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+Project Gutenberg's Encyclopedia of Needlework, by Thérèse de Dillmont
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Encyclopedia of Needlework
+
+Author: Thérèse de Dillmont
+
+Release Date: March 8, 2007 [EBook #20776]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ENCYCLOPEDIA OF NEEDLEWORK ***
+
+
+
+
+Produced by Susan Skinner, Julie Barkley and the Online
+Distributed Proofreading Team at http://www.pgdp.net. This
+file is gratefully uploaded to the PG collection in honor
+of Distributed Proofreaders having posted over 10,000
+ebooks.
+
+
+
+
+
+
+
+ENCYCLOPEDIA
+
+OF
+
+NEEDLEWORK
+
+BY
+
+THÉRÈSE DE DILLMONT
+
+[Illustration]
+
+
+_ENGLISH EDITION_
+
+       *       *       *       *       *
+
+ALL RIGHTS RESERVED
+
+
+
+
+_To be had:_
+
+_of TH. DE DILLMONT, DORNACH, Alsace, and at all booksellers, and
+embroidery shops._
+
+       *       *       *       *       *
+
+Price, English bound with gilt edges:
+
+English edition     Sh. 3.--
+French edition      Fr. 5.75
+German edition      Mk. 3.--
+
+
+
+
+Preface.
+
+
+The absolute want of any comprehensive book on needlework--such an one
+as contains both verbal and pictorial descriptions of everything
+included under the name of needlework--has led me to put into the
+serviceable form of an Encyclopedia, all the knowledge and experience,
+which years of unceasing study and practice have enabled me to
+accumulate on the subject, with the hope that diligent female workers of
+all ages, may be able, by its means to instruct themselves in every
+branch of plain and fancy needlework.
+
+All the patterns given, even the most insignificant, were worked afresh
+for the purpose, and thus, not merely faithful representations, but also
+lucid and intelligible explanations of the same, are secured.
+
+In order that my readers may have something besides the dull theory, the
+work is enlivened by a number of useful patterns, some new, some derived
+from the artistic productions of such countries and epochs as have
+become famous by special excellence in the domain of needlework.
+
+Though, at first sight, the reproduction of many of these patterns may
+seem to present insuperable difficulties, they will, after a careful
+study of the text, and exact attention to the directions given, prove
+easy to carry out.
+
+Many of these interesting designs are drawn from private collections,
+whose owners, with great kindness, placed their treasures at my
+disposal, to copy and borrow from at discretion, for which I desire to
+take the present opportunity, of tendering them my warmest thanks.
+
+The choice of colours and material--a difficult matter to many--my
+readers will find rendered comparatively easy to them by the notes
+affixed to the illustrations; and I may point out, that most of the
+patterns were worked with D.M.C cottons, which enjoy the well-earned
+reputation of being, the very best of their kind, in the market of the
+world.
+
+Experience has convinced me that, in many instances, these cottons may
+with advantage take the place of wool, linen thread, and even silk.
+
+If this work meet with indulgent judges, and prove really useful, I
+shall find ample reward in that fact for the trouble and difficulties
+that have unavoidably attended its completion.
+
+
+
+
+[Illustration: STRIPE SHOWING RUNNING, STITCHING, BUTTON-HOLING, AND
+HERRING-BONING.]
+
+
+
+
+Plain Sewing.
+
+
+Many, on opening the Encyclopedia of needlework will be disposed to
+exclaim as they read the heading of this first section: What is the use
+of describing all the old well-known stitches, when machines have so
+nearly superseded the slower process of hand-sewing? To this our reply
+is that, of all kinds of needlework, Plain Sewing needs to be most
+thoroughly learned, as being the foundation of all. Those who are able
+to employ others to work for them, should at least know how to
+distinguish good work from bad, and those who are in less fortunate
+circumstances, have to be taught how to work for themselves.
+
+POSITION OF THE BODY AND HANDS.--Before describing different kinds of
+stitches, a word should be said as to the position of the body and hands
+when at work. Long experience has convinced me that no kind of
+needlework necessitates a stooping or cramped attitude. To obviate
+which, see that your chair and table suit each other in height, and that
+you so hold your work as hardly to need to bend your head at all. The
+practice of fastening the work to the knee, besides being ungraceful, is
+injurious to the health.
+
+NEEDLES.--These should be of the best quality. To test a needle, try
+to break it; if it resist, and then break clean in two, the steel is
+good; if it bend without breaking, or break without any resistance, it
+is bad. Never use a bent needle, it makes ugly and irregular stitches,
+and see that the eye, whether round or egg-shaped, be well-drilled, that
+it may not fray or cut the thread. Long or half-long needles are the
+best for white work, long ones for dress-making, and longer ones still,
+with long eyes, for darning. A stock of each, from No 5 to 12, is
+advised. The needle should always be a little thicker than the thread,
+to make an easy passage for it through the stuff.
+
+To keep needles from rusting, strew a little stone alum in the packets,
+and workers whose hands are apt to get damp, should have a small box of
+it handy, to powder their fingers with. Blackened needles can be made
+quite bright again by drawing them through an emery cushion.
+
+SCISSORS.--Scissors are a very important accessory of the work-table,
+and two varieties are indispensable; a pair of large ones for
+cutting-out, with one point blunt and the other sharp, the latter to be
+always held downwards; and a pair of smaller ones with two sharp points.
+The handles should be large and round; if at all tight, they tire and
+disfigure the hand.
+
+THIMBLE.--Steel thimbles are the best; bone are very liable to break,
+and silver ones are not deeply enough pitted, to hold the needle. A
+thimble should be light, with a rounded top and flat rim.
+
+THE THREAD.--Except for tacking, your thread should never be more than
+from 40 to 50 c/m. long.[1] If the thread is in skeins, it does not
+matter which end you begin with, but if you use reeled cotton, thread
+your needle with the end that points to the reel, when you cut it; as
+the other end will split, and unravel, when twisted from left to right,
+which is generally done, to facilitate the process of threading. The
+cotton should always be cut, as it is weakened by breaking.
+
+KNOTTING THE THREAD INTO THE NEEDLE (fig. 1).--When the thread becomes
+inconveniently short, and you do not want take a fresh one, it may be
+knotted into the needle, thus: bring it round the forefinger close to
+the needle, cross it on the inside next to the finger, hold the crossed
+threads fast, with the thumb draw the needle out through the loop thus
+formed, and tighten the loop round both ends.
+
+[Illustration: FIG. 1. KNOTTING THE THREAD INTO THE NEEDLE.]
+
+MATERIALS.--For tacking, use Coton à coudre D.M.C qualité supérieure
+(black and gold stamp) Nos. 2 to 6.[A] For hand-sewing, Fil d'Alsace
+D.M.C Nos. 30 to 700,[A] and Fil à dentelle D.M.C, balls or reels, Nos.
+25 to 100[A] will be found most useful. For machine-work: Câblé 6 fils
+pour machines D.M.C, Nos. 30 to 300,[A] black and white, or white and
+blue stamp. These can also be used for hand-work. Both these and the
+lace-thread (Fil à dentelle) on reels, are superfine in quality. The
+medium sizes are the most useful; but the only suitable ones for very
+fine and delicate fabrics are the Fil à dentelle D.M.C, and Fil
+d'Alsace, and the latter only is manufactured in the higher numbers.
+
+All these threads are to be had, wound in balls, or on reels, the buyer
+may make his own choice; balls are apt to get tangled, but the cotton
+preserves its roundness better than when it is wound on reels. Linen is
+generally sewn with linen-thread, but Fil à dentelle and the Fil
+d'Alsace are very good substitutes.
+
+POSITION OF THE HANDS (fig. 2).--The stuff, fastened to a cushion,
+must be held with the left hand, which should neither rest on the table,
+nor on the cushion, the needle must be held between the thumb and
+forefinger, of the right hand, and the middle finger, armed with the
+thimble, pushes the needle far enough through the stuff, for the other
+fingers to take hold of it and draw it out; the thread then comes to lie
+between the fourth and fifth fingers in the form of a loop, which must
+be tightened gradually to avoid its knotting.
+
+[Illustration: FIG. 2. POSITION OF THE HANDS.]
+
+POSITION OF THE HANDS WITHOUT CUSHION (fig. 3).--When the work cannot
+be fastened to a cushion it should be held between the forefinger and
+the thumb, and left hanging down, over the other fingers. If it need to
+be more firmly held, draw it between the fourth and fifth fingers, which
+will prevent it from getting puckered or dragged.
+
+[Illustration: FIG. 3. POSITION OF THE HANDS WITHOUT CUSHION.]
+
+STITCHES.--Plain-Sewing comprises 4 varieties of stitches, (1)
+running, (2) back-stitching, (3) hemming and (4) top or over-sewing.
+
+(1) RUNNING-STITCH (fig. 4).--This is the simplest and easiest of all.
+Pass the needle in and out of the material, at regular intervals, in a
+horizontal direction, taking up three or four threads at a time. If the
+stuff allow, several stitches may be taken on the needle at once, before
+the thread is drawn out. Running-stitch is used for plain seams, for
+joining light materials, for making gathers and for hems.
+
+[Illustration: FIG. 4. RUNNING-STITCH.]
+
+(2) BACK-STITCH (fig. 5).--Insert the needle, and draw it out six
+threads further on, carry your thread back, from left to right, and
+insert the needle three threads back from the point at which it was last
+drawn out, and bring it out six threads beyond. Stitching and
+back-stitching are better and more quickly done by machine than by hand.
+
+[Illustration: FIG. 5. BACK-STITCH.]
+
+STITCHING (fig. 6).--The production of a row of back-stitches, that
+exactly meet one another, constitutes what is called stitching. Only one
+stitch can be made at a time, and the needle must be put in, exactly at
+the point where it was drawn out to form the preceding back-stitch, and
+brought out as many threads further on as were covered by the last
+back-stitch. The beauty of stitching depends on the uniform length of
+the stitches, and the straightness of the line formed, to ensure which
+it is necessary to count the threads for each stitch, and to draw a
+thread to mark the line. If you have to stitch in a slanting line across
+the stuff, or the stuff be such as to render the drawing of a thread
+impossible, a coloured tacking thread should be run in first, to as a
+guide.
+
+[Illustration: FIG. 6. STITCHING.]
+
+STITCHED HEM (fig. 7).--Make a double turning, as for a hem, draw a
+thread two or three threads above the edge of the first turning, and do
+your stitching through all three layers of stuff; the right side will be
+that on which you form your stitches.
+
+[Illustration: FIG. 7. STITCHED HEM.]
+
+(3) HEMMING-STITCH (fig. 8).--To make a good hem, your stuff must be
+cut in the line of the thread. Highly dressed stuffs, such as linen and
+calico; should be rubbed in the hand, to soften them, before the hem is
+laid. Your first turning should not be more than 2 m/m. wide; turn down
+the whole length of your hem, and then make the second turning of the
+same width, so that the raw edge is enclosed between two layers of
+stuff.
+
+[Illustration: FIG. 8. HEMMING-STITCH.]
+
+Narrow hems do not need to be tacked, but wide ones, where the first
+turning should only be just wide enough to prevent the edge from
+fraying, ought always to be. In hemming you insert the needle and
+thread directed in a slanting position towards you, just below the edge
+of the hem, and push it out two threads above, and so on to the end,
+setting the stitches, two or three threads apart, in a continuous
+straight line. To ensure the hem being straight, a thread may be drawn
+to mark the line for the second turning, but it is not a good plan,
+especially in shirt-making, as the edge of the stuff, too apt in any
+case, to cut and fray, is, thereby, still further weakened. Hems in
+woollen materials, which will not take a bend, can only be laid and
+tacked, bit by bit. In making, what are called rolled hems, the needle
+must be slipped in, so as only to pierce the first turning, in order
+that the stitches may not be visible on the outside.
+
+FLAT SEAM (fig. 9).--Lay your two edges, whether straight or slanting,
+exactly even, tack them together with stitches 2 c/m. long, distant 1 to
+2 c/m. from the edge, and then back-stitch them by machine or by hand,
+following the tacking-thread. Cut off half the inner edge, turn the
+outer one in, as for a hem and sew it down with hemming-stitches.
+
+[Illustration: FIG. 9. FLAT SEAM.]
+
+Smooth the seam underneath with the forefinger as you go, to make it lie
+quite flat. Beginners should flatten down the seam with their thimbles,
+or with the handle of the scissors, before they begin to hem, as the
+outer and wider edge is very apt to get pushed up and bulge over, in the
+sewing, which hides the stitches.
+
+ROUNDED SEAM.--Back-stitch your two edges together, as above directed,
+then cut off the inner edge to a width of four threads, and roll the
+outer one in, with the left thumb, till the raw edge is quite hidden,
+hemming as you roll. This kind of seam, on the wrong side, looks like a
+fine cord, laid on, and is used in making the finer qualities of
+underclothing.
+
+FASTENING THREADS OFF, AND ON (fig. 10).--Knots should be avoided in
+white work. To fasten on, in hemming, turn the needle backwards with the
+point up, take one stitch, and stroke and work the end of the thread in,
+underneath the turning. To fasten on, in back-stitching or running,
+make one stitch with the new thread, then take both ends and lay them
+down together to the left, and work over them, so that they wind in, and
+out of the next few stitches.
+
+[Illustration: FIG. 10. FASTENING THREADS OFF AND ON.]
+
+(4) TOP OR OVER-SEWING STITCH (fig. 11).--This stitch is used for
+joining selvedges together. To keep the two pieces even, it is better,
+either to tack or pin them together first. Insert the needle, from right
+to left, under the first thread of the selvedge, and through both edges,
+and sew from right to left, setting your stitches not more than three
+threads apart. The thread must not be drawn too tightly, so that when
+the seam is finished and flattened with the thimble, the selvedges may
+lie, side by side.
+
+[Illustration: FIG. 11. TOP OR OVER-SEWING STITCH.]
+
+ANOTHER KIND OF SEWING-STITCH (fig. 12)--For dress-seams and patching;
+sew left to right, tacking or pinning the edges together first, and
+holding them tightly with the thumb and finger, to keep perfectly even.
+
+[Illustration: FIG 12. ANOTHER KIND OF SEWING-STITCH.]
+
+ANTIQUE OR OLD-GERMAN SEAM (figs. 13 and 14).--Tack or pin the
+selvedges together as above, then, pointing your needle upwards from
+below, insert it, two threads from the selvedge, first on the wrong
+side, then on the right, first through one selvedge, then through the
+other, setting the stitches two threads apart. In this manner, the
+thread crosses itself, between the two selvedges, and a perfectly flat
+seam is produced. Seams of this kind occur in old embroidered linen
+articles, where the stuff was too narrow to allow for any other. A
+similar stitch, fig. 14, only slanting, instead of quite straight, as in
+fig. 13, is used in making sheets.
+
+[Illustration: FIG. 13. ANTIQUE OR OLD-GERMAN SEAM.]
+
+[Illustration: FIG. 14. ANTIQUE OR OLD GERMAN SEAM.]
+
+FRENCH DOUBLE SEAM (fig. 15).--For joining such stuffs as fray, use
+the so-called French-seam.
+
+[Illustration: FIG 15. FRENCH DOUBLE-SEAM.]
+
+Run your two pieces of stuff together, the wrong sides touching, and the
+edges perfectly even, then turn them round just at the seam, so that the
+right sides come together inside, and the two raw edges are enclosed
+between, and run them together again. See that no threads are visible on
+the outside. This seam is used chiefly in dress-making, for joining
+slight materials together which cannot be kept from fraying by any other
+means.
+
+HEMMED DOUBLE SEAM (figs. 16 and 17).--Turn in the two raw edges, and
+lay them one upon the other, so that the one next the forefinger, lies
+slightly higher than the one next the thumb. Insert the needle, not
+upwards from below but first into the upper edge, and then, slightly
+slanting, into the lower one. This seam is used in dress-making, for
+fastening down linings. Fig. 17 shows another kind of double seam, where
+the two edges are laid together, turned in twice, and hemmed in the
+ordinary manner, with the sole difference, that the needle has to pass
+through a sixfold layer of stuff.
+
+[Illustration: FIG. 16. HEMMED DOUBLE-SEAM.]
+
+[Illustration: FIG. 17. OPEN HEMMED DOUBLE-SEAM.]
+
+GATHERING (fig. 18).--Gathers are made with running-stitches of
+perfectly equal length; take up and leave three or four threads,
+alternately, and instead of holding the stuff fast with your thumb, push
+it on to the needle as you go, and draw up your thread after every four
+or five stitches.
+
+[Illustration: FIG. 18. GATHERING.]
+
+STROKING GATHERS (fig. 19).--When you have run in your gathering
+thread, draw it up tight, and make it fast round the finger of your left
+hand, and then stroke down the gathers with a strong needle, so that
+they lie evenly side by side, pushing each gather, in stroking it, under
+your left thumb, whilst you support the stuff at the back with your
+other fingers.
+
+[Illustration: FIG. 19. STROKING GATHERS.]
+
+RUNNING IN A SECOND GATHERING THREAD (fig. 20).--This is to fix the
+gathers after they have been stroked, and should be run in 1 or 2 c/m.
+below the first thread, according to the kind of stuff, and the purpose
+it is intended for: take up five or six gathers at a time, and draw your
+two threads perfectly even, that the gathers may be straight to the line
+of the thread.
+
+[Illustration: FIG. 20. RUNNING IN A SECOND GATHERING-THREAD.]
+
+SEWING ON GATHERS (fig. 21).--To distribute the fulness equally,
+divide the gathered portion of material, and the band, or plain piece,
+on to which it is to be sewn, into equal parts, and pin the two together
+at corresponding distances, the gathered portion under the plain, and
+hem each gather to the band or plain piece, sloping the needle to make
+the thread slant, and slipping it through the upper threads only of the
+gathers.
+
+[Illustration: FIG. 21. SEWING ON GATHERS.]
+
+WHIPPING (fig. 22).--Whipping is another form of gathering, used for
+fine materials. With the thumb and forefinger of the left hand, roll the
+edge over towards you, into a very tight thin roll, insert the needle on
+the inside of the roll next the thumb, and bring it out on the outside
+next the forefinger, at very regular distances, and draw up the thread
+slightly, from time to time, to form the gathers.
+
+[Illustration: FIG 22. WHIPPING.]
+
+ORNAMENTAL HEM (fig. 23). For an ornamental hem, make a turning, 2 or
+3 c/m. deep, and run in a thread, with small running-stitches up and
+down, as shown in fig. 23. By slightly drawing the thread, the straight
+edge will be made to look as if it were scalloped.
+
+[Illustration: FIG. 23. ORNAMENTAL HEM.]
+
+SEWING ON CORD (fig. 24).--For sewing on cord, use strong thread,
+either Fil d'Alsace D.M.C, Fil à dentelle D.M.C or Câblé 6 fils D.M.C
+No. 25, 30, 35 or 40.[A] Be careful not to stretch the cord, but to hold
+it in, as you sew it, as it invariably shrinks more than the stuff in
+the first washing. Fasten it with hemming stitches to the edge of the
+turning, taking care that it does not get twisted.
+
+[Illustration: FIG. 24. SEWING ON CORD.]
+
+SEWING ON FLAPS (fig. 25).--These should be back-stitched on to the
+right side of the article they are to be affixed to, quite close to the
+edge, then folded over in half, and hemmed down on the wrong side. Like
+the cord, the flap must, in the process, be held in very firmly with the
+left hand. Though the back-stitching could be more quickly done by
+machine, hand-work is here preferable, as the holding in cannot be done
+by machine.
+
+[Illustration: FIG. 25. SEWING ON FLAPS.]
+
+SEWING ON TAPE-LOOPS (figs. 26 and 27).--These, in the case of the
+coarser articles of household linen, are generally fastened to the
+corners. Lay the ends of your piece of tape, which should be from 15 to
+17 c/m. long, side by side, turn in and hem them down, on three sides:
+the loop should be so folded as to form a three-cornered point, shewn in
+the illustration. Join the two edges of the tape together in the middle
+with a few cross-stitches, and stitch the edge of the hem of the article
+to the loop, on the right side.
+
+[Illustration: FIG. 26. SEWING ON TAPE-LOOPS TO THE CORNER.]
+
+[Illustration: FIG. 27. SEWING ON TAPE-LOOPS IN THE MIDDLE OF THE
+ARTICLE.]
+
+Fig. 27 shows how to sew on a loop in the middle of an article, the two
+ends separately, one on one side, the other on the other.
+
+STRINGS AND LOOPS FOR FINE UNDER-LINEN (fig. 28).--Sew these on,
+likewise, on the wrong side of the article, hemming down the ends, and
+fastening them on the right side, with two rows of stitching crossing
+each other, and a third row along the edge.
+
+[Illustration: FIG. 28. STRINGS AND LOOPS ON FINE UNDER-LINEN.]
+
+BUTTON-HOLES IN LINEN (fig. 29).--Cut your hole perfectly straight,
+and of exactly, the diameter of the button, having previously marked
+out the place for it, with two rows of running-stitches, two or three
+threads apart. Put in your needle at the back of the slit, and take up
+about three threads, bring the working thread round, from right to left
+under the point of the needle, and draw the needle out through the loop,
+so that the little knot comes at the edge of the slit, and so on to the
+end, working from the lower left-hand corner to the right. Then make a
+bar of button-hole stitching across each end, the knotted edge towards
+the slit.
+
+[Illustration: FIG. 29. BUTTON-HOLES IN LINEN.]
+
+BUTTON HOLES IN DRESS MATERIALS (fig. 30).--Mark out and cut them as
+above described; if however, the material be liable to fray, wet the
+slit as soon as you have cut it, with liquid gum, and lay a strand of
+strong thread along the edge to make your stitches over; one end of
+dress button-holes must be round, the stitches diverging like rays from
+the centre, and when you have worked the second side, thread the needle
+with the loose strand, and pull it slightly, to straighten the edges;
+then fasten off, and close the button-hole with a straight bar of
+stitches across the other end, as in fig. 29.
+
+[Illustration: FIG. 30. BUTTON-HOLES IN DRESS-MATERIALS.]
+
+SEWING ON BUTTONS (figs. 31 and 32).--To sew linen, or webbed buttons
+on to underclothing, fasten in your thread with a stitch or two, at the
+place where the button is to be; bring the needle out through the middle
+of the button, and make eight stitches, diverging from the centre like a
+star, and if you like, encircle them by a row of stitching, as in fig.
+32. This done, bring the needle out between the stuff and the button,
+and twist the cotton six or seven times round it, then push the needle
+through to the wrong side, and fasten off.
+
+[Illustration: FIG. 31. SEWING ON LINEN BUTTONS.]
+
+[Illustration: FIG. 32. SEWING ON WEBBED BUTTONS.]
+
+BINDING SLITS (figs. 33, 34, 35, 36).--Nothing is more apt to tear
+than a slit whether it be hemmed or merely bound. To prevent this, make
+a semicircle of button-hole stitches at the bottom of the slit, and
+above that, to connect the two sides, a bridge of several threads,
+covered with button-hole stitches.
+
+[Illustration: FIG. 33. BINDING SLITS WITH HEM.]
+
+[Illustration: FIG. 34. BINDING SLITS WITH PIECE ON CROSS.]
+
+[Illustration: FIG. 35. BINDING SLITS WITH BROAD BAND.]
+
+[Illustration: FIG. 36. STRENGTHENING SLITS WITH GUSSET.]
+
+In fig. 33, we show a hemmed slit, and in figs. 34 and 35, are two slits
+backed the one with a narrow, the other, with a broad piece of the
+material, cut on the cross.
+
+In under-linen, it often so happens that two selvedges meet at the slit,
+which renders binding unnecessary; in that case take a small square of
+stuff, turn in the raw edges, top-sew it into the slit on two sides,
+turn in the other two, fold over on the bias, and hem them down over the
+top-sewing, as shewn in fig. 36. Such little squares of material,
+inserted into a slit or seam, to prevent its tearing, are called
+gussets.
+
+SEWING ON PIPING (fig. 37). Piping is a border, consisting of a cord or
+bobbin, folded into a stripe of material, cut on the cross, and affixed
+to the edge of an article to give it more strength and finish. It is a
+good substitute for a hem or binding on a bias edge, which by means of
+the cord, can be held in, and prevented from stretching. Cut your
+stripes diagonally, across the web of the stuff, and very even; run them
+together, lay the cord or bobbin along the stripe, on the wrong side, 5
+m/m. from the edge, fold the edge over, and tack the cord lightly in.
+Then lay it on the raw edge of the article, with the cord towards you,
+and with all the raw edges turned away from you. Back-stitch the piping
+to the edge, keeping close to the cord. Then turn the article round,
+fold in the raw outside edge over the others, and hem it down like an
+ordinary hem.
+
+[Illustration: FIG. 37. SEWING ON PIPING.]
+
+FIXING WHALE-BONES (fig. 38).--Before slipping the whale-bone into its
+case or fold of stuff, pierce holes in it, top and bottom, with a red
+hot stiletto. Through these holes, make your stitches, diverging like
+rays or crossing each other as shown in fig. 38.
+
+[Illustration: FIG 38. FIXING WHALE-BONES.]
+
+HERRING-BONING (fig. 39).--This stitch is chiefly used for seams in
+flannel, and for overcasting dress-seams, and takes the place of
+hemming, for fastening down the raw edges of a seam that has been run or
+stitched, without turning them in. Herring-boning is done from left to
+right, and forms two rows of stitches. Insert the needle from right to
+left, and make a stitch first above, and then below the edge, the
+threads crossing each other diagonally, as shewn in fig. 39.
+
+[Illustration: FIG. 39. HERRING-BONING]
+
+FOOTNOTES:
+
+[1] Our readers should be provided with a French metre, with the English
+yard marked on the back for purposes of comparison.
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: SPECIMENS OF PATTERN DARNS.]
+
+
+
+
+Mending.
+
+
+The mending of wearing-apparel and house-linen, though often an
+ungrateful task, is yet a very necessary one, to which every female hand
+ought to be carefully trained. How best to disguise and repair the wear
+and tear of use or accident is quite as valuable an art, as that of
+making new things.
+
+Under the head of mending, we include the strengthening and replacing of
+the worn and broken threads of a fabric, and fitting in of new stuff in
+the place of that which is torn or damaged. The former is called
+darning, the latter, patching.
+
+DARNING.--When only a few of the warp or woof threads are torn or
+missing, a darn will repair the mischief, provided the surrounding parts
+be sound. When the damage is more extensive, the piece must be cut out.
+
+In some cases the warp of the stuff itself can be used for darning,
+otherwise thread as much like the stuff as possible should be chosen.
+
+MATERIALS SUITABLE FOR MENDING.--Coton à repriser D.M.C is used for
+most kinds of darning. It can be had in 18 different sizes, from Nos. 8
+to 100, white and unbleached, and in all the colours of the D.M.C
+colour-card in Nos. 12, 25 and 50.
+
+It is but very slightly twisted and can be split or used double, if
+necessary, according to the material. For all the coarser articles of
+house-linen, unbleached cotton is the best, and for the finer white
+fabrics, Coton surfin D.M.C Nos. 110, 120 and 150[A]. This cotton, which
+is not the least twisted, and is to be had both white and unbleached,
+can be used, by subdividing it, for darning the finest cambric.
+
+VARIETIES OF DARNING.--These are four, (1) Linen darning, (2) Damask
+darning, (3) Satin or Twill darning, and (4) Invisible darning, called
+also, Fine-drawing.
+
+(1) LINEN DARNING (figs. 40 and 41).--All darns should be made on the
+wrong side of the stuff, excepting fig. 54, which it is sometimes better
+to make on the right side. The longitudinal running, to form the warp,
+must be made first. The thread must not be drawn tightly in running your
+stitches backwards and forwards, and be careful to leave loops at each
+turning, to allow for the shrinking of the thread in the washing,
+without its pulling the darn together.
+
+[Illustration: FIG. 40. LINEN DARNING. DRAWING IN THE WARP THREADS.]
+
+[Illustration: FIG. 41. LINEN DARNING. DRAWING IN THE WOOF THREADS.]
+
+Run your needle in, about one c/m. above the damaged part, take up one
+or two threads of the stuff and miss the same number, working straight
+to a thread; on reaching the hole, carry your cotton straight across it,
+take up alternate threads beyond, and proceed as before. Continue the
+rows backwards and forwards, taking up in each row, the threads left in
+the preceding one. Turn the work round and do the same for the woof;
+alternately taking up and leaving the warp threads, where the cotton
+crosses the hole. The threads must lie so alone both ways, that the
+darn, when completed, replaces the original web. The threads are only
+drawn so far apart in the illustrations, for the sake of clearness.
+
+When the material to be darned does not admit of a fleecy thread, such
+as Coton à repriser D.M.C, one that as nearly as possible matches the
+material, should be chosen from the D.M.C cottons.[A]
+
+DIAGONAL LINEN DARNING (fig. 42).--Darns are sometimes begun from the
+corner, so as to form a diagonal web, but they are then much more
+visible than when they are worked straight to a thread, and therefore
+not advisable.
+
+[Illustration: FIG. 42. DIAGONAL LINEN DARNING.]
+
+(2) SATIN OR TWILL DARNING (fig. 43).--By twill darning, the damaged
+web of any twilled or diagonal material can be restored. It would be
+impossible to enumerate all the varieties of twilled stuffs, but the
+illustrations and accompanying directions will enable the worker to
+imitate them all.
+
+[Illustration: FIG. 43. SATIN OR TWILL DARNING.]
+
+Begin, as in ordinary darning by running in the warp threads, then take
+up one thread, and miss three. In every succeeding row, advance one
+thread in the same direction. Or, miss one thread of the stuff and take
+up two, and as before, advance, one thread in the same direction, every
+succeeding row. The order in which threads should be missed and taken
+up, must depend on the web which the darn is intended to imitate.
+
+When the original is a coloured stuff, it is advisable to make a
+specimen darn first, on a larger scale, so that you may be more sure of
+obtaining a correct copy of the original web.
+
+(3) DAMASK DARNING (figs. 44, 45, 46, 47, 48, 49).--A damask darn is
+begun in the same way as all other darns are; the pattern is formed by
+the cross-runnings and will vary with the number of warp threads taken
+up and missed, in each successive running. The woven design which you
+are to copy with your needle must therefore be carefully examined first.
+
+Figs. 44 and 45 show the wrong and right sides of a damask darn, in
+process of being made.
+
+[Illustration: FIG. 44. DAMASK DARNING. WRONG SIDE.]
+
+[Illustration: FIG. 45. DAMASK DARNING. RIGHT SIDE.]
+
+Fig. 46 represents a completed one. In the case of coloured webs, a
+light shade of cotton is generally used for the warp, one that matches
+the stuff, for the shot or woof.
+
+[Illustration: FIG. 46. DAMASK DARNING. COVERED GROUND.]
+
+Figs. 47 and 48, illustrate two specimens of darning, formerly done in
+the convents, from which it will be seen, that the warp and the woof
+were first drawn in with rather fine thread and the pattern then worked
+into this foundation with coarser, or else, coloured thread. When this
+kind of darn is in two colours, take, for the darker shade, Coton à
+broder D.M.C, or Coton à repriser D.M.C, which are both of them to be
+had in all the bright and faded shades, to match alike both old and new
+linen.
+
+[Illustration: FIG. 47. DAMASK DARNING ON NEEDLE-MADE GROUND.]
+
+[Illustration: FIG. 48. DAMASK DARNING ON NEEDLE-MADE GROUND.]
+
+Fig. 49, which is executed in two colours, and is likewise copied from
+an old work on darning, shows you the manner in which a dice-pattern is
+to be reproduced.
+
+[Illustration: FIG. 49. DAMASK DARNING WITH COLOURED THREAD.]
+
+(4) DARNING, LOST IN THE GROUND (fig. 50).--A kind of darn used for
+repairing rents, the edges of which fit exactly into one another.
+Neither the torn threads of the material nor the rough edges must be cut
+off; the torn part is to be tacked upon a piece of oil-cloth, wrong side
+uppermost, and the edges, drawn together by a thread, run in backwards,
+and forwards, across them. The stitches must be set as closely together
+as possible, and regularly inverted, as in every other darn. A much
+finer thread relatively than that of which the material is composed
+should, in all cases be used for darning. In this instance also, for the
+sake of greater distinctness, the size of the thread has been magnified
+in the illustration. Coton surfin D.M.C, will be found the best for
+darning both calico and linen.
+
+[Illustration: FIG. 50. DARNING LOST IN THE GROUND.]
+
+FINE DRAWING (fig. 51).--The art of making invisible darns in cloth,
+though such a useful one, is all but unknown. It is a tedious process
+and one which, though easy enough to understand, requires great care in
+the execution.
+
+[Illustration: FIG. 51. FINE DRAWING.]
+
+Use as fine a needle as possible and thread it with hair, instead of
+silk, or any other kind of fibre. Red and white hair is the strongest,
+and stronger than the ravellings of the stuff. Of course the hair has
+first to be carefully cleansed from grease. Pare the edges of the rent,
+on the right sides, quite clean and even, with a razor, so that both
+rent and stitches may be lost in the hairy surface of the cloth.
+Scissors do not cut so closely, and are liable moreover, to disturb the
+nap, and render the darn more visible. When this is done, fit the edges
+exactly together, and overcast them. Then thread a needle with a hair by
+the root, and slip it in, 2 or 3 m/m. from the one edge and back again
+pointed towards you, through the other, so that, neither needle nor
+hair, are visible on either side. The stitches should be set slightly
+slanting and must be quite lost in the thickness of the cloth. The
+needle must always be put in, exactly at the place where it came out,
+and the hair not be too tightly drawn.
+
+When the darn is finished, lay the article on a bare table, or
+ironing-board, cover it with a damp cloth, and iron it. The sharpest eye
+will fail to detect a rent, when carefully darned in this manner.
+
+PATCHING.--As we have already said, when the defective part is past
+darning, it must be cut out, and a new piece of stuff inserted in its
+place. If the garment be no longer new, it should be patched with a
+slighter material than that of which it was originally made. The patch
+should be of the same shape, and cut the same way of the stuff, as the
+piece it is to replace, it should also be, just so much larger, as to
+allow for the turnings in, and can either be top-sewn, or else, run and
+felled in.
+
+BACK-STITCHING AND FELLING IN A PATCH (fig. 52).--Tack in the new
+piece, so that its edges over-lap the edges of the hole. The
+back-stitching must be done on the article itself, as this renders it
+easier to do the corners neatly. The hem is turned down on to the patch.
+Make a little snip at the corners with your scissors to prevent
+puckering. The back-stitching should form a right angle at each corner.
+
+[Illustration: FIG. 52. BACK-STITCHING AND FELLING IN A PATCH.]
+
+TOP-SEWING IN A PATCH (fig. 53).--To do this, the edges of the hole
+and of the patch, must first be turned in, and either overcast or
+hemmed, to prevent their fraying, after which, sew the two edges
+together. The raw edges may also be turned in with herring-boning as in
+fig. 39, putting the needle, only through one layer of stuff.
+
+[Illustration: FIG. 53. TOP-SEWING IN A PATCH.]
+
+DRAWING IN A PATCH (fig. 54).--Take a square piece of the original
+stuff, 5 or 6 c/m. larger each way, than the hole it is to fill, draw
+out threads on all the four sides, till the piece exactly matches the
+hole, and tack it into its place. Thread a very fine needle with the two
+ends of a thread of silk or Fil d'Alsace D.M.C No. 700, run it in at the
+corner of the stuff, and draw it out, leaving a loop behind. Into this
+loop, slip the first of the threads, which as it were, form a fringe to
+the patch, and tighten the loop round it, and so on with each thread,
+alternately taking up and leaving threads in the stuff, as in ordinary
+darning.
+
+[Illustration: FIG. 54. DRAWING IN A PATCH.]
+
+To put a patch into a thin material, in this manner, you must darn in
+the threads, a good long way, into the material, in order that the
+double layer of threads may be less visible.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+[Illustration: STRIPE OF CUT OPEN-WORK ON WHITE LINEN.]
+
+
+
+
+Single and cut Open-work.
+
+
+The above heading comprises every sort of needle-work, to which the
+drawing out of threads is a preliminary. By sewing over the single
+threads that remain, and drawing them together in different ways, an
+infinite variety of patterns can be produced. Many pretty combinations
+also, can be made of open-work, cross-stitch, and other kinds of
+embroidery.
+
+MATERIALS SUITABLE FOR OPEN-WORK.--For all the coarser stuffs, such as
+Holbein-linen, Java and linen-canvas and the like, now in such favour
+for the imitation of old needlework, it will be best to use: Fil à
+pointer D.M.C, No. 30[A] and Cordonnet 6 fils D.M.C, Nos. 10 to 20,[A]
+and for the finer stuffs, such as antique-linen and linen-gauze;
+Cordonnet 6 fils D.M.C Nos. 50 to 150,[A] Fil d'Alsace D.M.C, Nos. 20 to
+100, and Fil à dentelle D.M.C, Nos. 25 to 80.
+
+Coloured patterns can also be executed in open-work, with Coton à broder
+D.M.C Nos. 16 to 35, and Coton à repriser D.M.C, Nos. 25 to 50[A].
+
+THE TWO DIFFERENT KINDS OF OPEN-WORK.--The one is called, single
+open-work, the Italian Punto tirato, in which the first step is to draw
+out one layer of threads; the other, cut open-work, the Italian Punto
+tagliato, for which, both the warp, and the woof threads, have to be
+drawn out.
+
+SINGLE OPEN-WORK (PUNTO TIRATO).--This, in its simplest form, is the
+ornamental latticed hem, in common use where something rather more
+decorative than an ordinary hem (fig. 8) is required, and consists in
+drawing out one layer of threads, either the warp or the woof.
+
+SINGLE HEM-STITCH (fig. 55).--Draw out, according to the coarseness of
+the stuff, two or four threads, below the edge of the turning, and tack
+your hem down to the line thus drawn. Fasten your thread in to the left,
+and work your hem from right to left, taking up three or four
+cross-threads at a time, and inserting your needle, immediately above,
+into the folded hem, three or four threads from the edge, and then
+drawing it out.
+
+[Illustration: FIG. 55. SINGLE HEM-STITCH.]
+
+The same stitch is used for preventing the fringes, that serve as a
+finish to so many articles of house-linen, from ravelling.
+
+SECOND HEM-STITCH (fig. 56).--Prepare your hem as for fig. 55, and
+work from left to right; with this difference, that after drawing two or
+three cross-threads together, from right to left, you skip the same
+number of perpendicular threads you took up below, and insert your
+needle downwards from above, bringing it out at the bottom edge of the
+hem.
+
+[Illustration: FIG. 56. SECOND HEM-STITCH.]
+
+These stitches, which can be used for the right side also, form a kind
+of little tress, along the edge of the hem.
+
+LADDER STITCH HEM (fig. 57). Complete the hem, as already directed in
+fig. 55, then draw out three or five threads more, turn the work round,
+and repeat the process, taking up the same clusters of threads which
+you took up in the first row of stitches, thus forming little
+perpendicular bars.
+
+[Illustration: FIG. 57. LADDER STITCH HEM.]
+
+DOUBLE HEM-STITCH (fig. 58). Begin as in fig. 55, forming your
+clusters of an even number of threads; and then, in making your second
+row of stitches, draw half the threads of one cluster, and half of the
+next together, thereby making them slant, first one way and then the
+other.
+
+[Illustration: FIG. 58. DOUBLE HEM-STITCH.]
+
+ANTIQUE HEM-STITCH (figs 59, 60, 61 and 62). In the old, elaborate,
+linen needlework, we often meet two kinds of hem-stitching seldom found
+in modern books on needle-work. Figs. 59 to 62 are magnified
+representations of the same. At the necessary depth for forming a narrow
+hem, a thread is drawn, in the case of very fine textures where the edge
+is rolled, not laid; then fasten in the working thread at the left, and
+work the stitches from left to right. Passing your needle, from right to
+left, under three or four threads, draw the thread round the cluster and
+carry your needle on, through as many threads of the upper layer of
+stuff, as you took up below, so that the stitch may always emerge from
+the middle of the cluster.
+
+[Illustration: FIG. 59. ANTIQUE HEM-STITCH. WRONG SIDE.]
+
+[Illustration: FIG. 60. ANTIQUE HEM-STITCH. RIGHT SIDE.]
+
+ANTIQUE HEM-STITCH (figs. 61 and 62).--These show, the right and
+wrong sides of the hem; here the rolled hem is prepared as above, but
+the stitches are worked from right to left, and the thread is carried
+round the little roll, so that, as shown in fig. 62, it is visible on
+both sides of the hem. The needle does not enter the stuff, but is
+carried back at once, from the outside, and put in again between two
+clusters of threads.
+
+[Illustration: FIG. 61.--ANTIQUE HEM-STITCH. WRONG SIDE.]
+
+[Illustration: FIG. 62.--ANTIQUE HEM-STITCH. RIGHT SIDE.]
+
+SLANTING HEM-STITCH (figs. 63 and 64).--Bring out your needle and
+thread, two or three threads above the edge of the turning, between the
+first and second of the three cross-threads that compose the cluster,
+and then slip it under the cluster, from right to left. The loop must
+lie in front of the needle. When you have drawn up the stitch, put the
+needle in, one thread further on, and take up two threads. Fig. 64 shows
+the stitch on the right side.
+
+[Illustration: FIG. 63. SLANTING HEM-STITCH. WRONG SIDE.]
+
+[Illustration: FIG. 64. SLANTING HEM-STITCH. RIGHT SIDE.]
+
+DOUBLE-ROWED ORNAMENTAL SEAM (figs. 65, 66, 67).--Begin with any one
+of the hems already described, then counting as many threads downwards,
+as are clustered together in the first row, draw out a second thread,
+and cluster the perpendicular threads in this second line together, as
+shown in figs. 65 and 66. On the right side the stitch is straight (fig.
+67). Coloured cottons should be used for all the above patterns of
+hem-stitch, when they are to be introduced into coloured embroideries.
+
+[Illustration: FIG. 65. DOUBLE-ROWED ORNAMENTAL SEAM. WRONG SIDE.]
+
+[Illustration: FIG. 66. DOUBLE-ROWED ORNAMENTAL SEAM. WRONG SIDE.]
+
+[Illustration: FIG. 67. DOUBLE-ROWED ORNAMENTAL SEAM. RIGHT SIDE.]
+
+SINGLE THREE-ROWED OPEN-WORK (fig. 68).--This, and the following
+patterns, are suitable for the headings of hems, and for connecting
+stripes of embroidery, and are also often used instead of lace, and lace
+insertion.
+
+Fig. 68 will be found specially useful, in cases where the object is, to
+produce a good deal of effect, at the cost of as little labour as
+possible. Make six rows of hem-stitching, as in fig. 55; the first and
+sixth rows to serve as a finish, above and below.
+
+[Illustration: FIG. 68. SINGLE THREE-ROWED OPEN-WORK.]
+
+The second and third, after drawing out six threads, the third and
+fourth after drawing out eight. The clusters must all consist of an even
+number of threads. The upper and the lower band of open-work is to be
+copied from fig. 58, the centre one, from fig. 57. Divide the threads of
+the perpendicular clusters in two; insert the needle, from left to
+right, underneath half the second cluster, turn the needle's eye, by a
+second movement, from left to right, and take up the second part of the
+first cluster, drawing it under, and at the same time, in front of the
+first half of the second cluster. Be careful not to draw your thread too
+tightly.
+
+OPEN-WORK WITH TWO THREADS DRAWN THROUGH (fig. 69).--One such wide
+lane of open-work, between two finishing rows of stitches, may have two
+threads drawn through it.
+
+[Illustration: FIG. 69. OPEN-WORK WITH TWO THREADS DRAWN THROUGH.]
+
+OPEN-WORK WITH THREE THREADS DRAWN THROUGH (fig. 70). Overcast both
+edges with single stitches; draw the clusters together in the middle, as
+in fig. 68; then above and below the middle thread, draw in first one
+thread and then a second, straight above it, securing the latter with
+back-stitches to enclose the clusters between two threads.
+
+[Illustration: FIG. 70. OPEN-WORK WITH THREE THREADS DRAWN THROUGH.]
+
+CLUSTERED OPEN-WORK (fig. 71).--Draw out from sixteen to eighteen
+threads, between two hem-stitched edges. Fasten your thread in, 3 m/m.
+above the seam-edge, and wind it three times round every two clusters,
+passing the needle, the third time, under the two first rounds, to
+fasten the thread. The thread, thus drawn through, must be left rather
+slack. A second row of stitches, similar to the first, and at the same
+distance from the bottom edge, completes this pattern. To give it
+greater strength, you may if you like, work back over the first thread,
+with a second, taking care to pass it under the knot, which was formed
+by the first.
+
+[Illustration: FIG. 71. CLUSTERED OPEN-WORK.]
+
+DOUBLE-ROWED CLUSTER-OPEN-WORK (fig. 72).--A very good effect can be
+obtained by making the above stitch in such a manner, as to form groups
+of three clusters each, between hem-stitched bands of the stuff.
+
+[Illustration: FIG. 72. DOUBLE-ROWED CLUSTER-OPEN-WORK.]
+
+TURKISH CLUSTER OPEN-WORK (fig. 73).--After portioning off, and sewing
+up the clusters on one side, draw out twelve or fourteen threads, and
+make your connecting-stitch and hem, all in one, as follows: bring out
+the thread before the cluster, and pass it round it, then from right to
+left, over three horizontal and under four perpendicular threads, again
+from left to right, over the four threads just passed over, and out at
+the second cluster; laying it over this, you bring it out behind the
+first cluster, wind it round the middle of them both, and pass it
+through, between the over-casting stitches back to the hem; encircle the
+second cluster with a loop-stitch, and carry your thread again over
+three horizontal and four perpendicular threads, and upwards, slanting
+underneath the stuff, out in front of the next cluster.
+
+[Illustration: FIG. 73. TURKISH CLUSTER OPEN-WORK.]
+
+OPEN-WORK WITH DARNING STITCH (fig. 74).--Draw out from eight to
+twelve threads, according to the quality of the stuff. Insert your
+needle and thread between two clusters, and pass it, as if you were
+darning, backwards and forwards over them, until they are encased half
+way down with stitches. In so doing, work with the eye of the needle
+forward, and the point towards your thimble. To pass to the next
+cluster, take one stitch back, under the one just darned, and bring your
+thread underneath the threads of the stuff, to the second cluster.
+
+[Illustration: FIG. 74. OPEN-WORK WITH DARNING STITCH.]
+
+OPEN-WORK IN THREE COLOURS (fig. 75).--This pattern which is to be
+done in the same way as fig. 74, requires the drawing out of, at least,
+eighteen threads. Every cross-line of three clusters is to be worked in
+one colour. The colours may all be different, or you may if you prefer,
+take shades of the same colour.
+
+[Illustration: FIG. 75. OPEN-WORK IN THREE COLOURS. COLOURS: Bleu-Indigo
+311, 322, 334, Brun-Caroubier 354, 303, 357, or Rouge-Géranium 349, 351,
+352.[A]]
+
+OPEN-WORK INSERTION (figs. 76 and 77).--For both these, the edges are
+to be overcast, and the darning stitches packed sufficiently closely
+together, for the threads of the stuff to be entirely covered.
+
+Fig. 76 requires the drawing out of eighteen threads, fig. 77, of
+thirty. Both admit of several colours being used.
+
+[Illustration: FIG. 76. OPEN-WORK INSERTION.]
+
+[Illustration: FIG. 77. OPEN-WORK INSERTION.]
+
+OPEN-WORK INSERTION (fig. 78).--After drawing out sixteen or eighteen
+threads, bind both sides with stitches made over four horizontal and
+four perpendicular threads, as follows; make one back-stitch over four
+disengaged threads, then bring up your thread from right to left, over
+four horizontal and under four perpendicular threads, back over the four
+last threads, and draw it out beside the next cluster. The clusters, as
+they now stand, are bound together in the middle, three by three, with
+darning-stitches. The thread must be fastened in and cut off, after each
+group is finished.
+
+[Illustration: FIG. 78. OPEN-WORK INSERTION.]
+
+OPEN-WORK INSERTION (fig. 79).--First bind the two edges with
+stitches, in the ordinary way. At the last stitch introduce the thread
+slanting, according to the dotted line, pass it under four horizontal
+and three perpendicular threads of the stuff and draw it out; then over
+three threads from right to left, and back under the same, from left to
+right, and out again; over four horizontal threads, and, under and again
+over, three perpendicular ones; for the next stitch, you again follow
+the dotted slanting line.
+
+[Illustration: FIG. 79. OPEN-WORK INSERTION.]
+
+Then make the darning stitch over nine threads, or three clusters. At
+half their length, you leave out three threads, first on the right, then
+on the left, whilst in the other half, you, in a similar manner, take in
+three; so that you have two darned and two undarned clusters, standing
+opposite each other. Finally, you overcast the single clusters, and
+connect every two with a lock-stitch, as shown in the accompanying
+illustration.
+
+OPEN-WORK INSERTION (fig. 80).--Draw out twenty threads, overcast both
+edges with stitches, made over three threads. Then, make slanting
+stitches, proceeding out from these, over three, six and nine threads
+respectively, all three terminating in a perpendicular line, one below
+the other.
+
+[Illustration: FIG. 80. OPEN-WORK INSERTION.]
+
+For the open-work, twist the thread five times, quite tightly round and
+round one cluster, bring it to the edge, between the second and third
+clusters, and connect these by means of six darning-stitches to and fro:
+join the first and second clusters in the same way by twelve stitches,
+and finish, by twisting the thread five times round the remaining length
+of the first cluster. The second half of the open-work figure is
+carried out in a similar manner over the third and fourth clusters.
+
+OPEN-WORK INSERTION IN FOUR COLOURS (fig. 81).--Draw out, from
+twenty-five to thirty threads. The outside figures are executed over six
+clusters, of three threads each, in a dark and light shade alternately
+of the same colour. Each of the middle figures combines three clusters
+of the two figures above it, and may be executed, either in a different
+colour altogether, or in a lighter shade of the one employed in the top
+row. The little star in the centre should be worked in dark red, or
+black.
+
+[Illustration: FIG. 81. OPEN-WORK INSERTION IN FOUR COLOURS.
+
+MATERIALS: Coton à broder D.M.C No. 20, or Cordonnet 6 fils D.M.C Nos.
+15 to 30.[A]
+
+COLOURS: Rouge-Turc 321, Bleu-Indigo 312, 334, Noir grand Teint 310.[A]]
+
+OPEN-WORK INSERTIONS (figs. 82, 83, 84).--For each of these draw out
+forty threads. Fig. 82 worked in white, and Rouge-Grenat clair 309,
+comprises fourteen clusters, of four threads each. Begin at the top of
+the big pyramid, so that the threads which you run in, can be more
+closely crowded together.
+
+[Illustration: FIG. 82. OPEN-WORK INSERTION.]
+
+In fig. 83, the two rows of short clusters are worked in Gris-Tilleul
+moyen, and, Gris-Tilleul clair, 392 and 330;[A] the pyramid of steps,
+in Brun-Chamois moyen, 324;[A] the three inner clusters in Brim-Chamois
+très clair, 418. One figure consists of fourteen clusters, of three
+threads each.
+
+[Illustration: FIG. 83. OPEN-WORK INSERTION.]
+
+Fig. 84 also is to be worked in three colours; the light squares in
+unbleached cotton, the middle figure in Bleu-Indigo très clair, 334, the
+large squares on either side in Brun-Cuir clair 432. Each figure
+contains eighteen clusters, of three threads each.
+
+[Illustration: FIG. 84. OPEN-WORK INSERTION.]
+
+OPEN-WORK INSERTION WITH SPIDERS (fig. 85).--The edges are to be
+herring-boned, as described in fig. 39. In the middle, the so-called
+spiders are made, over every group of four clusters. The thread that
+runs out from the spider, passes over two clusters and under one, and
+then three or four times, over and under the clusters, as in darning,
+and so back, under the spider, at the place at which it was drawn in,
+and then on, to the next four strands of thread.
+
+[Illustration: FIG 85. OPEN-WORK INSERTION WITH SPIDERS.]
+
+THREE-ROWED OPEN-WORK (fig. 86).--Draw out five threads for the narrow
+stripe, and from fourteen to sixteen for the wide one. Each cluster
+should consist of four threads. The narrow bands between, are to be
+herring-boned on either side. The dotted line shows the course of the
+thread, on the wrong side. Then unite each separate cluster in the
+middle, with a back-stitch, as shown in the illustration, and finally,
+join every group of four clusters together, with three stitches, and
+make a spider in the middle of the open-work, at the point where the
+threads intersect each other.
+
+[Illustration: FIG 86. THREE-ROWED OPEN-WORK.]
+
+OPEN-WORK INSERTION WITH RINGS (fig. 87).--Bind the edges on both
+sides, with straight, two-sided, stitches. Take, for this, Coton à
+broder D.M.C, No. 30, (embroidery cotton), using it double. Draw out,
+from twenty-four to thirty threads. Wind your thread six or seven times
+round the middle of each cluster of nine threads, and then make
+darning-stitches, above and below, to a length of 3 m/m. When you have
+completed two clusters, join them together, by four interlocked
+stitches; wind your thread three times round the single thread, and sew
+it over with close stitches.
+
+[Illustration: FIG 87. OPEN-WORK INSERTION WITH RINGS.]
+
+OPEN-WORK INSERTION WITH SPIDERS (fig. 88).--Draw out twenty-four
+threads. Ornament the two edges with half-spiders. You begin these over
+two threads, and go on taking in others, to the number of eight. The
+whole spider in the middle, is made as above described.
+
+[Illustration: FIG. 88. OPEN-WORK INSERTION WITH SPIDERS.]
+
+OPEN-WORK INSERTION (figs. 89 and 90).--The beauty of this otherwise
+simple pattern, lies in the peculiar knot, with which the edges of the
+stuff are ornamented.
+
+[Illustration: FIG. 89. OPEN-WORK INSERTION.]
+
+Carry the working thread, as shown in fig. 90, from right to left, (see
+the description of the right side) over and under four threads; then
+bring the needle back, under the thread which lies slanting, form a loop
+with the forefinger of the left hand, slip it on to the needle, and draw
+it up close to the first stitch; pull the needle through the knot, and
+proceed to the next stitch.
+
+The illustration explains how the open-work in the middle should be
+carried out.
+
+[Illustration: FIG. 90. EXPLANATION OF THE STITCH FOR FIG. 89.]
+
+OPEN-WORK WITH WINDING STITCH (fig. 91).--For this pattern, which is a
+very laborious one to work, draw out twenty-eight threads. Bind the
+edges with two-sided stitches, over two, three, four and five threads,
+respectively. For the middle figures, you must reckon four threads for
+the clusters, round which the working thread is tightly twisted, eight
+for the darned clusters, ornamented with picots (see fig. 165), and
+sixteen for the rectangular rosettes, in two colours.
+
+Make a loose spider over the threads, as a background for the rosette.
+Work the picots in a different colour from the cluster, and the
+rosettes, likewise, in two colours. The connecting loops between the
+figures should be made as you go along, the thread being always carried
+back into the loop just made.
+
+[Illustration: FIG. 91. OPEN-WORK WITH WINDING STITCH.]
+
+CUTTING OUT THREADS AT THE CORNERS (figs. 92, 93, 94, 95). If you want
+to carry a latticed-hem or a simple open-work pattern, round a corner,
+you must cut and loosen the threads, on both sides, about one c/m. from
+the edge of the hem, as seen in fig. 92. The loose threads can be pushed
+into the turning, and the edge button-holed, as in fig. 93.
+
+If however, on the other hand, the stitching be continued without
+interruption, as indicated in the upper part of fig. 94, the loose
+threads must be brought to the wrong side, and as represented in the
+lower part of fig. 94, fastened down with a few stitches.
+
+[Illustration: FIG. 92. THE CUTTING AND LOOSENING OF THE THREADS AT THE
+CORNERS.]
+
+[Illustration: FIG. 93. THE OVER CASTING OF THE DISENGAGED EDGE AT THE
+CORNER, THE THREADS BEING TURNED IN WITHIN THE HEM.]
+
+[Illustration: FIG. 94. BORDERING THE DISENGAGED EDGE WITH
+HEM-STITCHING, THE THREADS BEING TURNED OVER]
+
+[Illustration: FIG. 95. FILLING IN THE CORNER WITH A SPIDER, AND
+CONTINUATION OF THE LATTICE-WORK THENCE.]
+
+CUT OPEN-WORK (PUNTO TAGLIATO).--For cut open-work, threads have to be
+drawn out both ways, the number of course to depend on the pattern.
+Threads, left between others that have been cut out, serve as a
+foundation on which a great variety of stitches can be worked. Stuffs,
+equally coarse in the warp and woof, should be chosen for all cut
+open-work, for then the empty spaces that remain, where threads have
+been drawn out both ways, will be perfectly square.
+
+DRAWING OUT THREADS BOTH WAYS (fig. 96).--The same number of threads
+must be drawn out each way; most patterns require the same number of
+threads to be left as are drawn out. In fig. 96, three threads have been
+drawn out and three left.
+
+[Illustration: FIG. 96. DRAWING OUT THREADS BOTH WAYS, WITHOUT REGARD TO
+THE EDGES.]
+
+CUTTING OUT THREADS (fig. 97).--We often meet with cut open-work
+patterns, set in another kind of embroidery. In such cases, the threads
+that are to be cut out, must be cut a few millimetres within the edge,
+and then drawn out, so that there may be a frame of the stuff left
+intact outside.
+
+[Illustration: FIG. 97. CUTTING OUT THREADS, IN THE MIDDLE OF THE
+STUFF.]
+
+BUTTON-HOLING THE RAW EDGES (fig. 98).--In very fine linen textures,
+the threads can simply be cut out, but in the case of coarser stuffs,
+and when a pattern ends in steps as in figs. 103, 104, 105, the raw
+edges must be button-holed as in fig. 98, or 99.
+
+[Illustration: FIG. 98. BUTTON-HOLING THE RAW EDGES OF CUT OPEN-WORK.]
+
+OVERCASTING THE RAW EDGES (fig. 99).--Cording the raw edges, is even
+better than button-holing them. Count the number of threads carefully
+that have to be cut out, run in a thread to mark the pattern, and then
+only, cut the threads through, at least two threads within the line.
+
+[Illustration: FIG. 99. OVERCASTING THE RAW EDGES OF CUT OPEN-WORK.]
+
+OVERCASTING THE TRELLISED GROUND (fig. 100).--If you only have a small
+surface to embroider, you can draw out all the threads at once. But in
+the case of a large piece of work it is better to begin by removing the
+threads in one direction only, and completing all the little bars, one
+way first; after which you draw out the threads the other way and
+embroider those you leave. In this way you will secure greater equality
+and finish in your work.
+
+[Illustration: FIG. 100.--OVERCASTING THE TRELLISED GROUND.]
+
+GROUND FOR SQUARE, FIG. 105 (figs. 101 and 102).--Finish the first row
+of bars along the edge completely, to begin with. In the second row,
+overcast the bar, down to half its length, then carry your thread over
+two empty spaces, see the letter _a_, come back to the bar, overcasting
+the thread which you threw across first, and passing the needle under
+the bars of the stuff. In the second rows that intersect the first,
+marked by letter _b_, the threads meet in the middle of the empty space.
+
+In fig. 102, finish the bars, overcast both ways first, and then fill in
+the ground with interlaced threads, worked row by row, throwing the
+thread from one square to the other as you go, and doubling it, as you
+return. For the bars, see the chapters on net embroidery, and Irish
+lace.
+
+[Illustration: FIG. 101. LATTICE-GROUND FOR SQUARE IN FIG. 105, SHOWING
+THE COURSE OF THE STITCHES.]
+
+[Illustration: FIG. 102. LATTICE-GROUND FOR SQUARE IN FIG. 105.]
+
+LATTICE-GROUND AND DAMASK STITCH FOR SQUARE, FIG. 105 (fig. 103).--Our
+illustration shows a third kind of openwork ground with one corner in
+damask stitch, of the square represented in fig. 105. The little bars
+which intersect each square crossways, are made in two divisions, by
+carrying the thread to the opposite bar and back. In the same way, the
+second thread is carried over the first. The damask stitches are
+described in the next chapter, in figs. 143 and 144.
+
+[Illustration: FIG. 103. LATTICE-GROUND WITH A PORTION OF SQUARE, FIG.
+105.]
+
+LATTICE-GROUND AND DAMASK STITCHES FOR SQUARE, FIG. 105 (fig.
+104).--Damask, or gobelin stitches, are given in figs. 152, 153, 154.
+The ground of this part of the square (fig. 104) is adorned with narrow
+bars, worked in darning stitch. From the centre of one bar, proceed
+three bars made on three foundation-threads, and a fourth made on two,
+on account of the passage to the next bar.
+
+[Illustration: FIG. 104. LATTICE-GROUND AND DAMASK STITCH FOR SQUARE,
+FIG. 105.]
+
+QUARTER OF THE SQUARE IN SINGLE AND CUT OPEN-WORK, AND DAMASK-STITCH
+(fig. 105).--Original size 48 c/m. square. This handsome square is
+worked in unbleached cotton on a white ground; it may also be worked in
+colours. A very good effect is produced by using Chiné d'or D.M.C[A]
+red, blue, or green for the gobelin stitch, and a uniform pale tint for
+the cut open-work.
+
+Figs. 101, 102, 103, 104 illustrate in detail, one quarter of the
+square, which is represented here one third of the original size. The
+centre piece (fig. 104) is bordered by four stripes, two long and two
+short; the former containing two lozenge-shaped open-work figures
+separated and finished off by damask stitches; the latter, only one such
+figure. For the insertion in single open-work, that recurs three times,
+you will find a variety of designs in figs. 81, 82, 83, 84, 87, 88.
+
+[Illustration: FIG. 105.--QUARTER OF THE SQUARE IN SINGLE AND CUT
+OPEN-WORK, AND DAMASK STITCH.
+
+Original size 48 c/m. square.
+
+MATERIALS suitable for Holbein linen: Fil à pointer D.M.C No. 15 or 20,
+and Coton à repriser D.M.C No. 25.[A]
+
+For antique linen: Fil à dentelle D.M.C No. 25 or 30, or Cordonnet 6
+fils D.M.C No. 50, 60, or 70, and Coton à repriser D.M.C No. 50 or, in
+place of the latter, Coton à broder surfin D.M.C No. 190.[A]]
+
+DRAWING IN THE PATTERN (fig. 106).--Darning in the threads, as you do
+into a net foundation is a slower process and one that requires greater
+skill than drawing them in. The illustration shows the proper order and
+direction of stitches for Fig. 108. In this case likewise, the little
+bars must be finished, before the actual pattern is filled in.
+
+[Illustration: FIG. 106. DRAWING IN THE PATTERN. (Explanation of fig.
+108)]
+
+DARNING IN THE THREADS (fig. 107)--In old needle-work we often find
+the pattern reserved, that is, left blank and outlined by the grounding.
+As it is difficult, especially in executing minute, and delicate
+figures, to withdraw the threads partially, without injuring the linen
+foundation, they are withdrawn throughout, and new ones drawn in, to
+form the pattern. To explain this more clearly, the original threads of
+the material are represented in a lighter shade than the new ones that
+are drawn in; the course of the stitches is indicated in a darker shade.
