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STIRLING AND FRAN CINE
CLARIS ART INSTITUTE LIBRART
Digitized by the Internet Archive
in 2012 with funding from
Federally funded with LSTA funds through the Massachusetts Board of Library Commissioners
http://archive.org/details/ladysmanualoHan1858pul
DICK & VtHGEKAU). WW-TOK.
THE
LADY'S MANUAL OF FANCY-WORK:
A COMPLETE INSTRUCTOR IN EVERY VARIETY OP
ORNAMENTAL NEEDLEWORK;
INCLUDING
APPLIQUE, EMBROIDERY, FRENCH EMBRO'RY, TAP'SE D'AUXERRK
BEAD-WORK, GOLDEN TAPESTRY, NETTING, TAPE-WORK,
BERLIN-WORK, KNITTING, ORNE-WORK, TATTING,
BRAIDING, KNOTTING, PATCH-WORK, TRANSFERRING,
BOBBIN-WORK, LACE-WORK, POINT LACE, VELVET BALLS,
CROCHET, MUSLIN-WORK, POTICHOMANIE, WIRE-WORK,
SHADING AND COLORING, PRINTERS' MARKS, ETC., ETC.
With a List of Materials, and Hints for their Selection ; Advice on Making
up and Trimming ; a Catalogue of Articles suitable for Wedding,
Birthday, and New Year Gifts; and a Glossary of
French and German terms used in Needle-work.
not to be found in any Dictionary
THE WHOLE BEING A COMPLETE
LEXICON OF FANCY NEEDLE-WORK.
BY Mill S. . IP XT LI, AN,
(AIGUILLETTE,)
AUTHOR OF "THE MANUAL OF THE WARDROBE," "THE COURT PARTIAL," "MATERNAL COUN- SELS," ETC.; EDITOR OF'"THE LONDON REVIEW" AND "THE LONDON AND PARIS GAZETTE OF FASHION," AND DIRECTOR OF THE WORKTABLE OF FRANK LESLIE'S MAGAZINE, ILLUSTRATED MAGAZINE OF ART, LADY'S COMPANION, LADY'S NEWSPAPER, BELI.E ASSEMBI.EE, HOME CIRCLE, DOMESTIC MAGAZINE, ILLUSTRATED LONDON MAGAZINE, AND FAMILY FRIEND.
Ulustra ed with over 300 Engravings, by the best Artists.
NEW YORK:
DICK &c FITZGERALD, PTIBLISHEES.
U.TKED according to Act of Congress, in the year 18B8, by
DICK & FITZGERALD,
fc 0. OU.W office M ** District Court of the United States, for the Souto.ro District of Ne* ft*.
CONTENTS.
PAGE
Introduction, 9
APPLIQUE, IT
Patent, 18
BEAD-WORK, , 19
Pound Bead, 20
0. P. Bead, 21
Weaving Pound Beads, 22
0. P. Bead Vases, 22
Bead Collars, 23
BERLIN-WORK, 24
To Frame Canvas and Cloth, 25
Tent-stitch, 25
Cross-stitch, 25
Tapestry or Gobelin-stitch, 26
German-stitch, 26
Irish-stitch, 26
Raised Berlin-work, 2T
Figure and Landscape Patterns, ... 2S
Armorial Bearings, 2S
Patterns on Canvas, 29
Gem and Set Patterns, 80
Silk Canvas-work, 30
Tapestry Designs, 80
Golden Tapestry Patterns, 81
Crochet and Knitted Berlin-work, . 81
To Join Canvas, 82
To Press Finished work, 82
BOBBIN-WORK, 82
Chain-stitch, 88
Herringbone, 88
PAOB
Double Herringbone, 83
Close Herringbone, 84
Long Brussels, 34
BRAIDING, S4
Raised Braiding, 35
Cord Braiding, 35
Cotton Braiding, 3G
Bead Braiding, 86
BRODERIE ANGLAISE, 86
Broderie a la Minute, 37
" en lacet, 37
CROCHET, 37
Holding Materials, 88
Chain or Foundation-stitch, SS
Slip-stitch, 39
Single Crochet, 39
Short Double Crochet, 89
Double Crochet, 89
Short Treble Crochet, 40
Treble Crochet, 40
Half Long Treble, 40
Long Treble, '. 40
Braid Chain-stitch, 40
Square Crochet, 41
Long Square Crochet, 41
Octagons and Hexagons, 41
To increase a Square at each edge, 41
To decrease at each edge, 42
Ribbed Crochet, 43
Crochet Cross-stitch, 42
Princess Frederic William Stitch, . . 48 S
iv
CONTEXTS.
PAQE
Bead Crochet, 44
To use several Colors, 44
To work from the Centre, 45
Missing Stitches, 45
To mark the commencement, 45
To join on, 46
Diamond Open-hem, 46
Crochet Bead Jewelry, 46
EMBROIDERY, 47
French Knots, 49
Raised Embroidery, 49
Damask Embroidery, 49
Knitted Embroider}', 50
Another Knitted Embroidery, 51
Fluted Embroidery, 51
GUIPURE-WORK 52
Irish Guipure 53
HONITON LACE IX CROCHET, .... 54
KNITTING, 55
Position of the hands, 55
Casting on, 56
To Knit., 57
To Purl 57
BUp-atltcb, 57
Twist-stitch, 57
Twist Purl-stitch, 67
To make Stitches, 5S
To raise a Stitch, 58
M< nits of Decreasing, 53
To join, 50
To ca-t off, 59
To i Iom the Toe of a Sock, etc,. .. 69
Brioche stitch, CO
Double Knitting, 60
Doable Herringbone, 60
Single Herringbone, CO
* • i • • d hem,* CO
Diagonal Open-hem, co
H ilitoh CI
Dm 01
Mitch QS
i i\:
and c-
Bpldi m ■,
OS
1 . ■ tfc, (VI
PAGE
Half Diamond-stitch, . 64
Plait-stitch, 64
Myrtle Leaf, Go
Cable, 65
Coronet, C6
Feather, 66
Scallop SheU, 67
Ridge, 6S
Frill Knitting, 68
Chinchilla Fur Trimming, 69
Honeycomb, 69
Diamond Honeycomb, 70
Imitation Moss, 70
KNOTTING, 71
LACE-WORK, 72
Canvas Lace-work, 72
MUSLIX-WORK, 73
Broderie Anglaise, 73
Rose Scalloping, 74
Scallops, 75
Eyelet-holes, 75
Chinese Eyelet-holes, 75
Spots, 75
French Embroidery, 77
Wheels, 7S
Shell-stitch, 83
Cross-stitch, S3
Fancy Stitches, ... S3
NUTTING, 84
The Plain Stitch, 84
Square Nettiug, 86
Oblong, 65
Honeycomb, 85
Round S6
Grecian 86
Long Tui..t Btttofa 86
French Ground, 87
Bpotted, sT
Diamond S8
Large Diamond, 38
i .I Diamond I
60
Double-etltoh, 90
Long itltoh, on
With Bead* oa
CONTENTS.
PAGE
Darned Netting, 90
Flanders Lace, '. 90
Embroidery on Netting, 91
Vandyke Square Netting, 91
Another Pointed Edge, 92
Shell Edging, 92
Another Shell, 92
Another Lace, 93
Another Edging, 93
ORNE CROCHET AND KNITTING:,.. 94
OrneBalls, 94
PATCHWORK, 95
POINT LACE, 98
Spanish Rose Point, 99
Italian Point, 99
Modern Point, 100
Materials, 101
The Outlines, 101
Brussels Edge, 102
Sorrento Edge, 102
Venetian, 103
Little Venetian, 103
To fasten the Thread, 103
LACES, 103
Brussels, 103
Long Brussels, 103
Lined, or Filled Brussels 104
Venetian Lace, 104
Sorrento Lace, 104
English Lace, 104
Open English, 105
English Rosettes, 105
Henriquez Lace, 106
Cordovan Lace, 106
Valenciennes, 106
Foundation, 106
Antwerp, 107
Open Antwerp, 10T
Spotted Lace, 10S
Venetian Spotted, 10S
Escalier-stitch, 108
Cadiz Lace, 108
Fan Lace, '. 109
Barcelona, 109
Florentine, 109
Roman, 109
Mechlin AVheels, 110
Bees' Wing Lace, 110
BARS, Ill
Venetian, Ill
Edged Venetian 112
Dotted Venetian, 112
Sorrento Bars, 112
Sorrento-edged Bars, 112
Point-d'Alencon, 112
English Bars, 112
Raleigh Bars, 112
Point Edge 113
Grounding Bars, 114
Veining, 114
POTICHOMANIE, 115
SWISS LACE, 118
TAMBOUR-WORK, 119
TAMBOURED NETTING, 120
TAPISSERIE D'AUXERRE, 121
TAPE-WORK, 121
TATTING-, 122
The Stitch, .... 122
The Picot, 123
To Join, 124
Bars, 124
To Join on a new Thread, 125
The Materials, 125
TRANSFERRING, 125
VELVET BALLS, 126
WIRE-WORK, 127
Baskets and Vases, 127
Wire Canvas-work, 129
PRINTERS' MARKS, 129
SHADING AND COLORING, 131
LEAVES, 131
Bright Green Rose Leaf, 1S1
Dark Rose Leaf, 188
VI
CONTEXTS.
PAGE
Faded Leaf, 132
White Roses and other Flowers,. . . 132
Damask Roses, 132
Pink Flowers, 132
Yellow Flowers, 132
Light Blue 132
Dark Blue, 132
Purple, 132
Combinations of Colors, 132
KNITTED EDGINGS, 135
, Shawl Border, 185
Diamond Spotted Edging, 135
Three-hole Point, 136
Ox-hole Point, 136
Five-hole 136
Deep Vandyke, 1;j6
Scalloped, 136
Deep Lace, 137
PATTERNS, 13T
Knitted Driving Glove, 187
Lady's Winter Over-glove, 139
Knitted Rigolette, 139
Knitted Basque for a Child, .. ..141 Netted Mittens in Maltese Lace, .. 143
Imitation Honiton Lace, 144
Guipure Embroidery, 146
Coral Pattern Guipure Sleeve, 146
Patent Applique Slippers, 147
Doyley for Fruit Dish, 147
Striped Crochet Tidy, 147
Gloucester Point Collar, 1 IS
Embroidered Cufl M9
Medallion Sleeve, 149
Appllque'Smoklng Cap,. 149
Lamp Mat (Berlin-Work), 150
Braided Dinner Mat, 160
Guipure Collar, . 160
Haiti I i eve, LSI
Ti.iy for a Prle dlen, 151
Modern Polnl Collar, 152
i ml Ottoman 152
Crochel and Bead Border, 158
168
I [64
i liotnol i.m
Dl I y ml;. !.■• Nil
ling im
M< 'i'i! •■'! iii ai lion, . . 166
PAGE
Braided Slipper, 155
Applique Toilet Cushion, 155
Handsome Mat in 0. P. Bead-wurk, 156
Infant's Embroidered Shoe, 156
Suspension Flower Vase, 157
Tase Mat, 157
Patchwork Design, 157
Design for Suspenders, ... 15S
BookMark, 159
Collar and Cuff a la Poste, 159
Piccolomini Collar and Cuff, 159
Spanish Point Sleeve, 160
Border for a Table Cover, 160
Trimming in Tatting, 101
MATERIALS, 163
APPLIQUE CLOTH, 163
BEADS, 163
Bohemian or O. P., 163
Pound, 164
Seed, 165
Fancy, 165
Bugles, 165
Metal Beads, 166
Berlin Patterns, 166
O. P.Berlin Patterns, 167
BRAIDS, 167
Silk Braids, 167
Plain Russian, 167
Alliance, 167
Star, 16S
Eugenie, 168
Sardinian, 168
Albeit, 108
Broad Silk Braid, 168
Soutache, 168
Gold and Silver Braid, 16S
Cotton Braids— French White Cot- ton, 168
Russian Cotton, 168
u aved Braid, 169
Eugenia Tape, 169
Linen Braids, 169
Ootton alliance 169
Wo led 168
Mohair, 169
mil RDON... 1C9
CONTENTS.
VU
PAGE
BULLION, 169
CANNETILLE, 169
CANVAS, 170
French Cotton, 1T0
English, 170
German, 170
Silk, 171
Imitation Silk, 171
Brace, 171
Railway, 171
Mosaic, 171
Java, 171
To Select Canvas, 171
CHENILLE, 172
CLOTH-WORK, 172
CORDS, 173
Crochet, 178
Fancy Silk, 173
Crystal Twine, 173
Crochet Twine, 173
COTTONS, 173
EVANS' Boar's Head Crochet, Sewing,
and Machine, 175
Royal Glac6, 175
Royal Embroidery, 175
French Embroidery, 175
Tatting Cotton, 176
Knitting 176
Moravian, 176
Mechlenburg Thread, 176
Beading Cotton, 176
Colored Embroidery, 176
Table of Sizes of Cotton, 176
Agent for the Cottons, 177
FRINGES, 177
O. P. Bead, 177
Pound Bead Fringe, 177
Silk Fringe, 178
Orne Fringe, 179
GIMP, 179
GAUGE, 179
KNITTING IMPLEMENTS, 180
LITEAUX, 180
MUSLINS, ISO
NEEDLES, ISO
Crochet Hooks, 181
Knitting Needles, 181
Elliptics, 181
Rug Needles, 182
Tapestry, 1S2
Sewing, 182
Netting, 1S2
Beading, 1S2
NET, 182
Bobbinet, 1S2
Filet, 1S3
Guipure, 183
ORNE BALLS, 1S3
ORNE FRINGE BALLS, 1S3
PASSEMENTERIE, 183
PENWIPER ORNAMENTS, 1S4
PERFORATED CARDBOARD, 1S4
PIQUE, 184
POINT PAPER, 1S4
POUNCED PATTERNS, 1S5
RINGS, 1S5
SILKS, 1S6
Crochet, 1S6
Netting, 186
Soie d' Avignon, 1S6
Dacca, 1SG
Floss, 1S6
Filoselle, 1S6
China, 1S7
Sewing, 1ST
Skeleton Frames 1S7
Tabouret, 1S7
Toile Ciree, 1S7
Tracing Paper, 1S7
Vlll
CONTENTS.
PAGE
TRIMMINGS, 189
Sofa Cushions, 183
Smoking Caps, 188
Banner Screens, 188
Hand Screens, 188
Bags, 18S
Eugenie Bags, 1SS
Marquise Bags, 1S8
Purses, 188
Tobacco Bags, 1S9
Whatnots, 1S9
Knitted Scarfs, etc., 1S9
WOOLS, 189
Berlin or Zephyr, 1S9
Shaded, 1S9
Ombr6, 190
Pearl, 190
Crystal, 190
Fleecy, 190
Angola, 190
Lamb's, 190
Worsted, 190
Patent Orn6 Balls, 190
Orne Fringe Balls, 191
PAOB
Shetland Wool, 191
Pyrenees, 191
Crewels, 191
MAKING UP FANCY-WORK, 192
Note-cases, etc., 192
Shaving Books, 193
Sofa Cushions, 193
Carriage Bags, 193
Tobacco Bags, 194
HaDd or Eugenie Bags, 194
Fancy Bags, 195
Banner Screens, 195
Smoking Caps, 195
Mats, 195
Hand Screens, 196
Whatnots, 196
To Quill Ribbon, 19T
LIST OF PRESENTS,.... 193
OBSOLETE ARTICLES, 200
GLOSSARY, 201
POSTSCRIPT, 2U6
INTRODUCTION.
Foe years I had cherished, almost hopelessly, two earnest wishes : one was to be enabled to visit, and become acquainted with America ! — the Paradise of women, respected, — as the theatre of the noblest and purest struggle for freedom ever exhibited in the history of tbe world ! loved, — as having been the home of my fathers, ere, in remem- bering they were royalists, tbey forgot that they were Americans ! — endeared still more as the spot where dwelt the dearest and best of all my dear and good friends. I had listened to ber glowing descrip- tions of the beauties of the Hudson, and the glories of Niagara — of the blue and lofty skies, and bright waters of the Bay of New York — until I turned, with unspeakable weariness, from the contempla- tion of the wilderness of brick and mortar which formed the world immediately surrounding me — the world of London ! So entirely did I feel myself a fixed inhabitant of that overgrown ant-hill, that even my ardent wishes to see America hardly jus- tified the promise to my friend that some day I would certainly join her in her Western home. Nothing seemed more improbable ; but there is a popular French proverb, in the truth of which I have unbounded confidence: it asserts that uCe que femme veut. Dicu veut," or, liberally translated, "What woman wishes, God wills:" and I, for one, believe we rarely form any earnest and rational desire without having, at some time or other, the opportunity of gratifying it ; especially if we happen to be largely endowed with that quality which our friends call Determination, and our enemies stigmatize as Obstinacy.
I* ix
X INTRODUCTION.
At all events, I now date from New York, toping (what were life without hope?) to become acquainted, throughout its length and breadth, with a land that charms me more every day that I live in it. This wish, it seems, is in course of realization ! Strange, that at the same time, I should be enabled to fulfill another very earnest, though different desire : to write and publish the work of which this is the introduction.
Tear after year, during my engagements on the "Work-table of the leading periodicals of the London press, I became more and more painfully aware of the necessity that existed for a thorough guide to every branch of Fancy-work. Books there were, innumerable, on the subject; I myself had contributed to their number in no slight degree — books on crochet, on netting, on knitting, on oue or several sorts of fashionable work — but they were not sufficiently comprehen- sive : they treated only of the fashions of the day, ignoring all that happened to be out of vogue. They were, therefore, one and all, more ephemeral productions than the book I contemplated ought to be. True ! there is nothing new under the sun ; that which appears as a novelty in the present day, is always a revival of some fashion of former times ; hence the need that a complete guide to Fancy- work should not confine itself merely to that in vogue at the time. It should comprehend explanations of all the kinds that ever havo been fashionable, since it is quite probable that they may again be so in the course of a very few years.
Nor is instruction in the more producing of certain stitches all thai snob, a book Bhould contain. It is quito as requisite to know liow to Beleot materials — to ohoose the good and reject the inferior; nor is it one person in a hundred who is even acquainted by name with the different sorts of materials. A catalogue raisormi, an
explanatory li-l of tin- articles used in Fancy-work, always held in
nd a prominenl plaoe as a pari of the contemplated — no, only </. iri l book.
INTRODUCTION. Xj
The large trade done in making up finished work for ladies %%],.,. probably, if they knew what was to be done, would do it infinitely better and more tastefully themselves than it ever is at stores, proved that this sort of instruction also was indispensable ; and to many who live at a distance from large cities, a mere list of the sorts nf work in existence has a value of itself.
Finally, a glossary of the technical terms used for the work-table by the French and Germans appeared desirable, because they were not to be found in any dictionary ; and this deficiency proved, in many cases, a great hindrance to those who were excellent French and German scholars, but who, from want of intercourse with the natives, had never had an opportunity of learning these technical phrases.
Such have been the principal wants in the Fancy-work way, developed to me during the years I have devoted to the subject ; and from the correspondence I maintained with many hundreds of ladies, not only in every part of the United Kingdom, but in Ame- rica, Australia, India, the Mauritius, and even France and Spain.
There was another evil brought about by this absence of an acknowledged guide — the vast space taken up in the magazines every month, by reiterations of instructions (always necessary for new subscribers), and references to former volumes, which perhaps the reader did not possess. The Lexicon should serve to explain all difficulties, not in present designs only, but also in past and future ones.
I have said I looked almost hopelessly on this evident necessity, seeing hardly a possibility of carrying out my wish to remedy it. My daily avocations pressed too heavily on me, and, besides, it needed a certain elasticity of spirits, a certain freshness of intellect, to accomplish what I saw ought to be done; and my heart and brain were alike too wearied and worn by the eternal turmoil of London life. Tbe constant interruptions of ladies for consultations.
XU IXTHOPrOTTON'.
and printers' boys for copy — to say nothing of other hindrances of a more entirely personal natnre — forbade rny attempting such an undertaking with any chance of success. Once, indeed, a strong conviction of its necessity induced me to attempt it ; nor should I have abandoned the labor, but for a disgraceful trick on the part of the publisher, which so disgusted me that I declined further interest in the matter ; and the work now stands offering various pieces of information, more curious than valuable to the purchaser — such as that Brussels net is a metal, with other choice matter, "worth a sponge."
So I wished, without hoping, to give to my many friends such a Lexicon of Needle-work as should be worthy both of them and of myself; until, in the realization of my first desire, I found also the means of fulfilling my second.
Sailing up the glorious Hudson, I began to feel conscious of re- newed energy and ambition — wandering, day by day, on the High- lands, inhaling the aroma of the fresh springing pines, gathering bouquets of the beautiful wild flowers of the country, and pausing every few steps to drink in the glory of its blue hills, or climbing some ascent to gain a more extended view of its charms — with nothing to distract my mind but the gambols of my canine com- panions (always, to my mind, the pleasantest in such ran hies), my thoughts turned to the accomplishment of my long-cherished wish; and I felt at once the power and the will to carry it out. May I hope that it may be as QSeful as 1 intend it to be. I niav not have done all that could be done; bul at Least I have not, knowingly, left one thing undone, greal <>r Bmall, which oonld contribute to make it universally acceptable. All thai my long study and praotioe of the art it i ■If. and my intimate acquaintance with the requirements of v. bo are nol bo familiar with it, could suggest, have been bronghl to bear In its design and execution.
