off, which completes the leaf; you then work a stalk to each leaf as
follows: ch. 5, work 1 treble in the centre of the chain round between
the edge and the centre, work 1 treble on the other side, the same
turn back, and work the 5 chains plain, fasten off, which completes
the stalk; after working the number of each portion required and
joining them together, as shown in the illustration, you work a band
for the neck-part of the collar as follows:--
Work a few plain at the end, then ch. 10, and work 1 treble where it
requires a treble, and a double where it requires a double, and a
plain in the centre of the stalks and rounds as you see the stitches
in the engraving, so as to make it lie to the shape of the neck.
2nd row: Ch. 2, miss 2, work 1 treble, repeat to the end, turn back.
3rd: Ch. 2, work 1 treble at the top of the treble of last row, repeat
to the end, turn back.
4th: D.c., fasten off, which completes the collar.
[ILLUSTRATION: POINT COLLAR.]
* * * * *
POINT COLLAR.
MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Crochet Cotton,
No. 48.
This collar is begun by making the open hem work thus: 2 ch., miss 3,
1 s.d.c., 2 ch., miss 1 s.d.c., X 2 ch., miss 1, 1 d.c., X 3 times,
then 2 ch., miss 1, 1 s.t.c., then use the t.c., and finally the long
t.c. for the widest parts, and gradually decreasing to s.c. at the
end. On the inner side of this, do as many half-circles as the
engraving indicates: thus, 1 s.c. 1 s.d.c. 1 d.c., 2 t.c., 1 d.c., 1
s.d.c., 1 s.c.; the roses near the neck may then be worked and joined
to these circles in their places. The oblong flowers are then done,
beginning in the centre, with a chain, worked in s.c., a round of d.c.
on this, and a succession of loops all round. Join these flowers in
their places; then make the roses, working from the engraving which is
the best guide, joining these to each other, and to the oblong
flowers, and finally working the neck with the dotted bars as seen in
the engraving.
* * * * *
POINT COLLAR IN CROCHET.
MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Crochet Cotton,
No. 48. Penelope Hook.
Each of the rows in this collar, large and small, are done separately,
beginning with the circle in the centre, and making the six leaves
round it. Each rose is to be joined to the others, where it is
indicated in the engraving, and at the point of two of the petals of
the largest are three small loops, which serve to connect it with the
edge. All the sets of roses required for the length of the collar
being done, the barred edge follows, the trefoils being worked on it,
where they occur, and the roses being joined to it in their proper
places. On this line, another of alternate close and open squares is
done, and then a point edging, similar to one already given in this
volume. The ground, of chains, worked back in slip-stitch with
occasional picots, is to be done when forming the band for the neck.
The collars should be worked a little larger than the engraving.
* * * * *
LOUNGING CAP.
MATERIALS.--Six skeins of bright scarlet Berlin wool; 5 shades of
green ditto, 6 skeins each; 12 skeins of black, and 4 of gray; 4
skeins of white, and 4 of gray floss silk, or filoselle. A handsome
shaded tassel, and a ball of crochet cord.
The whole of this cap is worked in s.c., over the cord. Begin with the
band round the head, by working 240 stitches with black wool, on the
cord, and closing into a round.
2nd round: (Black and gray wool) X 2 black and 2 gray alternately, X
all round.
3rd: (Black wool, white silk) X 1 b., 3 w., X all round.
4th: Black all round.
5th: Scarlet all round.
6th: (Scarlet and darkest green) X 2 s., 4 g., 42 s., X 5 times.
[Illustration: POINT COLLAR, IN CROCHET.]
7th: (Scarlet, same green, and white) X 2 s., 5 g., 6 s., 3 w., 9 s.,
3 g., 16 s., 2 w., 2 s., X 5 times.
8th: (Scarlet, second darkest green, black, and white) X 2 s., 2 g., 1
b., 3 g., 4 s., 5 w., 4 s., 2 g., 1 s., 3 g., 5 s., 4 g., 4 s., 3 w.,
1 s., 3 w., 1 s., 3 w., 1 s., X 5 times.
