FOUR TENT-STITCHES, just occupy the space of one cross-stitch a
tent-stitch being taken diagonally from one space to the next above it
_to the left_.
TENT-STITCH and CROSS-STITCH are distinguished among the French by the
names of _Petit point_ and _Gros point_.
IRISH-STITCH is extremely simple, and very rapidly done. It consists of
a series of upright stitches which cross the horizontal lines, and are
_worked between_ the perpendicular ones. For the first line, (beginning
at the left hand corner,) bring up the needle in the lowest vacant
space, and put it down in the fourth above it, allowing it to cover four
bars of thread; bring up the needle on the line with the first stitch,
with one upright thread between, and down on the third space, the wool
covering two threads. Repeat these alternate short and long stitches,
throughout the line. The next and following lines, _every stitch_ must
cover four threads; and as you bring out the needle in the space in
which you brought it down in the last row, the stitches are still
alternately two threads higher than the intermediate ones.
GERMAN STITCH is very similar to the above; but the stitches are taken
diagonally. The first stitch is taken from one space to the next
diagonal one; in the second, one space is missed; so that the stitches
are alternately long and short. All the following rows are worked like
the first, care being taken that the long stitches of one row shall join
the short, and _vice versa_. This stitch is only used for grounding.
GOBELIN STITCH is that which is more peculiarly fitted for delicate and
beautiful picture working; but the needle requires a really artistic
hand to direct it in forming patterns in this stitch. The wool crosses
two threads in height, but only one in width; two tapestry stitches
therefore, are equal to a cross-stitch, remembering that the square so
formed is not a true one.
Some writers enumerate other stitches on canvas; but the best authors
reckon the above named only, all others being merely varieties of them.
You will observe that any pattern may be made larger or smaller than the
original when worked, simply by selecting the canvas that will effect
the requisite alteration. When you choose your Berlin pattern, consider
what size you will desire your work to be, and calculate by the scale I
have already given you, what canvas will be needed; and also whether it
will require to be worked in tent-stitch or in cross-stitch. If for the
former you may reckon a thread of canvas for every square. For the most
part, Berlin patterns are intended to be worked in tent-stitch; but some
have each square in the more delicate parts divided into four. When this
is the case, the mass _must_ be worked in cross, and the fine parts in
tent-stitch; otherwise it is quite optional.
I must repeat my previous caution not to attempt Berlin patterns on
German canvas. Figure pieces especially, would suffer materially in the
effect from the want of squareness in the canvas. It is not advisable to
attempt reducing very materially a pattern crowded with subjects; nor,
on the other hand, to enlarge one that has few. The reason of this is
obvious.
TO FRAME CANVAS.
There is considerable art in doing this properly; and if negligently
arranged, it is certain that the work will be distorted when complete.
Turn down the canvas and herring-bone it at each raw edge: then sew it
to the webbing of the frame, thread by thread. When the first end is
sewed, take care that the other end shall be as nearly as possible
opposite it. If too large for the frame, wrap some clean silver paper
several times round the roller, before the canvas goes round it.
The part where the pattern is to be begun is the only part to be exposed
in the frame. The sides must then be tightly braced with fine twine; and
the canvas is then ready for the work. Berlin work is often done on
canvas, with cloth, satin or velvet underneath it: this saves the labor
of grounding, as the pattern being worked, the superfluous canvas is cut
away, and the embroidery appears on the solid material. Some people draw
out the threads of the canvas: this is not only very troublesome, but it
also spoils the effect of the work. Small intermediate spaces of canvas,
not covered with embroidery, are usually grounded with wool exactly the
color of the cloth.
In framing cloth and canvas together, it must be borne in mind that the
former stretches considerably more than the latter. If therefore, they
are intended to be the same size, the cloth must be cut rather narrower,
and (the edges being turned in,) must be firmly tacked to the selvages
of the canvas. This will, of course, render the edges thicker than the
centre; and to equalize the height, paper should be wrapt round the
roller.
All patterns should be commenced at the left hand corner, unless they
are intended for a _centre_; when the work must be begun on the centre
stitch.
Delicate grounds should never be attempted on any but perfectly white
canvas; and black grounds should always be avoided, if practicable.
The last direction I can give is to ensure a proper quantity of wool to
begin with; as there is often great difficulty in matching shades,
especially for grounding.
NEEDLES.
The needles principally used are _tapestry needles_, which are thick and
blunt and have a long open eye,—_Sharps_, which are similar needles with
sharp points, and are used for working on thicker substances than
canvas,—as cloth, &c.; and _short long eyes_, which are used for the
same purpose, and are like common needles, but very short, and with long
eyes.
CROCHET COLLAR.
[SEE FIG. 1, FRONTISPIECE.]
MATERIALS.—Crochet cotton, No. 30. Crochet hook, No. 20, or 21. Make 320
chain.
1st.—✕ 2 tc. in one chain, 1 ch., miss 1 ✕. Repeat.
2nd.—✕ 1 tc. under every chain, 3 ch., miss 2 tc. ✕. Repeat.
3rd.—✕ Sc. in every alternative loop of 3 ch., 8 ch. ✕; repeat.
4th and 5th.—✕ sc. through every loop with 8 ch. between ✕. Repeat.
6th.—dc. in every loop.
7th.—✕ 10 tc., 1 ch., 10 tc., without missing any; 8 ch., miss 6, 1 dc.,
8 ch., miss 6 ✕, 12 times, but ending with the 2nd 10 tc.