I am peouliarlj fortunate, too, in the period of its production
INTRODUCTION. X1U
The era of the Atlantic Telegraph, is also that of the Sewing- Machine ! the time when women, disenthralled in a great measure from the drudgery and weariness of plain needle-work by its exten- sive introduction, will have more time to acquire, among other charm- ing accomplishments, that of Fancy Needle- work, which is not only a pleasant and ever-varying resource against ennui, but a direct agent in the cultivation of home pleasures and home affections. Does not a gift become trebly valuable when the time and thoughts, as well as the mere money of the giver, are represented in it ? Is any rank too humble or too exalted for the cultivation of this pleasure? The daughters of Queen Victoria, one and all, make birthday and Christ- mas family gifts of the work of their own hands ; and at the death of the late Czar of Eussia, a pair of slippers, worked in a single pattern by his empress, and given to him on their marriage, thirty years before, were found in his private chamber. True, the wealthy only, until recently, have had time to bestow, to any great extent, on Fancy-work ; but the day does not seem to me veiy distant when a "Wheeler & Wilson sewing-machine will be found in every household, as a matter of course, just as much as stoves or chairs.
From the manner in which the manufacture of this particular com- pany was first brought before me, I was convinced that it held a pre- eminent place among those brought before the public. Inspecting some machine-stitched goods, I questioned whether they might not, like some shirt-bosoms I had recently seen, cut along each line of sewing on the first or second washing.
" Oh, no, madam ! These are stitched by a Wheeler & Wilson machine," answered the store-keeper, as if that name was au un- questionable guarantee of excellence.
" But will they iron well? Some of the machine stitches catch the iron, and make a ridge."
"Ah, that's not the Wheeler & Wilson's lock-stitch. See, madam, it is precise!} the same on both sides 1"
XIV ESTTKODTJCTION.
Curious to kx:w whether this gentleman's opinion was shared by his fraternity in general, I continued my researches ; and finding popular opinion confirmed by the verdict of the scientific, ended bv a very strong conviction of the superior character of the Wheeler & Wilson sewing-machine. And now, I earnestly advise all my friends to possess one ; if only to secure abundance of time for all the ornamental work that I hope to aid them in acquiring.
I have alluded to my singular good fortune, in visiting America at a time when I may reasonably hope to find a more than usually free field for my exertions.
Truly, the epoch in which we live is full of marvels ! the mighty iron band which now unites America and her Fatherland will prove not less a moral than a tangible link between the peoples ; well may the successful laying of the Atlantic Telegraph be hailed with joy by ■ all who see in it a pledge of dearer and closer union between two such nations as England and America.
But even this greatest achievement of the age does not, to my mind, carry with it so much assurance of social improvement as the universality of the SEWING MACHINE, which (affecting the comfort of women in every class of society, altering beyond recognition the situation of the actual toiler, ameliorating that of the less pitied, but not less pitiable household drudge, the wife, whose limited income compels her to perform all her needlework herself, and who hitherto has been occupied incessantly in the dreary mechanical toil, to the total neglect of all those accomplishments and charms by which, it may be, Bhe won the heart of her husband — by the exorcise of which she might concentrate the affections of her children) bears with it H promise of social amenities, of domestic joys, tho full results of wliiih pen of woman, or even tongue of angel could hardly ■ the.
of tin- reverse of th,' picture -of the home where the wuo is morel] a Bort of upper servant, with the privilege of sitting in the
INTRODUCTION. XV
drawing-room, when she can find time to do so, we all know the effects. "Well may we hail with joy that greater Liberator of our sex, the Family Sewing-Machine.
I have dwelt particularly in the Lexicon on the qualities of the materials to be employed, from a well-founded conviction that, in that respect, justice is not done to the women of America. To work with bad materials is surely as great a trial of patieuce as can be devised: and how such miserable cottons, needles, hooks, etc., as are sold here, ever find purchasers, puzzles me. "Were ladies to throw down their work in utter despair, I should not feel at all astonished. Often I have heard them blame their own stupidity, when, .instead of stupidity, they were exhibiting real skill, and most praiseworthy perseverance.
Much of the bad selection of materials has arisen, no doubt, from ignorance on the part of the store-keepers. To them, crochet cotton was crochet cotton — all equally good, whether made of the choicest raw material, or of the commonest trash — whether the machinery employed was perfect and thoroughly adapted, or of the most inferior kind : that the cotton turned perfectly yellow on the first washing was no business of theirs. They never trouble themselves to consider whether any were procurable that did not, and could see no differ- ence between the beautiful Boar's Head Cotton of Messrs. Walter Evans & Co., and the miserable yarn sold here commonly for Tidies. So with crochet hooks : provided there was a hook at the end, it answered the purpose ; and no matter whether it tore the fingers and cut the cotton, or not. There is no excuse now for such ignorance.
However, if ladies determine to have good articles, no doubt they will succeed ; and all parties will shortly find the benefit of more extended knowledge. I shall be at least able to give any counsel which may be required or desired on the subject of Fancy-work ; and trust that my name, and the years I have devoted to these sub- jects, will afford some guarantee for the correctness of my judg-
XVI INTRODUCTION.
ment, and the honesty of my opinions : of the clearness of my instructions every reader must judge for herself.
In conclusion, I will only add, that this Lexicon is, as its name implies, a book of reference, neither intended nor calculated to supersede new patterns and designs, hut only to elucidate them, and make them more easy to copy. While I hope it will have its place on every work-table, I do not wish it to exclude the magazines in which Fancy-work forms a feature. On the contrary, I trust that feature will become daily more attractive and more deserving of attention. Hitherto, my designs have been copied, without acknowledgment, by many magazines, with either no alteration, or such as deteriorates from their value ; such as omitting the name of the cotton-maker from a recipe, which may result in the complete spoiling of the work. Mr. Leslie, only, at once availed himself of my presence in New York, to engage me to superintend the work-table of his magazine ; and the result will be that from the use of this book as a text-book, the work-table of Frank Leslie's Magazine will be copious, clear, and concise, benefiting the reader by its simplicity, and also by its abridg- ing the space for each description, giving scope for a greater variety of interesting matter.
It is but justice to myself, in this, my first work written on Ame- rican soil, to say that there is not one magazine, in which Fancy- work is a feature, that does not, with or without acknowledgment, avail itself of my labors, nor an editor to whom my name is not familiar as a " household word," although hitherto it has been, not very justly, withheld from American ladies, lor whom the
Lady's Manual of Fancy-\\oi:k
peoially written, and to whom it is respectfully and affection
ately dedicated l>y
Tiik Author.
• ■■, o(-tobcr, 1858.
TEE
LADY'S MANUAL
OF
FANCY NEEDLEWORK.
Applique ok Application-work. — This term is applied to all work in which the design is cut or stamped out in one material, and fastened in any way on another, which forms the ground ; the two heing united at the edges hy braid, cord, or any other material. Of course, when mus- lin or cambric is worked over net, the term is suitable; but, as that is usually known as Swiss Lace, the name is especially appropriate to works in cloth, velvet, satin, lea- ther, and such materials. Smoking caps, cigar cases, and many other articles of Parisian manufacture, have the design stamped out in velvet, and fastened on a cloth ground. As stamping tools and machinery are used for this purpose, and the workers bring skill, taste, and inces- sant practice to then aid, they do it infinitely better than any private person could — and cheaper also. It is greatly pre- ferable, therefore, to purchase such articles prepared ready for working from a respectable house, than to attempt to do it for yourself. Articles in cloth and velvet are generally
18 PATENT APPLIQUE — BEAD-W t>EK.
braided in gold braid or cord ; or, at least, that material is intermixed with others. Sometimes lines of beads are sewed down as a braid. (See Bead braiding.) Almost always such work is not only prepared, but commenced, and the necessary materials for completion put up with it. This is a great convenience to the worker, provided they are good in quality, and appear sufficient in quantity. But good articles being so liable to tarnish at sea, it is always necessary to ascertain that all is right before you make the purchase. Of course, applique work is always expen- sive,
Patent Applique is an invention of modern times, used for sofa cushions, slippers, bags, mats, and many other arti- cles. Instead of one material being cut out and fastened on another, the design is stamped in one color on a cloth of another. The outlines are then braided. The effect of this work is very good; many of the designs exceed- ingly beautiful, and the braid throwing up the inner color quite as if it were laid on. Scarlet, crimson, a very brilliant cherry (or cerise), blue, and green, on a white or black ground, are the most usual colors. For the braiding, nothing looks so Avell as some shades of maize and yellow Russia silk braid ; except, perhaps, the Alliance, which, as it may be selected to harmonize with both the colors of the cloth, looks very handsome. For instance, suppose the cushion to be scarlet and black, choose a blue and maize alliance braid. In laying it on, let the blue edge come against the scarlet, and the maize on the black. (See Braid- ing instructions.)
For articles which, being very small, have delicate, yet complicated patterns, gold cord, laio on, has a rich effect. Applique penwipers look richer and more brilliant in this style than in any other. The cord must beat least No. a.
BEAD-WORK.
19
Bead-work. — Although this is, in fact, but a hrnnch of Berlin-work, yet the importance it has of late attained requires that I should treat it separately. It is done on canvas, with pound beads, worked in tent stitch. The can- vas used is either silk or imitation silk, if the design is not to be grounded. Ordinary penelope canvas will do when intended for grounding. Be careful that the beads are suited to the canvas. Each one should just cover its proper space and no more ; and it is better that they be a little too small, than too large for the canvas ; so that if it happens that some one shade in a set is larger than the rest, the can- vas should be tried with them.
A vast variety of articles are now ornamented entirely in bead-work. The tops of small occasional tables for drawing- rooms and boudoirs, sofa cushions, mats, baskets, slippers, screens, etc. No. 1 beads — the largest size — are used for tables ; No. 2 for cushions, baskets, and mats ; No. 3 for hand screens.
ummmmm
HgiggS213liK2iI
lagfliHlBKHB
RIKHBIBBIII rcBHBUHSfll
The stitch used is always tent, from one hole to the next, or the next but one, diagonally upwards. I use Evans' Mecklenburg threads to sew them on, on account of the strength required to keep them in place. Sometimes silka of the colors of the beads are used; but I prefer thread. The chief difficulty of bead-work consists in the arrangement of colors, the supply being somewhat uncertain. What 1 should call a good set, would consist of: —
20 POtTNT) BEADS.
4 whites — clear, opal, alabaster, and chalk ; 3 green greys ; 3 blue greys ; 3 lavenders ; 4 turquoise blues ; 3 imperial ditto (or purple) ; 3 violets ; 4 yellows ; 4 ambers ; 4 bronze ; 3 rubies ; 1 garnet ; 2 corals ; 3 pinks ; 3 fawns or drabs — black — and at least 10 greens, in shades of olive, yel- low, and emerald.
The mode of arranging them is to vary, and to harmonize them as much as possible. White flowers, scrolls, and even leaves, are very common. Now no two near each other ought to have the same tints. If one has the darker hues of green grey, let another be shaded in fawns — a third in laven- ders. Black may be taken as the deepest shade of dark green leaves, crimson and blue flowers, and even of bronze leaves. White, 2 pinks, and coral, will shade a pink rose. Black, garnet, 2 rubies, and coral, a dark one.. A light im- perial blue may often be taken as the darkest shade of a blue flower. When the ground is turquoise blue, no green leaves ought to be introduced. They should be entirely in bronze of various shades. The more bronzes and greens you have the better. Suppose you have six bronzes, with the aid of black and gold you will get eight shades. The manner of treating these would be: for a light leaf, take gold, 1st bronze, 3d and 5th ditto ; for a dark, black, darkest, and two lighter shades, wholly excluding the very lightest. A medium may be obtained by rejecting both lightest and darkest. These hints may serve as a guide for other colors. Observe, that shades should always be quite distinct, when u ed in the same leaf or flower, much more so than in wools. ><\- they will look huddled.
^lflO, you musl not do each shade separately, but work
One lit I' your pattern throughout; then the next, and
so on.
POI m. BEADS are often employed with wools and silks.
On.' very pretty use is to make them into the form of a
O. P. BEADS. 21
frame of scrolls and arabesques, for a landscape, or other sub- ject. They are also greatly employed in set patterns ; or for the fruit or flowers in a design where either is mingled with leaves.
The most convenient way of keeping them for present nse, is to have a few of each that you are using in a flat box lid, which can rest on your frame, and be handy for the insertion of the needle. But the general stock ought to be kept tied up in bags, each shade by itself, and all the shades of one color in one larger bag of calico of something of the color of the bead. This way insures their safety: and in bead-work especially, the value is not to be estimated by the actual cost so much as by the great inconvenience that may result from the want of them.
Pieces worked entirely in beads, when intended for any article likely to meet with hard wear, should, when finished, be fastened, face downwards, on a flat surface, and lightly brushed across the back with a thin solution of gum. This secures the threads firmly.
O. P. beads are, also, sometimes worked on canvas, but they are not by any means adapted to this use. When woven, however, they may be made into many handsome articles. The manner of weaving is this : Select your pat- tern, which we will suppose to be a mat, with the requisite colors, Evans' Beading Cotton, No. 000, and two coarse needles. Take a long needleful of thread, and thread each end. Find out the centre of the mat, and begin by thread- ing the two middle top beads, one on each needle. On the next line there will be one square under the two. Choose a bead of that color, and thread both needles through it, in the same direction. In the next row, there will be a bead on each needle, then both through one. Continue so, down the centre of the mat. When you get to the bottom, cross the threads, and you may even tie them if you please. Then
22 POTTED BEADS O. P. BEAD VASES.
work one half the mat, slipping the needle through one bead where there were two, and adding one parallel with the single one. When you have to dimmish, you slip the needle up one or more. To join on the thread, make a weaver's knot in such a place that it will be concealed in some bead. Fringes or other borders are always added to bead mats. Of course, scollops, Vandykes, and many other designs can be made, if you have a pattern before you, or a small piece done, the mode of weaving being always the same.
PoinsTD Beads are sometimes woven in this way, to form bracelets, napkin-rings, and small mats. The only care required is that the beads employed be all of the same size. Any that greatly vary from the average should be rejected. This applies also to O. P. beads.
O. P. Bead Vases, for suspending in the windows to hold flowers or plants, are very easily made. A wire frame is procured at a wire-worker's. They vary hi shape, usually consisting of, at least, three rings, the smallest of which always is at the bottom. Clear white beads, with one bright color, such as a pretty green, form the prettiest. The wires are covered by having narrow white sarcenet ribbon wound closely round them. Then the beads are threaded in any fancy patterns, first to fill in, tolerably closely, the small round, and then to connect it with the others, at equal dis- tances. The wires are about the width of one bead, and they are covered with them, the thread passing round and round the wire, leaving a bead on the outer side, at every turn. Often a fringe, or vandyke trimming goes round the upper wire ; but the vase can lie made very pretty without, and these solid trimmings add undesirably to the weight. At llic bottom, and at every point, or the centre of every BOOllop, is Huston ed a handsome tassel of the same heads, With the addition of any silvered or steel you may have. Make them of any pretty pattern, only take care they are
BEAD COLLAR!*. 23
strongly finished. The suspenders, of which there are gene- rally six, or at least four, all uniting at the top, may he marie of any pattern you fancy. ^They always consist of double strings of beads. One pretty way is to thread two white on each end of a thread, and then run the needles, in of/posite directions, through a colored head. Or you may put three white on one needle, and four colored on the other. Then run both in the same direction, through one of, perhaps, a different color. Repeat so, having the four first on one side, and then on the opposite. By a little thought, a great variety of patterns may he made.
Sets of dinner mats, woven in O. P. heads, and trimmed with the same, look very handsome ; hut they require cloth ones to he laid under them, beneath the tablecloth, to pre- serve the wood from scratches.
Bead Collars. — These are made in beads only, or in beads and bugles. If the latter be employed, they must be about one-third of an inch long, and large enough to pass a needle with strong thread at least twice through. Bead collars are made either in black or white. Alabaster beads are the shade of white which most nearly resembles the color of bugles. You may either form stars, diamonds and other devices, in a mixture of beads and bugles, and tack them at intervals on a paper collar of the proper form and size, filling up the spaces and forming it into a collar by guipuring, if I may use the term, with other beads and bugles, and adding an edge of the same ; or you may work on a piece of ribbon long enough to go round the neck, and forming a foundation. In this case you make it like a fringe, but rather full, so as to set well round the shoulders.
It is not needful to give patterns of this kind of work ; but I will observe that the edges of bugles being sharp and very liable to cut the thread, it is always well to shield it by putting on a bead before any part where two or three
24 BERLIN-WORK.
threads come together. The thread, also, ought always to be waxed. For black work, black crochet silk is better than thread, as less liable to cut.
BERLIN-WORK.
Berlin-work, or canvas-work, as it is sometimes called, derives its name from the fact that the best patterns used for it come from Berlin, and are commonly known as Berlin patterns.
Wools, silks, chenille and beads are used for this work, the foimdation being canvas ; or sometimes perforated card- board. Of late years, beads have been employed so much, both in union with the other materials and alone, that bead-work has become an art by itself; and, as such, I shall treat it.
Select your canvas, pattern and all materials before begin- ning, especially the grounding wool, of which it is always better to have too much than too little, it being often impos- sible precisely to match a shade. The frame should be of the kind known as a standing frame, with uprights, and a bar on which to rest the feet. The wood well-seasoned. Sometimes there are little trays attached to the uprights to hold the wools; but this is unnecessary, a small portable table being more convenient. A strong webbing is always attached to the upper ami lower bars. The side-bars ought to screw into the others. The canvas being evenly hemmed at cadi end, is sewed to the webhed bars, and then strained by cording to those at the side. The selvedges are always at th.- sides. When the canvas is longer than the frame will hold when stretched out, the upper part must be wound round the bar, so that you begin at the bottom, and work
;■■.■■.■ n :,-';.;'.; :■;, d ■/■■ in np i-
:
,:'■.. I ■ ■ ;i I i ■ . . " ' , .:
■
h ;:, ■"■■;: d-dd-dd' ■-■■-«■-■ :;, «■«;
■ :. •. ■ ;.? ■-■■■---■: -BBB-n ■. ', ■,
bgd- annoaBBaQ-aoa ■ *•.
■■-■■BIIIGDOQO-I
|pnu
■=l=i=i-ai
TENT-STITCH — CROSS-STITCH.
25
all the lower end first ; except when the pattern forms a cen- tre when you begin on the centre stitch.
To frame Caxvas with Cloth, or other materials, when worked together to save grounding; cut your cloth half an inch smaller every way ; turn in the edges and tack to the canvas all round; and as this double thickness at the edges would leave the middle loose and slack when rolled, put a little fine wadding round the bars, at those parts where the edges do not come to make the thickness equal through- out. Cloth should always be sponged, to take off the gloss, before being put into a frame. It stretches so much more than canvas, that it will be quite as large by the time both are framed, although so much smaller at first.
The needles used for canvas-work are termed rug- needles.
There are five stitches used in Berlin-work.
Tent^stitch (Fig. 1), in which the needle is brought up in one hole, and carried down one line higher and more towards th3 right.
■HEBflJlZIM
HHI3BIIKHB
FlO. 1.
Fio. 2.
Cross-stitch (Fig. 2), where the thread crosses one hole, being carried down on the second line above, and to the right ; the stitch is finished by crossing from right to left, in the same manner ; whence its name. In working cross- stitch, when practicable, do half of all the stitches in a line, in succession ; then cross them, working backwards.
26
TAPESTRY — GERMAN-STITCH — IRISH-STITCH.
mmmmm wmwiwm mmiwrnm
Tapestry, or Gobelin-stitch, is two threads high, and one thread wide, being taken like the first half of cross- stitch, only one thread nearer. Two stitches side by side are thus equal to one cross-stitch; but they do not form a true square, since it protrudes a thread on one side. It is appropriate only for fine work ; for which it is better than the two former stitches.
German-stitch, is used principally for grounding.- It is very quickly done. Take one tent-stitch, then half a cross- stitch, then a tent-stitch, then a half- cross-stitch ; and so on, working upwards and diagonally. (Seo engraving.) In the following rows, a tent-stitch comes on the same diagonal line with the and so on.
Irish-stitch is somewhat similar, but
Bin perpendicular lines. Pieces worked in cross or tent-stitch, are frequently grounded in one of these, on accoimt of the rapidity of execution. There may be made various modifications of these stitches, which will suggest themselves to any worker. I have also seen set patterns done in a real cross-stitch ; that is, over two horizontal threads, without crossing those in the opposite direction; and then across two perpcn- dioular. It, is rarely, however, used. Never for Berlin patterns.
In all these stitches, it is essential that the wool should he drawn <>ut regularly and evenly ; never so tightly that the canvas becomes visible. Defects in avooI should also be cut
half-cross
_JBSnHg9HHH
iiniEgiiimiBi
IIBBHIBIIBII1B1I1 BBBBBBPBBfliBBBH
wmmwmm umimmmm
RAISED BERLIN-WORK.