9th: (Same colours) X 2 s., 3 g., 1 b., 2 g., 4 s., 1 w., 4 s., 4 w.,
2 s., 2 g., 6 s., 6 g., 2 s., 5 w., 1 s., 2 w., 1 s., X 5 times.
10th: (Scarlet, black, white, and gray silk; third shade of green) X 3
s., 3 g., 1 b., 1 g., 2 s., 2 w., 1 s., 4 gray, 1 s., 4 w., 2 s., 1
g., 5 s., 3 g., 1 b., 3 g., 1 s., 4 w., 2 s., 1 g., 1 s., 2 w., X 5
times.
11th: (Same colours) X 1 w., 3 s., 4 g., 1 s., 2 w., 1 s., 1 g., 1 s.,
4 g., 1 s., 3 w., 3 s., 3 g., 2 s., 2 g., 1 b., 4 g., 1 s., 3 w., 2
s., 3 g., 1 s., 1 w., X 5 times.
12th: (Same colours except green, which change to the next lightest) X
2 w., 3 s., 6 g., 1 s., 1 g., 2 s., 3 g., 1 s., 2 w., 3 s., 5 g., 1
s., 1 g., 1 b., 4 g., 2 s., 3 w., 1 s., 2 g., 1 s., 1 g., 1 w., X 5
times.
13th: (Same colours, with the lightest green) X 2 w. (over the two
first of last round), 7 s., 3 g.. 2 w., 3 s., 1 g., 1 s., 1 w., 3 s.,
4 g., 2 b., 1 g., 1 b., 4 g., 3 s., 5 w., 1 s., 2 g., 1 s., 1 w., X 5
times.
[Illustration: LOUNGING CAP, IN CROCHET.]
14th: (Same colours, with the lightest green but one) X 1 w., 3 s., 5
g., 2 s., 2 w., 1 s., 3 g., 1 s., 3 w., 2 s., 2 g., 2 b., 4 g., 5 s., 2
g., 1 s., 1 w., 1 s., 2 g., 1 s., 2 g., 1 s., 1 w., X 5 times.
15th: (Same colours, with next darkest green) 3 s., 4 g., 1 b., 1 g.,
2 s., 1 w., 1 s., 1 w., 1 s., 2 w., 1 s., 3 w., 2 s., 7 g., 1 s., 5
g., 2 s., 3 w., 1 s., 3 g., 1 s., 1 w., 1 s., X 5 times.
16th: (Scarlet, black, white, and next darkest green) X 6 g., 1 b., 2
g., 2 s., 3 w., 2 s. 5 w., 3 s., 5 g., 1 s., 3 g., 1 b., 2 g., 2 s., 4
w., 3 s., 1 w., 1 s., 1 g., X 5 times.
17th: (Same colours) X 1 s., 1 g., 1 s., 2 g., 1 b., 3 g., 3 s., 9 w.,
2 s., 1 g., 6 s., 2 g., 1 b., 3 g., 5 s., 5 w., 2 s., X 5 times.
18th: (Scarlet, white, and darkest green) X 1 g., 2 s., 5 g., 5 s., 4
w., 1 s., 2 w., 2 s., 2 g., 6 s., 5 g., 7 s., 3 w., 3 s., X 5 times.
19th: (Scarlet and darkest green) X 4 s., 3 g. over centre three of 5
g., 15 s., 1 g., 8 s., 3 g., 14 s., X 5 times.
Four rounds of scarlet complete the band round the head.
THE TOP OF THE CAP.--This is a worked from the centre, and gradually
increased until of the same dimensions as the band, that is,
containing 240 stitches. Begin by working 12 stitches with black wool
on the cord, and forming it into a round.
2 round: Increase to 24 stitches.
3rd: Increase to 40.
4th: (Black and gray) X 2 g., 2 b., X 13 times.
5th: (Black and white) X 3 w. over 2 g., 2 b. over 2 b., X 13 times.
6th: (Black and scarlet) X 4 s. over 3 w., 2 b. over b., x 13 times.
7th to 11th: (All scarlet) Increasing sufficiently to keep the work
flat, and having 120 stitches in the last round, or 8 times 15.
