PART IV. DICK & FITZGERALD, NEW-YORK]

Turn the work, and in the space which is now over, but was first under

the first row of blue squares, work with the white, the rows round the

meshes, as before, and one of long white stitches.

Turn the work again, and work the next two rows of white stitches round

the meshes.

Repeat the same operation over every other line of blue squares.

Now take the work cross-way, and work in white, as before, every space

left; then cut the ends of the white wool.

Make up the bag with a top of silk, line it, add cords and tassels, and

it is complete.

If preferred without silk, have canvass the full size for a carriage bag

and work it all over.

D’OYLEY IN SQUARE CROCHET.

[FIG. 6.]

MATERIALS.—Cotton, No. 16; crochet hook, No. 18. Eagle card-board gauge.

The size I have given for materials will make this d’oyley about 20

inches, as there are 88 squares, and 9 squares are equal to 2 inches. Of

course, with finer cottons and hooks, the size will be diminished.

Patterns given in square crochet are very pretty worked in two colours

of wool. The open squares should be worked in one colour, and the close

in the other; every square consisting of three dc. stitches. Mats of

this description should be tacked on a stand previously formed of stout

card or mill-board, covered with green calico or silk.

DEEP POINT LACE, FOR A HANDKERCHIEF OR VEIL.

[FIG. 8.]

Visitors to the London Exhibition, will recognise this pattern as one of

those in the gallery of that wondrous palace: I presume, therefore, it

will be very acceptable to my fair readers.

The pattern of the flowers is well adapted for the mandarin sleeves

which everbody wears just now. To draw the pattern for that purpose,

merely copy over and over again the two large flowers at the bottom of

the page. Draw the pattern on colored paper, and use a fine sable brush,

dipped in Indian ink for coloring the lines; paste the paper on linen,

and when dry it will be fit to be worked. A little more management is

required when a pattern for a handkerchief is to be made. Cut a square

of tissue paper, rather larger than the handkerchief is to be,—double it

twice, so as to mark the centre of each side, and trace the three

divisions of the corner flower up to a on one side of this centre,

leaving room for half of another division; fold the paper and trace a

similar piece of the flower on the other side of the centre, and finish

also the division in the middle. As it will be seen on referring to the

plate, that there are three divisions and nearly half another up to the

_a_, it will be evident that the centre flower will have _seven_

divisions. On the right of this centre draw three of the flowers at the

lower edge of the frontispiece, and at the corner another flower,

exactly like the centre one, but turned so as to form a corner. Trace

the left hand side of the centre from that already done, and you will

have a perfect side with two corners. Draw the pattern on colored paper,

from this one side, and line it with linen before working it.

You will observe that there are two straight lines of braid in the inner

border; the one nearest to the flowers is only _to be laid on_ when

working the lace, and connected with the other: no edging is to be put

to it until after the hemmed cambric is laid underneath, when it is to

be run on, and then edged with Brussels edging.

_a._—Sorrento edging. To be worked with Mecklenburgh thread, 120.

_b._—Venice edging. Boar’s-head thread, No. 50.

_c._—Brussels edge. Ditto.

_d._—Bars of Venice Point. Mecklenburgh thread, 120.

_e._—Rosettes worked on 4 threads: the centre ones gradually increasing

in size, towards the outer edge of the flower; the others as small as

the spots of English Point. Boar’s-head thread, No. 90.

_f._—Open English lace. Ditto.

_g._—Brussels lace. Ditto.

_h._—English lace. Boar’s-head thread, No. 70.

_i._—Sorrento bars. Mecklenburgh thread, No. 120.

_j._—Rosettes. Thread No. 70.

_k._—Bars in Alencon point. Ditto.

CROCHET EDGING.

MATERIALS.—Cotton, No. 30. Crochet hook, No. 20.

Make a chain of the required length, and work on it one row of dc.

2nd.—✕ 1 dc., 2 ch., miss 2 ✕; repeat.

3rd.—Dc.

4th.—✕ 11 tc., 6 ch., miss 6 ✕; repeat.

5th.—✕ 9 tc. (beginning on the 2nd of last row); 5 ch., 1 tc. under 6

ch.; 5 ch. ✕; repeat.

6th.—✕ 7 tc., commencing on 2nd, 6 ch., 1 tc. in first loop, 6 ch., 1

tc. in 2nd, 6 ch. ✕; repeat.

7th.—+ 3 tc. commencing on 3rd of last row, * 6 ch., tc. in loop * to

the next tc. stitches, +; repeat.

8th.—+ tc. on 2nd of 3 of last row, * 6 ch., tc in loop * to next tc. +;

repeat.

CROCHET EDGING.

MATERIALS.—Cotton, No. 40, crochet hook, No. 22, eagle card-board gauge.

This edging will be found very pretty for children’s dresses and similar

articles.

Make a chain of the length required.

1st. row.—1 dc., 1 ch., miss 1; repeat.

2nd.—✕ 1 dc. under a loop, 6 ch., miss 1 loop, dc. under 2nd, 6 ch.,

miss 1 ✕; repeat.

3rd.—✕ 7 dc. under 1 loop; 3 ch., 2 dc. under next loop, 3 ch. ✕;

repeat.

4th.—✕ 6 dc. over 7, 4 ch.; 2 dc. over 2, 4 ch. ✕; repeat.

5th.—✕ 4 dc. over 6, 4 ch.; 3 sc. over 2, 4 ch. ✕; repeat.

6th.—✕ 3 dc. over 4, 4 ch.; 1 dc. before 3 sc., 5 ch.; 1 dc. after sc.,

4 ch. ✕; repeat.

7th.—✕ 2 dc. over 3, 5 ch.; 6 dc. under the 5 ch., 5 ch., ✕; repeat.

8th.—✕ 1 dc. between 2 dc., 5 ch., 1 dc. after first of 6 dc., 3 ch; dc.

after 2nd, 3 ch., dc. after 3rd, 3 ch., dc. after 4th, 3 ch., dc. after

5th, 5 ch. ✕; repeat.

CROCHET INSERTION.

MATERIALS.—Cotton, No. 30 or 34.

Very suitable for shirt fronts and similar articles.

Make a chain of the required length and work one row of dc.

2nd.—1 tc., 1 ch., miss 1; repeat.

3rd.—Dc. throughout.

4th.—A row of eyelet-holes, thus—8 ch., close in a round in the second

ch.; work 3 dc. in the round thus made, drop the loop on the needle,

insert the needle in both sides of 5th dc. of last row, counting from

the top of the row, pick up the dropped loop, finish a stitch of dc.,

work three more crochet in ch. in the round; repeat from the beginning

of the row, joining in every fifth stitch.

5th.—(The second side of the eyelet-holes)—7 dc. in each eyelet-hole, 1

ch. between every 2.

6th.—4 ch., dc. in 4th on the 2nd side of the first eyelet-hole; repeat.

7th.—dc.

8th.—1 tc., 1 ch., miss 1; repeat.

9th.—dc.

This insertion is remarkably strong, and very pretty, made of silk, for

trimming dresses, &c.

ELEMENTARY INSTRUCTIONS IN EMBROIDERY.

Undoubtedly the most artistic style of needlework is that termed

EMBROIDERY; not the canvas embroidery of which I treated in Part II. of

this work but the yet higher kind of needlework-painting, which aims at

producing really pictorial effect, without the mechanical assistance

which canvass gives in counting stitches and determining shades.

In embroidery much is left to the eye, and still more to the taste. A

few words, therefore, on the subject of selecting colors and harmonizing

tints, as well as on the mere stitches employed, will probably be

acceptable.

TO MARK PATTERNS.

Designs are invariably marked on satin, cloth, or velvet, by means of

what are termed _pounced patterns_. These are prepared in the following

manner:—The design is carefully traced on rather thick writing paper;

then, with a fine stiletto it is marked in holes, distant from each

other not more than the eighth of an inch: from the pattern thus

prepared, any number almost may be marked. The material to be

embroidered is then laid on the table, and the pattern placed in the

proper position over it, and kept there by means of leaden weights. A

little pounce, or powdered flake white must then be rubbed over the

paper, with a large and flat stump, and, on the paper being raised, the

design appears accurately marked on the cloth. It requires to be

afterwards re-marked with a fine sable brush, dipped in a mixture of

flake white and milk, or an artist’s color, contrasting with the

material, mixed up with a few drops of spirits of turpentine.

White satin, or any very light color on which white would not show may

be pounced with very finely powdered charcoal, and then marked with a

solution of Indian ink.

For drawing a pattern on any washing material a still simpler plan may

be adopted. Scrape some red or blue chalk; brush it lightly over a sheet

of thin tissue paper, shake off the loose grains, lay the chalked side

of the paper on the muslin, and over it the pattern, which you will

trace with a hard sharp-pointed pencil, and the design will be clearly

marked, and require no further trouble.

When any parts of a pattern are repeated—as the quarters of a cushion or

a handkerchief, or the scallops of a flounce—have only the pounced

pattern of one quarter or section, and mark all from that one. It will

be found a much more accurate mode than that of making the whole paper

pattern perfect.

The next step is to put the material in a frame, two or three inches

wider than the work it is to receive. I must refer to my Instructions in

Berlin Canvas Work, Part II. of this book for the directions for this

very important part of the process. The needles used are technically

called _short long eyes_ and _strands_. The latter are like common

needles, but unusually long. It injures the work to use too fine a

needle, as the small eye frays the silk; on the other hand a needle that

is too large makes holes in the cloth.

The materials chiefly used for embroidery are wools, chenille, and

silks: there are great varieties of the last-mentioned article, the

principal being Mitorse, Dacca, Berlin, fine and coarse flax, crochet,

and netting silks. Of the netting silks there are many sizes, which may

be used according to the delicacy of the work.

Initials intended to be in gold, for sachets, &c., are almost as

effective if rich gold-colored twisted silk be used instead; and the

silk will wear for ever, whilst it is almost impossible to obtain gold

thread which will not tarnish in a few months.

STITCHES.

The common stitch used in embroidery is termed _long-stitch_. It closely

resembles the Irish stitch of canvass work,[2] only without its

regularity. The stitches are taken closely together and of uneven

lengths; the second shade is blended with the first by filling up the

vacant spaces of the short stitch; the next shade, in the same way,

unites with that one, and so on in an irregular form, the outline only

presenting, a regular line of stitches, exactly within the limits of the

marked pattern. The shading must, of course, be done with artistic

accuracy.

Footnote 2:

See Part II.

The veinings of leaves are worked in silk rather coarser than that used

for the rest of the work. Sometimes this silk is considerably thicker;

it is then laid on, and sewed over with very fine silk of the same

shade, the ends being drawn through the material. Leaves are frequently

veined with gold thread in a similar manner.

Large leaves should be worked from the points to the veins; small ones

seldom require to be veined at all. Like stems they are formed of a

succession of slanting stitches very evenly laid on, forming curves and

lines of the width and dimensions of the patterns, and forming accurate

outlines.

When gold bullion is employed in embroidery, it is cut into short

lengths, which are then laid on with fine silk of the same hue. Gold

thread is sewed over, and the ends brought through the cloth and so

passed from one part to another.