27
out ; and the needleful not always the same length, which gives a striped appearance.
No. 20 French cotton canvas is the "best size for four thread Berlin. Nos. 22 and 24 will require the hand to be drawn somewhat tighter. 14 and 16 do with eight thread Berlin ; and No. 18 may also be used, by a careful worker. The coarser sizes need that the stitch should he taken twice in at least one direction. No. 8 canvas will want it in both. Observe that four thread Berlin, used double, fills up con- siderably better than eight thread.
Raised Berlin-work. — In this, one or more prominent objects, in a design, are raised ; the remainder being done in cross-stitch. Birds, animals, and flowers, look handsome when so worked. Do all the plain parts first. Then thread nee- dles with the various shades you want, and obtain fine flat netting meshes. Be- gin from the left-hand corner, lowest part, with the proper shade, the wool being doubled. Bring the needle up beticee?t the two upright threads of the first cross-stitch. Take a tapestry-stitch to the left, bringing the needle out in the same hole. Put the
B ,.-.,-..._, wool round the mesh, and take one to
the right, the needle coming out again the same x . Thread round the mesh, and take a tapestry-stitch from the hole of the last down to the right, the wool to the right of it. Thread round. One to the right x . A figure Y is thus constantly formed on the wrong side. When done, wash at the back with gum ; cut the loops, and shear them into shape from the pattern, giving proper thickness and form to each part. Sometimes this ia done across one thread only.
28 ARMORIAL BEARINGS.
Figure and Landscape Patterns. — There is frequently great difficulty found in procuring shades of wool proper for the faces and limbs in figure pieces. They must always he most carefully chosen ; and all these parts should be worked hi tent-stitch, while the drapery and other accessories are in cross-stitch. This enables you to introduce more shades into the flesh-tints ; four stitches in tent being equal to one in cross-stitch. The hair may always be worked in floss-silk, and the tapestry-stitch, if you can manage the shading, has a more flowing effect than any other. For the same reason, water ought always to be worked in tapestry-stitch. For water, shades of floss silk, in bluish grey, from white to nearly black, ought to be used. About five shades, white included, will suffice. The different shades of drapery ought to be worked according to its fall : for instance, in an upright figure, where the drapery must inevitably be perpendicular, each shade ought to be worked so.
If a sky be introduced, it should be worked last, and always in tent-stitch. (As a rule, you begin all Berlin work from the bottom.) Many workers paint a sky on drawing- paper, and fasten it behind the work when framed. This may not be very artistic, but it is, at all events, better than coiner through the labor of working a sky, unless you have skill enough to do it well. Another use to which artistic talent may be applied, is to paint the faces and limbs. Good white silk is laid over the canvas, on those parts. The sur- rounding work boing done, with the stitches taken here and there through the silk, it is firmly fixed in its place. Last of :ill, the anus, legs, and lares are painted, with almost as rare- fnl a finish as ,-i miniature.
Ai:\ioi:i ai, Bi \i;im,s. These are frequently drawn and
painted on the oanvas, which is afterwards worked in appro- priate oolors, They ought, however, always to be properly emblazoned on poinl paper, The size required must be first
PATTERNS DRAWN ON CANVAS. 29
settled, and the canvas selected. Then the pattern drawn to it. If the design be very elaborate, it will be necessary to use very fine canvas. For a simpler pattern, a coarser material may be employed. Frequently, the ribbon or scroll is worked in cross or tent-stitch, and the molto embroidered on it in black silk : but if possible, every part should be done in the same stitch.
Beads are now frequently employed for heraldic devices, without the admixture of any other material. I had a sofa cushion worked with three plumes and motto (ich dien) of the Prince of Wales, which looked extremely beautiful.
J have mentioned the mode of framing cloth and canvas together, when the former is intended to form the ground of the design. Of course, its color must be carefully selected, with a view to the pattern. No one would choose green of any shade, as the ground of a flower piece, which must neces- sarily have green leaves coming in contact with it. Black so soon looks dusty and dingy, that it is equally undesirable. Shades of claret, maroon, or brown, are generally well adapted for work. The cloth, also, should be stout. It is a great mistake to have a slight one, which, though easier to work on, never looks so well. Procure a small quantity of wool, exactly the shade of the cloth, and with it fill in any small spaces which may occur in the design. This is better than removing the canvas. Some workers draw out the threads of canvas entirely, after the work is done. I prefer cutting them off quite close round the work, which gives it a raised, handsome appearance. But to do this, each thread, first of the warp, and then of the woof, must be slightly drawn up, and cut close, so that when the work is agi in drawn smooth, the ends are entirely concealed. The needles used are sharp pointed rug needles.
Patterns drawn on Canvas are more difficult to work than from painted designs but with a little care 1 bey may
BO SILK CANTAS-WORK — TAPESTRY DESIGN'S.
be managed. The darker tints should be worked first : and according to the drawing, without trying to count. But if it be anything in which the pattern is repeated, as in the four corners of a cushion, do one from the drawn pattern, and count the others from it.
Gem and Set Patterns require generally distinct clear colors ; and all gems should be done in silks, thrown up with shades of gold (by way of setting), and a rich claret, dark green or blue ground. Or black may be used for this pur- pose.
Silk Canvas-work requires care that no threads be carried across spaces which are not afterwards to be filled up.
Tapestry Designs are those in which a few bright colors only are used, without any attempt at shading. In these the design is often in gold color, on a claret, green, or blue ground. But a Hue of black ought always to surround the gold, or cut it, as it is technically called. Every part of these designs looks much better in silk than in wool ; and the gold, especially, ought always to be in silk. But if expense be a consideration, and the work be in a cross-stitch, the first half may be in wool, and the crossing of each stitch in silk. If the canvas be coarse, filoselle may be employed, instead of crochet silk. To give an idea of this kind of work, which is at once easy and effective, I will describe a footstool now lying before me. The centre is formed of four large golden oak-leaves, their points towards each other, cut with black, and grounded with deep blue in a small damask pattern. Scrolls of white, cut also with black, surround this middle, at a distance, the space between being filled with rich crimson. These scrolls form a circle, and the top being square, the corners have bunches of shamrocks on a ground of a lighter green. A line of golden spots, on a black ground, divide, this from the border, which consists of oak-
CROCHET AND KNITTED BERLIN-WORK. 31
leaves, in gold, cut with black, filled in below with claret, and above with the crimson used in the centre.
Golden Tapestry Patterns, are designed in three shades of gold, with a plain dark ground. Two of the gold shades are a sort of brownish yellow, the lightest always yellow silk. With claret, blue, or green ground, this style of work is very rich and chaste looking. Borders for table-covers are especially handsome in it ; and by care with the ground- ing it will correspond with any land of furniture.
Crochet and Knitted Berlin-work. — This term may probably be new to many of my readers. The work itself, however, is so tedious that it is hardly known except in Ger- many, where the ladies possess such rare patience and skill in fancy-work, and produce, among other articles, the bead purses, on every stitch of which is a seed-bead, forming part of an elaborate design, in which perhaps flowers and fruit, with their appropriate leaves, or rich arabesques, are seen, worked as accurately as if painted by an artist. To do these, or anything else in this genre, a proper Berlin pattern must be obtained, and on it the beads (always seed, or very small No. 3) are threaded in their regular order, as the shades appear on the pattern. Of course the slightest mistake shows itself on the subsequent working. If the entire work is in beads, you have merely to go on, dropping a bead at every stitch. If the material on which they are strung is to form the ground, you use the pattern again to guide you, reversing the direction, in working. I mean, if you begin to thread at one end of a pattern, you will begin to work from the other extremity.
If groups or bouquets are worked — as I have done for a mat — take care to repeat the bead threading as often as it will be needed in the round. Bracelets of this work are "beautiful. Choose a rich wreath of roses, of various sorts, an/t not more than 25 stitches wide ; and thread the beads
82 BOBBIN-WORK.
on fine black silk, which mil form the ground. Do them in in crochet; line with ribbon, and fasten with gold clasps. In working patterns, when you leave off at the end of every row, you may advantageously thread the beads for one row at a time. But this cannot be done in continuous rounds.
I will conclude the instructions for Berlin-work with directions for joining canvas, and getting up a finished piece of work.
To join Canvas. — If very fine, lay one piece exactly over the other ; tack them together, and work through both at once. This is unquestionably the best method for all fine work.
For coarser materials, either back-stitch the two edges, thread by thread, and then turn them down ; or sew them in an equally careful manner. After this, with white thread work a line across the join, in the same stitch as you are doing the work.
To IMPART TO A FINISHED PlECE OF WORK THE EvEN-
ness and Nice Appearance of Shop-work. — After taking it out of the frame, beat it on the wrong side, to get rid of dust, and of all loose particles of wool and silk ; and if it be drawn on one side, damp it slightly at the back, and stretch it again in the frame in the contrary direction. Then take it out. Procure a piece of the same canvas, which lay on a clean cloth on the table. Over this, face downwards, and exactly even with it, lay your work. Lay a damp cloth (not a wet one, mind !) over it, and iron it rapidly, and thoroughly. Take care, however, that the iron be not too hot for silk, as it would take the color.
BOBBIN-WOUK. -Tins is chk'ily used for children's dress, especially for Infants' robes ami hoods; on cambric, fanov muslins, and such other materials as are employed for the first robes, you use fine bobbin ; on cashmere, merino, ami
Other WOOllen goods, the coarse silk known as tailors' twisU
DOUBLE HERRINGBONE-STITCH.
*0
No. 1.
No. 1. Chain-stitch. — Make a knot in the silk, and draw the needle through to the right side. Insert the needle again in the same place, and draw it out one-eighth or tenth of an inch nearer to you, letting the silk form a loop under the needle. Draw it out, but not too tightly. Repeat con- tinuing, when you will make a stitch exactly like crochet or tambour chain.
H<j %
JN"o. 2. Herringbone is very generally known. It is sus- ceptible of a variety of modifications, for which it will be well to refer to the engravings, which will convey a more correct idea of their appearance than any written descrip- tion. It is impossible, I think, to be puzzled about the mode of working.
No. s.
T3"o. 3. Double Herringbone-stitch. — Merely a variety of the above.
No. 4
2*
84
LONG BRUSSELS-STITCH— BRAIDING.
No. 4. — In this the stitches are taken up and down, instead of, as is generally the case, along the edge of the work. It looks very pretty in fine bobhin.
No. 5.
No. 5 is Close Herringbone. — It is worked exactly like No. 2, except that each stitch is taken from the last. It requires to be worked very evenly and carefully.
No. 6.
No. 6 is another variety of Herringbone-stttch, more suited for the trimming of pelisses, aprons, etc., for elder children, than for infants' robes. It is quickly done, and looks very effective.
Long Brussels-stitch is often used, with advantage, in this kind of work ; and two or three rows of it may be employed to make a neat and pretty edge to many fancy articles. In using any coarse material, such as tailors' twist, or bobbin, allowance must be made for the difference, in fixing the size of the stitches. It would be absurd to make them as close in No. 000 Beading Cotton as in 150 Boars' Head.
Braiding. -This is usually considered the simplest of all the soris of fancy-work. In none, however, are skill and
knowledge <• apparent. It consists in running braid,
whether of cotton, worsted, or silk, on any material, in a
RAISED KKATDING CORD BRAIDING. 35
certain pattern, already marked on it. The mode of mark- ing is described elsewhere. (See Pounced pattern?) Narrow braids are those commonly used ; and they may be sewed on, if of silk, with threads drawn out of one length, which is first cut off, and the strands of which will supply material for sewing on the rest of the skein. This, of course, insures the silk matching the braid. But I prefer using China silk, if procurable to match, as it is somewhat stronger. Tho stitches should be taken, not along the centre of the braid, but slightly across it, which keeps the edges from curling up, and the material from widening. Curves should be made by coaxing the braid into the required form; but sharp angles should have a stitch or two taken across, not in, the braid, to confine its width, after which, the braid is turned over. The only exception to this mode of working is with any that has the two edges of different colors, as alliance braid has. Then points must be made as neatly as possible, without turning, as this would put inside the pat- tern the color that had been outside. When broad braids are put on they are mitred at the point ; that is, so folded that the opening of the fold goes straight down the centre. Broad braids must be run on at both edges.
Worsted braids must be run on with fine wool of the same colors, and be rather held loosely than at all contracted, for any washing material, as they are sure to shrink. All nar- row braids should have the ends drawn through to the wrong side except in braiding for point lace. (See Point lace.)
Raised Braiding. — This is sometimes done in worsted braid, for such children's dresses as are not washable. The braid is sewed along one edge, so that, in fact, it stands up. It has a rich and handsome effect, but is troublesome to do.
Cord Braiding. — Gold and silver cord, or coarse thread, Albert braid, and other fancy cords are sometimes used for braiding. The ends are always drawn through to the wrong
36 BEAD BRAIDING- -BEODERIE ANGLAISE.
side, and the stitches taken across the braid — never through it. In the case of gold and silver cord, for which China silk, of the same shade, is employed, the stitches are taken somewhat slanting, and so that the silk will be partially con- cealed, by being sunk between the twists of cord.
Cotton Braiding is much done, and ought to be in still greater favor, for morning collars and sleeves. Narrow close woven cotton braid is employed on clear muslin, on which the pattern is previously marked. Such articles are usually finished with a row of buttonhole-stitch, to which a narrow Valenciennes lace is sewed.
Bead Braiding. — Lines of small beads are often laid on in patterns, which have been previously marked for braiding. To make the beads set evenly, some care is required. Thread two fine needles with silk of the color of the beads. Make a knot, and draw one through to the right side of the cloth, in the line of the pattern ; and it is always better to begin at an angle. On this thread beads. Take the other needle, fasten on in like manner, and bring out in the same marked line, slightly in advance. With this second needle, take a stitch across the thread of the first between every two beads, so that not only they are kept in their places, but they are prevented from being huddled, which spoils the pattern. Bead-braiding is often edged, on one side at least, by a line of gold thread, which throws up the beads, and gives them a charming effect.
r>i;oi)i;i:iio Axgi.ajsk. — This term is employed to designate (hose kinds of muslin-work in which the effect is produced by cutting out or piercing holes, which are afterwards Bewed over. If large, or of any form except circular, they arc out wit 1 1 fine scissors; if round, they art' made with a Btiletto. Every part is first traced^ that is, run in fine Btitchea throughout the outlines; and it improves both the
effect and the durability to hold in a thread o{' hard twisted
CROCHET. 37
cotton (Evans' Boar's Head, 8, 10, 16 or 20), and sewing over that, as well as the tracing thread and material. The stitches should be even and close, but not wrapping over each other. The cotton employed is Evans' royal embroi- dery, or perfectionne cotton. The size varies with the mus- lin or long-cloth on which the design is marked. No. 8, 10, and 12 for coarse work, to No. 36 for fine. Patterns given in books usually have the proper size of cotton mentioned.
Beodeeie a la Minute. — A recent style of work, the design being done in small dots, one of which, if No. 8 embroidery cotton be used, will be formed by each stitch. The spots look much better, however, if more raised than this will make them, and also, if done with finer cotton. Another mode of working them will be found in Point deposte.
Bkoderie en Lacet. — I claim to have originated this kind of work entirely. The effect, for aprons, bags, and many other articles, is most beautiful. A rich braiding design being marked on the material, is braided with the best Russia silk braid ; and then the flowers filled in, in point-lace stitches, with China silk of the color of the braid. Of course, the stitches are not so fine as in point-lace ; and the least elaborate should be chosen ; but the effect is that of very rich yet novel embroidery. The stems and narrow parts are filled with hem-stitch. Crimson, scarlet, cerise, rich green, and violet, on black silk, look best for this purpose.
CROCHET.
Crochet has now been for some years one of the most popular of all the various sorts of fancy needle-work. The beauty and variety of the patterns that can be execute 1
33 HOLDING THE MATERIALS — WORKING CHAIN.
from it, have perhaps been the chief cause of the great and universal preference manifested for crochet ; but it owes, no doubt, also, something to its great durability, and to the facility with which a mistake can be remedied, without entangling or spoiling the work. In this latter particular, it has greatly the advantage of both netting and knitting.
The implement used is a crochet / a pin, or straight stem of steel, bone, or ivory, with a hook at one extremity. Sometimes the steel crochets are set in ivory handles. A good hook should have the extremity very smooth, and well rounded, and even the barb ought not to be too sharp, or it will cut the material with which it is employed, especially wool or silk. I have never found any that could be com- pared, for excellence, with those of Messrs. Boulton & Son, of Redditch, England : they are numbered from 12 to 24 inclusive ; and Nos. 12, 15, 18, 21, and 24, form an excellent and useful set, which will last any careful person a lifetime. I especially avoid those sold in boxes, with one movable handle to many needles. To work with them you had need have a degree of patience which rarely, I fear, falls to the lot of poor human nature ; while the fingers are sure to be torn in a manner that will not easily be forgotten.
Holding the Materials. — The crochet-needle must be held lightly between the fore-finger and thumb of the right hand ; the hook horizontal, and parallel with the first finger of the left-hand, not with the barb pointing upwards or downwards, as is too frequently the case. That part of the u ork on which you are immediately employed, is held closely between the thumb and fore-finger of the left hand. The thread crosses the latter and the middle finger, which is kepi ;il .i little distance ; and then is held down by the third finger, elose to the middle one. The little linger, only, of the Left hand, Lb unemployed.
WORKING Chain, on Foundation-stitch (ch). — Make a
SHOET DOUBLE CROCHET — DOUBLE CROCHET. 39
running loop, near the end of the thread, and draw it up Insert the hook in it, and hold the end close to the loop, with the left hand, as described. The middle and third fin- gers of the left hand being held a little higher than the fore- finger, the bar of thread slopes upwards. The hook is in front of it. By a slight movement of the left wrist, which draws it towards you, you lay the thread across the hook ; draw this thread through the loop already made, and you will have done one chain. Repeat for any number you want. The right hand, it will be observed, thus plays almost a passive part ; and the fingers are held far more gracefully than when the hook is used more actively. Let me add that the work is, at once, better and more even when the proper position of the hands has been maintained.
The other stitches in crochet being named according to the depth they add to the work, we will begin with the nar- rowest, known as
Slip-stitch [si). — Having already a loop on the needle, insert the hook in a stitch, and draw the thread through both together.
Single Crochet (sc). — Having a loop on the needle (which is always supposed to be the case), insert the hooK in a stitch, and draw the thread through in a loop. Again put the thread over the hook, and bring it through these two loops.
Short Double Crochet (sdc). — before inserting the hook in the stitch to be worked, put the thread round it. Then draw the thread through the stitch, and you will have two loops on, and the thread passed round between them. Draw the thread through these three all at once.
Double Crochet (dc). — Begin exactly like the last, but when you have the three loops on, draw the thread through two only, leaving one, besides the new stitch. Draw the thread through these two together.
40 LONG TREBLE CROCHET — BEAT!) CHAIN-STITCH.
Short Treble Crochet (stc). — Put the thread twice round the needle, before inserting the hook in the stitch to be worked. Having drawn the thread through the latter, you have what is equal to four loops on the needle ; draw the thread through two ; and then through the remaining two, and the loop just made, together.
Treble Ceochet (tc). — Begin like the last, but draw the thread through two loops only at a time ; and as it will take you three times to do it, the stitch is called treble crochet.
Half Long Teeble Ceochet. — A stitch rarely used, is formed on the same principle of increase ; the thread is put three times round the needle, before its insertion in the stitch. You thus have Jive loops when you begin to work them off. Work off two ; then two ; then three together.
Long Treble Crochet (Itc). — Similar to the last, but working off two only at a time, and thus completing the stitch in four movements.
The sdc, stc, and half long-stitch
have been invented by myself, and are
used only in my recipes. They are
especially useful in forming leaves,
\&> flowers, and other things where a very
gradual increase is desirable. How
perfectly this graduation is obtained, will be perceived in
the accompanying engraving.
Braid Chain-stitch. — This stitch makes a pretty braid of the kind usually called Grecian plait ; it is useful for many purposes. Make two chain: then insert the hook in the first of these, without withdrawing it from the |c»m]i nlicady on the needle, and bring the next loop through l>oili together. After this first fancy-stitch insert the hook in the last stitch, always, and draw the thread through that, together with tho one already on the needle
OCTAGONS AND HEXAGONS IN SQUARE CROCT1ET. 41
In shaded crochet silk this makes a "srery nice braid for pen- wipers, and many other purposes.
Square Crochet is close or open. A close square con- sist of three dc stitches, worked on three following stitches of the previous row. An open square has one dc, followed by two chain, while two corresponding stitches of the last row are missed. 1 close, 1 open, square will therefore be 4 dc, 2 ch, miss 2. It being necessary to close the last square, in a row, with a dc stitch, in reckoning the number of chain necessary for the foundation of a piece of square crochet, multiply the number of squares by three, with 1 over : thus say a piece has a hundred squares, you will want 301 chain.
Long Square Crochet — In which any design intended for square crochet may be worked, if required considerably larger, has the long stitches in tc. A close square is 4 tc, an open, 1 tc, 3 ch, miss 3. Foundation — multiply the squares by 4, with 1 over.