12th: (White, scarlet, and lightest green) X 3 s., 4 g., 4 s., 2 w., 2
s., 1 w., 2 s., 1 g., X 8 times.
Observe that care must be taken to increase so that the pattern begins
always at the same point.
14th: (White, scarlet, and third green) X 2 g., 2 s., 2 g. over second
and third of 4 g. in last round, 5 s., 3 w., 2 s., 1 w., 1 s., 2 g., X
8 times.
15th: (Same colours) X 2 s. over 2 g., 2 more s., 1 g., 1 s., 1 g., 3
s. over 2, 1 g., 2 s., 2 w., 2 s., 1 w., 2 s., 2 g., X 8 times.
16th: (Darkest green but one, white, and scarlet) X 1 s., 2 w., 1 s.,
1 w., 1 s., 2 g., 1 s., 2 g., 5 s., 2 w., 1 s., 2 g., 1 s., X 8 times.
17th: (Same colours) X 1 s., 4 w., 3 s., 3 g., 5 s., 2 w., 1 s., 2 g.,
3 s., X 8 times.
18th: (Darkest green, white, and scarlet) X 2 s., 2 w. (over second
and third of 4 white in last round), 5 s., 12 g., the last over the
first of 2 green, 5 scarlet, X 8 times.
There will now be 208 stitches, work on two rounds of scarlet,
increasing to 240, and then join on the band. This is done by holding
the top of the band and the edge of the round together, and working
one round, taking up the chain of both. Work on the cord with black
wool and white silk, two stitches of each alternately; draw in the end
of twine. Take care in placing the two parts of the cap together, to
make that part which begins every round at the same place in both, as
a small defect in the pattern is inevitable, and must be covered by
the tassel. Draw the string of the tassel through the centre of the
crown, and fasten it in its place. The cap may be lined with scarlet
sarsenet.
* * * * *
CROCHET EDGINGS AND INSERTIONS.
The whole of these edgings and insertions are intended to be worked
either with or without beads. If to be worked with beads, 1 chain
stitch must be reckoned in the foundation, for every square, and the
ground must be perfectly solid, with the pattern in beads. If to be
worked in square crochet, 3 chains must be allowed for every square.
In the scallops the ends of the thread must be neatly run in after
they are done. Reckoning from that part where the actual scallop
begins, each must be done distinctly from the others.
[Illustration: CROCHET EDGINGS AND INSERTIONS.]
[Illustration: CROCHET EDGINGS AND INSERTIONS.]
INSERTIONS.
To be worked in square crochet. The materials, any number of Brooks'
Great Exhibition Prize Goat's-head Crochet Cotton that will be
suitable for the purpose. All these square crochet patterns may be
done in beads, if desirable.
[Illustration: INSERTIONS]
* * * * *
POINT LACE INSTRUCTIONS.
The outlines of any design in Point Lace are made in braid of various
sorts, in thread, or sometimes in linen. The braid used is either
French linen or cotton braid, or that now known as Italian braid.
French braid is a simple plait, more or less wide; Italian braid is,
in fact, a pillow lace insertion, somewhat resembling a tape, but with
edges like those seen in all other pillow lace. It enters very much
into the composition of Venetian and other valuable Italian lace,
whence the name Italian braid has been given to it. Point lace used
formerly to be worked on parchment, this, however, being very hard and
stiff, is not so pleasant a material to work on as coloured paper,
which may be lined with calico or alpaca, according to the work
intended to be done.
French braid, whether made of linen or of cotton, is laid on the
pattern with stitches taken across it, from one edge to the other.
This mode of putting on braid prevents it from stretching, as, from
the nature of the plait, it would otherwise do. In forming angles,
each edge should be sewn down to the paper, and then the braid turned
over. Circles are made by laying the braid on the design, and forming
it into the proper shape with the fingers, before tacking it down.
We give a diagram showing the manner in which lines of braid cross and
intersect each other, to form the pattern; and we would observe, _en
passant_, that each line is done with a separate piece of braid, that
from A to B being one piece, and from C to D another.