The Chinese employ, in their most elaborate embroidery, a very pretty

stitch termed, by us, the French Knot. It is made thus:—Bring the

needleful of silk to the right side of the work, in the exact spot where

the stitch is to be. Hold the needle in the right hand, and with the

left take up the silk, at an inch or two from the cloth. Twist the

needle twice round the silk, insert it in the same spot you drew it

through before, and, with the right hand, draw the needle to the under

side, gradually tightening the silk with the left hand. When quite drawn

through the knot is formed. The great art in this work is to make the

stitches all lie perfectly even. _We_ seldom use the French Knot for

anything but the seeds, stamen, or pistils of flowers; but the Chinese

execute whole pieces in this stitch, shading them most exquisitely, and

only using a coarse white silk or gold thread as an outline to the

whole. In bead embroidery, every stitch is generally put on separately,

and in its own place; but a very beautiful effect may be obtained in

pearl beads imitating grapes, by stringing them with white silk, and

letting them cross each other in various directions, still preserving

the outline of the cluster.

A very pretty and effective style of embroidery is that done with gold

braid and wool on canvass. It is very suitable for slippers, cushions,

the bands of smoking caps, blotting cases, and many other things. An

outline design in arabesque, or anything else that may appear suitable

for _two colors_, should be drawn on paper of the proper dimensions and

then marked on the canvass. The gold braid must be cut into pieces of

the proper lengths, and laid on piece by piece, the spaces between the

pattern being filled with wool of some well-contrasting color—as bright

blue, green, or claret—so that the pattern appears in gold on a ground

of wool. When leaves are so worked, a rich silk, of a deeper gold colour

than the braid, should be used afterwards to vein it.

Having spoken of cushions, it may be well to tell my fair readers how to

make them up most comfortably:—Cut some good strong calico _bias_ of the

proper size; line it with two or three thicknesses of good wadding, well

fastened to it in every direction; and stuff the bag thus made with

down; the pillow to be afterwards covered in any manner that may be

desired. Pillows made in this way are not only much softer than others,

but they also keep their shape much better, and are not liable to sink

after a little wear.

Waistcoats and other articles are now much embroidered in _soie ombre_,

that is, silk _shaded_ in varieties of one colour. I cannot say I think

it so pretty as the variety of natural colors, or even a single

self-shade. It is however, fashionable.

THE CHOICE OF COLORS.—I will conclude my instructions for embroidery

with a few hints on the choice of suitable colors; as Dogberry observes,

that “reading and writing come by nature,” so I may be excused for

asserting that the axiom is (in part, at least) correct, as regards the

power of discriminating colors. In a great measure it is a natural gift;

still it may be cultivated, nay almost created.

Selecting the necessary wools, silks, &c. is technically called,

_sorting a pattern_. To sort a pattern well, it is requisite to consider

the capabilities of the various materials. Wools and silks, silks in

flox, and twisted,—though dipped in the same vat, would be found to vary

materially in the shade of color when dyed. Hence it is important to

select such materials as will blend well together, and also wear well

when worked.

The following colors may be said to harmonize perfectly:—

Blue works well with the warmer tints of drab, stone, and fawn.

Yellow with the richest and darkest shades of drab.

Pink with soft stone, fawn, and grey.

Lilac with the cold green tints of the same colors.

Lilac with some greens.

Maize and salmon with green.

Scarlet with a slate tint.

Blue with rich dark claret brown.

Maize with blue.

White with olive green.

Green and blue do not harmonize, whatever the votaries of the present

fashion may declare to the contrary. Even green leaves do not look well

in the vicinity of blue flowers, unless they partake of the rich autumn

tints of olive, yellow, and brown. Then the primitive colors, scarlet

and yellow, kill each other; they give color, but not coloring; and

yellow and green, scarlet and brown, or scarlet and lilac, are all

equally injurious.

It must be remembered that strong contrasts do not of themselves produce

beauty; it is rather the delicate adjustment of the various shades.

There are numberless varieties of every leading color—greens, whites,

and reds especially. The following list may be serviceable:—

WHITE FLOWERS.—These may be shaded in any of the following colors:

green, pure white, grey or slate. The choice depends on the color to be

worked, the _Fleur de lis_ requiring, for instance, to be shaded into

green. In all the shades, however, the greatest softness is imperative.

All sudden contrasts must be avoided.

Damask roses are worked in at least six shades; from black to a pure

rose pink; the gradations include deep claret, lighter ditto, scarlet,

and a medium shade between the last.

Ordinary roses are shaded from deep scarlet to bright ponceau, and

various shades of pink.

The shades of green, for leaves, are quite innumerable.

It is never in good taste to have a group of flowers on a light ground

without some one in the group to correspond with it. Not that it should

be a prominent object, but that it softens the whole.

Finally, I may be permitted to observe that, as “good wine needs no

bush,” so good needlework requires not very gaudy or striking mountings.

A well designed _portfeuille_ or cushion does not look at all better for

being so extravagantly finished off, that the eye rests on the fittings

rather than the work. Let cords, tassels, linings &c., be as good as

possible; let them also be _as plain as possible_. These are but the

frame, the work is the picture; and the valuable part should be also the

most attractive.

HONITON CROCHET COLLAR.

[FIG. 1.]

This crochet collar, in imitation of Honiton lace, is composed of sprigs

and edging in crochet sewed on Italian or Brussels net. It is a very

simple style of collar, and may be made very rapidly.

MATERIALS.—Cotton, No. 70. Crochet hook, No. 24, eagle card-board gauge.

THE EDGING.—16 ch. close in the 6 for a loop, in which work + 5 ch.,

miss 1, sc. in 2nd + 4 times; 5 ch., sc. on the close of the loop. Turn

the work on the wrong side, and do under every chain of five 2 sc., 5

dc.; 2 sc.; repeat from the 16 chain as often as may be required for the

length.

FOR THE SPRIG.—Make a chain of 10, form it into a loop, in which work *

5 ch.; miss 1, sc. in 2nd * 5 times, joining into the close of the loop

at the last; turn on the wrong side, and this forms the flower. 12 ch.

for stem; miss 1, 7 dc., turn the work + 6 ch., miss 1, sc. on 2nd dc.

stitch, + all round this centre of the leaf; work all these loops in

sc.; 9 ch., miss 1, 7 dc. for centre of another leaf; work as before; 6

ch., work sc. all along the stem, and fasten off.

OPEN HEM.—Make a chain of the required length, and in it work + 2 ch.,

miss 1, 1 dc. +; repeat to the end.

To make up crochet Honiton lace for collars, or any other purpose:—Cut

out a pattern of the article required in coloured paper, slightly larger

than is requisite; then a similar one, in Italian or Brussels net. A

very narrow roll or hem must be made round this net, and it must then be

tacked on the paper. Then arrange on it the crochet work, beginning with

the edging and sprigs, and tack them lightly in their places. Run them

round with very fine cotton; put the openwork in every loop 1 sc., 1

dc., 3 tc., 1 dc., 1 sc. hem round the neck, fasten it on; and, round

the outer edge, lay some of the very best pearl edging.

The collar given in the engraving is formed in scallops, in each of

which one sprig is laid. In future, when giving receipts for Honiton

lace, I shall refer to this number of our book for the mode of making

up, &c.

KNITTED BASKET.

[FIG. 2.]

MATERIALS.—Six shades of 4-thread Berlin wool, in scarlet or any other

colour, and 4 bone pins No. 8.

With the lightest shade of wool cast on 13 stitches.

1st Row.—Slip 1, knit 1, ✕ make 1, knit 2 together, ✕ 3 times, † make 2,

knit 2 together, † twice, knit 1.

2nd.—Knit 3, purl 1, knit 2, purl 1, knit 1, ✕, make 1, knit 2 together,

✕ 3 times, knit 1.

3rd.—Slip 1, knit 1, ✕, make 1, knit 2 together, ✕ 3 times, knit 2, make

2, knit 2 together, make 2, knit 2 together, knit 1.

4th.—Knit 3, purl 1, knit 2, purl 1, knit 3, ✕, make 1, knit 2 together,

✕ 3 times, knit 1.

5th.—Slip 1, knit 1, ✕, make 1, knit 2 together, ✕ 3 times, knit 4, †,

make 2, knit 2 together, † twice, knit 1.

6th.—Knit 3, purl 1, knit 2, purl 1, knit 5, ✕, make 1, knit 2 together,

✕ 3 times, knit 1.

7th.—Slip 1, knit 1, ✕, make 1, knit 2 together, ✕ 3 times, knit 6, †,

make 2, knit 2 together, † twice, knit 1.

8th.—Cast off 8, knit 5, ✕, make 1, knit 2 together, ✕ 3 times, knit 1.

This completes one pattern; join on the next shade of wool for another,

and so on, changing the shade with every repetition of the pattern. The

seventh pattern will be done again with the lightest shade; and 12

patterns will be found sufficient for the edging.

Sew the sides up, and on each of the three needles take up 33 stitches,

from the straight side of the edging; knit 2 rounds plain, then knit 1,

knit 2 together, knit to within 3 of the end of the needle, knit 2

together, knit 1; repeat this on the other two needles; knit one plain

round and one decreasing one alternately, until only 4 stitches are left

on each needle. Draw up the opening, and fasten the wool with a coarse

embroidery needle. Make a handle of 3 or 4 pieces of fine wire covered

with wool or ribbon; and put a round, similarly covered, at the top and

bottom of the three rows of open hem to keep the basket in shape.

INITIAL LETTERS IN EMBROIDERY.

[FIG. 3.]

The C and E here represented are given in a style more suitable for

marking household linen and large articles than for embroidering

delicate handkerchiefs.

MATERIALS.—Ingrain Turkey red, and white embroidery cotton, No. 70 for

linen, and 80 for cambric.

The letters are to be worked in raised satin stitch, with white cotton,

and the whole surrounded by a single thread of red, sewed closely over;

this throws the letters into strong relief, and has a very chaste and

beautiful effect.

In future numbers we shall give other and more decorative styles of

letters, for handkerchiefs, &c.

SHAMROCK-LEAF D’OYLEY.

[FIG. 4.]

MATERIALS.—Cotton No. 16. Crochet hook, No. 17. Eagle card-board gauge.

8 ch., close for a round.

1st.—16 dc.

2nd.—✕ 7 ch., miss 1, sc. on 2nd, ✕ 8 times.

3rd.—✕ 6 ch., sc. on the centre of 7 ch., ✕; repeat all round.

4th.—Dc. all round, increasing 1 in every other stitch.

5th.—7 ch., miss 2, dc. into 3rd; turn the work, 5 ch., miss 2, dc. into

3rd, ✕ 5 times, turn the work, and repeat from the beginning of the row.

6th.—✕ sc. on the point of a scallop; 6 ch., sc. on centre of next

scallop, 9 ch., ✕; repeat.

7th.—7 tc. on 6 ch., 13 ch., ✕ 7 tc. on next 6 ch., 13 ch., ✕ all round.

8th.—✕ sc. on centre of 13 ch., 26 ch., ✕ sc. on centre of next 13, 26

ch., ✕; repeat all round.

9th.—Dc. all round, increasing every other stitch.

10th.—7 ch., sc. into the same stitch, turn the work, 2 dc., 7 tc., 2

dc., in loop of 7, turn again, miss 8; repeat.

11th.—Commence with sc. on the point of the leaf, make 7 ch., sc. on the

point of the next leaf, and so on all round.

12th.—✕ sc. on centre of 7 ch., 9 ch., ✕, repeat.

13th.—✕ sc. on centre of 9 ch., 7 ch., ✕ repeat.

14th.—Sc. on centre of the chain of 7, 8 ch., slip stitch into the same,

12 ch., slip into the same, 8 ch., slip into the same; turn the work;

work under the 8 ch., 1 sc., 2 dc., 6 tc., 2 dc., 1 sc.; the loop of 12

work in the same way with 12 tc., the loop of 8, with 6 tc.; fasten off;

miss 2 chains of 7, sc. on 3rd, 10 ch., miss 5, dc. on the 6th, 1 ch.,

miss 1., sc. on 2nd, 1 ch., miss 1, slip on first of 10, work all round

in tc., except the first and last stitches in sc.; fasten off; miss 2

chains of 7, and repeat from the beginning of the round.