+
+[Illustration: FIG 107. DARNING IN THE THREADS. (Explanation of fig.
+109).]
+
+BROAD INSERTION IN CUT OPEN-WORK, WITH THE PATTERN DRAWN IN (fig.
+108).--This insertion, suitable according to the foundation it is worked
+on, for the decoration either of curtains, table-covers, bed-linen or
+underclothing, is made as shown in fig. 106. If intended for the
+decoration of any article made of white linen, we recommend unbleached
+materials for the lattice-work, and bleached for the pattern, to bring
+it out in strong relief.
+
+[Illustration: FIG. 108. BROAD INSERTION IN CUT OPEN-WORK, WITH PATTERN
+DRAWN IN.]
+
+INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED IN (fig. 109).--This
+insertion can be introduced into any kind of linen material, and used
+for ornamenting towels, aprons, bed-linen and table-linen. When it is
+used to connect bands of cross-stitch embroidery, the open-work should
+be of the same colour as the embroidery, and the pattern worked in white
+or unbleached cotton, to correspond with the foundation. In fig. 109,
+the pattern is half as large again as in the original.
+
+[Illustration: FIG. 109. INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED
+IN.
+
+MATERIALS--For Holbein linen: Fil à pointer D.M.C No. 15 or 20,
+Cordonnet 6 fils D.M.C No. 8, 10 or 15 for the bars.--Coton à tricoter
+D.M.C No. 16 or Coton à repriser D.M.C No. 12 or 25 for darning or
+drawing in the pattern.
+
+For finer linens: Fil à dentelle D.M.C Nos. 25 to 30, or Cordonnet 6
+fils D.M.C Nos. 25 to 40 for the bars and Coton à repriser D.M.C No. 50
+for darning or drawing in the pattern.]
+
+CUT OPEN-WORK PATTERN (figs. 110 and 111).--This pattern, more of the
+nature of lace than any of the former, is well adapted for trimming, not
+only household articles but also church furniture, altar-cloths and the
+like, which are required to wash, as it can be worked in any width.
+
+Fig. 110, a magnified representation of the work in process of
+execution, shows alternately, ten threads withdrawn each way and six
+left, with open spaces between. The arcs are worked over three
+carefully laid threads, carried across from the middle of one bar to the
+middle of the bar at right angles to it, the wheels on the other hand
+are begun and finished at the same corner. Overcast the cut edges, and
+hem-stitch the outside layer of stuff (figs. 61 and 62).
+
+[Illustration: FIG. 110. CUT OPEN-WORK PATTERN. Fig. 111 in process of
+execution.]
+
+[Illustration: FIG. 111. CUT OPEN-WORK PATTERN. MATERIALS: Fil à pointer
+D.M.C No. 20 or 30, Cordonnet 6 fils D.M.C Nos. 15 to 50 or Fil à
+dentelle D.M.C Nos. 25 to 50.]
+
+GREEK CUT OPEN-WORK PATTERN (fig. 112).--After the foregoing
+explanations, no difficulty will be found in copying the beautiful Greek
+cut open-work pattern, illustrated in fig. 112. Here, we have in the
+original, 48 threads drawn out in the middle, both ways, from one
+straight bar to another, (these bars being darned) with open spaces
+between; and in the lower and narrower division, 21 threads drawn out
+each way. The cut edges, from bar to bar, are hem-stitched on both
+sides, leaving four threads of the stuff between.
+
+The long bars, in the second figure, are button holed on both sides,
+those with the picots, on one side only.
+
+[Illustration: FIG. 112. GREEK CUT OPEN-WORK PATTERN. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 25 to 50, Fil d'Alsace D.M.C Nos. 20 to 100
+or Fil à dentelle D.M.C Nos. 25 to 50.]
+
+FOOTNOTES:
+
+[A] See, at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: NET STRIPE, IN IMITATION OF BRUSSELS LACE.]
+
+
+
+
+Net and damask stitches.
+
+
+Many net embroidery patterns and damask stitches consist of a
+combination of ordinary running and darning, others of chain, stem and
+cross stitch.
+
+NET EMBROIDERY.--All these kinds of stitches can be worked on the
+coarse Greek net, as it is called, as well as on the finest quality of
+real Brussels net.
+
+Stripes of net, finished off with button-hole edging, and ornamented
+with one or other of the following patterns, make very pretty washing
+laces and the like; net laid upon Irish point and converted by
+needlework into a lace ground, makes an excellent substitute for a
+hand-made ground, which demands much labour and time.
+
+MATERIALS SUITABLE FOR NET EMBROIDERY.--The choice of material must be
+determined by the quality of the net and the effect to be produced. For
+a coarse make of net and a very marked pattern, the lowest numbers of
+D.M.C cottons, or the narrowest braids, such as Soutache D.M.C Nos. 1,
+2, 3 should be used; if the net be fine and the pattern a delicate one,
+then the higher numbers of the following are preferable: Coton à
+tricoter D.M.C Nos. 8 to 20, Coton à repriser D.M.C Nos. 25 to 70, Coton
+à broder D.M.C Nos. 16 to 50, Fil à dentelle D.M.C Nos. 25 to 50, Coton
+à broder surfin D.M.C Nos. 100, 120, 150. The latter must be adjusted to
+the required size before being used, that is to say as many strands of
+it removed, as is necessary in order to reduce it to the proper
+thickness.
+
+TRACING WITH RUNNING STITCHES (fig. 113).--Have your pattern traced on
+linen or paper; tack the net upon it, and copy it carefully on the net
+with running stitches. As in darning, the stitches must run first above
+and then beneath, alternating in each succeeding row. At the turn of the
+lines, the stitches cross each other, as shown in the illustration.
+
+[Illustration: FIG. 113. TRACING WITH RUNNING STITCHES.]
+
+NET PATTERN (fig. 114).--Here too the pattern is traced with running
+stitches, which are run in on both sides of each row of meshes. The
+thread is carried first to the right, and then to the left, under every
+alternate bar of the net and out again. Between the first and second
+rows, one thread of the foundation must be left uncovered. In the next
+row, the thread is carried back again, so that it encircles each mesh.
+In the third row, the thread passes under the same bar of net as in the
+second, the threads touching each other. The fourth row is a repetition
+of the first.
+
+[Illustration: FIG. 114. NET PATTERN.]
+
+NET PATTERN (fig. 115).--This consists of two rows of stitches. In the
+first, the single stitches run diagonally from left to right, over and
+under a mesh; in the second row the triple stitches, also carried
+diagonally across a mesh, lie from right to left.
+
+[Illustration: FIG. 115. NET PATTERN.]
+
+NET PATTERN (fig. 116).--Begin with a double row, as in fig. 114; this
+is followed by a row of cross-stitch, touching the others, for which the
+thread has to be carried, first under one of the straight bars of the
+mesh and then diagonally, across it. A second, similar row of stitches
+backwards, completes the crosses. This can be further varied by the
+introduction of a row of triple stitches, after the double row, as in
+fig. 115, and the repetition of the two first only.
+
+[Illustration: FIG. 116. NET PATTERN.]
+
+These rows can also be worked in two colours, or in white thread and
+washing gold.
+
+NET PATTERN (fig. 117).--Begin at the top, carrying the thread, first
+under and then over two bars and a mesh, and then underneath as before.
+In the second as in the first row, the threads must be drawn in, so that
+4 threads always meet in one mesh, and two run parallel to each other
+through the same mesh.
+
+[Illustration: FIG. 117. NET PATTERN.]
+
+NET PATTERN (fig. 118).--This pattern, which resembles fig. 117 in the
+execution, is thickened by triple stitches. Above, where in the
+preceding row three threads were laid, the thread should be single.
+
+[Illustration: FIG. 118. NET PATTERN.]
+
+Very pretty varieties are to be obtained by the introduction of several
+colours. Take white, for instance, for the first row, and different
+shades of the same colour for the second, third, fourth and fifth rows;
+such as, Bleu-Lapis 345, 344, 343, 333, 342, ([A]) or Rouge-Cardinal
+348, 305, 304, 347, 346, ([A]) or Rouge-Géranium, Brun-Caroubier or any
+other colour that is absolutely fast.
+
+NET PATTERN (fig. 119).--After one row of cross-stitch, such as was
+described in fig. 116, add a second, carrying the thread under the bar
+that lies between the first stitches, so that the two rows only cover
+three threads of the net. The close bands of cross-stitch must be
+divided from each other by one row of net bars.
+
+[Illustration: FIG. 119. NET PATTERN.]
+
+NET PATTERN (fig. 120).--Draw the thread twice backwards and forwards,
+as in darning, through one row of meshes. In the next, make four
+stitches over one mesh and two bars. After the fourth stitch, the thread
+is carried forward under two bars to the next group. The meshes filled
+in thus are divided from each other by two double rows of darning
+stitches. Here you may introduce a variety in the colour, using either
+white and unbleached, or unbleached and pale blue, or some other
+combination of the kind.
+
+[Illustration: FIG. 120. NET PATTERN.]
+
+NET PATTERN (fig. 121).--Make three diagonal stitches over three bars
+and two meshes, then returning to the mesh out of which the first
+stitches come, make three more in the opposite direction. In the second
+row, the stitches meet in the same mesh as those of the first.
+
+[Illustration: FIG. 121. NET PATTERN.]
+
+NET PATTERN (fig. 122).--Carry the thread upwards from below, over a
+bar of the net, then pass it horizontally under another bar and carrying
+it downwards, pass it under a diagonal bar and cover the other three. In
+the second row, your loops must be turned the opposite way. When the
+whole foundation is finished, run a thread over the whole surface and
+overcast it. A good effect is produced by using white and unbleached
+cottons, in alternate rows.
+
+[Illustration: FIG. 122. NET PATTERN.]
+
+NET PATTERN (fig. 123).--This pattern consists of one row of
+overcasting, one of stitches like those described in fig. 114, and one
+of cross-stitch, as in fig. 39, running diagonally across the stuff.
+Besides the cottons already mentioned, washing gold thread (Or fin D.M.C
+pour la broderie), may be used for the overcasting. Dead gold introduced
+into simple needlework of this kind enlivens it extremely.
+
+[Illustration: FIG. 123. NET PATTERN.]
+
+NET PATTERN (fig. 124).--Three kinds of stitches are required for this
+pattern. In the first row the stitch lies crossed underneath the net; in
+the second, 3 stitches are made over one mesh, the first and the last of
+which are carried across three meshes. In the third row, button-hole
+stitches are carried from right to left over two diagonal bars, in such
+a manner that the thread is drawn through the mesh facing the loops, and
+the next stitch comes out under the loop of the preceding one.
+
+[Illustration: FIG. 124. NET PATTERN.]
+
+NET PATTERN (fig. 125).--Fill in every other diagonal row of meshes
+with chain stitch, inserting the needle into the same mesh it came out
+of, so that the thread lies in front of the needle, in a loop. The rows
+of chain stitch may be made with two or three rows of meshes between
+them. Even the diagonal lines by themselves, make a very pretty
+foundation for other stitches.
+
+[Illustration: FIG. 125. NET PATTERN.]
+
+NET PATTERN (fig. 126).--The first row worked from left to right,
+consists of three loop stitches upwards and three downwards, each over
+one bar. In the second row, divided from the first by one row of
+stitches, the inner loops must be turned towards each other; in the
+third, the outer ones. Any of the stitches, already described, can be
+introduced into this pattern to enliven it.
+
+[Illustration: FIG. 126. NET PATTERN.]
+
+NET INSERTIONS (figs. 127 and 128).--These two, as well as the
+subsequent patterns, are most of them worked in darning stitch and
+simple overcasting.
+
+The scallops in fig. 127 are formed of darning stitches, over 4, 3, 2
+and 1 mesh, respectively. In the intervening space, which is five meshes
+wide, the stitch shown in fig. 118, may be introduced.
+
+[Illustration: FIG. 127. NET INSERTION.]
+
+In repeating the pattern, the stitches forming the scallops, must be
+made to run in the opposite direction. Instead of the thread, simply
+drawn through the middle, little stars like those described in fig. 134,
+have a very pretty effect.
+
+In fig. 128, the thread is first carried round one mesh and then on to
+the next scallop. In the second scallop, which turns the opposite way,
+the thread is carried once more round the last mesh after the pyramid is
+completed, and then on, to the next figure.
+
+[Illustration: FIG. 128. NET INSERTION.]
+
+NET PATTERN (fig. 129).--This checked pattern is also worked in
+darning stitch. Carry the thread, as in fig. 125, through every second
+row of meshes. When the bottom rows are all finished, the upper ones are
+worked across them in the same way. Here the stitches may, if preferred,
+be distributed more sparingly. But if they are set wider apart, the
+spaces between should be filled up in some way. Little dots, made of
+Coton à repriser D.M.C, will answer the purpose best.
+
+[Illustration: FIG. 129. NET PATTERN.]
+
+NET INSERTIONS (figs. 130, 131, 132).--These three patterns are
+specially suitable, for insertions, neck-tie lappets and the like, in
+the place of crochet, pillow, and other kinds of lace. Both design and
+stitch are clearly enough represented in the subjoined figure for
+further explanation to be unnecessary. All three should be worked with
+rather coarse cotton, and Soutache D.M.C[A] (braid) drawn in, produces
+an excellent effect.
+
+[Illustration: FIG. 130. NET INSERTION.]
+
+[Illustration: FIG. 131. NET INSERTION.]
+
+[Illustration: FIG. 132. NET INSERTION.]
+
+NET PATTERN (fig. 133).--These delicate little figures can be worked
+into a close pattern, or can be strewn singly over the surface. The
+closer you set the stitches, the more clear and distinct the stars will
+be. The thread must be drawn in to the centre mesh from without, so as
+to be invisible if possible, and then back again to the outside when the
+stitches are finished.
+
+[Illustration: FIG. 133. NET PATTERN.]
+
+NET PATTERN (fig. 134).--These flowerets have a very pretty effect,
+set either singly, or in double or triple rows, and are very useful for
+filling up gaps or supplementing rows.
+
+[Illustration: FIG. 134. NET PATTERN.]
+
+NET PATTERN (fig. 135).--These star-shaped figures, their longest
+stitch covering three straight bars and two meshes, the shortest, three
+diagonal bars and two meshes, may like the above flowerets, be ranged
+closely together in rows, so that four stitches, two horizontal and two
+vertical ones, meet in one mesh. Cotton of two colours should be used,
+in order that the figures may be distinct from each other: white and
+unbleached are the best, in cases where bright colours would be
+unsuitable.
+
+[Illustration: FIG. 135. NET PATTERN.]
+
+NET INSERTION (fig. 136).--These diamonds make a very pretty grounding
+either set separately, or in a continuous pattern. The design is slight,
+nevertheless, when it is worked in coarse cotton, the effect is
+exceedingly handsome, especially if the inside, in addition to the star
+here given, be enriched with ordinary darning-stitches, worked in fine
+gold thread, as we have already mentioned.
+
+[Illustration: FIG. 136. NET INSERTION.]
+
+NET TRACERY WITH BORDER (fig. 137).--In order to bring out the pattern
+and the colours, use instead of cotton, Soutache D.M.C, or Lacets
+surfins D.M.C. Both are to be had in all the colours, given in the list
+of colours of the D.M.C threads and cottons. The little border can be
+used in conjunction with any of the preceding patterns, but care must
+be taken not to let it get twisted in the working. To prevent this,
+slip a coarse needle under the last stitch, and draw the braid flat over
+it.
+
+[Illustration: FIG. 137. NET TRACERY WITH BRAIDS. MATERIALS: Soutache
+D.M.C No. 2 in Bleu-Indigo 334 and Rouge-Turc 321.]
+
+BROAD NET LACE TRACERY (fig. 138).--The pattern of this pretty lace
+must first be transferred to stout paper, or oil-cloth. All the leaves
+and stalks, and the buttonholing round the open centres of the flowers,
+are worked in a pale green, the two bottom flowers in Turkey red, the
+star-shaped one in blue, the calyx in which the stalks unite, in dark
+red, and the little bells, in the lightest green.
+
+[Illustration: FIG. 138. BROAD NET LACE TRACERY. MATERIALS: Coton à
+broder D.M.C No. 30, 35 or 40.--COLOURS: Rouge-Turc 321, Rouge-Cardinal
+346, Bleu-Indigo 322, Gris-Tilleul 393 and Vert-Pistache 369.]
+
+NET DARNING.--We conclude with some directions for darning net, a
+valuable art, by means of which many a curious piece of old needlework
+is preserved. Coarse and fine net are all darned in the same way.
+
+Laying the first thread (fig. 139).--Tack the net which is to be darned,
+closely to the defective part, upon either oil-cloth or coloured paper
+and cut the edges straight to the thread; Your thread must be of exactly
+the same size, as that of which the net is made. It takes three rows of
+stitches to imitate the net ground; in the first place, as shown in fig.
+139, cross-threads must be laid from side to side, carried as in
+darning, a little beyond the edges of the hole and so as to surround
+each mesh with a slanting stitch.
+
+[Illustration: FIG. 139. NET DARNING. LAYING THE FIRST THREAD.]
+
+LAYING THE SECOND THREAD (fig. 140).--Secondly, beginning from one
+corner, threads are laid diagonally across the first layer. The
+cross-threads of the foundation are encircled by a stitch, made from
+right to left, the needle is then carried under the next horizontal bar,
+and the first layer of threads is overcast with similar stitches.
+
+[Illustration: FIG. 140. NET DARNING. LAYING THE SECOND THREAD.]
+
+LAYING THE THIRD THREAD (fig. 141).--Thirdly, threads are carried
+across the second and first layers. They must start, far enough from the
+edge, for the second layer of threads to be overcast at the same time,
+so that there may be no loose threads left on the wrong side. In this
+third journey, every diagonal thread of the foundation is to be
+encircled with a stitch, taken upwards from below, the cut edges being
+strengthened in the same way. Then, to form the little cross in the
+fabric, the thread must be conducted by means of a second stitch, under
+the single horizontal thread, outwards, to the next-diagonal thread.
+
+[Illustration: FIG. 141. NET DARNING. LAYING THE THIRD THREAD.]
+
+In places where the net is worn, it can be strengthened in the same
+manner, the stitches being made the way of the stuff.
+
+DAMASK STITCHES.--As a rule the pattern is simply outlined with stem
+and cord stitch, and the inside spaces are left plain. In spite of the
+time this simple tracing takes to do, the effect is rather poor and
+scanty. If however, the inside of the leaves and flowers, be filled in
+with damask stitch, the result is very handsome.
+
+Not only can the following stitches, which are suitable for any linen
+coarse or fine, be used for this kind of embroidery, but most of the net
+and lace patterns too, and these combined with buttonholing and flat
+stitch produce charming effects.
+
+MATERIALS SUITABLE FOR DAMASK STITCHES.--All the threads and cottons
+used for net work can also be used for damask stitches, according to
+the material and the kind of work. We will enumerate them once more:
+Coton à tricoter D.M.C Nos. 8 to 20, Coton à repriser D.M.C Nos. 25 to
+70, Coton à broder D.M.C Nos. 16 to 50, Fil à dentelle D.M.C Nos. 25 to
+50, Coton à broder surfin D.M.C Nos. 100, 120, 150.[A]
+
+This kind of embroidery is generally done with a very coarse needle, to
+press the threads of the stuff closely together and make the light
+spaces between, which appear in many of the following illustrations.
+
+FIRST PATTERN (fig. 142).--Carry the needle in a slanting direction
+over three threads and bring it out, from right to left, under three
+perpendicular ones, then again slanting, over three threads, from left
+to right, and out again underneath three horizontal ones, downwards from
+above. Thus the first stitch lies across, from right to left, the
+second, lengthways. On the wrong side, the stitch forms a regular
+succession of steps.
+
+[Illustration: FIG 142. FIRST PATTERN]
+
+SECOND PATTERN (fig. 143).--This is worked exactly in the same manner
+as fig. 142, only that the second row of stitches touches the first, so
+that two threads enter and issue from the same hole.
+
+[Illustration: FIG 143. SECOND PATTERN]
+
+THIRD PATTERN (fig. 144).--Though at first sight, this stitch is very
+like the Holbein or stroke stitch, it is very different in the
+execution. It is worked in two rows, to and fro; in the first, you make
+all the vertical stitches side by side in the width of the stuff,
+drawing your thread very tightly, in the second, coming back, you make
+the horizontal stitches in a straight line, at right angles to the first
+stitches. On the wrong side the stitches are crossed; they in thin
+stuffs, show through, and quite alter the appearance of the right side.
+
+[Illustration: FIG. 144. THIRD PATTERN.]
+
+FOURTH, PATTERN (fig. 145).--In the first row, the thread is carried
+slanting upwards from right to left, over two threads, then downwards
+under two. Coming back, the stitches must be set the opposite way, so
+that four threads meet in one hole.
+
+[Illustration: FIG. 145. FOURTH PATTERN.]
+
+FIFTH PATTERN (fig. 146).--This is worked like fig. 145, only that the
+stitches must cover three threads each way. In the second row, you take
+up one thread on the right and two on the left, to form your stitches.
+
+[Illustration: FIG. 146. FIFTH PATTERN.]
+
+SIXTH PATTERN (fig. 147).--Here, the stitches form a chess-board
+pattern. You begin with a diagonal stitch over two threads and bring
+your needle up again into the same line it started from. The second
+stitch covers three threads, the third six, the fourth eight; the next
+three decrease, successively in length, in the same proportion.
+
+[Illustration: FIG. 147. SIXTH PATTERN.]
+
+SEVENTH PATTERN (fig. 148).--Two kinds of cotton have to be used for
+this pattern, one of them soft and flat, like Colon à repriser D.M.C[A]
+(darning cotton) or Coton à tricoter D.M.C (knitting cotton)[A] for the
+flat stitches, and the other strongly twisted, like Cordonnet 6 fils
+D.M.C No. 8, 10, 12 or 15,[A] for the cross stitches.
+
+[Illustration: FIG. 148. SEVENTH PATTERN.]
+
+The five flat stitches cover three threads in width and six in height,
+and lie from right to left and from left to right. In the second row,
+which must be two threads distant from the first, the stitches must lie
+in the contrary direction. In the lozenge-shaped space between, make
+four cross stitches, over four threads in height and two in width.
+
+EIGHTH PATTERN (figs. 149 and 150).--Make five stitches over 8
+horizontal threads, miss 6 threads and make another 5 stitches. The
+groups of long stitches above and beneath the first row, encroach over
+two threads of the first group, so that a space of only four threads
+remains between two groups. The stitch between these groups is generally
+known as the rococo stitch.
+
+[Illustration: FIG. 149. EIGHTH PATTERN.]
+
+Bring out your needle between the third and fourth of these threads, and
+insert it again above, drawing it out afterwards between the second and
+third horizontal thread, and securing the first stitch with a back
+stitch. Make the three remaining stitches, as explained in fig. 150.
+
+[Illustration: FIG. 150. EXPLANATION OF THE ROCOCO STITCH IN FIG. 149.]
+
+NINTH PATTERN (fig. 151).--This consists of straight bands of flat
+stitches, covering three threads each way, with spaces 8 threads wide
+between, ornamented with a small pattern in stroke stitch, (see chapter
+on Tapestry and Linen embroidery).
+
+[Illustration: FIG 151. NINTH PATTERN.]
+
+DAMASK STITCH FOR FIGS. 103 AND 105 (fig. 152).--The stitches, here
+represented on a large scale, form the border to the square in cut
+open-work in fig. 105. The long diagonal stitches, on either side, can
+be made to look fuller and more distinct, by using a soft, coarse
+cotton.
+
+[Illustration: FIG. 152. DAMASK STITCH FOR FIGS. 103 AND 105.]
+
+TENTH AND ELEVENTH PATTERNS (figs. 153 and 154).--The former of these
+is used for filling in the short stripe in fig. 105, the second for the
+long inside one. Fig. 153 is clear enough to need no explanation; with
+reference to fig. 154, it is however as well to point out that the
+shortest stitch should cover 4 threads and the longest 12, the rest is
+easily learnt from the illustration. This is a very suitable design for
+the decoration of large surfaces and combines well with any running
+diagonal pattern, when it can be made to form a large star which can be
+worked as a separate figure.
+
+[Illustration: FIG. 153. TENTH PATTERN. DAMASK STITCH FOR FIGS. 104 AND
+105.]
+
+[Illustration: FIG. 154. ELEVENTH PATTERN. DAMASK STITCH FOR FIG. 105.]
+
+TWELFTH PATTERN (fig. 155).--In cases where this and the following
+stitches are to be executed on a light, transparent stuff, it is best to
+use a very strongly twisted thread, such as Fil d'Alsace D.M.C ([A]) or,
+Fil à dentelle D.M.C ([A]) instead of a softer and looser material. A
+stiff thread compresses the threads of the stuff better and the open
+spaces, thus made in it, are rendered more visible.
+
+[Illustration: FIG. 155. TWELFTH PATTERN.]
+
+Count 6 threads vertically, put in the needle and draw it through from
+right to left, underneath 3 diagonal threads. For the next stitch, carry
+it upwards over 6 threads, and back under 3. The second row is worked
+back over the first in the same way. Leave 6 threads between each row.
+
+THIRTEENTH PATTERN (fig. 156).--Carry the thread, from right to left
+over four vertical threads, and under the same number of horizontal
+ones. The second row of stitches touches the first, so that the thread
+it is worked with seems to be drawn through under the same threads of
+the stuff, as the one the first row was worked with.
+
+[Illustration: FIG. 156. THIRTEENTH PATTERN.]
+
+FOURTEENTH PATTERN (fig. 157).--Here, the stitches, contrary to those
+in fig. 147, are set vertically. The first stitch covers 2 threads, the
+second 6, the third 10, the fourth 14, the fifth 18. The longest
+stitches of two checks always meet in the same hole.
+
+[Illustration: FIG. 157. FOURTEENTH PATTERN.]
+
+FIFTEENTH PATTERN (fig. 158).--Cover the whole expanse with rows of
+stitches, such as are described in fig. 155, with intervals of 12
+threads between them.
+
+[Illustration: FIG. 158. FIFTEENTH PATTERN.]
+
+These rows are intersected by others, to which the thread is passed,
+from between the sixth and seventh of the 12 threads between the first
+rows. Where the stitches of the two rows meet, the working thread of the
+second row must be drawn through, under that of the first.
+
+SIXTEENTH PATTERN (fig. 159).--Between every two rows of cross-stitch,
+leave an interval of 6 threads, counting those on each side of the rows.
+Over these 6 threads work 2 rows, as shown in fig. 148, but so, that in
+the second, the lower stitch of the first row and the upper one of the
+second, cover the same threads.
+
+[Illustration: FIG. 159. SIXTEENTH PATTERN.]
+
+SEVENTEENTH PATTERN (fig. 160).--This consists of stripes, 4 stitches
+wide, like those of fig. 155, with 3 threads between, which are overcast
+in the ordinary manner.
+
+[Illustration: FIG. 160. SEVENTEENTH PATTERN.]
+
+EIGHTEENTH PATTERN (fig. 161).--Small squares of 7 stitches, inclined
+alternately, to the right and left, and so formed, that the longest
+stitch of one square is crossed by the first short stitch of the next,
+so that a space only 6 threads wide and 4 long, remains uncovered. The
+intervening stripes are filled with 3 rows of overcasting stitches,
+covering 2 threads each way.
+
+[Illustration: FIG. 161. EIGHTEENTH PATTERN.]
+
+NINETEENTH PATTERN (fig. 162).--The steps formed by this pattern are
+11 stitches high, and 11 wide, and each stitch covers 4 threads.
+
+[Illustration: FIG. 162. NINETEENTH PATTERN.]
+
+Eight threads intervene between each row of steps, which are covered at
+the bend, by a square of stitches, from the last of which, the thread is
+carried on at once, to the four single stitches.
+
+TWENTIETH PATTERN (fig. 163).--The 4 squares set opposite to each
+other, with 2 threads between, are edged all round by 3 rows of
+overcasting.
+
+[Illustration: FIG. 163. TWENTIETH PATTERN.]
+
+TWENTY-FIRST PATTERN (fig. 164).--Begin by rows of stitches, like
+those described in fig. 155, over 4 and 2 threads, with 4 threads
+between, not counting those covered with cross-stitch. Between the two
+rows of cross-stitch, join 6 threads together by a back-stitch, and
+carry your thread over the two last of the 6, to the 2 first of the next
+cluster. The narrow diagonal stripes are separated by 24 threads,
+exclusive of those covered by the cross-stitches. These spaces are
+filled in with squares, 10 threads wide and 10 long, formed by
+back-stitches crossed on the wrong side.
+
+[Illustration: FIG. 164. TWENTY-FIRST PATTERN.]
+
+TWENTY-SECOND PATTERN (fig. 165).--In the closer stuffs, of a coarse
+texture, the threads of which do not admit of being drawn together, as
+you can those, of a loose thin stuff, where, by simply pulling your
+thread a little tighter you get open spaces, you must begin by cutting
+out every fourth or fifth thread. After which, you overcast all the
+rows, first one way, and then the other, with stitches covering 4
+threads, each way. On this foundation with strong, loosely-twisted
+cotton, Coton à broder D.M.C or Coton à tricoter D.M.C No. 25, 30, 35,
+or 40, make long stitches, as indicated in the illustration.
+
+[Illustration: FIG. 165. TWENTY-SECOND PATTERN.]
+
+TWENTY-THIRD PATTERN (fig. 166.)--From the point where the thread
+comes out of the stuff, make 16 stitches, four times over, all coming
+out of the same hole, over 8, 6, 4 and 6 threads, thus forming a star.
+Leave an interval of four threads between the stars, and unite the
+intervening threads by cross-stitches one way, and whip-stitches, the
+other.
+
+[Illustration: FIG. 166. TWENTY-THIRD PATTERN.]
+
+TWENTY-FOURTH PATTERN (fig. 167).--Make a succession of diagonal
+stitches, increasing in length, and advancing one thread at a time,
+until the seventh stitch covers seven threads, and completes the
+triangle. Then begin a second triangle on the nearest, adjacent thread.
+
+[Illustration: FIG. 167. TWENTY-FOURTH PATTERN.]
+
+TWENTY-FIFTH PATTERN (fig. 168).--Cover your whole surface with
+squares of 16 stitches, as in fig. 147, and fill in the intervening
+squares with 23 stitches, all radiating from one centre.
+
+[Illustration: FIG. 168. TWENTY-FIFTH PATTERN.]
+
+TWENTY-SIXTH PATTERN (fig. 169).--Diagonal trellised stripes, made as
+indicated in fig. 165, and overcast, form the ground. Twelve threads are
+to be left between the stripes, upon which, work six-cornered,
+lozenge-shaped groups of stitches, set at right angles to each other, in
+diagonal rows.
+
+[Illustration: FIG 169. TWENTY-SIXTH PATTERN.]
+
+TWENTY-SEVENTH PATTERN (fig. 170).--We conclude our chapter with a
+circular design, which combines a variety of stitches, and introduces
+our workers to two new patterns, as well as to an advantageous way of
+hiding the junction of several kinds of stitches by semicircles of
+button-hole stitching.
+
+[Illustration: FIG. 170. TWENTY-SEVENTH PATTERN.]
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: STRIPE IN FLAT AND RAISED SATIN STITCH, AND MADEIRA
+EMBROIDERY.]
+
+
+
+
+White Embroidery.
+
+
+We have retained the familiar term, white embroidery, for this kind of
+needlework, for convenience sake, in spite of its inaccuracy, now that
+coloured materials are quite as much used for it as white.
+
+It is executed, either on a backing of oil-cloth, or in an embroidery
+frame, called «tambour-frame». Only skilful workers can dispense with
+these, for an untrained hand can hardly avoid puckering. If you work
+without a foundation, the material must be held, quite smoothly over the
+forefinger, so that the threads lie perfectly straight, otherwise, the
+pattern is very apt to get pulled out of shape in the working. With your
+three other fingers you hold the material fast, the thumb resting on the
+work itself, beyond the outline of the pattern, which must be turned
+towards the worker. It is always the outside line of a pattern that is
+drawn in double lines, that should be turned towards the palm of the
+hand.
+
+TRACING PATTERNS.--Patterns are generally to be had ready traced, but
+as it is often necessary to repeat, enlarge, or reduce them,
+descriptions of several modes of doing so, will be found at the end of
+the concluding chapter.
+
+MATERIALS.--A loose, soft make of cotton, the looser the better, and
+very little twisted, is the best material for embroidery. We recommend
+for white embroidery in general, Coton à broder D.M.C Nos. 16 to 150;
+for monograms on cambric, Coton à broder surfin D.M.C Nos. 100, 120,
+150;[A] and for English or Madeira embroidery, Coton Madeira D.M.C Nos.
+40, 50, 60;[A] for padding, or raising the embroidery, all the
+different kinds of Coton à repriser D.M.C[A] can be used.
+
+OUTLINING AND PADDING.--The outlining of a pattern is a very important
+preliminary. A want of precision in the ultimate effect is often due,
+merely to careless outlining. This part of the work should be done with
+rather a coarser cotton than the embroidery itself. Fasten in the thread
+by a few running stitches, never with a knot, a rule to be observed also
+in embroidering, except in very rare cases. Finish off your thread by
+drawing it through the tracing stitches, or through some part of the
+pattern that is already finished. Fill in the spaces between the lines
+with a padding of run threads, run loosely, and so that they lie thickly
+and solidly in the centre, and shade off on both sides. The fullness,
+and roundness of embroidery, depends on the firmness of this sub-stratum
+of threads. The outlining and the padding of the different rounded and
+pointed scallops, as well as of other figures that occur in white
+embroidery, are illustrated in figs. 181, 182, 183, 184, 185, 187, 189,
+190 and 191.
+
+BLANKET, OR BUTTON-HOLE STITCH (fig. 171).--Work from left to right;
+run in a foundation line, hold down the working thread below the run
+line with the right thumb; insert the needle above and bring it out
+below the run line but above the working thread; tighten the loop thus
+formed, without drawing up the stuff, and continue in this manner,
+setting your stitches closely and regularly, side by side.
+
+[Illustration: FIG. 171. BLANKET, OR BUTTON-HOLE STITCH.]
+
+STRAIGHT STEM STITCH (fig. 172).--Work from left to right. The needle
+must always be inserted above the run thread, and brought out underneath
+it. In the case of a very delicate pattern, take up only just as much
+stuff as the run thread covers.
+
+[Illustration: FIG. 172. STRAIGHT STEM STITCH.]
+
+SLOPING STEM STITCH (fig. 173).--Work without a run thread; insert the
+needle from right to left in a slanting direction, under 1 or 2
+horizontal threads, and 5 or 6 perpendicular ones; so that each stitch
+reaches halfway back to the last.
+
+[Illustration: FIG. 173. SLOPING STEM STITCH.]
+
+This kind of stem stitch is chiefly used for the fine upstrokes of
+letters and numbers, and for linen embroidery.
+
+BACK-STITCHING (fig. 174).--Back-stitching, that is small, even
+stitches set closely together, is done from right to left, along a
+straight line, and is chiefly used for filling in the centres of
+letters, leaves and flowers.
+
+[Illustration: FIG. 174. BACK-STITCHING.]
+
+CROSSED BACK-STITCH (figs. 175 and 176).--Used, generally speaking,
+only for very transparent materials; it forms a close seam of
+cross-stitch, on the wrong side, and two straight rows of back-stitching
+on the right. To work, insert the needle as if for an ordinary
+back-stitch, pass it under the stuff, sloping it a little towards the
+second outline of the pattern, and draw it out almost in front of the
+first stitch. After making a back-stitch, pass the needle up again under
+the stuff and bring it out at the spot where the next stitch is to be.
+
+[Illustration: FIG. 175. CROSSED BACK-STITCH. RIGHT SIDE.]
+
+[Illustration: FIG. 176. CROSSED BACK-STITCH. WRONG SIDE.]
+
+Fig. 176 shows the interlacing of the stitches on the wrong side, and
+the way in which this stitch, when it is used for filling in centres,
+can be worked on the right side.
+
+SIMPLE KNOT STITCH (fig. 177). This consists of two back-stitches,
+side by side, covering the same threads; it is chiefly used for filling
+in leaves, embroidered on very thin materials, or in conjunction with
+flat stitch.
+
+[Illustration: FIG. 177. SIMPLE KNOT STITCH.]
+
+TWISTED KNOT STITCH (fig. 178). To work hold the working thread down
+with the thumb close to the spot where you first brought it out, twist
+it twice round the needle, turn the needle round from left to right,
+following the direction indicated by the arrow, pass it through the
+fabric at the place which is marked by a dot, and draw it out at the
+place where the next stitch is to be.
+
+[Illustration: FIG. 178. TWISTED KNOT STITCH.]
+
+POST STITCH (fig. 179).--Something like knot stitch and much used for
+patterns, composed of small flowers and leaves, where it often takes the
+place of raised satin stitch. The illustration represents five leaves
+finished, and the sixth in process of being worked.
+
+[Illustration: FIG. 179. POST STITCH.]
+
+To work, bring the needle up from the back and twist the thread round it
+as many times as the length of the stitch requires, hold the left thumb
+on the species of curl thus formed, and passing the needle and thread
+through it, insert it at the end of the leaf where it first came out,
+and draw it out at the right place for the next stitch.
+
+BUTTON-HOLE BARS (fig. 180).--When a pattern is ornamented with
+open-work bars, begin by tracing the outside parallel lines. Then
+button-hole the whole lower line and the upper one, till you come to the
+place where the first bar is to be; then you carry your thread across
+and bring up the needle from below through one of the loops, as, shown
+in the figure; lay three threads in this manner, inserting your needle
+the third time one loop further on. Then cover the three threads thickly
+with button-holing.
+
+[Illustration: FIG. 180. BUTTON-HOLE BARS.]
+
+DIFFERENT KINDS OF SCALLOPS (figs. 181, 182, 183).--The outlining,
+padding and button-holing of these scallops is executed in the manner
+already described. Be careful to adapt the length of the stitches to the
+shape and size of the scallops. If they are pointed (figs. 182, 183),
+the stitches will have to be set very closely together on the inner
+line, and a little play allowed them on the outer, to come exactly to
+the point, which should be very sharply defined.
+
+[Illustration: FIG. 181. ROUND, BUTTON-HOLED SCALLOPS.]
+
+[Illustration: FIG. 182. LARGE, POINTED, BUTTON-HOLED SCALLOPS.]
+
+[Illustration: FIG. 183. SMALL, POINTED, BUTTON-HOLED SCALLOPS.]
+
+ROSE SCALLOPS (figs. 184 and 185).--These are, large button-holed
+scallops with indented edges, in the one case, rounded at the top and
+sharply pointed at the join; in the other, pointed at the top, and
+joined at the bottom by a straight bar of button-holing.
+
+[Illustration: FIG. 184. ROUNDED ROSE SCALLOPS.]
+
+[Illustration: FIG. 185. POINTED ROSE SCALLOPS.]
+
+EYELET HOLES (figs. 186, 187, 188).--Outline the eyelet holes very
+carefully first by running a thread round them, then cut out the
+enclosed stuff with a sharp pair of finely pointed scissors, and edge
+the hole with plain overcasting stitches, worked from left to right.
+
+[Illustration: FIG. 186. OVERCAST EYELET HOLES.]
+
+When you have a long row of eyelet holes to make, outline the upper and
+lower halves alternately, first on one side and then on the other, using
+two threads, and then overcast them in the same way. The double crossing
+of the working threads between the eyelet holes makes them much
+stronger, than if each hole were finished off separately, and the thread
+passed underneath from one to the other.
+
+[Illustration: FIG. 187. BUTTON-HOLED SHADED EYELET HOLES.]
+
+[Illustration: FIG. 188. SHADED EYELET HOLES HALF OVERCAST, HALF
+BUTTON-HOLED.]
+
+The lower halves of shaded eyelet holes, (see figs. 187 and 188), are
+worked with very short stitches, and the upper halves with long ones;
+they may be edged entirely, either with button-holing or overcasting, or
+half with one and half with the other.
+
+SIX LEAVES IN RAISED SATIN STITCH (fig. 189).--Raised satin stitch is
+chiefly used for working flowers, leaves, petals, dots, initials and
+monograms. After tracing the outline of the design, fill in the centres
+with a padding of long, close stitches for which you can again take
+Coton à repriser D.M.C[A] and then, beginning always at the point of the
+leaf, see letter A, cover it with flat, perfectly even stitches, worked
+from right-to-left. B illustrates a leaf, divided through the middle by
+a line of overcasting; C, one with a corded vein; D, a divided leaf
+worked in sloping satin stitch; E, a leaf, with a corded vein and framed
+in sloping satin stitch; F, a leaf worked half in satin stitch, half in
+back-stitch and straight stem stitch.
+
+[Illustration: FIG. 189. SIX LEAVES IN RAISED SATIN STITCH.]
+
+Leaves and flowers of all descriptions, can be executed in any of these
+stitches, and in different combinations of the same.
+
+SIX WAYS OF MAKING DOTS (fig. 190).--Dots, when they are well made,
+are exceedingly effective in white embroidery, particularly if they are
+worked in a variety of stitches. Dot A is worked in raised satin stitch;
+B, in raised satin stitch, framed in back stitch; C, in raised satin
+stitch, framed in twisted knot stitch; D is composed of several post
+stitches of different lengths, set in a frame of stem stitches; E is
+worked in back-stitch, and F consists of a small eyelet hole, with a
+corded setting, which forms the centre.
+
+[Illustration: FIG. 190. SIX WAYS OF MAKING DOTS.]
+
+VENETIAN EMBROIDERY (fig. 191).--Scallops, worked in very high relief,
+called Venetian embroidery, are an imitation on stuff of Venetian lace.
+
+Real Venetian point is entirely needle-made; in the embroidered
+imitations of it, the stuff takes the place of the needle-made lace
+foundation. To make it more like the original however, the ground is
+seldom left plain, but is covered with fancy stitches, such as are
+represented in the illustration, or with one or other of the damask
+stitches in figs. 146 to 170. The button-hole bars may be made with or
+without picots. A full description of the latter will be found in the
+chapters on net embroidery, and Irish lace. The space to be buttonholed,
+must be well padded, for thereon depends the roundness of the
+embroidery. For this purpose take 6 or 8 threads of Coton à repriser
+D.M.C No. 25,[A] and fasten them down on to the pattern with loose
+stitches, laying on extra threads, and cutting them gradually away,
+according to the width the line is to be. The stuff underneath the
+bars should only be cut away when the embroidery is quite finished.
+
+[Illustration: FIG. 191. VENETIAN EMBROIDERY.]
+
+RENAISSANCE EMBROIDERY (figs. 192 and 193).--This is the term applied,
+more especially in France, to embroidery patterns, which are worked
+entirely in button-holing, and connected by button-hole bars without
+picots, as shewn in the two accompanying figures. The outside edge in
+fig. 193, is embellished with picots, described in the chapters just
+referred to.
+
+[Illustration: FIG. 192. RENAISSANCE EMBROIDERY.]
+
+[Illustration: FIG. 193. RENAISSANCE EMBROIDERY.]
+
+RICHELIEU EMBROIDERY (fig. 194).--The name given to embroidery of a
+similar kind to the former, but in which the connecting bars, instead of
+being left plain as they are in the Renaissance embroidery, are
+ornamented with picots.
+
+[Illustration: FIG. 194. RICHELIEU EMBROIDERY.]
+
+MADEIRA WORK (figs. 195, 196, 197).--This kind of embroidery, which
+consists chiefly of eyelet holes, and is distinguished for the
+excellence of its workmanship used to be known as English, but is now
+generally called Madeira work, from the island where it originated. The
+scallops in figs. 195 and 197, are bordered with shaded eyelet holes,
+worked half in button-hole stitch, half in overcasting; the finely
+scalloped edge, in fig. 196, is entirely button-holed. In working eyelet
+holes, the material must always be turned in, up to the inside line, and
+completely worked in, underneath the in order that no loose threads may
+be visible on the wrong side.
+
+[Illustration: FIG. 195. MADEIRA WORK.]
+
+[Illustration: FIG. 196. MADEIRA WORK. MATERIALS: Coton Madeira D.M.C
+No. 40, 50 or 60. (Special cotton for Madeira work)[A]]
+
+[Illustration: FIG. 197. MADEIRA-WORK. MATERIALS: Coton Madeira D.M.C
+No. 40, 50 or 60. (Special cotton for Madeira-work).]
+
+SWISS EMBROIDERY FRAME (fig. 198).--Letters, monograms, coronets and
+the like, require extreme care in the working, and can only be really
+well done in a frame. The round Swiss frame, or tambour frame, is the
+one most commonly used. It consists of two wooden hoops, fitting loosely
+into each other; the inner one, fastened to a support with a wooden
+screw let into the lower part of it, with which to fasten the frame to
+the table. The outside hoop is loose.
+
+Place the fabric to be embroidered over the smaller hoop, the pattern in
+the middle, and press the other down over it so that it is tightly
+stretched and fixed between the two hoops.
+
+A leathern strap with holes and a buckle, sometimes takes the place of
+the second hoop.
+
+[Illustration: FIG. 198. SWISS EMBROIDERY FRAME.]
+
+ORDINARY EMBROIDERY FRAME (fig. 199).--Tambour frames can only be used
+for embroidering pocket-handkerchiefs and other small articles; all
+larger work has to be done in an ordinary frame. Sew a piece of strong
+stuff into the frame, stretch it as tightly and evenly as possible, and
+cut out a square in the middle to the size of the pattern. Then tack
+your work in underneath, straight to the thread, dividing it out
+carefully with pins first, to ensure its being set in perfectly evenly.
+Roll or fold up the rest of the stuff over the edges of the frame,
+and secure it with a few stitches or pins, to keep it out of the way of
+your hand as you work.
+
+[Illustration: FIG. 199. ORDINARY EMBROIDERY FRAME.]
+
+ALPHABETS FOR MONOGRAMS (figs. 200 to 205).--On account of the
+difficulty of devising a good monogram for marking under-linen, we
+subjoin two alphabets, by the aid of which our workers will be able to
+compose their own.
+
+The letters are of a good medium size, which can be magnified or reduced
+according to the worker's own taste.
+
+For any such modifications, we would again draw our reader's attention
+to the directions given in the concluding chapter. The three first
+plates represent large wide letters, intended to contain or encompass
+the more elongated ones, represented in the fourth and fifth plates,
+figs. 203 and 204.
+
+The interlacing of the letters requires to be carefully done, and our
+workers should study the following specimens, so as to learn the
+stitches also, which are most suitable for this branch of embroidery.
+
+[Illustration: FIG. 200. ALPHABETS FOR MONOGRAMS. Outside letters A to
+H.]
+
+[Illustration: FIG. 201. ALPHABETS FOR MONOGRAMS. Outside letters J to
+Q.]
+
+[Illustration: FIG. 202. ALPHABETS FOR MONOGRAMS. Outside letters R to
+Y.]
+
+[Illustration: FIG. 203. ALPHABETS FOR MONOGRAMS. Inside letters A to
+L.]
+
+[Illustration: FIG. 204. ALPHABETS FOR MONOGRAMS. Inside letters M to
+X.]
+
+[Illustration: FIG. 205. ALPHABETS FOR MONOGRAMS. Last inside and
+outside letters.]
+
+MONOGRAM COMPOSED OF LETTERS A AND D (fig. 206).--Here, letter A is
+worked in flat satin stitch, in Bleu-Indigo 312, and set in stem stitch,
+worked in Rouge-Turc 321. D as a contrast to A, is embroidered in
+transverse bars, the left part in pale blue and white, the right in pale
+blue and dark blue. The little ornaments may be worked according to
+fancy, either in white, or in one of the given colours.
+
+[Illustration: FIG. 206. MONOGRAM COMPOSED OF LETTERS A AND D DRAWN FROM
+THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton à broder D.M.C Nos. 100 to
+150. COLOURS: Bleu-Indigo 334, Rouge-Turc 321 and white.[A]]
+
+MONOGRAM COMPOSED OF LETTERS V AND S (fig. 207).--The flat satin
+stitch in both letters is worked in white; the setting, is in red, in
+short stem stitch, or if preferred, in knotted back stitch.
+
+[Illustration: FIG. 207. MONOGRAM COMPOSED OF LETTERS V AND S DRAWN FROM
+THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton à broder D.M.C No. 120.
+COLOURS: White and Rouge-Cardinal 305.[A]]
+
+MONOGRAM COMPOSED OF LETTERS R AND C (fig. 208).--These are worked in
+black and grey, for mourning; the way C is divided, admits of a variety
+in the stitch; for instance, the back-stitches, in the illustration, may
+be replaced by very small eyelet holes.
+
+[Illustration: FIG. 208. MONOGRAM COMPOSED OF LETTERS R AND C DRAWN FROM
+THE ALPHABETS OF MONOGRAMS. MATERIALS: Fil à dentelle D.M.C No. 150.
+COLOURS: Gris-Cendre 318 and Noir grand Teint 310.]
+
+MONOGRAM COMPOSED OF LETTERS G AND E (fig. 209).--The flat satin
+stitching and back-stitching in E, and the stem-stitched edges of G are
+worked in white Coton à broder D.M.C; the inside of G in ivory white
+Coton surfin D.M.C.
+
+[Illustration: FIG. 209. MONOGRAM COMPOSED OF LETTERS G AND E DRAWN FROM
+THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton à broder D.M.C No. 120
+white and Coton surfin D.M.C No. 120, unbleached.]
+
+BORDER IN GOBELIN STITCH (fig. 210).--Gobelin embroidery is merely
+raised satin stitch, worked directly upon the pattern, without any
+foundation, or padding. The effectiveness of this kind of embroidery,
+which appears so complicated and is really so easy, and the many ways in
+which it can be utilised, soon brought it into favour. It can be worked
+on the article itself, or on stripes, laid on afterwards, with a
+hem-stitch bordering. The original of fig. 210 was in blue and red;
+Bleu Indigo 312 for the grounding, Rouge-Turc 321, for the setting in
+stem-stitch. The herring-boning along the edges of the pattern, top and
+bottom, is also in red.
+
+[Illustration: FIG. 210. BORDER IN GOBELIN STITCH. MATERIALS: Coton à
+broder D.M.C No. 35 in two different colours such as: Bleu-Indigo 312
+and Rouge-Cardinal 304, Rouge-Grenat 358 and 309 or, Gris-Tilleul 393
+and Rouge-Cardinal 305.[A]]
+
+Should a different selection of colours be made, it is important to
+remember that in all cases a sharp contrast is desirable.
+
+ALPHABET AND NUMERALS, LEFT BLANK, AND OUTLINED BY THE GROUNDING,
+WORKED IN GOBELIN STITCH (figs. 211 to 215).
+
+[Illustration: FIG. 211. ALPHABET LEFT BLANK AND OUTLINED BY THE
+GROUNDING. Letters A to N.]
+
+[Illustration: FIG. 212. ALPHABET LEFT BLANK AND OUTLINED BY THE
+GROUNDING. Letters O to Z.]
+
+[Illustration: FIG. 213. LETTER O, FROM THE ALPHABET GIVEN IN FIGS. 211
+AND 212.]
+
+[Illustration: FIG. 214. NUMERALS LEFT BLANK AND OUTLINED BY THE
+GROUNDING.]
+
+The border worked in Gobelin stitch, illustrated in fig. 210, suggested
+to us the idea of an alphabet and numerals, to be executed in a similar
+style, left blank, that is to say, and outlined by a grounding in
+Gobelin stitch, which are better suited to embroideries of the kind than
+those generally used. Our limited space prevents us from giving all the
+letters in the diagonal position they are intended to occupy on the
+article itself. O and W only, are represented in the right position. No
+difficulty will be found in copying the other letters, in giving them
+the proper direction.
+
+[Illustration: FIG. 215. LETTER W, FROM THE ALPHABET GIVEN IN FIG. 211
+AND 212.]
+
+In order to economize room, J and H are represented in one square, but
+they are easily distinguishable from each other.
+
+Fig. 214 represents the numerals, executed in the same way. We should
+like to draw our readers attention to a few other ways in which letters
+and numerals may be outlined by the back-ground; for example, the solid
+parts can be worked either in plain or twisted knot stitch (figs. 177
+and 178); in very fine chain stitch; in old German knot or bead stitch
+(fig. 873), or even in piqué embroidery (fig. 877).
+
+BORDER OUTLINED BY GROUNDING, WORKED IN GOBELIN AND STEM STITCH (fig.
+216). The grounding of this pattern is worked on stiff white linen, and
+entirely in Rouge-Turc 321, and the outlining in Noir grand Teint 310.
+The same pattern can equally well be worked on gauzes and other
+transparent stuffs, but with Coton à repriser, instead of Coton à broder
+D.M.C, for the solid parts. Two shades of Rouge-Grenat, one dark and one
+very light, may be taken instead, or two of Jaune-Rouille, or of
+Violet-Mauve, employing always the lighter shade for the grounding and
+the darker for the setting.
+
+[Illustration: FIG. 216. BORDER, OUTLINED BY THE GROUNDING WORKED IN
+GOBELIN AND STEM STITCH. First part.]
+
+[Illustration: FIG. 216. Second part. MATERIALS: Coton à broder D.M.C
+No. 50.--COLOURS: Rouge-Turc 321 and Noir grand Teint 310.[A]]
+
+Be careful, in the grounding, not to make the red stitches near the
+edge, longer than they are represented in the illustration and to set
+the black stem stitches as close as possible to the grounding.
+
+The pattern, which could only be reproduced in the original size, had to
+be divided in two, to fit the page. In copying it, join the A and B of
+the first part to the A and B of the second; the same in fig. 217, each
+time the pattern is repeated, the flowers are to droop from the + as
+seen from the position of the buds in the first part, at the beginning
+of the drawing.
+
+FLOWER GARLAND IN DIFFERENT KINDS OF STITCHES (figs. 217 and
+218).--Most of the stitches, described at the beginning of this chapter,
+will be found in this graceful garland, in the execution of which a
+considerable variety of colours can be introduced. The rose-buds may be
+worked in two shades of Vert-Pistache and of Rouge-Grenat, in the
+stitches described in figs. 173, 177, 189 A; the forget-me-nots, in two
+or even three shades of Bleu-Indigo, in raised satin stitch and knotted
+stitch; the slender green leaves in Vert-de-gris, or Gris-Tilleul, the
+stamens in Jaune-Citron, and the stalks of the roses in Brun-Acajou.
+
+[Illustration: FIG. 217. FLOWER-GARLAND IN DIFFERENT KINDS OF STITCHES.
+First part.]
+
+[Illustration: FIG. 217. Second part. MATERIALS: Coton à broder D.M.C
+No. 40. COLOURS: Rouge-Grenat 326 and 335, Bleu-Indigo 312 and 334,
+Vert-Pistache 319 and 320, Vert-de-gris 474 and 475, Brun-Acajou 301,
+Jaune-citron 446.]
+
+[Illustration: FIG. 218. SHOWING THE WORKING OF THE OUTSIDE STITCHES IN
+FIG. 217.]
+
+The border that completes this charming pattern, consists of four rows
+of button holing, worked in four colours. The first row in our
+illustration is worked in pale pink, followed by three shades of green,
+the palest of which is used for the second row of stitches.
+
+When these rows are worked upon a satine or cambric foundation, it is
+advisable to begin by making a small drawing, in which the height of the
+stitches and the distance between them is accurately marked out, then
+prick the pattern through and pounce it upon the material beneath.
+
+When they are worked on a material, the threads of which can be counted
+no such precaution is necessary.
+
+INSERTION IN GOBELIN AND STEM STITCH (fig. 219).--Owing to the
+shortness of the stitches, this pattern is easier to work than the
+foregoing ones. The little flowers are embroidered alternately in dark
+and light red; the setting varies to correspond, the light red flower
+being set in dark red, and vice versa. The interior of the leaves is in
+light green and the setting, as well as the connecting bars, in dark
+green.
+
+[Illustration: FIG. 219. INSERTION IN GOBELIN AND STEM STITCH.
+MATERIALS: Coton à broder D.M.C No. 35--COLOURS: Rouge-Cardinal 347 and
+Rouge-Géranium 352 with Gris-Tilleul 392 and 331, or Bleu-Indigo 312 and
+334 with Vert-Mousse 469 and 471, or Violet-Mauve 375 and 376 with
+Jaune-Rouille 364 365.[A]]
+
+STRIPES OF EMBROIDERY WITH LACE INSERTION BETWEEN (fig. 220).--We
+conclude this chapter, by showing how stripes of embroidery can be used
+alone, or in conjunction, either with bands of open-work, or lace,
+crochet, or net insertion. Such combinations are useful for ornamenting
+aprons, table-cloths, curtains etc., every description in short of
+household linen and of children's garments. One great advantage,
+moreover, which stripes of this kind, have over larger pieces of
+embroidery is that they require neither frame nor pillow, nor wearisome
+counting of stitches, but can be worked in the hand, at all times and
+places.
+
+[Illustration: FIG. 220. STRIPES OF EMBROIDERY WITH INSERTION BETWEEN.]
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: STRIPE OF GOLD EMBROIDERY IN GOLD THREAD, PURL, AND
+FLATTENED GOLD WIRE.]
+
+
+
+
+Flat stitch and Gold embroidery.
+
+
+The terms, flat stitch and gold embroidery, suggest as a rule,
+needle-work upon rich materials, such as velvet, brocade, plush and the
+like.
+
+Nevertheless, a great deal of beautiful embroidery is to be met with, in
+silk and gold thread upon quite common stuffs; Persian and Moorish
+embroidery for instance, both remarkable for their delicacy and
+minuteness, and executed upon ordinary linen, or cotton fabrics.
+
+As a fact, the material is quite a secondary matter; almost any will do
+equally well as a foundation, for the stitches described in these pages.
+Flat stitch, and some of the other stitches used in gold embroidery, can
+be worked with any kind of thread, but best of all with the D.M.C
+cottons.
+
+FLAT STITCH EMBROIDERY.--Decorative designs, and conventional flowers,
+are the most suitable for flat stitch embroidery; a faithful
+representation of natural flowers should not be attempted, unless it be
+so well executed, as to produce the effect of a painting and thus
+possess real artistic merit.
+
+ENCROACHING FLAT STITCH (fig. 221).--Small delicate flowers, leaves,
+and arabesques, should in preference, be worked either in straight flat
+stitch (figs. 189 and 190) or in encroaching flat stitch. The stitches
+should all be of equal length, the length to be determined by the
+quality of the thread; a fine thread necessitating short, and a coarse
+one, long stitches. The stitches should run, one into the other, as
+shown in the illustration. They are worked in rows, those of the second
+row encroaching on those of the first, and fitting into one another.
+
+[Illustration: FIG. 221. ENCROACHING SATIN STITCH.]
+
+Work your flowers and leaves from the point, never from the calyx or
+stalk. If they are to be shaded, begin by choosing the right shade for
+the outside edge, varying the depth according to the light in which the
+object is supposed to be placed. The stitches should always follow the
+direction of the drawing.
+
+ORIENTAL STITCH (figs. 222, 223, 224).--The three following stitches,
+which we have grouped under one heading, are known also, under the name
+of Renaissance or Arabic stitches. We have used the term Oriental,
+because they are to be met with in almost all Oriental needlework and
+probably derive their origin from Asia, whose inhabitants have, at all
+times, been renowned for the beauty of their embroideries.
+
+[Illustration: FIG. 222. ORIENTAL STITCH.]
+
+[Illustration: FIG. 223. ORIENTAL STITCH.]
+
+These kind of stitches are only suitable for large, bold designs. Draw
+in the vertical threads first; in working with a soft, silky material,
+to economise thread, and prevent the embroidery from becoming too heavy,
+you can begin your second stitch close to where the first ended.
+
+[Illustration: FIG. 224. ORIENTAL STITCH.]
+
+But if the thread be one that is liable to twist, take it back
+underneath the stuff and begin your next stitch in a line with the
+first, so that all the stitches of the first layer, which form the
+grounding, are carried from the top to the bottom. The same directions
+apply to figs. 223, 224 and 226.
+
+When you have laid your vertical threads, stretch threads horizontally
+across, and fasten them down with isolated stitches, set six vertical
+threads apart. The position of these fastening stitches on the
+transverse threads must alternate in each row, as indicated in fig. 222.
+
+For fig. 223, make a similar grounding to the one above described,
+laying the horizontal threads a little closer together, and making the
+fastening stitches over two threads.
+
+In fig. 224, the second threads are carried diagonally across the
+foundation-threads, and the fastening stitches are given a similar
+direction.
+
+For these stitches, use either one material only, a fleecy thread like
+Coton à repriser D.M.C for instance, or else two, such as Coton à
+repriser D.M.C for the grounding, and a material with a strong twist
+like Cordonnet 6 fils D.M.C or Fil à pointer D.M.C for the stem stitch.
+
+PLAITED STITCH (fig. 225).--When the vertical stitches are laid, a
+kind of plait is formed in the following way. Pass the thread three
+times, alternately under and over three foundation threads. To do this
+very accurately, you must take the thread back, underneath, to its
+starting-point; and consequently, always make your stitch from right to
+left.
+
+[Illustration: FIG. 225. PLAITED STITCH.]
+
+If you have chosen a washing material, and D.M.C cottons to work with,
+use one colour of cotton for the foundation, and Chiné d'or D.M.C No.
+30, for the plaited stitch.
+
+MOSAIC STITCH (fig. 226).--In old embroideries we often find this
+stitch, employed as a substitute for plush or other costly stuffs,
+appliquéd on to the foundation. It is executed in the same manner as the
+four preceding stitches, but can only be done in thick twist, such as
+Cordonnet 6 fils D.M.C or Ganse turque D.M.C.
+
+[Illustration: FIG. 226. MOSAIC STITCH.]
+
+Each stitch should be made separately, and must pass underneath the
+foundation, so that the threads which form the pattern are not flat, as
+they are in the preceding examples, but slightly rounded.
+
+BORDER IN PERSIAN STITCH (fig. 227).--This stitch, of Persian origin,
+resembles the one represented in fig. 175. Instead of bringing the
+needle out, however, as indicated in fig. 176, take it back as you see
+in the illustration, to the space between the outlines of the drawing,
+and behind the thread that forms the next stitch. Before filling in the
+pattern, outline it with short stem stitches, or a fine cord, laid on,
+and secured with invisible stitches.
+
+[Illustration: FIG. 227. BORDER IN PERSIAN STITCH. MATERIALS: Cordonnet
+6 fils D.M.C No. 14, 15, 20 or 25. COLOURS: Noir grand Teint 310,
+Vert-Mousse 469 and 471, Rouge-Cardinal 346, Jaune-vieil-Or 680,
+Violet-Mauve 315 and 316.]
+
+This graceful design which can be utilised in various ways is formed of
+leaves of 7 lobes, worked alternately in dark and light green; of
+flowers of 3 petals, worked in red and the centres in yellow, and of
+small leaves in violet. The setting, throughout, is worked either in
+black or in dark brown.
+
+STRIPE WORKED IN FLAT STITCH (fig. 228).--This pattern, simple as it
+is, will be found both useful and effective for the trimming of all
+kinds of articles of dress. The bottom edge should be finished off with
+rounded scallops or toothed vandykes worked in button-hole stitch. The
+flowers in flat stitch, are worked alternately, in Rouge-Géranium 351
+and 352, and the leaves alternately, in Vert-de-gris 474 and 475; the
+centres of the flowers are worked in knot stitch, in Jaune-Rouille 308.