Octagons and Hexagons in Square Crochet. — It is often desirable to cut off the corners of pieces of square crochet, to suit the design to the shape of a cake-basket or other article. The first and last rows, and the edge stitches, ought always to be close, in square crochet patterns ; and if the design does not so give them, they should be allowed for.
To increase a square at each edge. — Make a loop to begin a chain, and, when it is on the needle, draw it as tightly as possible. Make one chain after that. Now do two dc in the first stitch of the row ; at the other end, do two in the last, make a ch; draw the thread through it, and cat it off. Begin the next row the same, as to the chain. Do 2 dc in the ch stitch ; and 2 on the first dc ; also 2 in the last dc, 2 in the ch, and make a ch. The slope thus attained will be perfectly gradual, and the edges firm and even, *
42 BIBBED CROCHET — CROCHET CROSS-STITCH.
The decreasing sides. — This direction serves also for edging in square crochet. Of course, one square, or three stitches, must be decreased at each end. Slip one stitch, sc one, sde one, dc the fourth. Reverse this at the other end of the row. In the following ones, do the slip-stitch on the first dc, and all must be right. Observe, in square crochet patterns, to cut off the thread at the end of the row.. Crochet should not be worked backwards and for- wards, unless directions are given to that effect.
Ribbed Crochet. — This crochet appears to be in ridges when finished. You work backwards and forwards, always putting the needle in front of the chain, instead of the back part of the stitch, as in ordinary crochet. When working backwards and forwards in sc, a chain must be made at the end of every row, to prevent the edge from contracting. In dc, two chains ; in tc three.
Crochet Cross-stitch. — This very simple stitch so exactly imitates cross-stitch on canvas, that it would be difficult to tell the difference between a piece worked in Berlin-work, and one done in crochet of the same pattern. Any Berlin design may be done in it, but such should be selected as have not many colors.
Make an ordinary chain-stitch, and work on it one row of single crochet for a foundation. Cut off your thread, and begin again at the same end as the last row, which must always be done in this stitch.
Put a loop of thread on the hook, then insert it under the sides <•<" the chain which runs along the edge of the work. Lay it over the cotton, so as to take it up on the contrary to the usual way. Draw it, through the work. Then again
PRINCESS FREDERICK WILLIAM STITCH.
43
WH
draw the thread through the two loops now on the needle. This completes the stitch, and has simply to be repeated through the length of each row. It must be done very regu- larly to produce the proper effect.
Princess Frederick William Stitch. — A new stitch in crochet has recently been given to the world, which I call, in compliment to our English royal bride, the Princess Frederick William crochet. It is done with a hook having a knot at the end, and somewhat larger than those usually employed, in proportion to the material to be worked. Being very solid, it is especially suitable for shawls, com forters, opera cloaks, and other similar articles. Begin by making an ordinary chain, of the required length. Keep on the last loop, which will make the first of next row. Insert the hook in the next, and bring the thread through, with a loop on the needle. Work every chain so to the end, when all your loops will be on the needle.
2c? How. — Put the thread round the hook, and bring it through once. After this put the thread round and bring it through two every time, till one stitch only is left, which will form the first of the following row.
3c? Moio. — Insert your work in each upright loop of thread (see engraving), and bring the thread through in a loop. Work so to the end of the row, when once more you will have all the stitches on the needle.
44 TO USE SEVEEAL COLOES IN CEOCHET.
To decrease at the beginning of a row, in this stitch, draw the thread through 2 instead of 1, the first time. In any other part of the work, draw it through an extra stitch, as 3, instead of 2.
Bead Crochet. — Doyleys, and many other articles are rendered very brilliant and beautiful by having the design worked in glass beads, of various colors, threaded on the cotton. As they wash and wear very well, these articles are as serviceable as handsome. Generally one color, ruby, coral, emerald, or turquoise, is used ; if two or more be employed, each color must be threaded on a separate reel of cotton ; the cottons are then used like colored silks in purses (see To crochet with several colors), the beads being dropped in their places, as the design may require. Always draw the loop through the stitch, before slipping up the bead to its place. A chain or sc stitch takes one bead ; a dc, hco / a tc, three. The beads are always dropped on the wrong side of the work, which iu this is right. Select beads that slip without difficulty, but still do not run over the cotton ; and the less bulky they are, the better. Some are so fat (I can use no other word), in proportion to the hole, that they are quite unfit for crochet work. (See Beads.)
To use Seveeal Colors in Crochet. — Silks and wools are chiefly employed in this way. Each skein of silk must be wound on a reel, and these reels should be set on a stand made for the purpose, to prevent the silks from tangling. The stand is a heavy piece of wood with iron pins set at. intervals. Each one is used as required ; only in changing, you begin to use the new color in finishing the last stitch of i lie previous one. Thus, suppose the direction was, three while, two blue, live black: you would do two perfect white, and draw t lie thread through for the next slitch in the same; but finish the atitch in blue. Then one and a half blue, and finish witli blaok. Several colors are rarely employed
TO MARK THE COMMENCEMENT OF A ROUND. 45
together in anything but sc ; some people leave the threads of silk loose at the back ; but if there be not too many, it is always preferable to work them in ; that is, to hold them along the finger, just above the work, so that the loop being drawn through the stitch from behind them, closes them in. If many colors are used together, this is, however, clumsy.
To WORK PROM THE CENTRE, AS IN STOOL COVERS, DoT-
leys, etc. — In such articles, every round has, of course, more stitches than the previous one. In single crochet, eight extra in every round will be a right increase. Thus, you begin with eight ; 2d round, 16 ; 3d, 24 ; 4th, 32 ; and so on. It is better that these extra stitches be make by chains at regular intervals, than by doing two stitches in one of the previous round. Of course, there must never be two chains together. By this method you avoid making holes, as is often done in the usual way. In all directions where three stitches are to be worked on two of the previous round, one ought to be worked, then a ch between, then the other stitch.
In designs in dc, or tc, to pass from one round to another Without breaking the thread, make 3 ch for a dc, 4 for a tc stitch, and twist it round ; this gives the chain the appearance of the stitch desired. Suppose the directions be 1 dc, 3 ch, therefore, you would make 3 dc, twist them, then make the other three.
Missing. — Unless directions are given to the contrary, it is to be understood, in crochet designs, that a stitch is worked on every stitch of the previous row ; and that a stitch of the former row is missed for every chain made. Thus, if the direction be 2 dc, 2 ch, you would, of course, do the next dc on the third stitch from the last, unless especially ordered otherwise.
To mark the Commencement of a Round. — It is essen- tial, but sometimes difficult to do this, in jewelled doyleys,
46 CROCHET BEAD JEWELRY.
and similar things. I take a few inches of thread, contrast- ing in color with the work, and draw it through the last stitch of each of the first few rounds, as well as at intervals afterwards. It is a great help.
To join on. — In sc, finish the stitch with the new cotton, as in taking another color. Then hold in both the ends, and work them, in for an inch or so. In any close crochet, do the same. In open crochet, make a weaver's knot, which allows of the ends being cut off quite close.
Diamond Open-hem. — This forms a very pretty and use- ful heading for edgings ; and will serve many other purposes also. Begin as for a long treble, with the thread three times round the needle. Work off two loops, or half the stitch. Put the thread twice more round, miss two, insert the hook in the third, and work off one loop as usual ; at the next movement of the needle, instead of two take off three loops. Finish the stitch, do two chain to correspond with the two missed. Work a dc stitch on the centre of the long stitch, putting the hook through the two loops which were drawn off together. This makes one pattern ; and you do not miss any between it and the next. "A sc row should always follow this.
Crochet Bead Jewelry. — Exceedingly pretty brace- lets and chains may be made of pound beads, No. 3, worked in croehot. Choose rubies, turquoise, or any other beads that imitate gems. Thread them on line silk of the same color, and work in ordinary single crochet, dropping a bead ob every stitch. For a chain, make a foundation of fifteen stitches, ami close into a round; for :i bracelet, thirty-six stiiclirs will not be too many. You work round and round, until you have done the length you wish. The silk being exceedingly elastic, would stretch out of all bounds,
Were it no! kepi LI] place by S COrd run inside. 1 employ
several lengths of Fleecy, or double Berlin, out as lone,- as
IMBEOinERY. 47
the work is without stretching, for this purpose ; running it in with a bodkin, and fastening it to the crochet at both ends. Wool is of so soft yet elastic a quality, that it pre- vents the crochet from flattening, as it otherwise would do. To bracelets I add tassels, made also of beads. (See Tassels.) A round necklace clasp is what I use for fastening brace- lets, covering it Avith a wooden ball, over which beads are closely woven to conceal its substance. If you work in black or dark beads, dip the ball in ink, to stain it, before using.
I may here appropriately mention a set of mourning ornaments I once made for a friend, who wished to have something very unique. The chain was made as already described, and served to suspend a massive cross of balls, covered with beads, woven over, like O. P. bead-work. One bracelet, being very thick, was a single round ; the other, somewhat 'smaller, was double the length, and twisted together. Both had handsome tassels. A brooch, to match, completed the set.
EMBROIDERY.
Perhaps of all the various kinds of fancy-work, with the exception of point lace, this may be considered the most artistic. The materials are velvet, satin, kid or cloth, with silks, chenilles, gold bullion, and gold and silver thread. The design is first marked, in outline, on the article to be ornamented; and to do this a pounced pattern is prepared, and then transferred to the material. (See Pounced patterns.) It is then put in a frame and stretched, like canvas. We will now suppose, for the convenience of description, that the design is a group of roses and morning glories. Select the proper colors of silk, Dacca being that
*8 EMBROIDERY.
chiefly employed. Yellow-greens will be wanted for the rose-leaves, pinks for the flowers, blue-gi*een for the morning glory leaves, and blues, pale pinks, and violet for the flowers. If there be any morning glory buds, they have something of a curled appearance. The corolla of the morning glory, as we know, is formed of a single cup-like petal. There is, there- fore, no break in the working, but that part which falls back towards the stem is always the darkest. AU the stitches are taken from the centre of the flower ; and when the dark and somewhat pointed streaks occur, the silk must be changed accordingly. A long stitch, something like that of Irish embroidery, is used, and they must he side by side very evenly. As of course the inner circle is much smaller than the outer one, some of the stitches must be made shorter. The great art is to make them he evenly, and to produce a clear, even, well-defined edge. The large leaves may be worked from the centre-vein to the edge, in the same way. The veinings are done in silk a shade darker, and in half- polka stitch ; that is, one stitch of the eighth of an inch is taken, somewhat slanting, the next from the side of it, but double the length, sloping always in the same direction ; all the following ones, of the length of the last, half beside it and half beyond. Stems are done in the same way ; but for broad ones, the stitches are taken more directly across. The roses are worked petal by petal ; and if the centre of the flower is seen, it must be represented in a few French knots, done in yellow silk. The leaves are in yellow-green, the edges carefully serrated; the centre vein, like that of tho morning glory. The very s nail leaves may bo worked com- pletely aoi'OSS, without any veining. To represent (lie Colds of (lie morning glory bud, work e:i b fold separately. The stems of roses slioiiM lie in ;i brownish green, especially for
moss-roses, ami t lu- thorns marked by short stitches starting on each side from thorn. It is always desirable to work
i$OU»& & I'lTIiBMLD. IIW^III.
RAISED AND DAMASK EMBROIDERY. 49
either from a piece already done, or from a painting. Shaded silks are often employed with good effect in working leaves and flowers; but as crochet silk, which is somewhat hard, must be used (for Dacca is not made shaded), it is well to take out one strand of each needleful, which makes it work much softer. In using shaded silks, be careful to join on every new needleful to match the shade with which you left off.
French Knots. — These are much used in Chinese em- broidery; and in French and English, for the centres of flowers, and some other purposes. Bring the needle up in the place where you want the knot to be. Twist the silk twice round the needle, which insert in the same place again, and draw it gradually through, guiding the silk with the left hand, that it may not tangle. The knot is then formed.
Raised Embroidery. — Sometimes embroidery is raised. This is done by tacking down soft embroidery cotton over the space to be worked, the centre being the most raised, and the edges gradually thinned. The stitches are then taken across this, so as completely to cover it. If well shaped, the bodies of animals or birds look most natural done in raised embroidery; but the stitches must not be taken across, but through, in exactly the same way as Irish stitch, the half of one coming between every two, by which means any number of shades requisite for the color of the animal may be obtained.
Embroidery in gold ought always to be thus raised, espe- cially for church-work, yellow floss silk being the material used.
Damask Embroidery is the term applied to patterns worked over gold braid, straw beading, or silk braid. Either of these materials forms the pattern, the wool or silk the ground. The design is either set — that is, done by counting threads — or it is marked on the canvas w:th ink ; it
3
50 KNITTED EMBROIDERY.
may then consist of leaves, flowers, or any other simple pat- tern. Suppose the pattern to he marked on canvas, for a pair of slippers. Begin at the toe. Cut off a piece of braid, rather more than long enough to go across it. Rim it on with silk of the same color. And, hy the way, it is always necessary that the hraid should cover two threads of canvas, within a hair's-hreadth. Take the wool or silk, and with stitches across the hraid, and consequently across two threads of canvas in height, hut not crossing any in width, cover all those parts which form the ground, leaving the braid uncovered for the pattern. Line after line is worked thus, until the whole is completed. None of the leaves ought to be very large ; but, if desired, they may be veined in embroidery-stitch, with silk of a tint one shade darker than the braid. Crimson silk, or blue, or green, with gold braid ; or, for a wedding-gift, white, with gold braid, looks very rich for slippers. Filoselle is the proper silk to employ.
Knitted Embroidery. — I believe this beautiful kind of work is not done, to any extent, except by the peasants of the Pyrenees. It well deserves, however, to become more popularly known. It consists of knitting patterns, more o» less complex (that is containing fewer or more varieties of wool, on a black or white ground), in the ordinary knitting stitch, one row plain and the next purled. The richest pat- terns are produced in tins way. Groups of flowers, wreaths, and almost any design that can be painted on Berlin paper, can be thus copied in knitting. To do an elaborate group would require long practice and great dexterity, as the wools are apt 1<> become entangled. But it is comparatively easy to form a pretty simple pattern, in one oolor on a ground of another. Any square orochel running pattern, er, or group will <lo. Wind the wools on spools,
lightly indeed, hut so that you can prevent them from
FLUTED EMBROIDERY. 51
unwinding. Whenever you come to a close crochet stitch, do it in colored wool, and the open squares in white. Avoid dragging each wool, when you resume it, after using the other. This is the great difficulty. Of course, if you do, the work puckers, and the greater the number of wools, the greater the difficulty.
Another way of producing the effect is, to do the knitting in the ground color, and darn in the pattern in a stitch pre- cisely resembling that of the knitting. There is no difficulty in this, but it is not, certainly, the orthodox way.
In the Pyrenees, scarfs, shawls, mantles, aprons, slippers — almost every imaginable article of dress is knitted in this manner, in their fine wool. (See Pyrenees wool, Mate- rials.) The exquisite softness of velvet is perfectly imi- tated by these fabrics. The shawls, not unfrequently, are with an open ground, such as the Pyrenees diamond knit- ting, and bouquets at intervals. To do this they knit as many stitches as are required for the bouquet, in plain stitch, resuming the fancy stitch after these are done ; and, of course, carrying the fancy stitch completely across the shawl, after each row of bouquets is done. This also might be managed as I have suggested.
Another Knitted Embroidery is shnply working, in cross- stitch, any pattern, or coarse knitting done garter fashion. The stitches are taken over the ribs. Small chintz patterns with very bright and distinct colors, and not too many of them, are well suited to this work ; and pine or palm pat- terns maintain in it their characteristic elegance and beauty. It is chiefly employed in Fleecy, or 8 thread Berlin, for couvre-pieds, quilts, and cushions.
Fluted Embroidery is a variety of orne wool-work, the wool being of the same kind as that used for orne crochet and knitting, but worked on canvas. The canvas is of a sage green tint, resembling railway canvas, and with a
32 GOTPUEE-WOEK.
colored thread woven in at the halves and quarters of a square, as a guide in working. The wool is so dyed that each ball makes one perfect piece of work, always bearing a rich and beautiful floral design, on a handsome plain ground. As great exactness in working is requisite, a knot will be formed at the end of each length which serves for one row of the canvas; and it must be made to do. The term fluted is used because each line being worked over a cord, on both right and wrong side, it does, in fact, appear fluted. The stitch is a peculiar one ; and each piece of work is, or ought to be, begun and prepared for the worker when sold. One row is always left partly done, as a guide. In commencing mother, find the exact middle of the next needleful of wool, und having fixed on a cord, as you will have seen in the last rows, begin in the centre of the row. Work to the right ; and when a quarter is done, measure the remainder of the half of wool, to see whether you have still a fourth left. If not, slacken or tighten the previous stitches. Finish that half of the line. Thread again at the middle, and do the other half. When this row is done, turn on the other side, fix another cord, and repeat the process.
Both sides are alike in this work, so that it is very durable, for one side is new when the other is soiled. It is also noticeable that the tints brighten considerably with age, provided they are kept free from dust. A piece of fluted embroidery is just the size for a handsome cushion. The designs are numbered, No. 1, 2, 3, 4, etc. Every piece of work is accompanied with an excellent engraving of the design, serving to give an i<le:i of the ultimate result, and as a guide In the worker.
(ii iim re-woek. This term is applied to all those open ground-works which have been so common, of late years, in muslin and lace work. It is done is all muslin-work by borSj the most beautiful of which are worked in buttonhole*
IRISH GUIPURE. 53
stitch, on a lino of thread. They are either straight lines, crossing each other at angles, in large spaces, or they radiate out from eyelet-holes, worked round in buttonhole stitch, which is still richer looking. Of course, in covering these bars with close buttonhole stitch, there is a good deal of work ; and some people save themselves that trouble by sub- stituting bars o very narrow cotton braid, or coarse thread. If either of these be used, care must be taken to secure the bars in the subsequent working of the pattern. You take a length of thread or braid (say one and a half yards), and carry it backwards and forwards, in the directions in which the bars are marked, until you have used it up ; when you take another piece. Neither of these can be compared, in effect, to the buttonhole bars ; but thread is preferable to braid ; and No. 000 Evans' Beading Cotton, or No. 4 Boars' Head will be proper for the purpose. All the groundwork, in any case, must be done the first, after tracing out the design.
Guipure lace-work is used for the grounding of Honiton lace, and, also, with good effect for fine muslin-work. It has the merit of wearing extremely well. It consists of long buttonhole-stitches, taken at fully one-fourth of an inch, and twisted twice after every stitch, so that the depth is nearly equal to the length. One line is worked on another, until the entire ground is so filled in, the sprigs being connected with the bars whenever you come to them. Very fine thread is used.
Guipure net is a net imitating guipure grounds. (See Nets.) Irish Guipure, or imitation of point lace in crochet, is a most tedious and complicated sort of work, consisting of heavy flowers, arabesques, and other designs, connected by bars meant to look like Raleigh. That it is a miserable affair, by the side of the original work, no one will doubt. It is handsome enough, however, in its way. As each
54 HONITON EACE.
design must be worked stitch by stitch according to the directions given with it, it would be useless to enter on any extended explanation of its intricacies here.
Honiton Lace, imitated in Ceochet. — Those who are fond of crochet may imitate very admirably, almost any ordinary specimen of this beautiful lace, and produce collars and sleeves of exquisite appearance, at a trifling cost. The ordinary stitches, only, are employed, with the aid of Hen- riquez or Cordovan lace, or English spots, all of which are frequently seen to fill lip flowers, in the real Honiton. As each flower and sprig is made separately, and completely finished off by itself, this kind of work, occupying no space, is very convenient in company. Each sprig should be put away until the requisite number is collected. Then the bor- der or edging must be worked, in one piece ; for which pur- pose, you must decide on the shape and size of the article to be worked. When completed, you make them up, either by guipuring, or on a foundation of Brussels net, in the same way as you would transfer.
It improves the appearance of some patterns, to work a line of very fine Sorrento, with Evans' No. 150 Boar's Head, on all the outlines, after the collar, or other article, is made up.
Believing this to be one of the prettiest and most useful varieties of crochet, I give, in a subsequent part of this work, patterns of sprigs, with directions for working, and an illustration of the mode of making up. Tin1 greater part of the flowers will be found figured in parts. These figures indicate the number of chain. I have adopted this method of engraving, as less trying to the worker than the usual one, with long directions. A fine purl edge should finish every collar, or other piece of imitation Honiton.
KNITTING POSITION OF THE HANDS. 65
KNITTING.