15th.—✕ sc. on the point of the single leaf, 15 ch., sc. on point of the

shamrock, 15 ch., ✕; repeat.

16th.— Dc. all round, increasing in every other stitch.

17th.—✕ sc. in one stitch, 7 ch., miss 2, repeat.

18th.—✕ sc. in centre of 7 ch., 9 ch., ✕; repeat.

19th.—✕ sc. in centre of 8 ch., 9 ch., ✕; repeat.

20th.—sc. under 9 ch., ✕ 5 tc. under the same, 12 ch., sc. under the

next 9 ch., ✕; repeat.

Like all other crochet work, this pattern may be greatly increased by

the use of coarser materials. Worked with Evans’s boar’s-head cotton,

No. 4, and a hook proportionably large, it will make a very pretty

couvrette for a music-stool.

PINAFORE.

[FIG. 5.]

This pinafore or _blouse_ is made of very fine holland, trimmed with

worsted braid. There are two ways of making it: the first is that given

in the engraving; the second, which has much the same effect, was

brought into this country by a Russian family of the highest rank. It

was made of the richest crimson velvet with gold braid and buttons.

THE FIRST PATTERN.—Measure the length from the child’s knee to the top

of the shoulder; and cut out in holland, a perfect round, exactly double

the width of the length you have taken, and two nails over, thus—if it

be half a yard from the child’s knee to the shoulder, the circle must be

one yard and two nails wide. In the exact centre of this cut a circle

out, large enough for the neck, and on each side of it, (distant 5 to 6

inches,) another hole for the arm. A slit is made from the neck, the

straight way of the stuff, six inches long. A pair of full and long

sleeves are then put in the small holes, and two lines of worsted braid

go down them from the centre of the neck, on each side, confining the

sleeves in plaits. Small wristbands are set on, also trimmed with braid,

the neck and slit are hemmed, and trimmed in the same way, and buttons

and loops added to fasten the slit. A hem, one nail broad is made all

round the outer edge of the circle, and trimmed like the rest. The

pinafore is then complete, being merely confined with a broad band and

buckle at the waist.

The other pattern was still more simply made, notwithstanding the rich

materials. As it would be best made in French merino, I will describe it

in that material—two yards will be more than enough, unless the child is

unusually tall. Cut off a yard and three-eighths, fold it evenly, and

join up the two sides, leaving only room for an armhole. Slit the centre

of the width about 6 inches, or perhaps twelve; and make a slit of six

inches, at the end of this one in the opposite direction. Cut the

sleeves long, and full at the bottom, make a hem, which trim with braid,

and put them in the arm-holes; plait up the fulness on each side of the

neck in large plaits, and confine them by a double row of braid which

continues to the bottom of the sleeve. Hem and trim the slit in the same

manner; fold in plaits the superfluous fulness of the neck, (if twelve

inches have been cut) and trim it also with braid. Make a hem at the

bottom of the dress and finish in like manner. A few ornamental buttons

should fasten the opening on the breast, and also go down the shoulders,

and a broad band round the waist completes this graceful dress. For full

dress, a rich green merino, with silver braid, and silver buttons, has a

very rich and chaste effect.

NECK TIE.

[FIG. 6.]

MATERIALS.—Two shades of crochet purse twist, any color that may be

desired. Crochet hook, No. 16. Eagle card-board gauge. Make a chain of

the required length; work one row of sc.

2nd.—Sc. on 1st, 6 ch., miss 3, sc. on 4th; repeat.

3rd.—Turn the work, 6 ch., sc. under first loop, 6 ch., sc. under next;

repeat.

Continue these 2 rows until about a yard and a quarter is done, when

work a row thus:—sc. on centre of 6 ch., 3 ch., sc. in centre of next;

finish with a row of sc.

A ring, covered with silk, and two silk tassels, complete the neck tie.

EMBROIDERY.

[FIG. 7.]

SUITABLE FOR THE HALF OF A HANDKERCHIEF CORNER, OR ANY OTHER PURPOSE.

For a handkerchief, I should recommend the fashionable mixture of

scarlet and white embroidery cotton, No. 80. The large leaves may be

worked merely in outline, being button-hole stitched in one color,

whilst the veinings are done in another. The specks on the large leaf

are small French knots, which I have described in the “Elementary

Instructions,” in this number. The fibres and tendrils are run, and

sewed over with the greatest nicety. The broad veinings of the upper and

lower leaf would be improved by being very delicately worked in small

eyelet-holes, made with a coarse needle rather than a stiletto.

SQUARE D’OYLEY IN CROCHET.

[FIG. 8.]

The materials suitable for Table D’oyleys will be Cotton, No. 24 or 30,

and crochet hook, No. 20. The D’oyley is to be worked from the

Engraving, and afterwards finished with a narrow crochet edging, which

will be found at the end of this book. To increase or diminish the size

of D’oyleys, use cotton proportionably coarser or finer.

DEEP LACE IN CROCHET.

[FIG. 9.]

MATERIALS.—Cotton, No. 40. Crochet hook, No. 22.

Make a chain the requisite length.

1st.—+ 7 ch., miss 5, sc. on 6th +. Repeat.

2nd.—Sc. on centre of 7 ch., 7 ch. Repeat.

3rd to 7th rows. Like the 2nd.

_They may all be worked backwards and forwards._

8th.—+ sc. on centre of 7 ch., 5 ch., +. Repeat.

9th.—✕ sc. on centre of 5, ✕ 3 ch., miss 2, sc. on 3rd ch., miss 1, sc.

on 2nd, ✕. Repeat.

10th.—Sc. on the beginning of the ch., (_a._) + 3 ch., miss 2, sc. on

3rd, + twice, 6 ch., slip on same stitch, 6 ch., slip on same stitch,

(_a._) Repeat.

11th.—Sc. on centre of 6 ch., 6 ch., sc. in centre of next 6 ch., 5 ch.,

sc. on centre of 3 ch., 5 ch., sc. on centre of next 3 ch. Repeat.

12th.—✕ 3 tc. under 6 ch., 3 tc. under next 6 ch., 12 ch., ✕. Repeat.

13th.—+ 6 dc. on 6 tc., * 3 ch., sc. in 3rd ch., * 4 times, +. Then

repeat from the beginning.

14th.—✕ 6 dc. in 6 of last row, * 5 ch., sc. under 3 ch., * 5 times, ✕.

Then repeat from the beginning.

15th.—✕ 6 dc. into the last 6, * 6 ch., sc. under 5 ch. of last row, * 4

times, ✕. Repeat to the end, and fasten off.

COLLAR IN TATTING OR FRIVOLITE

[FIG. 10.]

MATERIALS.—Cotton, No. 3; Italian net.

I may observe, _en passant_, that this cotton is _the only one_ which

has been manufactured expressly for Tatting, and is really suited for

that work.

Work the ovals and loops as seen in the Engraving, leaving threads

wherever they appear to be required; draw the pattern on colored paper,

from the engraving; lay the net on, and tack the various parts of them

in their places, according to the design; sew over the threads, centres,

&c., with the same cotton, and cut out the net; fill in the centre of

each flower with a rosette of English Point (see Part III.), worked in

Evans’s Mecklenburgh, 100; the other open parts might also very

effectively be filled in like manner. A muslin band must be sewed round

the neck.

ANOTHER COLLAR IN FRIVOLITE.

[FIG. 11.]

MATERIALS.—Tatting cotton, No. 3. Make 13 large trefoils without the

pearl edge, and 14 smaller ones, leaving the length of thread shown in

the engraving between every two.

Make also 75 ovals with pearl edge, and two larger ones for the corners.

Make up the collar like the last, sewing over all the threads closely in

a button-hole stitch.

CROCHET INSERTION.

WORKED THE SHORT WAY.

MATERIALS.—Cotton, No. 60, for children’s dresses, &c.

1st.—26 ch., miss 7, dc. on 8th., ✕ 2 ch., miss 2, dc. on 3rd., ✕ to the

end.[3]

Footnote 3:

Turn the work at the end of every row.

2nd.—Slip up the side of the last dc., stitch 5 ch., dc. over dc., ✕ 2

ch., miss 2, dc. over dc. to the end.

3rd.—Slip up the side 5 ch., dc. over dc., ✕ 2 ch., miss 2, 1 dc., ✕ 3

times, 3 dc., * 2 ch., miss 2, 1 dc., * to the end.

4th.—Slip as before, 5 ch., dc. over dc., 2 ch., miss 2, 1 dc., 2 ch.,

miss 2, 7 dc., ✕ 2 ch., miss 2, 1 dc., ✕ twice.

5th.—Slip as before 5 ch., dc. over dc., 2 ch., miss 2, 1 dc., 2 ch.,

miss 2, 4 dc., + 2 ch., miss 2, 1 dc. + 3 times.

6th.—Slip as before, 5 ch., miss 2, dc. on dc., + 2 ch., miss 2, 4 dc.,

+ twice, * 2 ch., miss 2, 1 dc. * twice.

7th.—Slip as before, 5 ch., miss 2, 7 dc., 2 ch., miss 2, 7 dc., 2 ch.

miss 2, 1 dc.

8th.—Slip as before, 5 ch., 1 dc. on last of 7 ✕ 2 ch., miss 2, 1 dc., 2

ch., miss 2, 4 dc. ✕ 2 ch., miss 2, 1 dc., to the end.

9th.—Like 7th.

10th.—Like 6th.

This completes the pattern.

This insertion is of so delicate a texture that to appreciate it, it

ought to be seen, lined with ribbon: done in coarser materials, it would

be found equally pretty and useful for many articles of the lady’s

toilette.

KNITTING INSTRUCTIONS.

[Illustration]

Whatever other arts may become popular among ladies, that of Knitting

will ever be held in high estimation, not merely from the elegance of

the articles produced by an accomplished knitter, but from the great

facility it offers for the employment of the invalid, the aged, and the

blind. The dexterity the last named acquire, is too well known to need

comment, nor would I remark on it but for the sake of convincing those

who possess the blessing of sight, that there is no good reason for a

piece of simple knitting so absorbing eyes, ears, and thoughts, as to

render them the mere knitting machines they usually are. To see young

ladies stooping, with rounded shoulders and contracted chest, over a

simple piece of knitting, no one would imagine that they were exercising

an art in which the blind are the greatest adepts. The fact is, that the

blind exercise their sense of touch as well as their memory, until the

most elaborate pattern is produced in a manner perfectly mechanical; why

then should we not be able, in the same manner, to use our fingers,

whilst our thoughts, tongues, and eyes, are at liberty for the enjoyment

of more intellectual pleasures? A few hints will very soon enable

knitters to pursue their favorite occupation whilst reading, studying,

or conversing; and although it may appear a matter of little or no

consequence to be able to knit by touch, none of us can tell how soon

sickness or weak sight may compel us to abandon all employment which

requires strong light or exertion of thought.