+
+[Illustration: FIG. 228. STRIPE WORKED IN FLAT STITCH.
+MATERIALS--According to the stuff: Fil à dentelle D.M.C, Cordonnet 6
+fils D.M.C or Coton à repriser D.M.C[A]
+
+COLOURS--For the flowers: Rouge-Géranium 351 and 352.--For the knot
+stitch: Jaune-Rouille 308.--For the foliage: Vert-de-gris 474 and
+475.[A]]
+
+BOUQUET IN STRAIGHT AND ENCROACHING FLAT STITCH (fig. 229). As we have
+already observed, it is by no means easy to arrange the colours in an
+embroidery of this kind, so as to obtain a really artistic effect.
+Whether the design be a conventional one or not, the great point is to
+put in the lights and shadows at the right place. If you want to make a
+faithful copy of a natural flower, take the flower itself, or a coloured
+botanical drawing of it, and if possible, a good black and white drawing
+of the same, match the colours in 6 or 7 shades, by the flower itself,
+keeping them all rather paler in tone, and take the black and white
+drawing as a guide for the lights and shadows. The colours for the
+leaves and petals, which should always be worked from the outside,
+should be chosen with a view to their blending well together. The
+stamens and the centres of the flowers should be left to the last, but
+the veins and ribs of the leaves, should always be put in before the
+grounding.
+
+[Illustration: FIG. 229. BOUQUET IN STRAIGHT AND ENCROACHING FLAT
+STITCH. MATERIALS: Coton à repriser D.M.C No. 50. COLOURS--For the
+forget-me-nots: Bleu-Indigo 312, 322 and 334.--For the other flowers:
+Jaune-Rouille 365 and 366, Violet-Mauve 376, 316 and 377, Vert-Pistache
+369.--For the foliage: Vert-de-Gris 474, Vert-Mousse 468, 469, 471 and
+472.--For the stalks: Brun-Havane 455 and 457.[A]]
+
+For embroideries of this kind, suitable materials must be selected; the
+more delicate and minute the design, and the more varied the colouring,
+the softer and finer should be the quality of the material employed.
+Specially to be recommended, as adapted to every form of stitch and as
+being each of them capable of being subdivided, are Filoselle,
+Marseille, open Chinese silk and Coton à repriser D.M.C.[A].
+
+FLOWERS EMBROIDERED IN THE CHINESE MANNER (fig. 230).--All Chinese
+embroidery displays undoubted originality and wonderful skill and
+judgment in the choice of material and colour. It excels particularly,
+in the representation of figures, flowers, and animals, but differs from
+European work in this, that instead of using flat stitch and making the
+colours blend together as we do, the Chinese put them, side by side,
+without intermediate tones, or they sometimes work the whole pattern in
+knot stitch. The little knots, formed by this stitch are generally set
+in gold thread.
+
+[Illustration: FIG. 230. FLOWERS EMBROIDERED IN THE CHINESE MANNER.]
+
+Often too, instead of combining a number of colours, as we do, the
+Chinese fill in the whole leaf with long stitches and upon this
+foundation, draw the veins in a different stitch and colour. Even the
+flowers, they embroider in the same way, in very fine thread, filling
+in the whole ground first, with stitches set very closely together and
+marking in the seed vessels afterwards, by very diminutive knots, wide
+apart.
+
+CHINESE ENCROACHING FLAT STITCH (fig. 231).--Another easy kind of
+embroidery, common in China, is done in encroaching flat stitch. The
+branch represented in our drawing, taken from a large design, is
+executed in three shades of yellow, resembling those of the
+Jaune-Rouille series on the D.M.C colour card.[A]
+
+[Illustration: FIG. 231. CHINESE ENCROACHING FLAT STITCH.
+
+MATERIALS: Cordonnet 6 fils D.M.C Nos. 20 to 50 or Chiné d'or D.M.C.
+
+COLOURS--For the cotton: Jaune-Rouille 363, 308, 366.--For Chiné d'or:
+Red and gold, blue and gold, green and gold.[A]]
+
+The stitches of the different rows encroach upon one another, as the
+working detail shows, and the three shades alternate in regular
+succession. Flowers, butterflies and birds are represented in Chinese
+embroidery, executed in this manner. It is a style, that is adapted to
+stuffs of all kinds, washing materials as well as others, and can be
+worked in the hand and with any of the D.M.C threads and cottons.[A]
+
+RAISED EMBROIDERY (figs. 232 and 233).--Raised embroidery worked in
+colours, must be stuffed or padded first, like the white embroidery in
+fig. 191. If you outline your design with a cord, secure it on the right
+side with invisible stitches, untwisting the cord slightly as you insert
+your needle and thread, that the stitch may be hidden between the
+strands. Use Coton à repriser D.M.C No. 25, for the padding. These
+cottons are to be had in all the colours, indicated in the D.M.C colour
+card, and are the most suitable for the kind of work.
+
+[Illustration: FIG. 232. RAISED EMBROIDERY. PREPARATORY WORK.]
+
+[Illustration: FIG. 233. RAISED EMBROIDERY. WORK COMPLETED.]
+
+Use Coton à broder D.M.C for the transverse stitches and over the smooth
+surface which is thus formed, work close lines of satin stitch in silk
+or cotton; the effect produced, will bear more resemblance to appliqué
+work than to embroidery. The centres of the flowers are filled in with
+knot stitches, which are either set directly on the stuff or on an
+embroidered ground.
+
+EMBROIDERY IN THE TURKISH STYLE (figs. 234 and 235).--This again is a
+style of embroidery different from any we are accustomed to. The solid
+raised parts are first padded with common coarse cotton and then worked
+over with gold, silver, or silk thread.
+
+Contrary to what is noticeable in the real Turkish embroidery, the
+preparatory work here is very carefully done, with several threads of
+Coton à repriser D.M.C used as one. A rope of five threads is laid down,
+and carried from right to left and from left to right, across the width
+of the pattern. After laying it across to the right, as explained in
+fig. 234, bring the needle out a little beyond the space occupied by the
+threads, insert it behind them and passing it under the stuff, draw it
+out at the spot indicated by the arrow. The stitch that secures the
+threads, should be sufficiently long to give them a little play, so that
+they may lie perfectly parallel, side by side, over the whole width of
+the pattern.
+
+This kind of work can be done on wollen or cotton materials, and
+generally speaking, with D.M.C cottons, and gold thread shot with colour
+(Chiné d'or D.M.C.)
+
+Very pretty effects can be obtained, by a combination of three shades of
+Rouge-Cardinal 347, 346 and 304, with Chiné d'or gold and dark blue or
+with Chiné d'or, gold and light blue.[A]
+
+This kind of embroidery may be regarded as the transition from satin
+stitch to gold embroidery.
+
+[Illustration: FIG. 234. EMBROIDERY IN THE TURKISH STYLE. PREPARATORY
+WORK.]
+
+[Illustration: FIG. 235. EMBROIDERY IN THE TURKISH STYLE. WORK
+COMPLETED.]
+
+GOLD EMBROIDERY.--Up to the present time, dating from the end of the
+eighteenth century, gold embroidery has been almost exclusively confined
+to those who made it a profession; amateurs have seldom attempted what,
+it was commonly supposed, required an apprenticeship of nine years to
+attain any proficiency in.
+
+But now, when it is the fashion to decorate every kind of fancy article,
+whether of leather, plush, or velvet, with monograms and ingenious
+devices of all descriptions, the art of gold embroidery has revived and
+is being taken up and practised with success, even by those to whom
+needlework is nothing more than an agreeable recreation.
+
+We trust that the following directions and illustrations will enable our
+readers to dispense with the five years training, which even now,
+experts in the art consider necessary.
+
+IMPLEMENTS AND MATERIALS.--The first and needful requisites for gold
+embroidery, are a strong frame, a spindle, two pressers, one flat and
+the other convex, a curved knife, a pricker or stiletto, and a tray, to
+contain the materials.
+
+EMBROIDERY FRAME (fig. 236).--The frame, represented here, is only
+suitable for small pieces of embroidery, for larger ones, which have to
+be done piece by piece, round bars on which to roll up the stuff, are
+desirable, as sharp wooden edges are so apt to mark the stuff.
+
+[Illustration: FIG. 236. EMBROIDERY FRAME FOR GOLD EMBROIDERY.]
+
+Every gold embroidery, on whatever material it may be executed, requires
+a stout foundation, which has to be sewn into the frame, in doing which,
+hold the webbing loosely, almost in folds, and stretch the stuff very
+tightly. Sew on a stout cord to the edges of the foundation, which are
+nearest the stretchers, setting the stitches, 3 or 4 c/m. apart. Then
+put the frame together and stretch the material laterally to its fullest
+extent, by passing a piece of twine, in and out through the cord at the
+edge and over the stretchers. Draw up the bracing until the foundation
+is strained evenly and tightly. Upon this firm foundation lay the stuff
+which you are going to embroider, and hem or herring-bone it down,
+taking care to keep it perfectly even with the thread of the foundation
+and, if possible, more tightly stretched to prevent it from being
+wrinkled or puckered when you come to take it off the backing. For
+directions how to transfer the pattern to your stuff, and prepare the
+paste with which the embroidery has to be stiffened before it is taken
+out of the frame, see the concluding chapter in the book.
+
+THE SPINDLE (fig. 237).--The spindle to wind the gold thread upon,
+should be 20 c/m. long and made of hard wood. Cover the round stalk and
+part of the prongs with a double thread of Coton à broder D.M.C No. 16,
+or pale yellow Cordonnet D.M.C No. 25, and terminate this covering with
+a loop, to which you fasten the gold thread that you wind round the
+stalk.
+
+[Illustration: FIG. 237. THE SPINDLE.]
+
+THE PRESSERS (figs. 238 and 239).--These, so called 'pressers', are
+small rectangular boards with a handle in the middle. The convex one,
+fig. 238, should be 15 c/m. long by 9 broad; the other, fig. 239, which
+is quite flat, should be 32 c/m. by 20.
+
+[Illustration: FIG. 238. CONVEX PRESSER, FOR PRESSING THE STUFF ON THE
+WRONG SIDE.]
+
+[Illustration: FIG. 239. FLAT PRESSER FOR LAYING ON THE PATTERN.]
+
+Having cut out your pattern in cartridge paper, lay it down, on the
+wrong side, upon a board thinly spread with embroidery paste. Let it get
+thoroughly impregnated with the paste and then transfer it carefully to
+its proper place on the stuff; press it closely down with the large
+presser, and with the little convex one rub the stuff firmly, from
+beneath, to make it adhere closely to the pasted pattern; small, pointed
+leaves and flowers will be found to need sewing down besides, as you
+will observe in fig. 242, where each point is secured by stitches. The
+embroidery should not be begun until the paste is perfectly dry, and the
+pattern adheres firmly to the stuff.
+
+THE KNIFE (fig. 240).--Most gold embroideries require a foundation of
+stout cartridge paper, and, in the case of very delicate designs, the
+paper should further be covered with kid, pasted upon it.
+
+[Illustration: FIG. 240. THE KNIFE. REDUCED SCALE.]
+
+Transfer the design on to the paper or kid, in the manner described in
+the concluding chapter, and cut it out with the knife. You can only make
+very short incisions with this tool, which should be kept extremely
+sharp and held, in cutting, with the point outwards, and the rounded
+part towards you, as shown in the drawing.
+
+TRAY TO CONTAIN THE MATERIALS (fig. 241).--Cut out as many divisions
+in a thin board, or sheet of stout cardboard, as you will require
+materials for your embroidery; these include not only gold thread of all
+kinds, but likewise beads and spangles of all sorts and sizes as well as
+bright and dead gold and silver purl, or bullion, as it is also called.
+For the pieces of purl alone, which should be cut ready to hand, you
+should have several divisions, in order that the different lengths may
+be kept separate.
+
+[Illustration: FIG. 241. TRAY TO CONTAIN THE MATERIALS.]
+
+USE OF THE SPINDLE (fig. 242).--Gold embroidery thread should be wound
+double upon the spindle. It is laid backwards and forwards and secured
+with two stitches at each turn, as described in fig. 234. Small holes
+where the stitches are to come, have first to be pierced in the material
+with the pricker, from the right side, for the needle to pass through.
+In soft stuffs, this is unnecessary, but in brocaded materials, and in
+plush and leather, where every prick shows and would often spoil the
+whole effect, it is indispensable.
+
+[Illustration: FIG. 242. USE OF THE SPINDLE]
+
+Gold thread which is stiff and difficult to work with, can be rendered
+soft and pliable by putting it into the oven, or any other warm place,
+for a short time.
+
+EMBROIDERY WITH GOLD PURL (fig. 243).--Embroidery is the easiest kind
+of gold embroidery; you have only to thread the little pieces of purl,
+cut into the required lengths beforehand, like beads on your needle, and
+fasten them down upon the foundation like the beads in bead-work. Smooth
+and crimped gold purl, or silver and gold purl used together, look
+exceedingly well, particularly where the pattern requires effects of
+light and shade to be reproduced.
+
+[Illustration: FIG. 243. EMBROIDERY WITH GOLD PURL.]
+
+EMBROIDERY IN DIAMOND STITCH (fig. 244).--The diamond stitch is a
+charming novelty in gold embroidery. Short lengths of purl, not more
+than 1½ m/m. long, are threaded on the needle, and the needle is put
+in and drawn out at the same hole. These stitches which resemble knot
+stitches, form so many little glittering knots, turned alternately to
+the right and left, and look like seed-diamonds in appearance, more
+especially, when they are made in silver purl. The shorter the pieces
+are, and the more closely you set the knots together, the handsomer and
+richer the effect will be.
+
+[Illustration: FIG. 244. DIAMOND STITCH.]
+
+CHINESE GOLD EMBROIDERY (figs. 245 and 246).--We recommend the
+imitation of Chinese gold embroidery to our readers as an easy and
+grateful recreation. It consists simply in laying down a gold thread, on
+a delicately outlined pattern and securing it by stitches. It can be
+done on any material, washing or other, the costliest as well as the
+most ordinary.
+
+[Illustration: FIG. 245. CHINESE GOLD EMBROIDERY. First part.]
+
+[Illustration: FIG. 245. Second part]
+
+[Illustration: FIG. 246. CHINESE GOLD EMBROIDERY. First part.]
+
+[Illustration: FIG. 246. Second part.]
+
+For a washing material use, Or fin D.M.C pour la broderie, No. 20, 30 or
+40,[A] which, as it washes perfectly, is well adapted for the embroidery
+of wearing apparel, and household linen. Plain gold thread and gold
+thread with a thread of coloured silk twisted round it, are very
+effective used together.
+
+Thus in fig. 245, the trees, foliage and flowers, are worked in plain
+gold, the grasses, in gold shot with green, the butterflies in gold with
+red, the two birds in gold with dark blue, and gold with light blue.
+
+Two threads of gold should be laid down side by side and secured by
+small catching stitches, set at regular intervals from one another, and
+worked in Fil d'Alsace D.M.C No. 200,[A] of the same colour. Where the
+design requires it, you may separate the gold threads, and work with one
+alone.
+
+The second specimen of Chinese embroidery, fig. 246, resembles the
+first, as far as materials and execution are concerned, but the design
+is different. The grotesque animals, flowers and shells it represents,
+can be worked separately, or connected together so as to form a running
+pattern.
+
+STRIPE WORKED IN VARIOUS STITCHES (fig. 247).--All the designs
+described thus far, are worked in the same way, but the stripe now
+presented to our readers introduces them to several kinds of gold
+thread, and a variety of stitches. The small, turned-back petals of the
+flowers are worked in plain gold thread, and outlined with crimped; the
+rest of the petals are worked in darning stitch, with plain gold thread.
+The latticed leaves are edged with picots, worked with bright purl. The
+other parts of the design are all worked with a double gold thread, the
+stalks in dead gold, the leaves in crimped. The gold thread is secured
+by overcasting stitches in gold-coloured thread, Jaune d'or 667, but it
+looks very well if you use black or red thread for fastening the crimped
+gold and dark or light green for the leaves and tendrils.
+
+[Illustration: FIG. 247. STRIPE WORKED IN VARIOUS STITCHES.]
+
+GOLD EMBROIDERY ON A FOUNDATION OF CORDS (fig. 248).--In the old
+ecclesiastical embroideries, especially those representing the figures
+of saints, we often find thick whip cords used as a foundation, instead
+of cardboard, for the good reason that the stiff cardboard does not give
+such soft and rounded contours as a cord foundation, which will readily
+take every bend and turn that you give to it. In the following
+illustrations, we have adhered strictly to the originals, as far as the
+manner of working the surface is concerned, but have substituted for the
+cord, which in their case has been used for the foundation, Cordonnet 6
+fils D.M.C No. 1, which is better for padding than the grey whip cord,
+as it can be had in white or yellow, according to whether it is intended
+to serve as a foundation to silver or gold work.
+
+[Illustration: FIG. 248. EMBROIDERY IN FLATTENED GOLD WIRE AND PURL.]
+
+Lay down as many cords as are necessary to give the design the requisite
+thickness, in many cases up to 8 or 10 m/m. in height, taking care to
+lay them closely and solidly in the centre, and graduate them down at
+the sides and ends. When you have finished the foundation, edge it with
+a thick gold cord, such as Cordonnet d'or D.M.C No. 6 and then only
+begin the actual embroidery, all the directions just given, applying
+merely to the preparatory work.
+
+Only four of the many stitches that are already in use and might be
+devised are described here. For the pattern, represented in fig. 248,
+flattened gold or silver wire is necessary, which should be cut into
+pieces, long enough to be turned in at the ends so as to form a little
+loop through which the thread that fastens them down is passed. Over
+each length of gold or silver wire small lengths of purl are laid at
+regular intervals, close enough just to leave room for the next stitch,
+the pieces of one row, alternating in position with those of the
+preceding one.
+
+PLAITED STITCH IN GOLD PURL ON A CORD FOUNDATION (fig. 249).
+--Distribute the stitches as in the previous figure, substituting purl,
+for the flattened gold wire, and covering the purl with short lengths of
+gold thread of the same kind. All these stitches may be worked in gold
+and silver thread, mixed or in the one, or the other alone.
+
+[Illustration: FIG. 249. PLAITED STITCH IN GOLD PURL ON A CORD
+FOUNDATION.]
+
+SCALE STITCH WORKED IN GOLD THREAD AND PURL ON A CORD FOUNDATION (fig.
+250).--Begin by covering the whole padded surface with gold or silver
+thread, then sew on short lengths of purl, long enough to cover six or
+eight threads, 2 or 3 m/m. apart, as shown in the engraving. These
+stitches in dead gold purl are then surrounded by shining or crimped
+purl.
+
+[Illustration: FIG. 250. SCALE STITCH IN GOLD THREAD AND PURL ON A CORD
+FOUNDATION.]
+
+You bring out the working thread to the left of the purl stitch, which
+you take on your needle, put the needle in on the other side, draw it
+out above the little stroke, and secure the crimped purl with an
+invisible stitch.
+
+CONVENTIONAL FLOWER WORKED ON A CORD FOUNDATION (fig. 251).--The half
+finished flower, represented here, was copied from a handsome piece of
+ecclesiastical embroidery enriched with ornament of this kind. The three
+foregoing stitches and a fourth, are employed in its composition. The
+finished portions on the left hand side, are executed in silver and gold
+purl, whilst the egg-shaped heart of the flower is formed of transverse
+threads, carried over the first padding, and secured by a stitch between
+the two cords. In the subsequent row, the catching stitch is set between
+the cords, over which the first gold threads were carried.
+
+[Illustration: FIG. 251. CONVENTIONAL FLOWER WORKED ON A CORD
+FOUNDATION. MATERIALS.--For padding: Cordonnet 6 fils D.M.C Nos. 1 to 5
+or Fil à pointer D.M.C No. 10.--For sewing on the gold thread and purl:
+Soie de coton D.M.C No. 50 or 70, Fil à dentelle D.M.C on reels Nos. 25
+to 50.[A]]
+
+The heavier the design is, the thicker your padding should be, and cords
+a good deal thicker than those which are represented in the drawing
+should be used, as the more light and shade you can introduce into
+embroidery of this kind, the greater will be its beauty and value.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: INSERTION IN CROSS STITCH, ALIKE ON BOTH SIDES, THE
+PATTERN LEFT BLANK.]
+
+
+
+
+Tapestry and Linen Embroidery.
+
+
+Tapestry is one of the oldest kinds of needlework and one which has
+always been popular every where.
+
+There are two distinct sorts of canvas in use for tapestry, called
+respectively, 'plain (single thread) canvas', and 'Penelope (double
+thread) canvas'. The latter is generally preferred, because it is easier
+to count the stitches upon it, but both make an equally good foundation
+for the embroidery, as the following examples will show.
+
+Besides canvas, other fabrics bearing a close resemblance to it, are
+often used, especially Java linen, the close texture of which renders
+grounding unnecessary.
+
+Cloth, velvet or plush can also be overlaid with canvas, the threads of
+which are pulled away after the pattern is finished. For work of this
+kind, we however prefer a material with less dressing, such as a twisted
+tammy, or Colbert linen, because the pulling out of the harsh rough
+threads of the canvas is very apt to injure the material beneath.
+
+Stitches, worked upon two stuffs, must be drawn very tight, or they will
+look loose and untidy when the auxiliary fabric is taken away.
+
+Tapestry can be done either in a frame, or in the hand; in the latter
+case, the ends of the piece of canvas should be weighted with stones or
+lead, to prevent its puckering.
+
+The stitches, which ought completely to hide the canvas, should all lean
+one way and the underneath ones always from left to right, as the
+letters in writing.
+
+MARKING OUT THE EMBROIDERY GROUND (fig. 252).--Before beginning a
+piece of canvas work and tacking on the auxiliary fabric, count how many
+stitches it will contain, and mark them out in tens, with a coloured
+thread, as shown in fig. 252, along two sides at least, in the length
+and breadth. Having ascertained the number of stitches both ways, divide
+them in two, and starting each time from the middle stitch, trace two
+lines, one horizontal, the other vertical, right across the canvas. The
+point of intersection will be the centre. This sort of ground-plan will
+be found most useful, and should not be pulled out until, at least, half
+the work be finished. If moreover, you have corners to work, or a
+pattern to reverse, in the angle of a piece of embroidery, trace a
+diagonal line besides, from the corner to the centre.
+
+[Illustration: FIG. 252. MARKING OUT THE EMBROIDERY GROUND.]
+
+MATERIALS SUITABLE FOR TAPESTRY.--Hitherto, wool and silk, were the
+materials chiefly used for canvas work; a very thick wool for carpets,
+as being warmer and more durable. Silk is too delicate a fibre to resist
+much wear and tear, and cannot therefore be recommended for articles
+that are intended for constant use, and wool, though stronger, is
+subject to the destructive agency of moths; whereas cotton, which is
+cheaper than both, and quite as brilliant, is free from all these
+disadvantages and is extremely easy to clean.
+
+For most kinds of tapestry we can therefore with perfect confidence,
+recommend the use of Coton à tricoter D.M.C Nos. 6 to 20, Cordonnet 6
+fils D.M.C Nos. 3 to 15, and even Coton à repriser D.M.C No. 25.[A]
+
+CROSS STITCH (fig. 253).--Cross stitch is the foundation of every
+other stitch, and the one in most common use. It is also called
+marking-stitch, being used for marking linen. It is worked in two lines.
+In the first, the thread is carried diagonally from left to right across
+a square of threads, and then, downwards, underneath the two horizontal
+threads; in the second, the stitches are carried from the right-hand
+lower corner of the square to the upper left-hand corner, so that the
+four points of the two stitches form a perfect square.
+
+[Illustration: FIG. 253. CROSS STITCH.]
+
+HALF CROSS STITCH (fig. 254).--If the cotton is too coarse, or the
+canvas too fine, to make the double stitch, carry the thread back along
+the whole line and make the half-stitches across it, from left to
+right; the same in the case of a piece of work, which you buy with
+a part of the pattern ready-worked.
+
+[Illustration: FIG. 254. HALF CROSS STITCH.]
+
+GOBELIN STITCH ON PLAIN CANVAS (fig. 255).--This is worked over two
+horizontal threads and one perpendicular. In a frame, you can work the
+second row, from right to left, otherwise, you must turn the work round,
+and bring out your needle behind the last-made stitch.
+
+[Illustration: FIG. 255. GOBELIN STITCH.]
+
+GOBELIN STITCH ON PENELOPE CANVAS (fig. 256).--For the same stitch on
+Penelope canvas, you need rather a coarse needle, which will make its
+way easily between the threads of the canvas.
+
+[Illustration: FIG. 256. GOBELIN STITCH ON PENELOPE CANVAS.]
+
+REPS STITCH (fig. 257).--Contrary to Gobelin stitch, this stitch which
+is an imitation of reps, is worked in vertical lines, over two vertical
+threads and one horizontal one.
+
+[Illustration: FIG. 257. REPS STITCH.]
+
+TENT STITCH (fig. 258).--This stitch is simply the first half of a
+cross or marking stitch, worked over a single thread each way. The
+illustration shows the working of a row, from right to left, the thread
+being carried forward, underneath the vertical threads. Tent stitch is
+used for the most part, in conjunction with cross stitch, for the more
+delicate lines and the shaded parts of flowers and figures.
+
+[Illustration: FIG. 258. TENT STITCH.]
+
+WIDE GOBELIN STITCH (fig. 259).--This stitch covers two vertical and
+two horizontal threads, and advances one thread at a time.
+
+[Illustration: FIG. 259. WIDE GOBELIN STITCH.]
+
+BROAD CROSS STITCH (fig. 260).--Worked over two vertical and four
+horizontal threads, and very useful for filling in large surfaces as it
+can be done twice as quickly as the ordinary cross stitch. It may be
+varied by turning the crosses first one way and then the other.
+
+[Illustration: FIG. 260. BROAD CROSS STITCH.]
+
+DOUBLE STITCH (fig. 261).--Begin with a simple cross stitch over every
+alternate intersection of the threads then make a second row of stitches
+between those of the first, but in this case, over two and six threads,
+so that they extend beyond the first each way. In the subsequent rows, a
+square stitch should be opposed to a long one and a long stitch to a
+square one.
+
+[Illustration: FIG. 261. DOUBLE STITCH.]
+
+RICE STITCH (fig. 262).--Fill in the whole ground first, with large
+cross stitches, over four threads each way, then upon these, make the
+so-called rice stitches. These cross the four points of the large cross
+stitches, and meet in the space between, where they form another cross.
+The large cross stitches should be worked in rather coarse cotton, the
+rice stitches in one of a finer quality.
+
+[Illustration: FIG. 262. RICE STITCH.]
+
+DOUBLE STITCH, SET TWO WAYS (fig. 263).--This consists of diagonal and
+upright cross stitches, alternately. Work from left to right, and carry
+the thread over four vertical threads and downwards, under two
+horizontal ones, then diagonally upwards, over four threads and
+downwards under two, then again over four vertical threads, and so on.
+Coming back, you cross the first threads, and pass the working thread
+each time in a straight line, underneath the two threads of the canvas.
+The stitches of the third and fourth rows are set, as the illustration
+shows, the opposite way to those of the two first, the thread being laid
+the contrary way. Gold thread is generally used for this second set of
+stitches; Or fin D.M.C pour la broderie, or Chiné d'or D.M.C will be
+found to be the most suitable for the purpose.[A]
+
+[Illustration: FIG. 263. DOUBLE STITCH SET TWO WAYS.]
+
+PLAIT STITCH (fig. 264).--It requires great attention to work this
+stitch, to and fro; the easier way is to carry the thread back each
+time, to the starting point.
+
+[Illustration: FIG. 264. PLAIT STITCH.]
+
+Carry the thread from left to right, over two horizontal threads, and
+downwards under four perpendicular ones, then under two threads, from
+right to left, as the figure indicates.
+
+STEM STITCH (fig. 265).--Here, the stitches are worked in separate
+rows, over four threads each way. The working thread passes first under
+the two middle threads, from right to left, and then under the two upper
+ones.
+
+[Illustration: FIG. 265. STEM STITCH.]
+
+LEAF STITCH (fig. 266).--Carry the thread diagonally over two double
+threads each way, and back under one double thread, to the row whence
+the stitch started. Make rows of back-stitches in a different colour
+between the rows of long ones.
+
+[Illustration: FIG. 266. LEAF STITCH.]
+
+FISH-BONE STITCH (fig. 267).--The difference between this and the
+preceding stitch is, that the working thread after passing over three
+perpendicular and three horizontal threads, is secured by a back-stitch
+over the last intersection of the canvas threads. These back-stitches
+lean to the right or left, according to the direction of the long
+stitches.
+
+[Illustration: FIG. 267. FISH-BONE STITCH.]
+
+DIAGONAL WEB STITCH (fig. 268).--Stretch diagonal threads across the
+whole surface you are going to embroider, and secure them with rows of
+overcasting stitches, set, if you are working on Penelope canvas,
+between the double threads of the canvas. In the next rows the stitches
+must be set the opposite way, which produces the effect of diagonal or
+twilled cloth.
+
+[Illustration: FIG. 268. DIAGONAL WEB STITCH.]
+
+CASHMERE STITCH (fig. 269).--To imitate this texture in needlework
+first make one stitch over one crossing of the canvas threads, and then
+two stitches over two crossings.
+
+[Illustration: FIG. 269. CASHMERE STITCH.]
+
+FLORENTINE STITCH (fig. 270).--Florentine stitch is worked in slanting
+lines, the thread being carried, diagonally first over one and then over
+two double threads of the canvas.
+
+[Illustration: FIG. 270. FLORENTINE STITCH.]
+
+MOSAIC STITCH (fig. 271).--The first row consists of one short and one
+long stitch, alternately; the second, of short stitches only, set
+between the long stitches of the first row; the third row is a
+repetition of the first, and so on.
+
+[Illustration: FIG. 271. MOSAIC STITCH.]
+
+KNOTTED STITCH (fig. 272).--Carry the working thread over two threads
+in width and six in height, bring the needle back, four threads lower
+down, in front of the double threads, and insert it behind the preceding
+stitch, and over the middle threads, and then carry it down to the line
+of the stitches. In the subsequent rows, the stitches extend over four
+threads and encroach on two of the previous row, so that the stitches of
+the second row lie between those of the first.
+
+[Illustration: FIG. 272. KNOTTED STITCH.]
+
+STAR, OR SMYRNA STITCH (fig. 273).--- Make a plain cross stitch over
+four threads, each way, and then over that, another cross stitch,
+standing upright. The same stitch can be made over six or seven threads;
+if you work over more than four threads, it follows that you increase
+the number of stitches accordingly.
+
+[Illustration: FIG. 273. STAR, OR SMYRNA STITCH.]
+
+ROCOCO STITCH (figs. 274, 275, 276).--After fastening in your thread,
+lay it over four single or two double threads, as the case may be, and
+carry the needle through to the left, under one double thread; then, as
+fig. 274 shows, bring it back over the first stitch, put it in by the
+side of it, and bring it out below, under half the horizontal threads
+covered by the first stitch. Then make a stitch to the right, similar to
+the one just made to the left.
+
+[Illustration: FIG. 274. ROCOCO STITCH. FIRST STITCHES ON THE WRONG
+SIDE.]
+
+When you have finished one stitch, carry the needle under one thread, in
+an oblique line, to the next stitch, see fig. 273. The whole pattern is
+worked in diagonal lines.
+
+[Illustration: FIG. 275. ROCOCO STITCH. STITCHES ON THE RIGHT SIDE.]
+
+[Illustration: FIG. 276. ROCOCO STITCH. COMPLETED.]
+
+PARISIAN STITCH (fig. 277).--This stitch, though it is generally
+worked on silk canvas, can also be worked on the different cotton and
+linen materials already referred to more than once in this Encyclopedia.
+It makes a very good grounding in cases where the material is not
+intended to be completely hidden. It consists of a long stitch over
+three threads, and a short stitch over one thread, alternately.
+
+[Illustration: FIG. 277. PARISIAN STITCH.]
+
+GREEK STITCH (fig. 278).--This differs from the ordinary cross stitch,
+in the oblique inclination given to the threads, and the manner in which
+it is begun. Instead of taking up the two threads that follow the first
+stitch, you bring your needle back from right to left, under the
+vertical threads of the first stitch, carry it downwards, and then from
+right to left, to a distance of four threads beyond the first stitch.
+The next stitch is made like the first. The rows may be joined together,
+either by the short or the long stitches, but you must follow one rule
+throughout. This stitch is much used in Slavonic countries, for the
+adornment of linen garments, and there we have observed that the short
+stitches are generally made to encounter the long ones. A coarse
+material that covers the ground well, such as, Coton à tricoter D.M.C
+Nos. 6 to 12, is the best one to use for this stitch.
+
+[Illustration: FIG. 278. GREEK STITCH.]
+
+SCOTCH STITCH (fig. 279).--Squares, composed of slanting stitches,
+made over one, three, five, three threads respectively, and then again
+over one thread, and separated from each other by rows of Gobelin
+stitches, constitute what is ordinarily known by the name of Scotch
+stitch.
+
+[Illustration: FIG. 279. SCOTCH STITCH.]
+
+MOORISH STITCH (fig. 280).--For this stitch, instead of surrounding
+squares of stitches, made in the way we have just described, with
+Gobelin stitch, the squares are made to touch, rising like steps one
+above the other, and bordered only at the sides by Gobelin stitch.
+
+[Illustration: FIG. 280. MOORISH STITCH.]
+
+ORIENTAL STITCH (fig. 281).--Here, you make four diagonal stitches
+over one, two, three and four double threads respectively; which four
+stitches form so many triangles, one above the other. The empty spaces
+between are filled up with Gobelin stitches covering two threads.
+
+[Illustration: FIG. 281. ORIENTAL STITCH.]
+
+SHELL STITCH (fig. 282).--Carry your thread upwards over six
+horizontal threads, then from right to left, under one vertical thread
+and downwards over six horizontal ones. When you have made four vertical
+stitches in this way, bring the needle out behind the third double
+thread, counted lengthways, and between the third and fourth, counted
+across, and fasten the four long stitches together with a back-stitch,
+to the middle thread of the canvas. Draw a thread of a different colour
+twice through these back-stitches, so as to form small knots like
+shells, and then fill in the ground between the rows of long stitches,
+with back-stitches.
+
+[Illustration: FIG. 282. SHELL STITCH.]
+
+JACQUARD STITCH (fig. 283).--If you have a large plain surface to
+cover, you should choose a stitch that forms a pattern in itself.
+Jacquard stitch and others which we shall describe later on, will be
+found to produce the effect of brocaded stuff. To work Jacquard stitch,
+make six stitches underneath one another, over two double threads, and
+six by the side of one another, from left to right, over two double
+threads. The second row consists of the same number of stitches,
+similarly worked downwards and to the side, but over one double thread
+only.
+
+[Illustration: FIG. 283. JACQUARD STITCH.]
+
+BYZANTINE STITCH (fig. 284).--Here, you make the same number of
+stitches as in the preceding figure but with this difference, that the
+two rows of stitches are made either over two, or four threads.
+
+[Illustration: FIG. 284. BYZANTINE STITCH.]
+
+MILANESE STITCH (fig. 285).--In the first row, the back-stitch is made
+alternately, first over four diagonal crosses and then over one; in the
+second row, over three and two; in the third, over two and three, in the
+fourth, over one and four. The last long stitches should come under the
+last short ones and the short ones, in the middle of the last long ones.
+
+[Illustration: FIG. 285. MILANESE STITCH.]
+
+PLUSH STITCH (fig. 286).--This stitch, also called Astrachan stitch,
+by means of which a very good imitation of an Oriental rug can be
+produced, consists of loops, each secured by a cross stitch; the best
+way to ensure these loops being even and regular is to make them over a
+narrow wooden ruler, or a piece of whalebone.
+
+The effect can be varied by cutting the loops, which gives the surface
+the appearance of velvet.
+
+[Illustration: FIG. 286. PLUSH STITCH.]
+
+The illustration represents the middle loops only, as cut, for the cut
+and the uncut stitch can both be introduced into the same piece of
+embroidery. For example, the borders in figs. 290, and 291, are worked
+in open or cut plush stitch, whilst in the centres, the stitch is left
+uncut. Two stitches of a similar kind, called Smyrna and Malta stitch,
+suitable for making rugs or carpets, are described in the last chapter
+but one in the book.
+
+CHAIN STITCH (fig. 287).--Generally speaking, this stitch is only used
+for the adornment of under-linen or small articles of fancy-work but it
+can also be employed in copying cross stitch patterns. In old
+collections we often meet with very interesting pieces of needlework,
+which were used for hangings or screens, where the figure-subjects, are
+executed in chain stitch. Patterns in many colours, gain immensely by
+being worked in this stitch, the colours blend together better than in
+any other, and even the shape of the stitch contributes to soften the
+contrasts of colour.
+
+Chain stitch cannot, like other stitches, be worked to and fro, nor can
+all the stitches of one row be finished first, as is generally possible
+in cross stitch work, each row must be begun separately, and always from
+the same side, and a different needle should be used for each colour, as
+the material has often to be changed.
+
+[Illustration: FIG. 287. CHAIN STITCH.]
+
+The stitch is worked as follows; after fastening in your thread, insert
+the needle at the same hole it came out of, and bring it out two threads
+lower down. Keep the loop, formed by the working thread, under the point
+of the needle. The thread should not be drawn up tightly but left to
+form a rather loose, round loop. For the next stitches, insert the
+needle close to the thread that issues from the last loop.
+
+PATTERN FOR BORDERS OR GROUNDING (fig. 288).--This simple but most
+effective design, copied from one of the most beautiful of Oriental
+carpets, can be executed in, either cross stitch, plush stitch, or chain
+stitch. To make a wider border still, the diagonal lines that divide the
+figures shaped like an S, have only to be prolonged, and the figures
+repeated.
+
+The colours have been chosen with the view of reproducing as nearly as
+possible the subdued and faded tones, which time has imparted to the
+original.
+
+[Illustration: FIG. 288. PATTERN FOR BORDERS OR GROUNDINGS. MATERIALS:
+Coton à broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15,
+Fil à pointer D.M.C Nos. 10 to 30, or Coton à repriser D.M.C No. 25.
+EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol])
+Rouge-Cardinal 346, ([symbol]) Rouge-Cornouille 449, ([symbol])
+Bleu-Indigo 311, and ([symbol]) Bleu-Indigo 322, ([symbol]) Gris-Cendre
+414, ([symbol]) Bronze doré 585 and ([symbol]) Vert-Mousse 470.[A]]
+
+
+PATTERN FOR GROUNDING (fig. 289).--Diagonal lines, intersected by
+balls, serve here as a setting for quaintly shaped flowers and leaves.
+The outlines are all worked in cross stitch, and the solid parts, in
+either tent stitch or Gobelin stitch.
+
+[Illustration: FIG. 289. PATTERN FOR GROUNDING. MATERIALS: Coton à
+tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C Nos. 5 to 15 or
+Coton à broder D.M.C No. 16.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE
+COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Jaune d'Ocre 676,
+([symbol]) Violet-Mauve 315, ([symbol]) Rouge-Géranium 349, ([symbol])
+Rouge-Aurore 360, ([symbol]) Bleu-Indigo 312, ([symbol]) Bleu pâle 668,
+([symbol]) Rouge-Cornouille 449, ([symbol]) Vert-de-gris 474, ([symbol])
+Vert-de-gris 475, ([symbol]) Grounding.[A]]
+
+PART OF A DESIGN, SUITABLE FOR CARPETS (figs. 290 and 291). Our space
+will not admit of our reproducing more than a quarter of this design.
+Colours of the softest shades should be selected for it. A black line
+divides the pattern into four quarters. The upper quarter on the right,
+and the lower one, on the left, should be worked in blue, and the upper
+one on the left, copied from fig. 290.
+
+[Illustration: FIG. 290. PART OF A DESIGN SUITABLE FOR CARPETS.
+
+MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C
+Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton à repriser
+D.M.C No. 12.
+
+EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand
+Teint 310, Rouge-Grenat 358, ([symbol]) Rouge-Cornouille 450, ([symbol])
+Bleu-Indigo 311 and ([symbol]) Bleu-Indigo 322, ([symbol]) Vert
+métallique 465, ([symbol]) Gris-Noisette 424.]
+
+The narrow border, in red, blue and green, is to be repeated after the
+broad band, which is represented in fig. 291, has been added to the
+grounding. A very good effect is obtained, if in the broad border, fig.
+291, you vary the background of the different subjects.
+
+[Illustration: FIG. 291. OUTER BORDER OF THE DESIGN FOR CARPETS FIG.
+290. MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter
+D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15, or Coton à
+repriser D.M.C No. 12.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE
+COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Rouge-Grenat 358,
+([symbol]) Bleu-Indigo 311, ([symbol]) Vert métallique 465, ([symbol])
+Jaune-vieil-Or 679, ([symbol]) Gris-Noisette 424, ([symbol])
+Rouge-Cornouille 450.[A]]
+
+LINEN EMBROIDERY.--The stitches used in linen embroidery are very
+similar to those used in canvas work. The ordinary cross stitch, as
+represented in fig. 253, is the one most commonly used, but it is not so
+effective as the two-sided stitches, which in the beautiful old
+needlework of the 15th, 16th and 17th centuries, have always excited our
+wonder and admiration.
+
+STUFFS SUITABLE FOR LINEN EMBROIDERY.--Most embroidery of this kind,
+and more especially the Italian, is done on very fine linen. Such fine
+work however, requires more time and patience than people, in these
+days, are as a rule disposed to bestow on work intended merely for
+pleasure and recreation. To meet the requirements of the day, therefore,
+in addition to the finer kinds of linen, a great variety of textures,
+are now manufactured, the threads of which, being thick and round, can
+be easily counted. The cross stitches that are worked on Cuba, Ceylon or
+Batavia linen, are large and coarse, those on linen-canvas, Russian
+linen, twisted tammy, and Rhodes linen, small and fine.
+
+Linen fabrics are either white, unbleached or cream-coloured. All three
+are used for embroidery, but the coloured cottons show up best on the
+cream ground; on the white, they look hard and crude, and on the
+unbleached, dull and faded.
+
+MATERIALS SUITABLE FOR LINEN EMBROIDERY--As most linen embroidery is
+executed on articles that are subjected to frequent washing, the D.M.C
+cottons, which are to be had in every shade and colour, are the best for
+the purpose. For coarse stuffs, coarse cotton should be used, such as
+knitting cotton, Coton à tricoter D.M.C Nos. 6, 8, 10, 12 and 14,[A]
+which will be found a very good substitute for wool; or six-cord crochet
+cotton (Cordonnet 6 fils D.M.C) Nos. 3, 4, 5, 10 and 15,[A] which gives
+quite as full and brilliant a stitch, as silk-twist. Finer cottons
+should be used for the finer stuffs, such as embroidery cotton (Coton à
+broder D.M.C) Nos. 6 to 200,[A] and lace thread (Fil à dentelle D.M.C)
+Nos. 30 to 150.[A] In many cases, even darning cotton (Coton à repriser
+D.M.C) can be used, as like Algerian silk, it can be split or taken
+double, to suit the stuff.
+
+PLAIN CROSS STITCH ON AUXILIARY CANVAS (fig. 292).--Plain cross
+stitch, commonly called marking stitch, has already been described in
+fig. 253. But it may be well to observe, that when an auxiliary material
+is used, it should be most carefully tacked upon the stuff following the
+thread of the same, and a sufficient margin left to allow of the drawing
+out of the canvas threads, when the work is finished.
+
+[Illustration: FIG. 292. PLAIN CROSS STITCH ON AUXILIARY CANVAS.]
+
+TWO-SIDED CROSS STITCH, WORKED IN FOUR ROWS OF STITCHES (figs. 293,
+294, 295).--Straight lines of cross stitch, alike on both sides, can be
+worked in two journeys to and fro. Working from left to right, begin by
+fastening in your thread, never with a knot, but by two or three little
+running stitches, which are hidden afterwards by your first cross
+stitch. Directing your needle to the right, pass it diagonally over a
+double cross of the warp and woof of the canvas, and so on to the end of
+the line.
+
+Having reached the last stitch, draw out your thread in the middle of
+it, make an auxiliary diagonal stitch downwards to the right, bring the
+needle up in the middle of the last stitch, take it thence, upwards to
+the left, across two threads, and begin the return journey, from right
+to left, crossing and thus completing the first row of stitches. In the
+auxiliary stitch with which you begin the backward journey, the thread
+lies double on both sides. Fig. 295 shows how to pass down to the next
+row.
+
+[Illustration: FIG. 293. FIRST HALF OF THE FIRST JOURNEY AND AUXILIARY
+STITCH FOR RETURNING.]
+
+[Illustration: FIG. 294. ONE JOURNEY AND FIRST HALF OF THE SECOND
+FINISHED, AND AUXILIARY STITCH LEADING TO THE SECOND RETURN.]
+
+[Illustration: FIG. 295. THE TWO JOURNEYS TO AND FRO, COMPLETING ONE ROW
+OF CROSS STITCH, BOTH SIDES ALIKE.]
+
+TWO-SIDED MARKING STITCH (figs. 296 and 297). The above mode of
+working two-sided cross stitch cannot be applied to letters, or patterns
+in broken lines, which both consist chiefly of isolated stitches. Figs.
+296 and 297 explain the course of the stitches in embroidery of this
+kind.
+
+The working detail A, Fig. 296, indicates the spot for the thread to
+enter the stuff, and the position of the needle for the first and second
+stitches; B, the first two stitches completed, with an auxiliary stitch
+to the right, the thread drawn out on the right, and the position of the
+needle for the fifth stitch that completes the cross; G shows the
+completion of the stitch begun at B and the position of the needle for a
+second stitch to the right; D, one cross stitch completed and another
+begun, immediately beneath A. In fig. 297, E shows how to work stitches
+to the left; F, an auxiliary stitch to reach an isolated cross stitch on
+the right, G, auxiliary stitches between two isolated cross stitches,
+and H, a second and last auxiliary stitch to complete the cross.
+
+It requires both practice and care to do this two-sided marking stitch,
+so as not to disfigure the stuff by superfluous stitches.
+
+[Illustration: A B C D FIG. 296. TWO-SIDED MARKING STITCH. DIFFERENT
+POSITIONS OF THE NEEDLE.]
+
+[Illustration: E F G H FIG. 297. TWO-SIDED MARKING STITCH. DIFFERENT
+POSITIONS OF THE NEEDLE.]
+
+CROSS STITCH FORMING A SQUARE AT THE BACK (figs. 298 and 299).--Many
+of the alphabets we so admire in old samplers are worked in cross
+stitch, that forms a square at the back. Each stitch has to be finished
+off before another is begun; if you carefully examine figs. 298 and 299,
+which show severally the right and the wrong sides of the stitch, you
+will find no difficulty in mastering it. Letter A, fig. 296, shows the
+entrance of the thread, the position of the needle for half the cross
+stitch on the right side, and the second side of the square at the back,
+as shown in fig. 299, A. Letter B, fig. 298, shows the cross stitch
+finished, and the position of the needle for the third side of the
+square on the wrong side, indicated by the same letter in fig. 299. C,
+in both figures, indicates a stitch which is double on the right side,
+and on the wrong side forms the fourth side of the square, whilst letter
+D, explains how to continue the stitches.
+
+[Illustration: A B C D FIG. 298. RIGHT SIDE OF THE CROSS STITCH, FORMING
+A SQUARE AT THE BACK.]
+
+[Illustration: E F G H FIG. 299. SQUARE STITCH FORMING THE BACK OF THE
+CROSS STITCH.]
+
+TWO-SIDED ITALIAN STITCH (figs. 300, 301, 302, 303).--Two-sided
+Italian stitch consists of cross stitches, alike on both sides, divided
+from each other by horizontal and vertical stitches. The upper and lower
+stitches should all slope one way, as in plain cross stitch.
+
+Italian stitch is worked in one journey, to and fro. Fig. 300 shows how
+to fasten in the thread, and place the needle for the first stitch, from
+right to left; fig. 301, the position of the needle from left to right,
+to form the cross at the back, and the vertical stitch to the left, on
+the right side; fig. 302, the position of the needle, for a two-sided
+horizontal stitch at the bottom of the cross, where upon you proceed as
+in fig. 300. Fig. 303 explains the return of the thread, which completes
+the double crosses and the lines between.
+
+The horizontal lines, not made on the first journey, are added on the
+way back. In conclusion, pass the needle back, horizontally, from left
+to right, to make the final stitch over the cross, and then make the
+stitch between, as shown in fig. 303. On a thin stuff, this stitch
+produces an extremely pretty effect, resembling lattice-work, provided
+the thread be tightly drawn in the working.
+
+[Illustration: FIG. 300. TWO-SIDED ITALIAN STITCH. INTRODUCTION OF THE
+THREAD AND POSITION OF THE NEEDLE FOR THE FIRST STITCH.]
+
+[Illustration: FIG. 301. TWO-SIDED ITALIAN STITCH. POSITION OF THE
+NEEDLE FOR THE 2ND AND 3RD STITCHES.]
+
+[Illustration: FIG. 302. TWO-SIDED ITALIAN STITCH. POSITION OF THE
+NEEDLE FOR THE 4TH AND 5TH STITCHES.]
+
+[Illustration: FIG. 303. TWO-SIDED ITALIAN STITCH. RETURN JOURNEY, WHICH
+COMPLETES THE CROSS STITCH.]
+
+MONTENEGRIN CROSS STITCH (figs. 304, 305, 306).--The Slavonic tribes
+of the southern districts of E. Europe, especially the Montenegrins,
+have a great partiality for this stitch, which has been rarely noticed,
+hitherto, in books on needlework. The right side shows cross stitches
+with a double thread underneath, and divided by vertical stitches; the
+wrong side, regular cross stitches, also divided by vertical stitches.
+Coarse cotton should be used for this stitch; it produces a richer
+effect and not only covers the stuff better, but also the underneath
+stitch which in the Slavonic work, is entirely hidden by the cross
+stitches.
+
+Begin, as letter A indicates, with a long, slanting stitch, across 4 and
+8 threads, then, bringing your needle back from right to left, under
+four threads, draw it out, carry it over the first long stitch, and
+insert it again from left to right, under the first four threads of the
+canvas. These four stitches finished, proceed to the fifth and sixth,
+which as B shows, cross the first four, then repeat the first stitch.
+
+The threads that form the stitches on the wrong side, should always be
+opposed to each other, that is, one cross should lean to the right, the
+other to the left, as shown in fig. 305. This variation in the
+inclination of the stitches, which is regarded as a fault in plain cross
+stitch, is indispensable here, and produces a charming effect on the
+wrong side.
+
+[Illustration: A B FIG. 304. MONTENEGRIN CROSS STITCH. 1ST, 2ND, 3RD,
+4TH AND 5TH STITCH AND TRANSVERSAL STITCH]
+
+[Illustration: A B FIG. 305. MONTENEGRIN CROSS STITCH. POSITION OF THE
+STITCHES ON THE WRONG SIDE.]
+
+[Illustration: FIG. 306. MONTENEGRIN CROSS STITCH. A ROW OF STITCHES
+FINISHED.]
+
+PLAITED ALGERIAN STITCH (fig. 307).--The distinguishing feature of
+this stitch is, that it only advances one thread at a time. It should be
+begun on an uneven number of threads, and like the Montenegrin stitch,
+should be worked with coarse cotton. The rows may touch, either at the
+top or at the bottom of the stitch, so long as you keep to one plan
+throughout.
+
+[Illustration: FIG. 307. PLAITED ALGERIAN STITCH.]
+
+TWO-SIDED SPANISH PLAITED STITCH (figs. 308 and 309).--This stitch has
+the advantage of being, not only very effective, but also very quickly
+executed. It is worked in two rows, forwards and backwards. All cross
+stitch patterns can be worked in Spanish stitch. The gaps, which are
+occasioned by the long stitches, have to be filled in with short ones.
+In itself, the stitch consists of slanting stitches, three threads a
+part, alike on both sides, and advances three threads at a time, as
+shown in figs. 308 and 309.
+
+[Illustration: FIG. 308. TWO-SIDED PLAITED SPANISH STITCH.]
+
+[Illustration: FIG. 309. TWO-SIDED PLAITED SPANISH STITCH.]
+
+TWO-SIDED LINE STITCH (figs. 310 and 311).--Square stitch, Holbein
+stitch, line, or stroke stitch, as it is sometimes called, and setting
+stitch, are all worked on one principle. Though all these two-sided
+stitches are related to each other, and by no means difficult of
+execution, those new to the work will find a little practice necessary,
+to make the stitches follow in their proper order. Fig. 310 explains how
+the needle has to pass, alternately, step by step, over and under the
+threads of the stuff, and fig. 311, how the threads, left blank the
+first time, are covered on the way back. The great difficulty is how to
+place your first row of stitches so as to ensure an unbroken course
+back. It is as well before setting out, to ascertain clearly the most
+direct course back, so that you may not come to a stand-still, or be
+obliged to make unnecessary stitches on the wrong side. If you have to
+pass obliquely across the stuff, as in patterns figs. 326, 327, 328,
+329, 331 and 333, proceed in the same way as though you were covering
+the straight threads of a fabric.
+
+[Illustration: FIG. 310. TWO-SIDED LINE STITCH. FORWARD ROW.]
+
+[Illustration: FIG. 311. TWO-SIDED LINE STITCH. BACKWARD ROW.]
+
+TWO-SIDED INSERTION (figs. 312, 313, 314, 315, 316, 317, 318).--We
+conclude this series of stitches with a description of a pretty,
+two-sided insertion, suitable for joining stripes of work of different
+widths together. In pieces of old needlework, we often find handsome,
+coloured patterns, joined together by a piece of lace or some quite
+different kind of work. The insertion represented in fig. 317, is a very
+good substitute for either. Fig. 312 explains the first stitch and the
+course of the second, from left to right, under 3 vertical and 3
+horizontal threads; the 3rd stitch to the left, over 6 vertical threads,
+and the beginning of the 4th stitch. Fig. 313 shows the 4th stitch
+completed, and the direction the 5th and 6th stitches have to take;
+fig. 314, the 6th completed, and the position of the needle for the 7th
+and 8th; fig. 315, the 9th lower, horizontal stitch, over 6 vertical
+threads, the 10th backward stitch, and the position of the needle for
+the 11th and last stitch. Fig. 317 represents a whole series of
+stitches, and fig. 318, the back of the work, which though quite a
+different pattern, will combine very well with any two-sided embroidery.
+
+[Illustration: FIG. 312. TWO-SIDED INSERTION. FIRST DETAIL.]
+
+[Illustration: FIG. 313. TWO-SIDED INSERTION. SECOND DETAIL.]
+
+[Illustration: FIG. 314. TWO-SIDED INSERTION. THIRD DETAIL.]
+
+[Illustration: FIG. 315. TWO-SIDED INSERTION. FOURTH DETAIL.]
+
+[Illustration: FIG. 316. TWO-SIDED INSERTION. FIFTH DETAIL.]
+
+These insertions can be worked on any stuff, but the stitches, must be
+done, both ways, on a number of threads, divisible by 3. Thus, the first
+stitch may cover 6, 9, or 12 threads, but never 8, 10, 12 or 14.
+[Transcriber's note: 12, here, appears to be an error in the original.]
+
+[Illustration: FIG. 317. TWO-SIDED INSERTION. ROW OF STITCHES FINISHED.]
+
+[Illustration: FIG. 318. TWO-SIDED INSERTION, SHOWING THE BACK OF FIG.
+317.]
+
+GOTHIC BORDERS IN GOBELIN AND CROSS STITCH (figs. 319 and 320).--We
+are indebted for both these pretty patterns, which are quite Gothic in
+their character, to a visit we paid to the national museum at Munich,
+where we discovered them amongst a heap of other old valuables, lying
+un-heeded in a remote corner. Their simple graceful outlines render them
+peculiarly suitable for the decoration of table-cloths, counterpanes,
+curtains, etc. All embroideries of this kind should be finished off with
+a deep fringe, made in the stuff itself, or knotted on to it or may be
+trimmed with a heavy thread lace, of a wide width, corresponding with
+the work in character.
+
+The design may be worked either in one shade, as in fig. 319, or in two,
+as in fig. 320, where all the outside stitches are worked in the darker
+shade of the given colours.
+
+[Illustration: FIG. 319. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton
+à tricoter D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. 16 to 35, or
+Cordonnet 6 fils D.M.C Nos. 3 to 15.[A] COLOURS: Rouge-Turc 321, or two
+shades of Bleu-Indigo, 311 and 334, or two shades of Rouge-Grenat, 358
+and 359 or two shades of Brun-Acajou, 300 and 402.[A]]
+
+[Illustration: FIG. 320. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton
+à tricoter D.M.C Nos. 16 to 35. COLOURS: Bleu-Indigo 311 and 344, or
+Rouge-Cardinal 346 and Rouge-Géranium 335, or Gris-Tilleul 391 and
+331.[A]]
+
+POWDERING AND BORDER. ALBANIAN SUBJECTS (figs. 321 and 322).--The
+arrangement of colours for these charming patterns, of Albanian origin,
+should be as follows; the dark-coloured crosses, red, the lighter ones,
+alternately blue and green, the lightest, yellow.
+
+[Illustration: FIG. 321. POWDERING. ALBANIAN SUBJECT. MATERIALS: Coton à
+tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or
+Coton à repriser D.M.C No. 12, 25 or 50.[A]
+
+COLOURS: Rouge-Cardinal 347, Bleu-Indigo 322, Vert métallique 465,
+Jaune-Orange 444, Gris-Brun 409.[A]]
+
+In fig. 321, most of the stitches in every other diagonal row, are
+worked in red, the others in green or blue; in the intermediate rows the
+flowers are worked alternately, in green and red, or blue and red, and
+throughout, the centre of each figure should consist of 4 stitches in
+yellow.
+
+[Illustration: FIG. 322. ALBANIAN SUBJECT. MATERIALS: Coton à tricoter
+D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. 16 to 35 or Cordonnet 6
+fils D.M.C Nos. 3 to 25.[A] COLOURS: Rouge-Cardinal 347, Bleu-Indigo
+312, Jaune-Orange 444, Vert métallique 465, Gris-Brun 409.[A]]
+
+In fig. 321, which serves as a border to the above, only the stalks of
+the 4 conventional pinks, which, with the cross in their middle, form a
+square, are in brown.
+
+These squares are separated from the bottom border by an insertion, in
+Gobelin stitch, worked over 6 threads, in red, blue, green and yellow,
+from 20 to 25 stitches of each. This band is edged on both sides with a
+row of stem stitches, worked in yellow over 4 threads. The Holbein
+stitches that border the band, can be made in whichever colour the
+worker prefers, or else in red and gold thread.
+
+BORDERS IN STROKE STITCH (figs. 323, 324, 325).--These three patterns
+will give our readers an opportunity of perfecting themselves in
+two-sided, square stitch (see figs. 310 and 311), also called stroke, or
+line stitch, according as it is worked, in oblique, or straight rows.
+
+[Illustration: FIG. 323. BORDER IN STROKE STITCH. MATERIALS: Coton à
+marquer D.M.C Nos. 5 to 200.[A] COLOURS: Rouge-Turc 321 or Bleu-Indigo
+312.[A]]
+
+[Illustration: FIG. 324. BORDER IN STROKE STITCH. MATERIALS: Coton à
+repriser D.M.C No. 50.[A] COLOURS: Vert-Pistache 319, or Vert-Mousse
+470.[A]]
+
+[Illustration: FIG. 325. INSERTION IN STROKE STITCH. MATERIALS: Coton à
+broder D.M.C Nos. 16 to 60.[A] COLOURS: Rouge-Turc 321, or Rouge-Grenat
+309, or Bleu-Indigo 311.[A]]
+
+We again recommend our readers, to begin by ascertaining the course the
+stitches should take, in order to avoid all unnecessary stitches and be
+sure of finding their way back according to the prescribed rule.
+
+CORNERS IN STROKE STITCH (figs. 326 and 327).--These pretty little
+patterns are suitable for the decoration of ladies' and children's
+collars, fine pocket-handkerchiefs and finger napkins, and can be worked
+in one or two colours, as preferred. If two colours be used, the darker
+should be taken for the interior, the lighter for the narrow outside
+edge.
+
+[Illustration: FIG. 326. & FIG. 327. CORNERS IN LINE STITCH. MATERIALS:
+Coton à broder D.M.C Nos 35 to 200 or Fil à dentelle D.M.C Nos. 25 to
+70.[A] COLOURS: Bleu-Indigo, or Rouge-Cardinal, or Brun-Caroubier, or
+Violet-Lie-de-vin.[A]]
+
+STRIPE IN STROKE STITCH (fig. 328).--This is copied from a piece of
+Italian work, though from a resemblance in the different subjects to the
+rose, thistle and shamrock, if might have been supposed to be of English
+origin. The original work was executed in a most brilliant purple red
+which time has toned down to the colour of Jaune-Rouille 308, or
+Brun-Cuir 432, one or other of which we recommend, as being the only
+colours with which any thing approaching the refined distinguished look
+of the old embroidery, can be given to the new.
+
+[Illustration: FIG. 328. STRIPE IN STROKE STITCH. MATERIALS: Cordonnet 6
+fils D.M.C Nos. 15 to 50, Coton à broder D.M.C Nos. 16 to 35, or Coton à
+repriser D.M.C No. 12, 25 or 50.[A] COLOURS: Jaune-Rouille 308, or
+Jaune-vieil-Or 680.[A]]
+
+GROUNDING IN DIAGONAL LINES (fig. 329).--This pattern can be worked,
+in any of the previous stitches, or in back-stitch. It is only suitable
+for large surfaces, on account of the diagonal lines, and should be
+worked, all in one colour. It can be varied by adding sprays to the
+upper sides of the slanting stalks, like those on the lower sides,
+turned either the same way, or upwards. Skilled workers will readily
+contrive the middles for themselves, by combining the different subjects
+and putting them together in various positions, either diagonally or at
+right angles to each other, with the help of the Penelope mirror.[2]
+
+[Illustration: FIG. 329. GROUNDING IN DIAGONAL LINES. MATERIALS: Coton à
+tricoter D.M.C Nos. 6 to 16, or Coton à broder D.M.C Nos. 16 to 100.
+COLOURS: Bleu-Indigo 322, or Rouge-Cardinal 347.]
+
+POWDERING IN CROSS, STROKE AND STAR STITCH (fig. 330).--This charming
+combination of cross, stroke and star stitches, can be made use of
+wherever embroidery is available as a means of decoration.
+
+The cross stitches, in which the solid parts of the pattern are worked,
+should be in one colour only, the stroke and star stitches, in Chiné
+d'or D.M.C.[A]
+
+[Illustration: FIG. 330. POWDERING IN CROSS, STROKE AND STAR STITCH.
+MATERIALS: Coton à repriser D.M.C No. 50 and Chiné d'or D.M.C.[A]
+COLOURS--For the Cotton: Rouge-Grenat 326.--For the Chiné: Bleu-Indigo
+and gold.[A]]
+
+BORDER IN GREEK STITCH (fig. 331).--All the darker lines here, should
+be worked in black, colour 473, the leaves in the form of steps,
+alternately in light and dark red up to the stalks, the line of
+demarcation being indicated by the different direction of the stitches,
+so that two light leaves, and two dark leaves, should always face each
+other.
