseilles, with a cotton fringe. The centre cord, either of beads or silk, should match the fringe, and be drawn sufficiently tight to make the hour-glass shape. The bottom piece of wood should be heavier than the top. These stands, of a larger size, form very handsome tables, either for the parlor or chamber, and can be made very handsome with very little cost, by using furniture-chintz for cover. Some persons finish them with a gimp round the top and bottom, using a ribbon for the middle.
BEAD BOOK MARKERS.
Bead Book Markers are made on perforated card board, the motto and border being made of steel, gilt, or colored beads, and afterwards sewed on to a ribbon a little wider than the card-board.
BEAD COLLARS.
Bead Collars can be made of beads alone, or by sewing them on to lace or crape. They are generally made in black or white. Bugles are mostly used, and they are apt to cut the silk used in making with their sharp edges, unless the precaution is taken to put a small round bead at the end of each bugle. The thread or silk should be carefully waxed.
BEAD HAIR ORNAMENTS.
Bead Hair Ornaments have been extremely fashionable of late years. There are a great variety of forms used, such as an open net enclosing the back hair with tassels falling on the neck, or sprays for each side, or rolls of pearl or wax beads going round the head. Sometimes they are mixed with chenille cord, sometimes with velvet ribbon. They are very elegant. Gold, steel, wax, and pearl beads are all used, and black bugles for mourning.
BEAD-NET HEAD-DRESS.
One of the prettiest and simplest substitutes for the elaborate cap is the light network of beads which we have given in our illustration. It is commenced by attaching a row of loops of beads to the edge of a narrow ribbon, and adding successive loops by taking up the centre bead of each of these, and so continuing until the requisite depth is attained. In doing this, it is necessary to leave off the end loop of the rows, so as to form the fan shape when the network is spread out. The hanging circles are formed by threading the beads on hair-wire, and closing them neatly after each has been passed through its predecessor, the first of all being linked into the lower loop of the net-work. These falling together gracefully at the back of the head have a very pretty effect. The ribbon on which the work has been commenced, is then to be sewn over either a cap-spring or wire, and a plait of beads laid over it, which forms the front of the head-dress.
Lamp mats, watch-cases, sofa-pillows, &c., are all ornamented with beads and are very beautiful.
The bead-work of the North American Indians is among the most beautiful. The Canadian Indian women sell large quantities to the visitors to the Falls of Niagara, and a great deal of it finds its way to our large cities. It is of every imaginable form, and generally is done on a bright scarlet ground, with pure white beads. It is very successfully imitated by the lovers of this kind of work.
MAT IN BEAD WORK AND CROCHET.
Materials. — Black beads, No. 1, and clear white of the same size, one ounce of each; scarlet wool of three shades, green ditto, and pale amber; one bunch of clear white beads, and two strings of each of four shades of blue.
The design should be worked from the engraving, where the black beads are represented by black squares; the white, which form the ground, by white squares; the amber, by cross bars; the green, by diagonal; and the red, by straight lines; the depth of tint indicating the shade. It will be observed that the outline of the mat is formed by three shades of red, the darkest being outside. The canvas should be such as the beads will lie on easily, without the appearance of being huddled.
When completed, it should be tacked down on a bit of thin cardboard, cut out in the same shape, but rather larger — say half an inch all round. Then add the fringe, sewing it down through both cardboard and canvas. The best mounters brush this along the back with thick gum, and so gum it down on another and thicker piece of cardboard. All mats worked on canvas, with beads and wool, should be mounted in this manner.
The fringe is shaded; one loop (of the darkest blue or black) is at each corner; then the other shades, in rotation, to the white, which is in the centre.
INFANT'S SHOE, ORNAMENTED WITH BEADS.
Materials. — A small piece of chamois leather, a little coarse crochet silk, or Russian braid, and a small quantity of beads, of various colors, the size usually called seed-beads, and a size larger. Also two short white bugles, or large beads, and a few gold ones.
The shoe is cut, in one piece, out of good chamois leather. It is in the form of a boot, being about three inches deep. It is sewed up the front to the instep, and the toe gathered in; the back of the heel is also sewed up. A bugle is placed at the toe, over the close of the gathers, with a few gold beads forming a star around it. The seam up the front is covered by rows of beads, of various bright, strongly-contrasting colors. They are laid on, in the pattern, in the following order: — The seam is covered by two rows of blue, these are surrounded by clear white, then a round of garnet, the next, bright green, the outer row, chalk white. The upper part of the leather, to the depth of an inch, falls over round the ancle, giving it additional warmth. It is trimmed with blue beads, larger than those on the front. The edges are not hemmed, as the turning over of the leather would make them clumsy; and the seams are made perfectly flat. The strings round the ancle are of braid, or of silk twisted into a cord, and finished with small tassels.
INFANT'S SHOE.
A shoe of about three inches and a half long will be found quite sufficiently large for the first size. It should be worn with a fine open-worked sock.
It will be observed by the reader, that this infant's shoe is, in point of fact, a small Indian moccasin, imitated from one of those ingenious fabrics, which are so often brought under the notice of the ladies who visit Saratoga Springs and the Falls of Niagara. The imitation might be very advantageously extended to other articles of Indian manufacture, particularly watch cases, card boxes, several kinds of mats, &c. Ornamentation with beads, in the Indian style, could also be applied to many other articles unknown to the aboriginal artists.
BEAD PURSE.
This purse can be knit with a mixture of beads and silk, or silk entirely. Green silk with gold beads is handsome, or mazarine blue with steel beads, or scarlet with white beads, making the tassels by combining the different colors and materials.
POLE-SCREEN, IN GERMAN EMBROIDERY AND BEADS.
Materials. — Silk, canvas, or perforated card-board, 16 inches by 12. Beads, gold-steel, blue-steel, black, white, opal, and gray-blue, (3 shades,) green, (2 shades.) Gamboge, yellow, shades of green and scarlet wool, and shades of lilac and crimson chenille, and 12 graduated pearls.
The design here represented consists of an elegant basket of flowers, sus pended, as it were, by a double-headed arrow, in a rich scroll frame.
These flowers are done entirely in chenille, and the foliage in wool, worked in tent-stitch. The basket is outlined with gold beads, filled in with the shades of blue and the white. The pearls will be observed in the engraving forming the lower part of the basket, and beneath them are seen leaves alternately dark and light. The dark ones are worked in shades of red wool; the light in the green beads, intermixed with gold. Beneath these, again, are scollops formed of white, opal, gray, black, and steel.
(Continues...)
Excerpted from The Ladies HandBook of Fancy and Ornamental Work by Florece Hartley. Copyright © 2016 Florece Hartley. Excerpted by permission of Dover Publications, Inc..
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