The sense of touch appears to be most acute at the extreme points of the

fingers; and it is desirable so to hold our work as to avail ourselves

of this power. The needles are to be held in the following manner:—

The work being held in the left hand, the needle must be held closely

pressed between the palm and the third and fourth fingers, whilst the

foremost stitches are kept near the point by the thumb and second

finger; the first is thus left free to assist in knitting, slipping the

stitches forward, shortening the point of the needle, &c. The _usual_

mode of knitting, is to hold the stitch between the thumb and the first

finger; and those who have been accustomed to this method, and will try

mine, will be astonished at the rapidity with which the delicate point

of the fore-finger distinguishes between one kind of stitch and another;

the other needle is held between the thumb and first finger of the right

hand, and rests on the hand. The thread is passed loosely round the

little finger, under the second and third, and over the tip of the

first, which is quite close to the needle. The thumb should be quite

quiet—the jerking motion, so observable in some knitters, being both

inelegant and detrimental to the work.

Knitting needles should have no sharp points. The needles should

gradually taper to a rounded, smooth end, half an inch, at least, being

thus gradually diminished. I have, as yet, only found one make of this

description; but in no manufactured article is there a greater

difference than between good and bad knitting needles.

Some patterns have a much better effect woven than knitted, principally

from the superior method of diminishing; of that, and the best mode of

casting on, I have given diagrams.

Fig. 1.—This gives the first process in casting on with two needles, (by

far the best method.) Make a loop with your finger and thumb, slip the

needle in, and with the thread (_a_) knit in the ordinary way. This

forms the first loop. You will now hold the needle in the left hand;

take another in the right, and slip it into the last loop. With the

point of the finger, carry the thread between the two needles, and bring

the point of the right hand needle in front, (fig. 2,) when the stitch

is completed. It must then be slipped on to the left hand needle, and

the process repeated.

Fig. 3.—PURLING, (or pearling,) is generally known. The right hand

needle is inserted in front of the stitch, the thread passed round it,

and then the point pushed backwards, and drawn out behind.

Fig. 4.—Represents the woven method of knitting three together, which

should always be employed where the centre stitch is intended for the

uppermost one. The usual mode is this:—slip 1, knit 2 together, pass the

slip stitch over the knitted. The best way is to slip _two together_ off

the needle, knit the third, and slip the two over. The centre of the

three stitches will then be the front one. If a stitch is to be made

before and after, you will merely bring the thread in front on each

occasion.

Figs. 5 and 6.—Show the manner of purling three together in the back

rows, to correspond with the knitted ones. We will suppose an open hem

to be on each side, as seen in fig. 7. Put the thread round the needle,

immediately before the loose stitch _c_; then insert the point of the

right hand needle in _b c_, taking both off the left hand. Purl _a_ and

slip the others over them.

[Illustration: THE LADIES OWN BOOK, AND COMPANION TO THE WORK TABLE.

PART IV. DICK & FITZGERALD, NEW-YORK]

In working from knitting receipts it is necessary to remember that no

two people knit alike, and therefore, the needles which suit one person

admirably, will be too large, or too small for another. I give the sizes

which suit an ordinary worker; but those who are conscious of being very

light, or very loose knitters, will do well to use needles one or two

sizes coarser or finer.

I trust that the above observations will enable every reader to

understand perfectly the receipts for various choice and beautiful

patterns in knitting, which I shall introduce, from time to time, in our

pages. I therefore proceed, at once, to the articles represented in the

Engraving.

INFANT’S CAP CROWN.

[FIG. 1.]

MATERIALS.—Cotton Nos. 70 and 90. Crochet hook, No. 22, eagle card-board

gauge, and a fine sewing needle.

This cap crown is formed by a very pretty admixture of crochet with

point lace stitches.

The sprig, which forms the centre as well as the border, is made in

crochet, in a Honiton lace pattern. The mode of engraving, with figures

to indicate the number of stitches in every part, is one invented by

myself, already familiar to many of our readers, to whom it has been

found extremely useful.

Work the crochet with No. 70 cotton. Begin the sprig at the end of the

stem (_a_,) work up the two-leaved side, then the flower, and down the

other side of the stem, beginning where you left off: 10 ch. for the

stem.

LEAF, 30 ch., join in the first to form a loop; work the first and last

stitches in _sc._ and all the rest in dc., three stitches being made in

the centre chain; slip 1 at the joining of the loop; 16 ch. for stem;

repeat the leaf with 20 ch. instead of 30; 10 ch. for stem.

FLOWER.—This is worked round and round, the right side being always

uppermost, and the thread being passed under the stem at every round.

The inner circle is made first; 18 ch., join into a loop, and work all

round in sc. ✕ 5 ch., 1 dc. through every 3rd of last round, ✕ 5 times,

5 ch., slip 1 at the stem. Work round these in sc. * 13 ch., 1 sc.

through dc. of last round * 5 times 13 ch., slip 1 on the stem. Sc. all

round, working on the chain stitches only. Make a slip stitch at the

stem to close the flower well; sc. on the 10 ch.; then make a leaf of 20

ch. opposite to the last; 8 sc. on chain.

BUD.—22 ch., 1 dc. on the 18th, ✕ 2 ch., miss 2, 1 dc., ✕ twice, 2 ch.,

miss 2, slip 1. _This forms the open part of the bud._ Work round it, 1

sc., 1 dc., 5 tc., 2 dc., 1 sc., 4 ch., 3 sc. on 4, 2 slip, 4 ch., 3 sc.

on 4, 1 sc., 2 dc., 5 tc., 1 dc. 1 slip. Slip down the stem of the bud,

sc. 8 on the flower stem, make a leaf opposite the first, work down the

stem, and fasten off.

Take a fine needle, and run a few stitches on the wrong side with each

end, when you may cut them off closely.

The BORDER which would serve very well for a collar, or any other

article, is made thus:—32 ch. for each pattern, or 256 for the round.

Close, to form it into a circle, and on one side of the chain work

thus:—

1st round.—✕ slip 2, 2 ch., miss 2, 1 dc. * 2 ch., miss 2, 1 tc., *

twice; 2 ch., miss 2, 1 dc., 2 ch., miss 2, slip 2, 20 ch., miss 14,

slip 2, ✕ 8 times.

2nd, or outer round.—(To be worked on the other side of the chain.) ✕ 2

slip on 2 slip, 1 sc., 1 dc., 1 tc., 8 long tc., 1 tc., 1 dc., 1 sc., ✕

16 times.

3rd or inner round.—(To be worked on the first, beginning at the open

hem.) ✕ 2 slip on 2 slip, 1 sc., 2 dc., 8 tc., 2 dc. 1 sc. 2 slip; then

on the 20 ch., 1 sc., 7 dc., 1 sc., 1 slip, 12 ch.; form these into a

loop, work round them in sc., then continue on the 20, 1 slip, 1 sc., 7

dc., 1 sc., ✕ 8 times. Fasten off, and put on the pearl edging with the

ends of thread.

To make up the crown, draw a circle the size of the copy, on mounted

paper, tack the crochet on it, and connect all the parts with open

English lace worked in Evans’s boar’s-head, No. 90. (For the Point Lace

Stitches, see Part III. of this work.)

Those who prefer it, may sew the crochet on a round of Brussels net, as

is so generally done with real Honiton lace.

INITIALS.

[FIG. 2.]

MATERIALS.—Embroidery cotton, No. 70, white, and ingrain scarlet. These

letters are particularly suitable for marking linen, and similar heavy

articles. They should be done in satin stitch, with the white cotton,

and then every part should have a fine scarlet thread run on each side

of it, _surrounding the raised part_, and sewed closely over with the

same ingrain scarlet cotton.

[FIG. 3.]

White embroidery cotton, No. 80. The work of these letters should be

very delicately done, the eyelet-holes made with a coarse needle; the

point of a stiletto would make them too large. These letters are

suitable for handkerchiefs.

KNITTED BAG.

[FIG 4.]

MATERIALS.—7 shades of pink, blue, or green German wool, 2 yards of silk

cord to match, and 10 silver rings; bone needles, No. 8. Cast on 90

stitches with the darkest shade.

1st.—Slip 1, ✕ make 1, knit 2 together, knit 2 together, make 1, knit 1,

✕; repeat to the end.

2nd row.—Plain knitting. Do two rows in every shade progressively, until

you come to the lightest, when you will knit four, then two of every

shade back to the darkest, with which you will fasten off. Sew up the

side.

For the foundation use four needles, No. 20. Pick up 30 stitches on each

of three needles, and knit 3 plain rounds with the darkest shade but

one.

4th round.—Make 1, k. 2 t., repeat.

5th.—(With the next lightest shade, continuing to change the wool every

fourth round,) knit 12, knit 2 t., repeat.

6th.—Knit 11, knit 2 t., repeat.

7th.—Knit 10, knit 2 t., repeat.

8th.—Plain knitting.

9th.—Make 1, knit 2 t., repeat.

10th.—Knit 2 t., k. 9, repeat.

11th.—Knit 2 t., k. 8, repeat.

12th.—Knit 2 t., k. 7, repeat.

13th.—Plain knitting.

14th.—Make 1, k. 2 t., repeat.

15th.—K. 8, k. 2 t., repeat.

16th.—K. 7, k. 2 t., repeat.

17th.—K. 6, k. 2 t., repeat.

18th to 22nd.—Like the last 5.

23rd.—Plain knitting.

24th.—M. 1, k. 2 t., repeat.

25th.—K. 2 t., k. 5, repeat.

26th.—K. 2 t., k. 4, repeat.

27th.—K. 2 t., k. 3, repeat.

Take up the remaining stitches and sew up the centre, on the wrong side,

with an embroidery needle.

LACET BAG.

[FIG. 5.]

This bag is made, as its name implies, of _Braid_, (that is, Lacet); it

is done very much in the manner of point lace.

Draw the pattern on colored paper, of the proper dimensions for the bag;

paste a calico lining on the wrong side of the paper, and with colored

silk braid go over all the black lines, fastening the ends of braid very

neatly and securely to each other. Then all the double lines seen are to

be worked in Venetian bars, and the single ones in Sorrento bars, with

sewing-silk exactly the color of the braid. Work the Venetian bars on

three or four threads, and run the needle in the braid from one to the

next.

When complete, it must be removed from the paper, and another side done.

The bag must then be made of silk that will harmonize well with the

color of the braid, as green with violet, orange gold color, with maroon

or purple, and so on. A steel clasp and tassels complete this elegant

bag.

D’OYLEY IN SQUARE CROCHET.

[FIG. 6.]

For full directions for Square Crochet, see Part I. this work.

MATERIALS.—Cotton, No. 36, with crochet hook, No. 22, eagle card-board

gauge, will make this D’oyley a proper size for dessert.

For other purposes, coarser or finer materials may be used. A pretty

edging should be worked all round it. One of the most suitable is that

termed the Ivy-leaf Edging, in the “HOME CIRCLE,” No. 101, Vol. IV., or

Fig. 8, on the frontispiece of this number, will do as well. I may here

give a hint for which, doubtless, many of my readers will thank me. All

the designs given for D’oyleys and Anti-Macassars in square crochet may

be equally well worked in square netting, the pattern being darned in

afterwards. The material used for Anti-Macassars should be good and

strong knitting cotton, Evans’s Nos. 8 or 12; but D’oyleys look best

done in Evans’s Mechlenburgh thread, Nos. 7 or 8, the design being

darned in Mecklenburgh, No. 12.

Square Netting is done in the following manner:

Begin with one stitch only, and net backwards and forwards, increasing

one stitch at the end of every row until as many squares are made as may

be required, reckoning from the point up one side. Then decrease, in the

same manner, until only one stitch is left. When stretched out, this

forms a perfect square, every stitch being true. Should an oblong piece

be required, (as for a Bread-basket D’oyley,) work to the widest part as

already directed, then continue to increase at one side, leaving a

stitch at the other, until as much more is done as may be necessary for

the entire length. Finish as in the perfect square. Crests and coats of

arms are particularly suitable for working in square netting.