+
+[Illustration: FIG. 331. BORDER IN GREEK STITCH. MATERIALS: Coton à
+broder D.M.C Nos. 16 to 25, or Coton à repriser D.M.C Nos. 12 to 50.
+COLOURS: Rouge-Géranium 349 and 351, Jaune-Rouille 364, Bleu de France
+341, Bleu pâle 668, Noir-Vert 473, Or fin D.M.C pour la broderie No. 30
+and Chiné d'or D.M.C No. 30.]
+
+In the original, the cross bars that unite the leaves, are in yellow,
+whilst the detached figures that separate them, are worked, those that
+come between the light red leaves, in pale blue, and those between the
+dark red ones, in gold thread. The exterior part of the figure is filled
+in with the different colours, indicated above; with the exception of
+the small squares in Gobelin stitch, which should all be worked in plain
+gold, or Chiné d'or D.M.C, green and gold. The SS in the narrow outside
+border, should be worked in two shades of blue; the outside stitches in
+colour 341 and the solid parts in colour 668. The little figures with
+the transverse bars that unite the SS, should be set in black, and
+filled in, alternately, in light and dark red, and in yellow.
+
+GROUNDING (fig. 332).--This grounding was copied from a beautiful old
+cushion-cover and will be found particularly useful in the confection of
+small embroidered articles, because the pattern will always form a
+centre point in itself. A light, brilliant red, such as either of the
+two colours indicated beneath the figure, will best reproduce the tone
+of the original.
+
+[Illustration: FIG. 332. GROUNDING. MATERIALS: Coton à tricoter D.M.C
+Nos. 6 to 10, or Coton à broder D.M.C Nos. 16 to 100.[A] COLOURS:
+Rouge-Cardinal 804, or Rouge-Cornouille 450.[A]]
+
+In making the little stars that connect the different squares, the mode
+we recommended for working stroke stitch should be adopted, that is,
+beginning, by bringing the needle out in the middle, making 7 stitches,
+and at the eighth, carrying the needle back under the first, to the spot
+whence you started. The stitches will then be alike on both sides.
+
+WALLACHIAN BORDER (fig. 333).--A piece of Wallachian needlework,
+executed on rough linen, and uncommon, both in colour and design,
+suggested the charming embroidery, here represented. In place of the
+somewhat violent colours, which indicate an undeveloped taste, we have
+substituted softer and more refined ones. All the stroke stitches of the
+middle stripe and of the two border stripes, top and bottom, as well as
+the darker portions of the small dice, subdivided into eight, in the
+bottom border, and of the small diagonal squares in the top border,
+worked in Gobelin stitch, are in red, colour 346. The setting of upright
+stroke stitches round the large centre figures, as well as the straight
+lines that divide these same figures into four, are worked in yellow,
+colour 680.
+
+[Illustration: FIG. 333. WALLACHIAN BORDER. GOBELIN STITCH, STROKE
+STITCH AND SPANISH HALF-STITCH. MATERIALS.--For Rhodes linen No. 1:
+Cordonnet 6 fils D.M.C No. 15, and Or fin D.M.C pour la broderie No.
+30.--For other stuffs: Coton à tricoter D.M.C Nos. 6 to 16, or Coton à
+repriser D.M.C No. 12, 25 or 50 and Or fin D.M.C.[A]
+
+COLOURS: Rouge-Cardinal 346, Rouge-Géranium 326, Vert-Pistache 319 and
+Jaune-vieil-Or 680.[A]]
+
+The squares and the half-squares are worked in colour 326, green 319,
+and gold thread; colour 326 is indicated in the illustration by the
+darkest shade, green 319, by the medium shade, and the gold thread by
+the lightest shade.
+
+The stitches in the right bottom quarter and top left one, incline
+upwards from left to right, in the two other quarters they incline the
+contrary way. The Spanish half-stitch as shown in fig. 309, can only be
+done over 4 and 2 threads and worked one way, not to and fro.
+
+The general effect is very much heightened by the introduction of one or
+two rows of stitches, worked in gold thread, into the straight lines on
+either side of the stripes; all the light parts of the design moreover,
+should be worked in gold thread.
+
+BORDERS IN SEVERAL SHADES OF ONE COLOUR (figs. 334 and 335). In some
+beautifully embroidered Chinese hangings, that latterly came under our
+notice, the principal subject was the figure of a mandarin, in a very
+richly decorated dress. The pretty pattern, given in fig. 334, was
+copied from the collar and cuffs of this dress. We should advise working
+it in several shades of pink or red, or in a single one of the colours
+indicated above.
+
+[Illustration: FIG. 334. BORDER IN SEVERAL SHADES OF ONE COLOUR.
+MATERIALS: Coton à tricoter D.M.C Nos. 12 to 20, Coton à broder D.M.C
+Nos.. 16 to 35 or Coton à repriser No. 12, 25 or 50. COLOURS: Three
+shades of either Bleu-Indigo, Rouge-Grenat, or Violet-Mauve etc. etc.]
+
+[Illustration: FIG. 335. BORDER IN SEVERAL SHADES OF ONE COLOUR.]
+
+The border of these hangings furnished us with pattern 335, which will
+be found to look best, worked in three very distinct shades of blue.
+
+The grotesque heads of animals, and the flowers and branches which break
+the running pattern, and are a Chinese speciality, distinguish this
+design from the more conventional patterns of the present day.
+
+We recommend these two pretty patterns, to our readers notice, as
+likewise adaptable by transposition, to centres, or by repetition, to
+broad stripes. With very little trouble they can be converted, into a
+variety of subjects, such as it is often difficult to find ready made,
+and exactly suited to the purpose in hand.
+
+BORDER IN GREEK STITCH WITH A FOOTING, COMPOSED OF BRANCHES (fig.
+336).--This design can be worked in Greek, Slavonic, Montenegrin, or
+plaited Algerian stitch. Our illustration worked in Greek stitch, shows
+how one stitch encroaches upon another, and how the thread is carried
+from one isolated stitch, to another.
+
+[Illustration: FIG. 336. BORDER IN GREEK STITCH WITH A FOOTING, COMPOSED
+OF BRANCHES.]
+
+It will be found to be an improvement if the stitches are so made as to
+follow the direction of the lines. The central subject may be repeated
+two or three times, according to the width of border required. The
+edging is the same throughout. The use of the 'Penelope mirror' for
+repeating patterns is described in the concluding chapter of the book.
+
+TABLE-COVER IN GOBELIN AND STROKE STITCH (figs. 337, 338, 339,
+340).--This tasteful little table-cover provides excellent practice in
+working two sided, square stitch. The square represented in fig. 339,
+forms the middle of the cloth. The Gobelin stitches, set very closely,
+unite and form a star in the centre of the principal subject. They begin
+in the corners, in red and continue in green, violet and blue,
+successively; the little branches in stroke stitch, on each side of the
+Gobelin stitches, correspond with them in colour, and the small figures,
+that form the border of the square, may be worked, indiscriminately, in
+any of the colours used for the Gobelin stitches of the centre. Four
+branches run inwards from the corners of the square, and four more
+advance to meet, and pass them, from the inner angles of the wide
+border. Four figures, copied from the outside border, fig. 339, and
+worked in yellow, and the little star, fig. 337, besides the little
+subjects, borrowed from the outside border, fig. 338, are strewn lightly
+over the foundation, interspersed between the branches. In fig. 340,
+nevertheless, which represents the whole table-cover, the edge is formed
+of the small subjects contained in the wide border and not of the
+little stars. The Gobelin stitches in the centre of fig. 337, are in
+dark green, the star stitches and the stroke stitches on the outside in
+red. The wide border consists of stars, every other row of which, is
+worked in red; the intermediate rows, successively, in blue, green, and
+yellow. The corners are composed of four detached stars, framed by a row
+of stroke stitches, one red and one blue, alternately. This line skirts
+both sides of the border, and forms the base to the quaint figures, that
+terminate the design and which can be worked in all the colours used for
+the inside.
+
+[Illustration: FIG. 337. SMALL DETACHED SUBJECT OF FIG. 340.]
+
+[Illustration: FIG. 338. OUTER BORDER OF FIG. 340.]
+
+[Illustration: FIG. 339. MIDDLE OF FIG. 340.]
+
+The original of our illustration, which is on fine Rhodes linen, in
+Coton à broder D.M.C No. 25, is only a small table-cover; for a larger
+one, if you wish strictly to adhere to the pattern, Java or Ceylon linen
+will be the best material to select, with Coton à tricoter D.M.C No. 12,
+for the stroke stitches and Coton à repriser No. 25 for the Gobelin
+stitches.
+
+[Illustration: FIG. 340. TABLE-COVER IN GOBELIN AND STROKE STITCH.
+MATERIALS.--According to the stuff: Coton à tricoter D.M.C Nos. 6 to 16,
+Coton à broder D.M.C Nos. 16 to 35, Coton à repriser D.M.C Nos. 12, 25,
+50, Fil à pointer D.M.C Nos. 10 to 30, or Cordonnet 6 fils D.M.C Nos. 3
+to 20.[A] COLOURS: Rouge-Cornouille 450, Vert-Pistache 319,
+Violet-Lie-de-vin 372, Jaune-Rouille 364, Bleu-Indigo 322.[A]]
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: INSERTION--PLAIN STITCHES AND OVERS]
+
+
+
+
+Knitting.
+
+
+Knitting is one of the earliest forms of needlework, and one, which has
+been carried to the highest perfection. It would be difficult to invent
+new stitches or patterns and, we shall therefore confine ourselves to
+describing the stitches in general use, and reproducing those of the old
+patterns we consider the most useful, that our readers may make their
+own selection.
+
+In former days, knitting served mainly for the manufacture of stockings,
+and even now, in spite of machines, handknit stockings, and numberless
+other useful and ornamental articles, such as shawls, counterpanes,
+cradle-coverings, gloves, laces etc. are in great request.
+
+Besides its practical use, knitting is an easy and pleasant pastime that
+can be taken up at odd minutes and even carried on, whilst talking, or
+reading.
+
+Knitting consists of loops, or stitches, as they are generally called,
+formed by means of a thread and two needles.
+
+In round knitting, four, or five needles are necessary for the better
+handling of the work.
+
+Through the loops formed in knitting, being connected together in
+unbroken continuity, a very elastic fabric is produced, which is
+specially suitable for making warm, and closely-fitting
+wearing-apparel.
+
+MATERIALS.--Threads with a slight twist, such as Coton à tricoter
+D.M.C, are the best. With regard to the thickness of the needles,
+whether they be of steel, wood, or bone, your choice must be determined
+by the quality of the thread used.
+
+The accompanying table is intended to help inexperienced knitters to
+match their needles and thread, we advisedly say, help, as it is
+impossible exactly to determine the numbers that will correspond,
+because every hand knits differently, and a loose knitter has to use
+finer needles than a tight knitter.
+
+Other materials are enumerated here, besides, what is properly speaking,
+called knitting-cotton, as for caps, lace edgings, insertions and so
+forth, finer kinds of thread and threads with a stronger twist which
+show up the pattern better, should be used.
+
+[Illustration: TABLE OF THE APPROXIMATE RELATION OF THE D.M.C THREADS
+AND COTTONS TO THE NUMBERS OF THE KNITTING NEEDLES[A].]
+
+POSITION OF THE HANDS IN KNITTING (fig. 341.)--Lay the thread over the
+fifth finger of the right hand, and twist it round it, then carry it
+over the forefinger, which should be kept close to the work, the work
+being held between the third finger and the thumb. The left hand remains
+more or less inactive, having merely, by a slight movement of the
+forefinger to pass the loops, in succession, on to the needle in the
+right hand, which forms the stitches. This position of the hands, which
+is the one usually adopted in England and France, is the one represented
+in our illustration. The Germans on the contrary, lay the thread over
+the left hand, and can move the hands much more quickly, in consequence.
+There are some ways of casting on, which can only be done in the German
+fashion.
+
+To prevent the irregularity in stitches, the needles should never be
+allowed to protrude more than 1 or 1½ c/m, from the work. All
+exaggerated movement of the arms, which renders knitting a very tiring
+occupation, should be avoided.
+
+[Illustration: FIG. 341. POSITION OF THE HANDS IN KNITTING.]
+
+CASTING ON.--Casting, or, setting on, as it is sometimes called, is
+the formation of the first row of stitches which are to constitute the
+foundation of the work.
+
+There are four methods of casting on: (1) crossed casting on, done in
+four different ways; (2) knitting on; (3) slipping on, also done in two
+ways; (4) casting on with picots.
+
+(1) CROSSED CASTING ON WITH A SINGLE THREAD (fig. 342). Lay the thread
+over your fingers as though you were beginning a chain of plain
+stitches, fig. 403, leaving a long end, sufficient to make the number of
+stitches required, lying within the palm of the hand. Put the needle in
+from below, into the loop on the thumb, and pass it from right to left
+under that part of the thread which lies between the forefinger and the
+thumb. Then bring the thread through the loop on the thumb, draw the
+thumb out, and lay the loop on the needle. In making the next stitches,
+lay the thread over the thumb, so that the end lies outside. Put in the
+needle under the front thread and complete the stitch as before. This
+method of casting on is generally done over two needles, one of them
+being drawn out before the knitting-off is begun, to ensure a loose
+edge.
+
+[Illustration: FIG. 342. CROSSED CASTING ON WITH A SINGLE THREAD.]
+
+CROSSED CASTING ON WITH A THREEFOLD THREAD.--This method is similar to
+the last, only that the thread is taken threefold and is drawn by the
+needle through the loop, which is formed at the bend of the thread. Then
+you pass the single thread over the left hand, and the triple one over
+the thumb, as shown in fig. 342, and make the same stitches, as above.
+The threefold thread makes a broad chain at the bottom of the loops.
+
+DOUBLE CROSSED CASTING ON (fig. 343).--This can be done either with a
+single or a threefold thread. In our drawing it is done with the latter.
+The first stitch is made as we have already described, only that you
+have to keep the loop on your thumb, put the needle into it a second
+time, lay hold of the thread behind, cast on a second stitch, and then
+only, withdraw your thumb. In this manner two loops are made at once,
+close together.
+
+[Illustration: FIG. 343. DOUBLE CROSSED CASTING ON.]
+
+CROSSED CASTING ON, FORMING A CHAIN (fig. 344.)--Begin by making one
+such stitch, as we have described in fig. 341; for the second and
+following stitches, bring the end of the thread to the inside of the
+palm of the hand, so that it lies between the thumb and the forefinger.
+
+[Illustration: FIG. 344. CROSSED CASTING ON, FORMING A CHAIN.]
+
+(2) KNITTING ON STITCHES (fig. 345).--Begin with a plain crossed
+stitch; then take the thread and the needle in the left hand, a second
+needle in the right, and catch it into the stitch on the left needle,
+lay the thread under the right needle and draw it through in a loop,
+through the loop on the left needle. Then transfer it as a fresh stitch
+to the left needle; catch the needle into this second stitch, and draw
+the thread through it, to form the third, and so on.
+
+This method of casting on is used for articles, that are to have a
+double edge, (see figs, 355, 356), because stitches, made in this way,
+are easier to pick up than the tighter ones; but it should not be used,
+where it will form the actual edge, as the loops are always too open.
+
+[Illustration: FIG. 345. KNITTING ON STITCHES.]
+
+(3) CASTING ON WITH SLIP LOOPS (fig. 346).--Begin by casting on one
+loop in the ordinary way, next, lay the thread, as in German knitting,
+over the left hand, twisting it once only round the forefinger, then put
+the needle in, upwards from below, under the thread that lies on the
+outside of the forefinger; draw out the finger from the loop, put the
+loop on the needle to the right, take the thread on the forefinger
+again, and so on.
+
+[Illustration: FIG. 346. CASTING ON WITH SLIP LOOPS.]
+
+CASTING ON WITH DOUBLE SLIP LOOPS (fig. 347).--Begin by casting on a
+stitch in the ordinary way, then lay the thread over the forefinger, the
+reverse way, so that it crosses between, not outside the hand and the
+body of the knitter. Pass the needle upwards from below, under the
+inside thread, and slip this thread as a loop on to the needle. Continue
+to cast on, inserting the needle under the front and back threads
+alternately. This method is specially suitable for open patterns, where
+you have to increase several times, in succession.
+
+[Illustration: FIG. 347. CASTING ON WITH DOUBLE SLIP LOOPS.]
+
+(4) CASTING ON WITH PICOTS (fig. 348).--Cast on two stitches in the
+ordinary way and turn the work. Lay the thread over the needle, put the
+needle into the first stitch, from right to left, and slip it on to the
+right needle, knit off the second stitch plain, and draw the slipped one
+over it.
+
+[Illustration: FIG. 348. CASTING ON WITH PICOTS.]
+
+Cast on as many stitches as you want in this manner and then pick up the
+picots thus formed, with an auxiliary needle, and knit them off like
+ordinary stitches.
+
+This method of casting on may be varied thus in the following manner:
+having cast on the stitches as in fig. 348, throw the thread over the
+needle and knit two stitches together.
+
+PLAIN STITCH (fig. 349).--This is the easiest stitch and the first
+which a knitter has to learn. It is executed as follows: Put the
+right-hand needle in, upwards from below, under the front part of the
+first stitch on the left-hand needle, lay the thread from right to left
+under the needle, draw it through the loop, and drop the loop off the
+left needle.
+
+[Illustration: FIG. 349. PLAIN STITCH.]
+
+Plain knitting is employed wherever a perfectly smooth, even surface is
+required. It looks quite differently on the wrong side from what it does
+on the right where it presents the appearance of vertical rows of
+plaiting.
+
+BACK, OR SEAM-STITCH (fig. 350).--You may intentionally knit the wrong
+side of plain knitting. This is called purling and is done, in the
+following way: lay the thread over the left needle, and put the right
+one, downwards from above, behind the thread, into the loop on the left
+needle, lay the thread upwards from below, over the right needle, draw
+it through the loop, and drop the loop off the left needle. This stitch
+is used in knitting patterns, and for marking horizontal lines in
+smooth surfaces, such as the seam of a stocking, for instance.
+
+[Illustration: FIG. 350. BACK OR SEAM-STITCH.]
+
+PLAIN STITCH TAKEN FROM BEHIND (fig. 351).--Put the needle in from
+right to left, under the back part of the stitch; leave the thread
+behind the needle, then pass it from right to left over the needle and
+draw it through the stitch.
+
+[Illustration: FIG. 351. PLAIN STITCH TAKEN FROM BEHIND.]
+
+BACK, OR SEAM-STITCH TAKEN FROM BEHIND (fig. 352).--Put the needle
+into the second part of the stitch, upwards from below, and knit it as a
+back or seam-stitch.
+
+[Illustration: FIG. 352. BACK OR SEAM-STITCH TAKEN FROM BEHIND.]
+
+In plain stitch, taken from behind, the two threads of the loop are
+crossed, instead of lying side by side, as they do in plain knitting.
+
+Back-stitch taken from behind, is only used for certain open-work
+patterns.
+
+OVERS (fig. 353).--These form holes in plain knitting, and are used
+for open-work patterns and for increasing.
+
+[Illustration: FIG. 353. OVERS.]
+
+To make an over, lay the thread over the needle, and in the next row,
+knit this loop like any other stitch.
+
+Each over adds one to the existing number of stitches. In cases,
+therefore, where the number is to remain the same, you have to make as
+many intakes as overs. Overs can only be used in conjunction with other
+stitches.
+
+KNOT STITCH (fig. 354).--This forms a raised spot in plain knitting
+and is executed as follows: knit 1, and leave it on the left-hand
+needle; put the stitch you have made with the right needle back on the
+left, and knit it off. Make 4 or 5 similar stitches, all issuing from
+the same stitch on the left needle, so that you have 4 or 5 loops on the
+right needle; then drop the stitch off the left needle, and pull the 4
+first loops over the last one.
+
+[Illustration: FIG. 354. KNOT STITCH.]
+
+CABLE OR CHAIN STITCH.--Chain stitches are used for strengthening and
+equalizing the edges of articles that are made in stripes. They can be
+made in two ways; either, you knit off all the stitches on one needle,
+turn the work, put the needle into the first stitch, as if you were
+going to knit it from the back, and take it off the left needle without
+knitting it, the thread to lie behind the needle; or, you knit off all
+the stitches on one needle, turn the work, and knit off the first
+stitch.
+
+THE NAMES OF THE STITCHES.--Out of the stitches that have been already
+described, other stitches are formed, which, as they are frequently
+alluded to in knitting directions, we shall here enumerate, explaining
+all the terms, usually employed in such directions.
+
+OVER, OR INCREASE.--Explained in fig. 353. Throwing the thread once
+over the right needle.
+
+DOUBLE OVER, OR TWO INCREASES.--Throwing the thread twice over the
+needle.
+
+PLAIN INTAKE.--Knitting two stitches together plain. This is done when
+the intake is to lie from left to right.
+
+PURLED INTAKE.--Purling two stitches together. This is done to make
+the stitches, that are knitted together, visible; or in the case of a
+piece of work composed of stripes, on the wrong side, when the intake is
+to lean to the right, on the right side.
+
+PLAIN DECREASE, TAKEN FROM BEHIND.--Knitting off two stitches
+together, plain from behind. This is done when the intake is to lie to
+the left.
+
+PURLED DECREASE, TAKEN FROM BEHIND.--Purling two stitches together,
+from behind. This is done when, in articles composed of stripes, the
+decrease has to be made on the wrong side, and is to lie to the left on
+the right side.
+
+PULLING OVER.--Slipping a stitch from the left needle to the right
+without knitting it, knitting the next plain, and pulling the slipped
+stitch over the knitted one. In this manner two or three stitches can be
+pulled over the knitted one.
+
+CASTING OFF.--To prevent the stitches from unravelling they are
+finished off in the following manner. Knit off two plain, pull the first
+over the second and drop it, so that only one remains on the needle.
+Knit the next stitch, and pull the one behind over it, and so on. This
+chain of stitches, must neither be too tight, nor too loose, but just as
+elastic as the rest of the work.
+
+MATERIALS FOR STOCKINGS.--Stockings can be made of silk, wool or
+cotton, entirely according to fancy, but for coloured stockings, we
+cannot too highly recommend the D.M.C knitting cottons, as more
+durable, in all respects, than either silk or wool. They are
+manufactured in 360 different shades, whereas, wool and silk are only to
+be had in a very limited assortment of colours. For hand-knit stockings,
+Nos. 25, 30, 35[A] are the best, for machine-knit, Nos. 40 and 50.
+
+STOCKING KNITTING.--A stocking consists of five parts: (1) the top,
+(2) the knee, (3) the leg, (4) the heel, (5) the foot.
+
+(1). The top may be either ribbed, or knitted in an openwork stitch of
+same kind or with a double-toothed edge, fig. 356.
+
+(2) and (3). The knee, and the leg down to the heel, are generally plain
+knitted; it is only children's stockings that are fancy knitted.
+
+(4). The heel, is worked as straight knitting backwards and forwards; by
+knitting first one row plain and then turning back and knitting it purl.
+It is shaped to the foot by the intakes at the top.
+
+(5). The foot is knitted plain, with intakes from the heel onwards, to
+get rid of the superfluous stitches. Then knit a plain piece, without a
+seam-stitch, till you begin to decrease for the toe, which can be worked
+in several different ways.
+
+To ensure the right proportions between the several parts of a stocking,
+the following directions should be attended to. An ornamental top must
+never be taken into account, in measuring the length of the leg. When
+the top part is finished, you make the seam, at the beginning of the
+first needle of the round, of one, or two purled stitches, or sometimes,
+a narrow pattern of purled stitches. This marks the middle of the
+stocking. For ordinary-sized stockings, knit plain from the top-band,
+till the knitted piece, forms a square.
+
+For stockings that are to cover the knee, knit half as much again, that
+is one and a half times the width of the stocking. This brings you to
+the calf of the leg. Pull the third stitch after the seam, over the
+second, and knit together the two last but one before the seam. There
+should be 12 rounds between each of the first 3 or 4 intakes, and after
+that 8, until this part is one and a half times the width of the knee
+in length, and a quarter narrower.
+
+For the ankle, knit a plain piece, half the width of the knee in length,
+without intakes.
+
+For the heel, count the stitches on the four needles, exclusive of the
+seam, and put two stitches more than the quarter of the whole number on
+to the needles, to the right and left of the seam.
+
+For a heel to fit well, it should be as long as it is wide. In order
+that they should wear better, the heel and the toe are often knitted
+with double thread. Coton à feutrer D.M.C[A] is made expressly for that
+purpose, and should be wound round the thread of which the whole
+stocking is made. For the instep, the part between the heel and toe, you
+must go on decreasing from the heel, until you have 2 stitches less on
+each needle, than you had at the ankle. Then knit the plain part of the
+foot, which should be as wide as the ankle, after which proceed to
+decrease for the toe, which should be a quarter the length of the whole
+foot. In spite of this careful subdivision, it is always well to count
+the stitches, to ensure perfect regularity. The number of stitches cast
+on, at the outset, for the same-sized stockings, must depend upon the
+size of the wool or cotton; we can only give the numbers approximately.
+Our calculation is based on the use of 5 needles; the given number has
+therefore to be cast on four times.
+
+______________________________________________________________________________
+Coton à tricoter D.M.C    Number of stitches to      Number of stitches to
+                          be cast on one needle for  be cast on one needle
+ Numbers to be used       stocking ordinary-sized    for stockings that are
+                                                     to reach above the knee
+______________________________________________________________________________
+       25                        32                           36
+       30                        34                           38
+       35                        36                           42
+       40                        40                           46
+       50                        42                           50
+______________________________________________________________________________
+
+SCALLOPED EDGE (figs. 355 and 356).--This is the simplest and
+strongest edge you can have for a stocking, and is called the
+cat's-teeth edge.
+
+[Illustration: FIG. 355. SCALLOPED STOCKING EDGE. EDGE OPEN.]
+
+[Illustration: FIG. 356. SCALLOPED STOCKING EDGE. EDGE FOLDED TOGETHER.]
+
+Having cast on the stitches, knit 6 to 10 rounds plain, according to the
+size of the cotton, then one round of alternate intakes and overs. Knit
+as many plain rounds as before, and with a sixth needle take up as many
+of the cast on stitches, as you have stitches on one of the upper
+needles. Turn this needle inwards, and place it against the outside
+needle and knit off both needles together. See that you knit the
+corresponding stitches off together, otherwise the scallops that form
+the edge will be crooked.
+
+COMMON HEEL (fig. 357).--This is the simplest form of heel, and can be
+knitted either with or without an outside seam. Divide the stitches into
+four, and put two more on each of the heel needles than on the others,
+then make, according to the size of the cotton, from 15 to 20 seams;
+knit off all the stitches on the right needle and a third of those on
+the left. Supposing that you have 24 stitches, knit off 8, then slip 1,
+knit 1, and pull the slipped stitch over, knit 2 plain, turn the work,
+slip the first, and purl the next 8 stitches of the second needle; purl
+the 9th and 10th together, purl 2, turn the work to the right side, and
+slip the first stitch on to the right needle. By means of these
+successive intakes after the 8 stitches, the knitting forms a plait on
+both sides of the heel.
+
+[Illustration: FIG. 357. COMMON HEEL.]
+
+In all heels that are made after this pattern, the intakes must begin on
+the right side and the last one must be made on the wrong, so that once
+the heel is finished and the work turned, you can go on knitting plain.
+
+When you have finished the stitches of the two heel needles up to the
+outside seams, take up the stitches on the sides of the heel with a
+spare needle and knit them on to the left heel needle, then knit the
+stitches reserved for the instep, take up the stitches on the right side
+of the heel again and knit them on to the fourth needle.
+
+In the next round, knit all the stitches of the first needle plain,
+excepting the 4 last; knit the first and second of these together and
+the two last plain. Knit the two first stitches of the fourth needle
+plain, slip the third, knit the fourth and pull the slipped stitch over.
+
+HEEL IN STEPS (fig. 358).--After dividing the stitches, make from 12
+to 14 seams. Then knit as many stitches of the first needle as you have
+seams at the side; turn the work, and begin the needle with the seam you
+made first. Knit off as many stitches from the second needle as from the
+first. Make the same number of seams, as for the first part of the
+heel. When the seams are finished, take up the chain stitches, on both
+sides, make a decrease by knitting the last stitch of the small part and
+the first of the large, together; knit two; turn the work; slip the
+first stitch, knit to the second side, and decrease as in the first
+part.
+
+[Illustration: FIG. 358. HEEL IN STEPS.]
+
+When you have decreased all the stitches up to the last, take up the
+slipped stitches of the first part, and begin the intakes for the instep
+in the ordinary way.
+
+There is not more work in this pattern of heel than in any other; it
+fits closely and consequently wears well.
+
+PLAIN HEEL (figs. 359 and 360).--Those who are not fond of purling
+will appreciate this and the following pattern for a plain heel.
+
+[Illustration: FIG. 359. PLAIN HEEL.]
+
+[Illustration: FIG. 360. HEEL KNITTED ON THE RIGHT SIDE.]
+
+Knit off the stitches of the first needle after the seam; then on to two
+spare needles, cast on, 8 more stitches than you had on one needle after
+dividing the stitches; put the stitches of the third and fourth needles
+together and knit the first round plain.
+
+2nd round--knit together the 1st and 2nd, and the 9th and 10th of the
+first auxiliary needle; and the 10th and 9th and 2nd and 1st of the
+second.
+
+3rd round--plain.
+
+4th round--knit together the 1st and 2nd and the 7th and 8th of the
+first needle.
+
+5th round--plain.
+
+6th round--knit together the 1st and 2nd and the 5th and 6th of the
+first auxiliary needle; and the 6th and 7th and the last but one and the
+last, of the second.
+
+7th, 10th, 11th, 13th, 14th, 16th, 17th, 19th, 20th rounds all plain.
+
+8th round--knit together the 1st and 2nd, and the 3rd and 4th of the
+first auxiliary needle, and the 4th and 3rd, and the last stitch but one
+and the last, of the second.
+
+9th round--After the two last intakes, purl together the 4th and 3rd
+stitches before the end of the 1st and 3rd needle, and the 3rd and 4th
+at the beginning of the 2nd and 4th needles.
+
+12th, 15th, and 18th rounds--Decrease, the same as in the 9th round.
+
+21st round--knit 2 plain, at the beginning of the 1st and 3rd needles;
+knit the next 2 together; knit together the 4th and 3rd, before the end
+of the 2nd and 4th needles; knit the last stitches plain; go on
+decreasing in this way until the purled stitches meet. After the plain
+round over the intakes, add four plain rounds, divide the stitches that
+remain for the sole, on two needles and cast off on the wrong side.
+
+Now take up the auxiliary stitches, and in the first 3 plain rounds,
+knit together the last and the first of the 1st and 2nd needles, and the
+last and the first of the 3rd and 4th.
+
+With the rest of the extra stitches make purled intakes, knitting two
+plain rounds after each round with an intake.
+
+For the other kind of plain heel also (fig. 360), auxiliary stitches are
+required. Supposing that you have 20 stitches on each needle, you must
+cast on 28 stitches on to each auxiliary needle; knit together the 4th
+and 3rd stitches at the end of the 1st and 3rd needles, and the 3rd and
+4th of the 2nd and 3rd needles, so that you may have 4 plain stitches
+between both intakes. Go on decreasing, knitting 2 plain rounds after
+each round with an intake, until you have 6 stitches left on each
+needle. Then knit together the first and last stitches of each needle,
+one plain round over it, and finish with a chain on the wrong side of
+the heel. Then take up the auxiliary stitches and knit the instep.
+
+ITALIAN STOCKING (fig. 361).--The heel, sole and toe of a stocking
+always wear out before the instep. The Italians and Greeks economise
+time and material and facilitate the renewal of those parts that wear
+out, by knitting the upper part of the foot in two pieces. After
+knitting the heel in on or other of the above ways, work the foot as
+straight knitting with the two upper needles only, until you have the
+necessary length. Then knit the underneath part separately, in the same
+way. You must keep a chain along all edges and a narrow seam of one or
+two stitches. In the sole, which you make after finishing the upper
+part, you intakes must come directly after and before the seam. When you
+have got the same number of rounds in each piece, join them together and
+begin the toe.
+
+[Illustration: FIG. 361. ITALIAN STOCKING.]
+
+Sew up the slits left open on either side, with a needle and thread
+taking care to fit the corresponding stitches together.
+
+In this manner, when one part wears out, you have only to unpick these
+side-seams and re-sole or re-heel the stocking as the case may be.
+
+TOE (fig. 362).--To begin as before, with the simplest and most
+ordinary way of making this part of the stocking, divide the stitches
+equally on to the 4 needles; knit together the 4th and 3rd stitches
+before the end of the 1st and 3rd needles, knit the 2 last and 2 first
+stitches of the 2nd and 4th needles plain, and make an intake by
+slipping the 3rd stitch, knitting the 4th, and pulling the slipped
+stitch over. Begin by knitting 2 plain rounds after each of the first 4
+rounds with an intake, and afterwards only one. When you have only 4
+stitches left on each needle, collect them on two, and knit them
+together, two and two, on the wrong side of the stocking.
+
+[Illustration: FIG. 362. TOE.]
+
+TOE (fig. 363).--Here, before beginning to decrease, divide the
+stitches by 8, 10, or 12. Supposing that they have been divided by 10,
+knit 8 plain; knit the 9th and 10th together, 8 plain, knit two
+together, and so on, the whole way round. Then knit as many plain rounds
+as there are plain stitches between 2 intakes. In the next rounds with
+intakes, you will have one stitch less between each intake, in the
+second therefore, there should be 7 plain stitches between each intake,
+and you knit 7 plain rounds; and so on to the 7th round, when 2 stitches
+will remain, followed by 2 plain rounds; when there are only 4 stitches
+left on the needles, turn them in to the wrong side of the stocking,
+and finish off with a chain.
+
+[Illustration: FIG. 363. TOE.]
+
+TOE (fig. 364).--Begin the intakes with the two first stitches of each
+needle, by the slip and pull over process, knit one plain round after
+each round with an intake. In the following rounds, make the intake in
+the 2nd round with the 3rd and 4th stitches, in the 3rd, with the 5th
+and 6th stitches, in the 4th, with the 7th and 8th stitches, so that
+when finished the intakes form a kind of spiral. Finish off in the
+ordinary way.
+
+[Illustration: FIG. 364. TOE.]
+
+TOE (fig. 365).--We will describe one other kind of toe, quite as
+shapely and easy to make as the others.
+
+[Illustration: FIG. 365. TOE.]
+
+1st round--purl the first 2 stitches on each needle together.
+
+2nd and 3rd, 5th and 6th, 8th and 9th, 11th and 12th, 14th and 15th,
+17th and 18th rounds--plain.
+
+4th round--1 plain, 1 intake with the 2nd and 3rd stitches, and with the
+last 2 on each needle.
+
+7th round--knit the 2 first plain, make 1 intake with the 3rd and 4th
+stitches, and 1 with the 2 last.
+
+In each of the next rounds with intakes, knit 1 plain stitch more.
+
+When the two seams meet, pull the last stitch on each needle over the
+first of the next; knit the stitches between the intakes plain. Continue
+to decrease in this manner until the last stitches are reached.
+
+MENDING KNITTING.--Knitted articles are repaired by reconstructing
+the web with a needle and thread. When the stitches are not actually
+broken, they can be strengthened by new ones made over them, by means of
+a needle and thread.
+
+MATERIALS FOR DARNING STOCKINGS.--The thread used for darning a
+stocking should be a little finer than that of which it is made. Coton à
+repriser D.M.C[A] is the best, for as it consists of several strands it
+can be subdivided as occasion requires.
+
+STRENGTHENING THE STITCHES (figs. 366 and 367).--This can be done in
+two ways. In fig. 366, the thread is brought out between two horizontal
+bars, passed upwards over a perpendicular bar, put in by the side of the
+same and brought out between the next horizontal bars.
+
+Work the second row of stitches backwards; take up two threads on the
+left, pass downwards to the right, over one thread, take up the thread
+you passed over, and so on.
+
+[Illustration: FIG. 366. STRENGTHENING THE LOOPS. FIRST WAY.]
+
+[Illustration: FIG. 367. STRENGTHENING THE LOOPS. SECOND WAY.]
+
+The other way, fig. 367, is, when you have brought out your needle, to
+carry it over one thread to the right and upwards over two, take up the
+next two threads on the left, pass downwards over two horizontal
+threads, and over one thread to the right, and put in the needle where
+it first came out; then working from right to left, take up two threads,
+pass over one to the right, and downwards over two horizontal ones, and
+so on. In the next row, hold your work, the finished part uppermost,
+carry the needle downwards over one horizontal thread, bring it out
+between two threads that lie separately and take it downwards again over
+two horizontal threads, pick up two threads, working from right to left,
+pass upwards over two threads and over one to the right, take up two to
+the left, and so on.
+
+REPAIRING PLAIN KNITTING (fig. 368).--When a broken piece of stocking
+web requires to be replaced by new, draw the new and the old pieces
+together with a needle and thread, using the same thread the stocking is
+made of.
+
+[Illustration: FIG. 368. REPAIRING PLAIN KNITTING.]
+
+For this purpose, you must clear the loops, by ravelling them out top
+and bottom, and slip them on to knitting needles. The loops that are to
+be connected must lie exactly opposite to each other. Enter your
+threaded needle upwards from below through the first disengaged upper
+loop, and slip it off the knitting needle, then enter the needle,
+downwards from above through the first lower loop, and upwards from
+below through the next, and draw out just enough thread to make the new
+loop the same size as the old ones. Then enter the needle, downwards
+from above, through the same upper loop you took up before, taking up
+also the one next to it, and passing your needle through it from
+underneath; draw out the thread to form the new loop and descend again
+to the next, and so on.
+
+REPAIRING PURLED KNITTING (fig. 369).--To repair ribbed surfaces
+consisting of alternate rows of plain and purl, proceed as follows: hold
+the article so that the row of purled stitches is exactly opposite the
+upper part. Enter your needle upwards from below, through the first
+loop of the upper part; join the two lower loops together as in fig.
+368; carry the needle upwards again, and enter it upwards from below
+through the first loop of the upper part and downwards from above,
+through the loop next it. Join the lower loops again, as in plain
+knitting.
+
+[Illustration: FIG. 369. REPAIRING PURLED KNITTING.]
+
+DISENGAGING THE LOOPS FOR DARNING (fig. 370).--Where the threads are
+broken, new loops have to be made, and the broken ones ravelled out and
+cut, so that the horizontal loops may stand out clear and distinct. Cut
+the threads on the vertical sides so that the loops form an edge and the
+hole is square, clear two or four loops in the corners of the hole, fold
+them in and fasten them off at the back by a stitch or two. The darns we
+are next going to describe should be made upon a ball to prevent drawing
+the threads too tightly.
+
+[Illustration: FIG. 370. DISENGAGING THE LOOPS FOR DARNING.]
+
+DARNING ON THREADS STRETCHED HORIZONTALLY (figs. 371 and 372).--Carry
+a horizontal thread across on the wrong side, in the place of each
+broken thread, securing it in the sound part of the stocking, about two
+threads from the edge of the hole. When you have made this foundation,
+put the needle in on the right side near the stitch that is nearest to
+the sound part on the left, fig. 371.
+
+[Illustration: FIG. 371. DARNING ON THREADS STRETCHED HORIZONTALLY.
+POSITION OF THE HORIZONTAL THREADS.]
+
+[Illustration: FIG. 372. DARNING ON THREADS STRETCHED HORIZONTALLY. HOW
+TO COVER THE HORIZONTAL THREADS.]
+
+Then descending, pick up the nearest horizontal thread from below, so
+that the working thread lies to the right of the needle, and cover all
+the horizontal threads you have laid in this manner.
+
+When you have taken up the last thread, pass the needle downwards from
+above, through the nearest loop, and bring it back through the one at
+which you entered it.
+
+To make, in reascending, the second half of the loop, you must lay your
+thread to the right of the needle, fig. 372.
+
+When you have reached the last thread, enter the needle at the loop,
+opposite the one it came out of.
+
+DARNING ON THREADS STRETCHED OBLIQUELY ACROSS (figs. 373 and 374).--As
+the illustration shows, you have to pick up all the cleared loops,
+besides two or three on either side of the empty space. The number and
+length of the threads which you carry across, must correspond with those
+of the threads you have to replace.
+
+[Illustration: FIG. 373. DARNING ON THREADS STRETCHED OBLIQUELY ACROSS.
+POSITION OF THE THREADS.]
+
+[Illustration: FIG. 374. DARNING ON THREADS STRETCHED OBLIQUELY ACROSS.
+HOW TO COVER THE OBLIQUE THREADS.]
+
+Fasten in, from the right side, a rather finer thread than the one the
+original web is made of, and make a few stitches over the existing ones,
+in the row you are about to complete.
+
+Enter the needle upwards from below, through the first disengaged loop,
+pass it under two threads issuing from one loop, and then bring it back
+again into the same loop between the two slanting threads, drawing it
+out again upwards from below, through the next loop, and so on. The new
+loop must be just equal to the old ones in size. Make in the same manner
+as at the beginning, two or three stitches at the end of the row, within
+the edge of the hole. Work back in a similar way, with this difference
+only, that you turn your work round.
+
+PIQUÉ PATTERN (fig. 375).--The following patterns are suitable for
+making counterpanes, petticoats, vests and other articles of clothing.
+Select a suitable number of Coton à tricoter D.M.C. Cast on a number of
+stitches divisible by 7, and begin by 6 rows of 5 plain stitches and 1
+purled, taken from behind.
+
+[Illustration: FIG. 375. PIQUÉ PATTERN. MATERIALS: Coton à tricoter
+D.M.C Nos. 6 to 30.]
+
+7th row--purl from behind the 3rd of the 5 plain, and knit 5 plain more
+and so on.
+
+PIQUÉ PATTERN (fig. 376).--Cast on a number of stitches divisible by
+14.
+
+[Illustration: FIG. 376. PIQUÉ PATTERN. MATERIALS: Coton à tricoter
+D.M.C Nos. 6 to 30, or Coton pour crochet 4 fils D.M.C Nos. 4 to 20.[A]]
+
+1st and 2nd row--* purl 7, knit 1, purl 1, knit 1, purl 1, knit 1, purl
+1, knit 1; repeat from *.
+
+3rd and 4th row--* knit 7, purl 1, knit 1, purl 1, knit 1, purl 1, knit
+1, purl 1; repeat from *.
+
+Repeat the whole from the 1st row.
+
+PIQUÉ PATTERN (fig. 377).--Cast on a number of stitches divisible by
+4.
+
+[Illustration: FIG. 377. PIQUÉ PATTERN. MATERIALS: The same as for fig.
+371.]
+
+The 8 first rows--knit 2, purl 2.
+
+9th and 10th row--knit 2 over the 2 purled, purl 2 over the 2 knitted of
+the 8th row.
+
+11th and 12th rows--the same as the first 8 rows.
+
+13th and 14th row--the same as the 9th and 10th row.
+
+15th to the 23rd--the same as the first 8 rows.
+
+STRIPES FOR COUNTERPANES (fig. 378).--This pattern is to be worked in
+stripes, of two colours; we may here take occasion to mention that in
+choosing two colours, one dark and one light, for a piece of work, the
+dark cotton should always be one or two numbers finer than the light,
+because the dark dyes thicken the cotton more than the light ones do.
+The blue, red and dark brown dyes sink into the cotton more and cause
+it to swell, whereas the lighter dyes do not affect its thickness.
+
+[Illustration: FIG. 378. STRIPES FOR COUNTERPANES. MATERIALS: Coton à
+tricoter D.M.C No. 6, 8, 10 or 12. COLOURS: Rouge-Turc 321 and
+Gris-Tilleul 391.[A]]
+
+Hence it comes, that for the stripes, here described, we were obliged to
+take No. 8 of the red cotton and No. 6 of the green, in order that the
+same number of stitches should make the same length of stripe.
+
+Cast on 28 stitches:
+
+1st needle--slip 1, knit 2, over, knit 1, knit 1 from behind, purl 1
+from behind, knit 1 from behind, purl 2, knit 5, purl 2, knit 1 from
+behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
+1 from behind, purl 1 from behind, knit 1 from behind, purl 1 from
+behind, knit 1, over, knit 3, 1 chain stitch.
+
+2nd needle--wrong side: slip 1, purl 2, purl 2 together, purl 1 from
+behind, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
+1 from behind, knit 1 from behind, purl 1 from behind, knit 2, purl 5,
+knit 2, purl 1 from behind, knit 1 from behind, knit 2 together, purl 2,
+1 chain stitch.
+
+3rd needle--right side: slip 1, knit 2, over, knit 1, knit 1 from
+behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
+1 from behind, purl 2, knit 5, purl 2, knit 1 from behind, purl 1 from
+behind, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
+1 from behind, knit 1, over, knit 2, 1 chain stitch.
+
+4th needle--wrong side: slip 1, purl 2, purl 2 together, purl 1 from
+behind, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
+1 from behind, knit 2, purl 5, knit 2, purl 1 from behind, knit 1 from
+behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
+1 from behind, purl 2 together, purl 2, 1 chain stitch.
+
+5th needle--on the right side: slip 1, knit 2, over, knit 1, knit 1 from
+behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
+1 from behind, purl 1 from behind, knit 1 from behind, purl 2, knit 5,
+purl 2, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
+1 from behind, knit 1, over, knit 2, 1 chain stitch.
+
+6th needle--on the wrong side: slip 1, purl 2, purl 2 together, purl 1
+from behind, knit 1 from behind, purl 1 from behind, knit 2, purl 5,
+knit 2, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
+1 from behind, purl 1 from behind, knit 1 from behind, purl 1 from
+behind, knit 1 from behind, purl 2 together, purl 2, 1 chain stitch.
+
+7th needle like the 5th, 8th needle like the 4th, 9th needle like the
+3rd, 10th needle like the 2nd, 11th needle like the 1st. Five plain
+stitches form a zig-zag in the middle of the stripe.
+
+Join the stripes with crochet stitches; of which several kinds are
+described in the next chapter.
+
+KNITTED SQUARE (fig. 379).--Cast on 2 stitches on to each of the 4
+needles. Repeat always 3 times after the asterisk.
+
+[Illustration: FIG. 379. KNITTED SQUARE. MATERIALS: Coton à tricoter
+D.M.C No. 8 or Fil à pointer D.M.C No. 20.]
+
+1st row--over, knit 1, over, knit 1 *.
+
+2nd row--knit 1, over, knit 1, over, knit 2 *.
+
+3rd row--knit 1, purl 1, over, knit 1, over, purl 2, knit 2 *.
+
+4th row--knit 1, purl 2, over, knit 1, over, purl 2, knit 2 *.
+
+5th row--knit 1, purl 3, over, knit 1, over, purl 3, knit 2 *.
+
+6th row--knit 1, purl 4, over, knit 1, over, purl 4, knit 2 *.
+
+7th row--knit 1, purl 5, over, knit 1, over, purl 5, knit 2 *.
+
+8th row--knit 1, purl 4, knit 2, over, knit 2, over, knit 1, purl 4,
+knit 2 *.
+
+9th row--knit 1, purl 3, knit 4, over, knit 1, over, knit 4, purl 3,
+knit 2 *.
+
+10th row--knit 1, purl 2, knit 6, over, knit 1, over, knit 6, purl 2,
+knit 2 *.
+
+11th row--knit 1, purl 1, knit 8, over, knit 1, over, knit 8, purl 1,
+knit 2 *.
+
+12th row--knit 1, purl 2, knit 5, cross 2 stitches (that is, first knit
+off the second stitch plain and then the first), knit 1, over, knit 1,
+over, knit 1, cross 2, knit 5, purl 2, knit 2 *.
+
+13th row--knit 1, purl 3, knit 8, purl 1, over, knit 1, over, purl 1,
+knit 8, purl 3, knit 2 *.
+
+14th row--knit 1, purl 4, knit 4, cross 2, knit 1, purl 2, over, knit 1,
+over, purl 2, knit 1, cross 2, knit 4, purl 4, knit 2 *.
+
+15th row--knit 1, purl 5, knit 6, purl 3, over, knit 1, over, purl 3,
+knit 6, purl 5, knit 2 *.
+
+16th row--knit 1, purl 4, knit 3, cross 2, knit 1, purl 4, over, knit 1,
+over, purl 4, knit 1, cross 2, knit 3, purl 4, knit 2 *.
+
+17th row--knit 1, purl 3, knit 7, purl 5, over, knit 1, over, purl 5,
+knit 7, purl 3, knit 2 *.
+
+18th row--knit 1, purl 2, knit 5, cross 2, knit 1, purl 4, knit 2, over,
+knit 1, over, knit 2, purl 4, knit 1, cross 2, knit 5, purl 2, knit 2 *.
+
+19th row--knit 1, purl 1, knit 9, purl 3, knit 4, over, knit 1, over,
+knit 4, purl 3, knit 9, purl 1, knit 2 *.
+
+20th row--knit 1, purl 2, knit 5, cross 2, knit 1, purl 2, knit 6, over,
+knit 1, over, knit 6, purl 2, knit 1, cross 2, knit 5, purl 2, knit 2 *.
+
+21st row--knit 1, purl 3, knit 7, purl 1, knit 8, over, knit 1, over,
+knit 8, purl 1, knit 7, purl 3, knit 2 *.
+
+22nd row--knit 1, purl 4, knit 3, cross 2, knit 1, purl 2, knit 6, cross
+2, knit 1, purl 2, knit 5, cross 2, knit 1, over, knit 1, cross 2, knit
+5, purl 2, knit 1, cross 2, knit 3, purl 4, knit 2 *.
+
+23rd row--knit 1, purl 5, knit 3, purl 3, knit 7, purl 1, over, knit 1,
+over, purl 1, knit 7, purl 3, knit 5, purl 5, knit 2 *.
+
+24th row--knit 1, purl 4, knit 3, cross 2, knit 1, purl 4, knit 3, cross
+2, knit 1, purl 2, over, knit 1, over, purl 2, knit 1, cross 2, knit 3,
+purl 4, knit 1, cross 2, knit 3, purl 4, knit 2 *.
+
+25th row--knit 1, purl 3, knit 8, purl 5, knit 5, purl 3, over, knit 1,
+over, purl 3, knit 5, purl 5, knit 5, purl 3, knit 2 *.
+
+26th row--knit 1, purl 2, knit 5, cross 2, knit 1, purl 4, knit 3, cross
+2, knit 1, purl 4, over, knit 1, over, purl 4, knit 1, cross 2, knit 3,
+purl 4, knit 1, cross 2, knit 5, purl 2, knit 2 *.
+
+27th round--knit 1, purl 1, knit 9, purl 3, knit 7, purl 5, over, knit
+1, over, purl 5, knit 7, purl 3, knit 9, purl 1, knit 2 *.
+
+Finish the square with several rows of purl and a chain.
+
+PLAIN PATENT KNITTING, OR BRIOCHE PATTERN (fig. 380).--This easy and
+extremely elastic stitch is used for all sorts of articles of clothing,
+and is worked in two rows.
+
+[Illustration: FIG. 380. PLAIN PATENT KNITTING, OR BRIOCHE PATTERN.]
+
+Cast on a number of stitches that divides by 3, with 4 extra for the
+edge.
+
+1st row--slip 1, knit 1, * over, put the needle into the next stitch, as
+if to purl it, slip the stitch from the left needle to the right, knit
+1, repeat from *, and finish with 2 plain.
+
+2nd row--begin with 1 chain, knit 1, knit the slipped stitch and the
+over together, over, slip the single stitch that remains, from the left
+needle to the right. When the knitting is round, you purl and knit the
+intake alternately.
+
+DOUBLE PATENT KNITTING (fig. 381).--Begin on the wrong side.
+
+[Illustration: FIG. 381. DOUBLE PATENT KNITTING.]
+
+1st row--like the 1st row of fig. 380.
+
+2nd row--knit all the stitches, pass the over by putting the needle into
+it from right to left.
+
+3rd row--like the second row of fig. 380. Now, it is only the second and
+third row that should alternate.
+
+Patent knitting has a charming effect, done in two colours, by working
+them alternately backwards and forwards.
+
+PLAITED STITCH (fig. 382).--This kind of stitch is worked in stripes,
+which, for scarves, counterpanes, etc., are generally joined together
+with stripes of plain knitting. For counterpanes, the lower numbers of
+D.M.C cottons are most suitable, for smaller articles the higher
+numbers. Plaited stitch is formed by crossing the stitches, that is, by
+knitting the second stitch on the left needle to begin with, and then
+the first stitch.
+
+[Illustration: FIG. 382. PLAITED STITCH.
+
+MATERIALS: Coton à tricoter D.M.C Nos. 8 to 20, or Cordonnet 6 fils
+D.M.C Nos. 10 to 30.]
+
+If you cross two or more stitches in a few successive rows without
+slipping them, the stitches will be seen by degrees, to form a plait, as
+shown in fig. 382.
+
+1st row--purl 4, cast on 3 stitches on to an auxiliary needle, and leave
+it hanging on the inside of the work; knit 3 and then knit the 3
+stitches on the extra needle, purl 4.
+
+Then follow 5 rows, in which you purl all the purled stitches and knit
+all the plain ones. After which 5 rows you repeat from the beginning.
+
+TURKISH STITCH (fig. 383).--1st row--slip 1, knit 1, over, knit 2
+together, over, knit 2 together, and so on to the 2 last stitches, which
+you knit plain.
+
+[Illustration: FIG. 383. TURKISH STITCH.]
+
+2nd row--slip the 1st, knit the 2nd and the 3rd plain, the latter having
+been formed by the last over on the 1st needle; 1 over, 1 intake with
+the stitch and the over, 1 over, 1 intake and so on.
+
+TURKISH STITCH WITH BEADS (fig. 384).--String the beads on the thread
+before you begin to knit. When you only use one kind of bead, thread a
+needle with your knitting cotton and run it through the thread on which
+the beads are strung.
+
+When you use several kinds, you must count and thread them on in the
+required order. Beaded knitting is little in request now, excepting for
+tobacco pouches and purses; for which you should use Cordonnet 6 fils
+D.M.C Nos. 35, in any colour, and small beads.
+
+[Illustration: FIG. 384. TURKISH STITCH WITH BEADS.]
+
+For close beaded knitting, plain stitch is the best. Run the beads down
+singly at each stitch. The beads will fall on the reverse side of the
+work so that in knitting with beads, remember that the reverse side will
+be the right side.
+
+To work fig. 384, which represents the same stitch as fig. 383, you run
+down 2 or sometimes 3 beads before knitting each stitch.
+
+KNITTING PATTERN WITH TWO KINDS OF COTTON (fig. 385).--A variety of
+pretty things, such as open-work stockings, shawls, curtains etc. can be
+made in this pattern, worked with two sizes of thread. To give it its
+full effect it ought to be knitted with coarse needles, Nos. 10, 11, or
+12.
+
+[Illustration: FIG. 385. KNITTING PATTERN WITH TWO KINDS OF COTTON.
+
+MATERIALS: Fil à pointer D.M.C No. 20 or 30, and Cordonnet 6 fils D.M.C
+No. 60 or 80, écru.[A]]
+
+Cast on a number of stitches that divides by 8. Take the coarse thread
+to begin with.
+
+1st and 2nd row--purl.
+
+3rd row--purl 5, 2 overs, purl 5.
+
+4th row--with the fine thread: over, knit 2 together, slip the next
+stitch of the previous row, drop the double over, slip the next stitch,
+1 over, knit 2 together.
+
+5th row--over, knit 2 together, over, knit 2 together, and so on.
+
+6th row--like the last. See that the 2 slipped stitches, in the coarse
+thread, always come on the right side of the work.
+
+7th row--with the coarse thread: purl 4, purl the 2 slipped stitches of
+the 3rd row together, then repeat from the 1st row.
+
+See that in the 3rd row the 2 overs come between the stitches formed by
+the 2 stitches that were formed by the 1st over, and the 2 stitches of
+the 6th row, that were knitted together.
+
+KNITTING PATTERN WITH TWO KINDS OF THREAD (fig. 386).--Cast on a
+number of stitches that divides by 4.
+
+[Illustration: FIG. 386. KNITTING PATTERN WITH TWO KINDS OF THREAD.
+
+MATERIALS: Fil à pointer D.M.C Nos. 25 to 30 and Cordonnet 6 fils D.M.C
+No. 60 or 80.]
+
+1st row--with coarse thread: purl.
+
+2nd row--plain.
+
+3rd row--with fine thread: over, 1 intake, knit 2.
+
+4th row--plain.
+
+5th row--knit 1, over, 1 intake, knit 1.
+
+6th row--plain.
+
+7th row--knit 2, over, 1 intake.
+
+8th row--plain.
+
+9th and 10th row--with the coarse thread: purl.
+
+11th row--plain.
+
+12th row--with the fine thread: over, knit 2 together.
+
+13th row--plain.
+
+14th row--purl. Then repeat from the 1st row.
+
+KNITTING PATTERN WITH DROPPED STITCHES (fig. 387).--Cast on a number
+of stitches that divides by 9.
+
+[Illustration: FIG. 387. KNITTING PATTERN WITH DROPPED STITCHES.
+
+MATERIALS: Coton à tricoter D.M.C Nos. 16 to 30, Coton pour crochet
+D.M.C Nos. 6 to 30, or Fil à pointer D.M.C Nos. 10 to 30.]
+
+1st row--over, slip 3, knit 1, 2 overs, knit 3, 2 overs, knit 1.
+
+2nd row--knit 3, slip the next, drop the 2 overs, knit 4, turn the work,
+purl 4, turn the work, knit 4, drop the 2 overs, slip the next stitch.
+
+3rd row--over, slip 2, knit 1, pull slipped stitches over, drop the
+first of the 4 stitches, knit first the stitch that follows the second
+double over, then the 4 others plain, and lastly, take up the dropped
+stitch and knit it plain on the right side of the work.
+
+4th row--knit plain.
+
+5th row--over, slip 3, over, knit 6.
+
+6th row--knit plain, and repeat from the 1st row.
+
+KNITTING PATTERN (fig. 388).--This pattern may be worked with any one
+of the D.M.C cottons recommended for fig. 387, but in the case of
+anything that is not wearing apparel, Fil à pointer D.M.C will be found
+more suitable. Cast on a number of stitches that divides by 18.
+
+[Illustration: FIG. 388. KNITTING PATTERN.]
+
+1st row--over, knit 2 together, over, knit 2 together, over, knit 2
+together, over, knit 4, knit 2 together, over, slip 2, knit 1, pull
+slipped stitches over, over, knit 3.
+
+Each row marked by an even number is to be knitted plain throughout.
+
+3rd row--knit 1, over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 2,
+knit 2 together, over, knit 3, over, slip 1, knit 1, pull slipped stitch
+over, knit 1.
+
+5th row--knit 2, over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 2
+together, over, knit 5, over, knit 2 together.
+
+7th row--knit 3, over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 1,
+over, slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together,
+over, knit 2.
+
+9th row--knit 4, over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 1,
+over, slip 2, knit 1, pull slipped stitches over, over, knit 2.
+
+11th row--knit 5, over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, knit 2 together, over, slip 1, knit 1, pull
+slipped stitch over, knit 6.
+
+13th row--knit 7, over, knit 2 together, over, purl 2 together, over,
+slip 1, knit 1, pull slipped stitch over, knit 5.
+
+Repeat from the beginning.
+
+KNITTING PATTERN (fig. 389).--Cast on a number of stitches that
+divides by 9.
+
+1st row--2 overs, slip 1, knit 1, pull slipped stitch over, knit 5, knit
+2 together.
+
+2nd row--2 overs, slip the first over on to the right needle, knit the
+second over, slip 1, knit 1, pull slipped stitch over, knit 3, knit 2
+together.
+
+3rd row--2 overs, slip the overs of the two first rows on to the right
+needle, slip 1, knit 1, pull slipped stitch over, knit 1, knit 2
+together.
+
+4th row--drop the overs of the 3 first rows and knit 8 double stitches,
+that is, knit 1 stitch on the over, slip it on to the left needle and
+knit it again.
+
+These 8 stitches finished, make 2 overs, and slip 3, knit 1, pull
+slipped stitches over. Repeat from the beginning.
+
+Each time you repeat the 4th row, make double stitches on 4 overs, that
+is, on 4 threads.
+
+[Illustration: FIG. 389. KNITTING PATTERN.
+
+MATERIALS: Cordonnet 6 fils D.M.C, or Fil à pointer D.M.C]
+
+KNITTING PATTERN (fig. 390).--This pattern is suitable for children's
+braces. For Coton à repriser D.M.C Nos. 6 to 20, which is the best for
+the purpose, you will require fine bone needles.
+
+Cast on a number of stitches that divides by 4.
+
+1st row--over, slip 1, knit 1, pull slipped stitch over, knit 2.
+
+2nd row--knit 1, over, slip 1, knit 1, pull slipped stitch over, knit 1.
+
+3rd row--knit 2, over, slip 1, knit 1, pull slipped stitch over.
+
+4th row--slip 1, knit 1, pull slipped stitch over, knit 2, over.
+
+5th row--knit 2 together, over, knit 2.
+
+6th row--knit 1, knit 2 together, over, knit 1.
+
+7th row--knit 2 together, over, knit 2.
+
+8th row--knit 2, knit 2 together, over.
+
+Repeat from the beginning.
+
+[Illustration: FIG. 390. KNITTING PATTERN. MATERIALS: Coton à repriser
+D.M.C Nos. 5 to 20.]
+
+KNITTING PATTERN (fig. 391).--The patterns shown in figs. 391 and 392,
+are more particularly useful for comforters, shawls, hoods and the like.
+The needles, which may be either of bone or steel must match the cotton
+in size; steel needles are the best for any thing finer than No. 16, of
+D.M.C Coton à tricoter.
+
+[Illustration: FIG. 391. KNITTING PATTERN.]
+
+Cast on a number of stitches that divides by 3.
+
+1st row--over, slip 1 stitch on to the right needle, knit the 2 next
+stitches, and draw the first stitch over them.
+
+2nd row and 4th row--knit plain.
+
+3rd row--like the first, but note, that the stitch that was the third in
+the first row, will be the first here.
+
+Repeat from the beginning.
+
+KNITTING PATTERN (fig. 392).--Cast on a number of stitches that
+divides by 3.
+
+[Illustration: FIG. 392. KNITTING PATTERN.]
+
+1st row--over, knit the 2 first together, draw the 3rd stitch through
+the stitch formed by the intake and knit it off plain, then knit the
+stitch that was pulled over it.
+
+2nd and 4th row--knit plain.
+
+3rd row--like the first; the third stitch here is the same that was
+drawn through the third stitch in the first row.
+
+KNITTING PATTERN (fig. 393).--Cast on a number of stitches that
+divides by 14.
+
+[Illustration: FIG. 393. KNITTING PATTERN.]
+
+1st row--over, knit 1, over, knit 2, purl 3, knit 3 together, purl 3,
+knit 2.
+
+2nd row--knit 5, purl 7, knit 2.
+
+3rd row--over, knit 3, over, knit 2, purl 2, knit 3 together, purl 2,
+knit 2.