Italian braid, being so much wider, requires to be tacked down at both
edges; and in forming circles and scrolls, one edge has, not
unfrequently, to be gathered in slightly. When thread is used as an
outline, a second, and much finer thread is used to tack it down. The
coarse thread is laid on the outlines, and the needle is brought up on
one side of it, and down, in the same hole, on the other. The stitches
are taken at the rate of five or six to an inch, one being always
placed at the point of each angle, so as to keep the outlines as
accurate as possible. To fasten on a thread, run the needle along the
braid a little way, taking a button-hole stitch to secure it. Fasten
off in the same manner. If the outlines are in thread, you can twist
the needle round it two or three times, and then take a tight
button-hole stitch.
The chief stitch in all Point Lace is that known as the common
button-hole or overcast stitch. This stitch, worked as closely as
possible, or at regular intervals, drawn tightly, or the reverse,
forms almost all the stitches, or more properly _laces_, used. We will
begin by describing the simplest of all, which is known as
[Illustration: BRUSSELS EDGE.]
BRUSSELS EDGE (No. 1). This is a continuous line of button-hole
stitches, not drawn tightly, and taken at equal distances of about the
fourteenth part of an inch. When worked on braid, care should be taken
that the needle is inserted at a little distance from the edge of the
braid, which would otherwise be apt to fray.
LITTLE VENETIAN EDGING (No. 2). In working this stitch, do one
Brussels, and in the loop of that work a _tight_ stitch.
VENETIAN EDGING (No. 3). Do four stitches instead of one in the loop
of the Brussels stitch.
SORRENTO EDGING (No. 4). Do a stitch exactly like little Venetian, the
eighth of an inch long, and then one-half that length in the same
manner. Continue to work these alternately.
VENETIAN BARS (No. 6). Take the needle across the space to be barred,
once, twice, or oftener, according to the thickness of the bar, and
then cover these threads quite closely with button-hole stitch.
The veinings of leaves are often worked in Venetian bars, over a
ground of Brussels lace. As this is to be done without breaking off a
thread, it requires some little management. Begin by making the
foundation thread of the vein running from the base of the leaf to the
point, taking one, two, or three threads, but always beginning _at the
point_ to cover it with button-hole stitch. Do enough to come to the
first veinings branching from it; slip the needle across to the braid,
in the proper direction, taking a close button-hole stitch to
fasten it: cover it with button-hole up to the centre vein; then do
the companion one in the same manner, and continue to work each pair
as you come to it on the principal veining.
EDGED VENETIAN BARS (No. 5). This is a Venetian bar, like the last,
edged with Brussels or Venetian edging. This, with various other bars,
frequently forms the groundwork of the guipured lace.
ENGLISH BARS (No. 7). These are frequently worked between two lines of
Brussels or Venetian edging to connect them. They are made by passing
the needle backwards and forwards through two opposite stitches,
always tacking the under side of each, so that the threads be across
the space smoothly and evenly. About four times each way will be
sufficient. They are usually done across between two stitches, and
then one at each edge is missed before the next bar is made. Sometimes
these bars are radiated, a single stitch of the edge being missed on
one side, and two at the other.
SORRENTO BARS (No. 8). These are bars which occur most frequently in
Italian lace. They are simply twisted threads, so closely entwined
that they only appear as one. They also are frequently radiated, and
crossed; the effect produced will be seen in the accompanying diagram.
DOTTED VENETIAN BARS (No. 9). A bar of threads is made, as for a
common Venetian bar. Do on it six stitches, and instead of drawing the
seventh tight, hold the top by sticking a needle through it and the
paper, about the tenth of an inch, and work on the threads of the loop
three button-hole stitches. Do six more on the bar, and repeat.
[Illustration: VENETIAN EDGING.]
[Illustration: VENETIAN BARS.]
[Illustration: EDGED VENETIAN BARS.]
[Illustration: SORRENTO BARS.]