CROCHET EDGING.

[WORKED THE LONG WAY.]

[FIG. 7.]

MATERIALS.—For Anti-Macassars, use cotton No. 8; crochet hook, No. 16.

For trimming petticoats, cotton, No. 30; crochet hook, No. 19 or 20.

Make a chain of the length required; or, to trim an Anti-Macassar, work

a row of sc. all round.

1st. row.—Dc.

2nd.—1 dc., 1 ch., miss 1. Repeat.

3rd.—+ 7 sc., 5 ch., miss 1, 1 dc., 6 ch., miss 1, 1 dc., 7 ch., miss 1,

1 dc., 6 ch., miss 1, 1 dc. 5 ch., miss 1, +. Repeat. (In working an

Anti-Macassar, do not miss _any_ at the corners in this row, and take

care that the 7 chain comes exactly at the corner. This will allow a

sufficient fulness for the shell to lie flat.)

4th.—+ 5 sc. (beginning on the second of 5,) 5 ch., sc. under the first

loop; * 6 ch., sc., 7 (7 sc. in last row,) 5 ch., sc. under first loop,

* 6 ch., sc. under next loop, * 4 times, 5 ch., +. Repeat.

5th.—✕ 3 sc., (beginning on the 2nd of the 5,) 5 ch., sc., under the

first loop; * 6 ch., sc. 7 under next loop, * 6 times, 5 ch., ✕. Repeat.

6th.—+ 1 sc. on centre of 3 in last row, 4 ch., sc. under first loop, *

5 ch., sc. under next. * twice, + 6 ch., sc. under next, + twice, † 5

ch., sc. under next, † twice, 4 ch., +. Repeat.

7th.—_Begin on the sc. stitch_, + 4 sc., 4 ch., slip the needle in the

threads of the last sc. stitch, and draw the thread through, +. Continue

thus all round. Work every stitch of the last row; the appearance is

that a strong and solid edge, with dots at equal distances.

[WORKED THE SHORT WAY.]

This Edging being more suitable for trimming articles of the lady’s

wardrobe than Anti-Macassars and D’oyleys, should be worked with Evans’s

boar’s-head, No. 30, crochet hook No. 20; or for children’s dresses,

cotton, No. 40, crochet hook, No. 22, eagle card-board gauge.

Make a chain of 17. Miss 7, dc. in 8th, 2 ch.; miss 2, dc. in 3rd, 5

ch., miss 5, dc. in last.

2nd.—Turn the work.—3 ch., 5 dc. on 5 ch., 3 ch., miss 2, 1 dc., + 3

ch., miss 1, 1 dc., + twice, 4 ch., miss none, 1 dc.

3rd.—Turn the work. 5 ch., dc. under first loop, 3 ch., dc. under the

second, 3 ch., 4 dc., (the 1st on 1st ch. of the next loop,) 2 ch., miss

2, 1 dc. on the chain immediately after 5 dc., 5 ch., miss 5 dc., dc. on

third of the 3 ch. at the edge.

Repeat the 2nd and 3rd rows until the required quantity is completed.

LADY’S CHEMISETTE.

[Illustration]

MATERIALS.—Cotton No. 40, crochet hook, No. 22, eagle card-board gauge.

Make a chain of 36 stitches.

1st.—Dc.

2nd.—Open square crochet.

3rd.—Dc.

4th.—Open square crochet.

5th.—Dc.

6th.—10 sc., 10 ch., miss 4, 1 dc. under 5th ch., 16 ch., miss 5, 1 dc.

under 6th, 10 ch., miss 4, 1 dc. under 5th. Turn, and work the three

loops in sc.; turn again, and work them in dc.; turn again, and work

three scallops in the first large one, thus: ✕ 1 sc., 1 dc. in one

stitch, 3 tc. in the next, 1 dc., 1 sc in the next, ✕ 3 times; then, on

the large loop work six times in the same way, and on the other small,

three times; finish the row in sc.

7th.—Turn the work; make 15 ch., 2 sc. on the 5th and 6th of the loop of

10, 7 ch., 2 sc. at the back of the second loop, in the eighth and ninth

of the chain of 16; 7 ch., 2 sc. on fifth and sixth of the first loop of

10; 15 ch., 2 sc. on the last two stitches at the end of the row.

8th.—Turn the work, and do a row of sc.

9th.—Turn; 15 ch., 2 dc. over the middle loops of the first scallop, 15

ch., 2 dc. in the middle of the second scallop, 15 ch, 2 dc. in the

third scallop, 15 ch.; sc. on the last stitch of the row.

10th.—Turn and work a row of dc.

11th.—Turn and work a row of open square crochet.

12th.—Like tenth.

13th.—Like eleventh.

14th.—Like tenth.

Then repeat from the sixth row, observing that as the first lace row has

only one scallop and this has two, you must count the number of stitches

in the last row, and leaving three from the centre for half of the space

between the two flowers, and sixteen for the three loops, so that you

will work in sc. from the beginning of the row to within nineteen of the

centre; then the chain of ten, of sixteen, and of ten again, as directed

in row 6, and six sc. stitches in the centre; the remainder of the row

to correspond with the first part.

The rest of the Chemisette is to be worked according to the directions

already given, observing, that as the number of stitches gradually

increases, an extra scallop must be made in every new pattern, and care

must be taken that they fall regularly between those of the previous

row.

When a different depth is done, to come up to the neck, leave a space of

two patterns or so, in the centre, and continue working at each side,

not increasing at the outer edge, and diminishing every row at the inner

one, in order to fit the neck.

It is to be set in a habit-shirt of net or Mull muslin, and two rows of

crochet-lace put round the neck.

ANTI-MACASSAR.

[FIG. 8.]

MATERIALS.—Cotton, No. 12. Crochet hook, No. 14. Eagle card-board gauge.

Make a chain of 9. Close in the 3rd for a round, leaving 2 chain. Work

under this round 12 dc.

+ Sc. on 1st dc., 5 ch. miss 1, + 6 times.

+ Sc. on 1st stitch of the 1st chain of 5, 3 dc. on three next, sc. on

5th, slip on sc., + 3 times; repeat from the beginning until as many are

done as may be required for the length of an Anti-Macassar, without a

border. Turn, and work the three loops left in each flower, like the

first three, with a single crochet stitch on the chain which connects

them. Break off your cotton. 5 ch., dc. under each side of the centre

stitch of the second loop, 9 ch., dc. in the same place of the next

flower, and continue so to the end, leaving off with 5 chain. Work on

this a row of dc., then an open row, thus:—1 tc., 1 ch., miss 1. Repeat.

The next row in dc.

Make another length of flowers, and join them to the last row, thus:—in

working the second side of the flowers, join the middle loop to the last

row of dc., at the same intervals as the previous row of flowers is

united.

Repeat alternately the open hem and the flowers, until the Anti-Macassar

is sufficiently wide, finishing with the three rows which form the open

hem. Work an open hem at the other side, and at both ends, carrying the

dc. all round. Beyond this is a round of small eyelet-holes which are

thus worked:—✕, make a chain of 9, close in 7th for a loop, under which

work 2 dc.; drop the loop off your hook, take up a loop of the edge of

the Anti-Macassar, then the dropped loop and make 3 more dc. under the

chain, reckoning as _one thread_ the dropped loop and that of the

border, + repeat,—joining such eyelet-hole to every fifth chain of the

Anti-Macassar. Work the 2nd side of the eyelet-holes at each corner,

make a chain all round connecting it with the eyelet-holes in every

fifth stitch. Next round, 1 dc. in the middle loop of the 2nd side of

the eyelet-holes, 4 ch., repeat throughout the round with 5 _ch. at the

corners_, dc. all round, working three stitches in one at the corners.

Next round, ✕ 1 tc., 1 ch., miss 1, ✕ all round, not missing any at the

corners.

Next round, dc, with three in one at the corners.

Next, ✕ 5 dc. 5 ch., miss 1, 1 dc., 7 ch., miss 1, 1 dc., 5 ch., miss 1

✕, repeat all round, taking care that the 7 ch. come exactly at each

corner.

Next, sc. on each side of the 3rd dc., ✕ 3 ch., sc. in the loop of 5, 3

ch., sc. in the centre of the loop of 7, 3 ch., sc. in the 2nd loop of

5, 3 ch., sc. on each side of the 3rd of the 5 dc.

Next, sc. on a loop, + 3 ch., sc. on next, ✕, repeat all round, but with

5 ch. at the top of each Vandyke, and three chains of 5 at each corner.

This is one of the patterns which look extremely well when formed by an

intermixture of cotton and wool, or colored and white cottons. A rich

scarlet, green, or cerise wool may be used for all the eyelet-holes and

the edge: the open-hems, throughout, in white cotton; or pink and drab

cottons wash and wear extremely well, and possess the additional

advantage of not being so soon soiled as white inevitably is,

particularly in London.

CROCHET MAT.

[Illustration]

MATERIALS.—Berlin wool—3 shades of brown, 3 of green, 1 of violet, and 1

of yellow.

Make the eyelet-hole in the centre, with the lightest brown; 9 ch., form

into a round, and work under it 18 sc. stitches.

Take the medium shade of brown and make 6 similar eyelet-holes, which

are to be joined to each other, and to the centre one, by sewing them at

the back with a rug needle.

With the darkest brown, make 12 more eyelet-holes, and having worked

them all round in sc., join them to the 6, (2 to each) as seen in the

Engraving.

Twelve heartsease must then be worked, thus: with violet wool make a

chain of 5, close into a round, + 11 ch., sc. under the loop, + twice, 3

ch., slip at the back of the loops, work in dc. round the two loops,

missing the last stitch of the first loop, and the first of the second,

and working together the two stitches at the joining of the two loops.

End with a sc. under the chain of five.

Take the yellow, sc. under the chain of 5, 9 ch., sc. under same, 11

ch., sc. under same, 9 ch., sc. under the same.

Slip on the round to the beginning of the yellow, and dc. the third

violet and second yellow chain together; dc. all round the 9 ch.,

connect it to the 11 by two stitches, and then dc. round the 11; join

the second 9 to the 11 by two stitches, and, at the last two, connect

with the first violet petal. Fasten off, and sew the twelve heartsease

round the eyelet-holes.

Take the middle shade of green, ✕ sc. on the left side yellow petal of

the first heartsease, 12 ch., sc. on the right side yellow petal of the

second, 9 ch., slip across the back of the flower, ✕; repeat all round.

With the same shade of green—✕ 7 dc. on the top of the violet petals of

the first heartsease, 3 ch., 2 dc. on the centre loops of the 12 ch., ✕;

repeat all round.

Dark green, 5 sc. ✕ 4 ch., miss 1, sc. the other three, 5 sc., 6 ch.,

miss 1, sc. 5 of them, 5 sc., 4 ch., sc. 3 of them, 10 sc. ✕; repeat all

round, ending with 5 sc. The chains form veinings for leaves.

Second shade of green—sc. on sc., and tc. all round all the veinings,

working two in one at every point.

Take the lightest green, and repeat the preceding round, working three

in the two at the point of each vein, and catching the sides together.

With the same shade, work the scallops all round, + dc. in 1 stitch, 3

tc. in next, 1 dc. in next ✕: repeat.

ELEMENTARY INSTRUCTIONS IN TATTING OR FRIVOLITE.

For a considerable period the art of Tatting, long disused in this

country, has been revived in the fashionable world; and like many other

things which have disappeared for a time, has acquired greater lustre

and beauty than it ever before possessed.