8th.—10 tc. on first 10 of last row, 2 ch., miss 1, 9 tc., ✕ 8 ch., 1
tc. on dc., 8 ch., 9 tc., beginning on the 2nd of 10, 2 ch., miss 1, 9
tc. ✕ 10 times, 8 ch., 1 tc. on dc., 8 ch., 9 tc. (beginning on the
2nd), 2 ch., miss 1, 10 tc.
9th.—10 tc., 2 ch., miss 2, 8 tc. ✕ 6 ch., 1 tc. on tc., 4 ch., 1 tc. on
the same, 6 ch., 8 tc., beginning on the 2nd of last row, 2 ch., miss 2,
8 tc. ✕ 10 times; 6 ch., 1 tc. on tc., 4 ch., 1 tc. on same, 6 ch., 8
tc. (beginning on 2nd of last row), 2 ch., miss 2, 10 tc.
10th.—10 tc., miss 2, 3 ch., 5 tc., ✕ 6 ch., 1 tc. in loop, * 4 ch., 1
tc. in the same loop * twice, 6 ch., 5 tc. (beginning on 3rd), 3 ch.,
miss 2, 5 tc. ✕ 10 times, 6 ch., 1 tc. into loop, † 4 ch., 1 tc. into
same, † twice, 6 ch., 5 tc. (beginning on 3rd), 3 ch., miss 2, 10 tc.
11th.—16 tc. in 16 successive stitches, ✕ 6 ch., 1 tc. into first loop *
4 ch., 1 tc. into the same loop, * twice, 1 tc. into the next loop, † 4
ch., 1 tc. into same, † twice; 6 ch., 9 tc. in 9 successive stitches,
beginning on the 3rd of the previous row, ✕ 10 times; 6 ch., 1 tc. into
first loop, ¶ 4 ch., 1 tc. into the same, ¶ twice; 1 tc. into the next,
(_a_) 4 ch., 1 tc. into the same (_a_), twice; 6 ch., 16 tc.
12th.—14 tc. ✕ 6 ch., tc. into first loop, 4 ch., 1 tc., into the same;
10 ch., 1 tc. into the last loop, 4 ch., 1 tc. into the same, 6 ch., 5
tc. (beginning on 3rd), ✕ 10 times; 6 ch., 1 tc. into 1st loop, 4 ch. 1
tc. into the same, 10 ch., 1 tc. into the last loop, 4 ch., 1 tc. into
the same, 6 ch., 14 tc.
13th.—12 tc., ✕ 6 ch., * 1 tc., 4 ch., * 10 times through the 10 ch.; 6
ch., 3 tc., ✕ 10 times; 6 ch., † 1 tc., 4 ch. through 10 ch., † 10
times; 6 ch., 12 tc.
14th.—10 tc. ✕ 6 ch., 1 tc. under the 6 ch. of the last row; 4 ch., 1
tc.; repeat into each loop; 4 ch., 1 tc. under the 6 ch., 6 ch., 1 dc.
on centre of 3 tc., ✕ 10 times; 6 ch., 1 tc. under previous 6 ch., 4
ch., 1 tc. in every loop as before; 4 ch., 1 tc. under 6 ch., 6 ch., 10
tc.
15th.—Sc. on end of the first row, 9 ch., sc. on 3rd row, 9 ch., sc. on
5th row, 9 ch., sc. on 8th row, 9 ch., sc. on 10th row, 9 ch., sc. on
12th row, 10 ch., sc. on first tc. stitch of last row, 10 ch., sc. on
8th tc. ✕ 4 ch., tc. under 6 ch. 4 ch., 1 tc. into each loop, ✕ repeat
until you come to the last 9 tc. stitches, then repeat _backwards_ from
before the 4 ch. to the commencement of the row.
16th.—Sc. 10 ch., sc. into every loop, until you come to the one of 4
ch.; then work 5 dc. into every loop, 10 ch. to the last 4 ch. End as
you began.
17th.—Sc. 11 ch., sc. in every loop until you come to the 5 dc.; then ✕
4 ch., sc. through every loop, ✕ to the last 5 dc. Make the second end
to correspond with the first.
Those who crochet very loosely should use a hook still smaller than the
one I have recommended; as the collar, to look well, should be done very
tightly.
KNITTED LACE UNDERSLEEVE.
[FIG. 2.]
MATERIALS.—Crochet cotton, No. 40; 2 steel knitting needles, No. 20.
Cast on 101 stitches. Purl one row.
1st.—Knit 1, ✕ m. 1, slip 1, k. 2 t., pass the slip stitch over, m. 1,
k. 1 ✕, repeat.
2nd.—Purled.
Knit from 50 to 60 rows in this manner, and cast off. This forms one
puffing; and, of course, for a pair of sleeves, you will require four.
FOR THE INSERTION.—Cast on 13 stitches; knit one row, purl 1, knit 1,
purl 1; then begin the pattern.
1st.—K. 1, m. 1, k. 2 t., k. 3, m. 1, k. 2 t., k. 3, m. 1, k. 2 t.
2nd, and every alternate row.—K. 3, p. 7, k. 3.
3rd.—K. 1, m. 1, k. 2 t., k. 1, k. 2 t., m. 1, k. 1, m. 1, k. 2 t., k.
2, m. 1, k. 2 t.
5th.—K. 1, m. 1, k. 2 t., k. 2 t., m. 1, k. 3, m. 1, k. 2 t., k. 1, m.
1, k. 2 t.
