repeat to the end, without drawing the thread too tightly.
Begin the next row, and all following, at a little distance from the
one preceding, and do two close stitches on every loop of thread.
VENETIAN SPOTTED LACE (No. 29). This lace consists of a series
diamonds, formed by Venetian bars crossing each other diagonally, in
each of the sections of which, four spots of English lace are to be
worked. The foundation threads of the Venetian bars are first laid;
then the English lace spots are worked, and the button-hole stitch of
the Venetian bars is done the last. This lace is well suited to fill
up large spaces.
OPEN ANTWERP LACE (No. 30). For this lace a new stitch is required,
called the double Brussels. Instead of a simple button-hole stitch,
the needle is twisted once in the loop, so that when drawn up, it has
a _longer_ appearance than the ordinary Brussels. The stitches are to
be worked quite close to each other.
1st row: X eight close double stitches, miss the space of six, X
repeat, without drawing the thread very tightly across the missing
space.
2nd: X five double over the eight, two double on the loop of thread, X
repeat.
3rd: X two double on the five, five over the two, X when five stitches
are worked over two, one goes between the two, and two on each side of
it.
4th: X eight double over five and miss the space over the two, leaving
the loop rather loose, X. Repeat from the second row throughout the
space.
OPEN DIAMOND (No. 31). 1st row: Five close Brussels, miss the space of
two, X eight close, miss the space of two, X to the end of the row.
2nd: Two close, X miss two, two on the loop, miss two, work along the
line after all the remainder of the eight, do two on the loop, and on
six of the next eight (thirteen altogether), repeat to the end.
3rd: X miss two, two on the loop, miss two, do two on the loop, miss
two, do one on every one of the line of stitches but the last two, X
repeat.
4th: Two on the loop, miss two, two on the loop, X miss two, two on
the loop, one on every stitch, and two on the next loop (thirteen
altogether), miss two, two on a loop, X repeat. The next diamond of
holes must be so managed as to fall immediately between two of the
first row. By repeating the first line, the place will be indicated.
In all these stitches, it is assumed that _squares_ are to be filled
in. Where the shape varies from that, extra stitches must be added, at
the beginning, or taken away, as the case may be, the worker referring
to the engraving for the appearance intended to be produced.
CLOSE DIAMOND (No. 32). The first row is plain button-hole stitch.
2nd row: Five stitches, X leave the space of two, fourteen stitches, X
repeat.
3rd: Two stitches, X miss two, do two on the loop, miss two, work on
all the rest of the fourteen, except the last two, X repeat. In the
fourth row, the holes fall over those of the first. The fifth row is
all in close stitches. In the sixth, begin to make fresh lines of
diamonds, coming exactly between the last set.
ANTWERP LACE (No. 33). 1st row: X eight close, miss the space of two,
X repeat.
2nd: X five close over eight close, and two close on the loop, X.
3rd: X two close over five, and five over two, X.
4th: X five close over two, and two over five, X.
5th: X eight close over every five, X repeat.
The above are the principal stitches found in Old Point Lace.
* * * * *
DEEP POINT LACE EDGING.
MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Mecklenburgh
Threads, No. 1, 7, 100, and 120.
Draw the pattern from the engraving, a section of it being given the
full size. The paper must then be lined with alpaca. Should a short
piece only be required, the pattern should at once be made of the full
length; if not, several may be drawn. From the closeness of the work
it is impossible to work twice over the same paper.
The border of each pattern is formed of seven small scallops. It is
worked in braiding-stitch, that is, four threads are laid on, parellel
with each other, and formed into a braid by darning them backwards,
and forwards, putting the needle always under two together. As it is
not desirable to have any break in the outline, it will be
advisable to take, for each of the four outline threads a needleful
sufficiently long to answer for the whole piece of lace.
[Illustration: DEEP POINT LACE EDGING.]
When the whole length of the paper is done, the ends may be twisted
round a card, and wrapped in paper to keep them clean while that
section of the work is in progress.
Each pattern contains one spray of flowers and small leaves, the stem
of which is braided like the edge only that it is generally wider at
the end.
All the outlines are made in No. 1, and the braiding done in No. 7.
The flowers consist of six petals three of which are worked in
foundation stitch, that is close button-hole stitch over a thread, and
the others in spots formed by making two close button-hole stitches,
and then allowing the space of two before working the next. In the
succeeding row, the two close stitches come on the bar of thread
formed between one spot and the next. The centre of the flower is an
open circle, covered with close button-hole stitch, with Raleigh dots.
The leaves, which are very small, are entirely in foundation stitch.
In each section of the large scallop is a wheel formed by working a
circular Raleigh bar, on a foundation of three threads. The ground is
in Raleigh bars worked very irregularly.
The straight edge of the lace is a line of button-hole stitch on two
thread.
Three rows of Sorrento edge, worked one upon another, complete the
lace. This edge and the flowers are done in Mecklenburgh 120. The
remaining parts in No. 100.
* * * * *
COLLAR IN SPANISH ROSE POINT.
[Illustration: COLLAR IN SPANISH ROSE POINT.]
MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Valenciennes
Threads.
This is distinguished by close heavy work, and solid Spanish stitch
edged with loops. The ground of the collar is guipured in the richest
style, partly with plain Raleigh bars partly with those having
semi-circular loops, dotted in the same manner. Sometimes two bars
have a Mecklin wheel at the cross.