The exercise of the art of Tatting as known to our grandmothers, was

merely an elegant apology for exhibiting a pretty hand and brilliant

rings; the actual production was never more elaborate than a neat, but

rather substantial edging for a child’s dress or a lady’s frill. No

wonder that our friends on the other side of the Channel christened this

apology for a lady’s idleness pre-eminently by the appropriate term

_Frivolite_. At the late French Exposition of Industry, however, some

very beautiful and elaborate specimens having been exhibited, this kind

of work again became the rage, both in France and England; and doubtless

the elegant pieces of Tatting which may be seen in our own Exhibition,

will tend yet further to keep the work popular.

The only necessary instruments are the shuttle, or short netting-needle,

and a gilt pin and ring, united by a chain. The thread used for

_Frivolite_ should be strong and soft; something like knitting cotton.

The first point to be attended to in Tatting, is the mode of holding the

hands. The shuttle, filled with thread in the manner of a

netting-needle, should be held between the thumb and the first and

second fingers of the right hand, about half a yard of the thread being

unwound. Take up this thread two or three inches from the end, between

the thumb and first finger of the left hand, letting the end fall in the

palm of the hand; pass the thread round the other fingers of the right

hand, keeping them rather apart from each other, and bring it again

between the thumb and fore-finger, thus making a circle round the

extended fingers.

Two stitches only are used in Tatting, and it is usual to do each

alternately, as a prettier edging is thus formed than can be made in any

other way. This is, therefore, called the _double stitch_.

The first stitch to be learned is termed the English Stitch. This is

made in the following manner:—

Let the thread between the right hand and the left fall towards you, (as

will be seen in the Engraving), slip the shuttle under the thread

between the first and second fingers, and draw it out to the right

rather quickly, keeping it in a horizontal line with the left hand. It

will be found that a slipping-loop is formed on this thread with that

which went round the fingers.

Hold the shuttle steadily, with the thread stretched tightly out, whilst

with the second finger of the left hand, you slip the loop thus made

under the thumb.

[Illustration]

I may here remark that when Tatting will not draw up, it is because the

operation is reversed; and instead of the loop being formed by the

thread round the fingers, it is formed by that connected with the

shuttle. This is usually caused by the worker letting the thread from

the shuttle hang loosely instead of drawing it out, and holding it at

full stretch.

There is very little difference between the French and the English

stitch. It simply consists in throwing the thread in a loop over the

left, and inserting the shuttle _upwards_ under the circle round the

fingers, instead of _downwards_, as in the English stitch.

The accompanying Engraving gives a clear idea of the manner in which

this is to be done. The shuttle is drawn out, and the stitch formed

exactly in the same manner as in the previous stitch.

[Illustration]

The two stitches thus made form one double stitch; and when as many are

done, _and drawn close to each other_, as may be directed, the stitches

are held between the first finger and thumb and the other fingers are

withdrawn from the circle of thread, which is gradually diminished by

drawing out the shuttle until the loop of Tatting is nearly or entirely

closed. The tatted loops should be quite close to each other, unless

particular directions to the contrary are given.

Sometimes Tatting is ornamented by a succession of tiny loops, something

like pearl edging; these are made with the pin previously spoken of.

Slip the ring on the left hand thumb, that the pin, being attached to

the chain, may be ready for use. Make as many double stitches as the

directions prescribe, twist the pin in the circle of thread, and hold it

between the fore-finger and thumb whilst making more stitches; repeat.

Tatting should always be done with a very cool, dry hand.

Common Tatting is merely a length of tatted loops, with or without

picots.

Trefoil Tatting is done by drawing up tightly three loops, made quite

close together, and then leaving a short space before making more. The

Trefoil is sewed into shape afterwards with a common sewing needle.

A pretty variety may be made by trimming a number of large loops with

others very much smaller, which should be sewed round them. In this case

a little distance must be allowed between all the large loops.

I should always advise learners to use coarse crochet silk for their

first attempts in Tatting, as it is very much easier to do with this

material than with any other.

Tatting is usually sewed on net, for collars, &c. I, however, greatly

prefer the effect when the Tatting is formed into a solid mass by the

aid of Point lace stitches. Diagrams of all these may be found in Part

III. of this work.

EMBROIDERY ON CAMBRIC.

[FIG. 1.]

SUITABLE FOR THE CORNER OF A HANDKERCHIEF.

MATERIALS.—Ingrain red and white embroidery cotton, No. 80.

The design may be traced on the cambric from that given in the

Engraving, and then worked in raised satin stitch; the flowers

(excepting the calyxes) in red cotton, and the leaves, stems, and

calyxes in white. The little dots in the flowers are raised.

[FIG. 2.]

TO CONTAIN INITIALS.

MATERIALS.—Either the same as in the proceeding, or white embroidery

cotton only. For a morning handkerchief, it would look very well in

scarlet, the initials only being in white. The little rounds in this

design are eyelet-holes very neatly sewed over.

KNITTED LACE COLLAR.

[FIG. 3.]

MATERIALS.—Cotton, No. 40; needles, No. 24. Cast on fifteen stitches.

1st Row.—Knit 2, m. 1, k. 1, m. 1, k. 2, slip 1, k. 2 t., pass the slip

stitch over, k. 2, m. 1, k. 1, m. 1, k. 2, slip 1, k. 1, pass the slip

stitch over.

2nd, and every alternate row.—Purl all but two, and knit them plain.

3rd.—Knit 2, m. 1, k. 3, m. 1, k. 1, slip 1, k. 2 t., pass the slip

stitch over the knitted, k. 1, m. 1, k. 3, m. 1, k. 1, slip 1, k. 1,

pass the slip stitch over.

5th.—Knit 2, m. 1, k. 5, m. 1, slip 1, k. 2 t., pass the slip stitch

over, m. 1, k. 5, m. 1, slip 1, k. 1, pass the slip stitch over.

7th.—Knit 4, slip 1, k. 2 t., pass the slip stitch over, k. 2, m. 1, k.

1, m. 1, k. 2, slip 1, k. 2 t., pass the slip stitch over, k. 2, m. 1,

k. 1.

9th.—Knit 3, slip 1, k. 2 t., pass the slip stitch over, k. 1, m. 1, k.

3, m. 1, k. 1, slip 1, k. 2 t., pass the slip stitch over, k. 1, m. 1,

k. 2.

11th.—Knit 2, slip 1, k. 2 t., pass the slip stitch over, m. 1, k. 5, m.

1, slip 1, k. 2 t., pass the slip stitch over, m. 1, k. 3.

12th.—As 2nd. Repeat until sufficient is done, then trim it with lace.

Take up the stitches at the neck. Knit one row, taking two together

every ten. Knit a few rows more and cast off.

For the edging, the same materials. Cast on sixteen stitches, and knit

one plain row.

1st.—Knit 2, ✕ m. 1, k. 2 t., ✕ twice, k. 2, * m. 1, k. 2 t., * 3 times,

m. 1, k. 2.

2nd.—Pearl 11, k. 6.

3rd.—Knit 2, ✕ m. 1, k. 2 t., ✕ twice, k. 3, * m. 1, k. 2 t., * 3 times,

m. 1, k. 2.

4th.—Pearl 12, k. 6.

5th.—Knit 2, ✕ m. 1, k. 2 t., ✕ twice, k. 2, m. 1, k. 2, * m. 1, k. 2

t., * 3 times, m. 1, k. 2.

6th.—Pearl 14, k. 6.

7th.—Knit 2, + m. 1, k. 2 t., + twice, k. 2 t., m. 1, k. 1, m. 1, k. 2

t., k. 1, * m. 1, k. 2 t., * 3 times, m. 1, k. 2.

8th.—Pearl 15, k. 6.

9th.—Knit 2, + m. 1, k. 2 t., + twice, k. 1, m. 1, k. 3, m. 1, k. 2 t.,

k. 1, * m. 1, k. 2 t., * 3 times, m. 1, k. 2.

10th.—Pearl 16, k. 6.

11th.—Knit 2, + m. 1, k. 2 t., + twice, k. 1, m. 1, k. 2 t., k. 1, k. 2

t., m. 1, k. 2 t., k. 9.

12th.—Knit 1, ✕, k. 2 t., m. 1, ✕ 4 times, p. 7, k. 6.

13th.—Knit 2, ✕ m. 1, k. 2, ✕ twice, k. 2, m. 1, k. 3 t., m. 1, k. 11.

14th.—Knit 1, k. 2 t., ✕ m. 1, k. 2 t., ✕ 4 times, p. 5, k. 6.

15th.—Knit 2, + m. 1, k. 2 t., ✕ twice, k. 1, k. 2 t., m. 1, k. 2 t., k.

10.

16th.—Knit 1, k. 2 t., ✕ m. 1, k. 2 t., ✕ 4 times, p. 3, k. 6.

17th.—Knit 2, ✕ m. 1, k. 2 t., ✕ twice, k. 13.

18th.—Like 16th, but purl 2.

19th.—Knit 2, + m. 1, k. 2 t., + twice, k. 2 t., k. 10.

20th.—Like 16th, without purling any.

21st.—Knit 2, ✕ m. 1, k. 2 t., ✕ twice, k. 10.

22nd.—Plain knitting.

Repeat as often as may be required.

I may observe that this Edging is well suited for the trimming of a

counterpane, or any similar large piece of work. It should, of course,

be knitted in suitable materials.

SPANISH CROCHET EDGING

[FIG. 4.]

MATERIALS.—Cotton, No. 16; crochet hook, No. 18; eagle card-board gauge.

29 ch., turn, sc. in 15th, 5 ch., slip into the same stitches, ✕ 7 ch.,

miss 4, sc. in 5th, 5 ch., slip into the same, ✕ twice, 7 ch., sc. in

1st ch.—this forms the foundation. You will now begin to work the

pattern.

1st.—Turn the work, 7 ch., sc. under last 7, 5 ch., slip on the sc.

stitch, ✕ 7 ch., sc. under next loop, 5 ch., slip on the sc. stitch, ✕ 3

times, 5 ch., sc. under the same loop.

2nd.—Turn the work, and slip 3 on 3 of the last 5 ch., + 7 ch., sc.

under the next loop, 5 ch., slip on sc. stitch, + 3 times, 7 ch., sc.

under last loop.

3rd.—Turn the work, ✕ 7 ch., sc., under the next loop, 5 ch., slip on

sc. stitch, ✕ 4 times, 4 ch., 3 dc. under the same loop, 3 ch., 1 dc. in

the last of the 3 slip of the preceding row, 4 ch., 1 dc. in the first

of the 3 slip, 3 ch., 2 dc. and 1 sc. in the first loop of the

foundation.

4th.—Turn the work, 3 ch., 3 dc. under first loop, 3 ch., 4 dc. under

next, 3 ch., 3 dc. under next, 3 ch., 1 sc. under next, + 7 ch., sc.

under next loop, 5 ch., slip through sc. stitch, + 3 times, 7 ch., sc.

under the last loop.

As _Dentelles de Laine_ are at present such fashionable trimmings for

aprons, dresses, and mantles, our friends would find such an edging as

the above, done in black or colored Pyrenees wool, far more beautiful

and economical than anything they can purchase. It may also be done in

crochet, or netting silks, and would then be a most elegant trimming for

the Mandarin sleeves, and _berthes_ of dresses.

When fine cotton edging is desired use No. 30, and crochet hook 20 or

21.

COLLAR IN FRIVOLITE.

[FIG. 5.]

MATERIALS.—Bobbinet and fancy ditto, for the foundation of the collar.