7th.—K. 1, m. 1, slip 1, k. 2 t., pass the slip stitch over, m. 1, k. 5,
✕ m. 1, k. 2 t., ✕ twice.
8th.—As 2nd, which completes the pattern.
Do as much of this as may be required for the wrists, allowing a few
plain rows at the end to set a button on; and also two pieces to be
inserted between the puffs, which must be put rather full into the
bands. At the top of the upper puff, sew on a muslin band, which may be
tacked in the dress.
According to the present style of sleeves, the ruffle should not fall
over the hand, but should be sewed at the other edge of the wristband
with the puff, on which it must fall back. For cold weather, an
undersleeve of sarsenet, made of the same dimensions as the knitted one,
and tacked under it, will be found a very great improvement, and if of a
colour that will harmonise with the dress, will be very becoming.
KNITTED LACE RUFFLE.—Cotton No. 50; Needles, No. 22. Cast on 17
stitches.
1st Row.—Knit 2, m. 1, k. 2 t., k. 1, m. 1, k. 2 t., k. 1, slip 1, k. 1,
pass the slip stitch over, m. 1, k. 3, m. 2, k. 2 t., m. 2, k. 2.
2nd.—K. 3, p. 1, k. 2, p. 1, k. 3, p. 5, k. 5.
3rd.—K. 2, m. 1, k. 2 t., k. 1, m. 1, k. 2 t., k. 1, slip 1, k. 1, pass
the slip stitch over, m. 1., k. 10.
4th.—K. 2, m. 2, k. 2 t., k. 1, k. 2 t., m. 2., k. 2 t., k. 2, p. 3, k.
6.
5th.—K. 2, m. 1, k. 2 t., k. 2, m. 1, k. 3 t., m. 1, k. 4, p. 1, k. 4,
p. 1, k. 2.
6th.—K. 12, p. 3, k. 6.
7th.—K. 2, m. 1, k. 2 t., k. 2 t., m. 1, k. 3, m. 1, k. 2 t., k. 2, m.
2, slip 1, k. 3 t., pass the slip stitch over, m. 2, k. 2 t., k. 2 t.
8th.—K. 3, p. 1, k. 2, p. 1, k. 3, p. 5, k. 5.
9th.—Like 3rd.
10th.—Cast off 3, k. 6, p. 2, m. 1, p. 2 t., p. 1, k. 5.
This lace should be put on rather full; and on no account should knitted
articles be ironed by the laundress. It is quite sufficient to pull them
into proper shape whilst they are drying at the fire.
INSERTIONS IN EMBROIDERY.
[FIGS. 7 & 8.]
Suitable for the fronts of shirts, and for other purposes; to be worked
in satin stitch, with embroidery cotton, No. 80. The centres of the
leaves and cups of the flowers may be done in very small eyelet-holes.
The stalks sewn over with extreme neatness.
TABLE MAT.
[FIG. 3.]
MATERIALS.—Shaded green and scarlet 8 thread Berlin wool; bone crochet
hook. Make a chain of six and form it into a round.
1st Round.—12 dc.
2nd.—4 ch., miss 1 sc. in 2nd. stitch; repeat all round.
3rd.—Like 2nd.
4.—Scarlet wool; 6 ch., sc. under the loop of 4 ch.; repeat.
5th.—7 ch., sc. under 6 ch. of former round; repeat.
6th.—9 ch. worked as before.
7th.—12 ch. worked as before: fasten off the scarlet and begin with the
green wool once more.
8th.—12 tc. on 12 ch. of last round, miss sc. stitch; repeat.
9th.—Sc. on 2nd. stitch, 2 ch., miss 1; repeat.
10th.—+ 1 tc., 3 ch., miss 3 +; repeat.
11th.—+ 1 tc., on tc. of last round, 4 ch. +; repeat.
12th.—+ Dc. on 4 ch. of last round, 1 ch. +; repeat.
13th.—[Scarlet wool,] 4 tc. on 4 dc. of last round, 1 ch.; repeat.
14th—+ 9 dc. on 9 stitches, of last round, 9 ch., dc. into same stitch
as the last +; repeat.
15th.—6 ch., sc. in 3rd dc. of last round; repeat this twice more; 8
ch., unite into the loop formed by 9 ch. in last round; three times
more, then repeat from the commencement of the 15th round.
16th.—Sc. in centre loop of 8 ch. in scallop; 1 ch., sc. into centre
loop of 8 ch. in next scallop, 11 ch.; repeat.
17th.—12 ch., sc. in third stitch; repeat.
18th.—12 dc. through every chain of 12 in last round.
19th.—5 ch. unite with sc. on the point of the loop; repeat.
20th—Dc. all round, and fasten off.
GENTLEMEN’S KNITTED BRACES.
[FIG. 4.]
MATERIALS.—Rich, dark blue, or crimson crochet silk; two knitting
needles, No. 14. Cast on 19 stitches.
1st. Row.—K. 2, m. 1, k. 1, slip 1, k. 1, pass the slip stitch over, p.
1, k. 2 t., k. 1, p. 1, k. 1, slip 1, k. 1, pass the slip stitch over,
p. 1, k. 2 t., k. 1, m,. 1, k. 2.
2nd.—P. 5, k. 1, p. 2, k. 1, p. 2, k. 1, p. 5.
3rd.—K. 2, m. 1, k. 1, m. 1, slip 1, k. 1, pass the slip stitch over, p.
1, k. 2 t., p. 1, slip 1, k. 1, pass the slip stitch over, m. 1, k. 1,
m. 1, k. 2.
