[Illustration: THE LADIES’ OWN BOOK, AND COMPANION TO THE WORK TABLE.
DICK & FITZGERALD. NEW-YORK]
[Illustration]
THE
LADIES’ COMPLETE GUIDE
TO
Crochet, Fancy Knitting, and Needlework.
BY MRS. ANN S. STEPHENS.
Containing a complete Dictionary of the technical terms and characters
used in descriptions of Crochet and Fancy Knitting Patterns. In this
work the terms are so clearly explained, that any person who can read,
can in a few hours learn to execute the most complicated and difficult
patterns in Crochet and Knitting. This work also contains the clearest
elementary information and the fullest instructions for every species of
Needlework, with new and beautiful edgings and insertions, in addition
to the choicest specimens of Ladies’ work.
NEW YORK:
DICK & FITZGERALD,
18 ANN STREET.
Entered according to Act of Congress, in the year 1854, by
GARRETT & CO.,
In the Clerk’s Office of the District Court of the United States for the
Southern District of New York.
CONTENTS.
Page.
Needlework and its History 5
Introduction 22
Honiton Lace Collar 24
Passion Flower in Chenille 26
Card Basket in Crochet 28
Border for a Quilt 29
Crochet Edging 30
Punch’s Anti-Macassar 31
Deep Lace in Crochet 33
Tatted Insertion 34
Anti-Macassar 35
Net for the Hair 37
Berlin Work and Canvas Embroidery 38
Crochet Collar 44
Knitted Lace Undersleeve 46
Insertions in Embroidery 47
Table Mat 48
Gentlemen’s Knitted Braces 49
Small Gimps in Crochet 49
Judy’s Anti-Macassar 50
Crochet D’Oyley 53
Point Lace Instructions 54
Crochet Collar 61
Mat with Border of Moss, &c. 62
Initials in Embroidery 63
Autour Boutons 64
Pretty Carriage Bag 64
D’Oyley in Square Crochet 65
Deep Point Lace 66
Crochet Edging 67
Crochet Edging 68
Crochet Insertion 69
Instructions in Embroidery 70
Honiton Crochet Collar 76
Knitted Basket 77
Initial Letters 78
Shamrock-Leaf D’Oyley 79
Pinafore 80
Neck Tie 82
Embroidery 82
Square D’Oyley 83
Deep Lace in Crochet 83
Collars in Tatting 84
Crochet Insertion 85
Knitting Instructions 86
Infant’s Cap Crown 89
Initials 91
Knitted Bag 92
Lacet Bag 93
D’Oyley in Square Crochet 93
Crochet Edging 94
Lady’s Chemisette 96
Anti-Macassar 98
Crochet Mat 100
Instructions in Tatting 102
Embroidery on Cambric 105
Knitted Lace Collars 106
Spanish Crochet Edging 107
Collar in Frivolite 108
Collar in Frivolite 109
Fish Cloth 110
Crochet Insertion 113
Knitted Scarf 114
Night Cap in Crochet 115
Crochet Edging 117
LADIES’ COMPLETE GUIDE TO CROCHET AND NEEDLE WORK.
NEEDLE WORK AND ITS HISTORY.
The first step in education ever made by the feminine mind was the art
of Needlework. Before women began to read, and when they considered
writing as a mystery only to be undertaken by men of nobler parts,
Needlework became a sort of medium by which women attempted to express
their ideas and embody those affectionate thoughts that must have some
expression to keep the full heart from overflowing.
In olden times, when war and warlike fame was the great object of every
brave man, woman first learned to write her love and all the mysterious
faith which, with the educated or uneducated, is a portion of her being,
in those war pennants and embroidered scarfs that were worn by the
sterner sex as rewards of valor or expressions of love. Taking a hint
from the flowers, God’s own handwriting of love upon the bosom of the
earth, she began to symbol the deep feelings of her nature in imperfect
imitations, and this was the first step made by woman in the progress of
mind.
How rude and uncouth these first attempts were, matters little. They
constituted the alphabet of all the bright creations, whether of the
pencil or pen, which are the glory of the present century. During the
dark ages Needlework was considered an aristocratic, nay, almost a regal
accomplishment, and queens vied with each other in the gentle art as
ardently as their husbands struggled in the battle-field.
The Lady of a castle in those times made it a portion of her duty to
initiate the noble damsels of her household in the mysteries of cross
and tent-stitch, just as her lord held noble youths in training for the
battle-field.
The amount of Needlework done by the female sovereigns of England and
France is really wonderful! The wife of William the Conqueror wrought
whole suits of tapestry with her own hands, and poor Mary Stewart has
left scores of mournful proofs how great a consolation this
accomplishment is to the suffering and afflicted. Her solitude in the
various prison castles of England was softened more by this gentle
occupation of the hands, than by her literary or conversational talent
put together. The most touching memento of this beautiful woman at
Holyrood Palace is the basket in which she placed those pretty garments,
enriched by her own skill, intended for the infancy of her only son—that
son who allowed her to remain a prisoner during his entire youth, rather
than endanger the friendship of her royal murderess. Indeed one of the
most painful events of her life was connected with this art. After a
year of prison life, spent in embroidering a robe for this pusillanimous
son, after she had woven as it were her anguish and her tears in the
rich fabric, she forwarded the garment to Scotland, accompanied by a
letter full of maternal love. This letter was directed to James, Prince
of Scotland, not to the King. Holding her own sovereign rights as
sacred, how could she acknowledge those of another by her own hands.
James sent the robe back because of this omission It is easy to fancy,
after this outrage, that poor Mary Stewart might receive her death
warrant with comparative composure.
KNITTING.
We should find it difficult to trace the origin of this particular class
of work-table employment, of which our book treats, except as it sprang
from these intricate stitches first introduced into old point lace. The
transition from one needle to more, and the weaving of thread into forms
of beauty, was a progress natural to the spirit of invention, and the
facilities for thought which the first step in any art creates.
Probably the first progress which Knitting made toward a distinct art,
was when yarn stockings were invented in Flanders. The stitch, as every
New England housewife knows, is simple enough. But inventive genius has
so adorned and varied it, that stockings are easily enriched with
lace-work, and lace itself is abundantly manufactured by a little thread
and a pair of knitting needles. There is no female accomplishment so
universal as this of knitting. The women of different nations perform
the simple stitches with a process of their own, but the result is the
same. In Germany and Russia, the yarn is held in the left hand, and
wound in an intricate fashion among the fingers of that hand, while with
us it is simply folded over the front and little finger of the right
hand. The author remembers well the amazement and merry smiles of a
Russian lady in St. Petersburg, when she exhibited this American method
of producing the stitch the lady had been forming in the continental
fashion; this was but natural; for the amusement was quite mutual.
Nothing could be droller than the way in which she handled her needles.
All over Europe, ladies may be seen in their balconies after dinner,
grouped around their work-baskets, while the gentlemen converse with
them, or silently watch the progress of their pretty tasks. In the
sitting-room of every mansion, some one corner is rendered cozier than
the rest, by the well-used work table, laden with pretty boxes and
baskets, crowned with a rainbow wreath of Berlin wool. Fashionable as
this household accomplishment is getting among us, American ladies
devote themselves less to needlework than those of almost any other
nation.
CROCHET WORK.