+
+4th row--knit 7, purl 5, knit 2.
+
+5th row--over, knit 5, over, knit 2, purl 1, knit 3 together, purl 1,
+knit 2.
+
+6th row--knit 9, purl 3, knit 2.
+
+7th row--over, knit 7, over, knit 2, knit 3 together, knit 2.
+
+8th row--knit 11, purl 1, knit 1.
+
+Repeat from the beginning but in the reverse order, that is, purling the
+knitted stitches and knitting the purled.
+
+KNITTED LACE (fig. 394).--Knitted lace looks best, made of a smooth,
+silky thread which shows up the pattern better than any other material.
+As a knitted edging makes a very pretty finish to almost any kind of
+knitted article, we give a selection of some of the easiest and most
+effective patterns that we consider suitable for the purpose.
+
+[Illustration: FIG. 394. KNITTED LACE.
+
+MATERIALS: Cordonnet 6 fils D.M.C Nos. 25 to 60, Fil à dentelle D.M.C
+Nos. 25 to 70.[A]]
+
+Cast on 8 stitches.
+
+1st needle--1 chain, knit 2, over, knit 2 together, knit 2, 2 overs,
+knit 2.
+
+2nd needle--knit 3, purl 1, knit 4, over, knit 2 together, 1 chain.
+
+3rd needle--1 chain, knit 2, over, knit 2 together, knit 6.
+
+4th needle--2 chain, knit 5, over, knit 2 together, 1 chain.
+
+Repeat from the first needle.
+
+KNITTED LACE (fig. 395).--Cast on 10 stitches.
+
+1st needle--knit 2 together, 2 overs, knit 2 together, 2 overs, knit 3,
+over, knit 2 together, 1 chain.
+
+2nd needle--1 chain, knit 2, knit 2 together, knit 2, purl 1, knit 2,
+purl 1, knit 1.
+
+3rd needle--knit 2 together, 2 overs, knit 2 together, 2 overs, knit 4,
+over, knit 2 together, 1 chain.
+
+4th needle--1 chain, knit 2, knit 2 together, knit 3, purl 1, knit 2,
+purl 1, knit 1.
+
+5th needle--knit 2 together, 2 overs, knit 2 together, 2 overs, knit 5,
+over, knit 2 together, 1 chain.
+
+6th needle--1 chain, knit 2, knit 2 together, knit 4, purl 1, knit 2,
+purl 1, knit 1.
+
+7th needle--knit 10, over, knit 2 together, 1 chain.
+
+8th needle--1 chain, knit 2, knit 2 together, knit 8.
+
+9th needle--4 chain, 2 overs, knit 2 together, 2 overs, knit 3, over,
+knit 2 together, 1 chain.
+
+Repeat from the second needle.
+
+KNITTED LACE (fig. 396).--Cast on 13 stitches.
+
+[Illustration: FIG. 395. KNITTED LACE.
+
+MATERIALS: Coton à tricoter D.M.C Nos. 25 to 50, Fil à pointer D.M.C
+Nos. 10 to 30, Cordonnet 6 fils D.M.C Nos. 10 to 30.[A]]
+
+1st needle--1 chain, purl 1, purl 2 together, over, knit 8, 1 chain.
+
+2nd needle--1 chain, knit 8, over, knit 2, knit 1 from behind, 1 chain.
+
+3rd needle--1 chain, purl 2, over, purl 2 together, over, knit 8, 1
+chain.
+
+4th needle--1 chain, knit 8, over, knit 2 together, over, knit 2, knit 1
+from behind, 1 chain.
+
+5th needle--1 chain, purl 2, over, purl 2 together, over, purl 2
+together, over, knit 8, 1 chain.
+
+6th needle--1 chain, knit 8, over, knit 2 together, over, knit 2
+together, over, knit 2, knit 1 from behind, 1 chain.
+
+7th needle--1 chain, purl 2, over, purl 2 together, over, purl 2
+together, over, purl 2 together, over, knit 8, 1 chain.
+
+8th needle--1 chain, knit 8, over, knit 2 together, over, knit 2
+together, over, knit 2 together, over, knit 2, knit 1 from behind, 1
+chain.
+
+9th needle--1 chain, purl 2, over, purl 2 together, over, purl 2
+together, over, purl 2 together, over, purl 2 together, over, knit 8, 1
+chain.
+
+10th needle--8 chain, knit 10, knit 1 from behind, 1 chain.
+
+Repeat from the first needle.
+
+[Illustration: FIG. 396. KNITTED LACE.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos.
+20 to 80, or Fil à dentelle D.M.C Nos. 25 to 60.[A]]
+
+KNITTED LACE (fig. 397).--Cast on 11 stitches.
+
+[Illustration: FIG. 397. KNITTED LACE.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos.
+25 to 70, Fil à dentelle D.M.C Nos. 25 to 80.[A]]
+
+1st needle--1 chain, knit 1 from behind, over, knit 1, over, slip 1,
+knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
+stitch over, over, slip 1, knit 1, pull slipped stitch over, knit 1, 1
+chain.
+
+The 2nd, 4th, 6th, 8th, 10th, 12th, 14th, and 16th needle, purled.
+
+3rd needle--1 chain, knit 1 from behind, over, knit 3, over, slip 1,
+knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
+stitch over, over, slip 1, knit 1, pull slipped stitch over, 1 chain.
+
+5th needle--1 chain, knit 1 from behind, over, knit 5, over, slip 1,
+knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
+stitch over, knit 1, 1 chain.
+
+7th needle--1 chain, knit 1 from behind, over, knit 7, over, slip 1,
+knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
+stitch over, 1 chain.
+
+9th needle--1 chain, slip 1, knit 1, pull slipped stitch over, over,
+slip 1, knit 1, pull slipped stitch over, knit 3, knit 2 together, over,
+knit 2 together, over, knit 2, 1 chain.
+
+11th needle--1 chain, slip 1, knit 1, pull slipped stitch over, over,
+slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over,
+knit 2 together, over, knit 2 together, over, knit 1, 1 chain.
+
+13th needle--1 chain, slip 1, knit 1, pull slipped stitch over, over,
+knit 3 together, over, knit 2 together, over, knit 2 together, over,
+knit 2, 1 chain.
+
+15th needle--1 chain, slip 1, knit 1, pull slipped stitch over, knit 1,
+knit 2 together, over, knit 2 together, over, knit 1, 1 chain.
+
+Repeat from the first needle.
+
+ROSE FOR KNITTING (fig. 398).--Repeat all the directions, 8 ending
+with the sign *, 7 times.
+
+Cast on 8 stitches, on to 4 needles, two on each; close the ring.
+
+2nd round--8 times: over, knit 1.
+
+The 3rd, 5th, 7th, 9th, 11th, 13th, 15th, 17th, 19th, 21st, 23rd, and
+25th round, knit plain.
+
+4th round--over, knit 3, over, knit 1 from behind *.
+
+6th round--over, knit 4, over, knit 1 from behind *.
+
+8th round--over, knit 7, over, knit 1 from behind *.
+
+10th round--over, slip 1, knit 1, pull slipped stitch over, knit 2
+together, over, knit 1 *.
+
+12th round--over, knit 2 together, over, knit 3 *.
+
+14th round--over, knit 1 from behind, over, knit 5 *.
+
+16th round--over, knit 1 from behind, over, knit 7 *.
+
+18th round--over, knit 1 from behind, over, knit 9 *.
+
+20th round--over, knit 1 from behind, over, knit 11 *.
+
+22nd round--over, knit 1 from behind, over, knit 13 *.
+
+24th round--over, knit 1 from behind, over, knit 15 *.
+
+26th round--over, knit 3, over, knit 5, knit 2 together, purl 1, slip 1,
+knit 1, pull slipped stitch over, knit 5 *.
+
+[Illustration: FIG. 398. ROSE FOR KNITTING.
+
+MATERIALS: Fil d'Alsace D.M.C in balls, No. 60 or 70, Fil à dentelle
+D.M.C No. 40, 50 or 60.[A]]
+
+27th round--knit 11, purl 1, knit 6 *.
+
+28th round--over, knit 5, over, knit 4, knit 2 together, purl 1, slip 1,
+knit 1, pull slipped stitch over, knit 4 *.
+
+29th round--knit 12, purl 1, knit 5 *.
+
+30th round--over, knit 1, over, slip 1, knit 1, pull slipped stitch
+over, knit 1, knit 2 together, over, knit 1, over, knit 3, knit 2
+together, purl 1, slip 1, knit 1, pull slipped stitch over, knit 3 *.
+
+31st round--knit 13, purl 1, knit 4 *.
+
+32nd round--over, knit 3, over, slip 2, knit 1, pull slipped stitches
+over, over, knit 3, over, knit 2, knit 2 together, purl 1, slip 1, knit
+1, pull slipped stitch over, knit 2 *.
+
+33rd round--knit 14, purl 1, knit 3.
+
+34th round--over, knit 11, over, knit 1, knit 2 together, purl 1, slip
+1, knit 1, pull slipped stitch over, knit 1 *.
+
+35th round--knit 15, purl 1, knit 2.
+
+36th round--over, knit 1, over, slip 1, knit 1, pull slipped stitch
+over, knit 1, knit 2 together, over, knit 1, over, slip 1, knit 1, pull
+slipped stitch over, knit 1, knit 2 together, over, knit 1, over, knit 2
+together, purl 1, slip 1, knit 1, pull slipped stitch over *.
+
+37th round--knit 16, purl 1, knit 1.
+
+38th round--over, knit 3, over, slip 2, knit 1, pull slipped stitches
+over, over, knit 3, over, slip 2, knit 1, pull slipped stitches over,
+over, knit 3, over, knit 2, over, slip 2, knit 1, pull slipped stitches
+over *.
+
+39th, 41st and 43rd round--knit plain.
+
+40th round--over, knit 4, knit 2 together, over, knit 5, over, slip 1,
+knit 1, pull slipped stitch over, knit 4, over, knit 1.
+
+42nd round--knit 1, over, slip 1, knit 1, pull slipped stitch over, knit
+1, knit 2 together, over, knit 1, over, slip 1, knit 1, pull slipped
+stitch over, knit 1, knit 2 together, over, knit 1, over, slip 1, knit
+1, pull slipped stitch over, knit 1, knit 2 together, over, knit 2 *.
+
+44th round--knit 2, over, slip 2, knit 1, pull slipped stitches over,
+over, knit 3, over, slip 2, knit 1, pull slipped stitches over, over,
+knit 3, over, slip 2, knit 1, pull slipped stitches over, over, knit 3
+*.
+
+Finish with three purled rounds.
+
+KNITTED EDGING (fig. 399).--Cast on 43 stitches.
+
+1st needle, make a chain of 2 stitches, over, knit 1 from behind, over,
+knit 1 from behind, over, knit 1, over, slip 1, knit 1, pull slipped
+stitch over, knit 1, knit 2 together, over, knit 1, over, slip 1, knit
+1, pull slipped stitch over, knit 1, knit 2 together, over, knit 1, knit
+1 from behind, purl 1, knit 1 from behind, over, knit 1, knit 2
+together, purl 1, slip 1, knit 1, pull slipped stitch over, knit 1, purl
+1, knit 1, knit 2 together, knit 1 from behind, slip 1, knit 1, pull
+slipped stitch over, knit 1, over, knit 1 from behind, purl 1, knit 1
+from behind, over, knit 2 together, knit 1, 1 chain.
+
+[Illustration: FIG. 399. KNITTED EDGING.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 40 to 70 or Fil à dentelle D.M.C Nos.
+25 to 50, or Cordonnet 6 fils D.M.C Nos. 25 to 60.[A]]
+
+2nd needle--1 chain, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 3, knit 1, purl 2, knit 1, purl 2, knit 1, purl 3,
+purl 1 from behind, knit 1, purl 1 from behind, purl 14, purl 1 from
+behind, purl 4.
+
+3rd needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, knit 1 from behind, over, knit 3, over, slip 2, knit 1, pull
+slipped stitches over, over, knit 3, over, slip 2, knit 1, pull slipped
+stitches over, over, knit 2 together, over, knit 1 from behind, purl 1,
+knit 1 from behind, over, knit 1, over knit 2 together, purl 1, slip 1,
+knit 1, pull slipped stitch over, purl 1, knit 2 together, purl 1, slip
+1, knit 1, pull slipped stitch over, over, knit 1, over, knit 1 from
+behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
+chain.
+
+4th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 4, knit 1, purl 1, knit 1, purl 1, knit 1, purl 4,
+purl 1 from behind, knit 1, purl 1 from behind, purl 15, purl 1 from
+behind, purl 4.
+
+5th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, knit 1 from behind, over, knit 2, over, slip 1, knit 1, pull
+slipped stitch over, knit 2 together, over, knit 2, over, slip 1, knit
+1, pull slipped stitch over, knit 2 together, over, knit 2 together,
+over, knit 1, knit 1 from behind, purl 1, knit 1 from behind, over, knit
+3, over, slip 2, knit 1, pull slipped stitches over, purl 1, slip 2,
+knit 1, pull slipped stitches over, over, knit 3, over, knit 1 from
+behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
+chain.
+
+6th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 6, knit 1, purl 6, purl 1 from behind, knit 1, purl 1
+from behind, purl 16, purl 1 from behind, purl 4.
+
+7th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, knit 1 from behind, over, knit 1, over, slip 1, knit 1, pull
+slipped stitch over, knit 1, knit 2 together, over, knit 1, over, slip
+1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over, knit
+2 together, over, knit 2 together, over, knit 1 from behind, purl 1,
+knit 1 from behind, over, knit 5, over, slip 2, knit 1, pull slipped
+stitches over, over, knit 5, over, knit 1 from behind, purl 1, knit 1
+from behind, over, knit 2 together, knit 1, 1 chain.
+
+8th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 15, purl 1 from behind, knit 1, purl 1 from behind,
+purl 17, purl 1 from behind, purl 4.
+
+9th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, knit 1 from behind, over, knit 3, over, slip 2, knit 1, pull
+slipped stitches over, over, knit 3, over, slip 2, knit 1, pull slipped
+stitches over, over, knit 2 together, over, knit 2 together, over, knit
+1, knit 1 from behind, purl 1, knit 1 from behind, over, knit 1, knit 2
+together, purl 1, slip 1, knit 1, pull slipped stitch over, knit 1, purl
+1, knit 1, knit 2 together, purl 1, slip 1, knit 1, pull slipped stitch
+over, knit 1, over, knit 1 from behind, purl 1, knit 1 from behind,
+over, knit 2 together, knit 1, 1 chain.
+
+10th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 3, knit 1, purl 2, knit 1, purl 2, knit 1, purl 3,
+purl 1 from behind, knit 1, purl 1 from behind, purl 18, purl 1 from
+behind, purl 4.
+
+11th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, knit 1 from behind, over, knit 2, over, slip 1, knit 1, pull
+slipped stitch over, knit 2 together, over, knit 2, over, slip 1, knit
+1, pull slipped stitch over, knit 2 together, over, knit 2 together,
+over, knit 2 together, over, knit 2 together, over, knit 1 from behind,
+purl 1, knit 1 from behind, over, knit 1, over, knit 2 together, purl 1,
+slip 1, knit 1, pull slipped stitch over, purl 1, knit 2 together, purl
+1, slip 1, knit 1, pull slipped stitch over, over, knit 1, over, knit 1
+from behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1,
+1 chain.
+
+12th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 4, knit 1, purl 1, knit 1, purl 1, knit 1, purl 4,
+purl 1 from behind, knit 1, purl 1 from behind, purl 19, purl 1 from
+behind, purl 4.
+
+13th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
+pull slipped stitch over, knit 1, knit 2 together, over, knit 1, over,
+slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over,
+knit 1, over, slip 1, knit 1, pull slipped stitch over, over, slip 1,
+knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
+stitch over, knit 1 from behind, purl 1, knit 1, from behind, over, knit
+3, over, slip 2, knit 1, pull slipped stitches over, purl 1, slip 2,
+knit 1, pull slipped stitches over, over, knit 3, over, knit 1 from
+behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
+chain.
+
+14th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 6, knit 1, purl 6, purl 1 from behind, knit 1, purl 1
+from behind, purl 18, purl 1 from behind, purl 4.
+
+15th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 2, knit 1,
+pull slipped stitches over, over, knit 3, over, slip 2, knit 1, pull
+slipped stitches over, over, knit 3, over, slip 1, knit 1, pull slipped
+stitch over, over, slip 1, knit 1, pull slipped stitch over, over, knit
+2 together, purl 1, knit 1 from behind, over knit 5, over, slip 2, knit
+1, pull slipped stitches over, over, knit 1 from behind, over, knit 2
+together, knit 1, 1 chain.
+
+16th needle--like the 8th.
+
+17th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
+pull slipped stitch over, knit 2 together, over, knit 2, over, slip 1,
+knit 1, pull slipped stitch over, knit 2 together, over, knit 2, over,
+slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1, pull
+slipped stitch over, knit 1 from behind, purl 1, knit 1 from behind,
+over, knit 1, knit 2 together, purl 1, slip 1, knit 1, pull slipped
+stitch over, knit 1, purl 1, knit 1, knit 2 together, purl 1, slip 1,
+knit 1, pull slipped stitch over, knit 1, over, knit 1 from behind, purl
+1, knit 1 from behind, over, knit 2 together, knit 1, 1 chain.
+
+18th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 3, knit 1, purl 2, knit 1, purl 2, knit 1, purl 3,
+purl 1 from behind, knit 1, purl 1 from behind, purl 16, purl 1 from
+behind, purl 4.
+
+19th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
+pull slipped stitch over, knit 1, knit 2 together, over, knit 1, over,
+slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over,
+knit 1, over, slip 1, knit 1, pull slipped stitch over, over, knit 2
+together, purl 1, knit 1 from behind, over, knit 1, over, purl 1, slip
+1, knit 1, pull slipped stitch over, purl 1, knit 2 together, purl 1,
+slip 1, knit 1, pull slipped stitch over, over, knit 1, over, knit 1
+from behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1,
+1 chain.
+
+20th needle--like the 4th.
+
+21st needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 2, knit 1,
+pull slipped stitches over, over, knit 3, over, slip 2, knit 1, pull
+slipped stitches over, over, knit 3, over, slip 1, knit 1, pull slipped
+stitch over, knit 1 from behind, purl 1, knit 1 from behind, over, knit
+3, over, slip 2, knit 1, pull slipped stitches over, purl 1, slip 2,
+knit 1, pull slipped stitches over, over, knit 3, over, knit 1 from
+behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
+chain.
+
+22nd needle--slip 1; knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 6, knit 1, purl 6, purl 1 from behind, knit 1, purl 1
+from behind, purl 14, purl 1 from behind, purl 4.
+
+23rd needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
+pull slipped stitch over, knit 2 together, over, knit 2, over, slip 1,
+knit 1, pull slipped stitch over, knit 2 together, over, knit 2, over,
+knit 2 together, purl 1, knit 1 from behind, over, knit 5, over, slip 2,
+knit 1, pull slipped stitches over, over, knit 5, over, knit 1 from
+behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
+chain.
+
+24th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 4, purl 1
+from behind, purl 15, purl 1 from behind, knit 1, purl 1 from behind,
+purl 13, purl 1 from behind, purl 4.
+
+Repeat from the first needle.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: CROCHET LACE.--CLOSE LEAVES AND BARS WITH PICOTS]
+
+
+
+
+Crochet Work.
+
+
+Crochet work, so called from the hook, French _croche_ or _croc_, with
+which it is done, is not only one of the easiest but in comparison with
+the cost and labour, one of the most effective kinds of fancy-work. It
+is also one of the most useful, as it can be applied to the domestic
+requirements of every-day life, to wearing apparel, house-linen and
+upholstery; and we are sure that the patterns contained in this chapter,
+which have in addition to their other merits that of novelty, will meet
+with a favorable reception.
+
+Hooks, or needles, as they are generally called, made of wood, bone or
+tortoise-shell are used for all the heavier kinds of crochet work in
+thick wool or cotton, and steel ones for the finer kinds. The Tunisian
+crochet is done with a long straight hook, which is made all in one
+piece. The points should be well polished inside and not too sharp, the
+backs slightly curved, and the handles, whether of bone, steel or wood,
+so light as not to tire the hand. Those represented here, we consider
+the best, as regards shape. As it is most essential that the needle
+should be suited to the cotton in size, we subjoin a comparative table
+of the numbers of the D.M.C threads and cottons and of the different
+needles.
+
+[Illustration: FIG. 400. CROCHET NEEDLE WITH WOODEN HANDLE.]
+
+[Illustration: FIG. 401. CROCHET NEEDLE WITH STEEL HANDLE.]
+
+[Illustration: FIG. 402. ENGLISH CROCHET NEEDLE WITH WOODEN HANDLE.]
+
+TABLE OF THE APPROXIMATE RELATION OF THE D.M.C THREADS AND COTTONS TO
+THE NUMBERS OF THE CROCHET NEEDLES.
+
+-----------------------------------------------------------------------------+
+Numbers of the     |        |        |     |      |      |     |     |       |
+crochet needles    |   9    |  10    | 11  |  12  |  13  | 14  | 16  | 18    |
+-------------------+--------+--------+-----+------+------+-----+-----+-------|
+Numbers of the     |        |        |     |      |      |     |     |       |
+cottons            |   No.  |  No.   | No. |  No. |  No. | No. | No. | No.   |
+-------------------+--------+--------+-----+------+------+-----+-----+-------+
+Coton pour crochet |  ---   |  6     | 8-10| 12-14| 16-20|24-40| --- | ---   |
+Coton à tricoter   |   6    |  8     |10-12| 14-16| 18-25|25-40|  50 | ---   |
+Fil à pointer      |  10    | 15     |20-30|  --- |  --- | --- | --- | ---   |
+Cordonnet 6 fils   | 1-1½   | 2-2½   | 3-4 | 10-15| 20-30|40-60|70-90|100-150|
+Fil d'Alsace       |  ---   | ---    | --- |  --- |   30 |36-50|60-90|100-150|
+Fil à dentelle     |  ---   | ---    | --- |  --- |   25 |30-50|60-90|100-150|
+-----------------------------------------------------------------------------+
+
+EXPLANATION OF THE SIGNS *.--In crochet, as in knitting, you
+frequently have to repeat the same series of stitches. Such repetitions
+will be indicated, by the signs *, **, ***, etc., as the case may be.
+
+CROCHET STITCHES.--In point of fact, there is only one, because all
+crochet work consists of loops made by means of the hook or needle, and
+connected together by being drawn the one through the other.
+
+Crochet work may however, be divided into two kinds, German crochet, and
+Victoria or Tunisian crochet; the latter is known also under the name of
+_tricot-crochet._
+
+In German crochet there are eight different kinds of stitches: (1) chain
+stitch, (2) single stitch, (3) plain stitch, (4) treble stitch, (5)
+knot stitch, (6) bullion stitch, (7) cluster or scale stitch, (8) double
+stitch.
+
+The rows are worked, according to the kind of stitch, either to and fro,
+or all from one end. In the former case, the work has to be turned at
+the end of each row, and the subsequent row begun with 1, 2 or 3 chain
+stitches to prevent the contraction of the outside edge.
+
+When the rows are all worked one way, the thread must be fastened on
+afresh each time, which is done by putting the needle into the first
+chain stitch of the preceding row, drawing the thread through it so as
+to form a loop, and making one or more chain stitches according to the
+height required.
+
+At the end of each row, cut the thread and draw the end through the last
+loop; in this manner all crochet work is finished off. Some crochet
+workers make a few extra chain stitches with the ends of the thread at
+the beginning and end of each row, or fasten them off with a few
+stitches on the wrong side.
+
+They can also, when the occasion requires, be formed into a fringe or
+tassels as a finish to the work.
+
+POSITION OF THE HANDS AND EXPLANATION OF (1) CHAIN STITCH (fig.
+403).--Take the thread in the left hand between the finger and thumb,
+hold the needle between the thumb and first finger of the right hand,
+letting it rest on the second finger, in the same manner in which you
+hold your pen, and put it into the loop, which you hold between the
+finger and thumb of the left hand. Take up the thread, lying on your
+finger, with the needle and make your first stitch as you do in
+knitting, tightening the loop just enough to leave an easy passage
+through it for the needle. The end of the thread must be held by the
+thumb and forefinger. The next stitches are made by taking up the thread
+with the needle and drawing it through the loop. The throwing of the
+thread round the needle by a jerk of the wrist is called an 'over'.
+
+[Illustration: FIG. 403. POSITION OF THE HANDS AND EXPLANATION OF CHAIN
+STITCH.]
+
+(2) SINGLE STITCH (fig. 404).--Put the needle in from the right side
+of the work, into the uppermost loop of the preceding row, take up the
+thread on the needle and draw it through both loops.
+
+[Illustration: FIG. 404. SINGLE STITCH.]
+
+(3) PLAIN STITCH (fig. 405).--Put the needle through, as in fig. 404,
+from the right side to the wrong, under the upper side, either of a
+chain, or of a stitch of the preceding row, draw the thread through it
+in a loop, turn the thread round the needle and draw it through both
+loops on the needle. By making the rows of plain stitches follow each
+other in different ways, a great variety of stitches can be produced, as
+the illustrations and written instructions here given will show.
+
+[Illustration: FIG. 405. PLAIN STITCH.]
+
+ROSE STITCH (fig. 406).--This consists of rows of plain stitches,
+worked backwards and forwards. Insert the needle from the right side,
+under both the horizontal loops of the preceding row.
+
+[Illustration: FIG. 406. ROSE STITCH.]
+
+RUSSIAN STITCH (fig. 407).--This is worked like the foregoing, only
+that all the rows have to be begun from the same end, and the thread has
+to be cut off at the end of each row.
+
+[Illustration: FIG 407. RUSSIAN STITCH.]
+
+RIBBED STITCH (fig. 408).--Worked backwards and forwards, the hook
+being passed through the back part only of the stitches of the preceding
+row.
+
+[Illustration: FIG 408. RIBBED STITCH.]
+
+CHAIN STITCH.--Worked like fig. 408, but on one side only.
+
+PIQUÉ STITCH.--This stitch also is only worked on one side. Put the
+needle in under one of the vertical threads of a stitch and complete the
+plain stitch. This is a stitch that looks very well on the wrong side;
+the bars of the loop lie quite close together, which makes it
+particularly suitable for unlined articles of clothing. It requires a
+large-sized needle to do this stitch well, especially if the material be
+a heavy one.
+
+SLANTING STITCH (fig. 409).--Worked entirely on the right side. Take
+up the back thread of a stitch in the preceding row, take hold of the
+crochet thread without turning it round the needle and draw it through
+in a loop, and then finish the stitch like a plain stitch.
+
+[Illustration: FIG. 409. SLANTING STITCH.]
+
+CROSSED STITCH.--The name which is given to the preceding stitch when
+both the threads of the stitches in the row before, are taken up
+together, instead of the back one only.
+
+RUSSIAN CROSSED STITCH (fig. 410).--To work this stitch which runs in
+slanting lines, put the needle in between the vertical threads of the
+stitches and underneath the two horizontal ones.
+
+[Illustration: FIG 410. RUSSIAN CROSSED STITCH.]
+
+COUNTERPANE STITCH (fig. 411).--Counterpanes can be made in a less
+close stitch than those just described.
+
+[Illustration: FIG. 411. COUNTERPANE STITCH.]
+
+To produce a soft and elastic fabric turn the thread round the needle
+and insert it under both the horizontal threads of a loop, take up the
+thread without turning it round the needle, draw it through in a loop,
+make an over, and draw the thread through all the three loops, that you
+have on the needle.
+
+KNOTTED STITCH (fig. 412).--This stitch likewise is composed of plain
+stitches, which, however differ in a slight degree from those we have
+described hitherto.
+
+[Illustration: FIG. 412. KNOTTED STITCH.]
+
+Make an over, put the needle through the two horizontal threads of the
+stitch below, make another over and draw it back through the two loops
+and the first over, make another over, and draw the thread through the
+last two loops.
+
+LOOP STITCH (fig. 413).--Worked as follows: when you have put the
+needle into the loop of a stitch below, carry the thread, downwards from
+above, round a stripe of cardboard or a flat wooden ruler, then finish
+the stitch in the usual way. These long loops, each about 2 c/m. in
+length, can also be made over the forefinger and held fast by the thumb
+as you work, but it is more difficult to make them regular in this way.
+
+Each row of long stitches is followed by a row of plain stitches. The
+side, where the long loops lie, becomes the right side. If you wish this
+stitch to be very thick and handsome, wind the thread three times round
+the ruler, or finger, and secure it with a plain stitch; in this case,
+you should make one plain stitch between every two clusters. A loose,
+fleecy thread is generally used for this stitch, and for washing
+articles more especially, we recommend Coton à repriser D.M.C.
+
+[Illustration: FIG. 413. LOOP STITCH.]
+
+PLAIN STITCHES FOR A CHAIN (fig. 414).--Begin with two chain stitches,
+put the needle in between the two threads of the first chain stitch,
+turn the thread round the needle and draw it through in a loop, turn it
+round again and draw it through the two loops; then, put the needle into
+the left part of the stitch that was just made, turn the thread round
+the needle, draw it through the two loops and so on, to the end.
+
+[Illustration: FIG. 414. PLAIN STITCHES FOR A CHAIN.]
+
+A chain of this kind makes a very good substitute for _mignardise_ when
+that can not be got of the right size and colour for the required
+purpose.
+
+(4) TREBLES.--Trebles are little columns, or bars made of loops or
+stitches. They can be worked, like all other crochet, either to and fro,
+or all one way. There are different kinds of trebles; half or short
+trebles, trebles, double trebles, called also 'long stitch', and
+quadruple and quintuple trebles, called 'extra long stitch', connected
+trebles and crossed trebles.
+
+HALF TREBLES (fig. 415).--Turn the cotton round the needle from
+behind, put the needle in between the trebles of the preceding row, or
+into one edge of a chain stitch; make an over, bring the needle forward
+again with the thread, make another over and draw the needle through all
+three loops.
+
+[Illustration: FIG. 415. HALF TREBLES]
+
+TREBLES (figs. 416 and 417).--Begin, as for the half treble, by
+turning the thread round the needle, and putting it in under one edge of
+the stitch beneath, then take up the thread on the needle and bring it
+through two of the loops, take it up again, and draw it through the two
+remaining loops.
+
+[Illustration: FIG. 416. TREBLES MADE DIRECTLY ABOVE ONE ANOTHER.]
+
+[Illustration: FIG. 417. TREBLES SET BETWEEN THOSE OF THE PRECEDING
+ROW.]
+
+In fig. 417, we have trebles made in the same manner as fig. 416, only
+that instead of putting the needle under one edge of the stitch beneath,
+you put it under both, and between the trebles of the last row.
+
+[Illustration: FIG. 418. DOUBLE TREBLES OR 'LONG STITCH'.]
+
+DOUBLE TREBLES OR 'LONG STITCH' (fig. 418).--Turn the thread twice
+round the needle, put it into a stitch of the work and bring the thread
+through in a loop, then take up the thread on the needle and bring it
+through two of the loops, three times in succession.
+
+[Illustration: FIG. 419. TRIPLE AND QUADRUPLE TREBLES OR 'EXTRA LONG
+STITCH'.]
+
+TRIPLE AND QUADRUPLE TREBLES OR 'EXTRA LONG STITCH' (fig. 419).--For a
+triple treble, twist the cotton three times round the needle, for a
+quadruple one, four times, then form the treble in the usual way by
+bringing the needle through two of the loops at a time. To make a series
+of trebles, of gradually increasing length, bring the needle, at every
+other treble, through the last three loops, so that before making a
+triple treble you will have to make columns, respectively, 1 treble, 1½
+treble, 2 trebles and 2½ trebles long. Columns like these, of different
+lengths, are often required in crochet work, for leaves and scalloped
+edgings.
+
+CONNECTED TREBLES (fig. 420).--Trebles, connected together, can be
+worked to and fro, and take the place of plain stitches. Begin with a
+chain, then make a treble of the required height, form as many loops as
+you made overs for the treble, take up the upper thread of the stitch
+nearest the treble, turn the thread round the needle, bring it back to
+the right side and draw the needle through the trebles, two at a time.
+
+[Illustration: FIG. 420. CONNECTED TREBLES.]
+
+CROSSED TREBLES (figs. 421 and 422).--Trebles of this sort produce an
+open stitch, which is often used for the footing of lace, or for an
+insertion. Make a foundation of chain, or other stitches, and proceed as
+follows: 3 chain, miss 2 stitches of the row beneath, make 1 treble in
+the third stitch, 5 chain, 1 over, put the needle in between the loops
+of the connected trebles and finish with a treble. Then make a double
+over, put the needle into the next loop of the preceding row, make
+another over, draw the needle through the loops, make another over and
+join the two next loops. This leaves 3 loops on the needle. Make an
+over, put the needle into the third stitch of the row beneath, make an
+over, and bring the needle back to the right side.
+
+[Illustration: FIG 421. CROSSED TREBLES.]
+
+[Illustration: FIG. 422. CROSSED TREBLES, SET BETWEEN THOSE OF THE
+PRECEDING ROW.]
+
+Join the 5 loops on the needle together, 2 and 2, make 2 chain, 1 over,
+put the needle into the upper parts of the connected trebles and finish
+with a treble, and so on.
+
+These trebles also can be lengthened if necessary, but in that case, the
+width of the crossed treble must correspond with the height. Generally
+speaking you make the trebles over the same number of stitches as you
+made overs on the needle, which should always be an even number.
+
+TREBLES FOR A CHAIN.--A quicker way of making a wide footing for a
+crochet lace is to make the trebles in the following manner.
+
+Make 4 chain stitches, 2 overs, put the needle into the first of the 4
+chain, 1 over, draw the thread through the stitch *, 1 over, draw the
+thread through the next 2 loops and repeat twice from * = ** 2 overs,
+put the needle into the left bottom part of the treble, close the treble
+as before and repeat from **.
+
+(5) KNOT STITCH (fig. 423).--This stitch which is composed of several
+loops forming a tuft, can only be worked from one side, consequently all
+one way. It looks best in a coarse material to show the interlacing of
+the threads.
+
+Enter the needle through the two loops of the stitches of the bottom
+row, turn the thread round the needle, but away from you towards the
+back; bring it forward to the right side, put the needle again through
+one of the bottom stitches, make another over like the first and draw
+the needle through all the bars at once.
+
+[Illustration: FIG. 423. KNOT STITCH.]
+
+(6) BULLION STITCH (figs. 424 and 425).--For bullion stitch, select a
+needle, a little thicker towards the handle, and finer than you would
+use for any other crochet stitch.
+
+[Illustration: FIG. 424. BULLION STITCH.]
+
+[Illustration: FIG. 425. BULLION STITCH.]
+
+Begin by making a chain of very loose stitches, then wind the thread
+several times, very evenly, round the needle. Insert the needle into a
+loop of the chain, make a single over, and draw it with the last over
+upon it, through all the other overs.
+
+Trebles in bullion stitch, fig. 425, are worked in just the same manner,
+only that you have to turn the thread, at least 10 or 12 times round the
+needle and draw it through all the overs at once. To facilitate the
+passage of the needle, keep the overs in their place with the thumb and
+forefinger of the left hand.
+
+Bullion stitch can only be worked with wool or a very fleecy thread,
+such as Coton à repriser D.M.C,[A] but trebles in bullion stitch can be
+worked in any of the D.M.C threads and cottons.
+
+(7) CLUSTER STITCH (fig. 426).--Generally used as an insertion between
+rows of plain crochet.
+
+[Illustration: FIG. 426. CLUSTER STITCH.]
+
+Put the needle under one stitch of the preceding row, make an over, draw
+the thread through in a loop, make another over, put the needle in again
+under the same stitch, bring it back, make a third over, and pass a
+third time under the same stitch; bring the needle back, make a fourth
+over and pass the needle through all the loops that are upon it.
+
+Then, after making a chain stitch, begin the same stitch over again,
+placing it in the second stitch of the lower row.
+
+Cluster stitch may also be finished off by retaining the two last loops
+on the needle, making an over, and ending with a plain stitch.
+
+(8) DOUBLE STITCH (fig. 427).--A rather coarse thread, such as Coton à
+tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Fil
+à pointer D.M.C Nos. 10 to 30[A] is better for this stitch than a loose
+fleecy thread which is apt to render it indistinct. Take up a loop right
+and left of a stitch of the preceding row, so that counting the loop of
+the last stitch, you have 3 loops on the needle, make an over and draw
+it through the 3 loops. Then take up a loop again by the side of the one
+you made on the left, and which now lies on the right. Take 2 loops in
+the next stitch, make an over and draw it through all the loops.
+
+[Illustration: FIG. 427. DOUBLE STITCH.]
+
+RAISED STITCH (fig. 428).--All the stitches that come under this heading
+require a foundation of a few plain rows for the raised trebles. In fig.
+428, you will observe that the fourth stitch in the fourth row is a
+double treble, connected with a loop of the fourth stitch of the first
+row.
+
+[Illustration: FIG. 428. RAISED STITCH.]
+
+Miss the stitch of the preceding row, which is hidden under the treble,
+make 3 plain stitches, 1 double treble, and so on.
+
+Having finished this row, turn the work and make a plain row. In the
+next row begin with 4 plain stitches, then make 1 double treble between
+the 3 stitches that are between the first trebles, 3 plain stitches, 2
+double trebles and so on.
+
+In the 8th row of plain stitches, the trebles must be placed in the same
+order as in the 4th.
+
+RAISED STITCH WITH CROSSED TREBLES (fig. 429).--Begin, as in fig. 428,
+by 3 rows of plain stitches. The 4th row begins with 2 plain stitches
+followed by: * 1 double treble joined to the upper part of the 1st
+stitch of the 1st row; keep the 2 last loops of this treble on the
+needle; make a double over for the next treble, pass the needle through
+the fourth stitch of the first row, make an over, turn the thread round
+the needle, bring it back, finish the treble all but the last 3 loops,
+which you crochet together. Miss the stitch behind the treble, make 3
+plain stitches and repeat from *.
+
+[Illustration: FIG. 429. RAISED STITCH, WITH CROSSED TREBLES.]
+
+Then turn the work, make one plain row, and turn the work back to the
+right side.
+
+The second row of trebles begins with a plain stitch. The way in which
+the trebles are to be crossed is shewn in the illustration.
+
+RAISED STITCH WITH DOTS (fig. 430).--After making 3 plain rows, begin
+the 4th with 3 plain stitches, and proceed as follows: * 6 trebles into
+the 4th plain stitch of the preceding row, leaving the last loop of each
+treble on the needle, so that altogether you have 7 loops upon it; then
+you turn the thread once round the needle and draw it through the loops;
+miss the stitch that is underneath the dot, make 3 plain stitches and
+repeat from *.
+
+[Illustration: FIG. 430. RAISED STITCH WITH DOTS.]
+
+Then make 3 rows of plain stitches; in the 4th row, the 1st dot is made
+in the 4th stitch, so that the dots stand out in relief.
+
+RAISED DOTS WITH TREBLES (fig. 431).--Turn the work after making 3
+rows of plain stitches, make 3 stitches more in the 4th stitch of the
+1st row, * 6 trebles, drop the last stitch of the 6th treble, put the
+needle into the stitch between the last plain stitch and the 1st treble,
+take the dropped loop of the last treble and draw it through the one on
+the needle; miss the stitch under the dot, make 5 plain stitches and
+repeat from *.
+
+[Illustration: FIG. 431. RAISED DOTS WITH TREBLES.]
+
+RAISED DOTS IN SLANTING LINES (fig. 432).--On the rows of stitches
+that have been previously prepared, make, for the 4th stitch of the 4th
+row, a cluster stitch, as in fig. 426, with 1 quadruple over and then 4
+plain stitches, 1 cluster stitch and so on. The next row is plain; in
+the second you have to make 1 plain stitch more, and fasten the cluster
+stitches into the loops to the left of the second of the 3 covered rows.
+In this way you have to make each raised stitch, one stitch, in advance
+and to the left of the last, so that they run in slanting lines over the
+surface.
+
+[Illustration: FIG. 432. RAISED DOTS IN SLANTING LINES.]
+
+CLOSE SHELL STITCH (fig. 433).--This pretty stitch which can only be
+worked in rows, all one way, is more especially suitable for children's
+jackets and petticoats; it is easy, and has the merit of being quickly
+done. On a foundation of chain, or other stitches, make: 2 chain, 7
+trebles on the 4th stitch, * 1 chain, 7 trebles on the 5th stitch of the
+last row and repeat from *.
+
+[Illustration: FIG. 433. CLOSE SHELL STITCH.]
+
+2nd row--** 7 trebles on the chain stitch of the last row which
+connects 7 bars, 1 plain stitch on the 4th of the 7 trebles of the first
+row and repeat from **.
+
+PICOTS.--The edges of most crochet work are ornamented with picots, or
+small points of different shapes, called severally close picots, chain
+picots and lace picots.
+
+Close picots may be subdivided into, large and small, pointed, and
+rounded, picots with rounded leaves and picots with pointed leaves.
+
+SMALL ROUNDED PICOTS.--These may either be made separately and then
+sewn on, or made at once, on to a crochet border. In the first case,
+begin with 3 chain, then coming back, make 1 plain stitch on the second
+and on the first chain stitch. In the second case make: 1 chain, take
+the needle out of the stitch and put it in from the right side, under
+both edges of the last stitch, take up the dropped stitch, bring it to
+the right side, * 3 chain; then returning: 1 plain stitch on each chain,
+draw the needle out, put it in from the right side into the second
+stitch of the row beneath, take up the loop, bring it back to the right
+side, and repeat from *.
+
+LARGE ROUNDED PICOTS.--5 chain, miss 3, 1 treble on the 2nd and 1
+treble on the 1st chain stitch.
+
+When you want to attach these picots at once to an existing piece of
+work, drop the last loop and bring it back again with the needle from
+the wrong side to the right and miss 2 stitches, instead of one, as in
+the case of the small picots.
+
+POINTED PICOTS.--Cast on 6 chain, then returning, and missing the 6th
+stitch: 1 single stitch, 1 plain stitch, 1 half treble, 1 treble, 1
+double treble.
+
+PICOTS WITH ROUNDED LEAVES.--* 4 chain, and 3 trebles on the first
+stitch, and 1 single on the same stitch on which the trebles were, **,
+or 6 chain and repeat from * to **.
+
+When these picots serve as a finish to a straight edge, make 2 single
+stitches in the preceding row instead of 2 chain.
+
+PICOTS WITH POINTED LEAVES.--6 chain, on the first chain stitch: 3
+double trebles, of which you retain the two last loops on the hook, 1
+over, draw the thread through the 4 loops, 5 chain, 1 single on the
+stitch on which the trebles are.
+
+CHAIN PICOTS.--For the small chain picots, make: 5 chain and 1 plain
+stitch on the first of these 5 stitches. For the large ones: 5 chain and
+1 treble on the first stitch.
+
+PICOTS IN BULLION STITCH (figs. 424 and 425).--5 chain, 1 treble in
+bullion stitch drawn up into a ring, and joined to the 5th chain stitch.
+
+[Illustration: FIG. 434. DROOPING PICOTS.]
+
+DROOPING PICOTS (fig. 434).--5 chain, drop the loop, put the needle
+into the first of the 5 chain, take up the dropped loop, and draw it
+through the stitch.
+
+[Illustration: FIG. 435. EMPTY LACE PICOTS, WORKED IN CROCHET.]
+
+[Illustration: FIG. 436. LACE PICOTS ATTACHED TO A ROW OF STITCHES MADE
+BEFORE HAND.]
+
+LACE PICOTS (figs. 435 and 436).--Fig. 435 represents picots formed of
+chain stitches, as follows: 2 chain, put the needle into the first, 1
+over, bring the thread back to the front, 2 chain: * put the needle into
+the two loops, and at the same time, into the second loop and the first
+chain, draw the thread through in a loop, make 2 chain and repeat from
+*.
+
+In order to make the picots more even and regular, it is advisable to
+form them over a coarse knitting needle or mesh.
+
+Fig. 436 represents picots attached by plain stitches to the edge of a
+finished piece of work; this is done as follows: 1 plain stitch, draw
+out the loop to the proper length for a picot, and slip it on a mesh:
+put the needle into the horizontal parts of the last stitches, turn the
+thread round the needle, draw it through in a loop, and make 1 plain
+stitch on the next stitch and so on.
+
+[Illustration: FIG. 437. OPEN-WORK CROCHET MADE AFTER A TAPESTRY
+PATTERN.]
+
+[Illustration: FIG. 438. PLAIN CROCHET MADE AFTER A TAPESTRY PATTERN.]
+
+METHOD FOR COPYING TAPESTRY PATTERNS IN CROCHET WORK (figs. 437 and
+438).--Printed cross stitch and embroidery patterns can very well be
+copied in crochet work especially when they are in two colours only, or
+rather, are drawn in one colour, on a plain ground.
+
+The way in which such patterns are copied in crochet is by means of
+chain stitches and trebles, which, rising one above the other in rows,
+form little squares. For each square marked on the pattern, you must
+count, in the grounding, 1 treble and 2 chain stitches; in the solid
+parts, 3 trebles.
+
+The squares formed by the chain stitches should always begin and end
+with a treble.
+
+When, therefore, a solid square comes between empty or foundation
+squares, count 4 trebles for the solid square, because the last treble
+of the last empty square touches the third treble of the solid one.
+
+Thus for 2 solid squares, side by side, count 7 trebles, and for 3
+squares, 10. Embroidery patterns worked in several colours can be
+reproduced in crochet either by trebles and rows worked one way only,
+cutting off the thread at the end of each row, or by plain stitches,
+worked in rows to and fro.
+
+When only three colours are used, pass two threads under the stitches;
+when more than two, leave those which are not in use, at the back of the
+work and only bring them to the front as they are wanted. The thread,
+you lay aside, takes at the back the place of the one in use. Of course,
+the threads not in use can only can be disposed of in this way when the
+work has a wrong side, otherwise they must be passed underneath the
+stitches. The colours should alternate in the order the pattern
+prescribes; moreover, the last stitch before you take another colour
+cannot be finished with the same thread, you must pass the new thread
+through the last loop and draw it up with that.
+
+[Illustration: FIG. 439. CROCHET WITH SOUTACHE OR LACET (BRAID).]
+
+[Illustration: FIG. 440. CROCHET WITH SOUTACHE OR LACET (BRAID).
+MATERIALS: Coton à tricoter D.M.C Nos. 6 to 12 or Cordonnet 6 fil D.M.C
+Nos. 3 to 10. Soutache D.M.C No. 2 or 3 or Lacets superfins D.M.C Nos. 2
+to 5. COLOURS: The cotton, white or écru. The Soutache or Lacet:
+Rouge-Cardinal 347, or Rouge-Grenat 326, or Bleu-Indigo 312.[A]]
+
+CROCHET WITH SOUTACHE OR LACET (BRAID) (figs. 439 and 440).--These are
+two patterns of crochet, worked with the ordinary crochet cottons and
+with Soutache or Lacet D.M.C, a material which has not been used for
+crochet work before.
+
+Both patterns are worked entirely with trebles; in fig. 439, the red
+braid passes over and under 2 trebles; in fig. 440, it is brought, it
+will be observed, from the wrong side to the right after every 2
+trebles, and passed between them, in such a manner as to form a slanting
+stitch between the rows of stitches.
+
+CROCHET SQUARE (fig. 441).--Begin with 4 chain stitches, and work 1
+single on the 1st chain, to make a round. Work, 1 chain and 2 plain on
+the next chain, 3 plain on each of the next 3 chain, 1 plain on the
+stitch on which the two first plain are worked.
+
+Slip the next stitch, that is, put the needle in between the horizontal
+bars of the 1st plain stitch of the previous row, and draw the thread
+out without making a stitch.
+
+Then make 1 chain and 2 plain on the slipped stitch.
+
+After which, you make 3 plain on the second of the 3 plain that form the
+corner, and 1 plain on all the other stitches of the last row. The
+beginning and end of each row, are worked as described above.
+
+Fig. 441 represents a square, worked in consecutive rows. In making a
+crochet square, the rows may end in the middle of a side.
+
+[Illustration: FIG. 441. CROCHET SQUARE.]
+
+When you use a stitch that has to be worked to and fro, you turn your
+work at the end of every row and work back along the stitches you have
+just made.
+
+[Illustration: FIG. 442. CROCHET HEXAGON.]
+
+CROCHET HEXAGON (fig. 442).--Make a foundation chain of 6 stitches,
+join the round; 12 plain on the 6 chain; finish the row as indicated for
+the previous figure == turn the work == * 1 plain, 3 plain on the second
+plain of the last row; repeat 5 times from *. Finish the row with 1
+single == turn the work == 2 plain, 3 plain on the second of the first 3
+plain; 3 plain and so on. These hexagons can be made of any size.
+
+COLOURED STAR WORKED INTO A LIGHT GROUND (fig. 443).--Begin with 3
+chain, join the ring = 2 plain on each of the 3 chain; then for the
+foundation, 1 plain with the dark thread, and 1 with the light on each
+of the 6 plain.
+
+In each subsequent row, make one dark stitch more, increasing regularly,
+that is, making 2 stitches on the last light stitch that comes before
+the dark ones.
+
+Proceed in this manner until you have 6 or 8 dark stitches, in all and
+then begin to decrease in every row by one, until there is at last only
+one dark stitch remaining.
+
+These stars are used in the making of purses, cap-crowns and mats for
+lamps, etc.
+
+[Illustration: FIG. 423. COLOURED STAR WORKED INTO A LIGHT GROUND.]
+
+TUNISIAN CROCHET.--Tunisian crochet is also called crochet-knitting
+because, you have to cast on all the first row of stitches, as in
+knitting.
+
+MATERIALS--Every kind of cotton, as well as wool and silk, can be used
+for Tunisian crochet: the stitches look equally well in all these
+materials, but for things that require frequent washing or cleaning, a
+good washing material should be selected, such as Coton à tricoter D.M.C
+and Cordonnet 6 fils D.M.C[A], both strong and suitable in all ways.
+
+As we have already said, Tunisian crochet requires to be done with a
+long straight needle, with a knob at one end and it can only be worked
+on the right side.
+
+[Illustration: FIG. 444. PLAIN TUNISIAN CROCHET.]
+
+PLAIN TUNISIAN CROCHET (fig. 444).--After making a foundation chain of
+the required length, begin the first, or loop row as it is called. Put
+the needle into the 2nd chain stitch, draw a loop through and so on,
+until you have taken up all the chain stitches on the needle. After
+having made the last stitch of the loop row, make 1 chain stitch and
+then pass to the second row that completes the stitch. Turn the thread
+round the needle, draw it through two loops, turn the thread round
+again, and again draw it through two loops, and so on to the end.
+
+[Illustration: FIG. 445. STRAIGHT PLAITED TUNISIAN STITCH.]
+
+STRAIGHT PLAITED TUNISIAN STITCH (fig. 445).--Worked thus: miss the
+first loop in the 1st row, take up the second, and come back to the
+first, so that the 2 loops are crossed. Work the second row in the same
+manner as the second row of the preceding figure.
+
+[Illustration: FIG. 446. SLANTING PLAITED TUNISIAN STITCH.]
+
+DIAGONAL PLAITED TUNISIAN STITCH (fig. 446).--Worked like the
+preceding, taking up first the second loop and then the first: the
+second row also, in the same way as before. In the third row, take up
+the first stitch, and draw the third through the second, so as to
+produce diagonal lines across the surface of the work.
+
+OPEN TUNISIAN STITCH.--This is an easy kind of Tunisian crochet. The
+first row is worked as in fig. 444. In the row of plain stitches, you
+alternately join 2 and 3, or 3 and 4 loops of the preceding row
+together, and replace them by as many chain stitches.
+
+DECREASING AND INCREASING IN TUNISIAN CROCHET (fig. 447). Our
+illustration shows how to decrease on both sides and by that means form
+scallops.
+
+[Illustration: FIG. 447. DECREASING IN TUNISIAN CROCHET.]
+
+You miss a stitch alternately on the right and left. On the right you
+crochet the first two stitches together, and at the end of the row, the
+last two, and so on, to the end. You increase in the same order, first
+on the right and then on the left.
+
+HAIRPIN CROCHET (figs. 448, 449, 450).--So called because it is worked
+on a kind of large steel hairpin or fork with two or more prongs. Wooden
+and nickel varieties of this implement, which are patented by Mme
+Besson, of Paris, are also used.
+
+Very pretty laces, fringes, gimp headings and the like can be made in
+this kind of crochet work. It is often used in combination with ordinary
+crochet and plain and scalloped braids and gimps, or as a heading for
+fringes made of tufts and pendant balls. There are a great many stitches
+which can be worked in hairpin-crochet. We shall only describe those
+here that will best teach our readers how the work is done.
+
+MATERIALS.--For washing laces, Cordonnet 6 fils D.M.C is the best; for
+furniture fringes, the lower numbers of Coton à tricoter D.M.C, and for
+producing the appearance of filoselle, the lower numbers of Coton à
+repriser D.M.C are to be taken.
+
+[Illustration: FIG. 448. STEEL HAIRPIN FOR CROCHET.]
+
+[Illustration: FIG. 449. WOODEN FORK FOR CROCHET.]
+
+[Illustration: FIG. 450. FORK WITH SEVERAL PRONGS FOR CROCHET.]
+
+STITCHES.--Begin by a chain stitch, made with an ordinary crochet
+needle, take the needle out of the loop, and insert the left prong of
+the fork upwards from below, holding the fork between the thumb and
+finger of the left hand. The thread should always be in front. Then put
+the thread over the right prong and the needle into the loop on the left
+prong, take up the thread, draw it through the loop, put the thread over
+the needle and draw it through the loop that is on the needle, twist the
+loop round the left prong, turn the needle round to the right (the
+thread will now be wound round the right prong); put the needle into the
+loop on the left prong, throw the thread over the needle, draw it
+through, tighten the loops and so on.
+
+These stitches may be doubled, or you may make several trebles on each
+loop, or arrange the plain stitches in different ways.
+
+[Illustration: FIG. 451. HAIRPIN INSERTION.
+
+MATERIALS: Fil à pointer D.M.C No. 20 or 30, or Cordonnet 6 fils D.M.C
+Nos. 4 to 15, white or écru.[A]]
+
+HAIRPIN INSERTION (fig. 451).--Begin by making stripes with the fork,
+covering each thread with two plain stitches. Then join the stripes
+together by the loops, drawing the left loop over the right one and the
+right one over the left. When you come to the end of the stripes fasten
+off the last loops by a few stitches. To strengthen the edges, join two
+loops together by 1 plain, 2 chain, 1 plain and so on.
+
+[Illustration: FIG. 452. HAIRPIN LACE
+
+MATERIALS--For the hairpin work: Fil à pointer D.M.C Nos. 20 to 30, or
+Cordonnet 6 fils D.M.C Nos. 3 to 10, white or écru. For the edge. Coton
+à tricoter D.M.C Nos. 16 to 30.
+
+COLOURS: Rouge-Cardinal 347, or Jaune-Rouille 364, or Brun-Marron
+406.[A]]
+
+HAIRPIN LACE (fig. 452).--When, by making two half trebles in each
+loop, you have got the necessary length of hairpin crochet, join the
+loops two and two, by means of a coloured thread which makes a good
+contrast with the thread of which the hairpin crochet is made. Work 1
+plain stitch joining 2 loops on the right, 2 chain, 1 plain joining the
+2 loops on the left; then 2 chain and come back to the right, and so on,
+until you have taken up all the loops. This forms the zig-zag in the
+middle.
+
+1st row--join 3 loops by: 1 plain, 5 chain.
+
+2nd row--on the 5 chain stitches: 1 plain, 1 half-treble, 3 trebles, 1
+picot, made with 5 chain (for the chain picots, see p. 237), 1
+half-treble, 1 plain. The footing of this lace is made like the one in
+fig. 451.
+
+[Illustration: FIG. 453. HAIRPIN FRINGE WITH TASSELS.]
+
+HAIRPIN FRINGES (figs. 453, 454, 455, 456).--Fig. 453 is made with a
+fork composed of one branch and 3 or 4 rulers, round which the thread is
+wound in succession, so as to form loops of different lengths. You may
+use for this, either a single very coarse thread, or else several fine
+ones, used together as one.
+
+The heading of the fringe is plain, and heavy tassels are fastened into
+the loops. The tassels are made as follows: take a thick skein of the
+same thread the fringe is made of, pass it through the loop, leaving
+just the length required for the tassel, at one end, thread a needle
+with the same thread and twist it round the skein, the right distance
+from the top to form the head of the tassel and then cut the ends even,
+at the bottom. As the loops are of different lengths, the tassels will
+hang in steps and the fuller and heavier they are, the handsomer the
+fringe will be.
+
+[Illustration: FIG. 454. HAIRPIN FRINGE WITH TASSELS.
+
+MATERIALS: Coton à tricoter D.M.C Nos. 6 to 16.[A]
+
+COLOURS: Écru and Jaune-Rouille 363, 368, or Gris-Tilleul 331 and
+Rouge-Cornouille 449 and 450, or three other shades.[A]]
+
+Fig. 454 represents another pattern of fringe, the first part of which
+is made with the same fork as the preceding one. Instead however of
+winding the thread round the several prongs in succession, you pass it
+alternately round the two first and the fourth, thus making loops of two
+lengths only. Tassels of a length, suited to the purpose the fringe is
+intended for, depend from these loops and may be varied in the second
+row by balls made to issue from the middle, or by long meshes, which are
+made over the whole width of the fork and affixed to the loops.
+
+Figs. 455 and 456 represent two pretty patterns of fringes made of écru
+cotton with a strong twist. These are very suitable for washing
+articles, as the cotton balls wash perfectly.
+
+[Illustration: FIG. 455. HAIRPIN FRINGE WITH ONE LINE OF BALLS.]
+
+[Illustration: FIG. 456. HAIRPIN FRINGE WITH TWO LINES OF BALLS, ONE
+ABOVE THE OTHER.
+
+MATERIALS--For the crochet-work: Cordonnet 6 fils D.M.C Nos. 3 to 10, or
+Fil à pointer D.M.C Nos. 10 to 30. For the balls: Coton à repriser D.M.C
+Nos. 8 to 16.]
+
+The loops in fig. 455 are all of one length and a ball hangs from every
+third. In the last chapter but one, a minute description is given of the
+way in which these balls are made. The heading of the loops is formed by
+a row of chain stitches, varying in number from four to six, according
+to the size of the cotton. The edge is ornamented with little picots.
+The fringe, in fig. 456, consists of three long and three short loops
+alternately, which causes, the balls that are made to depend from them,
+to form two parallel lines.
+
+If you join the loops of the heading together, three and three, you will
+have to make enough chain stitches to cover the space that is to be
+filled.
+
+The picots are made with 6 chain stitches, you put the needle back into
+the fifth stitch after closing the picot, make 1 chain, 2 plain, in the
+preceding row, 1 picot and so on.
+
+FRINGE MADE WITH LACET OR BRAID (fig. 457).--This is an easy fringe to
+make and a very effective trimming for table-cloths, curtains etc.,
+which are embroidered on coarse stuffs.
+
+Begin with a foundation chain, in coarse écru twist, the light stitch
+in the middle of the heading of the fringe being also made of the same
+material.
+
+In the next row, you use the twist and the braid together, as
+follows--with the twist = 1 chain stitch, put the needle into the first
+stitch of the foundation chain, take up the braid, draw it through, turn
+the twist round the needle, draw it through the braid and the chain
+stitch. To make the braid loops longer, they may be made over a wooden
+ruler. To the two rows of braid stitches, represented in the pattern,
+you may add as many other rows as you please. On the fringed side make:
+4 plain, 3 chain, draw out one very long loop and fasten into it a
+cluster of lengths of braid from 10 to 12 c/m. long, and draw the loop
+tightly round it to secure the tassel; 3 plain on the chain stitches.
+Repeat from *.
+
+[Illustration: FIG. 457. FRINGE MADE WITH LACET OR SOUTACHE (BRAID).
+
+MATERIALS: Lacet D.M.C No. 4 or Soutache D.M.C NO. 2½ in red. Cordonnet
+6 fils D.M.C Nos. 3 to 10. Fil à pointer D.M.C Nos. 10 to 30, écru.[A]]
+
+[Illustration: FIG. 458. LACE MADE ON POINT LACE BRAID.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 50, or Cordonnet 6 fils D.M.C
+No. 80, white[A] and Point Lace braid.]
+
+LACE MADE ON POINT LACE BRAID (fig. 458).--For the rounds: 1 plain on
+the braid, 10 chain, then coming back, 1 single on the 4th chain.
+
+In this first round you make: 1 chain, 1 half-treble, 12 trebles *, 1
+half-treble, 1 chain, 1 single on the 4th chain; 3 chain, 1 single on
+the braid, far enough from the 1st chain for the rounds not to overlap
+each other. Then 10 chain, 1 single on the 4th chain, 1 single, 1
+half-treble, 4 trebles, join to the first round between the 8th and 9th
+trebles, 8 trebles and repeat from *. For the footing: 1 treble, 1
+chain, miss a few threads of the edge of the braid, 1 treble.
+
+[Illustration: FIG. 459. CROCHET GUIPURE LACE.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 70 to 90. Cordonnet 6 fils D.M.C Nos.
+80 to 120, or Fil à dentelle D.M.C Nos. 40 to 70.]
+
+CROCHET GUIPURE LACE (fig. 459).--This charming little lace makes a
+very good substitute for real guipure. It can be made on a row of
+trebles, just as well as on point lace braid, or on a mignardise, after
+you have raised the picots of it by single and chain stitches.
+
+6 plain *, 9 chain, leave an interval equalling in length 6 bars of the
+point lace braid used in our pattern; in the braid: 6 plain stitches,
+very close together, 8 chain, 1 single on the 7th of the 9 chain, 10
+chain, 1 single on the 3d of the 9 chain, 8 chain, 1 plain close to the
+first of the first 6 plain.
+
+1st scallop--7 plain, 5 chain, join to the 4th chain; on the 5th chain:
+6 plain; on the 8th chain: 3 plain.
+
+2nd scallop--on the 10 chain: 7 plain, 5 chain, join to the 4th chain =
+on the 5 chain: 6 plain = on the 10 chain, 5 plain, 5 chain, join to the
+4th chain, 6 plain, 5 chain, join to the 4th chain, 6 chain, 1 plain on
+the 10th chain.
+
+3rd scallop--like the first, then repeat from *.
+
+[Illustration: FIG. 460. LACE MADE ON POINT LACE BRAID.
+
+MATERIALS: The same as for 458.]
+
+LACE MADE ON POINT LACE BRAID (fig. 460).--On the braid, work a row of
+trebles, 1 or 2 chain stitches apart, according to the size of the braid
+and on this row of trebles, make two other rows as follows:
+
+1st row--5 chain, 1 treble on the treble of the preceding row, 5 chain,
+1 treble, on the same stitch to which the first treble is joined, 5
+chain, miss 3 trebles, 1 treble on the 4th treble of the row beneath.