This elegant art cannot fail to hold a high place among what may he termed the Manual Accomplishments of ladies, from the beauty, variety, and durability of the articles fabricated, not less than from the extreme facility of execu- tion. It is well known that persons who are totally blind, as well as the aged, and those whose sight is weak, can pro- duce knitting as delicate in texture and perfect in design as is done by those whose eyes are perfectly strong. This alone will always render knitting a popular amusement. It is true that those whose visual organs are strong, frequently employ them as much in knitting as in crochet, netting, or even lace-work. This is wrong. No one can tell how soon she may have to deplore feeble sight, or even total blindness. Age, at all events, will come to most of us, when the eyes are sure to becomo dim ; and when we can practise even one art, with accuracy, and comfort to ourselves, without a light, we have gained a resource which very few women will not find a thousand occasions of appreciating. Knitting is, therefore, either a toil or a pleasure. To render it the latter, attention must be paid to the position of the hands, and the uses to which the fingers are applied. The imple- ments are simple ; either two, four, or five needles (some- times called pins). The one on which the stitches are to be transferred, is held in the right hand ; the work itself, and other needle or needles, in the left. In acquiring the proper mode of holding the needles, especially the left-hand one, you lay the foundation for becoming a rapid, and an elegant knitter ; and a little attention and practice will quickly enable you to work any but a very complicated pattern without looking at it ; a point which every knitter ought to aim at.
Position of the Hands. — The right-hand needle should
R6 CASTING ON.
be laid over the hand, between the thumb and forefinger ; the thumb should be trained to keep close to the needle always, not to move with every stitch. The thread crosses the nail of the forefinger, which is held near the needle, a little in advance of the last stitch, and so that it moves with the greatest ease. The thread goes under the second and third fingers, and round the little one, which, as it were, regidates the supply, keeping it from being either too loose or too tight for the work. The left-hand needle is held, near the point, between the thumb and second finger. The thumb should slightly press the first stitches, so as to keep them from slipping off" the needle ; the finger should hold the needle a little lower down; and it is further kept in its place by the pressure of the third and little fingers, which hold it firmly against the edge of the pahn. The forefinger has hitherto not been mentioned. Its oflice is to feel each stitch, with its delicate and sensitive tip, and push it up to the point of the needle, ready to be knitted. By coming to au understanding with this most useful member, you will soon find that it will keep you perfectly informed of the nature of the stitch next to be knitted (whether a purl, a knitted, or a made stitch, etc.), and its susceptibility may be culti- vated until you can perform the most delicate work as well in the dark as in the light.
If four or five needles be employed, the two absolutely in use must be held as described ; the others naturally tall below the left hand. If two very long needles are used, you will hold the right-hand one under your hand, and pressed closely against the side.
Casting ox. — The first prooess in knitting is called cast-
ing On, It is dune with two needles. Make a loop, like a slip-knot, near the end of your thread, insert the needle, draw it up nearly tight, and hold the needle in the Ivft hand. Take the other in the light hand, holding it, and the thread,
TWIST AND TWIST PURL-STITCH. 57
as directed. Put the point in the stitch already made, x , move the fingers of the right hand, so as to carry the thread round the point of this needle, which then draw slightly down, and towards you, so as to make the thread into a loop. There is now one on each needle. Put the rh (right-hand) needle point behind the other, which insert into the new loop, without withdrawing the right hand. Repeat from the x , until you hare the required number on the left-hand needle. If four needles are Used, the stitches are cast on three. You then cast as many as may be ordered on each, and to close into a round, knit the two first stitches off, on to the last needle, afterwards. This must always be allowed for. Thus, if there are to be 24 on each of three needles, put 26 on the first, and 22 on the last. When the two are knitted off, to close the round, the num- bers will be correct.
To Knit (k). — Holding the hands precisely as already described, insert the rh needle in the stitch to be knitted, put the thread round by the movement of the fingers, and drawing the needle down, and towards you, let the thread just put round it form a loop. Then the one from which it was knitted drop off the point of the lh needle.
To Purl or Pearl (j>). — The hands as before, but the thread in front of the work. Insert the needle, downwards, and in front of the lh one ; put the thread round, from the back to the front again, draw the needle back to form the loop, and then slip the last stitch off the lh needle.
Slip -stitch. — Transfer the stitch from one needle to another without knitting.
Twist-stitch (ho). — A stitch pretty enough to be used more frequently than it is. Instead of knitting in the ordi- nary manner, insert the needle in the bach of the stitch to be knitted, after which knit as usual.
Twist Purl-stitch (twp) — In working backwards and
3*
58 TO RAISE A STITCH — MODES OF DECREASING.
forwards, it is needful the purl stitch correspond with the knitted. Hold the rh needle nearly parallel with that in left hand, and behind it. Insert the point in the stitch, and bring it out, with that of the left hand. Now purl as usual.
To Make Stitches (m). — To make one stitch, bring the thread in front merely, if the next stitch be knitted ; or bring it forward and put it round the needle, if followed by a purl stitch. Besides this, put the thread once, twice, or oftener round, if two, three, or more are to be made. Observe, in knitting the following row, that every twist of the thread over the needle reckons as a stitch ; and that, if there be two, or more, they must be alternately plain and purled knitting.
To make many stitches at once, in a row, by casting on, transfer the right-hand needle to the other hand. Then twist the thread round the forefinger of the right-hand, to make a loop. Bend your finger round, to give it a further twist, and slip on to the needle. Make any number ordered, which, of course, makes a large hole. Some knitters cast on in this way, but I do not advise it.
To Raise a Stitch. — This occurs where three stitches have to be made, without producing the hole seen in the ordinary method. Make one, by bringing the thread in front ; now take up, and knit, as an ordinary stitch, the bar of thread between the stitches on the two needles ; again bring the thread in front, to make another. Thus three extra ones are obtained.
Modes of Decreasing — k 2 t. — This is the simplest method. You merely knit two stitches, as if they were one.
P 2 T. — Purl two as one. JP 2 t reverse, is to take them together from the baok. (See Twist pur! stitch)
P 8 T. — Purl three as one, P3t reverse, slip 2 t, from the buck, p 1. pass slip over.
TO CLOSE THE TOE OF A SOCK, ETC. 59
Sl 1, k 1, pass slip over. — This has a different effect to that of knitting two together. In closing diamonds (see Diamond jpatter?i), this ought to be employed for the first decrease, and the other mode for the second, in each pat- tern.
K 3 t. — Unless directions to the contrary are given, you always should do this by slipping two off together, k the third, and pass the two slip together over. Otherwise, knit three as one.
K 4 t. — SI 1, k 3 together, and pass the 'slip-stitch over. It rarely occurs that .more than four are decreased together.
To join. — A weaver's knot, which allows the ends to be cut off quite closely, is the best ; or a stitch may be knitted with the new thread, and then a few with both. The ends then fastened off. In lace or insertion, use the former method, at the straight edge.
To cast off. — K 2, pass the one first knitted over the other; k 1, pass the preceding one over it, and so on. The number passed over are reckoned as cast off ; one more than the number has always been knitted.
To CLOSE THE ToE OF A SOCK, THE FlNGER OF A GlOVE,
etc. — Divide the number of stitches equally on to two needles. Should there be an odd one, let it be on the front needle. See that the stitches lie properly — that is, that all those forming the upper part of the sock (supposing that one is to be finished) are on one needle, and those of the sole on the other. Knit two stitches, one off each needle, as one ; or the odd one alone, if there be such. Again knit two together ; pass the first over the second, as in ordinary casting off; and continue so, always taking a stitch from each needle as one. When one only is left, cut off the? thread a few inches from the work, and draw the end through the stitch. Fasten it off on the wvoncc side.
60 DIAGONAL OPEN-HEM.
Having now described the actual stitch, I will proceed tA give some patterns, which my readers will he able readily to adapt for themselves to any article they may desire to make, whilst it will also save space and time, by enabling me to refer to them in my own recipe.
Brioche-stltch. — The number of stitches cast on -must be divisible by 3 without a remainder, xml, si 1, k 2 t. x repeat to the end. Every row is the same.
Double Knitting. — Useful especially for articles designed for warmth ; as couvre-pieds, blankets for the cots of infants, etc. An even number of stitches, with six or eight for bor- der. Corresponding to these do half the number of plain knitted rows, at each end. The three or four border stitches, at each edge, to be always knitted. Pattern, thread in front, slip one, as if for purling, thread back, knit .one. Thus, in each row, every alternate stitch only is knit- ted, and the result is that the two sides of the work are per- fectly distinct, united only at the edges.
Double Herringbone. — Divisible by 4 with 2 over. K 2, k 2 t, m 1, x k 2 t at the end.
Or divisible by 3 with 1 over at each edge. K 1 x k 1, k 2 t, m 1. x k 1.
Single Herringbone. — 4 stitches for.l line, 7 for 2, 10 for 3, and so on, besides the edge-stitch, which must be knitted. K 2, m 1, k 2 t. Second and following linos, k I (which is always the made stitch of last row), m 1, k 2 t.
Open-hem. — Divisible by 3, with edge-stitches, which in i it be purled.
[8t EoHo.—V I, in 1, k 2 t. x.
>_>,/ Row.— Purled.
Diagonal Open-hem. — Divisible "by 2, with at least two edge-stitches at each edge.
l8t A'""1. — K 2. X m 1, slip 1, k 1, pass tb.6 sli|> Btitch over X repent, k '_'.
MOSS-STITCH — DAMASK PATTERN'S. CI
2c? and 4 Lh Mows. — Purled.
3c? Mow. — K 3. x m 1, slip 1, k 1, pass the slip-stitch over. X at the last ; slip one over the first ec7^e-stitch.
These four rows complete the pattern. It may be done on four needles, in which case, the alternate rows are knitted. It is very pretty for cuffs, sleeves, and many other purposes, where the work is intended to look puffed out : but as it always has a twist in it, it must not be enrployed for any flat or square article.
Moss-stitch. — Any number of stitches may be used for this work ; and I may remark that it is the one in which all the orne knitting is done. It consists simply of knitted and purled stitches. One of each is done alternately ; and in working backwards and forwards, you will take care to begin always with the same kind of stitch as that with which you terminated the last row, which, of course, will look dif- ferent. It has a pretty dotted appearance ; and in the variegated wools, looks really very soft and mossy.
Damask Patterns. — A great variety of patterns may be made by the combination of the knitted and purled stitches only. Thus, a Chess-boaed Pattern may be formed by knitting and purling, alternately, an equal number of stitches ; knitting the purled, and purling the knitted, in the back rows, so that they look as they would if you were working rotcnd, and knitted on the knitted, and so on. Then, after as many rows as you have knitted or purled stitches, reverse them, for as many more. Or a Half-diamond may be made, thus : x P 1, k 1. x to the end, which finish with p 1.
2c? Mote. — x k 2, p 5, k 1. x . End with k 2.
3c? Mow. — P 3, k 3, p 2. x . End with p 3.
4th Mow. — x k 4, p 1, k 3 x . End with k -i.
This is half the pattern. Do the four rows again, knitting those you have purled, and purling what you did knit. Any lady with a little ingenuity can make a number of such pat-
62 DIAMOND KNITTING.
terns, wlu3h are applicable to many purposes ; especially foi counterpanes, doyleys, cake-basket doyleys, and all solid articles.
Spot-stitch. — Divisible by 4. xk 1 always, p 1, k 2 x .
2d Bote. — Plain.
3d Moid. — x k 3, p 1. x .
4th Mow. — Plain.
Thus, every second stitch is purled once in four rounds ; and every two thus treated, have the purl-stitch alternately. Used for gloves.
Pyrenees Diamond Knitting. — (Very suitable for Shet- land shawls.) The number of stitches cast on must be divi- sible by 3, exclusive of any border or edging, of which there should be at least two stitches at each edge purled every row.
1st, Mow. — xm 1, si 1, k 2, pass the slip-stitch over. x. Repeat to the end.
2d, 4th, and 6th Hows. — purled.
3d Moiv. — K 2, x m 1, si 1, k 2, pass slip over, x as often as possible. End with m 1, and purl the final stitch, together with the first of those forming the edge.
5th Mow. — K 1. x m 1, si 1, k 2, pass slip over, x repeat to within 2 of the end. M 1, si 1, k 1, pass slip over
Repeat these six rows, observing that the first knitted stitch is always the one over the hole of last row. The needles employed in this pattern ought to be somewhat large in proportion to the material used. No S with 4 thread Berlin wool; No. 10 with Shetland. Other things in proportion.
Diamond Knitting. — The number of stitches divisible by six, with 1 over, exclusive of edges. Purl the edge-stitches in the pattern rows, and all the alternate rows.
\st Mow. — x k ], in ], k 2 t, k i, k 2 t, m l. x repeal as often as you havo sixes east on, K 1.
DIAMOND KNITTING. 63
Sd Mow. — x k 2, m 1, k 3 t, m 1, k 1.x repeat as before. K 1.
5th Mow. — xk 1, k 2 t, m 1, k 1, m 1, k 2 t. x repeat as before. K 1.
1th Mow. — K 2 t. x m 1, k 3, m 1, k 3 t. x . Repeat till 5 are left ; then, m 1, k 3, m 1, k 2 t.
These four pattern rows, with the alternate purled ones, make one complete design, and must be repeated.
Spider-net Knitting. — Stitches divisible by four, and 1 over, exclusive of edges, to be purled as before.
1st Mow. — x k 1, m 1, si, k 2 t, pass slip-stitch over; m 1. x repeat to the end. K 1.
2c? Mow. — Purled.
3c? Mow. — K 2 t, x m 1, si 1, k 2 t, pass slip-stitch over ; m 1, k 1. x repeat till 2 are left. M 1, k 2 t.
4th Mow. — Purled.
These four rows make a pattern.
Large Diamond Knitting. — Stitches in eights ; with 1 over, besides the edges, which must be purled.
1st Mow. — x k 1, m 1, k 2 t, k 3, k 2 t, m 1. x finish with k 1.
2c? and 4th Mow. — Purled.
3c? Mow. — x k 2, m 1, k 2 t, k 1, k 2 t, m 1, k 1. x finish with k 2.
5th Mow. — x k 3, m 1, k 3 t, m 1, k 2. x finish with k 3.
6th Mow. — x m 1, p 2 t, p 6. x repeat the last time, after p 6, m 1, p 2 t, one of these being an edge-stitch.
1th Row. — X k 2, k 2 t, m 1, k I, m 1, k 2 t, k 1. X end with k 2.
8th mid 10th Mows. — Purled.
9th Mow. — X k 1, k 2 t, m 1, k 3, m 1, k 2 t. X end with k 1.
11th Mow. — K 2 t. X m 1, k 5, m 1, k 3 t. X end with k 2 t, instead of three.
64 HALF-DIAHOND-STTTCH PLAIT-STITCH KNITTING.
12th Roic. — P 4, m 1, p 2 t. p 2. X repeat as often as may be.
These twelve rows complete the pattern.
Lozenge Knitting. — As large diamond, taking the rows in the following order : 1st, 12th, 1st again, 2c?, 3c?, 4th, 5th, 6tf?, 1th, 8th, 9th, 10th, 11th, 12th. Another variety may be obtained by repeating 1st and 12th rows as above, but not repeating 6th and 1th. The design now will be oblongs in one line, and diamonds in the other.
Hate-diaacond-stitch — Divisible by 6, exclusive of edges.
1st Row. — X ni 1, k 4, k 2 t. X.
2d and every other alternate How. — Purled.
3d Row. — Xk 1, m 1, k 3, k 3 t, X.
5th Bow. — K 2, m 1, k 2, k 2 t. X.
1th Roto. — X k 3, m 1, k 1, k 2 t, X.
9th Eoic.—K 4, m 1, k 2 t, X.
11th Row. — X K 4, m 1, k 2 t, X. Observe that the nearest of the two knitted together is a made stitch.
13th Row. — x k 2 t (the first time with one from the bor- der), k 3, m 1, k 1. X.
15th Row. — X k 2 t (first time as in 13th), k 2, m 1, k 2.x.
11/h Rote. — X k 2 t (first time as before), k 1, m 1, k 3.X.
19th Roto. — X k 2 t (first time as before), m 1, k 4.X.
The 20th Roic, which, like all the alternate rows, is purled, completes this pattern.
Plait-stitcii Knitting. — This is a very pretty, but some- what tedious stitch, until dexterity has been acquired by practice. It is especially suitable for wool-work. Two needles, at least double the sifce of those which would be usually considered appropriate for the material, and one finer and very short one, pointed at each end. Cast on :i number divisible by 4, exclusive of the rduv stitches, of which there should be three, at least, at each edge.
1st Row. — Slip off the two first pattern stitches, on the
MYRTLE LEAF AND CABLE PATTERN". 65
short needle, which hold with your other left-hand one, but between your person and your work. Knit the next two, then these* two, in their proper order. Do every foul stitches like these.
2d Bow. — Purled. Purl the two first pattern stitches. Slip off the next two, and hold the extra needle as before, but behind the work. Purl two, then the slipped two. Re« peat these four ; and purl the last two plain.
Myrtle Leaf Pattern may be done with two or four needles. Divisible by 13.
1st Boio. — P 2, m 1, k 4, k 3 t, k 4, m 1. x repeat.
2d, and all alternate rows, ifioith two needles. — P 11, k 2 If with four, p 2, k 11.
3c? Bow.— P 2, k 1, m 1, k 3, k 3 t, k 3, m 1, k 1.
5th Bow. — P 2, k 2, m 1, k 2, k 3 t, k 2, m 1, k 2.
1th Bow.—P 2, k 3, m 1, k 1, k 3 t, k 1, m 1, k 3.
9th Bote. — P 2, k 4, m 1, k 3 t, m 1, k 4.
The ten rows or rounds complete one pattern.
Cable Pattern. — This presents the twisted appearance of a cable. 4, 6, 8 or 10 stitches may form the cable, with 4 or 6 purl stitches between, and as many at each edge. 6 make a good cable, and say 4 between, you will require your stitches divisible by 10, and 4 over.
1st Bow. — x p 4, k 6, x .
2d, and all alternate rows. — x k 4, p 6. x .
3d Bow. — Like first.
5th Boio (with another needle). — xp4, slip 3 on the third needle, k the next 3, now knit in the same order in which they ought originally to have come, the three on the extra nee- dle. x .
1th Bow. — Like first. .
These eight rows complete a pattern. If the cable has 8 stitches, two more plain rows will be needed ; and a like increase for a still larger cable. If done with four needles,
thr ^:rr^.:e r;— £ ~ist ':; Ize kke tie tk C:z::^r Paxxbbi ~: order). — Divisible h
2d Bom.— Knitted.
3d Bow. — SI 1, k 1, pass dip over, x k 6, m 6 (see diree-
tion s tor making many stitches), k 6, k 3 1. X last time, k 2 t.
4th Bovr. — P 2 t, X p 16, p 3 t, reversed. X. End T*"ith
"" E: : — SI 1. k 1. .5- tke =kk-5tit:k :_er. > k 4. z:~ k the six zi: :e Jtit :kes. n "_.: ._ z. . ': :-:::; e~er_- me. s: m- :-re.eim _• tkem tt 1_ : k 4. k ; : Lzst tine, k 1 :.
6iA Bate. — P Si xp 13. p 3 t. reversed, last time kit
Bt — 9 1. k 1, pass slip over. X k 16, k 3 t, X last
8th Bote. — P 2 t. X p 14- p 3 t reverse. X last time 2 only. 9th Bote. — SI 1, k 1, pass slip over, X k 12, k 3 t X last
S. ■ — ? ::'.t 1.
. I i — Divisible by 14. with 3 over, which allows the first three stitches of the pattern to be repeated at the end of the row.
1st Bote. — X p 1, k 1, p 1, * k 1, m 1 * 10 times, k 1, x. repeat to the end of the row.
— kl, pi, kl?P21 X.
•— p 1. k 1. p . :pl, kl, paw
flfip over, k 4
k 1, p 1, k 1, p 3, p 2 t reverse, p 9, p _ J. X.
• — X p 1, k 1, p 1, k 2, k 2 - . t ttip, k
-
SCALLOP SHELL PATTERN. 67
6th Bow. — X k 1, p 1, k 1, p 1, p 2 t rev. p 9, p 2 t, pi, X.
1th Bow. — X p 1, k 1, p 1, k 2 t, k 9, k 2 t, slip. X.
8th Bow.—K 1, p 1, k 1, p 9.
To make this pattern more open, the thread may be put twice round the needle, as if to make two stitches, the loop being knitted as one only.
Scaxlop Shell Pattern {border). — Divisible by 20, and edge, which purl.
1st Bow. — Purled.
2d Row. — Purled.
3d Bow. — X m 1,-* tw 1, p 1, * 9 times, tw2t. X.
Uh Bow. — X p 2 t rev. * twp 1, k 1, * 8 times ; twp 1, m 1, twp 1 X.
5th Bow. — X tw 1, k 1, m 1. * tw 1, p 1, * 8 times, tw 2 t. X .
Gth Bow. — X p 2 t rev. * twp 1, k 1, * 7 times, twp 1. m 1, p 2 t, m 1, twp 1. X
1th Bow. — X tw 1, k 3, m 1, * tw 1, p 1, * 1 times. tw 2 t. X .
8th Bow. — X p 2 t rev. * twp 1, k 1, * 6 times; twp 1, m 1, p 2 t, m 1, p 2 t, m 1, twp 1. X .
9th Bow. — X tw 1, k 5, m 1, * tw 1, p 1, * 6 times ; tw 2 t, X.
10th Bow. — X p 2 t rev. * twp 1, k 1, * 5 times ; twp 1, m 1, p 2 t, m 1, p 2 t, m 1, p 2 t, m 1, twp 1 X
11th Bow. — X tw 1, k 7, m 1 * tw 1, p 1, * 5 times.