RALEIGH BARS (No. 10). Make a bar of threads, as for Venetian bars,
and work on it about eight stitches. At the ninth, instead of bringing
up the needle through the loop to form another button-hole, slip it
under the bar, and bring it up on the right-hand side, leaving a loop
of thread about two inches long, which you will hold down with your
thumb, to keep it in its place. Now twist your needle six times under
the right hand thread of this loop; draw it up, when it will make a
knot, and slip the needle through it, above the bar, to continue the
process. It may be observed that when this bar forms a part of the
foundation of a piece of point, only two of these dots are generally
seen on it, and they are placed near each other, almost in the centre
of the bar.
POINT D'ALENÇON (No. 11). This is only common herring-bone stitch,
with the needle twisted once or oftener under the thread of each
stitch, according as the space to be filled is narrow or wide.
SPANISH POINT (No. 12). This is the raised stitch which gives the
peculiarly rich appearance to all the Spanish lace. A certain
thickness of soft cotton is tacked down on the lace, in the form
desired, and this is covered closely with button-hole stitch, edged
with Raleigh dots, or with small loops. It is to be noticed that this
is not attached to the lace by the button-hole stitches, but only by
the thread which tacks down the soft cotton, so that it can be picked
off without injury. The button-hole stitches must be worked very
smoothly, and quite close together.
ROSETTE (No. 13). This is exactly like a spider's web, worked on
three, four, or more threads, according to the shape of the space
intended to be filled. Begin by making a Sorrento bar across the
space, from one point to the opposite; then a second one, slipping the
needle under the first in going, and over it in twisting back; then do
a third, or fourth, if necessary; but when you have twisted back to
the centre of the last, make the rosette, leaving the half bar single.
The rosette is done by passing the needle under two threads, then
continuing to slip it under two, the first of which is always the last
of the previous two, until you have made the spot a sufficient size,
when you finish the last bar, by twisting down to the braid, and
fastening off. The size of the space must be the guide for that of the
rosette; but from six to ten times round a centre is an average.
[Illustration: STITCHES.]
BRUSSELS LACE (No. 14). Consecutive rows of Brussels edging, worked
alternately from left to right, and from right to left.
VENETIAN LACE (No. 15). Rows of Venetian edging. As this stitch can
only be worked from left to right, a line of Brussels is usually
placed between every two rows, and being worked from right to left,
saves the trouble of running the needle along the braid.
SORRENTO LACE (No. 16). Successive rows of the Sorrento edging.
ENGLISH LACE (No. 17). This is to be worked with the finest thread
that is made. Do a number of Sorrento bars (closely twisted threads),
at equal distances, in one direction throughout the space: then take
one thread under all these, in exactly the opposite direction; take a
stitch on the braid to secure it, and twist to the first cross. Pass
the needle under the single thread and over the twisted one, till it
has gone four times round, when the spot will be sufficiently large.
Twist on the single thread to the next cross, and repeat. Do this
until the whole space is filled, as seen in the engraving, where the
distance between the threads is sufficiently accurately represented.
This lace always looks best, however, when the lines are diagonal.
English lace is often radiated; that is, the lines are more distant
from each other at one edge than at the other, and the spots
proportionably larger, presenting the appearance of a fan.
[Illustration: OPEN ENGLISH LACE.]
[Illustration: BRABANT EDGING.]
OPEN ENGLISH LACE (No. 18). This is a variety of the previous lace,
being worked in the same way, but on four lines of threads, instead of
two, namely, one diagonal from left to right, one from right to left,
one horizontal, and one perpendicular. The spots are worked on the
last line made. The distance of the lines is seen in the engraving.
[Illustration: LYONS POINT.]
[Illustration: BRUSSELS LACE.]
The accompanying diagram gives another variety of open English lace.
The straight bars are formed of single threads, while the diagonal
ones are twisted; and at every cross a tight button-hole stitch is
worked, to keep the threads together. Observe, that in working bars, a
tight stitch should always be taken on the braid, at the beginning and
end of every one.