4th.—P. 6, k. 1, p. 1, k. 1, p. 1, k. 1, p. 6.
5th.—K,. 2, m. 1, k. 3, m. 1, slip 1, k. 2 t., pass the slip stitch
over, p. 1, slip 1, k. 2 t., pass the slip stitch over, m. 1, k. 3, m.
1, k. 2.
6th.—P. 8, k. 1, p. 8.
7th.—K. 2, m. 1, k. 5, m. 1, slip 1, k,. 2 t., pass the slip stitch
over, m. 1, k. 5, m. 1, k. 2.
8th.—Purled.
Repeat this pattern until you have done the length required for one half
of the braces. Then cast on, and do another length. When made up, they
should be lined with white Petersham ribbon, and finished with white kid
trimmings.
SMALL GIMPS IN CROCHET
[FIG. 5.]
MATERIALS.—Crochet cotton, No. 6; crochet hook, No. 18.
No.—1.—Make a chain the length required and then work back in dc. This
is a very neat little trimming for children’s dresses; and if required
to be made of silk and purse twist be used, will be found to answer
every purpose for which a narrow gimp may be required. It forms also an
excellent substitute for the braid which is run on the skirt of a dress,
as the wools of which it should then be made, can be procured of any
shade whatever, which the braid itself cannot.
No. 2.—Make a chain of the length required, and on it work 1 dc., 1 ch,
miss 1.
JUDY’S ANTI-MACASSAR.
[FIG. 6.]
MATERIALS.—Crochet cotton, No. 10; crochet hook, No. 16. 133 ch.
Four rows of open square crochet.
5th.—20 os., 4 dc., 3 ch., miss 3, 12 dc., 2 ch., 17 os., 1 dc.
6th.—10 os., 1 dc., 1 ch., miss 1, 16 dc., 2 ch., miss 2, 3 os., 9 dc.,
1 ch., miss 1, 21 os., 1 dc.
7th.—10 os., 1 dc., 1 ch., miss 1, 59 dc., 2 ch., miss 2, 13 os., 1 dc.
8th and 9th.—The same.
10th.—11 os., 1 dc., 1 ch., miss 1, 54 dc., 1 ch., miss 1, 14 os., 1 dc.
11th, 12th, and 13th.—Like 10th.
14th.—12 os., 20 dc., 1 ch., miss 1, 32 dc., 1 ch., miss 1, 14 os., 1
dc.
15th.—Like 14th.
16th.—12 os., 20 dc., 1 ch., miss 1, 17 dc., 1 ch., miss 1, 14 dc., 1
ch., miss 1, 14 os., 1 dc.
17th.—12 os., 7 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 18 dc., 1
ch., miss 1, 13 dc., 2 ch., miss 2, 14 os., 1 dc.
18th.—12 os., 7 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 18 dc., 1
ch., miss 1, 11 dc., 1 ch., miss 1, 15 os., 1 dc.
19th.—12 os., 7 dc., 1 ch., miss 1, 13 dc., 1 ch., miss 1, 16 dc., 1
ch., miss 1, 10 dc., 2 ch., miss 2, 15 os., 1 dc.
20th.—12 os., 1 dc., 1 ch., miss 1, 7 dc., 1 ch., miss 1, 11 dc., 1 ch.,
miss 1, 16 dc., 1 ch., miss 1, 8 dc., 1 ch., miss 1, 16 os., 1 dc.
21st.—12 os., 1 dc., 1 ch., miss 1, 7 dc., 1 ch., miss 1, 11 dc., 1 ch.,
miss 1, 14 dc., 1 ch., miss 1, 9 dc., 2 ch., miss 2, 16 os., 3, 1, dc.
22nd.—13 os., 7 dc., 1 ch., miss 1, 12 dc., 1 ch., miss 1, 12 dc., 1
ch., miss 1, 7 dc., 1 ch., miss 1, 17 os., 1 dc.
23rd.—13 os., 1 dc., 1 ch., miss 1, 7 dc., 1 ch., miss 1, 10 dc., 1 ch.,
miss 1, 10 dc., 1 ch., miss 1, 8 dc., 2 ch., miss 2, 17 os., 1 dc.
24th.—14 os., 35 dc., 1 ch., miss 1, 18 os., 1 dc.
25th—15 os., 40 dc., 2 ch., miss 2, 15 os., 1 dc.
26th.—17 os., 1 dc., 1 ch., miss 1, 41 dc., 2 ch., miss 2, 12 os., 1 dc.
27th.—17 os., 1 dc., 1 ch., miss 1, 12 dc., 1 ch., miss 1, 11 dc., 1
ch., miss 1, 16 dc., 2 ch., miss 2, 12 os., 1 dc.
28th.—17 os., 12 dc., 1 ch., miss 1, 10 dc., 1 ch., miss 1, 2 dc., 1
ch., miss 1, 1 os., 13 dc., 2 ch., miss 2, 12 os., 1 dc.
29th.—16 os., 1 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 11 dc., 1
ch., miss 1, 5 dc., 2 ch., miss 2, 3 os., 1 dc., 1 ch., miss 1, 3 dc., 1
ch., miss 1, 12 os., 1 dc.
30th.—15 os., 1 dc., 1 ch., miss 1, 12 dc., 1 ch., miss 1, 11 dc., 1
ch., miss 1, 7 dc., 2 ch., miss 2, 17 os., 1 dc.