Crochet Work proper is, in its present improved form, almost a modern
invention. It has only been introduced to any extent into the country
within the last twenty years, but now it is very general, and our
old-fashioned knitting work is completely thrown into the back ground by
the Crochet needle. The embroidered sheath and chased silver needle-case
have disappeared even from the cherry-wood workstands of New England,
and a thousand beautiful designs for chairs, cushions, toilets and
wearing apparel, supply the place of the old-fashioned stocking basket
with its well mended contents. In England and Ireland, where the ladies
are always industrious, Crochet work has arisen to the dignity of an
art. It is introduced into the national schools, and hundreds of poor
are supported by the rich laces and pretty collars produced there.
It is quite wonderful to what perfection this art has reached in some
districts of Ireland. Every day develops new improvements and
contributes some novel pattern to the world, which promises to render
this class of lace making more popular than even the English point, has
been, especially on this side the Atlantic. At the Crystal Palace this
year, some specimens of Crochet collars, sleeves, and even entire
dresses, were exhibited that had all the rich effect of old point lace.
Flowers, even raised in petals from the ground work, have been invented,
and the most intricate patterns are given with a boldness of effect only
to be found in the ancient lace we have mentioned.
Thus it is pleasant to see that what was late only a dainty
accomplishment with which the gentlewoman idled away her time, promises
to become a means of support to the working classes.
In this country, Crochet work can only be denominated an accomplishment,
but we must consider it not merely as an elegant way of whiling away
time, but as one of those gentle means by which women are kept feminine
and lady-like in this fast age. Masculine women of hard and coarse
grained natures, are seldom given to these pleasant household
employments. We never hear that Elizabeth amused herself with the
needle, she was too busy with her pen signing death warrants, or with
her tongue scolding her council, for any thoughts of the graceful art
which brightened the prison she gave to her beautiful rival. Indeed,
fancy work in all its branches is always subservient to the household
spirit which attends every true woman.
There is a careless fashion among gentlemen, of speaking lightly
regarding those graceful exhibitions of female industry, which pass
under the head of Fancy Work. Yet, to our mind, there is no amusement
more innocent and graceful. One of the most distinguished literary
ladies of this country once told us that she cultivated a love of her
old-fashioned knitting, because it gave employment for her hands, which
were so used to motion, that she really felt uncomfortable when they
were unemployed. Our friend is only singular in the homeliness of her
taste in knitting useful stockings, instead of pretty ornaments. The
ladies of almost every country we have ever seen appear most natural and
charming when employed in some graceful task of needlework or knitting.
But a love of it is increasing, and still increasing. Let gentlemen
deride these pretty occupations if they please; we know how much of a
soothing influence lies in the dreamy habit of counting stitches, and
how many bright faculties are pleasantly exercised in arranging and
matching colors.
On no occasion does a lady seem more lovely than when half occupied with
some feminine art which keeps her fingers employed, and gives an excuse
for downcast eyes and gentle pre-occupation. This sort of playing at
work, and working at play, sheds a home feeling around the guests which
no studied effort at hospitality can produce, and forms habits of
usefulness which consumes many an hour of idle time that might be put to
far more harmful uses.
There is an air of tranquility, and a proof of innocent contentment in
these domestic accomplishments, that have a beautiful significance in
the family circle. It is only in well regulated households that leisure
moments are thus gathered up. It is only minds composed and serene in
their joy, or submissive in sorrow, that can constrain themselves to the
gentle monotony of work like this.
With a crotchet-needle in the hand, we join more pleasantly in
conversation; the little implement fills up all embarrassing pauses: its
use gives a feminine and domestic air, which men may smile at, but
cannot condemn; and, under all circumstances, it is better than counting
beads, like the modern Greeks, or flirting fans, like the Spanish
belles—or flirting without fans, as sometimes happens to ladies of all
nations.
The time which any lady gives to ornamental needlework is usually made
up of those leisure moments which would be lounged away on a sofa, or in
a rocking-chair; and it is wonderful how many pretty objects start into
existence, that, but for this taste, would be dreamed away into
nothingness.
Of course, no person of well regulated intellect would make a business
of this graceful accomplishment, unless compelled to exercise it for a
subsistence. We advocate it simply as an amusement, like all recreation,
to be indulged in only when the more serious duties of life are disposed
of. But it has advantages not always recognized. Many a fine eye for
colors has been cultivated into artistic perfection, by the nice
discrimination necessary to assort the tints of a worsted rose. Grouping
may be learned from a close study of patterns, and a thousand charming
associations may be woven in with the forget-me-not or heart’s-ease,
which we have wrought tremblingly into the canvass, which a beloved eye
was gazing upon.
Without a gift for needlework, what should we ladies do for appropriate
mementos for our brothers, husbands, and friends, at Christmas time, and
when birthdays come round, sounding their yearly remembrances upon our
heartstrings? What should we do for wedding cushions, and christening
robes, when our favorite cousins insist upon becoming heads of families,
and useful members of society? What excuse should we have for casting
down our eyes, when other people’s eyes become troublesome? Every lady
knows how many heart-tremors can be carried off in a vigorous twist of
the crotchet-needle; how many pleasant words may be innocently received
in a sensitive heart, when all its defensive faculties are busy counting
stitches? In short, we persist in it, that a feminine character cannot
be quite perfect without a knowledge of all sorts of needlework, and a
down-right hearty love of it, too. For our part, we have buried many a
heart-ache in the growing leaves of a silken rose, and blunted the sharp
edge of pangs that would not be wrestled with by the sweet, calm
monotony of a shining bit of steel.
The delightful art of netting produces not only objects of beauty but of
comfort so indispensable in our severe winters, that the fair hand
employed in netting may be deemed useful as our grandmothers’ were when
they seamed enormous quantities of yarn away in winter socks and
stockings. In our cold seasons, when parties most prevail, sleeves,
cuffs, rigolettes, and over-shoes of delicate Berlin wool, have saved
many a fair form from colds and their consequent diseases, which,
without such care, prove so fatal when heated rooms are exchanged for
the biting cold of a winter’s night. With soft warm cuffs, or
oversleeves, to draw over the arms, a snowy web of netting and tassels
upon the head, and shoes thickly wadded with silk, drawn over the satin
slippers, added to the usual wrappers, no lady need expose herself to
cold though the atmosphere be at Zero and her dress of gossamer, with
low neck and short sleeves. It is not always that fashion blends so
gracefully with taste and comfort, as it does in these charming little
trifles manufactured at odd moments, from Berlin wool, by the fair hands
of those who intend to present or wear them. Besides, the fabrication of
these articles is a pretty accomplishment that possesses a social value,
independent of time well employed, and comfort secured.
Knitting, crochet work, and the manufactory of lace are so connected and
interwoven together that the history of one would be incomplete without
the other. We therefore go on from our familiar and pleasant talk about
needlework as an accomplishment and give its history as a matter of
trade. In this point of view, lace making is the most important, and
indeed so connected with the rest that we give concise history of its
rise and progress in the world.
We have already spoken of needlework in its first rude condition, when
uncouth figures and a barbarian taste for gorgeousness prevailed without
those powers that create harmonious beauty.
After these rude attempts at a first step in the arts, it is not
wonderful that improvements were made, almost unconsciously, and that
the innate genius that existed then as now in the female bosom found at
all times some imperfect means of expression through the needle, which
ended at last in those stitches, that have since been combined into the
fabric called lace.