+
+2nd row--1 plain on the 3rd of the 5 first chain, 3 plain, 1 treble on
+the 3rd of the chain stitches between the two trebles of the first row
+that come close together; 3 chain, 1 treble on the same stitch, 3
+chain, 1 treble on the same stitch, 3 chain, 1 treble on the 3rd of the
+next 5 chain.
+
+[Illustration: FIG. 461. CROCHET LACE.
+
+MATERIALS: Lacet superfin D.M.C No. 14 and Fil d'Alsace D.M.C Nos. 30 to
+70.[A]]
+
+CROCHET LACE (fig. 461).--1st row--3 plain close together, in the
+braid; * 13 chain, join to the 1st plain. On each of the first 6 chain;
+1 plain; = on the 7th chain: 3 plain, then on the other chain stitches:
+6 plain. In the braid: 7 plain and repeat from *.
+
+2nd row--* miss 2 plain of the first row, 5 plain to reach the 2nd
+stitch added in the first row, 4 plain on the 2nd added stitch, 4 plain
+on the next stitches. Repeat from *.
+
+For an insertion, drop the thread after the 2nd of the 4 stitches that
+are to be made at the point, then put the needle into the stitch of the
+finished stripe, take up the thread again, draw it through the stitch
+and proceed to the second side of the scallop.
+
+[Illustration: FIG. 462. CROCHET LACE WITH MIGNARDISE.
+
+MATERIALS--According to the mignardise used. Fil d'Alsace D.M.C Nos. 30
+to 70, or Fil à dentelle D.M.C Nos. 25 to 70.[A]]
+
+CROCHET LACE WITH MIGNARDISE (fig. 462).--This and all the patterns
+that follow, up to fig. 473, make very useful trimmings for all kinds of
+underclothing. Begin by raising the picots on both sides of the
+mignardise by: 1 plain stitch and 1 chain.
+
+The rows of crochet work between, consist of: 1 treble on 1 chain, 4
+chain, miss 2 picots of the mignardise, 1 treble between the 3rd and 4th
+picot.
+
+Work the edge in two rows.
+
+1st row--1 treble between 2 picots, 3 chain, miss 2 picots, 1 treble.
+
+2nd row--1 treble on 3 chain, 3 chain, 1 treble, 3 chain, 3 trebles, 7
+chain, turn back and join to the 1st of the 3 trebles, 2 chain, join
+them to the 2nd treble, 2 trebles on the 7 chain; keep the last loops of
+the last treble on the needle and join them to those of the next treble.
+
+[Illustration: FIG. 463. LACE WITH TWO ROWS OF LEAVES.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 20 to 100, Cordonnet 6 fils D.M.C
+Nos. 25 to 80 or Fil à dentelle D.M.C Nos. 25 to 100.]
+
+LACE WITH TWO ROWS OF LEAVES (fig. 463).--This is one of the
+pleasantest crochet patterns to work that we know. The leaves are made
+separately and fastened into a foundation with thread, at least two
+numbers finer than that of which the leaves are made.
+
+Leaf with 5 petals: 8 chain, make a ring = 2 plain on the ring = 1st
+petal * 11 chain, miss 3 chain, 1 half-treble on the 8th chain, 1 chain,
+miss the 7th chain, 1 treble on the 6th chain, 1 chain, 1 treble on the
+4th chain, 1 chain, 1 treble on the 3rd chain, 2 chain, 2 plain on the
+ring.
+
+2nd petal: 15 chain, miss 3 chain, 1 half-treble *, 1 chain, miss 1
+chain, 1 treble *. Repeat 4 times from * to *; add: 1 chain, 2 trebles
+on the ring.
+
+3rd petal: 21 chain, miss 3 chain, 1 half-treble *, 1 chain, miss 1, 1
+treble *. Repeat 7 times from * to *; add: 1 chain, miss 1, 2 trebles in
+the ring.
+
+The 4th petal to be worked like the 3rd; the 5th like the 1st.
+
+When the 5 petals are finished, make 2 plain stitches on the ring; then
+on the chain stitches of the 1st petal: 2 plain, 7 trebles, 2 trebles on
+the 10th stitch; then descending again: 7 trebles, 2 plain and 3 single
+on the 3 plain stitches of the ring.
+
+On the 2nd petal work: 3 plain, 10 trebles, 2 trebles on the 14th chain,
+10 trebles, 3 plain, 2 single, on the 2 trebles on the ring.
+
+3rd petal: 2 single, 3 plain, 14 trebles, 2 trebles on the 20th chain,
+14 trebles, 3 plain, a single.
+
+The 4th petal is worked like the 2nd; the 5th like the 1st, to be
+followed by 1 single on the 1st of the 3 chain stitches of the ring.
+
+For the stalk: 14 chain; miss 1, 9 plain on the 9 chain; 6 chain, miss
+1, 5 plain on the 5 chain, 4 plain on the chain stitches that are still
+disengaged, 2 single on the ring and then fasten the thread off with a
+few stitches.
+
+When you have enough leaves, join them together by a row of picots,
+working from left to right as follows: * take the second petal on the
+right side of a leaf, put the thread into the 12th stitch; make 2 plain,
+1 picot, 1 plain on the stitch on which the picot was made = in all the
+leaves, the 3rd plain before the picot and the first after, meet in the
+same stitch beneath = 2 plain, 1 picot, 3 plain, 2 chain = on the 8th
+stitch of the 3rd petal: 1 plain, 2 plain more on the next stitches **,
+1 picot, 3 plain. Repeat 6 times from ** and finish with 2 chain.
+
+On the 7th stitch of the 4th petal: 1 plain, 2 plain on the next
+stitches ***, 1 picot, 3 plain. Repeat 4 times from ***.
+
+On the 5th stitch of the 5th petal: 1 plain, and on the 4 next, 4 plain
+****. Repeat from * to ** round each leaf, then instead of a picot, make
+4 chain, join between the 1st and 2nd picot, 4 chain, close the picot.
+From this point the preceding series of stitches takes the place of the
+picot that immediately follows the sign **; proceed to ****.
+
+Foundation for the footing of the lace, with a single row of
+leaves.--When all the leaves are joined together, take the finer number
+of cotton and fasten your thread to the last stitch of the small stalk;
+then make: * 2 chain, 1 plain on the 9th stitch of the 5th petal; 6
+chain, miss 2, 1 plain on the 3rd stitch; 6 chain, 1 plain on the 3rd
+stitch, 1 chain, 1 plain on the 5th stitch of the 4th petal; 6 chain, 1
+plain on the 3rd chain; 2 chain, 1 plain on the 4th stitch (counting
+from the bottom) of the 5th petal of the next leaf; 3 chain, 1 single on
+the last stitch of the long stalk; 3 chain, join to the 3rd chain
+stitch, 3 chain, draw the thread again in coming back through the 3rd of
+the second set of 6 chain stitches in the 1st petal; 1 single; turning
+back and from left to right: 1 single on the plain stitch between the
+chain stitches, 6 chain, 1 plain on the 2nd of the last 3 chain, 6
+chain, 1 plain on the stalk, 6 chain, 1 plain on the 3rd stitch of the
+stalk; 6 chain, 1 plain on the 4th stitch of the stalk; 7 chain, 1 plain
+at the top of the little stalk, then repeat from *. The network in the
+next rows, which may be of any width, is composed of: 6 chain stitches
+and, 1 plain on the loop of the last row.
+
+For the last row but one of the network, make: 4 chain, 1 plain over
+each loop, and complete the lace by a row of plain stitches.
+
+To make the leaves stand out from the foundation, use two shades of
+thread, white and écru, white and Jaune-Rouille 365, or white and
+Gris-Cendre 415.
+
+The following is the way to join two rows of leaves together, that have
+previously been edged with picots.
+
+Fasten the thread on to the little stalk, * 3 chain, 1 plain on the 8th
+stitch of the leaf, 2 chain, join to the middle picot of the 3rd petal
+of the top leaf; 2 chain, 3 plain on the 5th petal of the bottom row, 1
+picot, 3 plain.
+
+For the 2nd petal of the bottom leaf: 3 plain, 1 picot, 3 plain.
+
+For the 5th petal of the next leaf below: 3 plain, 4 chain, 1 single on
+the long stalk, 5 chain, 1 plain on the 2nd picot of the 1st petal of
+the preceding leaf, 5 chain, 1 single on the 2nd picot of the 4th petal
+of the top leaf, 4 chain, 1 plain on the 4th single of the stalk, 3
+chain, 1 single on the 7th picot of the 3rd petal of the top leaf, 3
+chain, miss 1 stitch of the stalk, 1 plain on the stalk, 3 chain, 1
+plain on the 6th picot of the top leaf, 3 chain, 1 plain on the little
+stalk. Repeat from *.
+
+Three and even four rows of leaves may be joined together in this manner
+and make a very handsome lace, particularly suitable for church linen.
+
+INSERTION WITH WAVED BRAID (fig. 464).--1 plain stitch at the point of
+the braid, 7 chain, 1 single on the 2nd chain. On the next chain
+stitches: 1 half-treble, 1 treble, 1 double treble, 1 triple treble, 1
+plain on the next point of the braid.
+
+Repeat the same stitches on the second side, only that after the 6th
+chain stitch, you draw the thread through the 7th of the 1st finished
+row.
+
+Little wheels, set between the crochet pyramids, and described in the
+chapters on filet-guipure and Irish lace, complete the insertion.
+
+[Illustration: FIG. 464. INSERTION WITH WAVED BRAID.
+MATERIALS.--According to the size of the braid: Fil d'Alsace D.M.C Nos.
+20 to 70, or Cordonnet 6 fils D.M.C Nos. 40 to 70.[A]]
+
+CROCHET LACE, MADE WITH LEAF BRAID (fig. 465).--Introduce the thread
+into one of the leaves of the braid and working from right to left, make
+for the outer border: * 1 plain, 2 chain, 1 picot in bullion stitch,
+with 5 twists of the thread, 2 chain, 1 treble near the end of the leaf.
+Leave the last 2 loops of the treble on the needle **.
+
+Take 2 leaves of the braid, fold them one upon the other: 1 treble near
+the stalk of these folded leaves, tighten the loops of the 2 trebles;
+chain ***, 1 picot, 2 chain, 1 plain, 2 chain. Repeat 5 times from ***.
+
+Proceed with 1 picot, 2 chain,--there will be 7 picots round the folded
+leaves--1 treble on the folded leaves and repeat from ** to *, therefore
+the inverse way, and begin again from *.
+
+For the footing of the lace, 4 rows are required.
+
+1st row--* 1 double treble close to the stalk of the leaf, 5 chain, 1
+treble, at the third of the leaf, 1 double treble at the 2nd third of
+the leaf, 5 chain, 2 double trebles, one on the right leaf, one on the
+left, draw the last loops of the 2 trebles up together and repeat from
+*.
+
+2nd row--On each of the little loops formed by the 5 chain of the last
+row: 1 plain, 3 chain, 1 picot in bullion stitch, 7 chain, 1 picot, 3
+chain; 1 plain on the next loop and so on.
+
+3rd row--1 plain on the 4th of the 7 chain, 5 chain, 1 plain and so on.
+
+4th row--1 plain on each loop of the last row.
+
+[Illustration: FIG. 465. CROCHET LACE MADE WITH LEAF BRAID. MATERIALS:
+Fil d'Alsace D.M.C Nos. 50 to 100 or Fil à dentelle D.M.C Nos. 50 to
+80.[A]]
+
+CROCHET LACE MADE WITH LEAF BRAID (fig. 466).--Begin with the outside
+edge:
+
+1st row:--At the end of a leaf: 1 treble, 6 chain, 1 picot in bullion
+stitch, 6 chain, 1 treble = at the beginning of a 2nd leaf: 6 chain, 1
+picot, 6 chain, 1 treble at the end of the leaf = 7 chain, 1 picot, 7
+chain, 1 treble on the 3rd leaf = 6 chain, 1 picot, 6 chain, 1 treble at
+the end of the 3rd leaf = 6 chain, 1 treble, 6 chain, 1 treble on the
+4th leaf = 1 double treble joined to the 4th and 1st leaf of the next
+scallop = 1 treble at the end of the 1st leaf, join and draw the last
+loops of these 3 trebles together.
+
+2nd row--over each treble and picot: * 1 plain, 3 chain, 1 picot, 7
+chain, 1 picot, 3 chain, 1 plain = repeat 6 times from *.
+
+At the indent and before the last picot: 2 chain, 1 picot, 2 chain = 1
+plain before the 1st picot of the next scallop.
+
+3rd row--1 treble, 8 chain, repeat 6 times. In the indent join the 4th
+of the 7 chain stitches right and left together by 1 treble.
+
+4th row--15 single on each loop of 8 chain.
+
+Inside junction.--Begin at the edge of the first leaf, fasten on the
+thread and make 10 chain and, 1 double treble at the end of the leaf, 1
+triple treble, and draw up both together, 5 chain, 2 triple trebles on
+the leaves to the right and left = 5 chain, 2 triple trebles, one at the
+end and the other at the beginning of the 3rd and 4th leaf = 2 chain, 1
+picot in bullion stitch, 2 chain, 1 plain on the last stitch of the
+first trebles, 10 chain, 1 plain on the last stitch of the last trebles;
+5 chain, 1 triple treble at the end of the 4th leaf.
+
+[Illustration: FIG. 466. CROCHET LACE MADE WITH LEAF BRAID. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 40 to 80 or Fil à dentelle Nos. 50 to
+80.[A]]
+
+Going back to the beginning: 5 chain, 1 single on the 10 chain above the
+picot = 5 chain, 1 single on the 5th of the first 10 chain = 12 chain, 1
+plain on the loop of the last triple treble, 7 chain, 1 picot in bullion
+stitch, 6 chain = 1 plain on the stalk between the 2 leaves; 6 chain, 1
+picot, 7 chain, 1 triple treble on the leaf, 5 chain, repeat from *.
+
+2nd row--5 chain, 1 treble on the lower loops. Distribute the chain
+stitches equally.
+
+3rd row--1 plain in the braid that forms the footing of the lace, 2
+chain, 1 plain on the last chain stitches, 2 chain, 1 plain in the
+braid, continuing in this manner to join the crochet work and the braid
+together.
+
+IRISH LACE (fig. 467).--Begin with the semicircles in the middle of
+the pattern, which arch over two scallops, and cast on 117 chain. Then
+lay a double or threefold thread of Cordonnet 6 fils D.M.C No. 2, over
+the chain stitches, and make one plain stitch on each; then cut the
+padding thread short off.
+
+[Illustration: FIG. 467. IRISH LACE. MATERIALS: Cordonnet 6 fils D.M.C
+Nos. 25 to 100, Fil à pointer D.M.C No. 30 or Fil d'Alsace D.M.C Nos. 30
+to 100.[A]]
+
+On the other side of the chain make 2 plain, * 2 chain, 1 picot, 7
+chain, 1 picot, 2 chain, miss 7; 1 plain on each of the 2 next stitches
+**.
+
+Repeat 11 times from * to **; the 11th time making only 6 chain.
+
+2nd and 3rd row--On the upper side, over a double thread of twist: 1
+plain on each stitch of the last row; cut off the padding thread = 2
+chain, 1 picot, 7 chain, 1 picot, 2 chain, 1 plain on the 4th of the 7
+chain stitches after the first picot of the preceding row = 3 chain, 1
+picot, 3 chain, 1 plain on the 4th of the next 7 chain stitches **.
+Repeat 11 times from * to ** and then make: 2 chain, 1 picot, 7 chain, 1
+picot, 2 chain, 1 plain.
+
+On the upper side and without a padding thread: 3 plain, 1 picot, * 5
+plain, 1 picot, **. Repeat 20 times from * to **. Continue with: 3
+plain, 10 chain, 1 picot, 2 chain, 2 plain on the 4th of the first 7
+chain of the 2nd row on the inside of the semicircle = 2 chain, 1 picot,
+7 chain, 1 picot, 2 chain, 1 plain on the plain stitch of the previous
+row = 1 plain on the 1st of the 3 chain = 2 chain, 1 picot, 7 chain, 1
+picot, 2 chain, 2 plain as before, = 2 chain, 1 picot, 7 chain, 1 picot,
+2 plain = 2 chain, 1 picot, 9 chain, 1 plain, return and make on the 9
+chain: 7 plain, 2 chain, 1 picot, 2 chain, 2 plain = make 4 more
+scallops like the previous one = 2 chain, 1 picot, 9 chain, 1 plain =
+return and make on the 9 chain: 7 plain, 2 chain, 1 picot, 2 chain, 2
+plain = make 2 more scallops, and then a 3rd joined to the scallop that
+terminates the semicircle on the right by the 2 plain stitches = 2
+chain, 1 picot, 7 chain, 1 picot, 2 chain, 2 plain on the point of the
+crescent = 22 scallops consisting of: 2 chain, 1 picot, 7 chain, 1
+picot, 2 chain, 2 plain.
+
+9 plain on the scallop that terminates the semicircle on the left, 7
+chain, 2 plain on the next scallop, 2 chain, 1 picot, 2 chain, 2 plain
+on the next scallop = make 2 bars more of the same kind = 7 chain, 2
+plain = 3 bars like the previous ones = 7 chain, 2 plain = 3 bars as
+before = 2 plain, 7 chain, 7 plain on the next scallop = 1 bar
+consisting of 3 chain, 1 picot, 3 chain, 2 plain over all the scallops
+of the preceding row (24 scallops in all).
+
+4th row--3 chain *, 8 trebles on the 7 chain that follow the 7 plain =
+turn the work = 1 single on the last treble, 3 chain, 1 treble on the
+7th and 1 on the 6th of the 8 trebles, 2 chain, 1 treble on the 5th and
+1 on the 4th of the 8 trebles, 2 chain, 1 treble on the 3rd and 1 on the
+2nd of the 8 trebles, 3 chain, 1 single on the 1st of the 8 trebles =
+turn the work = ** on the 3 chain: 1 plain, 1 half-treble, 1 treble, 1
+half-treble, 1 plain = 1 plain between the 2 trebles below = on the 2
+chain, 1 plain, 1 half-treble, 1 treble, 1 half-treble, 1 plain *** = 1
+plain between the 2 trebles beneath, repeat from *** to **, therefore
+the reverse way.
+
+Go on with 2 scallops consisting of 2 chain, 1 picot, 7 chain, 1 picot,
+2 chain, 2 plain = after the 2nd scallop: 2 chain, 1 picot, 5 chain = 8
+trebles on the 7 chain over the 7 plain and finish the little flowers
+consisting of 4 scallops each, like the first from * to *** and from ***
+to ** = 2 plain to get back to the scallop = 1 chain, 1 picot, 2 chain,
+2 plain, 3 chain, 1 picot, 7 chain, 1 picot, 2 chain, 2 plain, 3 chain,
+1 picot, 3 chain, and make a 3rd flower of 4 scallops like the 2 others
+= 2 single to come back to the scallop, 2 chain, 1 picot, 2 chain, 2
+plain = 2 more scallops like the previous ones, then make the 4th flower
+of 4 scallops, which must come before the 7 plain stitches of the
+previous row = 20 scallops consisting of: 2 chain, 1 picot, 7 chain, 1
+picot, 2 chain, 2 plain = the last scallop is to be joined to the 1st
+scallop of the 1st flower, under the left point of the semicircle = 3
+single along the small scallop, 3 trebles, 2 chain, 1 picot, 2 chain, 2
+plain on the point of the scallop = 3 bars like the previous ones to be
+joined to the 2 next scallops = 3 similar bars between the small
+scallops = 1 single on the scallop between the 2 flowers and 1 single on
+the 2nd set of chain stitches in the scallop that precedes the 3rd
+flower = 1 single on the point of the 1st scallop of the 3rd flower =
+continue the little bars along the 2nd side until past the 4th flower =
+after the 4th flower make 2 bars consisting of 2 chain, 1 picot, 2
+chain, 2 plain = 3 chain, 1 picot, 3 chain, 2 plain on the next scallop
+**** 7 chain, 2 plain on the next scallop, 3 chain, 1 picot, 3 chain, 2
+plain on the next scallop, 3 chain, 1 picot, 3 chain, 2 plain on the
+next scallop, 3 chain, 1 picot, 3 chain, 2 plain on the next scallop
+***** repeat five times from **** to *****. At the 2nd repetition make 1
+bar with 1 picot more, so that you have 4 bars instead of 3. At the 5th
+repetition you decrease by 1 bar, so that you have 2 instead of 3.
+
+1 plain on the point of the scallop of the flower, 3 chain, 1 picot, 7
+chain, 1 picot, 3 chain, 3 plain, one of which is made on the 2nd plain
+of the previous row, and the 2nd on the bar of chain stitches = 3
+plain, 1 picot, 7 chain, 1 picot, 3 chain, 2 plain = 2 more similar
+scallops = then 3 chain, 1 picot, 9 chain, 1 plain on the 2nd plain of
+the previous row = join and on the 9 chain make 7 plain = 3 chain, 1
+picot, 3 chain, 2 plain.
+
+Over the 1st little flower inside the semicircles, make 1 scallop like
+the previous ones = then 3 chain, 1 picot, 7 chain, 2 plain on the 3rd
+point of the first flower = 2 chain, 2 plain on the 2nd point of the
+second flower = 6 plain on the scallop and joined to the 3rd point of
+the first flower = 3 chain, 1 picot, 3 chain = 2 plain = 1 scallop like
+the previous ones, 2 plain on the 4th point of the small flower, 3
+chain, 1 picot, 9 chain, 1 plain = 7 plain over the 9 chain = 3 chain, 1
+picot, 3 chain, 2 plain.
+
+Make 7 scallops of: 3 chain, 1 picot, 7 chain, 1 picot, 3 chain, 2
+plain, after the 7th scallop make 1 chain only, which must come just
+before the 7th chain to the left without a picot and above the point of
+the semicircle.
+
+Over the 7 chain make a flower like the first with 4 scallops = then 3
+scallops, 3 chain, 1 picot, 7 chain, 1 picot, 3 chain, 2 plain. Make one
+more flower with 4 scallops, 3 scallops like the previous ones = a third
+flower with 4 scallops, 2 chain, 2 plain, one of them above the point of
+the row beneath, 12 chain, 1 plain over the next scallop = turn the work
+and coming back over the row just made, make: 7 plain on the first 7 of
+the 12 chain, 1 plain on the point of the scallop, 4 chain, 1 picot, 4
+chain, 1 plain on the next scallop, carry on the bars over the flowers
+and scallops, making 1 plain on the scallops of the flower and 2 plain
+on the other scallops, up to the 5 plain stitches between the 2 flowers
+underneath the semicircle.
+
+After the plain stitch that joins the last bar, turn the work and make
+23 scallops consisting of: 4 chain, 1 picot, 7 chain, 1 picot, 4 chain,
+2 plain.
+
+Cut off the thread and fasten it on above the semicircle and at the
+plain stitch which precedes the 7 chain without picot and make the
+second side like the first = having reached the middle, close to the 5
+plain, turn the work = make the half round of bars and fasten off at
+the 4th scallop of the flower above the semicircle.
+
+Fasten on at the point under the flowers where the work was turned and
+on the wrong side, and from right to left, work: 21 scallops consisting
+of 4 chain, 1 picot, 7 chain, 1 picot, 4 chain, 2 plain = then add: 4
+chain, 1 picot, 10 chain, 1 plain above the point of the scallop of the
+small flower = turn the work: 7 plain over the 10 chain.
+
+22 bars of 3 chain, 1 picot, 3 chain, 2 plain = after the 22nd bar, 10
+chain = come back and join to the picot of the 21st bar = 2 chain, 8
+trebles over the 10 chain and complete the flower as before. After the
+4th scallop of the flower: 2 chain, 1 single, quite close to the 8
+trebles, 3 chain, 2 plain on the next bar, 3 chain, 1 picot, join to the
+2nd stitch of the 4th scallop of the flower, 3 chain, carry on the bars
+the same distance as on the first side.
+
+Footing of the lace--On the chain stitches that follow the 3rd plain
+stitch and above the last little figure: 1 triple treble, 6 chain, join
+to the middle plain stitch = miss 1 scallop, 1 treble, 6 chain = miss 1
+scallop, 1 double treble, 6 chain, = miss 1 scallop, 1 triple treble, 6
+chain, = miss 1 scallop of the figure on the left, 1 double treble, 6
+chain = miss 1 scallop, 1 treble, 6 chain = miss 1 scallop, 1 double
+treble, 6 chain = miss 1 scallop, 1 treble, 6 chain = miss 1 scallop, 1
+treble, 6 chain = miss 1 scallop, 1 double treble, 6 chain, 1 triple
+treble, 6 chain, 1 quadruple treble on the next plain stitch. Repeat the
+whole, reversed, and finish off the footing with a row of plain
+stitches.
+
+Edge of the lace.--Fasten on, where the semicircles join: 1 double
+treble on the first 3 chain stitches of the empty scallop, 5 chain, 1
+double treble on the next disengaged chain stitches of the half scallop;
+continue the same on all the chain scallops and distribute the trebles
+so that there may be in all, 13 times 5 chain stitches.
+
+Add 2 triple trebles, the last loops of them, connected by a plain
+stitch; the 1st triple treble on the 3 last chain stitches of the last
+scallop, the 2nd on the plain stitch, that follows the 1st scallop of
+the middle figure = 4 chain, 1 treble on the plain stitch of the 2nd
+point. Repeat the same, reversed.
+
+2nd row--On the first 5 chain of the last row: 5 plain = on the next 5
+chain: 5 plain = on the 3 chain, leave a space: 5 plain, 12 chain, come
+back and join to the 8th chain stitch by a single stitch = on the
+scallop: 4 plain, 1 picot, 3 plain, 1 picot, 4 plain = and so on, until
+you have 8 points altogether.
+
+The plain stitches must be distributed as follows:
+
+For the 2nd point: in the 4th space 4 plain, in the 5th space 3 plain =
+for the 3rd point: in the 5th space, 2 plain, in the 6th space, 5 plain
+= for the 4th point: in the 6th space 1 plain, in the 7th space 6 plain
+= for the 5th point: in the 8th space 4 plain, in the 9th space 3 plain
+= for the 6th point: in the 9th space 3 plain, in the 10th space 4 plain
+= for the 7th point: in the 11th space 7 plain = for the 8th point: in
+the 12th space 7 plain = 5 plain in each of the 2 remaining spaces.
+
+CROCHET LACE (fig. 468).--This is always an effective pattern, in any
+number of thread. It is not new, however, and is probably already known
+to many of our readers as a pillow lace. Those who are not fond of
+making pillow lace, will be glad to learn how to reproduce it in
+crochet, as it makes a pretty trimming, both for wearing apparel and
+furniture. For furniture, it should be made in unbleached cotton, for
+articles of dress, in any of the of the finer numbers, referred to
+above.
+
+For the separate squares, cast on 10 chain stitches, and close the ring.
+
+1st row--* 5 chain, 1 plain on the ring. Repeat 3 times from *.
+
+2nd row--1 chain, 1 plain on the first 5 chain: * 5 chain, 1 plain = on
+the first 5 chain of the 1st row: 2 chain, 1 plain on the second 5 chain
+of the 1st row. Repeat 3 times from *.
+
+3rd row--1 plain on the first 5 of the 2nd row: * 5 chain, 1 plain, 2
+chain, 1 plain, 2 chain, 1 plain. Repeat 3 times from *.
+
+In the 4th and following rows, go on increasing, as in the 3rd row,
+until, on all 4 sides, you have 11 plain stitches between every 5 chain.
+
+12th row--1 plain, 5 chain, 1 plain, * 1 picot made of 4 chain, 1 plain
+between the 1st and the 2nd plain of the last row, 2 chain, 1 plain
+between the next 2 plain. Repeat 3 times from *, and fasten off.
+
+Crochet the squares together, as you finish them. After the 12th and
+last plain stitch, make: 2 chain, drop the loop, put the hook into the
+3rd of the 5 chain stitches that form one corner of the square, draw the
+dropped loop through, 2 chain, close the picot, finish the square.
+
+[Illustration: FIG. 468. CROCHET LACE. MATERIALS.--For trimming curtains
+and coarse linen table covers: Fil à pointer D.M.C No. 25 or 30, or
+Cordonnet 6 fils D.M.C Nos. 10 to 25 écru. For articles of dress: Fil
+d'Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos. 25 to 70, or
+Fil à dentelle D.M.C Nos. 25 to 70 écru.[A]]
+
+For the star that connects the squares--10 chain, close the ring; * 4
+chain, 1 picot, 4 chain, 1 over, join the 2 picots right and left of the
+squares that are to be joined together, by 1 treble; 4 chain, 1 picot, 3
+chain, drop the loop, put the needle into the first of the first 4 chain
+stitches, draw the thread through, 2 plain on the ring, 8 chain, 1
+treble on the 3rd picot and 1 treble on the 4th picot of the square =
+coming back: 1 plain on each of the 8 chain; 2 plain on the ring, and
+repeat 3 times from *.
+
+For the half-star, that fills the space under the footing of the lace:
+10 chain, close the ring = 9 chain, 1 treble on the 1st picot of the
+square; 4 chain, 1 picot, 3 chain; draw the thread through the 1st of
+the 9 chain = 2 plain, 8 chain, join the 3rd and 4th picots of the
+square by 1 treble bar on each picot = 8 single stitches on the 8 chain,
+2 plain on the ring; 4 chain, 1 picot, 4 chain = on the 1st and last
+picot of the 2 opposite squares: 1 treble, 4 chain, 1 picot, 3 chain,
+drop the loop, draw it through the 1st of the 4 chain stitches = 2
+plain, 8 chain, join 2 picots by 2 trebles = 8 single, 2 plain on the
+ring, 4 chain, 1 picot, 4 chain, 1 treble on the last picot = 8 chain,
+draw the thread through the 1st of the 4 chain.
+
+The footing is made as follows--* 1 plain on the 5 upper chain stitches
+of the square; 17 chain up to the ring, 3 plain, 17 chain and repeat
+from *. A row of plain stitches completes the footing.
+
+Outer edge--* 2 treble on the 1st picot, 4 chain, and repeat 5 times
+from *.
+
+On the 5 chain stitches, in the corner, make: 1 treble = 4 chain, 1
+treble on the 5 chain and finish the second side of the square like the
+first. Omit the chain stitches, between the 1st and last trebles of the
+squares.
+
+The next and last row consists of: 2 plain, 1 picot, 2 plain every 4
+chain. On the last 4 chain, at the point where 2 scallops join, make 4
+plain stitches, without picots.
+
+LACE WITH STARS (fig. 469).--Begin with the stars, make a chain of 18
+stitches, close the ring, mount it on a mould, wind a soft thread, such
+as Coton à repriser D.M.C No 60, seven or eight times round it, and make
+30 plain stitches upon it, joining the last to the first by a single
+stitch.
+
+Then: * 13 chain, and returning, miss the 1st chain = on the 12 chain: 1
+single, 2 plain, 2 half-trebles, 2 trebles, 2 double trebles, 1 double
+treble and a half, 2 triple trebles; keep the two last loops of the last
+treble but one, on the needle, and join them, to those of the last
+treble. Repeat 5 times from *.
+
+2nd row--1 plain, on the upper stitch that was missed in the 1st row; *
+17 chain, 1 plain on the next point. Repeat 5 times from *.
+
+3rd row--* 6 plain, 3 chain, miss 2 stitches of the lower row. Repeat
+from *.
+
+[Illustration: FIG. 469. LACE WITH STARS. MATERIALS: Fil d'Alsace D.M.C
+Nos. 30 to 70, Fil à pointer D.M.C No. 25 or 30, Coton pour crochet
+D.M.C Nos. 8 to 12.[A]]
+
+4th row--All round the last row, on each of the bottom stitches 1 plain;
+after every 6 stitches, 1 picot. This will give you 19 picots in all,
+separated from each other by 6 stitches.
+
+Inner connection--Fasten on the thread at the 5th treble, counting from
+the ring: 1 single, 8 chain. Draw out the thread, from the back, through
+the 9th of the 17 chain round the star = 8 chain * join with 1 chain to
+the 5th treble, passing the thread through to the back = work on the
+wrong side: 3 chain, bring the thread back between the 5th treble to the
+right side, and repeat 5 times from *. In joining the stars, place them
+so that 9 picots are turned to the edge, and 8 to the footing. The 10th
+and the 19th picots serve to join the stars.
+
+1st row--2 trebles between the 19th and the 9th of the * 9 picots, 7
+chain, 1 treble; repeat 9 times from *.
+
+After the 10th treble, make no more chain stitches, but 1 treble
+immediately between the 19th and the 1st picot of the next row.
+
+2nd row--On the 7 first chain stitches of the last row: 3 plain, 4
+half-trebles, 3 trebles, 1 picot, 3 trebles, 1 picot, and so on, until
+in the semicircle over the picots, you have 7 times 7 chain stitches and
+16 picots = on the ninth set of 7 chain: 3 trebles, 4 half trebles, 3
+plain.
+
+The scallops are joined by smaller ones, formed of: 3 plain, 4 half
+trebles, 3 trebles, 1 picot, 2 trebles, 7 chain, drop the loop, put the
+needle into the same treble of the last scallop; draw the loop through
+and make on the 7 chain: 1 plain, 1 half-treble, 5 trebles, 1 picot, 5
+trebles, 1 half-treble, 1 plain; continue the large scallop, as
+described above.
+
+The footing is composed of rings and trebles.--Begin with a ring, like
+those in the middle of the stars, worked as follows: 18 chain, with 28
+plain upon them = miss 1 plain stitch of the ring, 3 plain, 10 chain =
+miss 1 plain, 3 plain, 10 chain = miss 1 plain, 3 plain, 5 chain, 1
+single on the 7th picot of the 1st star, 5 chain = miss 1 plain, 3
+plain, 5 chain, 1 single on the 8th picot, 5 chain = miss 1 plain, 3
+plain, 5 chain, 1 single on the 2nd picot, 5 chain, finish off.
+
+Straight edge--Worked from right to left = 1 chain * turn the thread 7
+times round the needle, join to the plain stitch between the 7th and 6th
+picot, complete the long treble, 7 chain, join 1 treble, consisting of
+six overs to the 1st treble; 1 quintuple treble between the 6th and the
+5th picot; 7 chain, 1 quadruple treble joined to the previous treble =
+in all, 10 trebles, the 1st made with 7 overs, the 2nd with 6, the 3rd
+with 5, the 4th with 4, the 5th and 6th with 3, the 7th with 4, the 8th
+with 5, the 9th with 6, the 10th with 7; and between every 2 trebles, 7
+chain.
+
+The 3 long trebles of the ring are taken up with 1 plain and 7 chain
+between.
+
+GUIPURE LACE (fig. 470).--We advise our readers to work this charming
+pattern, in unbleached Fil à dentelle D.M.C No 50, because it imitates
+the appearance of old lace better than any other material.
+
+Lozenge-shaped figures in the centre--5 chain, close the ring.
+
+[Illustration: FIG. 470. GUIPURE LACE. MATERIALS: Fil d'Alsace D.M.C
+Nos. 30 to 100, Cordonnet 6 fils D.M.C Nos. 25 to 100, or Fil à dentelle
+D.M.C Nos. 25 to 100.[A]]
+
+1st row--5 chain, 1 picot, 2 chain, 1 treble on the ring = 5 chain, 1
+treble on the ring = 2 chain, 1 picot, 2 chain, 1 treble on the ring = 5
+chain on the 3rd of the first 5 chain.
+
+2nd row--12 chain, * 1 treble on the 1st treble of the 1st row = 4
+chain, 1 treble on the 3rd of the next 5 chain = 5 chain, 1 treble on
+the same stitch as the last treble = 4 chain, ** 1 treble on the 2nd
+treble of the 1st row, 9 chain. Repeat from * to **; join the last 4
+chain, to the 3rd of the first 12 chain, by a single stitch.
+
+3rd row--1 chain, 4 plain, 3 plain on the 5th of the 9 chain of the last
+row = 12 plain, 5 plain on the 3rd of the 5 chain, between the 2
+trebles, 12 plain, 3 plain on the 5th of the lower 9 chain = 12 plain, 5
+plain on the 3rd of the 5 chain, 7 plain; finish the row with a single
+stitch.
+
+4th row--3 chain, 1 treble on each of the next 5 plain; 3 trebles on the
+6th plain; 1 treble on each of the next 15 plain, 5 trebles on the 16th
+stitch; 15 trebles on the 2nd side; and again 3 trebles on the 16th
+stitch; 15 trebles on the 3rd side; 5 trebles on the 16th stitch, 9
+trebles and join to the 3rd of the 3 chain.
+
+5th row--1 chain, 6 plain, 3 plain on the 7th stitch beneath, * 18
+plain, 3 plain on the 19th stitch. Repeat twice from *.
+
+6th row--1 chain, 1 picot, 2 plain, 1 picot, 2 plain, 1 picot = towards
+the point: 3 plain, 1 picot = on the 2nd side of the square: 3 plain, 1
+picot, and 5 times 2 plain, 1 picot = towards the point: 4 plain, 1
+picot.
+
+On the 3rd side as on the 2nd, only reversed, first 4 plain, and at the
+point 3 plain; on the 4th side as on the 2nd; on the 1st side must still
+be added 3 plain, 1 picot, 2 plain, 1 picot, 2 plain, 1 picot, 2 plain;
+draw the thread through the loop and fasten off.
+
+The oblong squares, that connect the lozenges, take 7 rows of plain
+stitches. Make a chain of 14 = turn the work = 13 plain; add 5 rows of
+the same number of stitches. On the short side, and at the edge of the
+square: 1 picot, 3 plain, * 9 chain, miss 1 chain = returning: 1 plain
+on the 8th chain = on the next 7 chain: 1 half treble, 3 trebles, 1 half
+treble, 2 plain on the last chain stitches = on the 2nd half of the
+short side: 3 plain, 1 picot = on the long side: 3 plain **, 1 picot, 3
+plain ***. Repeat the whole twice from * to ***, and then once from * to
+** only.
+
+The row of bars, that encircles the small leaves, begins with 2 single
+stitches on the first picot, then add: **** 3 chain, 1 picot, 3 chain, 1
+treble on the 9th chain of the small leaf; on the short side: 1 chain, 1
+picot, 1 chain, 1 triple treble on the 9th chain of the leaf; drop the
+thread, bring it out from the back, by the side of the picot that forms
+the corner on the long side of the lozenge = 1 chain, 1 picot, 1 chain,
+1 treble on the small leaf = 3 chain, 1 picot, 3 chain, 1 treble on the
+picot, forming the corner of the oblong square = 3 chain, 1 picot, 3
+chain, 1 treble on the leaf on the long side of the square = 3 chain, 1
+treble on the same stitch as the 1st treble is on = 3 chain, 1 treble on
+the same stitch as the 2 first trebles are on; 3 chain, 1 picot, 3
+chain, 1 treble on the picot at the corner. Repeat once from ****.
+
+Upper and lower edge--6 chain, 1 sextuple treble on the 2nd picot of the
+lozenge = 6 chain, 1 triple treble on the 4th picot of the lozenge.
+Coming back over the 2 trebles of 6 chain, work in 3 journeys to and
+fro, 13 plain stitches.
+
+After the 2nd row of plain stitches, 1 quintuple treble on the 6th
+treble of the lozenge, and then 4 rows of plain stitches.
+
+After the 6th row, pass at once to the leaves above the lozenge: *****
+15 chain, 1 plain on the picot that forms the point of the lozenge =
+turn the work to the wrong side = on the chain stitches work: ****** 3
+plain, 1 half treble, 4 trebles, 1 half treble, 3 plain = turn the work
+to the right side = returning and starting from the point of the leaf: 1
+chain and 1 plain on each of the lower stitches.
+
+For the 2nd leaf: 12 chain = turn the work and repeat, as for the former
+leaf, from ***** to ******.
+
+This leaf, being finished like the first, with this difference that it
+ends at the upper point, you pass to the 2nd little square: 6 chain, 1
+sextuple treble on the picot next to the leaves; 3 chain, 1 triple
+treble on the 3rd picot, counted from the leaves = 6 chain, 1 sextuple
+treble on the 5th picot of the lozenge; keep the 2 last loops of the
+treble on the needle, 1 sextuple treble on the picot between every 3
+chain of the small square with leaves; draw up the 2 last loops together
+with those already on the needle = 6 chain, 1 triple treble on the picot
+on the long side of the small square = 3 rows of 13 plain each.
+
+With the last stitch of each of these rows, take 1 of the chain stitches
+between the long trebles.
+
+After the 3rd row: 1 sextuple treble on the first treble on the small
+leaf of the small middle square = 3 rows of plain stitches to finish the
+square, and repeat from *****.
+
+The upper row is similar to this but should be worked from right to
+left.
+
+Scalloped edge.--In the right corner of the 1st oblong figure of the
+outside corner: 1 double treble, 2 chain, 1 double treble on the 4th
+plain stitch = 2 chain, 1 double treble on the stitch that forms the
+corner stitch of the square = 2 chain, 1 plain at the extremity of the
+first long leaf, 9 chain = 1 quadruple treble on the stitch between the
+2 leaves = 2 chain, 1 quadruple treble on the same stitch and on the
+1st treble = 2 chain, 1 quadruple treble on the same stitch = 9 chain, 1
+plain on the last stitch of the 2nd long leaf = turn the work: 1 chain,
+1 plain on each of the chain stitches, and on each treble, 27 plain
+stitches in all = turn the work: 1 chain, 1 plain, 2 chain, 1 plain on
+the 2nd plain; repeat the last 12 times. Take in 1 stitch on each side
+in every row, turn the work after each row, and at the end of the last
+fasten off. Fasten on at the foot of the scallop, not at the point, and
+work plain stitches all round it; 20 plain to the upper point, 40 in
+all.
+
+The open-work edge of the scallops consists entirely of double
+trebles.--After the 40 plain stitches of the edge: 2 chain, 1 treble on
+the 1st plain stitch of the small square = turn the work: * 2 chain, 1
+treble on the 2nd of the plain stitches, forming the edge of the scallop
+**; repeat 7 times from * to ** = *** 2 chain, 1 treble on the next
+plain stitch = 2 chain, 1 treble on the next plain = repeat 4 times from
+***; and then 7 times from * to ** = 2 chain, 1 plain on the 4th treble
+of the square; 2 chain, 1 plain on the 3rd treble.
+
+Work on, on the right side = **** 2 chain and 1 treble on the preceding
+treble as far as the 8th treble; after the 8th: ***** 10 chain, back to
+the 7th, and returning, join to the 7th treble = on the 10 chain: 16
+plain, after the 16th draw the loop through the upper loop of the 8th
+treble = ****** 2 chain, 1 treble, 2 chain, 1 treble, 10 chain, return,
+and fasten the chain stitches to the last treble but one = 6 plain, 1
+picot, 2 plain, 1 picot, 6 plain and join as before ******* = Repeat
+once from ***** to *******, then twice, from ***** to ******, then from
+**** to *****, as on the first side, only 1 treble less = then 1 treble
+on the 4th plain stitch of the small square, 2 chain, 1 treble on the
+7th plain stitch of the square, 2 chain, 1 treble on the 10th plain
+stitch, 1 treble on the outside stitch, at the corner of the square, 2
+chain, 1 plain on the last stitch of the leaf; 9 chain and so on, as
+above described.
+
+Having reached the second scallop, on the 2nd row of trebles, at the
+sign ***, work: 2 chain, 1 treble to the left on the scallop just
+finished, keeping the last loops of the treble on the needle, 1 double
+treble to the right of the scallop and join it to the 2nd treble; draw
+the 4 loops together = 2 chain, 1 treble to the left, 1 quadruple treble
+to the right = 11 chain, drop the loop, bring it to the right side
+through the 4th treble of the right scallop = on these 11 chain
+stitches: 1 single, 1 plain, 1 half treble, 2 trebles, 1 half treble, 1
+plain, 1 single = 1 double treble on the open-work edge, then 2 chain, 1
+treble, 2 chain, 1 treble, 12 chain; join to the 6th treble of the right
+scallop = working back: 4 plain, 1 picot, 4 plain, 1 picot, 4 plain, 1
+picot, 4 plain, join to the treble, thrice 2 chain, 1 treble. Go back to
+***** and repeat twice to *******.
+
+The footing of the lace is worked in 5 rows from right to left.
+
+1st row--1 single, * 1 double treble on the 6th plain stitch of the
+square = 1 chain, 1 double treble on the 2nd plain stitch of the square
+= 3 chain, 1 picot downwards, 3 chain, 1 plain on the stitch at the
+extremity of the long leaf = 3 chain, 1 picot downwards, 3 chain, 2
+quadruple trebles between the two leaves = 3 chain, 1 picot downwards, 3
+chain, 1 plain on the last stitch of the 2nd leaf, 3 chain; repeat from
+*.
+
+2nd row--1 plain on each stitch of the previous row.
+
+3rd row--count 2 stitches before and above the 2 trebles on the squares
+and make: * 1 treble, miss 1 stitch, 1 treble, miss 1 stitch, 1 treble,
+miss 1 stitch, 1 treble = turn the work: 1 plain on each of the 4
+trebles = turn the work, come back and make 4 plain on the first 4 = 5
+chain, miss 2 stitches of the 2nd row, 1 treble on the 3rd plain, and
+continue from *.
+
+4th row--1 treble on each of the 4 plain, 1 chain between each treble, 2
+chain and so on.
+
+5th row--1 plain stitch on each of the stitches of the 4th row.
+
+CROCHET RETICELLA LACE (fig. 471).--This pattern, copied in crochet
+from an old piece of Reticella lace, only looks well, worked in very
+fine cotton, as indicated in our illustration, namely, in unbleached Fil
+à dentelle D.M.C No 150. To make it resemble the original more closely,
+the method adopted in Venetian point, of making all the stitches over a
+padding thread, has, in the case of the outside edge, been followed
+here.
+
+At the end of each row of plain stitches, draw out a sufficiently long
+loop to lay it back over the stitches just made, and to work the next
+row of stitches over this double foundation. These loops must be long
+enough, not to pucker or tighten the scallops.
+
+For the inner squares = 4 chain, close the ring.
+
+1st row--8 chain, 1 treble, 3 chain, 1 double treble, 3 chain, 1 treble,
+3 chain, 1 double treble, 3 chain, 1 treble, 3 chain, 1 double treble, 3
+chain, 1 treble, 3 chain, 1 single stitch on the 5th of the 8 chain.
+
+2nd row--* 1 chain, 5 plain on the first 3 chain, 5 plain on the next 3
+chain. On these 10 plain stitches, working to and fro, 9 rows of plain
+stitches, decreasing by 1 in each row; after the last stitch, come back
+along the side of the little triangle, and make 1 single stitch in every
+row, 1 plain on the treble of the 1st row **; repeat 3 times from * to
+**.
+
+[Illustration: FIG. 471. CROCHET RETICELLA LACE. MATERIALS: Fil d'Alsace
+D.M.C Nos. 30 to 100, or Fil à dentelle D.M.C Nos. 25 to 150.]
+
+These small triangles must be worked over 1 single treble and between 2
+double trebles.
+
+When the 4th triangle is finished, make directly, starting from the last
+stitch at the point, and along the side: 3 plain, 1 picot, 3 plain, 1
+picot, 3 plain; 1 single stitch on the treble; all the triangles must be
+edged, in this same manner on both sides; on the stitch that forms the
+point: 3 plain stitches.
+
+3rd row--* 17 chain, drop the loop = bring it to the front, through the
+plain stitch that lies between 2 triangles; returning, make 10 single
+stitches backwards on the 10 chain. You make stitches like this,
+backwards, in all the trebles that follow, that is, the loop is dropped
+after each stitch, and brought forward from the wrong side to the right
+= 13 chain, join to the 5th single, counting upwards from below = 7
+single on the chain stitches; 13 chain, join to the other trebles; 6
+chain, 1 single on the stitch at the point of the triangle **; repeat 3
+times from * to **. = The chain stitches for the trebles, must be drawn
+up very tight.
+
+4th row--1 plain on each of the stitches of the preceding row, 3 plain
+on the corner stitch. On each side there must be 29 plain stitches, not
+counting the corner ones.
+
+5th row = 6 chain, miss 2 stitches of the row beneath, * 1 double
+treble, 2 chain; repeat 3 times from * = 2 chain, 1 double treble, 2
+chain, 1 double treble on the same stitch as the 1st treble = 2 chain, 1
+double treble on the same stitch as the 1st treble = 2 chain, 1 double
+treble on the same stitch as the two first trebles = 10 times to the
+next corner: 2 chain, 1 double treble, 3 double trebles, each of them
+with 2 chain stitches at the corner; repeat the same on each of the 4
+sides.
+
+6th row--1 plain on each of the stitches of the last row, 3 plain on the
+corner stitch = cut off the thread. Join the next squares together at
+once by the last corner stitch.
+
+Lower edge--You begin by making the large scallop at the point of the
+square, and pass the double thread over the 3rd treble that comes before
+the 3 trebles at the point of the square and make: 1 plain stitch on
+each stitch of the square, up to the 3rd treble on the opposite side;
+then draw out a long loop which you carry back to the beginning. In the
+2nd row increase by 2 stitches, right and left of the middle stitches,
+for the rounding of the scallop, and decrease by 1 on each side. Make 10
+rows in all, and in each row, decrease by 4 stitches and increase by 2.
+Fasten off after the 10th row.
+
+The two little scallops, right and left of the big one, are worked in 5
+rows, over 5 trebles and 4 intervals of chain stitches, taking off 2
+stitches in every row. For the small triangle between, worked in 4 rows,
+you must increase on both sides by 2 stitches.
+
+When all the scallops are finished, edge them with 3 plain stitches, 1
+picot and 3 plain and work in all the ends of thread from the preceding
+rows at the same time.
+
+For the footing and the small triangles, that fill up the spaces between
+the squares: 22 chain, miss 1, 10 rows of plain stitches, worked to and
+fro, decreasing by 1 in every row.
+
+When the triangle is finished, make on one side, 1 single in every row;
+then, on the 11 remaining chain stitches, a second triangle, like the
+first, which you then join to the plain stitches, above the 5th treble;
+then returning along the side of the triangle, add 3 plain, 1 picot, 3
+plain, 1 picot, 3 plain; 1 single on each of the 22 chain stitches.
+
+Edge the next side of the 2nd triangle like the first, join the corner
+stitch to the 5th treble; edge the two inner sides 3 times with 3 plain
+stitches and 2 picots.
+
+Then from right to left on the plain stitches: 6 plain, 15 chain, join
+them to the middle of the 2 triangles = 1 single on each chain, 5 plain
+on the square; 11 chain, 1 single on the 9th of the first 15 chain; 1
+single stitch on each of the chain stitches; 1 plain on each stitch of
+the square, to the point where the squares join, 8 chain, 1 single on
+the 6th of the 11 chain, 1 single on each of the 8 chain.
+
+On the 2nd side: 7 plain, 5 chain, 1 single on the 6th of the 11 chain,
+1 single on each of the 5 chain, 5 plain, 9 chain, 1 single on the 9th
+of the 15 chain, 1 single on each of the 9 chain, 6 plain on the square;
+fasten off.
+
+Fasten on, at the 2nd of the 3 corner stitches = 17 chain, 1 plain on
+the corner stitch of the triangle; 8 chain, 1 plain on the next corner
+stitch, 17 chain, and so on.
+
+A row of plain stitches, or trebles, completes the lace.
+
+LACE WITH CORNER, FORMED BY INCREASING ON THE OUTSIDE (fig. 472).--1st
+row--On a row of chain stitches or trebles, work alternately: 1 chain, 1
+treble = on the corner: 1 chain, 1 treble, 2 chain, so that the last 3
+trebles come on one stitch.
+
+2nd row--1 plain on each stitch of the 1st row, 3 plain on the 2nd of
+the 3 corner trebles.
+
+3rd row--Counting from the 2nd of the 3 corner stitches, and towards the
+left, make 1 plain on the 53rd, 52nd, 51st and 50th plain stitches; 8
+chain, miss 1 chain, 1 plain on each of the 7 chain stitches = on the
+other side of the 8 chain, also 1 plain on each stitch, 3 plain on the
+8th chain, 1 plain on each of the first 7 plain.
+
+[Illustration: FIG. 472. LACE WITH CORNER, FORMED BY INCREASING ON THE
+OUTSIDE.
+
+MATERIALS: Fil d'Alsace D.M.C No. 30, Fil à pointer D.M.C Nos. 20 to 30,
+Cordonnet 6 fils D.M.C Nos. 15 to 30, or Fil à dentelle D.M.C Nos. 25 to
+50.[A]]
+
+On the next 11 stitches of the 2nd row: 1 plain = 4 chain, miss 4, 1
+triple treble on the 5th of the 2nd row, 4 chain, 1 triple treble on the
+same stitch, 4 chain, 1 triple treble on the same stitch, 4 chain, miss
+4, 1 single on the 5th = turn the work = on each treble of 4 chain: 7
+plain; 28 in all; 1 single on the 10th of the 11 plain = turn the work =
+miss the 28th plain, and on the 27 others make: 3 plain, 1 picot, 3
+plain = 11 chain, miss the 11th, 10 plain on the others = on the 2nd
+side of the chain: 4 plain, 10 chain, join them to the 6th of the first
+11 plain of this row = on the 10 chain: 5 plain, 3 chain, join them to
+the 5th plain of the 1st leaf, made in this row = on the 3 chain: 3
+plain = on those of the 10 remaining chain stitches: 6 plain = along the
+leaf: 3 plain, 1 picot, 3 plain = on the stitch at the point of the
+leaf: 3 plain = then down the 2nd side: 3 plain, 1 picot, 7 plain = over
+the next of the 28 plain: 3 plain, 1 picot, 4 plain = * 11 chain, miss
+the 11th, 10 plain = on the second side of the chain: 4 plain, 6 chain,
+join them to the 4th of the last 7 plain of the 2nd leaf = on the 6
+chain: 9 plain. Continue on the 3rd leaf of this row: 3 plain, 1 picot,
+3 plain and 3 plain on the stitch at the point of the leaf = on each of
+the next 3 stitches: 1 plain, then 1 picot, 7 plain = on the 28
+stitches: 4 plain, 1 picot, 3 plain **. Repeat from * to **, and here
+follow: 3 plain, 1 picot, 3 plain.
+
+On the 2nd row: *** 5 plain, 10 chain, join them to the 4th of the last
+7 plain of the 3rd leaf; 11 plain over the 10 chain = on the 2nd row: 5
+plain, 8 chain, miss 1 chain, 1 plain on each chain = on the second
+side: 4 plain, 3 chain, join them to the 6th of the last 11 plain = 3
+plain on the leaf, 3 plain on the stitch at the point, 7 plain, and
+repeat from *.
+
+On the 2nd row and for the corner: 9 plain, **** 4 chain, 1 triple
+treble on the 2nd of the 3 corner stitches and repeat 4 times from ****
+= 4 chain, miss 4 of the preceding row, 1 plain on the 5th = turn the
+work, on each bar of 4 chain, 6 plain, 36 in all, join the last to the
+8th of the 9 plain = going back over the 36 plain: 3 plain, 1 picot, 3
+plain, 11 chain, miss the 11th, 1 plain on each of the 10 chain = on the
+2nd side of the chain: 4 plain, 10 chain, join them to the 4th of the 9
+plain = over the 10 chain: 5 plain, 3 chain, join them to the 4th plain
+of the last leaf, 3 plain = on the remainder of the 10 chain: 6 plain.
+
+Proceeding along the leaf: 3 plain, 1 picot, 3 plain, 3 plain on the
+stitch at the point, 3 plain, 1 picot, 7 plain *****. Again on the 36
+plain, make: 3 plain, 1 picot, 3 plain, 11 chain, miss the 11th, 10
+plain = on the 2nd side of the chain: 4 plain, 6 chain, join them to the
+4th of the last 7 plain of the last leaf, 9 plain over the chain
+stitches = on the leaf: 3 plain, 1 picot, 3 plain, 3 plain on the stitch
+at the point, 3 plain, 1 picot, 7 plain ******. Repeat 3 times from
+***** to ****** and add 3 plain, 1 picot, 3 plain. Continue along the
+2nd row: 4 plain, 10 chain and on these 11 plain = 4 plain, 8 chain,
+returning, miss the 8th, 7 plain on the others = on the 2nd side of the
+chain: 4 plain, 3 chain, join them to the 6th of the last 11 plain = on
+the 3 chain: 3 plain = on the leaf: 3 plain, 3 plain on the stitch at
+the point of the leaf, 7 plain.
+
+4th row--1 plain on the 1st leaf of the 3rd row: * 7 chain, 1 plain on
+the 2nd leaf = 7 chain, 1 triple treble on the 5th of the 9 plain
+between 2 leaves = 7 chain, 1 plain on the 3rd leaf = 7 chain, 1 triple
+treble, 7 chain, 1 plain on the 4th leaf = 7 chain, 1 plain on the 5th
+leaf; 5 chain, 1 plain on the 1st leaf of the corner scallop. Repeat
+from *, with this difference, that, in the corner scallop you must have
+4 triple trebles.
+
+5th row--on the first 7 chain of the 4th row: 7 plain, * on the next
+chain stitches: 12 plain = turn the work, and crochet to and fro,
+decreasing by 1 stitch in each row, until you have only 2 stitches left
+= along the leaf: 10 plain and repeat 3 times from * = 7 plain on the
+next 7 chain, 6 plain on the 5 chain, 7 plain on the 7 chain.
+
+The corner scallop has 7 points = the 12 first stitches must be divided
+as follows: * 1st point: 12 plain in the first interval = 2nd point: 10
+plain in the 2nd interval and 2 plain in the 3rd interval = 3rd point: 7
+plain in the 3rd interval and 5 plain in the 4th **. Repeat once from **
+to *.
+
+6th row--* 1 plain in the 1st leaf, 5 chain, 1 crossed quadruple treble,
+the branches of which are joined by 5 chain; repeat twice from * = 1
+plain, 4 chain, 1 plain in the 1st leaf of the next scallop = 5 chain, 1
+crossed quadruple treble, the branches of which are joined by 5 chain
+and joined to the 6th stitch of the 2 next points = 5 chain and so on.
+
+7th row--6 plain on the first 5 chain of the 6th row, 6 plain on the
+next chain = 8 chain; carry the chain back to the right, and join it on,
+between the 6th and 7th plain = 4 plain on the 8 chain, then 8 chain,
+take it back, and join to the 1st plain = 12 plain on the 8 chain =
+continue on the small scallop: 3 plain, 1 picot, 8 plain = on the other
+5 chain: 6 plain = 8 chain, join them again to the 4th of the 8 plain on
+the scallop = on the last 8 chain: 3 plain, 1 picot, 8 plain = on the 2
+next bars of 5 chain: 12 plain = 8 chain, join them to the 7th of the
+last 12 plain = on the 8 chain: 5 plain = 8 chain, join them to the 1st
+of the last 12 plain = on the 8 chain: 5 plain, 3 chain, join them to
+the 4th plain of the 3rd finished scallop = over the 3 chain: 2 plain, 1
+picot, 2 plain = on the next scallop: 3 plain, 1 picot, 3 plain = in the
+half finished scallop: 6 plain = 8 chain, take it back and join it to
+the 1st of the last 6 plain = on the 8 chain: 5 plain, 1 picot, 3 plain,
+1 picot, 5 plain to finish the scallop below: 5 plain = on the 6th row:
+6 plain, 8 chain, join them to the first of the last 5 plain of the last
+scallop = on the 8 chain: 3 plain, 1 picot, 8 plain.
+
+The little scallops must be carried on round the corner point, as they
+were on the 3rd, 4th and 5th trebles of the other points.
+
+LACE WITH CORNER, FORMED BY DECREASING ON THE INSIDE (fig. 473).--For
+the stars--8 chain, close the ring; 3 chain, 15 trebles in the ring;
+close = 3 chain, miss 1 treble of the last row, 1 treble, 5 chain, 1
+treble on the upper part of the last treble = alternate 7 times: 1
+chain, 1 crossed treble divided by 2 chain, lastly 1 chain, close the
+ring, fasten off.
+
+Make 11 stars, and join them together as follows, counting the third
+from the left, in the engraving, as the first.--When you have joined the
+1st star to the 2nd by the 6th and 7th cross trebles, join the next
+stars so that when the 3rd is fastened on, there should be 2 crossed
+trebles on the inside and outside of the 2nd star. The 3rd star will
+have: 1 crossed treble on the outside, 3 on the inside = the 4th: 2
+crossed trebles inside, 2 outside = the 5th, the 6th, and the 7th: 1
+inside, 3 outside = the 8th: 2 on the inside and outside = the 9th: 3
+inside, 1 outside = the 10th: 2 outside, 2 inside = the 11th: 3 outside,
+1 inside. For the next scallops, repeat from the 2nd to the 5th star.
+
+2nd row--* over the 2 chain stitches of the 3rd crossed treble of the
+11th star: 1 treble, 3 chain = over the 1st chain stitch between the 3rd
+and 4th crossed trebles: 1 treble, 3 chain = over the next 2 chain
+stitches: 1 double treble, 3 chain = 3 overs, in the next space: 1
+double treble and 1 double treble in the 1st space of the 10th star;
+connect the two trebles together, 3 chain, 1 double treble, 3 chain, 1
+treble, 3 chain, 1 treble, 3 chain, 1 connected treble as before, 3
+chain ** 1 plain over the 2 chain stitches of the last crossed treble of
+the 9th star. Repeat from ** to *, therefore backwards.
+
+[Illustration: FIG. 473. LACE WITH CORNERS FORMED BY DECREASING ON THE
+INSIDE.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 70, Fil à pointer D.M.C No. 20
+or 30, Coton pour crochet D.M.C Nos. 10 to 18, or Cordonnet 6 fils D.M.C
+Nos. 4 to 60.[A]
+
+COLOURS: White, Écru naturel or any other colour of the 450 shades of
+the D.M.C colour card.]
+
+Each of the next trebles comes, either over 2 chain stitches of the
+crossed treble, or over the chain stitch between the crossed trebles ***
+3 chain, 1 treble, 3 chain, 1 double treble, 3 chain, 1 triple connected
+treble, 3 chain, 1 double treble, 3 chain, 1 treble, 3 chain **** 1
+single; repeat, in the reverse order, therefore, from **** to ***.
+
+When the outside row is finished, make a similar row on the inside of
+the stars; at the corner 3 trebles are to be made 3 times over each of
+the middle stars.
+
+3rd row--1 treble above and below, on each stitch of the second row.
+
+4th row--consists entirely of crossed trebles = * miss on the upper
+edge: 3 times 1 treble, and 5 times 2 trebles = on the next trebles of
+the preceding row: 1 double treble, miss 2 stitches, 1 double treble,
+miss 2 stitches, 1 double treble = draw up the last loops of the 3
+trebles together = repeat the same thing backwards = here follow: 8
+crossed trebles separated each by 1 treble of the preceding row **; the
+8th and the 9th crossed trebles are together in the corner treble of the
+preceding row. Repeat from ** to * = here follows 1 row with 1 treble on
+every stitch below.
+
+The row on the side of the footing is worked as above described = at the
+corner, and after having made the 3rd connected treble, * miss 5 times 2
+stitches, 6 times 1 stitch, 3 times 2 stitches, 3 times 3 stitches, ** 3
+triple trebles connected together above, miss 3 stitches underneath;
+repeat from ** to *, followed on both sides by a row of trebles.