31st.—15 os., 1 dc., 1 ch., miss 1, 10 dc., 1 ch., miss 1, 11 dc., 1
ch., miss 1, 10 dc., 1 ch., miss 1, 17 os., 1 dc.
32nd.—15 os., 23 dc., 1 ch., miss 1, 13 dc., 2 ch., miss 2, 16 os., 1
dc.
33rd.—15 os., 21 dc., 1 ch., miss 1, 15 dc., 2 ch., miss 2, 16 os., 1
dc.
34th.—15 os., 19 dc., 1 ch., miss 1, 15 dc., 1 ch., miss 1, 17 os., 1
dc.
35th.—15 os., 1 dc., 1 ch., miss 1, 32 dc., 2 ch., miss 2, 17 os., 1 dc.
36th.—16 os., 28 dc., 2 ch., miss 2, 18 os., 1 dc.
37th.—16 os., 1 dc., 1 ch., miss 1, 29 dc., 2 ch., miss 2, 17 os., 1 dc.
38th.—16 os., 1 dc., 1 ch., miss 1, 30 dc., 1 ch., miss 1, 17 os., 1 dc.
39th.—17 os., 25 dc., 1 ch., miss 1, 3 dc., 1 ch., miss 1, 17 os., 1 dc.
40th.—15 os., 10 dc., 1 ch., miss 1, 17 dc., 2 ch., miss 2, 19 os., 1
dc.
41st.—14 os., 14 dc., 2 ch., miss 2, 18 dc., 2 ch., miss 2, 18 os., 1
dc.
42nd.—14 os., 15 dc., 1 ch., miss 1, 17 dc., 2 ch., miss 2, 5 dc., 1
ch., miss 1, 16 os., 1 dc.
43rd.—14 os., 1 dc., 1 ch., miss 1, 16 dc., 1 ch., miss 1, 22 dc., 1
ch., miss 1, 16 os., 1 dc.
44th.—15 os., 17 dc., 1 ch., miss 1, 17 dc., 1 ch., miss 1, 17 os., 1
dc.
45th.—14 os., 20 dc., 1 ch., miss 1, 16 dc., 2 ch., miss 2, 17 os., 1
dc.
46th.—13 os., 23 dc., 1 ch., miss 1, 7 dc., 2 ch., miss 2, 4 dc., 2 ch.,
miss 2, 18 os., 1 dc.
47th.—12 os., 1 dc., 1 ch., miss 1, 8 dc., 1 ch., miss 1, 29 dc., 2 ch.,
miss 2, 18 os., 1 dc.
48th.—13 os., 35 dc., 1 ch., miss 1, 19 os., 1 dc.
49th.—13 os., 1 dc., 1 ch., miss 1, 30 dc., 1 ch., miss 1, 20 os., 1 dc.
50th.—13 os., 1 dc., 1 ch., miss 1, 15 dc., 1 ch., miss 1, 1 dc., 1 ch.,
miss 1, 12 dc., 1 ch., miss 1, 20 os., 1 dc.
51st.—14 os., 13 dc., 2 ch., miss 2, 1 dc., 2 ch., miss 2, 1 dc., 1 ch.,
miss 1, 8 dc., 2 ch., miss 2, 20 os., 1 dc.
52nd.—14 os., 10 dc., 2 ch., miss 2, 3 os., 5 dc., 1 ch., miss 1, 21
os., 1 dc.
53rd.—15 os., 6 dc., 2 ch., miss 2, 26 os., 1 dc.
54th to 57th inclusive.—In open square crochet.
The border to be the same as that given for Punch’s Anti-Macassar, in
part I. of this book.
CROCHET D’OYLEY.
[FIG. 9.]
MATERIALS.—7 shades of Berlin wool; bone hook.
Make a chain of 9, and form it into a round.
1st.—Dc., increasing 3 in the round.
2nd.—6 ch., 1 tc., miss 3. Repeat.
3rd.—Sc. on centre of 6 ch., 9 ch. Repeat.
4th.—Sc. on centre of 9 ch., 12 ch. Repeat.
5th. Sc. on centre of 12 ch., 15 ch., sc. on same stitch, and work 1
sc., 2 dc., 14 tc., 2 dc., 1 sc. in the loop thus formed. Fasten off,
and repeat in the centre of every 12 ch.
6th.—Begin on the point of the leaf with a sc. stitch; 15 ch., sc. on
point of next leaf, and so on.
7th and 8th.—Dc. all round.
9th.—✕ Sc., 6 ch., miss 2, ✕. Repeat.
10th.—✕ Sc. on centre of 6 ch., 9 ch., ✕; repeat.
11th.—✕ Sc. on centre of 9 ch., 12 ch., ✕; repeat.
12th.—✕ Sc. on centre of 12 ch., 9 ch., ✕; repeat.
13th.—Dc.
14th.—Dc., working two stitches into every one.
15th.—Sc. on the centre of one of the spaces. ✕ 12 ch., sc. in same
stitch three times, 12 ch., sc on centre of next space. And repeat from
✕.
16th.—Dc. all round.
17th.—Sc., ✕ 5 ch., miss 2, sc. in 3rd ✕. Repeat all round, and fasten
off.
POINT LACE STITCHES.
[Illustration]
Point Lace is now so fashionable that very few are unacquainted with its
appearance; but perhaps some of my readers will be surprised when told
that the whole of the genuine Point Lace is the production of the
needle; not merely the close and heavy parts are so made, but the most
exquisitely delicate nets, of which, of late years, we have had
imitations from the loom, are all alike produced by the common sewing
needle.