It is certain that neither labor nor ingenuity was spared in the
production of the magnificent borderings for robes, often worked in gold
and silver and various colors, which are associated in our minds with
the ancients on better grounds than mere tradition. What, then, is more
probable than that, in the search for novelty and variety—as much an
object of desire, no doubt, in that age as in our own—the idea should
have presented itself to some tasteful eye of relieving the pattern of
the fabric with occasional spaces, either left wholly vacant, or filled
up with a web-like ground work? This would, in reality, constitute lace,
however much it might differ from the delicate material known by that
name in the present day. Whether the introduction of lace is referable
to the classic ages or not, certain it is that a very respectable degree
of antiquity may be claimed for it.
It must be borne in mind that real or handmade lace is divided into two
distinct classes: first, that worked with the needle, which has for ages
been known by the name of _point_, and is but transparent embroidery;
and secondly that made on a hard cushion or pillow, by the interweaving
of numerous fine threads wound on wooden bobbins. The latter method of
lace making is comparatively of modern invention; so that in the early
history of the fabric it must be understood as referring solely to the
point. During the earlier periods at which the existence of lace is
generally recognised, it was exclusively worked in conventual
institutions, and applied to the adornment of church-furniture and the
state-vestments of the priests. Had it been made in populous towns, and
formed an article of commerce, more satisfactory information would have
been here and there discovered; but of those old isolated convents in
Spain and Italy, and of the habits and pursuits of their inhabitants,
little beyond vague tradition has descended to us. There is every reason
to suppose, that during the thirteenth, fourteenth, and two following
centuries, the making of lace occupied the same important position in
the daily employments of the nuns, as the arts of copying illuminating
manuscripts, amongst the monks and friars.
It is singular that, in later years, the secrets connected with the
manufacture of old point lace have been lost to us; and that, although
ingenious imitations are by no means rare, the authentic method of
making it is quite unknown. The substratum used, or ‘foundation,’ as it
is called, would appear to have been fine linen, though scarcely a
thread is visible to the eye, from the heavy embroidery upon it, which
here and there stands out in complete relief. The pattern consisted of
small sections of fantastic and varying outlines; now a rather unnatural
imitation of a flower, now some quaint arabesque or mechanical form,
resembling nothing in the world but itself. These being distinct from
each other, were united by delicate fibres made with the still common
button-hole stitch; and it is not easy for mere description to render
justice to the beauty of the general effect. It seems wonderful that so
perfect a result could have been attained by following the impulse of
the moment; but still more difficult to believe that any design could
have been invented so strange and capricious in character. As for the
untiring patience displayed in the execution, we can only rejoice that
it was believed to be in a good cause; that the pious nuns could not
foresee the desecration to which, in the course of some few centuries,
their cherished productions were to be subjected. When accident or
necessity by degrees alienated the more valuable adornments of
church-furniture, they were applied to secular purposes; and no doubt
many a modern belle may have unconsciously displayed in a ball room a
lace flounce which has adorned an image of the Virgin, or sought
ineffectual protection from a draught by drawing around her a mantle of
old point, which has witnessed from the shoulders of a cardinal many a
grand and imposing ceremony. There are, of course, comparatively few
specimens extant of this very antique lace, properly described as
Spanish point; and these few have in most cases been handed down to
their possessors as valued heir-looms from generation to generation;
regarded with as much honest pride by the ladies of the line, as the
more valuable portion of the family heritage by their matter-of-fact
husbands. As the supply of old point can never be renewed, and
competition can never affect it, its value naturally increases; and when
it can be bought at all, it is only at a price that would be deemed
extravagant by any other than a genuine lace-fancier.
It was not until the latter part of the fourteenth century, that the
world at large was indulged with more than an occasional glimpse of the
beautiful fabric when displayed in the great festivals of the Church;
but by that time some knowledge of the art had crept out of its holy
hiding-places, and had found its way amongst the merchants of one or two
continental cities, to whom its novelty and beauty could not fail to
recommend it as a subject of extensive and profitable commerce. It is
true, we do not hear of it at once as being in general use; but Rome was
not built in a day, neither was point lace to be produced at a wish. The
hands that made it had to be carefully instructed and exercised in their
employment before any degree of perfection could be attained, and then
long and unwearyingly had they to pursue it before even the wealthier
classes of society, to whom alone it was attainable, could be adequately
supplied. We meet with most frequent allusion to Venice, that great
bazaar of the luxuries of the middle ages as the chief seat of the point
lace manufacture in early times. As this city certainly monopolised the
most skilful artisans in every branch of ornamental handicraft, and was
the great emporium whence everything beautiful and costly was spread
over the world, it is by no means extraordinary that the establishment
of lacemaking in other countries should be generally referred back to
some wandering band from the city of the winged lion.
The character of the lace worn during the fifteenth and sixteenth
centuries differed in some respects from the conventual point, if it may
be so termed. It was less massive, and although, certainly, exhibiting
no deficiency of work, did not display that superabundance of adornment
which distinguished the chiefs-d’œuvre of the holy sisterhoods. This is
easily accounted for by the circumstance, that the one kind was made for
money by those whose bread depended on the work of their hands, whilst
the other was the chosen occupation of leisure hours, and an outward
demonstration of heart-service.
Brussels, which has during several centuries maintained a reputation
wider and more extended than any other place, may certainly in the
present day be said to support and, if possible, extend the renown of
its lace; of this there are two distinct varieties, easily recognisable
by the initiated in such matters. The more valuable and beautiful kind
is that called _pointe a l’ aiguille_, or, more commonly, Brussels
point; it is worked wholly with the needle, and is, as its name implies,
a very refined descendant of the ancient family of the points. It was
very much in vogue among the wealthier classes in England during the
reigns of Charles I. and several succeeding monarchs, and has been
immortalised in Vandyck’s portraits of the martyr-king, under the form
of the beautiful pointed collar and cuffs which were dignified by the
name of the artist. Fashion has, in this case, been more constant than
usual, since the taste for Brussels point has continued so decidedly
among us, that we still monopolise a large proportion of the whole
quantity made; the other variety, called Brussels plait, being more
extensively used in France Spain, Russia, and other countries. In the
latter description of lace, the flowers for the pattern are made
separately on the pillow, and afterwards attached to net. It differs, in
fact, but little from the best English Honiton, of which I shall speak
hereafter.
In the lace called Mechlin, made at Malines and Antwerp, there are some
of those nice distinctions which render an account of the various
productions of Brussels unavoidably rather complicated. Mechlin lace is
made entirely on the pillow, and in one piece; it can therefore be
applied only to articles of limited size. Lappets or trimmings are the
forms under which we generally see it; and in these the exquisite
delicacy of its texture can be thoroughly appreciated. The chief
peculiarity consists in the filmy lightness of the ground, and in a
thick plait-thread, as it is called, following the outline of the
pattern, and giving the effect of embroidery.
The next class of Belgian lace, called generally Valenciennes, will be
familiar to most of our readers; but they may be scarcely aware that the
contributions of each of the six towns in which it is chiefly made offer
some distinctive peculiarity, which would enable a person accustomed to
compare them to decide with certainty upon their birthplace. The finest
description is that which comes from Ypres. This town is acknowledged to
excel in laces of the finest square ground and in the widest and most
expensive kind; its productions have been known in some instances to
produce as much as L.50 the yard.