12th Bow. — X p 2 t rev. * twp 1, k 1, * 4 times; twp 1, -r- m 1, p 2 t, -i- 4 times ; m 1, twp 1. X •
13th Boio. — X tw 1, k 9, m 1 * tw 1, p 1, X 4 times; tw 2 t. X.
14uA Bow. — X p 2 t rev. * twp 1, k 1, * 3 times ; twp 1, -r m 1, p 2 t, H- 5 times; m 1, twp 1 X.
Ihth Bow. — X tw 1, k IT, m 1, tw 1, p 1, tw 1, p 1, tw 1, p 1, tw 2 t, X.
68 FRILL KOTTTTNG.
16th Bow. — X p 2 t rev. twp 1, k 1, twp 1, k 1, twp 1, * m 1, p 2 t, * 6 times; m 1, twp 1. X.
11th Boio. — X tw 1, k 13, m 1, tw 1, p 1, tw 1, p 1, tw 2 t, 'X .
18ZA Bow. — X p 2 t rev, twp 1, k 1, twp 1, * m 1, p 2 t, * 7 times; m 1, tw 1.
IQth Boio. — X tw 1, k 17, m 1, tw 1, p 1, tw 2 t, X.
20th Boio. — X p 2 t, rev. twp 1, m 1, * p 2 t, m 1, * 8 times twp 1. X
21st Bow. — X tw 1, k 17, m 1, tw 2 t. X.
22d Bow.— Purl 20.
Ridge Pattern. — Knit one row ; purl one ; knit one.
4th Bow. — p 2. X m 2, p 2 t. X to tlie end.
5th Bow. — Knitted, treating ever two made stitches in last row as one.
6th Bow. — Purled.
1th Bow. — Knit this row, taking up, at every stitch, one of those of the first row.
This may be made wider by repeating the 4th and 5th rows. This stitch is principally used either hi one of two colors, the rest of the work being done in the other, or in thick wool, as zephyr, when the rest of the fabric is in Shetland. In either case it is easy to take up the loops of the first row, a few at a time, if there be many ; or at all events, if not too numerous, using a finer needle, and holding the two in the left hand, to knit from.
Frill Knitting. — In this there are, on one side, loops of wool, about an inch wide, ami numerous enough to make a full frill, :is if of quilled net. Rather lino Bteel needles should be employed, even if all 'the rest of the article bo done wit 1 1 coarse ones. Cast on any number of stitches, and knit <>nc plain row.
I.s7 Vattrrn How. Insert tin' point of the needle in the
stitch to be knitted, then put tin- wool three, four, or five tunes round it, and the first and second fingers of the left
HONEYCOMB KNITTING. G9
hand, ending with putting it again round the needle Knit this as an ordinary stitch. Do each in the row so.
2d. — Twist-knit every stitch, treating each collection of loops as one stitch. Repeat these two rows. It is a nice trimming for the front of children's hoods, setting in a full frill round the face ; for brioche mat borders and other pur- poses.
Chinchilla Fur Trimming. — Have four good shades of 8 thread fleecy grey wool, with black. They should be very distinct — the darkest nearly black; the lightest very light. Also some black or grey 4 thread fleecy. Knit this, in common garter-stitch, of any width you may want the fur. Fourteen stitches is a good width. Do the required length. Now work the coarse wool in cross-stitch, on every ridge of the knitting, having the wool double in a coarse rug needle, and at every stitch making a loop over a netting mesh, one inch, or rather more, wide. Do three rows black; then three of each grey, from darkest to lightest of which six; then hi succession back again to black. Afterwards cut all the loops, and comb it out. Sew it on as a fur trimming to basques, polkas, etc. It must always be taken off to be washed.
Honeycomb Knitting. — "White wool and one color. Any number of stitches divisible by five, with four needles, or with two extra stitches and two needles. With four needles — cast on the stitches with the white wool, close into a round ; purl two rounds. Join on the colored, x slip the two first stitches, as if you were going to purl them, then with the colored wool knit 3 ; repeat these five all round for four rounds ; so that, in fact, the same two out of every five are never knitted at all. Then with the white wool x purl 2, knit 3 x one round, and purl every stitch for two rounds. These seven rounds make the pattern.
In working with two needles, of course in every alternate
10 TO KNIT AN IMITATION OF MOSS.
round, the knitted stitches of the previous one must be purled, and vice versd.
Diamond Honeycomb. — An even number of stitches re- quired.
1st How. — Thread in front, slip one as for purling, k 1, re23eat to the end. .
2c?. — x k 2, slip one, which is always the one made by the thread passing over the needle, x .
3d. — x k 2 t, thread in front, slip one as for purling x repeat to the end, when thread in front k 1.
4th. — K 1, slip 1. x k 2, slip one, as in second, to the end, when there will be an odd one to knit.
5 th. — x thread in front, slip one as for purling, k 2 t x . Repeat these four rows, second to fifth, as often as wanted.
Observe, in casting off to knit together, the long stitch and the short one it covers as one.
Also, in reckoning the rows done of this work, count them on the wrong side. Every other one, in fact, being no row at all.
To knit an Imitation of Moss. — Procure good shades of emerald and olive green, and rich brown. There should be four or five shades of each. "With steel needles, which are very fine in proportion to the wool, cast on with the darkest shade of any color fourteen stitches. Knit an inch or so in common garter-stitch ; join on the next consecutive shade Avith a weaver's knot ; do the same ; repeat with every shade of this color to the lightest, then back to the darkest. Continue till you have done as much as you need. Use every color in the same way. Or, you may do all on one pieoe, knitting the various colors alternately; but I do not like this si) well. Now wet your work thoroughly with clean wain-, and hold it as near as possible to a brisk lire to dry, without Bcorching. If the oven be not very hot, it may be put in there. When dry and crisp, shave off one edge — that is,
KNOTTING. 71
cut it without going deeper than you can help. Unravel all the stitches but two, which are sufficient to make one edge perfectly solid. If you want narrow moss, six or eight, instead of fourteen stitches, will do. (For its uses, see Mats.)
KNOTTING.
This sort of work seems to have fallen, very undeservedly, into disuse. Still, many of my readers may be glad to know how it is executed, especially as it is both pretty and easy. It used to be employed for the coverings of reticules, sofa cushions, fishing bags and purses ; and probably was also put to many other uses. The material is fine whip-cord, string, or crochet cord. For purses, coarse crochet silk may be used.
Cut lengths of cord at least six times as long as the article you want to make. Take another piece, and at one end of it tie one of the long pieces exactly in the middle. Fasten another long piece, in like manner, about the sixth of an inch off, and continue so till you have tied in a line a sufficient length for what you want. If it is to be a round, tie the ends of the foundation string close together, so that the threads shall be all at equal distances. A round must be worked over a cushion, so' that it can be shifted. A flat piece must be pinned firmly on a pillow. Now take four threads. Hold one from each pair, as centre threads, and make of the left hand one a loop, on the right side of them. Take the right hand thread — pass it from underneath through this loop, over the centre threads, under both parts of the left- hand thread, again over the centre, and down, through the loop again. Holding the centre ones steadily, draw up the others. Repeat with right-hand thread ; continue alternately
72 y CANVAS LACE-W0KK.
until say six stitches are done. Do every four threads so. Then reverse the threads, the right hand of one set, and left of the next, being the centres of the next line of knots. Work longer or shorter pieces to fancy. All knotted work must be lined.
LACE-WORK.
This is darning in various patterns, on bobbinets ; and from the very moderate price, and good quality of the manu- factured article, that made by hand is now comparatively but little used. The design was generally drawn on paper, and tacked under the net. Then all the outlines were traced (by running in and out), with glazed cotton, an article now nearly obsolete. The leaves and flowers were then filled in, the heavy parts with close darning, the ligher in various fancy stitches, all darned in different ways, with lace-cotton, which was extremely fine.
Borders were usually done in such patterns as could be counted by threads. Many were very pretty ; and they had the merit of washing and wearing well. A purling was always sewed on the edge.
Those who are disposed to try this sort of work, should select a net with no dress in it, and allow amply for the inevitable shrinking. Evans' Moravian, No. TO, would be suitable for heavy parts, and their 150 Boars' Head for the darned fancy stitches.-
Canvas Lack-work, is an imitation, on oanvas, of black lace, for which any square orochet pattern will answer. The close stitches are done in black 4 thread Berlin; the open squares in fine black silk : all in cross-stitch. It is pretty for
h c purposes. Bags worked in colors have, not unfre*
quently, a border in this work. It was very popular a few years ago, bu1 isnol verj much used now.
BR0DER1E ANGLAISE. 73
MUSLIN-WORK.
MtISLIN-Wv.RK, OR EMBROIDERY ON MuSLIN. — Tills IS
especially of two kinds, exclusive of Swiss lace, or applique of muslin or tulle. They are English embroidery, mote generally known, even among us, by its French naUH', JBroderie Anglaise, and French embroidery.
Beoderie Anglaise is by far the simplest, although it requires, like everything else which is worth doing at all, care and skill to give it due effect. It is that sort of work in which the design is made in holes of various forms ; and has had, during the last few years, a marvellous success. Everybody has worked Broderie Anglaise, for collars, sleeves, skirts, and under-linen; and some has been done in a stylo which compelled one to wish that the holes had been merely cut out of the muslin and left so ; the addition of cotton, and the time requisite to sew it over, merely serving to make it more conspicuously ugly. When well done, it is, however, very handsome and effective ; and compared with the elabo- rate work of France, is quickly done. In all this woik, the pattern is marked on the muslin or other material ; those who have not facilities for purchasing it ready done, may copy any design they see in the magazines or elsewhere, by means of pounced patterns. (See Pounced patterns.) But as those who make it their business to transfer them, do so with much more accuracy than amateurs, the prepared woik procurable in shops is by far the most convenient. The mus- lin must then be tacked on tolle cirec, and all the outlines traced. This is done with cotton two or three numbers coarser than that employed for sewing. Any part that is afterwards to be covered with a depth of work, such as a scallop, has a line of thread run along each outline, and the space filled in with other tracing threads, taken elose to each other, and sometimes even over each other, so as
4
74 GRADUATED BUTTONHOLE-STITCH.
considerably to raise the surface. The stitches, in tracing, must always he done in the direction of the length of the leaf, scallop, or other object. "When leaves are worked in satin-stitch, and have to be veined, the space for the veinings must be carefully left in tracing. This portion of the work finished, you cut out, always within the tracing thread, such parts as require it, and then work over the edges, either by sewing over or overcasting. In the former, you sew the edges in a succession of close stitches, lying evenly One by another ; and it greatly improves the appearance of the work, and adds to its durability, if you hold in a thread of hard twisted (Boar's Head) cotton, and work over it. You do not fasten off at every hole or flower, but pass the thread at the back of the work, from one part to the one nearest. The Boar's" Head thread must be cut off. Round holes, when not very large, are pierced with a stiletto. If overcasting is done, the stitches should be fine, even, and quite close.
Graduated Buttonhole-stitch, ok Rose Scalloping, is much raised, and worked over in overcast. The great art is to make the edges of the stitches very even, presenting clear, regular, scallops. A bad worker makes them misera- bly jagged, so that it is difficult to cut the muslin away after- wards. This is distinguished from ordinary scallops by being each large one composed of a succession of smaller ; whereas, in a common scallop, the outer edge is one clear curve. The French use the term, point de rose, for all graduated buttonhole-stitoh, whether used for an edge or not.
^^^r^
SCALLOPS — EYELET-HOLE — SPOTS. 75
Scallops, may be sharp or pointed. In either case, they are threaded, raised, and worked over like the rose scallops, observe, that the greater the width of any scallop, in its widest part, the more it should be raised.
Eyelet-hole, is any small round hole, whether sewed or buttonholed.
Chinese Eyelet-holes are used to
represent bunches of grapes, and for
other ornaments. In the patterns they
are marked by a large circle, and a
very small one within^ but not in the
centre of it. They are always raised,
and worked in overcast, the needle
being put in the small hole at every
stitch. To work them evenly, so that
the outer circle may be well filled, and yet the threads not
lie too close in the inner, requires much skill, since there are,
of course, the same number of stitches in each part.
Spots. — If very small, they are made by taking two or three stitches in precisely the same place, so that one falls over another. If large, you trace and raise them, and work in satin-stitch.
During the last year or so, a new style of embroidery, used only for morning, or neglige toilette, has come up ; and from the rapidity of its execution it is termed Bkoderie a la Minute, and a la Poste. In the former, the design is entirely a succession of dots, as in the engraving; in the latter, the pattern varies, and may even be very elaborate ; but the stitch is the same for both, only that a spot does not require so many windings of the thread round the needle as a straight line would do. I append a diagram of the needle with the thread on it, and also various leaves, flowers, and other forms usually found in Broderie d la Minute and d la Poste.
76
BRODEKIE A LA MESTUTE AND A LA POSTE.
° a0'
O.OOOOQ,.
0°c0oCo° § % °°0ooooo°
ft* 5
£
__ .cP°o o5 0 \
6<*y. o00oo0 0
C
I should observe that collars and cuffs d la Minute (they are always made to match), are done in double muslin, the
marked piece and a plain. The edges are run together at the outline ; Ollt even, turned inside out, and stitched on the inside line. It is tlun ready for mounting on toils cirSe
FRENCH EMBROIDERY. 77
Collars and cuffs d la poste have usually a small scalloped edge. Evans's royal perfectionne embroidery cotton, No. 8, is the proper material for this work, on stout but fine jaconet.
^P
French Embroidery includes all the delicate and most expensive kinds, worked in satin-sitch, with overcast and the various open and fancy stitches. The tracing is done as in Broderie Anglaise, but more closely, in proportion to the delicacy of the design. Satin-stitch is done by a succession of stitches, always across the leaf or other part, lying close to, but not over one another, with even edges, so that no one stitch is conspicuous. The delicacy of the material regulates the size of the cotton employed ; but the perfec- tionne embroidery cotton before mentioned, from 30 to 100, will be found suitable. Occasionally Moravian is used. This is the mode of working on merino or cloth, with silks.
Veining, is simply tracing, and then sewing over, the veins of the leaves. It is done after the satin-stitch.
Sometimes one half of a leaf is in satin-stitch the other covered with small dots. These are made either by sewing over two or three stitches in the same place, or by minute French knots, for which see_ Embroidery.
There exists a vast variety of fancy-stitches, for filling in
78
THE WHEEL.
the open parts of French embroidery. Many of the point- stitches, especially the wheels, spots, and cross-bars of vari- ous sorts, may be employed with great advantage. I will also describe some others.
The Wheel. — In the space to be filled work a fine of Long Brussels edge, and then strengthen it by twisting round, a stitch under the outer line of every stitch. Within this you may work a rosette, or an English lace spot, or a set of radiating bars, or other stitches of which I append engravings.
No.l.
No. s.
No. 1 . — ,rn this a line of long Brussels (see Point stitches) is worked all round ; then a rosette, or four cross-bars ; after which take a stitch on the edge of every Brussels stitch, all round. The centre of the wheel ought to be solid.
No. 2 is an English lace spot, worked on seven cross-bars.
No. 3. — This pretty pattern is formed entirely of Long Brussels st.'tches, and worked from the outer to the inner part of the circle. Do the outer round at even distances, then take a stitch under the edge of each. Pass on to the next innermost circle; do three Long Brussels; miss the space of four, all round. Work on the edge like the last ; in the next circle, do four stitches in each long space, and again strengthen the edge by working on it; fill the next round with Lou;:; Brussels stitches, at equal close distances, work round ; then a round of plain Brussels.
THE WHEEL.
70
No. 4. — The principle of working this is the same as the last, hut the arrangement of the stitches is different, and an English spot is worked in the centre. Refer to the engra- ving in working it.
No. 4.
No. 5.
No. 6.
No. 5. — Do three Long Brussels, and miss a space equal to that in the engraving, before you do the next three. When this round is done, pass the needle under, as before, to make a firm edge. Then a round of Brussels, almost close, working this edge also. Work round to the middle of one of the spaces ; take a long stitch to the centre of the next space, twist back m it three times, and take another long stitch, and so on, all round. Work on the edge, as in the rest, and at every bar make a small English spot.
No. 6. — Do a close round of Long Brussels, and work the edge ; then take a long stitch across one-sixth of the space ; X twist closely back on- half of it, and do four more long close twisted stitches in the same place ; take another, miss- ing a sixth ; repeat from the cross. Do a row of Brussels on it ; work the edge, then take bars across, as in the engra- ving, and darn backwards and forwards across two, for the spot.
No. 7. — Do the usual first round ; then a long stitch, across one-seventh of the round ; another tight stitch in the same. Repeat so that there Mall be seven of these stitches. Now do three lon«r twisted stitches for a bar on each of the
80
THE WHEEL.
tight stitches, and between every two sets, a stitch on the loop, with a spot on it. Twist back on all these, and finish with an inner line of Brussels.
No. 7.
No. 8.
No. 9.
No. 8. — One plain round ; then on one-sixth, backwards and forwards, for the point ; take stitches on the edge, tc bring the needle to the next sixth, and so on, all round ; fin- ish with a rosette from bars connecting all the points.
No. 9. — The usual plain round, edged; then eight long and closely-twisted stitches, within which another close round is worked.
No. 10.
No. 11.
Eta 19.
No. 10. — The first round as before. Take throe bars across, at regular distanoes, as if for a rosette, instead of which, darn, baokwards and forward^ (like English bars) be- tween rxvvy pair.
No. I 1. — The first round here must he doubly twist ed, :iud edged ; tho next, once twisted and edged; then four twisted
TTTTC WHEEL.
81
bars, as in the engraving, to form a cross, and a spot in the centre.
No. 12. — "Worked like No. 6, but with two instead of five twisted bars in each stitch, and an ordinary English spot in the centre.
No. 18.
No. 14.
No. 15.
No. 13. — Like No. 10; but four twisted bars are taken across, in pairs, like those of Cordovan Lace ; and you darn in English bars between them, leaving the centre, where they all cross, open.
No. 14. — Like No. 12, with three long twisted bars in one stitch, and then a space. In working the next round, of Long Brussels, keep these three together, by not taking any stitch between them. Do an English spot in the middle.
No. 15. — Not very dissimilar to the last, but the long twisted bars are in six pairs, with the space of one stitch be- tween every pair ; and a Cordovan spot worked to connect them.
No. 16.
No. 18.
82
THE WHEEL.
No 16. — Like No. 14, with four English spots in the centre.
No. 17. — The six spots in the centre of this are Mechlin wheels, rounds of thread covered with buttonhole-stitch, and worked so as to touch and support each other.
No. 18. — The first round of Brussels here has a double twist, and is worked over. The next is simply Long Brus- sels, worked over ; then twisted bars are taken across, and a square spot darned.
No. 19.
No. 20.
No. 19.- -This is a very pretty stitch. In the first round the stitches of Long Brussels are somewhat apart, and edged. Then a stitch is taken, missing one quarter of the stitches. Then another, and another, and another. Twist a little way up one, and then work on it in Brussels Lace, and backwards and forwards in the same to make the square.
No. 20. — For the inner white circle here, you must take down an outline thread ; work it closely in buttonhole-stitch, and do a line of Brussels at each edge of it. Edge them. From the outer line, take the threads for the foundation of each spot, and carry a line round, working each, where the three cross.
In all these wheels, the thread is twisted down one or more pars, to the outer circle again, from the centre, for fastening oflf. They must all ba done in Evans' Boar's Head ( 'ol ton, No. 150.
STIELL AND CKOSS-STTTCH.
R3
These stitches will be found very useful in repairing work that has been worn out, or been injured by the laundress.
Shell-stitch, for oblong spaces. Make one row of Brus- sels edge of stitches at double the usual distance. Work backwards and forwards, doing nine stitches on each stitch in the first row ; then eight on nine, seven on eight, six on seven, and so on. This is pretty, also, for Point Lace.
Ckoss-Stitch, suitable for large spaces. Draw three threads and leave three throughout the space in both directions. Hold your work on the wrong side, and with a very fine thread take a stitch under every three threads, between every set of threes in the opposite direc- tion. Do this both ways until they are formed into lines of bars. (See Point lace.) In darning, you work always from the centre open square, outwards; two of the spots, therefore, in every cross are darned up and down, and the other two across.
Another pretty stitch, for which no name is found, is made by drawing four and leaving four threads, in each direction, like the last. Take a stitch on one bar, and then across the space, and do half the opposite bar. Carry the thread round the corner, do half that bar, and carry the thread to the opposite side ; cross the one al- ready there. "Work a stitch round that bar, and then proceed to fill in another square. Every alternate one is done thus. Fill a space with Venetian bars, make a cross in each square, take two or three button- hole stitches to connect them firmly in the centre, and work a Venetian dot between every pair of threads. I have given above a collection of twenty
siss*!:®--" ■
84 "NTTITN'It THE STITCH.
varieties of wheels, which my readers will find it perfectly easy to do, after studying the directions for Point Lace and those for Embroidery. The small circles, with thick white lines, always represent buttonhole-stitch. Evans' Boar's Head, 100, 120, or 150, must be used for them.