The work of which we treat here may be regarded not as an _imitation_ of
the valuable and beautiful work of ancient times, but rather as an
actual revival of an art which has unfortunately been suffered to sink
into oblivion. Of course, at present, I content myself with giving very
simple Point Lace patterns; but, as my fair readers advance in
knowledge, I shall give them specimens which will still more exercise
their skill and patience.
Point Lace stitches are worked on a foundation of braid or tape; or,
sometimes, cambric. At present, I chiefly use braid, it being the more
comeatable material, and answering extremely well for delicate articles.
It is the kind termed French white cotton braid, being very closely and
evenly plaited. That used for large patterns is No. 9; for delicate
work, a still narrower braid may be employed.
Very much of the beauty of Point Lace depends of course, on the skill of
the workers; but it would not be exaggeration to assert that even more
is the result of the adaptation of the materials. A very great variety
of cotton and linen thread is absolutely necessary; not less than nine
different kinds entering frequently into the composition of one single
collar: those I use are termed Evans’s Point Lace Cottons, manufactured
by Messrs. Walter Evans and Co., of Derby; and they are as superior to
all others that I have tried as it is possible to imagine. They are sold
selected and arranged properly for this kind of work.
The pattern being drawn in outline, on colored paper, is to be then
pasted on calico or linen; when quite dry, begin to braid it, by laying
on the braid, and running it on the paper with a fine needle and cotton,
No. 50. The stitches are to be taken through the paper, and not very
closely together, except where points of leaves and other angularities
occur. In these places the braid is sewed at each end of the pattern and
turned back; this is termed mitreing. The stitches must be taken across
the braid, as it is not liable then to become wider.
The stitches which are used in the specimens I have hitherto made in
point lace are the following, which may be divided into three kinds:
edgings, laces, and connecting bars.
The use of the _edgings_ is sufficiently obvious: they form narrow
borderings to the braid or other material which is the foundation of the
lace.
The _lace_ stitches are used to fill up open parts in the design, such
as the leaves, flowers, or fruit, the mere outlines of which are made in
the braid.
Finally, the _connecting stitches_ unite the several parts into one
perfect mass of work.
EDGES.—BRUSSELS EDGING (No. 1).—This is merely the common button-hole
stitch, or (as it is sometimes called) glove stitch. It is worked nearly
at the edge of the braid, and differs only from the ordinary button-hole
because the stitches are taken at the distance of the fourteenth part of
an inch apart, and, as the thread is not drawn tightly, each stitch
forms a small loop. It is worked from left to right.
VENETIAN EDGING (No. 2).—The first stitch is taken as in Brussels
edging, and in the loop thus formed, four tight button-hole stitches are
worked.
SORRENTINE EDGING (No. 3).—Make a stitch as in Brussels edging, but the
eighth of an inch long; work _one_ button-hole stitch in the loop;
repeat at the distance of the sixteenth of an inch; two stitches are
thus formed, one of which is half the length of the other. Repeat.
LACES.—BRUSSELS LACE (No. 4) is worked by doing a line of Brussels
edging in the space to be filled up, and then another line, from right
to left, putting the needle, at every stitch, through one of the loops
of the first row. These lines are to be repeated, backwards and
forwards, until the part is completed. In working the last row, run the
needle through the braid after every stitch.
VENETIAN LACE (No. 5).—The beautiful closely-dotted appearance,
characteristic of this lace, is obtained by working consecutive rows of
Venetian edging, not backward and forwards, but always from left to
right, fastening off after completing each line; or, if the space be
very small, running the needle in the braid back to the place where the
next line is to be begun.
ENGLISH LACE (No. 6) is used principally to fill up large open spaces.
Make a series of diagonal bars across the space to be filled up,
securing the tightness of each thread by working a button-hole stitch on
the braid, before slipping the needle to the next place; cross these
bars by others, in the contrary direction, and at the same distance
(one-eighth of an inch) apart. Wherever the bars cross each other, work
a small spot, by passing the needle alternately under and over the
threads, five or six times round. Twist the threads twice round each
other in bringing the needle to the next cross, and repeat until a spot
is made at every one. Observe, that in crossing the first bars you slip
the needle alternately under and over them.
OPEN ENGLISH LACE (No. 7) is commenced like the preceding, but when the
two lines of diagonal bars are made, a line of perpendicular and one of
horizontal threads must be added. The spot will thus be worked on eight
threads instead of four. The lines to be at the rate of five to an inch.
ENGLISH ROSETTES (No. 8).—Another beautiful style of English point. It
is a kind of spot, which looks like the miniature of the rosette on a
baby’s cap, whence its name is derived. A single spot is only used in
one space, and the size is to be suited to it. The open space is crossed
with four, six or eight twisted threads; the last thread to be twisted
only to the centre, where all are to be firmly joined by working one or
two tight button-hole stitches. Make the rosette by passing the needle
round one thread and under the next, then round that and under the
succeeding; continue until you have made a rosette as large as the space
requires, working from four to ten times round. Stop at the single
thread, twist round it, and fasten off.
MECHLIN LACE (No. 9).—This is one of the most beautiful, and at the same
time, complicated stitches in the list. Those who have worked it,
however, all confess that the effect amply repays the trouble. It is
worked thus: A number of diagonal bars, each of a single thread, cross
each other in the space to be filled up, at the distance of one quarter
of an inch from each other. Then all the bars in one direction are to be
covered with button-hole stitch. Begin in the opposite direction, in the
same way, and work it nearly to the crossing of the two. Pass the thread
loosely round the cross twice, slipping the needle under one and over
another thread, so as to form the small circle seen in the engraving.