Although Caen and Bayeux were the principal seats of the blonde
manufacture in France, a variety was originated at Chantilly, which was
brought to a higher perfection than any other, and was proportionably
higher in price. It was extensively worn in England about thirty years
ago, but is now almost traditionary here. The peculiarity of Chantilly
blonde consisted of the rich close pattern, which contrasted with the
filmy lightness of the ground. It was chiefly woven for veils, which
then differed a good deal from our present idea of them: they were
simply squares surrounded by one of these deep heavy borders of
irregular outline, and also flowered over in the centre, and were thrown
over the bonnet, completely enveloping the head and shoulders of the
wearer. This description may be recognised by any one who has
‘assisted,’ as the French say, at the bringing to light of those
treasures of by-gone days consigned by the changes in taste and fashion
to the darkness and oblivion of a lumber-room. Among such articles would
be most likely included a Chantilly veil of gigantic dimensions, or a
collar of proportionate magnitude. But although the general rage for
Chantilly has long past away, it is still used in small quantities, and
is made of exquisite beauty, as if thereby to retain with the very
fastidious the favor it has lost among the great body of lacewearers.
We should be charmed to proceed with this history of lace making, till
the subject exhausts itself, but our present book deals with it only so
far as it throws light upon and is connected with the branch of art
particularly under consideration. Crochet work has now become a branch
of lace making to a considerable extent, even in our country, where it
has been exclusively held as an accomplishment. But however charmed we
may be with the subject, a regard for space must prevent us running off
into a dull essay instead of giving the ways and means by which this
particular class under consideration is to be fabricated—as a bad
example to new beginners, for if they indulge in such deviations among
the stitches the workmanship will be a failure, we can assure them. But
now we begin in sober earnest to explore the complicated mysteries of
Crochet work as an art.
INTRODUCTION.
In commencing our instructions in Crochet Work in all its variations, we
supply what certainly is a great want in the American Household, where
some sort of fancy work is essential to the completion of those domestic
circles which render an American home so cheerful. In giving those
general directions regarding terms and stitches, which will, we trust,
prove acceptable, we have endeavored to be as concise and clear as the
nature of the subject will admit.
“_The Ladies’ Complete Guide to Crochet and Needlework_,” may therefore
be regarded as a compendium both of choice and accurate receipts and of
clear elementary instruction.
We will begin by giving those which are required for Crochet, and beg
our fair readers to refer to them on any future occasion of doubt or
difficulty.
CHAIN STITCH (abbreviated into ch.) is the foundation stitch in crochet.
A loop of thread made on the hook, and through this the thread is drawn,
forming the first chain stitch; draw the thread through this one, and a
second is formed. Continue the process until you have done the required
number.
SLIP STITCH (sl.) is a stitch chiefly used for the veinings of leaves,
and similar parts, in imitations of Honiton lace. It serves, also, to
carry the thread from one part to another, without either breaking it
off or widening the work. Insert the hook in the stitch next to that
already on the needle (unless the directions particularly say, _miss_ so
many,) and draw the thread at once through both stitches. Repeat.
SINGLE CROCHET (sc.)—Insert the hook in the chain, and draw the thread
through it; this forms a second loop on the hook. Draw the thread
through these two by a single movement and the stitch will be completed.
DOUBLE CROCHET (dc.)—Raise the thread over the hook, so as to pass it
round, before inserting the latter in the chain; draw the thread
through, and you will find three loops on the hook; bring the cotton
through two, which makes _one_ instead of those taken off. Thus two are
still on the needle; finish the stitch by drawing the thread through
these.
TREBLE CROCHET (tc.) is a stitch precisely similar to the last; but as
the thread is passed twice round the hook before the insertion of the
latter in the chain, there will be _four_ loops on, when the thread is
drawn through. Bring the thread three times through two loops to finish
the stitch.
LONG TREBLE CROCHET (l tc.) has the thread twisted _three_ times round
the hook, before it is passed through the chain; consequently, it will
require the thread to be drawn four times through two loops to finish
the stitch.
To work THROUGH a stitch, is to draw the thread _under_ instead of _in_
it. This is stronger than the usual method, but not so neat; it is,
therefore, rarely used for anything but very open work.
SQUARE CROCHET is that which is made entirely in small squares, those
which form the pattern being closely filled in, and the ground open.
Open squares are formed thus: 1 dc. 2 ch., miss 2, repeated. Close
squares contain three dc. stitches, thus: 1 c. 1 o., would have 4 dc. 2
ch. Every pattern in square crochet requires a foundation chain of
stitches which can be divided by three and leave _one_ over; as it is
obvious that if an open square were the last on the pattern, a dc.
stitch would be required to form the square at the end.
Sometimes a very large piece of work may be made in treble square
crochet. In this work, a close square of 4 tc. stitches; an open square,
1 tc. 3 ch. miss 3. This style requires the pattern to be divisible by
four, with one stitch over.
The stars, daggers, and asterisks used in printing knitting and crochet
receipts signify that any stitches given between two similar marks are
to be done as many times as directed; thus, ✕ 3 dc. 2 ch. ✕ three times,
means 3 dc. 2 ch., 3 dc. 2 ch., 3 dc. 2 ch.
When one repetition occurs within another italics are used at each end
of the part. * 1 p. 2 k. 1 p. 1 k. (_a_) m. 1, k. 1 (_a_) 6 times * 8
times, means that one complete pattern being finished, when you have
made 1, knitted 1, 6 times, 8 of those patterns, beginning again each
time at the first *, will be required for the round or row.
HONITON LACE COLLAR.
[FIG. 1.]
The same sprigs and edgings may be used for a Bertha, or Veil, as they
are complete in themselves, and only require to be tastefully grouped
and lightly sewed on Italian net, already cut into the form required.
MATERIALS.—Crochet cotton, No. 60; crochet hook, No. 24; eagle
card-board gauge.
FOR THE BORDER.—Make a chain of the length required, taking care that
there are so many sevens and two over. 2 sc. on ch. ✕ 5 ch., miss 5, 2
sc. on 2 ch. + repeat.
2nd Row.—2 sc. on the other side of the chain, ✕ 2 dc. 3 tc., 2 dc., in
5 ch., 2 sc. on same 2 ch. that were worked in the last row + repeat.
3rd Row.—2 slip on 2 sc. + 1 sc. 3 dc., 1 sc. on 5 ch. 1 slip on sc.;
make a chain of 12, close for a loop, and work round in sc., 1 slip on
second sc. stitch + repeat. Do not make the loop of 12 at the last
pattern.
FOR THE SMALL SPRIGS.—16 ch. close in 5th for a loop, leaving a stem of
four; work round the loop in sc., 2 ch. in continuation of stem, 18 ch.,
close for loop, round which work thus: 3 ch., miss 2, sc. on 3rd, 3 ch.,
miss 2, dc. on 3rd, ✕ 3 ch., miss 1, dc. on 2nd + twice, 3 ch., miss 2,
dc. on 3rd, 3 ch. miss 2, sc. on 3rd, 3 ch., miss 2, slip stitch at the
close of the loop; work round in sc. and down the 6 ch. of the stem.
[Illustration: THE LADIES OWN BOOK, AND COMPANION TO THE WORK TABLE.