NETTING.
The implements used are a netting-needle, which is a bat of steel or ivory, open at both ends,- and with a small round hole in which to fasten the end of thread ; a plain bar, flat or round, which is called a mesh • with cotton, silk, or other material. A stirrup is useful for holding the work. It is a strip of embroidered canvas, an inch wide and five or six long, fined with ribbon, of which about a yard and a quarter is left, forming a long loop, from one end of the canvas to the other. This is worn on the foot, the foundation of the netting being attached to the ribbon, which ought to be long enough to come within a pleasant range of sight. But, though not so neat and pretty, a fine cord passed round the foot answers all the purpose ; and still better is a small cushion screwed firmly to the edge of the table.
The Stitch. — Tie the end of your thread in a knot to the stirrup, or to a thread fastened to it, if it be a ribbon. Take the mesh in your left hand, and hold it between the finger and thumb; parallel with the former, and close under the knot. The hand is so placed that the other fingers turn in- wards, towards you. Pass the thread over the fore, middle and third fingers, round the last, and again over the others,
and mi'ler the mesh. Catch it with the thumb ; now carry it loosely under all the fingers, and insert the needle under the upper part of the former loop, over the second part ofit, •Mid in the Btltch to be worked, or under the foundation loop
SQUARE AND HONEYCOMB NETTING. 85
Dmv out the needle towards you, first dropping off the first loop, and then gradually tightening the other, retaining it, however, on the little finger as long as possible, to prevent it from knotting. When as many stitches are done as needful, work backwards on them, for a flat piece, but for a round, you must close it by taking the first stitch of last row as the first of this ; after which work round and round. The foun- dation thread may finally be drawn out. Common netting stitch forms a diamond. Take care that every stitch be drawn np evenly, quite close to the mesh, as long and irregular stitches spoil the beauty of the work. You always increase in netting by doing two or more stitches in one hole.
Square Netting is the simple stitch done so as to have the shape of a square instead of a diamond. Begin on one stitch ; and, working backwards and forwards, always do two in the last stitch of every row, until you have one hole less, counting from the point up one side, than the design requires. This forms a half square, when needed. Do one row without increase, and then net two together at the end of every row, till the two last are taken as one. This work always requires to be damped, slightly stiffened, and pinned out straight to dry, to give it its proper shape.
An Oblong Piece of Square Netting. — Do the half square and plain row as in the last. Then decrease at the end of every alternate row only ; increasing one at the end of every intermediate one. "When you have one hole less than you want, on the long side, do another plain row, and decrease as in square netting. Must be washed like the last. Honey-Comb Netting. — Begin with an even number of stitches.
1st Hew. — Miss the first, net the next. Draw the first through it, and net. Re- •C_^T^1IS> peat to the end.
86
GRECIAN NETTING LONG-TWIST-STITCH.
Id and 4th Hows. — Plain rows.
3d Mow. — Net the first. Then work like the first row tc the end, when you will have an odd stitch, which net.
Repeat these four rows. Some people use, for the plain row, a mesh five sizes larger than the other. It makes a more open stitch.
Round Netting. — Like plain netting, but that after passing the needle through the loop of thread you draw it out, and by another movement, insert it downwards, and towards you, in the stitch to be worked. Draw it up like an ordinary stitch. It contracts very much, for which allowance of nearly a fourth must be made, if you desire to work in round netting any article for which the directions are in common netting.
Grecian Netting. — Take two meshes, one being seven sizes larger than the other. Do a plain row with the large mesh. Now take the small, and begin the stitch as usual, but when putting the nee- dle in the loop as usual, take up, also, the second, which draw through the first. Through this again draw the first and finish it.
The 2d Hoic forms a very small loop, at the side, which net as usual. Repeat to the end. Sd How. — Plain, with large mesh.
4th Roto. — Small mesh. Do one plain stitch ; then the pattern, like the second row, and end with a plain stitch.
LoNa-TWisr-STiTCH.--Do alternately three rows of round
FEENCTT-GUOUND AND SPOTTED NETTING.
R7
netting, with a small mesh, and a plain row, with a mesh doable the size.
French-ground Netting. — Have an even number of stitches.
1st Mow. — One stitch of plain netting ; one with the thread twice round the nee- dle (usually called a double-stitch, and always treated as one in the following row). Repeat these two.
2d How. — Plain netting, one stitch being long, and the next short.
3c? How. — Make a double-stitch and draw the needle entirely from under the mesh ; insert it in the right-hand hole of the last row hut one, which is part of the line of holes before those last made. Take up the first stitch of the last row, and draw it through that of the lower row ; net it. The second loop of the last row will also be drawn partly through. Net this, which is a very small stitch, in the ordi- nary way. Repeat these two stitches throughout. The next row is like the second ; the fifth like the third, except that a plain stitch is done at the beginning and end of the row.
1th Row. — Short stitches are not netted in the following row.
Spotted Netting. — Do a stitch on your foundation with the thread twice round the mesh ; then two stitches with it only once round the mesh. Repeat these three stitches in working backwards and forwards. After the foundation row, all three stitches must be worked on one loop. This is one of the designs which makes so pretty a tidy, without the trouble of darning a pattern on it.
88
DIAMOND AND LARGE DIAMOND WETTING.
Diamond Netting. — 1st Roto. — 1 plain stitch, 1 double one (with the thread twice round the mesh), alternately.
2d Roto. — In the preceding row, the stitches are alternately short and long ; this row is in plain netting, but every alternate loop is worked not close to the mesh, but so as to make the ends even.
3d Row. — 1 double-stitch, 1 plain-stitch, alternately.
4th Roto. — 1 long-stitch, 1 plain one, alternately.
Large Diamond Netting. — The number of stitches required for this pattern is 6, and one over.
1st Roto. — 1 double, 5 plain,, repeat to the end, which is a double-stitch.
2d Row. — 1 plain netting, 1 long, draw out the mesh ; 4 more plain netting, draw out the mesh. 3c? Roto. — 1 plain, 1 long-stitch double, .3 plain double, 1 plain. \th Row. — 2 plain, 1 long double, 2 plain double, 1 plain. bth Row. — 2 plain, 1 long double, 1 plain double, 2 plain. Gth Roto. — 3 plain, 1 long, 2 plain. ItJt Row. — 3 plain, 1 double, 2 plain. 8/7i Rou\ — 3 plain double, 1 plain, 1 long double, 1 plain. Dfh Row. — 2 plain double, 2 plain, 1 long double, 1 plain. \0th Row. — 2 plain double, 3 plain, 1 long double. 1 1 Ih Row. — 1 plain double, 4 plain, 1 long double. 12th Row. — 1 long, 5 plain.
A counterpane done in Evans' Boar's Head Cotton, No. 2, iii this pattern, and brimmed simply with a fringe, w ■■ mlil make an elegant finish to a bed, over a bright colored comfortable.
SPOTTED DIAMOND AND LEAF-NETTING.
Spotted Diamond Nettix"-;. — ■ This is worked with two meshes, one heing half the size of the other. The spot is made by- working a plain-stitch in the same loop as the last, with the small mesh. Four stitches are required for each pattern, and an extra one in the entire length.
-1 double, 2 plain with spot, 1 plain.
1 plain, 1 long double, 1 plain with spot, 1 plain
-1 plain, 1 long double, 1 plain double, 1
1st Mow. 2d Mow.- double.
3d Mow plain.
4Jh Mow. — 1 plain, 1 plain with spot, 1 plain, 1 long. 5th- JRow. — 1 plain with spot, 1 plain, 1 double, 1 plain with spot.
6th Mow. — 1 plain with spot, 1 plain double, 1 plain, 1 long double.
1th Mow. — 2 plain, 1 long, 1 plain double.
8th Mow. — 1 plain, 1 plain with spot, 4. plain, 1 long.
Leap Netting. — Each pattern requires five stitches, and four extra in the length ; two at each edge.
1st Mow. — 3 plain, 5 plain all in one loop, 5 plain in next.
2d Mow. — Take on your needle, at once, the 9 extra loops made, and work them as one ; 4 plain.
3d Mow. — Plain.
±th Roto. — 2 plain, increase 4 in each of the next two loops, 1 plain. 5th Mow. — 1 plain, 9 together as one, 3 plain. 6th Row.— Plain.
30 NETTING WITH BEADS DARNED NETTING.
This description does not include the extra stitches at the ends, which are always in plain netting.
Double-stitch. — Pass the thread twice round the mesh, instead of once, thus making a long-stitch.
Long-stitch. — Used when some of the stitches in the pre- ceding row have been double-stitches. To work so that the loops of this row shall be even, the knot must not be drawn close to the mesh, in working on the single-stitches of the previous row. These stitches are termed long-stitches.
Netting with Beads. — Instead of a netting needle, use an ordinary darner, of such a size that the beads can pass over it. Thread as many as you wish to put on one stitch, then net it as usual. Thread on more beads, and do the next.
Darned Netting is simply a piece of square or common netting, with a pattern in it darned in knitting cotton. As a rule, whatever the No. of the Boar's Head Cotton, with which the ground is done, the same number, in Evans' Knit- ting Cotton, will be proper for darning. It is done by work- ing backwards and forwards until the hole is filled in, the cotton being always carried through as many holes as have to be filled up in one line.
For square netting any square crochet pattern will do.
Sometimes, instead of simply filling in the design, you work oni? in a variety of open stitches. The patterns chosen for '.his purpose are almost always geometrical, or such as can be done by counting threads. (See Plate I., Fig. 1.)
Flanders Lace is a variety of darned netting, in which formerly ecclesiastical work was much done. The ground is always square, or oblong netting. The design is marked on point paper. It is then darned so that every square to be filled in has four of the darning threads crossing it, two in
each direction. I believe that it is more cQffioull to acquire
ekill in this than in any other sort of fancy-work, for you
VANDYKED SQUARE NETTING.
91
must never cross two threads at a time, and the whole must appear woven, one thread ahove and the next below. I do not think it can be taught by writing, but I will try to ex- plain it, if possible. Begin at the right hand lower corner, with whatever row of squares there may be to be filled up. Run under one thread of the netting, over the next, along the length, and back again. Now, if there be another line, not projecting more to the right, do it the same ; but if it comes further out to the right, you must darn upwards. If this one square only goes beyond, you may turn the corner and darn in the direction of the first ; otherwise, continue darning upwards until you do come to a corner. The ac-
aaaoBSBDonsjii
etaiDcaasa; •■■••• 16!
|itggg'(
No. 1.
No. 8.
companying engravings will, perhaps, aid in the description of this work. Crests and coats of arms look beautiful done in it ; and for churches, I have seen chalice cloths and other things, with figures of the apostles, exquisitely wrought.
Embroidery on Netting is another sort of work, for which see JEmbr older y.
I will conclude this article with a few useful edges in netting :
1. Vandtked Square Netting. — Begin on one stitch, and increase at the end of every row, as for square netting, until there are say thirteen holes up the side. Then increase in every other row only, until there are eight holes up the new side, including the last of the thirteen, which may be classed with both. The next time you come to this point, leave the last seven stitches, and turn back. Continue increasing at
92
SHELL EDGING — ANOTHER SHELL
the end of every alternate row, and making points like tun first. When you wish to close it, net two together several times, when you would have done two in one. These Van- dykes may afterwards be darned in a pattern.
2. Another Pointed Edge, which may be worked as a border to curtains, or any other long article. Do eight stitches ; turn, and on them work seven. Turn and do six. Then, 5, 4, 3, 2. Cut off the thread closely, join it on to the next eight stitches, and do the same. Of course, any larger number may be taken, or any smaller, down to four; but you end always with two.
3. Shell Edging. — A flat mesh, half inch wide, and a round one, No. 12. Do twelve stitches in one of the founda- tions with the flat mesh ; turn and do two in each one with the small ; then two rows of one in each one. The next shell should either be begun so that the edges will touch, or that one will lie half over the former. The corner shells will want eighteen stitches as a first row.
Avotiier Shell. — Do one row all round the article with the SSDle mesh With which it was worked. A second, and
ANOTHER LACE AND EDGING. 93
even a third row may be done in the same way. Now take a flat mesh, which will make stitches of double the size. Do twelve in one, miss three, twelve in next, and so on. Take a mesh half the size of the smallest and do a stitch on every stitch, and when you come to the long thread, passing across the three missed stitches, draw it through the middle one and do a stitch on it. In the last row, with the fine mesh, do a stitch on every stitch. Three meshes required.
5. A small neat shell edging for mitts and other articles, may be done exactly like the last, but with eight long stitches in one only.
6. Another Lace. — A fine mesh, say No. 14, and a flat one half an inch wide. With double silk and the flat mesh, do three stitches in one and miss the next. With the fine, do a stitch on the first double stitch, but the other two double loops treat as four stitches. In the next row do a stitch on every stitch ; but in the next, miss the one over the double, so that you do four over five ; in the next, three on four ; in the next, two on three, there being, of course, a long thread between. Conclude by taking some of the silk four times doubled and working one stitch between every two of last row, with a somewhat coarser mesh.
7. Another Edging. — One broad mesh and a round one, half the size required. Do two or three rows plain, with the fine mesh. Then take the flat one ; do a plain row. Then the fine one. Draw the second through the first, and then the first through it, netting it in just the same direction as if it had been worked plainly. Then net the second. Repeat these two throughout the round or row, and add one or two plain rows.
Observe, that in doing any one of these edgings, if you we working round anything, as an antimacassar, you must in- crease sufficiently at each corner in the first row for the outer edge to lie flat, it being frequently impossible to increase afterwards without spoiling the pattern.
94 OBSTE CEOCHET A3TD K2UTTUTG.
ORN£ (CROCHET AND KNITTING.
Oeio: Balls, similar to those used for fluted embroidery, are also made for knitting and crochet, and the designs are, if possible, even more beautiful. The knitting is done in variably in moss-stitch, with No. 12 wooden needles. The crochet is worked backwards and forwards, in single crochet, with the hook inserted under both sides of the chain part of the previous row. The worker is guided to the end of the row by a knot, as in fluted embroidery. The casting on of the knitting and the foundation chain of the crochet, must be done with four-thread Berlin wool, matching the ground of the work in color ; and to both it is very advisable to add one or two rounds of double or treble crochet, in suitable colors, with four-thread Berlin. I have observed that gold color or maize, for the inner round, with, perhaps, dark green or claret for an outer one, always looks rich. In the outer round the orne fringe is crocheted, if it is intended to trim the article with it. But crochet, being solid, will bear a fringe of O. P. beads.
Both these kinds of work are beautiful for throwing over lounges and sofas, or for covering fancy tables. The colors are exquisite and brighten with wear. The designs are most beautiful. I have before me a small table-cover, the design of which is a group of the most natural water-lilies imagin- able, with a very rich border of shells. It is knitted. No. 4 knitting ball is also beautiful. No. 1 crochet ball makes a charming table-cover, the ground being white, with a wreath of roses. It would be a most appropriate gift for a bride. Every ball of wool is accompanied by an engraving and full instructions. I can hardly sufficiently commend this inven- tion, which has so rich an effect with so little pains or cost, and makes any roDin look bright and handsome*
PATCHWOBK. 95
PATCHWORK.
This is a favorite amusement with many ladies, as by it they 6onvert useless bits of silk, velvet, or satin, into really handsome articles of decoration. Of the patchwork with calico, I have nothing to say. Valueless indeed must be the time of that person who can find no better use for it than to make . ugly counterpanes and quilts of pieces of cotton. Emphatically is the proverb true of cotton patchwork, Le jeu ne vaut pas la chandelle I It is not worth either candle or gas light.
But scraps of the more expensive materials I have named, will really, with a little taste and management, make very handsome cushions, chair covers, and ottomans.
The first care is to select a design; and it should be chosen with reference to your collection of scraps. If, for instance, you have an abundance of two leading colors, you may be able to work a pattern which would be impracti- cable had you only chance bits of a number of tints. Geo- metrical designs are always selected. Octagons, hexagons, cubes, stars, diamonds, triangles. If you are going to do a large piece of work, it is well worth procuring a die for stamping out a pattern of each of the sections, as you thus attain an accuracy hardly otherwise procurable. With this you stamp out a number of pieces of stout writing paper ; and then cover one side of each with the material, turning over the edges, and tacking them round. They are sewed together, on the wrong side, in their proper places, and the papers are generally, but not always, afterwards withdrawn. The principal care needed is to make the colors combine well. I give two patterns for Patchwork, merely by way of illustration.
PATCHWOBK.
No. 1.
No. 1 lias three different shapes only, forming a succession of cubes, the top and two sides only being visible. If the top were made always of some dark color, and the two sides of two distinct shades of a lighter, the effect would be very good and extremely rich. For suitable combinations of color consult the article on Coloring.
Pattern No. 2 consists of two different stars of light points, with a cross between. One star has simply sixteen pieces, all radiating from the centre, and so arranged that two shades of the same color should be used alternately for them. The centre of the other star is made in the same way, surrounded by eight diamonds, and further extended by a broad mitred band or ribbon, to form points. This makes the star of the same size as the simpler one, which may, if preferred, be substituted for it.
A simple hexagon makes a very pretty design for patch- work, there being no possible difficulty in fitting the various pieces ; it has the advantage of requiring only one stamp.
Narrow velvet ribbons may often be introduced, with gveat advantage, in patchwork, to throw up the colors. If, for instance, the outer band of the alternate stars in design No. 2, be made of black velvet ribbon, laid on, and merely folded at the angles, it will so relieve the other colors that
!"H:;,.!" !..h: "vissk":"-
PATCnWOETC.
07
No. 2.
you may use, with propriety and effect, much brighter colors than would otherwise be admissible.
Great care is required to make every point and angle sufficiently well. This must be done in tacking on the paper shapes, as well as, afterwards, in sewing the pieces together.
5
98 POINT-LACE.
POINT LACE.
Of all the various kinds of lace, that known as Point is considered the most valuable. It is — or I should rather say was — made entirely by the needle ; and was principally the work of nuns of the tenth to the sixteenth century. By the most tedious toil and elaborate designs, they produced, after perhaps spending a life-time on it, a marvellous piece of lace for the dress of a priest, an altar cloth, or something else connected with the ceremonies of the Roman church, valu- able and beautiful enough to be in harmony with all its other magnificent decorations. Sometimes, also, this lace was adapted to secular purposes ; designed as a gift which would insure the favorable consideration of some mighty sovereign — or to be purchased at a sum which would effectually increase the revenues of the convent. Of course, the very wealthiest only could venture to possess such expensive articles of dress, which descended through the various generations of a family, heir-looms, as much prized as the family diamonds, and considered, perhaps, as an even more exclusive proof of an ancient lineage. Since the French Revolution, however, there has been a greater abundance of this valuable lace — et pour cause. When churches, convents, and monasteries were ravaged during the Reign of Terror, and the priceless lace fell iato the hands of a rabble, who might indeed know something of the approximate value of gold and silver, but could not estimate the equally costly fabrics which they found among
the ecclesiastical stores, it was sold, for really nominal sums, to the Jewish and other receivers of such ill-gotten goods, and
|»y them oonveyed to England, and other countries, where a
ready sale for it was anticipated, notwithstanding the marks
SPANISH ROSE AND ITALIAN POINT. 99
left on it of the brutal and ignorant hands through which it had passed. And even now, the trade in Old Point is chiefly among the Jews.
But had there been ten times as much brought to light ns was actually discovered, there would not have been sufficient to materially lessen its value, so vast is the labor that is re- quired for even a very small specimen of the choicest sort, known technically as Spanish Rose Point.
Spanish Rose Point was the production, chiefly, of the Spanish convents. It is very close, elaborate and massive, the edges of the scrolls and ornaments being raised very much, whence the lace has its name. I have succeeded in so closely imitating this lace, that it is hardly possible to tell the difference between that made three years, and the work of three centuries ago. I calculate, however, that the small collar worked as a specimen for the French Exhibition of 1855, cost me quite $50, or £10.
Italian Point is made with a flat linen braid, elsewhere described. (See Braids.) I was led to make this braid by a desire to repair a very beautiful robe, out of which some rats had apparently been making more than one luxurious meal. I was told it was impossible to do it ; and with womanly perversity chose to prove that there was nothing- impossible in it. To unpick a little and procure a morsel of the braid was easy, and coidd not make the robe any worse than it already was. The thread had to be made to resemble it ; then I was obliged to learn pillow lace-work, to imitate the braid. I succeeded in doing this ; and by setting some lacemakers to work, and showing them how, obtained braid enough to repair the dress. The rest was easy ; and when I returned it to Alton Towers (the seat of the great Catholic Earl of Shrewsbury), no one could have told where the new parts were. This work is, however, not nearly so tedious as Spanish Point, the braid taking up a considerable space in
100 MODERN POINT.
each pattern, while the lightest stitches only are employed in filling in the flowers and leaves.
There is another variety of Italian Point also ; of this the ground is fine linen, which forms the foundation, the threads being drawn out for all the open parts, and left only in those which form the straight lines. When all the threads are drawn out which the design requires, the linen, now very little more than a collection of loose, ragged threads, is tacked in proper form on parchment, or toile ciree. The threads are then woven into bars, thus : suppose six parallel threads are left close together, for the purpose of being formed into a bar. You take a needle, threaded with Mecklenburg, and weave backwards and forwards on these six, always taking up three on your needle, until the length forms one solid, braid-like bar.