This is to be covered with button-hole stitch; and as, from the
looseness of the thread, it is otherwise somewhat troublesome to work
it, pin it down on the paper with a second needle. In the middle of each
quarter of every alternate round, a dot is to be worked thus: instead of
drawing the thread tight, as usual, put in the loop a pin, which is to
keep it about the eighth of an inch in length. On this loop work three
button-hole stitches; and withdraw the pin, and continue the round.
VALENCIENNES LACE (No. 20,) has a very heavy appearance, and contrasts
admirably with lighter stitches. A space to be so filled up has a number
of radiating threads, meeting, in a common centre, to be very closely
darned with extremely fine thread.
HENRIQUEZ LACE (No. 11), is, on the contrary, a very light and delicate
stitch. It must never be done with coarser thread than Evans’s boar’s
head, 120. With this make a diagonal line across the space to be so
filled in, and return your needle to the point you began from, by
twisting the thread back again. Make another line, parallel with this
one, and not more than the tenth of an inch from it. Twist it over four
times, then on the single and double thread form a spot, by darning the
three backwards and forwards about sixteen times. To do this, you must
separate the two threads twisted together whenever you make a spot.
Continue twisting your needle round the single thread, for the space of
one quarter of an inch, when you will form another dot. Repeat until
this line is finished. Make similar ones at one quarter of an inch apart
in the entire space; and then cross them with others, worked in
precisely the same manner, in exactly the opposite direction. Take care
that where the lines cross each other the thread is twisted between the
first bar and the second, that a small, clear square may be maintained.
CORDOVAN LACE (No. 12), is similar to the preceding, but less delicate
and less troublesome. Two twisted bars are made the tenth of an inch
apart, and a third single one, in going back on which the spots are
worked on two twisted threads and the single one. They are also crossed
by similar ones, the crossing of the threads forming a diamond of four
holes.
CONNECTING BARS are stitches used in the various kinds of point lace, to
unite different parts. The most simple is the
SORRENTO BAR (No. 13), which is made by passing a thread from one part
to another, fastening it by a tight stitch, and twisting the thread back
on the bar thus formed; pass the thread round until it appears as much
twisted as a rope.
BARS IN ALENCON POINT (No. 14).—This is almost the same as our common
herring bone stitch, but the needle is passed under the last thread
after every stitch before taking another, which twists the two together.
Where the space is more than half-an-inch wide, it is requisite to pass
the needle more than once under after every stitch.
VENETIAN BARS (No. 15).—Pass the needle backwards and forwards two or
three times, and work the bar thus formed in close button-hole stitch.
If it be a cross bar, work the button-hole stitch half the length; make
the bar in the opposite direction, work that; and if another is
required, do the same before finishing the first bar.
EDGED VENETIAN BARS (No. 16) are merely the above edged on each side
with Brussels or Sorrento edging.
DOTTED VENETIAN BARS (No. 17.)—To make these bars, pass the thread
across the space two or three times, and make four button-hole stitches
on the bar thus formed; put a needle in the fourth, and draw it out
until it will allow of three or four button-hole stitches being worked
on it; continue the bar in the same way.
ENGLISH BARS (No. 18) are used to connect two lines of edging. Pass the
needle backwards and forwards between two opposite stitches four times
each way, always putting the needle in the _under_ side of the edge.
Sometimes these bars are _radiated_, by missing a stitch more on one
side than on the other.
The marked characteristic of SPANISH POINT (No. 19) is a kind of heavy
satin stitch, with which parts are ornamented. It is very much raised,
and afterwards worked in button-hole stitch with fine linen Mecklenburgh
thread.
Continuous rows of Sorrento edges worked backwards and forwards, like
Brussels Lace, form a variety represented in a corner of the Engraving.
The lower line of edging in the Engraving is termed Little Venetian. It
is worked like the other, but with only one button-hole stitch.
When, by means of these different stitches, the pattern is formed into a
solid mass of work, the stitches at the back are to be cut, to detach
the lace from the paper; the threads may then be picked out and the
article is complete.
To join point lace on to cambric or muslin, make an extremely narrow hem
on either, and lay the inner line of braiding on that. Join them
together by running on the middle of the braid through the cambric, and
then working a line of Brussels edge on to the inner part of the braid,
taking every stitch through both substances.
CROCHET COLLAR
[FIG. 1.]
MATERIALS.—Cotton, No. 30. Crotchet hook, No. 22; eagle card-board
gauge.
Chain of 180 stitches, on which work a row of dc.
2nd.—+ 3 tc., 3 ch., miss 3, +. Repeat. Finish with 3 tc.
3rd.—+ 3 dc. on 3 tc., 3 ch., +. Repeat.
4th.—+ sc. on 1st dc., 6 ch., miss 5, sc. on 6th, +. Repeat.
5th.—Sc. on the centre of first loop, +, 7 ch., sc. on centre of next
loop, +. Repeat.
6th.—Sc. on centre of first loop, + 6 ch., sc. on centre of next loop,
+. Repeat.
7th row.—Dc. on all the chain, missing every sc. stitch.
8th.—Sc. on first stitch, 9 ch., sc. on same stitch, 12 ch., sc. on same
stitch, 9 ch., sc. on same stitch, turn the work, dc. in every chain of
the 3 loops just formed, turn again, and work dc. on the previous dc.
except the first 5, 7 ch., miss 5 stitches of the 7th row, 6 dc. on the
next 6, +. Repeat.