+
+In the corner of the inside row of trebles connect the loops of 5 pairs
+of trebles, in the centre connect the loops of 3 trebles, and again the
+loops of 5 pairs of trebles.
+
+For the 1st star of the footing: 8 chain, close the ring; 3 chain in the
+ring, 15 trebles, close = 3 chain, miss 1 treble, 1 treble, * 3 chain, 1
+treble on the stitch of the 1st treble, miss 1, 1 treble in the 2nd
+stitch, draw the loops of the 2 trebles together **. Repeat 6 times from
+* to **; add 3 chain and close = 5 chain, join them to the 15th treble
+of the last row; 5 chain, 1 plain on the first chain stitches between 2
+trebles; 4 chain, join them to the 7th treble; 4 chain, 1 plain on the
+next chain stitches, 3 chain, join to the treble over the 3 connected
+triple trebles, 3 chain, 1 plain on the next chain stitches, 4 chain,
+join them to the 8th treble, 5 chain, 1 plain on the 5th treble, cut off
+the thread.
+
+The corner star is made like the one just described, and is joined on,
+as follows: 3 chain, join them to the 17th treble on the left of the
+last row (counting from the triple treble) = 3 chain, 1 plain on the
+first chain stitches between 2 trebles = 3 chain, miss 4 trebles, join
+them to the 5th = 3 chain, 1 plain on the 2nd set of chain stitches
+between = 6 chain, miss 5 trebles, join them to the 6th = 3 chain, 1
+plain on the 3rd of the 6 last chain = 3 chain, join them to the corner
+stitch, 3 chain, 1 plain on the last 3 chain = towards the right: 3
+chain, join to the 5th treble = 3 chain, 1 plain on the preceding, 3
+chain, 1 plain on the 3rd set of stitches between, 3 chain, miss 4
+trebles, join to the 5th treble = 3 chain, 1 plain on the 4th set of
+stitches between, 3 chain, miss 4 stitches and join = 3 chain, 1 plain
+on the 5th double treble, fasten off.
+
+On the 3 first trebles of the preceding row of the inside edge, counting
+from the outermost stitches which are to be seen to the right in the
+illustration, 1 plain, 3 chain, miss 4 trebles, 1 treble = 3 chain, miss
+3 trebles, 1 double treble, 3 chain, 3 overs, pass the needle over the
+double treble, crochet off one over = miss 3 stitches, 1 double treble,
+crochet off the 2 remaining loops = 3 chain, 4 overs, crochet off 2
+loops, 1 double treble over the chain treble of the star, crochet off
+the remaining loops = 3 chain, 3 overs over the treble made on the 5
+chain, crochet off 2 loops = 1 treble on the 5th set of stitches
+between, crochet off the remaining loops = 3 chain, 1 treble on the 6th
+set of stitches between = 3 chain, 1 treble on the 7th set of stitches
+between = 3 chain, 3 overs, 1 treble on the 8th set of stitches between;
+crochet off 1 over, 1 double treble on the 5 first chain stitches of the
+star, crochet off the remaining loops = 3 chain, 3 overs, 1 treble over
+the 2nd double treble, 1 double treble, miss 2 trebles of the preceding
+row, complete the treble = 3 chain, 3 overs, crochet off 1 over, joining
+it to the last double treble; crochet off the overs = 1 treble on the
+5th treble of the preceding row, crochet off the loops = 3 chain, 1
+treble on the 4th treble = 3 chain, miss 4 stitches = on each of the 6
+following trebles: 1 plain = 3 chain, miss 3 trebles, 1 treble, 3 chain,
+miss 3 trebles, 1 double treble; 3 chain, 3 overs, over the double
+treble crochet off 1 loop, 1 double treble on the 4th treble after the
+plain stitches, crochet off the last overs = 3 chain, 3 overs, over the
+last double treble crochet off 1 loop, 1 double treble on the 5th
+intervening space of the corner star, crochet off the loops = 3 chain, 1
+plain on the 7th double treble of the star = 3 chain, 1 double treble on
+the 8th intervening space = 3 chain, 3 overs, over the last double
+treble crochet off 2 loops, 1 double treble on the 3rd treble of the
+preceding row, complete the treble = 3 chain, 3 overs, over the double
+treble crochet off 2 loops, 1 treble on the 4th treble, complete the
+treble = 3 chain, 1 treble on the 4th treble, 3 chain, miss 3, 3 plain.
+
+One row of trebles to finish with; draw the 5 corner trebles together
+and add: 1 row of crossed trebles and 1 row of plain trebles, each time
+drawing the 5 corner loops together into one.
+
+1st row of the outside border--1 plain on every one of the 7 next
+trebles of the row beneath, 5 chain; turn back, join them to the 7th
+plain and so on.
+
+2nd row--1 plain on the 4th of the 7 plain, 9 trebles on the 5 chain.
+
+3rd row--1 plain on each of the first 2 trebles of the 2nd row, 1 picot,
+2 plain, 1 picot, miss 1 stitch, 2 plain, 1 picot, 2 plain and so on.
+
+[Illustration: FIG. 474. SQUARE WITH COLOURED TUFTS.
+
+MATERIALS: Coton pour crochet D.M.C Nos. 6 to 10, or Coton à tricoter
+D.M.C Nos. 6 to 12.[A]
+
+COLOURS. White and Rouge-Turc 321, or écru and Bleu-Indigo 321,
+Rouge-Géranium 353 and Brun-Caroubier 356, Bleu d'Azur 3325 and
+Brun-Rouille 3312, Vert-Bouteille 494 and Bleu-Prunelle 489.[A]]
+
+SQUARE WITH COLOURED TUFTS (fig. 474).--The following are different
+counterpane patterns which should be worked in coarse cotton; our
+engraving represents a single square, worked in two colours, in raised
+crochet. By joining a number of such squares together, 4 or 6 colours
+can be introduced into one covering with very good effect.
+
+Cast on 13 chain and close the ring.
+
+1st row--1 plain on the 1st of the 13 chain, 5 chain, 1 plain on the 4th
+chain, 5 chain, 1 plain on the 7th chain, 5 chain, 1 plain on the 10th
+chain, 5 chain, 1 plain on the 13th chain.
+
+2nd row--1 plain on the 1st plain of the 1st row * 1 plain on the 1st of
+the 5 chain; 5 chain, 1 plain on the 5th chain. Repeat 3 times from *.
+
+3rd row--5 plain on the 5 chain, 5 chain, 5 plain and so on.
+
+4th and 5th rows--continue to increase, as in the 3rd row.
+
+6th row--after the 3rd plain, 1 tuft in the contrasting colour (see fig.
+431).
+
+The contrasting colour is to be introduced into the work at the first
+tuft, and cut off when the last is finished.
+
+The ends of the coloured threads must be worked in under the stitches of
+the next row. The square may be of any size; it is bordered by small
+picot scallops by means of which the different squares are joined
+together.
+
+[Illustration: FIG. 475. STRIPES FOR COUNTERPANES.
+
+MATERIALS: Coton pour crochet D.M.C Nos. 6 to 8, or Coton à tricoter
+D.M.C Nos. 6 to 12 and Lacets surfins D.M.C No. 4, or Soutache D.M.C No.
+2½.[A]
+
+COLOURS: Gris-Lin 716 and Rouge-Bordeaux 497, Gris-Tilleul 393 and
+Bleu-Faience 484 or Brun-Caroubier 356 and Jaune-Rouille 308 etc.[A]]
+
+STRIPES FOR COUNTERPANES (fig. 475).--We recommend the use of Soutache
+D.M.C or Lacets superfins D.M.C (braids) for the coloured stitches, in
+the place of cotton. The dark stitches standing, so to speak, on another
+ground of stitches the pattern will look brighter, if it be worked in a
+flat material that will spread out more than cotton does.
+
+The stripe, worked in its entire length and always on the right side,
+must be begun by a chain of stitches of the length the stripe is to be.
+
+1st row--1 plain stitch on each chain stitch.
+
+2nd row--1 plain stitch with white or unbleached cotton, on each second
+stitch of the preceding row; 1 long plain stitch with the coloured
+cotton or the braid, in each second loop of the chain stitch.
+
+When red and white cotton are used, only one thread must be drawn
+through the 1st loop, and the other through the two last loops.
+
+3rd, 5th, 7th, 9th, 11th rows--plain stitches of the colour of the
+grounding = 4th row--between every 5 coloured stitches 3 white = 6th
+row--between every 4 red, 5 white = 8th row--between every 3 red, 7
+white = 10th row--between every 2 red, 9 white = 12th row--between the
+single red stitches, 11 white plain.
+
+In the second half of the pattern the red stitches must increase in the
+same proportion as that in which they decreased before.
+
+PATTERN OF A COUNTERPANE IN TUNISIAN CROCHET (fig. 476). This pattern,
+on a reduced scale, of a counterpane in Tunisian crochet, though it is
+worked here in several colours, can be done all in one. The numbers of
+the stitches, as they are here given, refer of course to the pattern
+represented in our figure; if worked on a larger scale, the number of
+stitches would have to be increased every way in the proper proportion.
+
+For the inner square, which is worked in a light material, make 20 chain
+stitches, on which you make 17 rows of plaited Tunisian crochet, fig.
+445, then fasten off.
+
+[Illustration: FIG. 476. PATTERN OF A COUNTERPANE IN TUNISIAN CROCHET.
+
+MATERIALS: Coton pour crochet D.M.C Nos. 6 to 8, or Coton à tricoter
+D.M.C Nos. 6 to 12.[A]
+
+COLOURS: Gris-Amadou 385 and Rouge-Cardinal 346, Vert-Bouteille 492 and
+Violet-Mauve 316, or Bleu-Gentiane 479 and Gris-Écru 706.]
+
+For the first coloured border, which immediately surrounds the centre
+square, take a coloured thread and make 2 chain stitches and upon these
+the common Tunisian stitch, fig. 444. Increase to the right in every row
+by one stitch, to the number of 6 = then put the needle into the first
+stitch on one side of the square, turn the thread round and draw it
+through. Here you must be careful to observe, in the first instance,
+that the second part which is now to be joined to the square, should
+always remain on the left side of the square and secondly, that the
+thread with which you join the two parts together, should lie to the
+left and be drawn through, from the wrong side to the right. Having now
+got 7 Tunisian stitches on the needle, make 18 double rows, and join
+the last stitch of each row to a stitch of the square.
+
+When these rows are finished, you proceed to decrease on the right till
+you have only 2 stitches left; and then again to increase as at the
+beginning of the stripe. At each increase, after each double row you
+must pass the thread through the corresponding stitch opposite of the
+same row. When you have again got 7 stitches on the needle, join them as
+before to the square. Work round the 4 sides of the square in this
+manner and when you come to the last decrease, join the stitches to
+those of the first increase, and fasten off. The next stripes are to be
+worked in the same way; they may be made either wider or narrower,
+plain, or ornamented with a cross stitch pattern which you work upon
+them.
+
+[Illustration: FIG. 477. PATTERN OF COUNTERPANE WORKED IN STRIPES.
+
+MATERIALS: Coton pour crochet D.M.C Nos. 6 to 12, Coton à tricoter D.M.C
+Nos. 6 to 14, or Cordonnet 6 fils D.M.C No. 15.[A]]
+
+PATTERN OF COUNTERPANE WORKED IN STRIPES (fig. 477).--This is intended
+for a child's coverlet and is worked in pale blue, Bleu-Indigo 334, and
+white; the stripes and the lace border, in white, the setting, partly in
+white, partly in blue.
+
+For the first stripe, make a foundation chain of 26 stitches; then
+counting back, draw the needle through the 6th and 7th chain stitches,
+drawing up all the three loops together = 2 chain, then put the needle
+again through 2 chain stitches, draw up the 3 loops together = 2 chain
+and so on.
+
+Coming back, make the loop of the first stitch and that of the second on
+the chain stitches of the preceding row = begin every row with 3 chain,
+which form picots along the edge of the stripe; when the stripes are
+finished, take a blue thread and make 1 plain stitch on each picot and 3
+chain.
+
+This blue row is followed by a white one, worked in cluster stitch, fig.
+426, with 2 chain stitches between every 2 clusters.
+
+Then follows another blue row of one plain stitch on each chain stitch
+of the previous row. The second blue row consists entirely of plain
+stitches worked along the long sides of the stripes, which are joined
+together afterwards, but not along the short sides until the counterpane
+is finished; then the stitches should border all the 4 sides. The second
+stripe, which should be of the same width as the first, is worked in
+Tunisian crochet; for the edge make one row of plain stitches in blue,
+one of cluster stitches in white, and then again a row of plain in blue.
+
+Join the stripes together on the wrong side with plain stitches, taking
+up one loop on the right and one on the left, alternately.
+
+When you have joined the stripes, make the outer border, which consists
+of 7 straight rows and a scalloped lace edging.
+
+1st row--in blue: 3 chain and 1 plain on each picot, 1 plain, and so on,
+down the long sides of the stripes = along the short sides, the side of
+the chain stitches or that of the previous row: 1 plain, 3 chain, miss
+2, 1 plain.
+
+2nd row--in white or unbleached: 1 cluster stitch, fig. 426, on each
+picot formed by the 3 chain stitches of the 1st row; on the corner
+picots, you must make 3 cluster stitches.
+
+3rd, 4th, 5th rows--in blue: similar to the first. Increase at the
+corners by making: 1 plain, 3 chain, 1 plain on the same stitch.
+
+6th row--in white or unbleached: similar to the 2nd row.
+
+7th row--in blue: 1 treble on each of the stitches of the previous row.
+
+Lace edging.--The scallops extend over 22 stitches of the previous row
+and on that account it is better to make the corners first, to count the
+stitches both ways so as to distribute the stitches that are left over,
+between the scallops.
+
+Corner scallop.--Fasten on the thread to the left of the second of the
+stitches that were added to make the turn, make 6 chain, 1 single on the
+4th treble to the right = 1 single on the next treble = turn the work =
+* 2 chain, 1 treble on the 6th chain, repeat 7 times from *, in all
+therefore 8 trebles = after the 8th treble: 2 chain, miss 1 treble, 1
+single on the 2 next trebles = turn the work = 2 chain, 1 cluster stitch
+between each treble, in all 9 cluster stitches, then 2 chain, miss 2
+trebles, 1 single stitch on the next 2 trebles = turn the work = 2
+chain, 1 cluster stitch over the 1st, 2nd, 3rd and 4th pairs of chain
+stitches in the preceding row, and 2 cluster stitches and 2 chain over
+the 5th, 6th and 7th chain stitches; over the other chain stitches
+again: 1 cluster stitch; then 2 chain, miss 2 trebles, join to the 3rd
+treble = fasten off.
+
+For the scallops on the right side, divide the stitches between the
+corner scallops into equal portions. Supposing that they are divisible
+by 22, count 9 stitches to the right, fasten on the thread at the 9th; *
+7 chain, miss 2 trebles of the row beneath, 1 plain on the 3rd, 1 single
+stitch on the next = turn the work = 2 chain, 1 treble on the 7 chain,
+repeat 5 times from * and finish with 2 chain, 1 single on the 2nd lower
+treble, 1 single on the next treble = turn the work = 2 chain and 1
+cluster stitch between each treble of the preceding row, 2 cluster
+stitches between the 3rd and 2nd trebles = after the 8th stitch: 2
+chain, miss 1 treble, 1 single on each of the 2 next stitches = repeat 3
+times over 2 chain stitches of the previous row: 2 chain, 1 cluster
+stitch = on the 4th, 5th and 6th chain stitches: 2 cluster and 2 chain;
+on the 3 last chain the same stitches as on the 3 first = then 1 single
+over each of the next 18 and repeat from *.
+
+The final row consists of open picots, formed of 5 chain stitches and 1
+plain, between each cluster stitch; after the last of these stitches and
+in the indent of the scallops on the straight line, only 2 chain
+stitches and 1 plain on the 3rd stitch.
+
+[Illustration: FIG. 478. PATTERN IN SQUARES FOR COUNTERPANES.
+
+MATERIALS: Coton à tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C
+Nos. 1 to 5, or Coton pour crochet D.M.C Nos. 6 to 12.
+
+COLOURS: Gris-Coutil 323 and Brun-Caroubier 303 or Bleu-cendré 448 and
+Rouge-Cornouille 449, Vert-Mousse 470 and Bleu d'Azur 3325.[A]]
+
+PATTERN IN SQUARES FOR COUNTERPANES (fig. 478).--This pattern may be
+worked in the same stitch as the previous one, either in Tunisian
+crochet or in any other of the stitches already described.
+
+Make a foundation chain of 18 stitches on which you work 10 rows to and
+fro in the dark colour. The 11th and following rows up to the 21st are
+worked in the light colour, then take up the dark colour again. Each
+stripe should be 3 squares long.
+
+The 2nd stripe is begun in the light colour, and the stitches, made at
+the beginning of each row, are joined to those of the first stripe, as
+the stitches of the 3rd are to those of the 2nd and so on.
+
+When you have made sufficient big squares, each consisting of 9 small
+ones, border them with seven rows of plain stitches, worked to and fro.
+
+The 4 squares that form the corners are only to be bordered in this
+manner on two sides; the squares along the straight edges, on 3 sides,
+and only those that are intended for the centre of the counterpane, on
+all 4 sides. The separate parts are then either sewn or crocheted
+together on the wrong side. The dark squares are ornamented with small
+stars worked in the light colour, the light ones with scallops in the
+dark colour.
+
+For the small stars--4 chain, close the ring; 2 plain on each stitch of
+the chain; 8 plain in all = after the 8th stitch: 8 chain, 1 plain on
+the 1st plain of the 8 plain stitches. Repeat the 8 chain 7 times and
+fasten off, then sew the star on in the centre of the dark square,
+taking care to spread out the little points formed of chain stitches at
+regular distances from each other. The scallops are worked from left to
+right; fasten the thread on at the point where 4 squares touch, then
+make a chain of 18 stitches and secure it at the opposite point. On the
+chain stitches: 6 plain, 1 picot, 7 plain, 1 picot, 7 plain, 1 picot, 6
+plain = fasten off.
+
+Repeat the same scallop over the second half of the square; when you
+come to the 2nd picot of the first scallop join the two picots. When
+both scallops are completed, fasten them on to the foundation by a few
+stitches on the wrong side.
+
+The outside border of the counterpane is made separately, and is worked
+inwards from without and from left to right.
+
+1st row--begin with the dark colour and make * 10 chain stitches, drop
+the loop, put the needle into the 1st of the 10 chain, take up the loop
+and draw it through the stitch; 2 chain and on the 10 stitches: 6
+trebles quite close together. Repeat from * and go on repeating the
+sequence until the lace is long enough to trim the counterpane
+handsomely.
+
+2nd row--in the light colour and similar to the 1st = only that in
+joining the chain stitches together, you make the single stitch on the
+chain stitches of the 1st row.
+
+3rd row--in the dark colour and similar to the 2nd.
+
+4th, 5th and 6th rows--in the light colour and from right to left: 7
+chain, 2 plain on each loop of chain stitches of the previous row.
+
+7th row--in the light colour and from left to right: * 2 plain on the
+treble of the lace, 11 chain, 2 plain on the next loop of chain stitches
+= these 2 stitches are made on the wrong side of the work = drop the
+loop, turn the work to the right, 3 plain on the last 3 chain, 8 chain
+**, and repeat always from * to **.
+
+One row of plain made on each chain stitch and a 2nd row of trebles on
+the plain stitches completes the lace edging, which is afterwards sewn
+on to the counterpane.
+
+COUNTERPANE WITH FRINGED BORDER (fig. 479).--This pattern requires
+three colours; we suggest the following as making a very effective
+combination: Rouge-Turc 321, Bleu-Indigo 311 and white.
+
+The stripes, one red, the other blue, may be worked in any stitch. They
+are edged with 8 plain stitches of 3 different lengths worked in red. *
+The first stitch passes only under the loops of the stitches; the 2nd
+over 2 stitches; the 3rd over 1, the 4th inwards, over 3. Repeat from *.
+
+These stitches must be worked parallel to each other along the two edges
+that are to be joined together.
+
+The stripes are fastened together on the wrong side by single or plain
+stitches.
+
+The outside edge consists of 15 rows: 1st row--in red: 1 row of plain
+stitches on the right side of the work.
+
+2nd row--in red, and on the wrong side of the work: plain stitches.
+
+3rd and 4th rows--in red, and on the right side of the work: plain
+stitches.
+
+5th row--in dark blue and on the right side: 1 treble, 1 chain, miss 1
+plain of the row beneath, 1 treble and so on.
+
+6th row--in white, and similar to the 5th.
+
+7th row--in blue, and similar to the 5th.
+
+8th row--in red: 1 plain on each stitch of the preceding row.
+
+[Illustration: FIG. 479. COUNTERPANE WITH FRINGED BORDER. MATERIALS:
+Coton pour crochet D.M.C Nos. 6 to 10, or Coton à tricoter D.M.C Nos. 6
+to 14. COLOURS: White, Gris-Tilleul 331 and Rouge-Cornouille 449.[A]]
+
+9th row--in red and on the wrong side: 1 plain on each stitch of the
+preceding row.
+
+10th and 11th rows--in red: and both on the right side, 2 rows of plain
+stitches.
+
+12th row--in white: 5 chain, miss 3, 1 plain on the 4th stitch.
+
+13th row--in dark blue and similar to the 12th.
+
+14th row--in white: * 1 plain on the 5th stitch of the blue row; 10
+chain, drop the loop, lay the chain stitches from left to right, put the
+needle into the 3rd chain stitch, counting from the beginning, take up
+the loop and draw it through the 3rd chain stitch, 2 chain and repeat
+from *.
+
+15th row--in white: 1 plain on the picot formed by the chain stitches; 5
+chain, 1 plain.
+
+Into this last row you draw clusters of lengths of red cotton to form
+the fringe, and knot them together with blue, or if you prefer it, you
+may finish off the coverlet with a hairpin fringe.
+
+COUNTERPANE COMPOSED OF SQUARES AND OLIVE SHAPED FIGURES (fig.
+480).--There are many who shrink from undertaking a large piece of work
+because it becomes inconvenient to handle and carry about. The
+counterpane here represented has the advantage of being made up of a
+number of quite little pieces, which are worked separately and joined
+together afterwards.
+
+Two colours, which can be clearly distinguished from each other in the
+engraving, should be chosen from among the various combinations
+suggested; one of them should be very light, say, cream or white for the
+olive shaped figures and squares, and the other of some soft shade only
+darker, for the connecting rows and the knotted fringe, described in the
+chapter on Macramé.
+
+The olive shaped figures begin with 9 chain stitches, on which you make
+8 plain stitches and on the 9th: 3 plain for the corner.
+
+On the second side of the chain: 8 plain and 3 besides on the corner
+stitch, and so on for 3 rows; in the last row there should be 28
+stitches.
+
+These 3 rows are to be considered as one only.
+
+2nd row--3 chain, 1 treble on the plain stitch that follows * 1 chain, 1
+treble and repeat 11 times from *; 1 chain, 3 trebles with 1 chain
+between them on the corner stitch, ** 1 chain, 1 treble, repeat 12 times
+from **.
+
+On the last stitch at the corner, again 3 trebles with 1 chain; close
+the round with 1 single stitch.
+
+3rd row--1 chain, 1 single on the chain stitch that follows the 1st
+treble of the last row; 3 chain, 1 double treble between the lower
+trebles, 1 chain and so on, until you have 35 trebles, counting the two
+sets of 3 trebles at the corner.
+
+4th row--here you can change the colour: 1 plain on each of the stitches
+of the last row; 3 plain at the corners.
+
+5th row--similar to the 4th.
+
+[Illustration: FIG. 480. COUNTERPANE COMPOSED OF SQUARES AND OLIVE
+SHAPED FIGURES. MATERIALS: Coton pour crochet D.M.C Nos. 6 to 10, or
+Coton à tricoter D.M.C Nos. 6 to 10. COLOURS: White and Rouge-Turc 321,
+or Écru and Rouge-Cerise 3318, Gris-Coutil 323 and Bleu-Gentiane
+478.[A]]
+
+6th row--2 plain, 1 cluster of 2 double trebles on the same stitch of
+the 4th row as the 5th stitch of the last row is on; miss 1 plain.
+
+Continue in this manner along the whole row, taking care that the 9th
+and 22nd cluster come just at the corner.
+
+7th and 8th rows--these two last rows should be worked in the same
+colour as the inside of the figure.
+
+Be careful always to make the increase at the point; a 9th row in the
+dark colour may further be added, to connect the figures, by passing the
+thread from the wrong side to the right, between the 13 last stitches of
+two of the points of the figures. The space between these olive shaped
+figures is filled by a pointed square of chain stitches.
+
+In the 1st and following rows you miss 5 stitches at the point where the
+figures meet, and continue to decrease in this manner until the space is
+filled up. The fringe is made in the dark colour, either directly on to
+the plain crochet, or after a few rows of open-work.
+
+SQUARES FOR CHAIR-BACKS (fig. 481).--This is a design for cut-work,
+out of an old collection by Sibmacher, which we have adapted to crochet.
+It will be found most effective, worked in any of the given materials;
+we have worked it with admirable result, both in Cordonnet 6 fils D.M.C
+No. 15 and Fil à dentelle D.M.C No. 150.
+
+1st row--4 chain, close the ring.
+
+2nd row--1 chain, 2 plain on each chain, 8 in all; draw the loop of the
+last stitch through the 1st chain.
+
+3rd row--6 chain, 1 treble *, 3 chain, 1 treble, repeat 6 times from *.
+In all, with the 3 chain, 8 trebles.
+
+4th row--4 plain, over each treble of 3 chain.
+
+5th row--6 chain, 1 plain on the 2nd of the plain stitches beneath, * 3
+chain, 1 treble, over the treble beneath, 3 chain, 1 plain on the 2nd
+stitch of the row beneath. Repeat 6 times from *, then add 3 chain, 1
+plain on the 3rd of the 6 chain.
+
+6th row--7 chain, 1 plain over the treble of the last row; repeat the
+same series 7 times.
+
+7th row--3 chain, 1 treble over the treble beneath; 1 treble on each
+chain stitch, 2 trebles on each plain stitch of the row beneath; in all,
+72 trebles, including the 3 chain.
+
+8th row--* 8 chain, 1 plain between the 2 trebles that were added,
+therefore between the 8th and the 9th = turn the work = make 12 plain
+on the wrong side = turn the work back to the right side = take up 1
+loop of each of the 12 stitches for the Tunisian stitch that is made on
+10 rows, and decreasing by one stitch in each row, alternately on the
+right and left = draw up the 3 last loops together and make, descending
+on the right side: 1 single stitch on each row of the pyramid you have
+just made, finish with 1 plain on the stitch that follows the 8 chain.
+Repeat 7 times from *.
+
+[Illustration: FIG. 481. SQUARES FOR CHAIR-BACKS. MATERIALS: Fil
+d'Alsace D.M.C Nos. 30 to 100, Cordonnet 6 fils D.M.C Nos. 20 to 50, or
+Fil à dentelle D.M.C Nos. 25 to 70 in white or écru.[A]]
+
+9th row--all along the pyramid: 3 plain, 1 picot, 3 plain, 1 picot, 3
+plain, 1 picot, 2 plain, 2 plain at the point. Repeat the same number
+of stitches on the 2nd side, and down the sides of all the pyramids =
+after the 9th row, fasten off.
+
+10th row--fasten on the thread at a stitch at the point of a pyramid, *
+7 chain, 5 overs, join the loop to the 2nd picot on the side of the
+pyramid where you are working, draw the needle back through 2 overs,
+make 2 overs more, and put the needle into the middle picot opposite and
+draw the needle twice through 2 loops, thirdly through 3 and each time
+after that, through 2 loops = 6 chain, 1 double treble, join to the 3rd
+over, 7 chain, 1 plain = on the next pyramid 7 chain, 1 septuple treble,
+join it to the next middle picot = draw the needle thrice through 2
+loops, 1 triple treble to join to the middle picot opposite, draw the
+needle back through the loops, and at the 4th over, through 3 loops, and
+each time after that, through 2 loops, 7 chain, 1 quadruple treble, join
+it to the 4th over, 7 chain, 1 triple treble, 7 chain, 1 plain on the
+next pyramid. Repeat 3 times from *.
+
+11th row--1 chain, 1 plain on each of the stitches of the previous row
+and 2 plain on those forming the corner; fasten off.
+
+12th row--1 single on the first plain, 5 chain, 1 treble on the 3rd
+plain, 2 chain, 1 treble on the 3rd plain and so on to the corner and
+until you have 14 trebles = on the corner stitch: 2 chain and 1 treble
+more; then proceed as you did on the first side. There should be 18
+trebles and 19 times 2 chain between the corner trebles; all four sides
+should be alike.
+
+13th row--1 plain on each stitch of the last row, not counting the 3
+which are to be made at the corner.
+
+14th row--14 single over the preceding stitches *, 1 chain, 24 plain;
+miss 4 plain of the last row, not counting the 2 increased stitches
+which must be left empty = after the 24th stitch turn the work, miss 2,
+21 plain, passing the needle under the 2 loops of the row beneath = turn
+the work = 1 chain, 20 plain = turn the work = 19 plain = continue to
+decrease in the same proportion, until you have 3 stitches left and
+fasten off. In all the intakes miss the last stitch but one, coming
+back, and the 1st going, and always begin on the right side with 1
+chain.
+
+For the second half of these triangular figures which are worked from
+right to left, fasten on the thread to the 5th stitch after the increase
+and make 24 plain = 7 plain should remain between the two triangular
+figures formed of plain stitches = turn the work = 21 plain, miss the 2
+last stitches, 1 plain on the stitch the thread is fastened to = turn
+the work = miss 1 stitch, 19 plain, 5 overs, put the needle through the
+4th of the 7 stitches between, bring it back twice, each time through 2
+loops, make 2 overs more, put the needle through the last stitch of the
+3rd row opposite, bring it back twice through 2 loops, then once through
+3 loops and twice through 2 loops = turn the work = 18 plain and so on,
+until you have made 10 transverse trebles = fasten off, then repeat the
+same series of rows on the other sides.
+
+15th row--do not cut off the thread on the 4th side but work backwards:
+3 single over the chain, 5 chain * 1 treble on the stitch whence the 5
+chain proceeded, 2 chain, 1 treble on the last plain of the first half
+of the close parts of the pattern; 2 chain, 1 treble in the middle of
+the first part of the 10th transverse treble; 2 chain, 1 treble on the
+second half of the preceding treble, 2 chain, 1 treble on the 1st plain
+of the second half of the close parts; 2 chain, 1 treble on the 3rd and
+last upper stitch of the close part; 2 chain, 1 treble on the same
+stitch as the last treble. Then along the edge, 10 trebles, joined by 2
+chain, one of which trebles should always be on a row of plain stitches
+= after the 10th treble: 3 chain, 1 plain on the 5th plain of the 13th
+row, 3 chain, again 11 trebles connected by 2 chain = after the 11
+trebles: 2 chain ** and repeat 3 times from * to **.
+
+16th row--on every 2 chain stitches: 3 plain.
+
+17th row--7 chain, 1 plain on the 6th plain of the last row; repeat 7
+times = for the 9th and 10th scallops only: * 5 chain. The plain stitch
+that follows the 9th scallop should come exactly over the corner stitch
+of the 13th row = after the 10th scallop: 1 plain; then 13 scallops with
+7 chain, 1 plain on the 6th 5 stitch of the row beneath. Repeat twice
+from * = after the 4th scallop 2 smaller scallops, and up to the end of
+the row, 5 scallops more of 7 chain each.
+
+18th row--make 7 plain over 7 chain, 5 chain, drop the treble, bring the
+needle back with the loop through the 3rd plain = on the 5 chain: 3
+plain, 1 picot, 3 plain = on the 7 remaining stitches: 2 plain--on the
+9th scallop of 5 chain, only: 5 plain = on the 10th scallop of 5 chain,
+only: 3 plain = then 7 chain, bring them back and join them to the 3rd
+plain of the 9th scallop and finish the picot.
+
+When these squares are made use of in any number and have to be joined
+together, you must join 13 picots and leave the 14th free. The four
+empty picots in the centre are connected by a small star.
+
+CROCHET STAR (fig. 482).--This is one of the most graceful and
+delicate crochet patterns we know. For the purpose of reproduction here,
+we have had it worked in all the different sizes of D.M.C cotton but it
+looks best in a fine material; in Fil à dentelle No. 150, it can bear
+comparison with the finest needle-made lace.
+
+1st row--6 chain, close the ring.
+
+2nd row--9 chain, 1 double treble, * 4 chain, 1 double treble; repeat 6
+times from * = after the 7th treble: 4 chain, 1 single on the 5th of the
+9 chain.
+
+3rd row--1 chain, 4 plain, * 1 picot, 4 plain; repeat 7 times from * =
+carry the thread to the last stitch through the 1st plain.
+
+4th row--12 chain, 1 treble on the stitch over the treble beneath, * 9
+chain, 1 treble; repeat 6 times from * = after the 7th treble and the 9
+chain: 1 single on the 3rd of the 12 chain.
+
+5th row--3 chain, 1 treble on each stitch of the row beneath; including
+the 3 chain, 80 trebles in the whole circumference = after the last
+treble: 1 single on the 3 chain.
+
+6th row--11 chain, 1 quadruple treble on the 2nd treble of the last row;
+4 chain, 1 quadruple treble on the 3rd treble and so on, in all 32
+trebles including the 7 chain.
+
+7th row--1 chain, 5 plain on 4 chain.
+
+8th row--3 plain on the 3 first chain, * 16 chain, miss 1, ** 1 single,
+1 plain, 1 half treble, 2 trebles, 1 treble 1½ long, 2 double trebles, 1
+triple treble, 1 treble 3½ trebles long, 1 quadruple-treble ***, 3
+chain, miss 4 plain of the 7th row, 5 plain, 16 chain, join them,
+counting upwards from below, to the 5th treble of the first pyramid = on
+7 chain: 3 plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 3 plain;
+join the last loop of the last plain and the loop of the 7th chain; 8
+chain. Repeat from ** to *** = on the middle of the last quadruple
+treble: 1 double treble towards the bottom, finish the treble, 3 chain,
+miss 4, 5 plain ****. Repeat 7 times from * to ****.
+
+[Illustration: FIG. 482. CROCHET STAR. MATERIALS: Fil d'Alsace D.M.C No.
+30, Cordonnet 6 fils D.M.C Nos. 25 to 80, or Fil à dentelle D.M.C Nos.
+25 to 150.[A]]
+
+Coming back to the 1st point make along it: 8 single stitches, then 7
+chain, join them to the 5th treble of the 16th point = over the chain: 3
+plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 3 plain and finish
+with 9 single to carry the thread to the top of the point.
+
+9th row--1 chain, 1 plain, * 15 chain, 1 plain at the top of the point
+and repeat 15 times from *.
+
+10th row--3 chain; 1 treble on each stitch of the 9th row; 256 trebles
+in all, including the 3 chain.
+
+11th row--The star is bordered by small and large scallops, surmounted
+by points similar to those inside.
+
+You begin by the small scallop and make on the 10th row: 5 single, * 8
+chain, bring them back and join them to the 1st of the 5 single; 1
+plain, 8 chain, miss 4 trebles, join them to the 5th; 14 plain on the 8
+chain, 6 plain on the first 8 chain = turn the work = 5 chain, 1 treble
+on the plain stitch between two scallops; 5 chain, 1 plain on the 7th
+plain of the 1st scallop; 2 plain in the 5th chain, 2 chain, 1 picot, 10
+chain, miss 1, and make on the following ones: 1 single, 1 plain, 1 half
+treble, 2 trebles, 1 treble 1½ treble long, 1 picot, 2 chain, 2 plain on
+the 5 chain; 8 plain on the 8 chain.
+
+To pass to the large scallop make: 16 single, 8 chain, bring them back,
+1 plain on the 5th single, 8 chain, bring them back again to the 5th =
+turn the work = on the second set of 8 chain: 6 plain, 1 picot, 9 plain
+= on the first 8: 6 plain, then 8 chain, bring them back and join them
+to the 4th plain behind the picot of the finished scallop = on the 8
+chain: 5 plain, 1 picot, 5 plain, 1 picot, 5 plain = on the remaining
+chain below: 3 plain, 1 picot, 6 plain; add 4 single on the trebles and
+pass to the outer scallop = 18 chain, 1 plain on the 3rd of the 5 plain
+of the small upper scallop; 18 chain, 1 plain on the 4th of the 16
+single = turn the work = 25 plain on the last chain stitches, and 25 on
+the first; 1 single on the 3rd single = turn the work = 1 plain on each
+of the preceding 50 plain stitches; join the last to the under row with
+a single stitch = turn the work = 10 plain, 1 picot, 3 plain, 1 picot, 3
+plain, 1 picot, 4 plain, 2 chain, 1 picot, 10 chain, miss 1, 1 single, 1
+plain, 1 half treble, 2 trebles, 1 treble 1½ treble long, 1 double
+treble, 1 treble 2½ trebles long, 1 triple treble, 1 picot, 2 chain and
+join them to the 6th plain stitch, counting from the middle.
+
+Then 4 plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 10 plain, 11
+single on the trebles. Repeat 7 times from *.
+
+STAR WITH LITTLE SQUARES (fig. 483).--Begin with 4 chain stitches,
+close the ring.
+
+1st row--5 chain, * 1 treble, 2 chain. Repeat 6 times from *, to number
+altogether 8 trebles including the 5 chain; 1 single on the 3rd chain.
+
+2nd row--6 chain, * 1 triple treble on the 1st chain stitch, 2 chain.
+Repeat 23 times from * and join to the 4th chain.
+
+[Illustration: FIG. 483. STAR WITH LITTLE SQUARES. MATERIALS: The same
+as for fig. 482.]
+
+3rd row--6 chain, * 1 double treble on the treble beneath, 3 chain.
+Repeat from * through the row; join to the 4th chain.
+
+4th row--1 plain on the treble = on the 3 chain: 5 plain, 1 plain on the
+treble; work 5 times to and fro over these stitches, put the needle
+through the 2 threads of the last stitch = after the 5th row: 10 chain,
+then 5 plain on the 3 next chain.
+
+In turning the work and going from the 2nd to the 3rd, from the 4th to
+the 5th row, carry the thread behind the chain stitches, so that they
+may blend with the plain stitches; make in all 12 little squares with 11
+spaces between; after the 12th, square: 5 chain, 1 single on the 5th row
+of the first square.
+
+5th row--on each of the 6 plain of the 1st square: 1 single = on the
+7th: 1 plain = 7 plain on the 5 chain = 1 plain on the 1st stitch of the
+2nd square = 6 rows of plain, 14 chain, 1 plain on the 5th stitch of the
+next square = then make 6 rows of plain and wind the thread round the
+chain stitches.
+
+6th row--1 single on every stitch of the last square, 1 plain on the
+last stitch above the 7 chain = on the 7 chain: 9 plain, 1 plain on the
+1st stitch of the next square below = 9 rows to and fro.
+
+7th row--after the 12th square: 9 chain, 1 single on the 1st plain, * 14
+chain, 1 plain on the last plain = on the 9 chain: ** 1 chain, 1 plain,
+1 treble 1½ treble long, 2 double trebles 2½ trebles long ***, 5 triple
+trebles ****. Repeat from *** to **, then proceed from * to ****.
+
+8th row--19 plain over the 14 chain, 1 single on each treble; stop them
+at the 12th square and at the 3rd triple treble.
+
+9th row--12 chain, 1 plain on the 10th of the 19 plain; 12 chain, 1
+plain on the triple treble, and proceed in the same way throughout the
+whole length of the row.
+
+10th row--on the first 12 chain stitches: * 5 plain, 1 picot, 12 plain =
+on the second 12 chain: 7 plain, 10 chain, bring them back to the 5th of
+the 12 plain of the first scallop = on the 10 chain: 4 plain, 1 picot, 4
+plain, 1 picot, 4 plain, 1 picot, 4 plain, = on the 12 chain: 5 plain, 1
+picot, 7 plain. Repeat 12 times from *.
+
+CROCHET COLLAR (fig. 484).--We have avoided as far as possible
+describing articles in this book that are subject to the changes of
+fashion, the present collar composed of squares, stars, lozenge-shaped
+figures and a lace edge, is of a shape that will never be out of date.
+Fine and delicate work like this can only be executed in a very fine
+material, and we recommend unbleached thread as being more effective
+than white. The soft tone and the gloss of unbleached thread give the
+work an antique look, unobtainable in a white material. Fil à dentelle
+D.M.C No. 120 is the best for the purpose.
+
+[Illustration: FIG. 484. CROCHET COLLAR. MATERIALS: Fil d'Alsace D.M.C
+No. 100, Cordonnet 6 fils D.M.C No. 120 or Fil à dentelle D.M.C No. 120,
+écru.]
+
+Begin with the straight-edged figures, and then make the connecting
+pieces between. The four squares with half stars at both ends of the
+collar and on the right and left of the centre square, have their four
+sides all alike, whereas the 3 figures within the scalloped edge are
+rather narrower on the outer than on the inner side where they join to
+the foundation.
+
+Inner squares: 1st row--4 chain, close the ring; 5 chain, * 1 treble on
+the ring, 2 chain; repeat 6 times from * and fasten the thread to the
+3rd chain stitch.
+
+2nd row--1 chain, 3 plain over 2 chain; 1 plain over each treble.
+
+3rd row--8 chain, * 1 treble on each treble of the 1st row, 6 chain.
+Repeat 6 times from * = 8 trebles in all, including the first chain
+stitches.
+
+4th row--* 10 chain; returning over the chain stitches: 1 plain, 1 half
+treble, 4 trebles, 1 half treble, 1 plain, join to the 1st chain stitch
+= on the 6 chain of the 3rd row: ** 1 plain, 1 half treble, 1 treble, 3
+double trebles, 1 treble, 1 half treble, 1 plain ***. Repeat once more
+from ** to ***, then 3 times from * to *** = along the first leaf to the
+10th stitch: 10 single.
+
+5th row--starting from the point: * 7 chain, 1 triple treble on the 5th
+stitch of the small scallop of the 4th row: 7 chain, 1 triple treble on
+the next scallop, 7 chain, 1 plain on the 10th stitch of the 2nd leaf.
+Repeat 3 times from *.
+
+6th row--1 chain, * 3 plain on the stitch that forms the point of the
+leaf; 1 plain on each chain stitch and each treble of the last row = 16
+stitches in all, up to the 2nd treble = turn the work = coming back: 1
+chain, 1 double treble on the 4th plain, 1 chain, 1 double treble, 1
+chain, 1 double treble, 1 chain, 1 double treble, 1 chain, 1 double
+treble, 1 chain, miss 3 plain, join to the 4th plain = turn the work =
+make on each chain stitch, 2 plain and on each treble 1 plain and 1
+picot over the 1st, 2nd, 4th and 5th treble; 8 plain **. Repeat 3 times
+from * to **.
+
+7th row--1 chain, 1 plain on the 2nd of the 3 stitches at the point, * 9
+chain, 1 double treble between the two first picots of the semicircle
+formed in the last row; 8 chain, 1 triple treble on the 3rd treble of
+the semicircle, 8 chain, 1 double treble between the 3rd and 4th picots
+of the semicircle, 9 chain, 1 plain on the stitch at the corner.
+
+8th row--19 single on the chain stitches of the 7th row, 1 chain, 3
+plain on the corner stitch, 24 plain on the chain stitches and trebles
+= turn the work = coming back: 2 chain, 1 double treble on the 20th
+plain; on the same stitch add: 2 double trebles with 2 chain; finish
+with: 2 chain, join them to the 5th plain = turn the work = on the chain
+stitches: 1 plain, 1 picot, 1 plain, 1 plain on the treble. Repeat this
+series 4 times = add: 4 plain on the chain stitches of the 7th row =
+turn the work = 5 chain, 1 double treble on the 1st treble of the small
+semicircle; then again 3 times, 3 chain, and twice 1 double treble on
+each of the trebles beneath = after the last 5 chain: join to the 4th
+plain.
+
+The points in this row are made with: * 1 plain on the chain stitches, 8
+chain, miss 1 stitch = coming back: 1 single, 1 plain, 1 half treble, 1
+treble 1½ treble long, 3 double trebles, 1 plain on the 5 chain
+stitches. The 2nd point must be placed one half of it, before, and the
+other half behind the picot; make altogether 7 points = after the 7th: 8
+plain on the chain stitches of the 7th row = then work backwards,
+without however turning the work: 7 chain, 1 chain on the stitch at the
+top of the point and repeat 7 times from * = after the 8th set of 7
+chain stitches: 1 chain; 1 plain on the 9th plain, bringing the thread
+forwards from the right side to the wrong = 2 chain; take the thread
+back to the 3rd plain from the wrong side to the right = 1 treble on
+each chain stitch, 1 picot above each point, add 4 trebles and 14 chain,
+join them to the 4th treble that comes after the 1st picot.
+
+On the 14 chain: 5 plain, 1 picot, 4 plain, 1 picot, 4 plain, 1 picot, 5
+plain, 4 trebles to the next picot, 1 picot, 4 trebles; 14 plain, join
+them to the treble nearest the 1st scallop and so on = make 7 scallops
+in all; after the 7th add 2 trebles on the 2 chain stitches = after the
+2nd treble make 2 plain, followed by the 3 stitches at the corner = in
+the next scallop, you fasten by 1 single, the 1st picot of the 1st
+scallop to the 3rd picot of the last scallop. When you have finished the
+four sides of the figure above-described, fasten off your thread.
+
+The edging of these squares should be begun on the narrower of the inner
+sides and at the 3rd little scallop: * 1 plain on the middle picot of
+the 3rd little scallop, 7 chain, 1 double treble on the 1st picot of the
+4th scallop; 7 chain, 1 triple treble on the 2nd picot of the same
+scallop, 6 chain, 1 double treble on the 3rd picot of the same scallop,
+6 chain, 1 plain on the middle picot of the 5th scallop; 10 chain, 1
+treble on the middle picot of the 6th scallop, 11 chain **, 1 quadruple
+treble on the middle picot of the 7th and 1 quadruple treble on the
+middle picot of the 1st scallop following and draw the last loops of the
+2 trebles up together. Repeat once from * to **. Carry the trebles all
+round the figure on the picots just referred to.
+
+For the second half of the edging which becomes a little wider: *** 10
+chain, 1 treble on the 6th scallop, 11 chain, 2 quadruple trebles, the
+last loops of which you join to the middle picots of the 7th and 1st
+scallop; 11 chain, 1 treble in the next scallop; 10 chain, 1 treble in
+the 3rd scallop; 7 chain, 1 treble 2½ long, 8 chain, 1 treble 3½ long, 8
+chain; 1 double treble, 8 chain, 1 plain, 12 chain, 1 treble, 14 chain,
+**** 2 quadruple trebles, the last loops of which are joined together.
+Repeat from **** to ***, that is the reverse way = finally add 1 more
+whole row of plain and 3 plain stitches at the corners = on the wider
+side you should have 99 stitches, not counting the increases at the
+corner.
+
+To make the same figure, forming a part of the large outside scallops,
+repeat the same rows you have in the inner square up to the 7th row, the
+first half of which you make exactly the same as before. In the second
+half of the row of chain there should be 1 chain stitch less in each
+intervening space than there were in the first half.
+
+8th row--make the first half of this row like the 8th row of the inner
+square = over the 2nd half, one quarter of which is 4 chain stitches
+narrower, the little wheels are made like the others with 7 picots. The
+number of chain stitches and the trebles of the setting are also the
+same, but instead of 7 points you have to make 5 and over these, 5 small
+scallops instead of 7.
+
+The setting, towards the top is made exactly in the same manner as the
+wide part of the upper square, that is, as from the 3rd scallop of the
+first semicircle to the 5th scallop of the 2nd. From this point, the
+series of stitches changes, so as to form a rounded edge: * 7 chain, 1
+plain on the 6th scallop; 15 chain, 2 triple trebles joined by the last
+loops to the 7th and 1st scallop; 14 chain, 1 plain on the 2nd of the 5
+scallops; 15 chain, 1 plain on the 3rd scallop; 15 chain, 1 plain on the
+4th scallop, 15 chain **, 2 triple trebles joined by the last loops in
+the 5th and 1st scallop. Repeat once again from ** to * = add 1 row of
+plain on each stitch of the preceding row; 3 plain on the two top corner
+stitches. You will thus have 3 figures with a rounded edge on one side.
+
+The second kind of square consists of 8 leaves inside and is begun in
+the same way by 6 chain formed into a ring.
+
+1st row--5 chain, 1 treble, 2 chain, * 1 treble, 2 chain. Repeat 6 times
+from * and join to the 3rd of the 5 chain.
+
+2nd row--1 chain, 3 plain over 2 chain, 1 plain on each treble.
+
+3rd row--9 chain, * miss 1 stitch = coming back: 1 single, 1 plain, 1
+half treble, 1 treble, 1 double treble, 1 triple treble, 1 treble over
+the treble of the 2nd row; 7 chain. Repeat 7 times from * = after the
+8th point: 7 single along the 1st.
+
+4th row--* 1 plain on the stitch you missed at the point, 5 chain, 1
+triple treble on the treble of the 3rd row, 5 chain. Repeat 7 times from
+*.
+
+5th row--3 chain, 1 treble on each stitch of the 4th row; join to the
+3rd of the 3 chain.
+
+6th row--10 chain, 1 plain on the treble over the triple treble of the
+4th row: 10 chain, 1 plain on the treble above the little point.
+
+7th row--15 plain on the 10 chain = on the 3rd scallop only: * 7 plain,
+10 chain, come back to the second scallop, bring the thread back from
+the wrong side to the right between the 7th and 8th plain stitches, 15
+plain on the 3rd scallop, 8 plain on the next scallop, 15 plain and
+repeat 6 times from *.
+
+When the 16th scallop is finished, pass to the point of the 1st scallop
+by means of 7 single, then add the 10 chain to pass to the 8th scallop
+above; when that is finished, fasten off, and fasten on again to one of
+the 8 scallops.
+
+8th row--* 21 chain, miss 1 stitch, 1 plain, 1 half treble, 1 treble, 1
+treble 1½ treble long, 1 double treble, 1 treble 2½ trebles long, 1
+triple treble, 1 treble 3½ trebles long, 1 quadruple treble, 1 treble 4½
+trebles long, 1 quintuple treble. After passing through the 3rd loop,
+make 1 quadruple treble, between the 2 plain scallops; then finish the
+quintuple treble, 7 chain, 1 plain on the 2nd scallop and repeat 7 times
+from *.
+
+9th row--* 7 plain on the 7 chain; 1 plain on each stitch of the
+pyramid, 3 plain on the stitch at the point; 4 plain on the 7 chain on
+the opposite side = turn the work = ** 1 chain, miss 1 plain, 1 treble
+on the 2nd stitch = after the 5th treble, leave out no more stitches
+between the trebles ***; place the 8th, 9th and 10th trebles on the 2nd
+of the increased stitches. Repeat on the opposite side from *** to **
+and join to the 4th of the plain stitches = make 17 trebles in all, then
+one plain over each chain, 1 plain on each treble and 1 picot after
+every 3rd plain = after the 4th and up to the 8th picot, leave only 2
+plain between: 11 picots in all = in conclusion: 3 plain more on the 7
+chain and repeat the whole 7 times from *.
+
+The little wheel at the top of the square is begun with 10 chain for the
+ring = 16 plain on the ring, 4 chain, * 1 treble, 1 chain = repeat 14
+times from *; 16 trebles in all, including the chain stitches = then on
+each treble and each chain stitch: 1 plain; after 4 plain: 1 picot;
+connect the wheel first on the right.
+
+The 2nd picot is to be fastened to the 9th picot of the large scallop =
+proceed with: 3 times 4 plain with 1 picot = after the 3rd plain, fasten
+the picot to the 3rd picot of the next large scallop and complete the
+small wheel. The left wheel is made and inserted in the same manner as
+the right one. The wheels at the bottom of the square require for the
+foundation ring: 14 chain, on which you make 21 plain = on these: 4
+chain, * 1 treble, 1 chain = repeat 19 times from *; 21 trebles in all,
+including the chain stitches = 3 plain, 1 picot, 3 plain, 1 picot, 3
+plain, 1 picot, 3 plain, 4 chain, join to the 8th picot of the 2nd
+scallop; 4 chain, finish the picot, 3 plain, 1 picot, 3 plain, 8 chain,
+join to the 10th picot of the scallop, 8 chain, complete the picot; 3
+plain, 1 picot, 3 plain, 8 chain, join to the 2nd picot of the 3rd
+scallop, 8 chain, close the picot, 3 chain, 1 picot, 3 plain, 4 chain,
+join to the 4th picot of the 3rd scallop; 4 chain, complete the picot,
+3 plain, 1 picot and so on, until you have 14 picots round the wheel.
+Repeat the same wheel to the left between the 4th and 5th scallop.
+
+The edging of this second kind of square is also slightly different;
+fasten the thread to the 6th picot of the 1st scallop before the small
+wheel, then working from right to left, count: * 10 chain, 1 treble on
+the 2nd empty picot of the small wheel; 8 chain, 1 triple treble on the
+4th picot of the wheel = upwards: 9 chain, 1 double treble on the 6th
+picot of the wheel; 9 chain, 1 plain on the 6th picot of the 8th
+scallop, 12 chain, 1 plain on the 7th picot of the scallop, 11 chain **,
+1 quadruple treble on the 9th picot of the 8th scallop and on the 3rd
+picot of the 7th; draw the last loops of the two trebles up together.
+Repeat once more from ** to *, then: 1 plain on the 6th picot of the 6th
+scallop; *** 12 chain, 1 sextuple treble on the 9th picot of the 6th
+scallop, retain 2 loops of the treble on the needle, make 4 more overs,
+join the treble to the 3rd picot of the 5th scallop; finish the bars, 12
+chain, 1 plain in the 6th picot of the next scallop = 12 chain, 1 double
+treble on the 2nd picot of the 7 empty picots of the bottom wheel; 9
+chain, 1 quadruple treble on the 4th picot; 12 chain, 1 double treble on
+the 6th picot, 14 chain, 1 plain on the 6th picot of the 4th scallop, 14
+chain ***, 1 septuple treble, in the 9th and 3rd picots of the 4th and
+3rd scallops ****. For the preceding treble, you pass first through 4
+loops only, then make 4 more overs for the other half of the treble, and
+finish the last loops one by one. Repeat from **** to ***. One row of
+plain stitches completes the square.
+
+After having made the square similar to that of the upper one, you have
+merely to add the large wheels at the top.
+
+The setting of chain stitches and trebles is begun at the first scallop
+between 2 wheels = 1 plain on the 6th picot of the 1st scallop; 14
+chain, 2 quintuple trebles, of which the last loops only are joined
+together, on the 9th and 3rd picot of the 1st and 2nd scallop, = 14
+chain, 1 plain on the 6th picot of the next scallop; * 14 chain, 1
+treble on the 2nd empty picot of the wheel; 10 chain, 1 quadruple treble
+on the 4th picot, 10 chain, 1 treble on the 6th picot; 14 chain, 1 plain
+on the 6th picot of the 3rd scallop; 14 chain, 2 sextuple trebles on
+the 10th and 2nd picot of the 3rd and 4th scallop; 15 chain, 1 plain on
+the 6th picot of the 4th scallop; 16 chain, 2 sextuple trebles on the
+10th and 2nd picot of the 4th and 5th scallop; 16 chain, 1 plain on the
+6th picot of the 5th scallop; 15 chain ** 3 septuple trebles on the 10th
+and 2nd picot of the 5th and 6th scallop. Repeat from ** to *; and make
+4 figures with rounded edges. When all the figures are finished, join
+them together by trebles of a suitable length.
+
+Introduce the thread at the corner stitch on the widest side of the 2nd
+8 pointed star and make: 1 plain, 6 chain, miss 3 stitches, 1 plain on
+the 3 next stitches, 4 chain, miss 2, 1 plain on the next 3 plain
+stitches.
+
+Make 11 loops in this manner, each consisting of 4 chain and 3 plain,
+then 2 loops of 3 chain and 2 plain = then miss as many stitches of the
+square at the edge of the collar as were left empty in the second
+square; 2 plain and draw the loop each time through the 2 last stitches
+of the opposite square = 1 chain, 1 single on the 2nd chain stitch of
+the opposite side; 1 chain, 3 plain on the edge of the first square, 1
+chain, 1 single, 1 chain, miss 3 stitches, 3 plain, 5 chain, bring the
+loop from the wrong side to the right = on the chain stitches: 4 plain,
+2 chain, miss 3, 3 plain.
+
+From this point onwards, fasten all the bars of chain stitches to the
+loops produced by the same stitches in the 2nd square. Thus, the 1st bar
+consisting of 5 chain, the 2nd will consist of 7 chain on which make 7
+plain, and then add 2 more chain. Nowhere must the two first chain
+stitches be uncovered.
+
+The 3rd bar must consist of 9 chain, 9 plain and 2 chain = the 4th of 11
+chain, 5 plain, 1 picot, 5 plain, 2 chain = the 5th of 13 chain, 4
+plain, 1 picot, 4 plain, 1 picot, 4 plain, 2 chain = the 6th of 16
+chain, 6 plain, 1 picot, 6 plain, 1 picot, 6 plain, 2 chain = the 7th of
+18 chain, 5 plain, 1 picot, 4 plain, 1 picot, 4 plain, 1 picot, 5 plain,
+2 chain = the 8th of 21 chain, 5 plain, 1 picot, 5 plain, 1 picot, 5
+plain, 1 picot, 5 plain, 2 chain = the 9th of 24 chain, 5 plain, 1
+picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 2
+chain = the 10th of 26 chain, 6 plain, 1 picot, 5 plain, 1 picot, 5
+plain, 1 picot, 5 plain, 1 picot, 6 plain, 2 chain = the 11th and last
+of 28 chain, 32 plain, 2 chain, fasten off.
+
+As the square with the semicircles in it, has more plain stitches in the
+edge than the one with the eight-pointed star in it, the stitches must
+be divided so that you miss 3 from time to time, instead of two. When
+the 7 top figures are finished, join the 7 bottom ones to them, each
+separately, by a row of plain stitches, made on the wrong side of the
+work. Below the first square with the semicircles, comes the
+eight-pointed star, below the next eight-pointed star, the square with
+the semicircles, and so on.
+
+A narrow edging forms the outside border, the foundation of which is a
+row of plain stitches running all along the squares. At the middle of
+the square you decrease by 2 stitches, and at the point where two
+squares meet, by 3. When you reach the left side and the end of the row,
+make 3 plain on the corner stitch, then: * 5 plain, 1 picot, 5 plain, 14
+chain, join them to the first of the 5 first plain (drop the thread at
+each scallop and bring it forward from the wrong side to the right) = on
+the 14 chain: 5 plain, 1 picot, 11 plain, 1 picot, 5 plain = along the
+square: 5 plain, 1 picot, 5 plain, then 14 chain, join them to the first
+plain = over the 14 chain: 5 plain, 1 picot, 5 plain, 14 chain, join
+them in turning back between the 5th and 6th of the 10 plain of the 1st
+scallop; 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain;
+on the half-finished scallop: 5 plain, 1 picot, 5 plain ** = on the
+plain stitches of the edge: 4 plain, 1 picot, 4 plain, 12 chain, come
+back, join to the 1st of the 4 plain = on the 12 chain: 4 plain, 1
+picot, 4 plain, 1 picot, 4 plain, 1 picot, 4 plain *** = repeat on the
+same figure once from * to *** and once from * to **.
+
+This makes 77 stitches, the number there ought to be on the wide side of
+the straight-edged figures.
+
+The scallops vary a little on the rounded sides. There, you should have
+110 stitches, counting from the corner to the treble that marks the
+middle at the bottom. The single scallops, between the triple scallops
+of the border, are also all made over 8 stitches; the first triple
+scallop is made over 20 stitches, the 2nd, 3rd and 4th triple scallop
+over 16 stitches.
+
+Make no single scallop after the 4th triple one; which is immediately
+succeeded by the 5th triple scallop, over 16 stitches.
+
+Altogether, round each star, there are 9 triple and 8 single scallops.
+After the 8th single one, make 3 plain stitches on the 2 chain stitches
+of the connecting bar.
+
+On the 32 plain stitches of the last bar: 8 plain, 1 picot, 4 plain, 12
+chain, bring them back and join to the 5th of the 8 plain = on the 12
+chain: 5 plain, 2 chain, draw the loop through the picot in the middle
+of the last single scallop, 2 chain, close the picot, 8 plain, 1 picot,
+5 plain = in the bar: 4 plain, 1 picot, 4 plain, 12 chain, bring them
+back and fasten them to the 1st plain = 5 plain, 1 picot, 4 plain, 12
+chain, join them to the 4th plain of the 1st scallop; 5 plain, 1 picot,
+8 plain, 1 picot, 5 plain = in the half-finished scallop: 4 plain, 1
+picot, 4 plain = in the bar: 4 plain, 1 picot, 4 plain = 12 chain, bring
+them back and fasten them to the 1st plain. 4 plain, 1 picot, 4 plain,
+12 chain, join them close to the scallop above = 5 plain, 1 picot, 4
+plain, 12 chain, bring them back and join them to the 4th plain of the
+2nd scallop; 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5
+plain = in each of the 2 half-finished scallops: 4 plain, 1 picot, 5
+plain = finish with 4 plain, 3 plain on the 2 chain and repeat from *
+round all the rounded parts.
+
+The lozenges that fill the empty spaces between the large figures are
+made in 7 rows, on a ring formed of 4 chain.
+
+1st row--5 chain, 1 treble on the ring, 2 chain, 8 trebles in all,
+including the bar of chain stitches.
+
+2nd row--3 plain over 2 chain, 1 plain over each treble.
+
+3rd row--7 chain, 1 treble over the treble beneath, 5 chain, 1 treble; 8
+trebles in all.
+
+4th row--* 1 plain, 1 half treble, 1 treble, 1 double treble, 1 treble
+2½ trebles long; ** repeat the reverse way to * = 1 plain on the
+treble, 7 chain, miss 1 stitch, 1 plain, 1 treble, 1 double treble, 1
+treble, 1 plain. Repeat twice from * to **, followed by: 9 chain, miss
+1, 1 single, 1 plain, 1 half treble, 2 trebles, 1 half treble, 1 plain,
+1 single ***. Repeat once from * to ***, then again from * to **, and
+add 5 single all along the scallop.
+
+5th row--9 chain * 1 plain on the top stitch of the small leaf, 7 chain,
+1 treble on the middle stitch of the scallop, 7 chain, 1 treble on the
+next scallop = 9 chain, 1 plain on the leaf, 9 chain, 1 treble on the
+scallop, 7 chain, 1 treble on the next scallop, 7 chain and repeat once
+from *.
+
+6th row--1 plain on each stitch of the row before, 3 plain on the
+points.
+
+7th row--on each side of the lozenge 3 little scallops on 8 chain, with
+3 picots and 1 picot below the scallops and between every 4 plain; the
+scallops at the points extend over 4 stitches only, so that the picot
+below is left out.
