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Updated: June 14, 2025
Chenille seems to have been used instead of smooth silk, much as in certain old-fashioned water-colour paintings gum was used with the paint, or over it, to deepen the shadows. It is worked there in chain-stitch with the tambour needle: it may also be worked in satin-stitch; but the more obvious way of using it is to couch it, cord by cord, with fine silk thread.
Satin-stitch, it was shown , worked in twisted silk, ceases to have any appearance of satin; and it makes all the difference whether the stitches are long or short, close together or wide apart. More important than all is the direction of the stitch. By that alone you can recognise the artist in needlework.
The nose is worked in extra satin-stitch over the other, and the slight depression at the end of the stitch gives lines of drawing. This trenches upon modelling, but, on such a minute scale, does not amount to very pronounced departure from the flat. The method employed does not lend itself to larger work.
I do not know if the name of "satin-stitch" comes from its being so largely employed upon satin, or from the effect of the work itself, which would certainly justify the title, so smooth and satin-like is its surface. Given a material of which the texture is quite smooth and even, showing no mesh, satin-stitch seems the most natural and obvious way of working upon it.
You may qualify the colour of a stuff by lightly darning it with silk of another shade, and very subtle tints may be got by thus, as it were, veiling a coloured ground with silks of various hues. The necessity for something like what is called "LAID-WORK" is best shown by reference to satin-stitch. It was said in reference to it that satin-stitches should not be too long.
It is worked over with purse silk, to and fro across the forms, and sewn down at the margin with finer silk. This is a method of work often employed when gold thread is used. In sprig G the underlay or stuffing is of string, sewn down with stitches always in the direction of the twist. It is worked over with floss in satin-stitch.
Satin-stitch, however, need not be, and never was, confined to work upon silk or satin. This may be described as satin-stitch in the making at any rate, it is the elementary form of it, its relation to canvas-stitch being apparent on the face of it. Still, beautiful and most accomplished work has been done in it alike by Mediæval, Renaissance, and Oriental needleworkers.
In the case of stems or other lines curved and worked obliquely, the stitches must be very much closer on the inner side of the curve than on the outside: occasionally a half-stitch may be necessary to keep the direction of the lines right, in which case the inside end of the half-stitch must be quite covered by the stitch next following. Satin-stitch is seen at its best when worked in floss.
The leaf shapes at D are padded with cotton wool, cut out as nearly as possible to the shape required, and tacked down with fine cotton. They are then worked over with floss in satin-stitch. The stalks are not padded with cotton wool, but first worked with crewel wool, which, being soft and elastic, forms an excellent ground for working over in floss silk.
Again, in the 15th century satin-stitch was worked on fine linen with strict regard to the lines of its web; and the Persians, ancient and modern, embroider white silk upon linen, also in satin-stitch, preserving piously the rectangular and diagonal lines given by the material. They have their reward in producing most characteristic needlework.
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