PART II. DICK & FITZGERALD, NEW-YORK]
THE LARGE SPRIG.—30 ch., close for a loop, and work round it thus: 1
sl., 2 sc. dc. all the rest but 3; 2 sc., 1 slip. Turn the work on the
wrong side; 16 ch., miss 3, slip on 4th, + 4 slip on the last 4 of the
chain; 16 ch., miss 4, slip on 5th, + 5 times; 4 slip on last 4 of the
16; 12 ch., miss 3, slip on closing stitch; work all round these loops
in dc., except the first and last stitches of each loop, which must be
sc. This completes the flower: 16 ch., on which work back, 1 sc. + 2 dc.
in one chain, + 4 times, 1 dc., 9 ch., 1 sc., 7 dc. on the 9; 1 dc. 1
tc., in next chain of 16; 1 dc., in next; 1 sc. in next; 1 slip in next;
slip back on the last 3 stitches; 6 ch., on which 1 slip, 1 sc., 8 dc.
(the last of which will come on the 16 ch.) ; 2 sc., 1 slip, leaving 2
ch. for the stem, 8 ch.
SHAMROCK.—21 ch., join in 7th for loop, and slip 4 on the last 4; 11
ch., join to the stitch which closed the loop; slip back 4 as before 11
ch., join at the close of the loop, and work all round in sc., also 6
sc. on stem; 26 ch. slip 11, leaving 14 for stem; work round the 11
thus: 1 slip, 1 sc., 7 dc., 1 sc. 1 slip, on each side, which forms a
close leaf; repeat leaf, with 8 ch. for stem instead of 14; then another
leaf close to it; 8 sc. on 8 ch. of stem; repeat the leaf; 7 sc. on
stem; repeat the shamrock; 7 sc. on stem; repeat the leaf, making a ch.
of 14 instead of 12; work in sc. to the base of the flower; fasten off.
Honiton lace sprigs and edgings must be finished by running the ends of
thread at the back with a fine sewing needle, and then cutting them off.
To make hemstitch for the neck, make a chain the required length, and
work thus: 2 ch. miss 1, 1 dc. This gives the circular form requisite
for the neck of a collar.
PASSION FLOWER IN CHENILLE
[FIG. 2.]
MATERIALS.—One piece of green chenille, of a medium tint; one of a very
delicate green; one of violet ditto; and a small quantity of rather
stout liteaux. This last is a kind of fine wire, used in making up
flowers, &c. The chenille is the fine kind termed _chenille a broder_.
Crochet hook, No. 14.
Cut a piece of liteaux, about a quarter of a yard long; make a loop at
one end of it, occupying an eighth of the whole length, and twist the
wire, to keep the round perfect; on this loop work 16 dc. stitches with
the lightest green or white chenille, and on these another round of dc.
stitches. Repeat this seven times more; so that on the length of liteaux
eight of these petals are formed. When all are done, twist together the
ends of every two, and fasten them thus on a piece of liteaux, as close
together as possible. Then prepare the stamens and pistil. Twist some
short pieces of liteaux, into a form as nearly as possible resembling
that of the natural pistil, which, it will be remembered, has three
branching arms. Cover this with pale green chenille. The stamens are
short pieces of liteaux, some covered with violet, and some with green
chenille: they are to be made of different lengths, and the ends to be
twisted round that of the pistil, so that they may surround it. Then
make a small ring of liteaux, put it round the stamens and pistil, and
cover it with violet chenille, when the centre of the flower is
completed. Put round it the liteaux with the eight petals attached, so
that the ring of violet covers the joins. Work on a small wire ring two
rounds of dark green chenille for the calyx, in which place the flower.
Twist the ends all together, to form a stem, and cover it with chenille
of the same color.
FOR THE BUD.—Work 20 tc. stitches with the light green chenille on a bit
of liteaux, laying in another piece of wire at the edge. Draw the
stitches rather together, so as to form a cup, in which put a morsel of
cotton wool. Work on another bit of liteaux 16 dc. stitches with dark
green chenille; twist the ends together, drawing the wire into the form
of a leaf. Four of these make the calyx which is to surround the bud.
Twist the ends together, and cover the stem so formed with chenille.
THE LEAVES.—Twist a piece of liteaux large enough to form the centre of
a leaf, and work round it in dc. with the darkest green chenille, taking
care to make your stitches very close together. Work round this another
row of the same chenille, with a bit of _very fine wire_ in the edge. Do
all in dc. except the first and last stitches, which must be in sc.
Twist the ends of the wires for a stem, and cover with the same shade of
chenille. If these artificial flowers are to be used for a head dress,
four of them must be made, and a sufficient number of leaves to form a
drooping branch on each side of the hair. For a bonnet, they may be
formed into a group.
To make a wreath of the present style, unite the two sprays by either a
coronet of leaves, or a plait of lilac chenille.
For dark hair, make flowers of scarlet chenille instead of lilac.
CARD BASKET IN CROCHET
[FIG. 3.]
MATERIALS.—Rich blue Berlin wool, two ounces; gold colour and scarlet
filoselle, three-quarters of an ounce each; fine window cord; Bone
crochet hook.
Form with the cord as small a round as you can for the commencement of
the stand, and continue to work in it, round and round, until all the
flat part of the basket is done, all in sc.
1st round.—12 stitches, blue.
2nd.—18 ditto.
3rd.—24 ditto.
4th.—36 ditto.
5th.—1 gold, 3 blue, 2 gold, 3 blue, 1 gold. 4 times.
6th.—1 gold, 4 blue, 2 gold, 4 blue, 1 gold,. 4 times.
7th.—2 gold, 5 blue, 3 gold, 5 blue, 1 gold,. 4 times.
8th.—4 gold (the 1st on the 1st of last row,) 1 blue, 7 gold, 1 blue, 3
gold. 4 times.
9th.—2 gold, 2 scarlet on 1 gold, 3 gold (the centre on the single
blue,) 2 scarlet on 1 gold, 3 gold on 3 gold, 2 scarlet on 1 gold, 3
gold, 2 scarlet on 1 gold, 1 gold. 4 times.
10th.—1 gold on 1st gold of last row, 3 scarlet on two stitches, 5 gold,
3 scarlet on 2, 1 gold on centre of 3 gold, 3 scarlet as before, 5 gold,
3 scarlet. 4 times.
11th.—2 gold on 1, 4 scarlet, 4 gold on 3, 4 scarlet, 2 gold on 1, 4
scarlet, 4 gold on 3, 4 scarlet. 4 times.
12th.—3 gold on 2, 4 scarlet, 3 gold on 2, 4 scarlet, 6 gold, 4 scarlet,
3 gold on 2, 4 scarlet, 3 gold on 2. 4 times.
Thus it will be perceived, the written instructions are for one exact
quarter of each round. After having done the last round, do one entirely
of scarlet; cut off the cord at the end of the round, and work a few
stitches to conceal the termination of it.
FOR THE SIDES OF THE BASKET.—The rounds alternately blue and gold.
1st Round.—1 dc., 3 ch., miss 1; repeat.
2nd.—1 dc. on centre of 3 ch., 3 ch., miss 3.
3rd.—As last, with 4 ch. between.
4th.—Repeat, with 5 ch. between.
5th.—As 4th.
6th.—5 dc. on 5 ch., 1 ch., miss 1; repeat.
7th.—Sc. all round, with cord in as in the first part.
8th.—3 sc. on 3 centre of 5, 9 ch., miss 3, repeat.
9th.—To be worked on the same row as the last, 3 sc. on the 3 missed, 9
ch., miss 3; repeat. Work these two rows in different colours, and form
a band of wire, covered with ribbon or crochet, to correspond; conceal
the fastening with bows.