These being all done in the same way, you fill in the pat- tern with wheels, foundation, edging, etc., like any other point lace, but that you use Mecklenburg threads only, no cottons, in this sort of lace, which was usually employed for borders of altar-cloths and other sacerdotal purposes.
This lace belongs almost exclusively to the fifteenth and sixteenth centuries. The designs worked in it were some- times strangely grotesque. I have seen specimens with figures of men and animals worked with inimitable accuracy; and I once possessed a set of lappets, each medallion of which was a scene from iEsop's Fables, worked so beautifully aud minutely that no painting could have given a more accurate idea of the subjects. As may be expected, perfect speci- mens of this sort of lace are very rare, aud proportionably valuable.
Modern Point has outlines of cotton braid, filled in with the lighter stitches. It is very pretty, and oven handsome; but still uot to compare with the other kinds of point. It is sometimes called Lacct-work.
THE MATERIALS AND OUTLINES 101
There is one advantage Point Lace has over every other sort of work : its results are valuable, while the cost of ma- terial is a mere trifle. In this respect it forms a great con- trast to many other kinds of fancy work, in which the finished article is but little more valuable than the mere material. It has another also. Perhaps not very many ladies would care to work a collar that would occupy them six months, working two or three hours a day (although it must be remembered that Point Lace is never old-fashioned, and that it never wears out) ; but all are glad to be able to repair a costly col- lar, or insert new and beautiful fancy stitches, when the original have worn out ; or to modernize expensive lace or muslin-work; and for all these purposes, the Point Lace stitches will be found most useful, and, indeed, essential.
The Materials. — Besides the braid above mentioned, are a selection of the cottons of Messrs. W. Evans & Co., including Mecklenburg Nos. 1, 7, 80, 100, 120, HO, 160; Boar's Head Crochet Cotton, Nos. 40, 50, 70, 90, 100, 120, 150 ; and Mo- ravian, No. 70. Of course, all these sorts are not needed for one article ; but the set will suffice for any design ever given in Point Lace ; and, as I have mentioned elsewhere. (See Cottons.) I have never found any cottons but those of Messrs. W. Evans & Co., with which I could successfully imitate the old Point. Besides the braid and cottons, you want a pattern. In olden times these were drawn on parch- ment; but I have found paper answer perfectly well, if lined with calico, or, for antique Point, with alpaca. The design rs drawn on paper, colored on one side and white on the other. After being inked, the outlines are cut out, and the paper is mounted on calico, which is pasted on it, the edge being turned over to protect the paper from being torn.
The Outlestes. — Italian braid, or the only substitute now procurable, linen or cotton bi'aid (which must be closely woven), requires to be run on at both edges, like broad silk
102
BRUSSELS A5D SORRENTO EDGE.
braid. The article on Braiding describes the process for either broad or narrow braiding; but as this has to be removed from the foundation, which is not the case with any other kind of braid-work, the ends, instead of being drawn through to the other side, must be neatly turned under and securely fastened together.
In Spanish Rose Point, the outlines are made of a single thread only; No. 1, 7, or 12, Mecklenburg, is used. It is sewed down along the outline with another fine thread, in stitches taken across it, and close enough to hold it firmly down. Joins are made by laying the two ends side by side and sewing them down together. Sometimes the pattern for Spanish point is drawn on toile ciree.
The flowers, and other parts of the pattern, are filled in with what are termed Stitches ; the ground is made in Bars ; the outer fines finished with Edges. I may remark that button- hole-stitch is the foundation of almost all the Point stitches. Brussels Edge is the simplest stitch, being merely common buttonhole, worked at regular intervals, without drawing the thread tightly. Do about eight to the inch. Long Brussels has the needle put once round the thread, to give it a twist, and make it stand out farther from the foundation.
No. 1.
No. 2.
Sorrento Edge (No. 1). — Do a loose buttonhole-stitch, and "ii this Loop, another, which draw tightly. Repeat this at half the distance. Work these two in succession.
LONG BRUSSELS.
103
Venetian Edging (No. 2). — Do a Brussels-stitch, and on it four tight stitches. They ought not, however, to be drawn too tightly.
Little Venetian (No. 3). — A Brussels-stitch, and one tight one on it, worked at equal distances.
To fasten the Thread. — The thread must be firmly and neatly fastened to the braid, before you begin, no knots being per- missible in Point Lace. Run a few stitches on the braid, and then secure it, at the point where you wish to begin, by a tight button- hole-stitch, on the edge of the braid. In fastening off do the same, two or three buttonhole-stitches being needed.
LACES.
Brussels. — A succession of rows of Brussels edge, one worked on another. The only troublesome part is the last row, when it has to be joined to the braid. Draw your needle through the stitch of last row, and then take one through the braid, letting the thread cross over the loop just made, and inserting the needle in the braid from be- neath.
No. l.
No. Q.
Long Brussels (No. 1). — Like Long Brussels edging, some times worked over a thread.
104
VENETIAN, SORRENTO AND ENGLISH LACE.
Lined, or Filled Brussels (No. 2.) — Take a bar of thread across from right to left, half the depth that the line of Brussels should be. Work back, from left to right in Brussels, but over this bar. The needle should slip under the bar before inserting in the braid, and go over it in draw- ing it out.
No.l.
No. 2.
No. 8.
Venetian" Lace (No. 1) has always the line from left to right in Venetian edging, and from right to left in Brussels. This is done because Venetian can only be worked in one di- rection, and the alternate row of Brussels saves the fastening on and off so frequently.
Sorrento Lace, No. 2, can only be worked from left to right. It consists of successive rows of Sorrento edging, the short stitches of one line being worked on the long of the last.
E.vglisii Lace (No. 3). — Make a succession of twisted parallel lines, either diagonally or horizontally, in the space to be filled. They are done thus : Fasten on the thread, and carry it across the space to be tilled ; secure it, by a buttonhole-bar, to the opposite braid ; cany it hack again, twisting the two threads together, by passing the needle under the one already made, until they form one. Fasten
where it began, and run a little way on the braid to the place where the next, bar should start. Continue thus, until
nil the bars in one direction are done. Now take the tirst,
thread in a precisely oontrary direction, passing the needle
OPEN ENGLISH LAdfe — ENGLISH ROSETTES.
105
under all the bars. Fasten to the braid at the opposite side ; twist back to the first place where they cross, when pass the needle under the single thread, on the opposite side, then under again on the twisted side of the new bar ; work thus round the cross, always under the new bar and over the other, until it is large enough. Twist on the single thread until you come to the next cross, when work another spot — and so on, until the space is rilled.
Open English Lace. — Worked in the same manner, on double the number of threads. The slanting lines only are dou- ble ; and there being eight threads at every cross, instead of four, you take the needle under one, and over the next (but always under the new bar), in making the spot. It is necessary to be very careful about distances in this pattern, otherwise the threads will not cross at the places proper for the spots.
English Rosettes are sometimes called spider's webs. Indeed they greatly resem- ble them. They are worked on 3, 4 or 5 twisted bars, making 6, 8 or 10 lines radia- ting from the centre, according to the shape of the space to be filled. Do them like those of English lace, the single line of every new bar going under the others, and over them in twisting back, so that all are caught together in working. When you have done every line but the last, and that so as to have twisted to the middle, take a buttonhole-stitch across all the lines, to hold them together. Now pass your needle, under one line; then again under it and the next ; under the last (so that the thread goes round it). Weave all round hi this manner, until the spot is as large as you desire, when you finish twisting the half bar, and fasten ofF.
5*
106 CORDOVAS, TAXES"«nESTSX5 A>~D FOUNDATION tACE-
H±3T.iQrxz Lace. — This is always done with extremely fine cotton. Make a twisted bar, like the first for English lace. Do a single line for another, about the twelfth of an inch off Twist back on it, a little way, then, across the twisted bar and the single one, darn a spot of about the eighth of an inch. Twist again as much, up the single bar ; and do another spot. Work up these two bars thus ; then another pair, at a little distance ; and so on through the space, always in one direc- tion. Cross them in the opposite, having care that the pair of threads should come where the bars of the other are separate. The spots must come in the spaces between. Always make the single thread come under the bars already done : and in twisting back, take a stitch between every pair, which serves to keep them separate.
Cordovan Lace (Xo. 1). — Is similar to the preceding, but the lines are worked in threes, the spots being worked across them.
Yai.kv iiivNxs Lace is rarely used, being simply close fine darnin_r.
The following stitches are all varieties of buttonhole.
I. No. 2). — Tin- is lined buttonhole, or
filled I : but tilt- stitches are taken as close to each
other < v.nly. In BO rows,
one stitch i- taken bet PO, of the previous. The fol-
B,
A>~nVERP A>~D OPES' AM WEEP LACE,
10?
H ■ • ' "■
a. a ■ _
So. t
Bd :.
So. 3.
By missing the space of one stitch, at certain regular in- tervals, Close and Opes Diamond are made. The former (Xo. 1) has four, the latter (Xo. 2) has nine holes.
A> i weep Lace (Xo. 3.) — The holes are so arranged as to form a sucession of diamonds.
1st Hoic. — Do 4 stitches, leave the space of 4 ; do 11 leave the space of 4.
2d Rove. — Aliss the 4 worked, do 4 on the loop, 10 over 11, and 4 on the next loop.
Sd Ho'.r, — Like 1st : with 11 on the centre 12 of the 15. ±th Hoic. — 7 stitches, miss the space of 4, 4 over the cen- tre of 11 ; miss the space of 4 ; do 4 on the loop — this, being succeeded by 7. makes 11.
5th Sow. — 11 stitches, miss the space over 4. 7 stitches. 6th Hoic. — Like 4th. This completes a diamond.
Open' A:stwerp is worked backwards and forwards, and not over a thread. It also has six rows.
1st Hoic. — S close stitches. Leave a loose loop over the space of 5. Endeavor to end the row with B. 2d Soto. — 5 close over the 6 centre of B : 2 on centre of loop. Loops, of course, between.
3d Hoic. — 2 close on centre 3 of 5 ; 5. namely 1 on 2, and 2 each side of it.
4th Sow. — Begin with 2 stitches on the loop before the 5 : 4 on the 5, and 2 beyond them ; miss the space of the 2 close stitches.
ins
ESCATJER-STITCH — CADIZ LACE.
bth Mow. — 5 on centre 6 of 8, and 2 on the loop.
6th Mow. — 2 on centre of 5 ; 5 over 2 as before.
Observe, that to give due effect to this stitch each line must be begun a little more in advance of the last than is usual with these stitches. This is done by running the needle a little more forward in the braid or other foundation.
No. 1.
No. 2.
No. 3.
Spotted Lace (No. 1). — Leaving the space of 3, do 2 close stitches; X miss the space of 5, and do 2 more. X repeat between the crosses only. In all the following rows, do 2 on the centre of every loop.
Venetian Spotted Lace (No. 2). — A space is filled in with Venetian bars (see Bars), worked across each other. Then, in each space, 4 English lace spots are worked.
Escauek-stitch (No. o), is so called because the pattern resembles the steps of stairs. Do 0 close-stitches; miss the space of Sf. In the next row, do 3 on the loop, and 6 beyond ; tli us making a loop over the last 3 of every 9 stitches. Do every row the same.
No. 4.
No. 5.
Cadiz Lace (N<>. -1). — Tn tne fi "si rov, do 0 close stitcTieR.
TAN, IURCELONA, FLORT^NTTNF: AND ROMAN LACE. 109
miss tlie space of 2 ; do 2 ; miss the space of 2. In the next, do 2 on each loop, making thns a short loop over the 2, and a long one over the 6. Work these two rows alternately. Fan Lace (No. 5). — 1st Mow. — Do 6 stitches, and miss the space of 6.
Id Mow. — Do 5 stitches on 6, and miss the same space as before.
3d Mow. — Do 6 stitches on the bar ; and, missing the stitches, make a loop over them. 4th Mow. — Like 2c?.
Barcelona Lace (No. 6). — Do 1 row of Sorrento edging; work back on it, by making 4 stitches on the long space, and missing the short one.
Florentine Lace. — 9 close-stitches, miss the space of 4. Repeat this, and it will form a foundation.
1st Mow. — Working back, 4 stitches on the loop, miss the 9 stitches. 2c? Mow. — 9 on loop, miss the 4. 3c? Mow. — 4 on loop, 4 more on the centre of 9. 4th Mow. — 3 stitches on the small loop, 3 more over 4, and 3 on the next loop, leaving a loop over the 4.
Roman Lace. — 1st Mow. — Do 5 stitches close together, and leave the space of 4. 2c? Mow. — 4 on the loop, and 4 on the 5. ■ 3c? Mow. — Leave a loop over the centra 3 of 5 in the 1st row ; do 5.
4th Mow. — 4 on 5 ; 4 more on the loop. 5th Mow. — Like 3d; only that the loop is to come over the centre of the 5 of the 3d row, so that the holes will not fall in the same place.
In repeating this pattern, omit the 1st row, which was merely a foundation.
110
MECHLIN WHEELS — BEESWING LACE.
Mechlin Wheels. — Do lines of button- hole (Venetian) bars, in one direction, dis- tant about the third of an inch from each other. Cross them with other bars, at the same spaces, in closing which, at every cross, you will work a wheel, thus : cover the thread with buttonhole, a little beyond one cross ; then carry the thread round by slipping the needle through every bar, always at equal distance from the centre. To secure the round in its place, you may pin it down with a needle. Cover it with buttonhole-stitch, making, if you please, Ra- leigh dots at intervals.
Bee's-wtng Lace. — This must always be worked with 150 Evans' Boar's Head Cot- ton. It is particularly adapted for filling up triangular spaces. Begin across a corner, with a loose bar. Twist back to the centre, on which do 4 buttonhole-stitches. Finish twisting. X Rim up the side of the braid even with the buttonhole-stitches. Make another loose loop, and do 4 but- tonhole on the 4. Another loose loop, aud fasten to the opposite side of the braid. Twist back half the last loop, and do 4 stitches; twist the rest. Take a double bar across from the base of one loop to that of the other, across the first four buttonholes ; work on it in Vene- tian dots ; twist back half the next loop ; make 4 but- ton hole-stitches on the centre ; twist back the rest. X make another set of loops in the same way, repeating be- tween the crosses. Each little pattern, of double button- boles, ami the dotted bar beyond it makes something like a bee's-wing. Each line will, of course, have an extra bee's- H'ing in it.
VENET1 \N BAKS.
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Two other varieties of spotted lace may be employed advantageously in filling in flowers. In the first do first a row of lined long Brus- sels, and the next row, carrying a bar across, do 4 foundation-stitches in every stitch. Re- peat these alternately. Another may be made thus : do 4 close long Brussels, miss the space of 4 alt ernately.
2d Mow. — 4 close long Brussels on loop, miss the space of 4.
3d Mow. — Take your thread backwards and forwards, across the space to be worked, making a bar of 5 or 6 threads, instead of a single one. Work over this, in close long Brus- sels, precisely as if it were a single thread, 4 stitches on every loop.
Do these last two rows alternately. Both these stitches must be done in Evans' Boar's Head, 150.
BARS.
I have already mentioned that Mars form the ground of all varieties of point lace. They are
Venetian Bars, of 1, 2, or perhaps 3 threads, taken close together, and covered with buttonhole-stitch. Sometimes they have branches. When this is the case, cover the mam bar with buttonhole as far as the first branch ; make that, always managing so as to finish the buttonhole again at the main line, whicb continue. Any number of branches may thus be worked-
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112 POINT D'ALENCON, ENGLISH AND KALEIGE EARS.
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No. L
No. 2.
No. 8.
Edged Venetian Bars (No. 1) have a line of Brussels or other edge worked on one or both sides.
Dotted Venetian Bars (No. 2). — While working the ordinary bar, hold out every sixth stitch a little way, with another needle, and work two or three buttonhole-stitches on the loop. Then continue the bar.
Sorrento Bars (No. 3) are merely closely twisted threads. Sorrento-edge Bars are lines of thread on which Sor- rento edging is worked, just as it would be on braid.
Point-d'Alencon Bars are merely the common herringbone-stitch, the threads be- nig twisted once or oftener, according to eth depth of the space to be filled.
English Bars are always worked between two lines of edges, and with very fine cotton. Take three or four closely twisted bars be- tween two opposite stitches, all of them on one of each edge-stitch. Miss the next, and do the same number on the following bar.
Raleigh Bars arc the most complicated ot all, and may have even some historic interest, from my having copied them from a collar once worn by the great Sir Walter Raleigh, and which remains an heirloom among the descendants of his family. Tt is very rich and beautiful in effect, and invariably forms the ground of thtf most beautiful lace. Begin as for Venetian, and after every
POTNT EDGE. 113
eighth or tenth stitch, instead of making the usual loop, slip it under the bar and bring it up on the right hand of the loop, which, when you have made it about an inch and a half long, you will hold down with the thumb of the left hand ; pass the needle six times round the right-hand side thread of the loop, and generally draw it up to form a knot, thick on one side, and with a single thread on the other. Slip the needle through it, above the bar ; and again work the pro- per number of bar stitches.
Point Edge. — This edge is characteristic of Old Point, and so well recognized as be- longing to it only, that when I showed some I had made to one of the first dealers in Lon- don, she replied: "I suppose, madam, you are not three hundred years old ; but I did not think any had been made within that time." It is always worked on an outline thread, which is afterwards to be covered with buttonhole stitch. Generally, the scallop is formed of six loops — three at the base, two on three, and one on two ; but sometimes four, sometimes two only, are taken as the base ; and there are many other variations, though the mode of working is always, in principle, the same. Tack down on your pattern a thread of Moravian, in the form you intend to have them. (See engraving.) Do this by making first the three loops ; then carrying the thread back for two, and again for the one. Carry the thread down the side, and a little way along the foundation bar (for the points ought not to touch), and then make the next set. To cover them, begin with the point. Fasten on the thread to the Moravian, and cover the loop with buttonhole, with Raleigh dots at intervals. Run the "thread in the Moravian to the base of the two ; do them the same ; and finally the three. This edge is always worked with Mechlenburg thread, in one of
114
GR01TNTHXG BARS — VETSTIKGS.
the fine numbers. The same may be said of Raleigh Bars, Sorrento Edge Bars, and all the varieties of Venetian.
Grounding Bars are small circles, loops, scallops, and other fanciful forms, always worked in Raleigh bar-stitch, and on those bars. If repairing lace, you must imitate the others in the same piece ; if working a new design, the form of such bars is usually worked on the engraving or pattern.
I have spoken of the heavy raised work characteristic of Spanish Rose Point. It is done by tacking down on the pattern, in the requisite form, a number of lengths of Mora- vian, tapering them towards the extremities, if the usual semicircular form be in the pattern. Fourteen to twenty threads will not be too many for the thickest part. You then work them on the edge of the flower or scroll, in button- hole-stitch, your needle passing not through, but viider the whole of the threads, thus forming them into one solid mass. The edge is finished either with Raleigh dots, a single or double line of loops, or fine point edge. The outlines of the Bcrolls and designs of Spanish Point, and especially the outer edge of the collar, have frequently a doable line of Moravian tacked down to give it strength and thickness.
V i:i>nNGs. — It is often necessary to vein leaves, stems, etc., when these are worked in foundation stitch. Where the vein is bo OOOOT, miss every alternate stiteh ; and he careful
POTTOIIOMANIE. 115
m taking the next row of stitches to take up the thread which would otherwise he loose across the last. Of course, it does not follow that veinings are made in a straight line. Part may he made on one line, which is finished in close founda- tion-stitch ; the open-work heing resumed in the next at the point where left off in the former ; and so on.
To remove a completed piece of j)oint work from the paper, cut all the threads at the hack, and then, the work being loose, pick out all the threads.
For hints on modernizing Old Point, see Transfer-work.
POTICHOMANIE.
Poti-chiko, or Potichomakie, although not belonging in any way to the art of needle-work, is so generally and de- servedly popular, as a branch of fancy-work, that I venture to give it a place here. It bids fair to contribute more to the decorations of our drawing-rooms and boudoirs, at small expense and with very little labor, than any that has made its appearance for the last half century. Poti-chino, to which the significant word manie has been added by our Parisian sisters, is the art of converting very ordinary glass vases into imitations of Etruscan, Dresden, or Chinese jars, as beautiful as the originals, at a tenth part of the cost ; and with the additional recommendation to the friend or sister to whom they are given that the graceful ornaments are the results of our own skill and taste.
Potichomanie, as it is generally called, is an art which was brought out in Paris, and was received there with all the extravagance of admiration characteristic of the impression- able inhabitants. Every lady was busy cutting out sheets of
116 POTICHOMAOTE.
paper, and making her fingers disagreeable with varnish and gum-water; and we believe one-half the gentlemen were most industriously idling over the same elegant toil; for what an admirable excuse for lingering in a fair lady's bou- doir is the offer to dissect for her some of the Chinese beau- ties or Assyrian deformities which are to form the decorations of the Poti-chino. Doubtless the employment will serve as a subject for satire, as every other feminine