9th.—Sc. on the point of the leaf of 9, 4 ch., + sc. on point of large
leaf, 15 ch., +. Repeat. Finish the row with 4 ch., sc. on point of last
small leaf.
10th.—Dc. in every stitch of the last row working 2 in every 4th.
11th.—+ 2 dc., 3 ch., miss 3, + until you come to the stitch over the
large leaf, then make a loop of 6 ch., dc. into the same stitch. Repeat.
12th.—Dc. on all the rest of the line, working every loop thus—1 sc., 4
dc., 1 sc.
15th.—Dc. in first dc. of last row, + 3 ch., miss 2, dc. in 3rd +.
Repeat, _but without missing any on the loops_.
16th.—Sc. on first chain of the foundation, and up the side work 4 ch.,
miss 2, 8 sc., sc. on every stitch of the last row, and dc. the other
end of the collar like the first.
17th.—Sc. under first loop, 5 ch., sc. under 2nd, repeat to the sc.
stitches, then + 5 ch. miss 2, sc. on 3rd, + to the end, which work like
the beginning.
MAT WITH BORDER OF MOSS, CHERRIES, AND LEAVES.
[FIG. 2.]
MATERIALS.—Half-an-ounce of bright cherry-coloured Berlin wool; two
shades of green ditto, or of _chenille a broder_, two skeins of the best
green fleecy of different shades, or shaded Shetland will do as well.
FOR THE MOSS.—If fleecy wool be used, it must be split, and a thread of
each shade taken, by using Pyrenees wool this trouble is obviated. Take
a pair of very fine knitting needles; cast on 16 to 20 stitches: knit a
piece as tightly as possible, four times the length required: wet, and
bake or dry it before the fire. When it is quite dry, cut off one edge
throughout the whole length, and unravel all the stitches but two at the
other edge. (Take care to begin to unravel at the end you left off
knitting, or the wool will get entangled.) Fold it in four, and sew the
edges together. This will make a very full moss fringe.
FOR THE CHERRIES.—Cut a number of rounds in card, each the diameter of a
good-sized cherry. Cut a small hole in the middle of each take a
needleful of Berlin wool, three times the length of your arm; thread it
with a rug needle; pass the needle in the hole of the card, holding the
end of the wool with the left hand; pass the wool; lay it on the edge of
the card, as if you were going to wind it; pass the needle through the
hole again; repeat this until the whole needleful of wool is used. Then
make a little tuft of wool on the end of a rather fine wire; twist the
wire tight and pass the ends into the hole of the card; take a pair of
sharp-pointed scissors, cut the wool all round the card; with a bit of
waxed thread, tie as tightly as possible the little bunch of wool in the
hole of the card, tear the card off, and pare the wool as smooth as
velvet; cover the ends of wire with green wool or silk, and each cherry
is completed.
LEAVES.—Make a cherry of 13 loops in green wool, and on them, miss 4,
dc. in 5th, ✕2 ch., miss 2, dc. in 3rd, twice 1 ch., miss 1, slip on
first of 13. Take a ✕piece of very fine wire and hold it in, while
working round this open hem, leaving a short piece for a stem. Work all
round in tc., except the 2 first and 2 last stitches which are to be 1
sc., 1 dc., and 1 dc., 1 sc., twist the two ends of wire together, cover
them with wool. When sufficient leaves are done, form them into a wreath
with the cherries, joining them by means of the ends of wire; insert
them in the moss, and sew the border thus made round a mat of velvet, or
work, lined with card-board, and with silk at the other side.
This border may be used for any crochet or knitted mat; the moss may be
made more or less thick according to taste. A _very_ full border would
require _six_ lengths.
INITIALS IN EMBROIDERY
[FIG. 3.]
MATERIALS.—Ingrain red and white embroidery cotton, No. 70 for linen,
No. 80 for cambric.
These Initials should be marked on the material, and then worked in the
white cotton in raised satin stitch, after which a thread is to be run
entirely round the work, and sewed over in red very closely indeed.
Every angle and point must be made with the utmost accuracy, as on this
the beauty of the letters greatly depends.
AUTOUR BOUTONS.
[FIG. 4.]
Small pattern to surround shirt-studs; to be worked in embroidery
cotton, No. 80. The small rounds in eyelet-holes to be made with a fine
stiletto, and sewed over.
A VERY PRETTY CARRIAGE BAG.
[FIG. 5.]
MATERIALS.—White and blue Berlin wool, half-an-ounce of each; two flat
meshes, not quite a quarter of an inch broad, a piece of French canvas,
No. 24, one-half the size the bag is desired; gros-de Naples, (the shade
of the coloured wool), cord and tassels to match. With the blue wool
work on the canvass, in common cross-stitch, a square of 6 stitches in
every direction; miss an equal space and repeat. Thus the whole space of
canvass must be prepared like a chess-board, the blue checks of one line
coming between those of the previous, the third over those of the first
line, and so on. Having completed this, take one of your meshes and a
rug needle, threaded with white wool, work immediately over each blue
square of the first line 6 stitches, thus:—Begin at the top of the
stitch, lay the wool over the mesh, take two threads for the lower part
of the stitch, pass the wool under the mesh, finish your stitch; repeat
five times; leave the mesh on the stitches; take the second mesh, work a
second row exactly alike over this; then, at the top, a third row of
white stitches, four threads long, and two broad.
[Illustration: THE LADIES OWN BOOK, AND COMPANION TO THE WORK TABLE,