BORDER FOR AN EMBROIDERED QUILT.
[FIG. 4.]
KNITTED EMBROIDERY.
MATERIALS.—Knitting cotton, white and ingrain pinks, No. 12; knitting
needles, No. 15; eagle card-board gauge.
Knitted Embroidery, of which the engraving shows a very simple specimen,
is a very novel and beautiful style of work. In wool, its effect rivals
that of the costly chenille, with the advantage of being washable; and
now that cottons are dyed of such exquisite colors, they are also very
suitable for it.
With the white cotton cast on 16 stitches, and purl a row.
1st.—W.: k. 2, m. 1, k. 2 t., k. 3, ✕ k. 1 P., 1 W., 1 P., ✕ W. k. 4, m.
2, k. 2.
2nd.—W.: k. 3, p. 1, k. 1, p. 3, ✕ p. 1 P., 1 W., 1 P., ✕ white p. 3, k.
4.
3rd.—W.: k. 2, m. 1, k. 2 t., k. 5, ✕ k. 3 P, ✕ k. 8 W.
4th.—W.: k. 2, m. 2, k. 2 t., k. 1, p. 4, ✕ p. 1 P., ✕ W., p. 4, k. 4.
5th.—All white: k. 2, m. 1, k. 2 t., k. 12, p. 1, k. 2.
6th.—W.: k. 6, ✕ p. 1 P., 1 W., 1 P., 3 W., 1 P., 1 W., 1 P., ✕ k. 4 W.
7th.—W.: k. 2, m. 1, k. 2 t., ✕ k. 1 P., 1 W., 1 P., 3 W., 1 P., 1 W., 1
P., ✕ W., k. 2 t., m. 2, k. 2 t., k. 2 t.
8th.—W.: k. 3, p. 1, k. 1, ✕ p. 3 P., 3 W., 3 P., ✕ W., k. 4.
9th.—W.: k. 2, m. 1, k. 2 t., k. 1, ✕ k. 1 P., 5 W., 1 P., ✕ W., k. 5.
10th.—All White: cast off 2, k. 2, p. 9, k. 4. Repeat the pattern to the
length required.
+ + Between these marks only the colors intermix.
CROCHET EDGING.
[FIG. 5.]
Like all other crochet patterns, the size depends wholly on the
materials employed. For dress trimmings, No. 30 Crochet cotton, with
crochet hook No. 19, will be suitable; or even finer cotton may be used.
But this pattern being particularly suitable for trimming curtains and
so forth, I recommend Crochet cotton, No. 10, and steel crochet hook,
No. 14.
Make a chain of 15 stitches, and sc. into the 6th of these to make a
loop. Work under the upper half of this loop 8 sc.; 11 ch.; form this
loop as before, leaving one chain between it and the last; work 8 sc. in
it; do three more with 11 ch., then one with 15, and so on throughout.
When sufficient is done for the piece required, _allowing for its
diminishing by one-third_, work 7 sc. on the other side of every round,
and 1 sc. between. On the five chain between every five work 2 sc.
3rd Row.—Begun at the same place as the last 3 sc. on the three centre
stitches of the first loop, 2 ch., 2 sc. on the centre stitches of the
next 3 loops, with 2 chain between, 3 sc. on the last of the five, and 4
chain between; repeat.
4th. Worked the same way. 3 sc. on the 3 sc. of last row, 13 ch., 3 sc.
on 3 sc. of the fifth loop, 4 sc. on 4 ch.; repeat.
5th.—1 dc., 1 ch., miss 1; repeat.
6th.—Sc. throughout.
When this is done, work with a common needle and thread three bars of
button-hole stitch, to connect the three centre loops, as seen in the
engraving.
PUNCH’S ANTI-MACASSAR.
[FIG. 6.]
MATERIALS.—Crochet cotton, No. 10; crochet hook, No. 15; eagle
card-board gauge; 136 ch.
The first four rows in open square crochet.
5th.—19 o., 1 c., 25 o., 1 dc.
6th.—16 o., 4 c., 7 o., 1 c., 17 o., 1 dc.
7th.—16 o., 4 c., 4 o., 4 c., 17 o., 1 dc.
8th.—17 o., 1 c., 1 o., 1 c., 4 o., 4 c., 17 o., 1 dc.
9th.—18 o., 1 dc., 1 ch., 5 dc., 5 o., 1 dc., 1 ch., 6 dc., 1 ch., 17
o., 1 dc.
10th.—18 o., 3 c., 3 o., 4 c., 17 o., 1 dc.
11th.—13 o., 1 dc., 1 ch., 6 dc., 1 ch., 1 o., 1 dc., 1 ch., 11 dc., 2
ch., 2 ch., 1 dc., 1 dc., 2 ch., 4 c., 17 o., 1 dc.
12th.—13 o., 3 c., 2 o., 3c. 2 o., 4 c., 18 o., 1 dc.
13th.—12 o., 1 dc., 1 ch., 12 dc., 1 ch., 1 dc., 2 ch., 13 dc., 2 ch.,
11 dc., 1 ch., 18 o., 1 dc.
14th.—12 o., 1 dc., 1 ch., 41 dc., 2 ch., 18 o., 1 dc.
15th.—As 14th.
16th.—13 o., 43 dc., 2 ch., 17 o., 1 dc.
17th.—14 o., 43 dc., 2 ch., 16 o., 1 dc.
18th.—14 o., 46 dc., 2 ch., 15 o., 1 dc.
19th.—14 o., 1 dc., 1 ch., 47 dc., 2 ch., 14 o., 1 dc.
20th.—15 o., 46 dc., 2 ch., 14 o., 1 dc.
21st.—15 o., 1 dc., 1 ch., 44 dc., 2 ch., 14 o., 1 dc.
22nd.—11 o., 57 dc., 1 ch., 14 o., 1 dc.
23rd.—15 o., 61 dc., 2 ch., 9 o., 1 dc.
24th.—16 o., 46 dc., 2 ch., 13 o., 1 dc.
25th.—16 o., 1 dc., 1 ch., 45 dc., 1 ch., 13 o., 1 dc.
26th.—17 o., 44 dc., 1 ch., 13 o., 1 dc.
27th.—18 o., 41 dc., 1 ch., 13 o., 1 dc.
28th.—16 o., 47 dc., 1 ch., 13 o., 1 o.
29th.—Like 28th.
30th.—16 o., 48 dc., 2 ch., 12 o., 1 dc.
31st.—16 o., 1 dc., 1 ch., 29 dc., 2 ch., 16 o., 2 ch., 12 o., 1 dc.
32nd.—14 o., 35 dc., 1 ch., 1 o., 1 dc., 1 ch., 14 dc., 2 ch., 12 o., 1
dc.
33rd.—14 o., 34 dc., 2 ch., 2 o., 13 dc., 2 ch., 12 o., 1 dc.
34th.—15 o., 31 dc., 2 ch., 2 o., 13 dc., 2 ch., 12 o., 1 dc.
35th.—16 o., 31 dc., 2 ch., 1 o., 13 dc., 2 ch., 12 o., 1 dc.
36th.—15 o., 37 dc., 2 ch., 1 dc., 1 ch., 9 dc., 1 ch., 13 o., 1 dc.