MECKLIN WHEELS (No. 19). Work Venetian bars on a single thread, in one
direction, at equal distances. Then take a thread in the opposite
direction, and cover it also with button-hole stitch a little beyond
the first cross. Take another needle and thread and work a few
stitches, in the form of a circle, round each cross, so that by
slipping the first needle through every stitch, a foundation may be
formed for the button-hole work with which the wheel is made, a single
Raleigh dot being added between every two threads. The stitches taken
with the extra needle should form a sort of railroad for holding the
thread in its place. This mode of working wheels will be found very
superior to the old one of pinning down the circle of thread. When all
the wheels are worked, the stitches made with the extra needle should
be cut away at the back.
HENRIQUEZ LACE (No. 20). This stitch, and the one that follows it, are
invariably worked with the finest thread manufactured. Like English
lace, it has a better effect done on diagonal bars, than on those
which are taken straight up and down, or across a space. Make one
twisted bar across the space, then take a single thread nearly close
to it. Twist it twice round, then darn a spot on the two threads;
twist five or six times round, darn another, and repeat to the end. Do
all the lines in one direction first, making the spots fall one
beneath the other. Then begin the lines in the opposite direction,
taking the thread under in one way, and over in returning, whilst, in
order to keep the close bars apart, the thread must be twisted between
them. Care must be taken that the bars in one direction, fall between
the spots in the other.
CORDOVAN LACE (No. 21). Worked like the preceding; but with three bars
in each line instead of two.
VALENCIENNES LACE (No. 22). This stitch also is done with the finest
threads made. It is simple darning, of the closest and finest
description, done with so much regularity that it resembles cambric.
BRABANT EDGING is a name sometimes given to a union of the Brussels
with the Venetian edging. A row of Brussels is first worked, and on it
a row of Venetian. The diagram gives the effect of this arrangement.
Another variety of edging is produced by two or three rows of Brussels
being worked on one another. This is frequently seen in old lace; and,
with Venetian on the outer edge of the braid, is often termed Lyons
Point.
When spaces similar to those in the accompanying diagram are to be
filled with Brussels lace, the best way is to work each side to the
centre, and then run the needle up the middle, catching up alternately
a stitch on each side. Sometimes the centre is not closed up at all.
The diagram in page 132 gives a specimen of a modification of the
Little Venetian Lace. The first stitch is taken as usual, but is
followed by three others, worked as closely as possible. A space equal
to that of four stitches is left between every four. In the second
row, the four stitches are worked on the loop. The engraving also
shows how the stitches are adapted to the different spaces in a
pattern.
FOUNDATION STITCH (No. 23). This is ordinary button-hole stitch,
worked over a thread, and as closely as possible. The thread is taken
across the space, from right to left, to form a bar, which is then
covered with close Brussels, worked from left to right. Each stitch of
a row is worked between two of the previous rows.
ESCALIER STITCH (No. 24). Work nine button hole stitches as close to
each other as possible. Miss the space of two, and repeat. In the
second row, work one after each of the first seven, miss the space of
the last two, work two on the loop, and seven more on the next nine,
miss the last two of the nine; repeat in every successive row, passing
over the last two of nine stitches, and doing two on the vacant space.
CADIZ LACE (No. 25). Do six close Brussels stitches. Miss the space of
two, do two more, and again miss the space of two, repeat from the six
stitches.
2nd row: Do two over the loop of every space, and miss all the
stitches, whether six or two. Repeat these two rows alternately, to
form the lace.
BARCELONA LACE (No. 26). The first row of this lace is exactly like
Sorrento edging.
2nd row: Do four close stitches on the long stitch, and miss the short
one, taking care not to draw the thread too tightly.
3rd: A row of Sorento edging, the long stitch coming over the four
stitches of the last row, and both the button-holes being worked on
the loop, so that the short stitches come over the short of the first
row. These two rows, worked alternately, make the lace.
FAN LACE (No. 27), 1st row: Six close Brussels, miss the space of six.
Repeat.
2nd: Six stitches over every six, miss the same space.
3rd: Six close Brussels on every loop, missing the space between.
4th: Six over every six, and six on every loop.
5th: Six close over the six on the long loop, miss the other six.
Repeat these last three rows as often as may be required to fill up
the space.
[Illustration: LITTLE VENETIAN LACE.]
SPOTTED LACE (No. 28). This very light and pretty lace is done thus:--