The section given of the collar is the full size, and has only to be
repeated and reversed for the length.
* * * * *
[Illustration: HANDKERCHIEF BORDER, IN ANTIQUE POINT LACE.]
HANDKERCHIEF BORDER, IN ANTIQUE POINT LACE.
MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Point Lace
Cottons, and No. 1 Valenciennes Thread.
We give the section of the handkerchief of the full size, that workers
may draw their own pattern from it. It may be made of any dimensions
required. The perfect pattern occupies the entire side, reckoning from
the open flower at the corner. Were this entirely repeated for the
quarter, it would make the handkerchief rather too large for general
taste; about one half the pattern, in addition to the piece given (or
the open flower, and the two next to it on the inner side) would be
found sufficient for the quarter. One-fourth of the handkerchief being
drawn on tracing-paper, all the design can be marked from it, on red,
blue, or green; but it is preferable to draw a little more than a
quarter only, instead of the whole handkerchief, which is cumbersome
to hold. When a quarter is done, it may be removed from the paper,
which can be used a second time by a careful worker.
No braid whatever is used for this handkerchief, which is similar in
the mode of working to some of the most valuable specimens of antique
point. The scroll and flowers are close and heavy, the inner ground is
guipured, in Raleigh bars, and the space between the scroll and the
outer edge is filled with fine and close English lace.
The stem, and the closest part of the flowers (which may be
distinguished in the engraving), are done in foundation stitch, with
No. 90, point-lace cotton. The veinings of the petals, where they
occur in this stitch, are made by taking the foundation thread at
double the distance from the last one, and working over it a row of
Brussels stitches at the usual distance from each other, instead of
close, as in foundation stitch. The calyx of the flower is done in
Antwerp lace. The very finest point-lace cotton should be used for all
this stitch.
All the flowers, done as we have just described, have a centre worked
in Venetian lace; No. 70 cotton must be used.
The open flowers, and the button-hole rounds, are done with
Valenciennes thread, No. 120. The English lace, with No. 100 cotton.
The Raleigh bars, with Valenciennes, No. 100.
The edge of the handkerchief border is finished with close button-hole
stitch, on which Raleigh dots are worked at regular intervals. This
edge is worked after all the rest of each quarter is finished.
If it be thought troublesome to outline the whole pattern with thread,
No. 5 white cotton French braid may be used. The effect is, however,
greatly inferior to that of the thread.
To make up the handkerchief, cut a square of cambric the exact size to
fit the lace, allowing for a very narrow hem. When the hem is made,
lay the inner line of the lace over it, tack them together, and work a
row of close Brussels edge over the two, to connect them.
* * * * *
APRON IN BRODERIE EN LACET.
MATERIALS.--Three-quarters of a yard of wide black silk of satin, two
knots of Russia silk braid, of any colour that may be approved, and a
dozen skeins of sewing silk to match.
The term _broderie en lacet_ is applied to a new and very pretty style
of embroidery, in which the outlines are made with silk braid, and
filled in with point-lace stitches. The pattern must be enlarged, and
one-half drawn on a large sheet of paper: the outlines marked with a
needle, and the silk pounced from it, one side of the paper marking
one-half, and the reverse side the other.
For running on the braid, use the threads of the silk of which it is
composed, in preference to the ordinary sewing silk. Cut off a
piece of the braid three-quarters of a yard long before you begin, and
draw the threads out of it for the braiding. When joins occur, the
ends are to be drawn through the silk with a long needle, and fastened
off on the wrong side.
The sections of the flowers are filled with English or Venetian lace,
and for the leaves, Brussels lace, English bars, or point d'Alençon
may be used. The last named is worked between the two lines of braid,
to fill in the stems and scallops.
[Illustration: APRON IN BRODERIE EN LACET.]
The bottom of the apron may either have a hem below the embroidery, or
be scalloped in button-hole stitch, and the edges cut out.
The colours which look best for this style of work are--cerise,
crimson, blue, orange, and for mourning, a soft gray. The fancy
stitches are to be done exactly like those for point lace, but they
need not be so close and fine, the silk filling in without much
work.
* * * * *
PINCUSHION COVER IN POINT LACE.
MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Valenciennes
Cottons, and No. 7, French Braid. Also some satin of any bright
colour, satin ribbon 2 inches wide to match, and materials for a
pincushion.
[Illustration: PINCUSHION]
This pincushion is intended to be made up in the French style--that
is, merely laid over the top of a satin cushion, with three handsome
bows of ribbon to match, placed at equal distances.
The outlines are in French braid. The scallops are filled alternately
with English lace, worked with Valenciennes, No. 240, and rows of
Venetian and Brussels alternately, done in No. 200 of the same. The
Sorrento edge is done with No. 100. One flower has a double Mecklin
wheel in the centre, and is merely edged with Venetian lace (in
No. 160), the other has two petals filled with foundation stitch (in
No. 240), and two with English lace.
The ground is Brussels net, worked with Brooks' Great Exhibition Prize
Goat's-head Valenciennes, No. 200.
[Illustration: PINCUSHION.]
The Venetian and English bars are worked with No. 180.
If the centre is left plain and open, a small glass for flowers is
inserted. Of course, the pincushion has an open centre to correspond.
If filled, the cushion has a flat top, and the lace is merely laid on,
and fastened with satin bows.
THE END.