For the Frivolite, use Tatting-cotton, No. 3.

Cut out two collars, one in each kind of net, and connect them by a line

of close button-hole stitch at the distance of an inch-and-a-quarter

from the outer edge and ends. Then cut off the inner part of the fancy

net and the outer of the plain, leaving thus one complete collar

composed of two kinds of net.

Make in Frivolite twenty-five stars of eight loops each, all drawn up as

closely as possible. The loops should consist of about twenty double

stitches each; make also twenty-four eyelet-holes in Tatting; sew the

stars and eyelet-holes alternate on the line of button-hole stitch,

beginning and ending with a star. Then make as many loops (all at a

distance from each other) as may be necessary to cover the plain net in

the manner seen in the Engraving; sew them on along the lines of thread.

For the border, do a length of Tatting in alternate single and trefoil

loops, with a small piece of thread between each; and, after whipping

the net, sew the Tatting on. The corner trefoils should be larger than

the others.

A narrow band of net may be put on the neck.

Ladies who prefer Crochet to Tatting, may work any pattern given for

Frivolite in their favorite manner, by substituting dc. stitches instead

of the double tatting stitches.

For working eyelet-holes in Crochet, I refer my readers to the

instructions for the Anti-Macassar, in Part V. of this work.

COLLAR IN FRIVOLITE.

[FIG. 6.]

MATERIALS.—Tatting-cotton, No. 3; shuttle and pin.

Make 22 trefoils thus: 18 double stitches for each loop, which must be

drawn up quite tightly; three of these form a trefoil.

Make 22 trefoils, of 15 double stitches, in the same manner for the next

row; and then a similar set of 12, 9, and 6 double stitches in each

loop. Sew the trefoil of a collar of fancy net; put on 2 rows of tatted

purled edging, as indicated in the Engraving, finish last line of

Trefoils with a tatted round, and sew a muslin band round the neck.

FISH CLOTH.

[FIG. 7.]

MATERIALS.—Cotton of the following colors: two reels white, two green,

one dark blue, one light blue, one black, one lemon color. The colors

will be indicated throughout by their respective initials. The cotton

should be Nos. 10 or 12, and a very small quantity of Evans’s

boar’s-head, No. 40; hooks, Nos. 10 and 20; eagle card-board gauge.

Begin by making the lemon slices thus:—with cotton, No. 40; hook, No.

20, make 1 chain of 12; close it into a loop, and work it all round in

dc., taking the stitches under the chain. Do this four times, when all

the pips will be made. With the yellow cotton, work a chain, connecting

all these from point to point, in a circle. Work a round of white in the

yellow, with two tc. stitches in every chain. Then a round of tc. in

yellow on the white, with two stitches in every alternate one. This

completes one lemon slice. Four of them must be made and sewed on the

corners of the fish cloth after it is completed. The pips only are to be

done with a fine needle and fine cotton.

With the coarse white cotton, and hook, No. 10, make a chain of 116;

work eight rows in open square crochet.

9th.—17 os. in white, 1 dc. in dark blue, 3 dc. in light blue, 2 ch. in

white, 2 dc. light blue, 18 open squares in white. Observe that in

future rows the colors will be indicated by their respective initials.

10th.—17 os. w., 1 dc. d. b., 4 dc. l. b., 2 ch. w., 3 dc. l. b., 18 os.

w.

11th.—17 os. w., 2 dc. d. b., 3 dc. l. b 2, dc. w., ? dc. l. b., 17 os.

w.

12th.—16 os. w., 3 dc. d., 2 dc. l. b., 2 dc. b., (to form the eye), ?

dc. w., 4 dc. l. b., 17 os. w.

13th.—16 os. w., 4 dc. d. b., 3 dc. l. b., 4 dc. w., 5 dc. l. b., 17 os.

w.

14.—16 os. w., 4 dc. d. b., 4 dc. l. b., 4 dc. w., 5 dc. l. b., 16 os.

w.

15th.—15 os. w., 4 dc. d. b., 4 dc. l. b., 5 dc. w., 4 dc. l. b., 1 dc.

d. b., 15 os., w.

16th.—15 os. w., 4 dc. d. b., 3 dc. l. b., 6 dc. w., 2 dc. l. b., 1 dc.

d. b., 3 dc. l. b., 1 ch. w.; open squares in white to the end.

17th.—15 os. w., 4 dc. d. b., 4 dc. l. b., 6 dc. w., 1 dc. l. b., 6 dc.

l. b.; open squares in white to the end.

18th.—14 os. w., ending with one chain, 4 dc. d. b., 4 dc. l. b., dc.

w., 2 dc. d. b., 1 dc. w., 6 dc. l. b.; finish with os. in white.

19th.—14 os. w., 4 dc. d. b., 4 dc. l. b., 11 dc. w., 6 dc. l. b.; open

squares to the end in white.

20th—14 os. w., 4 dc. d. b., 4 dc. l. b., 13 dc. w., 6 dc. l. b.; finish

with open squares in white.

21st and 22nd.—Like 20.

23rd.—13 os. w., 1 ch, w., 3 dc. d. b., 5 dc. l. b., 15 dc. w., 7 dc. l.

b.; open squares in white to the end.

24th.—13 os. w., 3 dc. d. b., 5 dc. l. b., 17 dc. w., 6 dc. l. b.;

finish with white in os.

25th.—Begin on the first, leaving out the open squares. 3 dc. d. b., 5

dc. l. b., 19 dc. w., 5 dc. l. b.

26th to 31st inclusive.—The same. Now turn back to the twenty-fifth row,

and begin a chain in the last stitch of the light blue for the fin; let

the chain be composed of twelve stitches; on that chain, work 2 sc., 3

dc., 7 tc.; turn, and work 7 dc., 2 sc., which will make it even with

the row above, if the three last stitches are missed along this; work a

row of sc. to unite it to the fish, as in the Engraving. Then work open

squares in white from the row you first missed, then to the last, that

is, the thirty-first row. Do the same on the other side of the fish,

taking care that the lower fin reaches a little lower than the upper

one. Begin the second fin on the twenty-sixth row.

32nd.—13 os. w., 1 ch. w., 4 dc. d. b., 5 dc. l. b., 17 dc. w., 5 dc. l.

b; finish with open squares in white.

33rd.—13 os. w., 2 ch. w., 4 dc. d. b., 5 dc. l. b., 15 dc. w., 5 dc. l.

b; finish as before.

34th.—14 os. w., 3 dc. d. b., 5 dc. l. b., 13 dc. w., 5 dc. l. b.;

finish as before.

35th.—14 os. w., 3 dc. d. b., 5 dc. l. b., 11 dc. w., 5 dc. l. b.;

finish as before.

36th.—14 os. w., 1 ch. w., 3 dc. d. b., 5 dc. l. b., 9 dc. w., 5 dc. l.

b.; finish with white os.

37th.—15 os. w., 3 dc. d. b., 5 dc. l. b., 7 dc. w., 5 dc. l. b.; finish

with white open squares.

38th.—15 os. w., 1 ch. w., 3 dc. d. b., 5 dc. l. b., 5 dc. w., 5 dc. l.

b.; finish with white os.

39th.—The same.

40th.—15 os. w., 2 ch. w., 3 dc. d. b., 4 dc. l. b., 5 dc. w., 3 dc. l.

b., 2 dc. 2 ch. w.; open squares in white to the end.

41st.—16 os. w., 2 dc. d. b., 4 dc. l. b., 5 dc. w., 2 dc. l. b., 2 ch.;

open squares in white to the end.

42nd.—15 os. w., 1 ch. w., 2 dc. d. b., 4 dc. l. b., 7 dc. w., 2 dc. l.

b.; open squares in white to the end.

43rd.—15 os. w., 2 dc. d. b., 4 dc. l. b., 9 dc. w., 2 dc. l. b.; finish

with open squares to the end.

44th.—14 open squares in white, 2 dc. d. b., 4 dc. l. b., 4 dc. w., 2

dc. l. b., 5 dc. w., 2 dc. l. b.; open squares in white at the end.

45th.—14 open squares in white, 2 dc. d. b., 3 dc. l. b., 5 dc. w., 1

dc. l. b., 2 ch. w.;, 1 dc. l. b., 6 dc. w., 1 dc. l. b., 1 ch.; and

open squares to the end in white.

46th.—14 os. w., 2 dc. d. b., 3 dc. l. b., 4 dc. w., dc. l. b., 1 ch., 1

dc., 2 ch., 1 dc., 1 ch., all in white, 1 dc. l. b., 4 dc. w., 1 dc. l.

b., 1 ch. and os. in white.

47th.—14 os. w., 1 ch. w., 2 dc. d. b., 1 dc. l. b., 3 dc. w., 1 dc. l.

b., 2 ch., 1 dc.. 2 ch., 1 dc.. 2 ch., all in white, 1 dc. l. b., 2 dc.

w., 1 dc. l. b., 2 ch. and open squares to the end in white.

48th.—14 os. w., 1 ch. w., 2 dc. d. b., 1 dc. l. b., 1 dc. w., 1 dc. l.

b., ✕ 2 ch., 1 dc. ✕ 4 times, and 2 ch., w., 1 dc. l. b., 2 dc. w., 1

dc. l. b., 1 ch., and open squares to the end in white. Finish with

eight rows of open squares in white cotton.

For the border, for which the green cotton is to be used:

Make a chain of 16, turn, miss 2, 2 sc., 3 dc., 4 tc., 3 dc., 2 sc., 1

ch., turn; work the same on the other side of the chain of 16, and

fasten off.

This completes one leaf; let as many be done as may be required to go

all round the D’oyley, rather more than twice. Then, with fine green

cotton, sew the points of some, at regular intervals, round the Fish

Cloth. Make a chain all round, connecting the base of the leaves at

regular intervals. On the chain, work a row of sc., connecting the ends

of the remaining leaves for the outer row.

Or the leaves might be made with a chain of 5 between each; the second

row of leaves being worked on the other side.

CROCHET INSERTION.

WORKED THE SHORT WAY.

MATERIALS.—Cotton, No. 80. Crochet hook, No. 22.

Make 32 chain.

1st.—Miss 3, 2 dc., † 2 ch., miss 2, 1 dc., †, twice, 2 ch., miss 2, 7

dc., * 2 ch., miss 2, 1 dc. * 3 times, 2 dc.

2nd.—Turn the work; and, in this and the other alternate rows, take up

the side of the stitch nearest to you, whilst in the intermediate you

take up the side farthest from you. 3 ch., twist them, miss 1, 2 dc., *

2 ch., miss 2, 1 dc. * 5 times, 3 dc., 2 ch., miss 2, 1 dc., 2 ch., miss

2, 3 dc.

3rd.—(Turn the work.) 3 ch., twist, miss 1, 2 dc. on dc., 2 ch., miss 2,

4 dc., 2 ch., miss 2, 1 dc., 2 ch., miss 2, 7 dc., 2 ch., miss 2, 1 dc.,

2 ch., miss 2, 3 dc.

4th.—(Turn.) 3 ch., twist, miss 1, 2 dc., 2 ch., miss 2, 4 dc., 2 ch.,

miss 2, 1 dc., + 2 ch., miss 2, 4 dc., + twice, 2 ch., miss 2, 3 dc.

5th.—(Turn.) 3 ch., twist, miss 1, 2 dc., 2 ch., miss 2, 4 dc., 2 ch.,

miss 2, 1 dc. +, 2 ch. miss 2, 4 dc., + twice, 2 ch., miss 2, 3 dc.