37th.—12 o., 7 dc., 2 ch., 37 dc., 2 ch., 1 dc., 2 ch., 7 dc., 2 ch., 13
o., 1 dc.
38th.—12 o., 34 dc., 2 ch., 1 dc., 2 ch., 5 dc., 1 ch., 2 o., 5 dc., 1
ch., 14 o., 1 dc.
39th.—12 o., 37 dc., 2 ch., 20 o., 1 dc.
40th.—13 o., 34 dc., 2 ch., 20 o., 1 dc.
41st.—14 o., 10 dc., 2 ch., 16 dc., 2 ch., 21 o., 1 dc.
42nd.—14 o., 1 dc., 1 ch., 35 dc., 2 ch., 18 o., 1 dc.
43rd.—15 o., 32 dc., 1 ch., 19 o., 1 dc.
44th.—14 o., 34 dc., 2 ch., 19 o., 1 dc.
45th.—15 o., 28 dc., 2 ch., 20 o., 1 dc.
46th.—16 o., 25 dc., 2 ch., 20 o., 1 dc.
47th.—Like 46th.
48th.—17 o., 22 dc., 2 ch., 20 o., 1 dc.
49th.—18 o., 19 dc., 2 ch., 20 o., 1 dc.
50th.—18 o., 19 dc., 2 ch., 1 dc., 2 ch., 7 dc., 2 ch., 16 o., 1 dc.
51st.—Like 50th.
52nd.—19 o., 16 dc., 2 ch., 1 dc., 2 ch., 4 dc., 2 ch., 17 o., 1 dc.
53rd.—20 o., 19 dc., 2 ch., 18 o., 1 dc.
54th.—21 o., 13 dc., 2 ch., 19 o., 1 dc.
55th to 58th inclusive, in open squares.
BORDER FOR THE ANTI-MACASSAR, which must have a row of sc. up each side
previously done to fasten in the threads.
1st.—1 dc. over dc., of the Anti-Macassar, ✕ 2 ch., 7 dc. in next dc., 3
ch., 1 dc. in same stitch. ✕; repeat all round.
2nd.—Sc. in the centre of the 3 ch. of last round, ✕ 9 ch., sc. in
centre of the next, ✕ ; repeat.
3rd.—✕ Sc. on 1st of 9 ch., 3 ch., miss 2, 1 dc. on 3rd, 4 ch., miss 1,
1 dc. on 2nd. 3 ch., miss 2, 1 sc. on the last of the 9, ✕; repeat.
DEEP LACE IN CROCHET.
[FIG. 7.]
FOR ANTI-MACASSARS, ETC.
MATERIALS.—Crochet cotton, No. 12; crochet hook, No. 14 or 15.
Make a chain the required length.
1st Row in sc.
2nd.—1 tc., 1 ch., miss 1, repeat.
3rd.—1 dc., 7 ch., miss 3, dc. in 4th; repeat.
4th.—✕ Sc. in centre of 7 ch., 7 ch., ✕; repeat.
5th, 6th, and 7th.—Like 4th.
8th.—† Sc. in centre of 7 ch., ✕; 9 ch., sc. in same stitch, ✕ twice 3
ch., miss 3, dc. on 4th. 3 ch., miss 3, †; repeat.
9th.—Sc., miss every sc. stitch of last row.
10th.—✕ sc. on point of the next loop, 3 ch., sc. on point of the next
loop, 7 ch., ✕ repeat.
11th.—† Sc. on centre of 7 ch., ✕ 9 ch., sc. in same stitch, + twice 9
ch., †; repeat.
12.—† 9 sc. on 9 ch.; then, on the first loop of 9, work 1 sc., 2 dc., 6
tc., 2 dc., 1 sc.: then make the flower thus: 12 ch., slip in 6th for a
loop, ✕ 5 ch., 1 sc. under loop, ✕ 4 times; work these 4 loops in sc.,
missing all the previous sc. stitches, then the 5 ch. that were left of
the 12; 1 sc., 2 dc., 6 tc., 1 sc. on 2nd loop of 9, †; repeat.
TATTED INSERTION.
[FIG. 8.]
SUITABLE FOR CUFFS, BANDS, ETC.
MATERIALS.—White cotton braid, No. 9; Crochet No. 70, and
tatting-cotton, No. 3.
FOR THE TATTING.—6 double stitches; make a picot with a fine pin; 3
double stitches, 1 picot, 3 double stitches, 1 picot, 6 double stitches.
Draw this loop up, and leave a space as great as that indicated in the
engraving before making the next. When a sufficient quantity of this is
done, take a piece of colored paper, rather longer than you require the
insertion to be, and on it rule two parallel lines, an inch apart, and
another exactly between them. Take on the tatting, allowing it to touch,
alternately, each outer line; then back again in the same manner, so
that the threads cross at the centre line, and form a hexagonal space
between every two tatted loops. Braid the outer lines and the ends; and
if the piece be intended for a cuff, put a double line of braid at one
end for the buttons, and also two braid loops at the other, for
button-holes. A long needleful of Crochet, No. 70, must then be taken
along the centre line, connecting the cross lines with a button-hole
stitch wherever they occur. Then work a rosette of English lace in every
space, and another when the four threads cross each other. The tatting
edging is made without picots, and lightly sewed on the outer edges of
the braid, both sides of which should then be finished with a row of
Venetian edging.
ANTI-MACASSAR.
[FIG. 9.]
LAURESTINA LEAF PATTERN.
MATERIALS.—Crochet cotton, No. 8; knitting needles, No. 13.
Cast on any number of stitches you like, which can be divided by 16, and
6 over for the border. Knit three plain rows.
1st.—K. 3, + m. 1, k. 1, m. 1, k. 2, slip 1, k. t., pass the slip stitch
over, k. 2, + twice for every pattern, k. 3.
2nd. and every alternate. Knit the three first and last stitches, and
purl all the remainder.
3rd.—K. 3, + m. 1, k. 3, m. 1, k. 1, slip 1, k. 2 t. pass the slip
stitch over k. 1. ✕ twice for each pattern, k. 3.
5th.—K. 3, + m. 1, k. 5, m. 1, slip 1, k. 2 t., pass slip stitch over; ✕
twice as before; repeat and k. 3.
7th.—K. 3, ✕ m. 1, k. 2, slip 1, k. 2 t., pass slip stitch over; k. 2,
m. 1, k. 1. ✕ twice for each pattern, k. 3.
9th.—K. 3, ✕ k. 1, m. 1, k. 1, slip 1, k. 2 t., pass slip stitch over;
k. 1, m. 1, k. 3, m. 1, k. 1, slip 1, k. 2 t., pass slip stitch over; k.
1, m. 1, k. 2 +; repeat to the last 3 k. 3.
11th.—K. 3, ✕ k. 2, m. 1, slip 1, k,. 2 t., pass slip stitch over; m. 1,
r. 5, m. 1, slip 1, r. 2 t., pass slip stitch over; m. 1, k. 3, +;
repeat to the last, 3, k. 3.
13th.—K. 3, ✕[1] k. 2 t., k. 1, m. 1, k. 1, m. 1, k. 2, k. 3 t., k. 2,
m. 1, k. 1, m. 1, k. 2, k. 2 t. ✕. Repeat k. 3.
Footnote 1:
Instead of knitting two together at the beginning and end of the
pattern, in this and the following rows, the worker will find that she
must knit three together in the body of the Anti-Macassar and at the
beginning and end of the row, only as directed in the text.