6th.—(Turn.) 3 ch., twist, miss 1, 2 dc., 2 ch., miss 2, 4 dc., 2 ch.,

miss 2, 1 dc., 2 ch., miss 2, 7 dc., 2 ch., miss 2, 1 dc., 2 ch., miss

2, 3 dc.

7th.—(Turn.) 3 ch., twist, miss 1, 2 dc., ✕ 2 ch., miss 2, 1 dc. ✕ 6

times, 3 dc., 2 ch., miss 2, 3 dc.

8th.—(Turn.) 3 ch., twist, miss 1, 1 dc., ✕ 2 ch., miss 2, 1 dc., ✕

twice, 3 dc., * 2 ch., miss 2, 1 dc. * 4 times, 2 ch., miss 2, 3 dc.

Repeat until sufficient is done for the purpose required.

It may be necessary to explain the meaning of the word _twist_. In

working a crochet pattern backwards and forwards, or in carrying the

thread from one round to another, _without joining_, in a round crochet

pattern, the neatest way is to make three chain, and then twist them,

letting the loop drop off the needle for the purpose and resuming it;

this looks quite sufficiently like a dc. stitch for all ordinary

purposes.

NETTED SCARF.

MATERIALS.—6 oz. light blue filoselle, 1 oz. each of white and of claret

ditto. When winding the skeins, split them in half and the threads will

then be quite sufficiently thick. Begin with the border. Take a round

mesh, No. 4, [the size of a common pen-holder,] make 1 stitch.

2nd.—Net 2 in 1.

3rd and succeeding rows.—Add one stitch at the end of every row until

you have thirty one stitches in the row, when you will net two as one.

The next row, you will increase one at the end; the following one you

will diminish until you have done fifty rows in this manner, then

decrease at the end of every row until one stitch only remains.

This being done in white filoselle, may be darned in a handsome pattern

with the claret. A second piece must be done in the same way. Then two

bands, each half the width of this, must be made in light blue, to one

side of which a handsome fringe must be sewed, and to the other the

white netting. The body of the scarf must also be done in the blue

filoselle.

Any handsome scroll or pattern for square crochet, which is not more

than thirty squares wide, may be used for darning the border of the

scarf.

NIGHT CAP IN CROCHET.

[Illustration]

MATERIALS.—Cotton, No. 12; crochet hook, No. 16; eagle card-board gauge;

184 chain. This pattern is worked principally in close and open squares.

1st.—4 o., + 1 c., 1 o., 1 c., 7 o., + 5 times, 1 c., 1 o., 1 c., 4 o.,

1 dc.

2nd.—3 o., + 2 c., 1 o., 2 c., 5 o., + 5 times, 2 c., 1 o., 2 c., 3 o.,

1 dc.

3rd.—5 o., + 1 c., 9 o., + 5 times. 1 c., 5 o., 1 dc.

4th.—1 slip, 3 ch., miss 2, 2 o., + 2 c., 1 o., 2 c., 5 o., + 5 times, 2

c., 1 o., 2 c., 2 o., 3 ch., miss 2, 1 slip.

5th.—1 slip, 3 ch., miss 2 to 2 o., 1 c., 1 o., 1 c., 7 o., 5 times, 1

c., 1 o., 1 c., 2 o., 3 ch., 1 slip on the dc. of last row.

6th.—1 slip on the first dc. of the last row, 3 ch., miss 2, open

squares to the last; then 3 ch., miss 2, slip 1 on the last dc.

7th.—1 dc. on the last of the 3 ch. of the preceding row, 1 dc. on the

dc. of the last row, 6 o., + 1 c., 1 o., 1 c., 7 o., + 4 times, 1 c., 1

o., 1 c., 6 o., 2 dc.

8th.—2 dc., + 5 o., 2 c., 1 o., 2 c., + 5 times, 5 o. 2 dc.

9th.—2 dc., 7 o., + 1 c., 9 o., + 4 times, 1 c., 7 o., 2 dc.

10th.—2 dc., + 5 o., 2 c., 1 o., 2 c., + 5 times, 5 o., 2 dc.

11th.—2 dc., 6 o., + 1 c., 1 o., 1 c., 7 o., + 4 times, 1 c., 1 o., 1

c., 6 o., 2 dc.

12th.—dc.; open squares to the two last stitches, 2 dc.

13th.—2 dc., 1 o., + 1 c., 1 o., 1 c., 7 o., + 5 times, 1 c., 1 o., 1

c., 1 o., 2 dc.

14th.—1 dc., + 2 c., 1 o., 2 c., 5 o., + 5 times, 2 c., 1 o., 2 c., 1

dc.

15th.—2 dc., 2 o., + 1 c., 9 o., + 5 times, 1 c. 2 o., 2 dc.

16th—Like 14th.

17th.—Like 13th.

18th.—Like 12th.

19th.—2 dc., 6 o., + 1 c., 1 o., 1 c., 7 o., + 5 times, 1 c., 1 o., 1

c., 6 o., 2 dc.

20th.—Like 19th.

21st.—Like 9th.

22nd.—Like 10th.

23rd —Like 11th.

24th and 25th.—Like 12th.

26th.—Forms half the band at the back. + 2 dc., 5 o., (_a_) turn; 5 ch.,

miss 2, 4 o., 2 dc., + 4 times between the crosses, and then to (_a_)

once,. Slip down the upper side to the top of the last dc. stitch, in

the twentieth row; so the first row of the follow point is merely a

_continuation_ of the twenty-sixth row.

1st.—TRIANGULAR POINT: 2 ch., miss 2, 8 o., 1 dc., turn, 3 ch., miss 2,

8 o., (taking care that the dc. stitches come over those of the previous

row), 1 dc., turn, 3 ch., miss 2, 7 o., 1 dc. on dc., turn, 3 ch., miss

2, 6 o., 1 dc. on dc., turn, 3 ch., miss 2, 5 o., 1 dc. on dc., turn, 3

dc., miss 2, 4 o., 1 dc, on dc., turn, 3 ch., miss 2, 3 o., 1 dc. on

dc., turn, 3 ch., miss 2, 2 o., 1 dc., on dc., turn, 3 ch., miss 2, 1

o., 1 dc. on dc., turn, 5 ch., miss 3 dc, on dc.; slip stitch up the

side of this point to the twenty-sixth row again, which is thus entirely

formed by the first rows of the points. Work five points and you will

have stitches enough left for five open squares at the end, which are to

be worked to correspond with the other half of the band at the back of

the neck. Sew the ends of the bands together, leaving the Vandyke loose.

Work round the inside of the band and round the Vandyke, thus:—

1st round.—5 ch., miss 2, 1 sc.

2nd.—1 sc. under the chain, 6 ch.; repeat.

It will then be necessary to put a border to the cap itself; and either

any pretty one may be worked on that is already given in this work, or,

if a narrow one be preferred, the following may be adopted:—

1st.—✕ 1 dc., 2 ch., miss 2, ✕; repeat all round except that at the

corners you will work, * 1 dc., 2 ch., miss _none_, * three consecutive

times.

2nd.—1 sc., 5 ch., miss 3 all round.

3rd.—✕ 1 sc., 3 dc., 1 sc., under the loop made by one chain of five of

the last round, 3 ch., 1 sc. under the next loop of 5, 3 ch. ✕; repeat.

Plait a cord of narrow braid, and make tassels of the same; run them

through the top of the band at the back, when the ends are sewed

together, and through the point of each Vandyke, and draw it up when on

the head.

CROCHET EDGING.

[WORKED THE SHORT WAY.]

MATERIALS.—Cotton, No. 20. Chain of 20 stitches; form into a loop.

1st.—5 ch., + miss 1, 1 dc., 2 ch., + 5 times, 1 dc.

2nd.—9 ch., 1 dc. into loop, + 2 ch., 1 dc. in next, + three times, 7

ch., 1 dc. in last.

3rd.—5 ch., 1 dc. in large loop, + 1 ch., 1 dc. in same, + 6 times, 2

ch., 1 dc. in next loop, 2 ch., 1 dc. in next.

Turn the work, and repeat the 2nd and 3rd rows until sufficient is done.

------------------------------------------------------------------------

TRANSCRIBER’S NOTES

Page Changed from Changed to

30 10th.—All White: cast of 2, k. 10th.—All White: cast off 2, k.

2, p. 9, k. 4. 2, p. 9, k. 4.

45 come to the last 9 tc. stitches, come to the last 9 tc. stitches,

when repeat backwards then repeat backwards

11th.—+ 1 tc., on tc. of last 11th.—+ 1 tc., on tc. of last

48 round, 4 ch. ✕; repeat. 12th.—+ round, 4 ch. +; repeat. 12th.—+

Dc. on 4 ch. of last round, 1 Dc. on 4 ch. of last round, 1

ch. ✕; repeat. ch. +; repeat.

80 bolland, trimmed with worsted holland, trimmed with worsted

braid. There are braid. There are

83 12th.—✕ 3 tc. under 6 ch., 3 tc. 12th.—✕ 3 tc. under 6 ch., 3 tc.

under next 6 ch., 12 ch., + under next 6 ch., 12 ch., ✕

83 4 times, ✕. Then repeat from the 4 times, +. Then repeat from the

beginning. beginning.

83 5 ch. of last row, * 4 times, +. 5 ch. of last row, * 4 times, ✕.

Repeat to the Repeat to the

85 miss 2, 7 dc., 2 ch. miss 2, 1 miss 2, 7 dc., 2 ch. miss 2, 1

do. dc.

95 under next loop, * 6 times, 5 under next loop, * 6 times, 5

ch., +. Repeat ch., ✕. Repeat

106 5th.—Knit 2, ✕ m. 1, k. 2 t., + 5th.—Knit 2, ✕ m. 1, k. 2 t., ✕

twice, k. 2 twice, k. 2

107 19th.—Knit 2, + m. 1, k. 2 t., ✕ 19th.—Knit 2, + m. 1, k. 2 t., +

twice, k. 2 twice, k. 2

108 next loop, 5 ch., slip through next loop, 5 ch., slip through

sc. stitch, ✕ 3 sc. stitch, + 3

11th.—17 os. w., 2 dc. d. b., 3 11th.—17 os. w., 2 dc. d. b., 3

110 dc. 1 l. b 2, 2 dc. w., dc. l. dc. l. b 2, dc. w., ? dc. l. b.,

b., 17 os. w. 17 os. w.

110 b., (to form the eye), dc. w., 4 b., (to form the eye), ? dc. w.,

dc. l. b., 17 4 dc. l. b., 17

111 l. b., 15 dc. w., 5 do. l. b; l. b., 15 dc. w., 5 dc. l. b;

finish as before finish as before

113 twist them, miss 1, 2 dc., * 2 twist them, miss 1, 2 dc., * 2

ch., miss 2, 1 dc. + ch., miss 2, 1 dc. *

114 ch., miss 2, 1 dc. + 6 times, 3 ch., miss 2, 1 dc. ✕ 6 times, 3

dc., 2 ch., miss 2, 3 dc. dc., 2 ch., miss 2, 3 dc.

115 1 c., 1 o., 1 c., 7 o., + 5 1 c., 1 o., 1 c., 7 o., 5 times,

times, 1 c., 1 1 c., 1

116 19th.—2 dc., 6 o., + 1 c., 1 o., 19th.—2 dc., 6 o., + 1 c., 1 o.,

1 c., 7 o., ✕ 5 1 c., 7 o., + 5

1. Silently corrected palpable typographical errors; retained

non-standard spellings and dialect.

2. Reindexed footnotes using numbers.

3. Enclosed italics font in _underscores_.