15th.—K. 3, ✕ k. 2 t., m. 1, k. 3, m. 1, k. 1, k. 3 t., k. 1, m. 1, k.
3, m. 1, k. 1, k. 2 t., +; repeat, k. 3.
17th.—K. 2, k. 2 t., ✕ m. 1, k. 5; m. 1, k. 3 t., ✕. Repeat to the end
of the row, when you will knit 3 together, and then 3 of the border.
Repeat from 7th to 18th rows inclusive, until sufficient is done; then
knit 3 plain rows, and fasten off.
BORDER FOR ANTI-MACASSAR.—Same cotton and needles. Cast on 17 stitches.
1st.—Slip 1, k. 2, m. 1, slip 1, k. 2 t., pass slip stitch over; m. 1,
k. 3, m. 1, k. 2 t., k. 1., m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1.
2nd.—K. 1, purl all but five, k. 5.
3rd.—Slip 1, k. 2, m. 1, k. 2 t., m. 1, k. 2 t., k. 1, k. 2 t., m. 1, k.
3, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1.
4th.—Like 2nd.
5th.—Slip 1, k. 2, m. 1, k. 2 t., k. 1, m. 1. slip 1, k. 2 t., pass slip
stitch over, m. 1, k. 5, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1.
6th.—Like 2nd.
7th.—Slip 1, k. 2, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1, m. 1, k. 2
t., k. 5, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k 1.
8th.—Cast off 5, purl all the remainder, except the last five, which
knit plain.
NET FOR THE HAIR.
[FIG. 10.]
MATERIALS.—Three good skeins of scarlet or blue netting silk; elastic
ribbon and tassels to correspond; crochet hook, No. 12.
Make 6 chain, and form them into a round.
1st.—1 tc. into every chain, and 1 ch., after every tc., thus making 12
stitches in the round.
2nd.—1 tc. on one chain, 3 ch., miss tc. stitch. Repeat.
3rd.—✕ 1 tc. on the centre of the loop, 5 ch., ✕ repeat.
4th.—✕ 1 tc. on centre of loop, 7 ch. ✕ repeat.
5th to 10th rounds inclusive.—Like the last, increasing two chain at
every round, so that 9 ch. are made in the 5th, and 19 in the 10th
round.
11th.—3 tc., 3 ch., miss 3. Repeat.
12th.—✕ 3 tc. on 3 ch., 3 ch., miss 3, + repeat.
13th.—✕ 4 tc., 4 ch., miss 4, ✕ repeat.
14th.—+ 4 tc. on 4 ch., 5 ch., miss 4, + repeat.
The elastic ribbon is to be run in the 11th round, and tassels fastened
to hang over the ear.
BERLIN WORK AND CANVAS EMBROIDERY.
It being one of the chief objects of the Proprietors of this little
work, to present to the reader, in a very portable form, the clearest
and most accurate elementary instructions for every kind of fashionable
Needlework, I have selected BERLIN WORK or CANVAS EMBROIDERY as the
subject for explanation in this part.
Berlin work is the general term for what might perhaps be more properly
termed embroidery on canvas; a material with which, doubtless, most of
my readers are well acquainted, although they may not be familiar with
the names of the different kinds and sizes.
THE FRENCH CANVAS, (sometimes called _Patent_) is the one which I prefer
for all ordinary purposes. The open squares are very exact, and the
threads and selvage usually firm and strong. It is the only kind that is
suitable for large pieces, or for wreaths, or any thing else, in fact,
in which squareness and strength are essential.
PENELOPE CANVAS has the threads placed two and two in both directions;
and took its name, I presume, from the appearance it presents of having
been worked, and the work picked out again, like that of the faithful
wife of Ulysses. As all trouble of counting the threads is saved, it is
very easy to work on, but can only be worked in cross-stitch.
GERMAN CANVAS differs from the French in having every tenth thread a
different color, and not being so true a square in the mesh.
It is altogether inferior to the French (or patent); and, (amongst other
disadvantages,) has that of showing the colored thread through any light
wool. Still, as it obviates, in some degree, the trouble of counting,
many people like to work on it.
SILK CANVAS is a very expensive article; but it saves much labor, as
designs worked on it do not require to be grounded. I should never
advise any but white silk canvas being used, as the colored ones do not
wear well. There are so many different qualities of silk canvas, that
none should be bought without careful examination, by laying something
of an opposite tint underneath it, and thus detecting any
irregularities, roughnesses, &c., good silk canvas should be perfectly
even.
Canvas is made of almost every variety of width; the narrow silk canvas
being the proper size for braces.
Canvas is chosen according to its size, being numbered much like cotton,
according to the number of threads in the inch. We seldom require a
coarser size than No. 8, which contains 11 threads to the inch—10 has
13,—and so on to 24, which has 27 threads. The next number, 30, has 31
threads, 40 has 35, and 50, 37. We seldom use any finer than this.
There are not so many sizes manufactured of either silk or Penelope
canvas; and the former is never made so coarse as the cotton article.
The surface of canvas is covered by being worked with various
substances, of which silks, wools, chenille, and beads, may be
considered the principal. Beads are now very much used, intermingled
with silks and wools. For grounding large articles a new and very
beautiful kind of wool has lately been introduced, termed _filoselle_.
It works in admirably, and imparts a very rich effect to a design. It is
about the size of Berlin wool which is fresh and good. For finer
articles floss silk is common, and chenille may be worked on silk canvas
with excellent effect.
Berlin wool may be used for almost any purpose; for, if too coarse, it
can be split without injury; and if the reverse, two or three threads
may be worked together. It should never be wound, for however lightly
done it is certain to be injured.
Fleecy wool has been greatly improved both in texture and dye of late
years, and may now be used for groundings and those purposes for which,
formerly, it would have been quite unsuitable. It is much cheaper than
Berlin wool.
English, or Embroidery wool, is a much stronger substance than Berlin;
the dark shades are excellent for the ground of large pieces, but the
lighter tints are not equal to those in the Berlin wool.
The chenille used for embroidery is called _chenille a broder_, to
distinguish it from the _chenille ordinaire_, which is much coarser. The
effect of flowers, birds and butterflies, worked in _chenille_, is rich
and beautiful in the extreme, but the pile so easily attracts dust, and
is so liable to injury, that it should be used only for articles which
will be defended by glass. The needle used for chenille should have
round eyes, and be sufficiently large to prepare a passage in the satin
or canvas through which the chenille may pass without injury.
THE STITCHES USED IN BERLIN WORK.
There are but five stitches for canvas work, although many others are
enumerated; for they are but varieties of the following:
CROSS-STITCH,
TENT-STITCH,
IRISH-STITCH,
GERMAN-STITCH,
GOBELIN OR TAPESTRY STITCH.
CROSS-STITCH is worked by bringing up the needle on the left hand,
crossing two straight and two perpendicular lines, and putting in the
needle on the right; bring the needle up on the right again, in the
space which forms a right angle with the two already occupied; cross the
first thread, and bring the needle under on the left hand again.
When grounding is done in this stitch, take care to avoid all appearance
of lines and joins by using unequal length of wool, finishing each
stitch before the next is begun. Grounding should be begun at the left
hand lower corner and worked upwards.
[Illustration: THE LADIES OWN BOOK, AND COMPANION TO THE WORK TABLE.