+
+These lozenges are fastened on two sides to the middle picot of the
+triple scallop; then, starting from the 3rd scallop of the lozenge you
+make, 8 chain, join them to the middle picot of the 1st triple scallop;
+coming back over the 8 chain: 5 plain, 1 picot, 5 plain and finish the
+scallop. The next scallop, at the point of the lozenge, is fastened by a
+picot of 6 chain, to the middle picot of the 6th scallop underneath the
+connecting bar. Repeat the same on the 2nd side and make 6 lozenges in
+all.
+
+The lace that finishes off the collar at the neck must be made to stand
+up, and is begun by a row of trebles on the plain stitches.
+
+From the corner as far as the 2nd treble of the 4th scallop, make triple
+trebles, from the 4th scallop to the 6th chain stitch after the 5th
+scallop, make double trebles, from this point to the 2nd scallop of the
+next semicircle, only single trebles, then again double trebles and
+finish with triple trebles as at the beginning. Decrease by 2 or 3
+stitches in each square.
+
+When this row of trebles is finished, fasten off, and fasten on again on
+the right and on the base of the 1st treble which you border with 4
+chain, then follow: * 15 plain on the row of trebles, put the needle in
+under the 2 loops of the trebles = turn the work = 2 chain, 1 double
+treble, miss 4 plain, 1 double treble on the 5th stitch, 2 chain, 1
+double treble, 2 chain, 1 double treble, 2 chain, miss 4 plain = turn
+the work = bring the loop to the front; ** 1 plain, 1 picot, 1 plain, 1
+plain on the treble; repeat 3 times again from ** and add 4 plain on
+the trebles = turn the work = 6 chain, 1 double treble over the treble
+beneath; again 3 times 6 chain stitches and 1 double treble; join the
+4th set of 6 chain to the 4th plain = bring the thread back to the
+front: 1 plain on the 6 chain = 8 chain, miss 1, and make on the others:
+1 plain, 1 half treble, 2 trebles, 1 treble 1½ treble long, 2 double
+trebles, 1 plain stitch on the 6 chain. The next point comes above a
+treble; you make 7 points in all. After the 7th: 5 plain, then 7 chain,
+1 plain on each point between the points and join.
+
+Join the 8th set of 7 chain on to the 4th plain of the first treble =
+then add: 2 chain, draw the loop from the wrong side to the right
+through the 1st plain stitch; 8 trebles, 1 picot, 4 trebles, 12 chain,
+bring them back over the picot, join it between the 4th and 5th trebles;
+5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain.
+
+Over each point: 1 picot and over the picot 1 scallop, like the one made
+in the square. On the 7th point only 1 picot = after the last treble on
+the last chain: 2 chain; then go on with the plain stitches until you
+have 27 and repeat from *.
+
+In the semicircles that follow you leave out the first and last little
+scallops, the first and the last scallop must be joined together by the
+first and the last picot; in the last semicircle, make 6 little
+scallops, the same as you did in the first.
+
+CROCHET CHAIR-BACK (fig. 485).--The close leaves in plain stitch of
+the large centre star, the 4 corner figures forming a cross and the
+diagonal figures, all have to be made separately and sewn on afterwards
+in their proper place. To join the separate parts neatly together, draw
+a square the size of the work on a piece of thick paper or waxcloth,
+divide it into 8 parts by means of straight and diagonal lines, sew the
+separate pieces of crochet upon it, face downwards, in their proper
+places and make the trebles on the wrong side of the work.
+
+Begin by the centre star and make: 12 chain, close the ring.
+
+1st row--23 plain on the 12 chain.
+
+2nd row--9 chain, 1 double treble on the 2nd plain, 4 chain, 1 treble
+and so on until you have 12 trebles, including the 5 chain.
+
+3rd row--1 plain on each chain stitch and each treble; 60 plain in all.
+
+4th row--3 plain, 1 picot, altogether 20 picots in the row, then fasten
+off.
+
+[Illustration: FIG. 485. CROCHET CHAIR-BACK. MATERIALS: Fil à dentelle
+D.M.C No. 50 for the close figures and No. 120 for the connecting
+bars.[A]]
+
+The leaves round the ring have 3 petals, 1 large and 2 small; you begin
+by the large one, and make the small ones afterwards. The petals should
+be begun from the point and not from the bottom as is generally done--30
+chain; coming back: 4 single, 4 plain, 5 half trebles, 8 trebles, 4 half
+trebles, 4 plain stitches, 3 plain on the 1st chain = on the second side
+of the chain make the same number of stitches but in the reverse order.
+
+Small petal on the left--21 chain, miss 1, 5 plain, 3 half trebles, 5
+trebles, 3 half trebles, 3 plain, 3 plain on the top. Repeat the same
+series of stitches in the reverse order on the second side = at the 10th
+stitch of the large petal and counting upwards from below, draw the
+thread through the 10th stitch of the small petal, and do the same
+through the 9 next stitches = for this purpose drop the loop each time
+and draw it back through the opposite stitch, from the wrong side to the
+right. After making the same petal on the right, fasten off; fasten on
+again at the outer edge and edge the 3 petals with 1 plain on each
+stitch and 3 plain on the stitch at the point; make 4 leaves with 3
+petals each.
+
+Between the pointed leaves, which are afterwards placed on the diagonal
+line of the square, come some very long leaves which are rounded towards
+the top--29 chain, miss 1, 5 plain, 2 chain, 1 treble on the 3rd of the
+chain stitches; carry on the trebles until you have, on coming to the
+last chain, 7 trebles = turn the work and make 1 plain on each stitch of
+the row = turn the work = 1 plain on every stitch all round = turn the
+work = * 9 plain, 4 half trebles, 3 trebles, 2 double trebles, join the
+last loops of the 2 last trebles together; set the 20th and 21st double
+treble on the same stitch = the 20th treble 2½ trebles long; the 21st a
+triple treble = on the next plain stitch; 1 treble 3½ trebles long and 1
+quadruple treble = again on the next stitch: 2 trebles, the first of
+them 4½ trebles long, the 2nd a quintuple one = on the 3rd plain: 2
+quintuple trebles, 4 chain, 1 plain on the plain stitch of the 2nd row
+and next to the last quintuple treble, 1 half treble, 1 treble, 2 double
+trebles on one stitch, 2 triple trebles on one stitch **, 1 quadruple
+treble on the 2 next stitches. Repeat from ** to *, therefore in the
+reverse order.
+
+To make the large star which is the first of the figures placed on the
+diagonal line, make: 4 chain, close the ring.
+
+1st row--10 chain,* 1 double treble on the 4 chain, 5 chain. Repeat 4
+times from *, 6 trebles in all.
+
+2nd row--over 5 chain: 1 half treble, 1 treble, 1 treble 1½ treble long,
+1 double treble, 1 treble 2½ trebles long **, 1 triple treble. Repeat
+once from ** to * and 5 times from * to **.
+
+3rd row--1 plain on each stitch of the 2nd row.
+
+4th row--3 plain, 1 picot, 2 plain, * 2 chain, 1 picot, 5 chain, miss 1
+= coming back: 4 plain, 1 picot, 2 plain = on the plain stitches of the
+3rd row: 2 plain, 1 picot, 3 plain. Repeat from *, with this difference
+that the trebles that are placed over the half trebles of the 2nd row
+must begin with 3 chain. Make, altogether, 12 long bars, 6 of them
+beginning with 2 chain and 6 with 3; these bars remain empty; after the
+12th you fasten off.
+
+5th row--fasten on the thread to the top stitch of a treble, 11 chain, 1
+plain. Repeat this series 11 times.
+
+6th and 7th row--1 plain on each stitch of the 5th row, then 1 plain on
+each stitch of the 6th row.
+
+8th row--over 9 bars and 8 spaces: 3 plain, 1 picot, 3 plain and so on.
+Add nothing further to the 2 rows of plain stitches of the 10th, 11th
+and 12th picots.
+
+For the second star of the corner figure 4 chain, close.
+
+1st row--8 chain, 1 treble, * 5 chain, 1 treble. Repeat 3 times from *;
+5 trebles in all, including the chain stitches.
+
+2nd row--* 1 chain, 1 half treble, 1 treble, 1 treble 1½ treble long, 1
+double treble, 1 triple treble **. Repeat from ** to *, and the whole
+series 4 times.
+
+3rd row--* 1 chain, 3 plain, 1 picot, 2 plain, 2 chain, 1 picot, 4 chain
+= coming back, 4 plain on the 4 chain, 1 picot, 2 chain = on the
+stitches of the 2nd row: 2 plain, 1 picot, 2 plain, 3 chain, 1 picot, 5
+chain, miss 1, 4 plain = coming back: 1 picot, 3 plain. Repeat 4 times
+from *, fasten off.
+
+4th row--fasten on at the point of one of the bars and make from one bar
+to the other: 9 chain, 1 plain on each bar.
+
+5th row--1 plain on each stitch of the last row.
+
+6th row--1 plain on each stitch of the last row and join the 4 last
+stitches to the 4 that are under the 11th treble of the 1st star, taking
+care to put the trebles one above the other.
+
+The 3rd star also begins with 4 chain formed into a ring.
+
+1st row--8 chain, 1 treble, 5 chain, 1 treble, 5 chain, 1 treble, 5
+chain, join them to the 4th of the 8 chain.
+
+2nd row--2 chain, * 1 half treble, 1 treble, 1 treble, 1½ treble long, 1
+double treble **. Repeat from ** to * and then, 3 times from * to **.
+
+3rd row--1 plain on each stitch of the 2nd row.
+
+4th row--1 chain, 2 plain, * 1 picot, 3 chain, 1 picot, 5 chain. Repeat
+3 times from *; after the 8th picot: 3 chain.
+
+5th row--15 chain, 1 triple treble on the 5th and on the 2nd plain
+stitch between 2 picots, 9 chain, 1 triple treble and so on. Altogether,
+including the chain stitches, 8 trebles and 8 times 9 chain; join to the
+7th chain.
+
+6th and 7th row--1 plain on each stitch of the previous row; join the 4
+last stitches again to the 4th stitch of the 2nd star and fasten off.
+
+The open work border is made from the 1st large star, beginning near the
+9th treble at the point where the picots leave off. After fastening on
+the thread: 5 chain, miss 2 plain, 1 plain on the 3rd = at the point
+where the circles meet, miss 3 or 4 stitches on each side and carry the
+treble over the indent of the scallop.
+
+After finishing the picots of chain stitches on the two sides and as far
+as the 3rd treble of the large star, fasten off; fasten on again on the
+right of the large star: 4 chain, 1 plain on the 3rd chain; put the
+needle only through the 2 upper loops of the chain stitch; in the
+indent, connect 3 picots by 1 chain stitch; 2 chain and 1 plain between
+the next plain stitches. Fasten off. The 2 next rows both begin on the
+right and consist of plain stitches only; in the indent of the rings
+join 3 stitches of the preceding row together by 1 plain.
+
+The 5 leaves over the circles--Begin with the middle and largest one--25
+chain, miss 1, 3 plain, 2 chain, miss 2, 1 treble, 2 chain and so on, 7
+trebles in all = turn the work = 1 plain on each stitch, passing under
+only 1 loop of the stitches = on the stitch you missed: 3 plain; on the
+second side: 1 plain on each stitch = turn the work = do as in the last
+row = turn the work = do as in the 2 last rows, excepting as regards the
+5 last stitches which you leave untouched = turn the work = 15 plain, *
+1 chain = turn the work = 12 plain = turn the work = 12 plain on the 12
+plain and on all those you missed **. Fasten off the thread. On the 2nd
+side of the leaf: draw the thread through the 6th stitch, counting
+upwards from below and on the side that is not indented, 15 plain and
+repeat from * to ** = then make: 1 row of plain, putting the needle
+through both the loops of the lower stitches = at the points of the
+leaves: 3 plain, in the indents of the leaves miss 1 stitch.
+
+First leaf on the right of the large leaf--25 chain, miss 1, 3 plain, 1
+chain, 1 treble on the 3rd chain; 7 trebles in all = turn the work = 1
+plain on each stitch, 18 stitches altogether, to the corner stitch; 3
+plain on the corner stitch. The 2nd side is worked like the 1st.
+
+Add 3 more rows of plain stitches and increase 3 plain on the stitch at
+the point = in the 3rd row leave the 5 last stitches empty = turn the
+work = 11 plain, 1 chain = turn the work = 11 plain and 5 plain on the 5
+stitches that were passed over; fasten off.
+
+On the opposite side fasten on the thread on the wrong side at the 8th
+stitch counting from the point: 12 plain, 1 chain = turn the work = 12
+plain = turn the work = make plain stitches up to the end of the leaf
+and border it, like the large leaf, with plain stitches = join the 8
+first stitches to the corresponding ones in the large leaf = make 4
+leaves all alike.
+
+2nd leaf on the left--19 chain, miss 1, 3 plain, 2 chain, 1 treble on
+the 2nd chain; 7 trebles in all = turn the work = 1 plain on each of the
+preceding stitches, 3 plain on the stitch at the point = turn the work =
+1 row of plain stitches = turn the work = 1 row of plain = turn the work
+= 1 row of plain, excepting on the last 7 stitches = turn the work = 14
+plain, 1 chain = 3 more rows to and fro with 11 plain; fasten off, and
+fasten on again on the 2nd side at the 6th stitch counting from below: 2
+rows of 11 plain and 1 row to the end of the leaf = then encircle this
+leaf, like the others with plain stitches, join the 8 last stitches to
+the last 8 of the large leaf = make 4 leaves all alike.
+
+3rd leaf on the right--18 chain, miss 1, 2 plain, 1 chain, 1 treble on
+the 3rd chain, 5 trebles in all = turn the work = 4 rows of plain
+worked to and fro; on the stitch at the point: 3 plain = after the 4th
+row: 4 trebles, 8 plain, 1 chain, 4 plain, 1 chain, 4 plain, 1 chain,
+then plain stitches to the end = fasten off. On the second side, fasten
+on to the 6th stitch counting downwards from the top: 9 plain = coming
+back: 3 plain, 1 chain, 7 plain = coming back: 7 plain, 1 chain = then
+to the end of the leaf, 1 plain on each stitch.
+
+3rd leaf on the left--14 chain, miss 1, 2 plain, 2 chain, 1 treble, 2
+chain, 1 treble, 2 chain, 1 treble, 2 chain, 1 treble; 4 rows of plain
+all round, 3 plain on the stitch at the point, and 3 plain on the added
+stitch. After the 4th row: 14 plain = turn the work = 10 plain = turn
+the work = 3 single, 7 plain = coming back: 7 plain = coming back again:
+7 plain; after the last plain, 1 single on each plain up to the top =
+fasten off.
+
+On the second side of the leaf: 9 plain = turn the work = 5 plain = turn
+the work = 5 plain, 1 single on each of the remaining stitches = turn
+the work = surround the whole leaf with plain stitches; 3 plain on each
+stitch at the point; join the 8 last stitches to the 8 last of the 2nd
+leaf.
+
+Branch on the right and 1st leaf--28 chain, miss 1, 4 plain, 1 chain, 1
+treble on the 3rd chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1
+treble 1½ treble long on the 3rd chain, 1 chain, 1 treble 1½ treble long
+on the 3rd chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1 half
+treble on the 3rd chain, 1 chain, miss 2 stitches, 5 plain = on the
+second side of the chain: * 1 plain on each stitch, 3 plain on the 2nd
+of the missed stitches. Repeat 3 times from *. After the 4th row of
+plain: 6 chain = turn the work = 1 row of plain on both sides and plain
+stitches on the 6 chain; fasten off the thread. Counting back the last
+stitches, fasten on the thread at the 18th stitch, make one more row of
+plain, fasten off.
+
+2nd leaf of the branch--22 chain, miss 1, 3 plain, 1 chain, 1 half
+treble on the 3rd chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1
+treble on the 3rd chain, 1 chain, 1 half treble on the 3rd chain, 1
+chain, 1 plain on the 3rd chain, 1 plain on each of the remaining
+stitches; 4 rows of plain, to and fro, in each of the stitches of the
+last row. The rows touch, and therefore encircle the leaf.
+
+3rd leaf--16 chain, miss 1, 2 plain, 1 chain, 1 treble on the 3rd chain,
+1 chain, 1 treble on the 3rd chain, 1 chain, 1 treble on the 3rd chain,
+1 plain on each of the remaining stitches, 4 rows of plain, to and fro
+round the leaf; 3 plain on the stitch at the top of the leaf and 3 on
+the one at the bottom.
+
+When these 3 leaves are finished, join them together on the wrong side
+so that the end of the 2nd leaf is parallel with the last treble of the
+1st leaf, and the end of the 3rd leaf parallel with the 1st of the last
+plain stitches of the 2nd leaf. Having sewn these 3 leaves together,
+carry on the plain stitches with the thread of the 3rd little leaf over
+the two others. Fasten off the thread, join it on again at the 10th
+plain stitch of the 3rd little leaf, counting the stitches downwards
+from the top = 40 chain, 1 single on the 34th chain = on the ring: 10
+plain, 1 plain each chain and 1 plain on each stitch of the leaves =
+then, make 3 more rows of plain and 2 plain on every second stitch of
+the 10 stitches in the ring.
+
+Having reached the chain stitches, fasten on the thread, turn the work
+and continue the other rows. When the rows of plain stitches are
+finished, draw a thread through the chain stitches and pull them gently
+together.
+
+Branch on the left and 1st leaf--22 chain, miss 1, 3 plain, 2 chain, 1
+treble on the 2nd chain, 2 chain, 1 treble 1½ treble long, 2 chain, miss
+1, 1 treble, 1½ treble long, 2 chain, miss 1, 1 treble, 2 chain, miss 1,
+1 treble, 2 chain, miss 1, 1 plain on each of the remaining stitches.
+The remainder the same as for the right leaf.
+
+2nd leaf--16 chain, miss 1, 2 plain, 2 chain, 1 treble, 2 chain, miss 1,
+1 treble, 2 chain, miss 1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain,
+miss 1, 1 plain on each of the remaining stitches. The rest the same as
+for the right leaf.
+
+3rd leaf--12 chain, miss 1, 2 plain, 2 chain, miss 1, 1 treble, 2 chain,
+miss 1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain, miss 1, 1 plain on
+each of the remaining stitches. The remainder, as well as the little
+ring, the same as for the right leaf. Make altogether 4 leaves for the
+right side and 4 for the left.
+
+Calyx of the small flowers.--11 chain = turn the work = 1 plain on the
+first 5 chain, 3 plain on the 6th chain, 1 plain on the 5 other chain =
+turn the work = * 2 chain, 1 treble on the 1st plain, 1 chain, 1 treble,
+1 chain, 1 treble, 1 chain, ** 3 trebles on the second of the 3 plain,
+on the 6th chain, repeat once from ** to * = turn the work = 1 plain on
+each of the preceding stitches, 3 single on the added stitch = turn the
+work = 1 single on the first 2 plain; plain stitches as far as the
+middle stitch; 13 chain, miss 1, 1 plain on each chain stitch, 6 plain,
+2 single. Fasten off. Make 8 calices in all.
+
+Small flowers of three different sizes--Make altogether, 24 large, 12 of
+medium size, and 16 small.
+
+For the large flowers--18 chain, close the ring, 24 plain on the 18
+chain; 1 plain on every stitch of the preceding row and 1 picot after
+every second plain stitch. Join the first and the last picots of 2 large
+flowers to the calyx, the 2nd and the 3rd picots of one large flower to
+the 10th and 11th picots of the other. Join the 1st and 11th picots of
+the 3rd flower to the 8th picot of the first and to the 5th of the
+second flower.
+
+For the medium-sized flowers--14 chain, close the ring = 20 plain on the
+ring, then a second row of plain with 1 picot after every second plain
+stitch.
+
+These flowers connect the centre figure with the corner one.
+
+For the small flowers--10 chain, close the ring = 16 plain on the ring,
+then a second row of plain stitches with a picot after every second
+stitch. Sew the medium-sized flowers and the small ones to the big ones
+with overcasting stitches.
+
+As regards the bars of chain stitches that complete the pattern they can
+easily be copied from the illustration.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: TATTED INSERTION.--DOUBLE KNOTS, SINGLE PICOTS AND
+JOSEPHINE PICOTS.]
+
+
+
+
+Tatting.
+
+
+On account of a similarity in their construction, a chapter on tatting
+seems to form a natural sequence to the one on crochet and is in some
+ways a preparation for that on macramé which succeeds it.
+
+The English name of tatting is said to be derived from «tatters» and to
+denote the frail disconnected character of the fabric. By the Italians
+it was formerly called «occhi», whilst in the East it still bears the
+name of «makouk», from the shuttle used in making it.
+
+In the eighteenth century, when tatting was in great vogue, much larger
+shuttles than our present ones were used, because of the voluminous
+materials they had to carry, silk cord being one.
+
+SHUTTLES.--The tatting shuttle consists of two oval blades of either
+bone, ivory, mother of pearl or tortoise-shell, pointed at both ends,
+and joined together in the middle. A good shuttle contributes materially
+to the rapid and perfect execution of the work and attention should be
+paid in its selection to the following particulars: that it be not more
+than 7 c/m. long and 2 or 3 c/m. wide: that the two ends be close enough
+to prevent the thread from protruding; this is more especially important
+in tatting with two shuttles and lastly, that the centre piece that
+joins the two oval blades together should have a hole bored in it, large
+enough for the thread to pass through.
+
+In filling the shuttle, be careful not to wind on too much thread at
+once, or the blades will gape open at the ends and the thread get soiled
+by constant contact with the worker's hands.
+
+MATERIALS.--A strongly twisted thread such as Fil d'Alsace D.M.C, Fil
+à dentelle D.M.C, or Cordonnet 6 fils D.M.C, is best for tatting. We
+particularly recommend Fil d'Alsace, as forming the best shaped knots
+and picots. A soft material such as Coton à tricoter D.M.C, can also be
+used where it suits the purpose better.
+
+[Illustration: FIG. 486. FIRST POSITION OF THE HANDS.]
+
+FIRST POSITION OF THE HANDS (fig. 486).--The construction of the knots
+or stitches, appears at first sight to present great difficulties but
+will be easily mastered by attention to the indications here given. One
+thing, to be constantly borne in mind is, that when the right hand has
+passed the shuttle through the loop, it must stop with a sudden jerk and
+hold the thread tightly extended until the left hand has drawn up the
+knot. After filling the shuttle, take the end of the thread between the
+thumb and forefinger of the left hand, and the shuttle in the right,
+pass the thread over the third and fourth fingers of the left hand,
+bring it back towards the thumb and cross the two threads under the
+fingers, as indicated in fig. 486. Pass the thread that comes from the
+shuttle round the little finger of the right hand, and give the shuttle
+the direction shown in the engraving.
+
+SECOND AND THIRD POSITION OF THE HANDS (figs. 487 and 488).--Make the
+shuttle pass between the first and third fingers, in the direction
+indicated by the arrow in fig. 487, and bring it out behind the loop.
+
+[Illustration: FIG. 487. SECOND POSITION OF THE HANDS.]
+
+[Illustration: FIG. 488. THIRD POSITION OF THE HANDS.]
+
+Here the first difficulties for beginners arise and until they have
+sufficiently mastered the movements of both hands not to confuse them,
+we advise them to pay careful attention to the following instructions.
+As soon as you have put the shuttle through the loop, place the right
+hand on the table with the thread tightly extended, leaving the left
+hand perfectly passive.
+
+Then, raising the third and fourth fingers of the left hand with the
+loop upon them, pull up the loop, stretching the thread tightly in so
+doing by extending the fingers. By this movement a knot is formed, the
+first part of the «double knot», which is the most common one in
+tatting.
+
+Remember that the right hand must be kept perfectly still as long as the
+left is in motion and that the knot must be formed of the loop thread
+that is in the left hand.
+
+The right hand, or shuttle thread, must always be free to run through
+the knots; if it were itself formed into knots it would not have the
+free play, needed for loosening and tightening the loop on the left
+hand, as required.
+
+[Illustration: FIG. 489. FOURTH POSITION OF THE HANDS.]
+
+FOURTH POSITION OF THE HANDS (fig. 489).--The second part of a knot is
+formed by the following movements: pass the shuttle, as indicated in
+fig. 489, from left to right, between the first and third fingers
+through the extended loop; the right hand seizes the shuttle in front of
+the empty loop and extends the thread; the left hand pulls up this
+second part of the knot as it did the first.
+
+[Illustration: FIG. 490. SINGLE OR HALF KNOTS. SMALL JOSEPHINE PICOT.]
+
+[Illustration: FIG. 491. SINGLE OR HALF KNOTS. LARGE JOSEPHINE PICOT.]
+
+SINGLE OR HALF KNOTS. JOSEPHINE PICOTS (figs. 490 and 491).--The
+Josephine picot or purl, as it is also called in tatting, consists of a
+series of single or half knots formed of the first knot only. These
+picots may be made of 4 or 5 knots, as in fig. 490, or of 10 or 12
+knots, as in fig. 491.
+
+FIFTH POSITION OF THE HANDS (fig. 492).--When the second knot forming
+the double knot has been made, the two hands resume the position shown
+in fig. 487. Fig. 492 reproduces the same and shows us a few finished
+knots as well.
+
+[Illustration: FIG. 492. FIFTH POSITION OF THE HANDS.]
+
+[Illustration: FIG. 493. POSITION OF THE HANDS FOR MAKING A PICOT.]
+
+POSITION OF THE HANDS FOR MAKING A PICOT (fig. 493).--Picots are
+introduced into tatting patterns as they are into knitting and crochet.
+They also serve to connect the different parts of a pattern together and
+render a great many pretty combinations feasible.
+
+OPEN AND CLOSE PICOT (figs. 494 and 495).--These are formed of single
+knots, leaving a loop on the extended thread, as shown in fig. 494, and
+a short length of thread between the knots; finish the second half knot
+and when you have pulled it up, join it to the preceding knot. In this
+manner the picot represented in fig. 496 is formed quite naturally.
+
+[Illustration: FIG. 494. OPEN PICOT.]
+
+[Illustration: FIG. 495. CLOSE PICOT.]
+
+In every kind of tatting the knot that comes after the picot is
+independent of the loop.
+
+Thus if the directions say: 2 knots, 1 picot, 3 knots, 1 picot, 2 knots,
+etc., you must count the knot that served to form the loop and not make:
+2 knots, 1 picot, 4 knots, etc. To join the different rings, ovals,
+etc., together by means of picots, take up the thread that runs over the
+left hand with a crochet needle, inserting it into the picot downwards
+from above, draw the thread through and pull it up like any other knot.
+
+[Illustration: FIG. 496. TATTING WITH TWO SHUTTLES.]
+
+TATTING WITH TWO SHUTTLES (fig. 496).--Two shuttles are used in
+tatting when the little rings are not to be connected together at the
+bottom by a thread, when you want to hide the passage of the thread to
+another group of knots and when threads of several colours are used.
+
+When you work with two shuttles, tie the two threads together. Pass one
+thread over the third finger of the left hand, wind it twice round the
+fourth finger and leave the shuttle hanging down.
+
+Pass the second shuttle into the right hand and make the same movements
+with it as you do in working with one shuttle only.
+
+DETACHED SCALLOPS (fig. 497).--Make 12 double knots with one shuttle,
+then tighten the thread so as to draw them together into a half ring;
+the next knot must touch the last knot of the scallop before it.
+
+[Illustration: FIG. 497. DETACHED SCALLOPS. MATERIALS: Fil d'Alsace
+D.M.C in balls Nos 30 to 70 or Cordonnet 6 fils D.M.C Nos. 25 to 50.[A]]
+
+SCALLOPS JOINED TOGETHER AT THE TOP (fig. 498). With one shuttle make
+4 double, 1 picot, * 8 double, 1 picot, 4 double, close the half ring, 4
+double, draw the thread through the picot and repeat from *.
+
+[Illustration: FIG. 498. SCALLOPS JOINED TOGETHER AT THE TOP. MATERIALS:
+Fil d'Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos. 15 to 40,
+or Fil à dentelle D.M.C Nos. 25 to 60[A]]
+
+SCALLOPS WITH PICOTS (fig. 499).--Make with one shuttle: 4 double, 1
+picot, * 3 double, 1 picot, 2 double, 1 picot, 2 double, 1 picot, 3
+double, 1 picot, 4 double, close the ring.
+
+[Illustration: FIG. 499. SCALLOPS WITH PICOTS. MATERIALS: Fil d'Alsace
+D.M.C in balls Nos. 30 to 70, écru or white.[A]]
+
+Leave sufficient length of thread before beginning the next ring, for
+the rings not to overlap each other = make 4 double, draw the left hand
+thread through the 5th picot of the preceding ring and repeat from *.
+
+TATTED INSERTION (fig. 500).--Make with one shuttle a ring like the
+ones in fig. 499, then leaving a length of, from 5 to 10 m/m. of thread,
+make a second ring = turn the work = leave the same length of thread
+again, begin a third ring which you join after the 4th double, to the
+5th picot of the 1st ring = turn the work after each ring is made, so
+that all the upper rings represent the right side of the work and all
+the lower ones the wrong.
+
+[Illustration: FIG. 500. TATTED INSERTION. MATERIALS: Fil d'Alsace D.M.C
+in balls Nos. 30 to 70, écru or white.]
+
+[Illustration: FIG. 501. TATTED INSERTION. MATERIALS: Fil d'Alsace D.M.C
+Nos. 30 to 70, or Cordonnet 6 fils D.M.C No. 20.]
+
+[Illustration: FIG. 502. EDGING OF TATTING AND CROCHET. MATERIALS--For
+the tatting: Fil d'Alsace D.M.C in balls No. 30. For the crochet:
+Cordonnet 6 fils D.M.C No. 60.]
+
+TATTED INSERTION (fig. 501).--To be worked with two shuttles. Begin
+with one thread and one shuttle and make a ring, as in figs. 499 and
+500; and a second close to it; then pass the thread over the left hand,
+take the second shuttle in the right hand and make 6 double on the 2nd
+thread, after which you again make a ring above and one below with one
+shuttle only.
+
+EDGING OF TATTING AND CROCHET (fig. 502).--Make with one shuttle: 1
+double, 1 picot, 2 double, 1 picot, 2 double, 1 picot, 2 double, 1 picot
+twice as long as the others, 2 double, 1 picot, 2 double, 1 picot, 2
+double, 1 picot, 2 double, 1 long picot, 1 double = close the ring =
+fasten off the two threads on the wrong side with two or three stitches.
+
+After the first knot join the next ring to the preceding one by the long
+picot, and work the remainder as has been already described.
+
+When you have a sufficient number of rings, pick up the picots by
+crochet trebles with 3 chain stitches between them. On this first row,
+crochet a second, consisting of: 2 chain, 1 picot, 2 chain, 1 single in
+the treble of the 1st row. To finish the bottom part of the work, make 1
+plain in the 1st picot, 3 chain; 1 plain in the 2nd picot, 3 chain, 1
+plain in the 3rd picot, 1 chain, 1 plain in the 1st picot of the next
+ring.
+
+One row of single crochet serves as a footing to the edging.
+
+[Illustration: FIG. 503. TATTED EDGING IN THREE ROWS. MATERIALS: Fil
+d'Alsace D.M.C in balls Nos. 30 to 70, or Cordonnet 6 fils D.M.C Nos. 20
+to 60.]
+
+TATTED EDGING IN THREE ROWS (fig. 503).--Worked with two shuttles. The
+first row is worked like fig. 495, with one shuttle. The second and
+third are worked with two.
+
+Fasten the thread of the right hand shuttle into the first picot; then
+work on this thread the same number of double knots and picots as in the
+1st row and join each half ring to the picot of the row before. In the
+3rd row, insert 3 picots between the 8 double knots of the row above.
+Here the Josephine picot may be substituted for the plain picot.
+
+[Illustration: FIG. 504. TATTED EDGING. MATERIALS: Fil d'Alsace D.M.C in
+balls Nos. 30 to 70, or Fil à dentelle D.M.C Nos. 25 to 50. COLOURS:
+Écru and Bleu-Indigo 334, or Jaune d'Ocre 667 and Rouge-Cornouille 450,
+Gris-Tilleul 331 and Brun-Caroubier 356.]
+
+TATTED EDGING (fig. 504).--Worked with two shuttles and two colours.
+After making a string of rings like those in fig. 502, with Fil d'Alsace
+D.M.C No. 30 écru, fasten the blue and unbleached threads of the
+respective shuttles to the middle picot. Holding the light thread in the
+right hand, and the dark one laid over the left hand, work: 3 double, 1
+picot, 3 double = then put the right hand thread separately through the
+2 picots of the rings and continue to make: 3 double, 1 picot, 3 double.
+
+The next row also is made with two shuttles. Hold the light thread in
+the right hand; with the dark thread, laid across the left hand, make: *
+4 double, 1 picot, 2 double, 1 picot, 2 double = turn the work = with
+the right hand shuttle make: 6 double, put the thread through the little
+picot formed above the middle picot of the rings, 6 double, close the
+ring = turn the work = make with two shuttles: 2 double, 1 picot, 2
+double, 1 picot, 4 double, put the light thread through the 2 blue
+picots and repeat from *. The first row of crochet for the footing
+consists of chain and plain stitches only, the second, of chain stitches
+and trebles.
+
+MEDALLION (fig. 505).--Take two colours of thread and fill two
+shuttles with the light colour and two with the dark. Make with one
+shuttle: 24 double and 12 picots, 6 of them short and 6 long; close the
+ring, break off the thread and fasten off the ends by a stitch or two on
+the wrong side.--For the next 4 rows take two shuttles.
+
+[Illustration: FIG. 505. MEDALLION. MATERIALS: Fil d'Alsace D.M.C in
+balls Nos. 30 to 50.[A] COLOURS: White and Rouge-Géranium 352, or écru
+and Vert-Mousse 471, Bleu pâle 668 and Jaune d'Or 676.]
+
+1st row--with the shuttles containing the light colour = fasten the ends
+on to a short picot and make: * 3 double, 1 short picot, 2 double, 1
+long picot, 2 double, 1 long picot, 2 double, 1 long picot, 2 double, 1
+short picot, 3 double; pass the right hand thread through one of the
+short picots of the first ring, repeat the series 5 times from *.
+
+When you reach the 6th half ring, instead of making the second picot,
+put the left hand thread through the short picot of the first half ring,
+then complete the last double knots, cut the threads off, pass them
+through the picot of the ring and fasten them off on the wrong side.
+
+2nd row--with the shuttles filled with the light colour = fasten the
+ends on to a long picot, then make: * 4 double, 1 picot, 4 double, pass
+the right hand thread through the picot of the first row and repeat the
+series 17 times from *.
+
+3rd row--with the shuttles filled with the dark colour = fasten the ends
+on to one of the picots of the last row and make: * 4 double, pass the
+right hand thread through the picot of the 2nd row, make a long picot, 4
+double and repeat this series all round the medallion, until you have 18
+scallops.
+
+4th row--with the shuttles filled with the dark colour = * 2 double, 1
+picot, 2 double, 1 picot, 2 double, 1 picot, 2 double, pass the right
+hand thread, from the wrong side, through the picot of the 2nd row and
+begin again from *.
+
+[Illustration: FIG. 506. INSERTION OF TATTING AND CROCHET. MATERIALS:
+Fil d'Alsace D.M.C in balls Nos. 30 to 70, or Fil à dentelle D.M.C Nos.
+25 to 50. COLOURS: Bleu de France 344 and Jaune-Rouille 365.]
+
+INSERTION OF TATTING AND CROCHET (fig. 506).--Fill two shuttles, one
+with a light colour, say, Bleu de France 344, the other with a darker,
+such as Jaune-Rouille 365, and two numbers coarser than the thread you
+intend to use for the crochet. Begin with the dark colour and make: * 4
+double, 1 picot, 8 double, 1 picot, 4 double, close the ring. With both
+shuttles, the light colour in the left hand: 4 double, 1 picot, 2
+double, 1 picot, 2 double, 1 picot, 4 double, put the right hand thread
+through the picot of the first circle; then add: 4 double, 1 picot, 2
+double, 1 picot, 2 double, 1 picot, 4 double.
+
+With the shuttle, filled with the dark colour: 5 double, pass the thread
+through the picot of the first ring, make 8 double, 1 picot, 5 double,
+close the ring. Then, leaving a short length of thread between, make: 4
+double, put the thread through the picot of the preceding ring, 8
+double, 1 picot, 4 double, close the ring **; then repeat from * to **.
+
+When you have thus made two equal lengths, join them together with
+crochet, using a thread two numbers finer than the tatting thread; if
+the latter for instance was Fil d'Alsace No. 30, you would take No. 50
+of the same material for the crochet--1 plain in the 1st picot, 5 chain,
+1 plain in the middle picot, 5 chain, 1 plain in the 3rd and 1st picot =
+then, over 5 chain: 1 sextuple cluster stitch (fig. 426), 5 chain.
+
+In the row on the opposite side of the tatting, take out the crochet
+needle at the 3rd chain stitch and put it in from beneath into the
+corresponding stitch of the opposite row; in this manner join the two
+insertions together so as to complete the pattern.
+
+[Illustration: FIG. 507. INSERTION OF TATTING AND CROCHET.
+MATERIALS--For the tatting: Fil d'Alsace D.M.C in balls Nos. 30 to 70,
+or Cordonnet 6 fils D.M.C Nos. 25 to 50, écru or white.[A] For the
+crochet: The same materials, but two numbers finer.]
+
+[Illustration: FIG. 508. WORKING DETAIL OF FIG. 507.]
+
+INSERTION OF TATTING AND CROCHET (figs. 507 and 508).--Worked with one
+shuttle. The tatting thread should be two numbers coarser than the
+crochet thread. Begin with 2 strings of half rings consisting of: 4
+short picots and 3 long. Leave a length of thread between, equal to the
+diameter of the ring.
+
+When the two strings of half rings are finished, crochet with the fine
+thread: 6 plain over each length of thread between, and at the base of
+the scallops.
+
+2nd row--5 chain, 1 plain in the 4th plain of the 1st row.
+
+In the row that connects the two rows of tatting, put the 3rd chain
+stitch into the corresponding stitch of the opposite row.
+
+For the outside edge make: 1 plain in the 1st short picot, 8 chain *, 1
+treble in the 2nd short picot, 7 chain, 1 treble in the 3rd short picot,
+8 chain, 1 plain in the 4th short picot, 1 plain in the short picot
+opposite, 3 chain, pass the thread through the 4th of the 8 chain
+stitches, 4 chain and repeat from *.
+
+For the last row make: 3 plain in each of the 3 last of 8 chain, * 1
+picot of 5 chain above the treble, 4 plain in the 4 next chain, 1 picot,
+1 single in the same stitch as the plain before the picot, 3 plain, 1
+picot, 3 plain, miss the 1st and the last stitch, then make 3 plain on
+the next scallop and repeat from *.
+
+[Illustration: FIG. 509. EDGING OF TATTING AND CROCHET. MATERIALS--For
+the tatting: Fil d'Alsace D.M.C in balls No. 30 in two shades of one
+colour. For the crochet: Fil d'Alsace D.M.C in balls No. 50 in one
+colour only.]
+
+EDGING OF TATTING AND CROCHET (fig. 509).--Worked with two shuttles
+and in two shades. With the light shade: 2 double, 1 short picot, 2
+double, 1 long picot, * 2 double, 1 picot of the ordinary size, 2
+double, 1 picot, 2 double, 1 picot, 2 double, 1 long picot, 2 double, 1
+short picot, 2 double, close the ring = with 2 shuttles: 3 double, pass
+the thread through the 1st picot, make 3 double, 1 long picot, 2 double
+= with the light shade: 4 double, pass the thread through the 9th picot
+of the 1st ring, make 3 double, 1 picot, 4 double, close the ring = with
+2 shuttles: 2 double, 1 picot, 3 double, 1 short picot, 3 double = with
+one shuttle: 2 double, pass the thread through the empty picot of the
+small ring, make 2 double, pass the thread through the long picot of the
+big ring, then repeat from *.
+
+To complete the edge, crochet first one row, consisting of: * 1 plain in
+the 1st of the 5 picots of the big ring, 4 chain, 1 plain in the 2nd
+picot, 4 chain, 1 plain in the 3rd picot, 4 chain, 1 plain in the 4th
+picot, 4 chain, 1 plain in the 5th picot and repeat from *.
+
+2nd row--2 plain on the 3rd and 4th of the first chain stitches = over
+the 2nd and 3rd chain: 1 plain, 1 half treble, 2 trebles, 1 half treble,
+1 plain; on the 4 last chain: 2 plain.
+
+For the footing make: 1 plain in the long picot, 5 chain, 1 plain in
+the next picot, 5 chain, 1 double treble in the short picot, leave the 2
+last loops of the treble on the needle = 3 trebles in the first lower
+loop of the double treble, keep the last loops of these 3 trebles on the
+needle, after the 4th treble, draw the needle through the 4 trebles. The
+last row consists of: 3 chain, 1 treble over 5 chain.
+
+TATTED MEDALLION (fig. 510).--Worked with two shuttles and two
+colours.
+
+1st row--with one shuttle: 12 double and 6 picots, close the ring.
+
+2nd row--with two shuttles and the dark coloured thread laid across the
+left hand = knot the threads into one of the picots of the 1st ring: 1
+double, 1 long picot, 2 double, pass the right hand thread through one
+of the picots of the ring, 1 picot, 2 double and so on. After the 12th
+picot fasten off the threads on the wrong side by two or three stitches.
+
+[Illustration: FIG. 510. TATTED MEDALLION. MATERIALS: Fil d'Alsace D.M.C
+Nos. 30 to 50.[A] COLOURS: Gris-Tilleul 330 and Rouge-Cardinal 304.[A]]
+
+3rd row--with one shuttle: * 3 double, pass the thread through one of
+the picots of the 2nd row, make 3 double, close the ring = leave 5 m/m.
+of thread = turn the work = 4 double, 1 picot, 4 double, close the ring
+= leave 5 m/m. of thread again and repeat 11 times from *.
+
+4th row--with two shuttles; fasten the ends to one of the picots of one
+of the 12 rings of the 3rd row: * 3 double, 1 picot, 3 double = with one
+shuttle: 3 double, pass the thread through the picot, 3 double, 1 picot,
+2 double, 1 picot, 3 double, close the ring = close to this: 3 double,
+pass the thread through the 2nd picot of the 1st ring, 3 double, 1
+picot, 3 double, close the ring = again, close to the last ring: 3
+double, pass the thread through the picot of the 2nd ring, 2 double, 1
+picot, 3 double, close the ring = with 2 shuttles: 3 double, pass the
+thread through the 2nd picot of the 3rd ring, 3 double, fasten the
+thread to the picot of the ring of the 3rd row and repeat 11 times from
+*.
+
+5th row--with two shuttles and the dark colour across the left hand: 6
+double and 2 picots over the lower rings and 10 double and 4 picots over
+the upper rings.
+
+[Illustration: FIG. 511. TATTED EDGING. MATERIALS: Fil d'Alsace D.M.C in
+balls Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos. 40 to 50, or Fil à
+dentelle D.M.C Nos. 25 to 40. COLOURS: Gris-Tilleul 330 and Rouge-Grenat
+326.]
+
+TATTED EDGING (fig. 511).--With two shuttles and with the two colours
+indicated, or in any other combination of colours.
+
+Begin with two shuttles, the red thread across the left hand = 10
+double, 1 picot, 6 double = with one shuttle: 6 double, 1 picot, 6
+double, close the ring = turn the work = make a second ring like the
+first and close to it = turn the work = with two shuttles: 6 double, 1
+picot, 6 double = with one shuttle: 6 double, pass the thread through
+the picot of the ring opposite, 6 double, close the ring = 6 double, 1
+picot, 6 double, close the ring = turn the work to make the next half
+ring.
+
+Make 3 rows of half rings connected by rings. In the 2nd row, you pass
+the thread from the ring through the picot to which the 2nd ring was
+fastened in the 1st row.
+
+For the outside scallops, make with one shuttle: * 5 double, pass the
+thread through the picot that connects 2 rings, 5 double, close the ring
+= with two shuttles: 4 double = with one shuttle: 2 double, 1 picot, 2
+double, 1 picot, 2 double, pass the thread through the picot of the half
+ring of the 3rd row, 2 double; then 8 picots more with 2 double between
+each, close the ring = with two shuttles: 4 double, 1 long picot, 2
+double, 1 short picot, 2 double, 1 short picot, 3 double = with one
+shuttle: 5 double, pass the thread through the 3rd picot of the big
+ring, 5 double, close the ring = with two shuttles: 2 double, 6 picots
+with 2 double after each picot = with one shuttle: 5 double, pass the
+thread through the 3rd picot of the big ring, 5 double, close the ring =
+with two shuttles: 3 double, 1 picot, 2 double, 1 picot, 2 double, 1
+picot, 4 double, pass the right hand thread through the 6th picot of the
+big ring = with two shuttles: 4 double, then repeat from *.
+
+The footing is worked in crochet and consists of one row of chain
+stitches and one of trebles.
+
+SQUARE OF TATTING (fig. 512).--Worked with two shuttles and two
+colours. With the light colour: 2 double, 1 picot, 4 double, 1 picot, 4
+double, 1 picot, 4 double, 1 picot, 2 double, close the ring.
+
+1st row--with two shuttles, the dark coloured thread across the left
+hand = fasten the thread to a picot and make: * 2 double, 1 picot, 2
+double, 1 picot, 2 double, 1 picot, 2 double, pass the right hand thread
+through the picot of the ring; 1 picot over the connecting thread, then
+repeat 3 times from *. The last picot over the picot of the small ring
+is made at the end.
+
+2nd row--with two shuttles, the light thread over the left hand = fasten
+the thread to the picot over the light picot: * 2 double, pass the right
+hand thread through the picot of the 1st row, 1 long picot over the
+lower picot, 3 double, pass the thread through the next picot of the 1st
+row = in the corner, 1 rather longer picot than the one before, 3
+double, pass the right hand thread through a picot, 1 long picot, 2
+double, pass the thread through a picot; repeat 3 times from *. To form
+the last picot, fasten off the thread on the wrong side by two or three
+stitches.
+
+[Illustration: FIG. 512. SQUARE OF TATTING. MATERIALS: Fil d'Alsace
+D.M.C in balls Nos. 30 to 100, Cordonnet 6 fils D.M.C Nos. 10 to 60, or
+Fil à dentelle D.M.C Nos. 25 to 70.[A] COLOURS: Jaune-Rouille 366 and
+Brun-Caroubier 359.[A]]
+
+3rd row--with one shuttle and the dark colour: * 4 double, pass the
+thread through the picot above the picot of the small ring, 4 double,
+close the ring = leave 10 m/m. of thread, make a second ring like the
+1st = leave 10 m/m. of thread, make 6 double, pass the thread through
+the long picot, 6 double, close the ring = leave 10 m/m. of thread, make
+another ring of 12 knots, fasten it to the same picot, the preceding
+knot is fastened to; then make a ring of 8 double knots and repeat 3
+times from *.
+
+4th row--with one shuttle and the light colour and worked like the 3rd
+row, leaving a rather longer length of thread between; then make: 16
+instead of 12 double for the corner rings.
+
+5th row--with one shuttle and the light colour = 8 double, fasten the
+thread to one of the corner loops and between 2 rings of the 4th ring: 8
+double, close the ring = turn the work = leave a length of thread, 3
+double, 1 picot, then 4 times 2 double knots and 1 picot, 3 double,
+close the ring. Make the second ring as close as possible to the first,
+beginning and finishing the second with 5 double knots = make a 3rd ring
+like the 1st, join it to the 2nd ring by the 4th picot = turn the work =
+make another ring of 16 knots and join it to the same loop of the 4th
+row, to which the two other rings are already joined = turn the work = 1
+ring above, with 4 picots, like the first one we described, then a ring
+of 12 double knots below.
+
+At the top, 6 detached half rings, placed between 3 connected rings,
+which form the corners. The top rings are to be joined after the 3rd
+double knot, to the 4th picot of the preceding ring.
+
+6th row--with two shuttles and the dark colour only = fasten the threads
+to a picot that serves as a connecting link, take the dark thread over
+the left hand and make: 3 double, 1 picot, 2 double, 1 picot, 2 double,
+1 picot, 3 double = fasten the thread to the connecting picot and carry
+the half rings all round the square.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: MACRAMÉ STRIPE--ARABIC SUBJECT.]
+
+
+
+
+Macramé.
+
+
+Macramé is an Arabic word, signifying an ornamental fringe or trimming,
+which has been adopted as the term for a certain kind of hand-work,
+known also as «knotted fringe» or «Mexican lace» and produced by the
+knotting, interweaving and tying together of threads.
+
+We have given the preference to the Arabic name because of its less
+definite meaning, seeing that not only fringe and lace, but trimmings of
+all kinds, in the shape of bands and stripes and headings, can be worked
+in macramé.
+
+Until its revival about ten years ago, when it was regarded by many as a
+new invention, the art of macramé making had for centuries become almost
+extinct and save here and there in the convents, was quite unknown.
+
+The multitude of uses to which it can be turned as a trimming, the
+infinite variety it admits of and its great durability and strength,
+make macramé well worth a study; the difficulties that repel many at
+first sight are only on the surface and any one who carefully follows
+the instructions given in the following pages, will soon overcome them
+and be able without pains to copy the charming designs that accompany
+them, which remind us of the wooden lattices in the windows of Eastern
+houses, doubtless familiar to many of our readers, under the name of
+_moucharabieh_.
+
+MATERIALS.--These may be of almost any kind; silk, gold thread, cord,
+wool or cotton, can all be employed with good effect. Almost any of the
+D.M.C cottons can be used for macramé; but the ones especially to be
+recommended are: Fil à dentelle D.M.C[A], Cordonnet 6 fils D.M.C[A]
+and Coton à broder D.M.C[A] for the finer kinds of work, and for the
+coarser, Fil à pointer D.M.C[A], Coton à tricoter D.M.C[A] and Ganse
+turque D.M.C[A]. The twist in all these is so regular as to admit of a
+high degree of perfection being attained with them: they are moreover
+very agreeable to the touch, a great recommendation considering how much
+they have to be handled by the worker.
+
+[Illustration: FIG. 513. MACRAMÉ CUSHION.]
+
+MACRAMÉ CUSHION AND OTHER ACCESSORIES (figs. 513 and 514).--The only
+really important requisite for macramé work is the cushion, which should
+be well stuffed, and weighted with lead (fig. 513). It is convenient to
+have it made to screw on to a table like the Swiss tambour frames. There
+are other kinds of macramé cushions but none, in our opinion, as
+practical as these because any pattern can be worked upon them and
+patterns that have a heading or a border of picots can not be worked on
+any others. The pegs at the ends of the cushion are for fixing and
+winding the long threads upon, which carry the knots, and which we shall
+in future call «cords».
+
+For making long lengths of macramé fringe, metal clamps, with
+round-headed pegs attached to them top and bottom, to fasten the cords
+to, as represented in fig. 514, will be found far better than a cushion,
+as any number of threads can be knotted on to them at a time by pushing
+them more or less closely together on the cord.
+
+[Illustration: FIG. 514. CLAMPS FOR MACRAMÉ FRINGE.]
+
+Besides the cushion and clamps, you will require, some big glass-headed
+pins, made expressly for the purpose, a crochet needle for pulling the
+threads through the stuff when they have to be knotted on to an edge,
+and a French mètre or yard measure to measure the threads with; to these
+implements may further be added, scissors and a metal comb and ruler for
+cutting and straightening the ends of the threads.
+
+The length of the threads must depend on their substance and size; that
+is to say, that a knot will take up more of a coarse stiff thread than
+of a fine pliable one, on which account, to avoid the necessity of
+preliminary trials, the right length of thread, for the quality and size
+of material, is given with each pattern. If, for any reason, our workers
+should not follow the directions given, they must bear in mind that the
+thicker and stiffer the material, the more they will have to allow for
+the knots and vice versa.
+
+FORMATION OF THE KNOTS.--Beginners must be careful, in macramé as in
+tatting, not to move or slacken the cord, or horizontal thread that
+carries the knots. The knots made by the «knotting-thread», as it will
+be called in future, consist of loops formed over the cord and then
+tightened. The knotting-thread and the cord are constantly changing
+places, as you work, loops having to be made now with the one and now
+with the other.
+
+[Illustration: FIG. 515. KNOTTING ON THE THREADS.]
+
+KNOTTING ON THE THREADS (fig. 515).--Excepting when you work with the
+threads of a material obtained by unravelling and drawing out the cross
+threads, you must knot on lengths of thread on to a cord; cut them
+double the length the fringe is to be and fold them in half, so as to
+form a loop by means of which you attach them to the cord, in the
+following manner. Put the loop over the cord from the front and bring it
+back underneath, put the ends down through the loop, detail _a_, and
+tighten it, detail _b_, as shown in the engraving.
+
+[Illustration: FIG. 516. KNOTTING ON THE THREADS ON TO A STUFF EDGE AND
+FORMATION OF A FLAT DOUBLE KNOT.]
+
+KNOTTING ON THE THREADS ON TO A STUFF EDGE AND FORMATION OF A FLAT
+DOUBLE KNOT (fig. 516).--Push your crochet needle through the edge of
+the stuff from the right to the wrong side and catch hold of the loop,
+formed by the folding in half of the thread that is to be knotted on;
+pull it out to the right side, put the ends through, and tighten the
+loop, detail _a_. Detail _b_ shows two double threads, knotted on near
+to each other in this way, and the first tying together of the two outer
+threads for the flat knot which is formed as follows: you take the two
+outer of the four threads hanging down and cross the right hand one
+under, and the left hand one over the two centre threads. Whilst doing
+this, hold the inner ones tightly stretched out on the 3rd and 4th
+fingers of the left hand, detail _b_. The manner in which the two
+threads are brought back and tied together again is shown in detail _c_;
+the drawing up of the threads completes the so-called flat double knot,
+detail _d_. Detail _e_, of the same figure, shows two flat double knots,
+side by side, and the first step towards the formation of a third,
+connecting together the two right threads of the one with the two left
+threads of the other.
+
+[Illustration: FIG. 517. KNOTTING ON THREADS ONTO A KNOTTED HEADING.]
+
+KNOTTING ON THREADS ON TO A KNOTTED HEADING (fig. 517).--Make flat
+double knots as in fig. 516, detail _d_, on a double cord and then knot
+on your threads on to the loops of the double knots, putting the loop
+through from the right side, so that it may lie at the back. Use double
+threads so that the work beneath the heading may not be too open.
+
+[Illustration: FIG. 518. KNOTTING ON THREADS ON TO A PICOT HEADING.]
+
+KNOTTING ON THREADS ON TO A PICOT HEADING (fig. 518).--First, crochet
+a row of chain stitches, then make flat double knots on the chain, far
+enough apart for the thread between to form picots on the chain, then a
+second chain of crochet drawn through the picots on one side, on to
+which tie triple or quadruple lengths of thread, as shown in the
+engraving.
+
+KNOTTING ON THREADS WITH ROUND PICOTS (fig. 519).--Fasten the lengths
+of thread to the cushion with pins, about half a c/m. apart, fix the
+cord to one of the pegs at the left end of the cushion, hold it tightly
+extended in a horizontal line with the right hand. With the left hand
+knot the threads that are pinned down on to the cord, looping each end
+twice round it, upwards from below and then drawing it through between
+the two loops or knots thus formed, pulling each knot to the left as you
+tighten it round the cord. Make the second row of knots in the same way,
+taking care to lay the second cord as close to the first as possible
+that the vertical threads may not be visible between. One series of
+knots forms a bar; there are both horizontal and slanting bars as will
+be seen later on.
+
+[Illustration: FIG. 519. KNOTTING ON THREADS WITH ROUND PICOTS.]
+
+[Illustration: FIG. 520. KNOTTING ON WITH A FRINGE HEADING.]
+
+KNOTTING ON THREADS WITH A FRINGE HEADING (fig. 520).--Knot the
+threads on with a picot heading, as explained in the preceding figure,
+then cut the picots through and unravel and comb out the threads.
+
+For this way of knotting on threads, a very strongly twisted material is
+better than a loose one, as when it is cut and untwisted, it makes a
+much richer and fuller fringe.
+
+KNOTTING ON WITH PICOTS AND FLAT DOUBLE KNOTS (fig. 521).--Take two
+threads, pin them on close together, make a flat double knot, fig. 516,
+tying the outer threads over the inner ones, and loop the ends over a
+cord to make a horizontal bar of knots.
+
+KNOTTING ON THREADS WITH PICOTS AND TWO FLAT DOUBLE KNOTS (figs. 522
+and 523).--Pin the two threads on as before and make two flat double
+knots, one below the other; detail _a_ shows the first knot begun,
+detail _b_ the two knots completed. Fig. 523 shows the picots secured by
+a horizontal bar of knots beneath them.
+
+[Illustration: FIG. 521. KNOTTING ON THREADS WITH PICOTS AND TWO FLAT
+DOUBLE KNOTS.]
+
+[Illustration: FIG. 522. & FIG. 523. KNOTTING ON THREADS WITH PICOT AND
+TWO FLAT DOUBLE KNOTS.]
+
+[Illustration: FIG. 524. KNOTTING ON THREADS WITH SCALLOPS.]
+
+KNOTTING ON THREADS WITH SCALLOPS (fig. 524).--The threads for the
+scallops must be cut much longer than those that are to be knotted on
+below them. The buttonhole loops must be so made that they turn upwards;
+and there must be 12 of them, all made with the left hand thread over
+the right hand thread, detail _a_. Then, knot on two double threads
+underneath the scallop and besides, make knots with the threads that
+come from the scallops, detail _b_.
+
+[Illustration: FIG. 525. KNOTTING ON THREADS WITH LOOPS.]
+
+KNOTTING ON THREADS WITH LOOPS (fig. 525).--Pin on two threads folded
+in half, a little distance apart, detail _a_, and bind them together
+with a flat double knot. Pin on more lengths close to them, the inner
+threads of which are held by a "collecting knot", as the flat double
+knot is called when it is made over more than two threads (see also fig.
+530). The ends of the threads can then be looped over one or two cords,
+so as to form a single or double bar of knots, as required.
+
+[Illustration: FIG. 526. KNOTTING ON THREADS WITH TRIPLE SCALLOPS.]
+
+KNOTTING ON THREADS WITH TRIPLE SCALLOPS (fig. 526).--Knot on three
+single threads in succession; first, the middle one, then the second,
+with the knot right and left and the loop long enough to form the
+scallop, then the third in the same manner.
+
+KNOTTING ON THREADS FOR RIBBED PICOTS (fig. 527).--Take a double
+thread and make two slanting bars of knots, see details _a_ and _b_,
+then secure them, like the preceding scallops by a horizontal bar of
+knots, see detail _c_.
+
+KNOTTING ON THREADS FOR A GIMP HEADING (fig. 528).--This mode of
+knotting on forms a broad gimp, consisting of vertical bars of knots,
+made over a single cord. On the one side, that which is afterwards
+turned downwards, the cord, the ribs are made on, forms loops, held with
+pins, into which meshes of threads can be knotted when the gimp is
+finished, for making either a fringe or a grounding.
+
+Patterns in several colours may likewise be knotted into gimp headings
+of this kind.
+
+[Illustration: FIG. 527. KNOTTING ON THREADS WITH RIBBED PICOTS.]
+
+[Illustration: FIG. 528. KNOTTING ON THREADS FOR A GIMP HEADING.]
+
+FLAT DOUBLE KNOTS WITH HALF KNOTS (fig. 529).--These are double knots
+followed by a third knot, or more correctly speaking, a half one of the
+first flat knots.
+
+COLLECTING KNOTS (fig. 530).--As explained in fig. 525, these are flat
+double knots, made over more than two threads. The engraving shows, in
+the first place on the left, a flat double knot made over two threads,
+completed, and the first crossing of the thread for the collecting knot;
+secondly, the second crossing of the threads; thirdly how the collecting
+knot can, if necessary, be continued over 4 threads, and fourthly, how
+the collecting knot should be made to finish with a flat double knot.
+
+PLAITED AND WAVED KNOTS (fig. 531).--Plaited knots are formed by a
+continuous repetition of the first crossing of the threads for making a
+flat knot, detail _a_; waved knots by a slight twist given to the
+plaited knots from left to right, detail _b_. These plaits of waved
+knots are secured by joining together the threads of opposite meshes,
+two and two, by a flat double knot.
+
+[Illustration: FIG. 529. FLAT DOUBLE KNOTS WITH HALF KNOTS.]
+
+[Illustration: FIG. 530. COLLECTING KNOTS.]
+
+SINGLE CROSSED KNOTS AND DOUBLE CROSSED KNOTS (figs. 532 and
+533).--Two plain crossings of the threads, detail _a_, to begin with;
+after which you rapidly reverse the threads, turning the knot to the
+wrong side, drawing it up tightly at the same time; this forms the first
+knot, detail _b_. The second knot, fig. 533, is formed by 3 crossings,
+detail _a_; reverse the threads rapidly, to form the double crossed
+knot, detail _b_. For the following knots tie the threads together, as
+for the flat double knot, detail _c_.
+
+LOOPED PICOT AND KNOTTED PICOTS (figs. 534 and 535).--Looped picots
+are made along a row of knots by setting the knots, far enough apart for
+the loop between, to form a picot when the knots are drawn up close
+together. In fig. 534, the detail _a_ represents the picot, in its first
+open stage, detail _b_ the same picot when it is finished.
+
+Knotted picots, fig. 535, are formed after one or more flat double
+knots, by a knot made in the outer thread; to get this knot into the
+right place, make it on a big pin and draw it up close to the flat knot
+before you take out the pin.
+
+[Illustration: FIG. 531. PLAITED AND WAVED KNOTS.]
+
+[Illustration: FIG. 532. SINGLE CROSSED KNOT.]
+
+[Illustration: FIG. 533. DOUBLE CROSSED KNOT.]
+
+These picots are always made on both sides and can be repeated several
+times along a row of knots. Detail _a_ shows the crossing of the threads
+for the picots, detail _b_ the picots completed and followed by a flat
+knot.
+
+[Illustration: FIG. 534. LOOPED PICOT.]
+
+[Illustration: FIG. 535. KNOTTED PICOT.]
+
+[Illustration: FIG. 536. BEAD KNOTS.]
+
+BEAD KNOTS (fig. 536).--A bead knot is made by turning back the
+threads after a row of flat double knots. Detail _a_ shows three flat
+double knots finished, detail _b_ the inner threads turned back over the
+flat double knots, detail _c_ the two knotting threads, brought between
+the two threads coming from the left to the right, and detail _d_ the
+bead knot finished and followed by a flat double knot.
+
+BARS OF KNOTS TO THE RIGHT AND LEFT (figs. 537, 538, 539, 540, 541,
+542, 543, 544).--After knotting on the requisite number of threads on to
+a double cord, make two buttonhole loops with the right thread round the
+left one, fig. 537, then knot each thread twice over the second cord,
+fig. 538. These knots must be as close together as possible. This done,
+begin to make the slanting bars, inclining from left to right, with 4
+threads.
+
+The first thread on the left, marked 1 in fig. 540, serves as cord to
+the threads 2, 3, 4, which are looped in succession over thread 1.
+
+Fig. 541 represents threads 2, 3 and 4, knotted thread 1 and in the
+second bar, thread 2 becoming in its turn the cord, and having threads
+3, 4 and 1 knotted over it, whilst it is being held, tightly stretched
+in the right hand. The knotting should be done with the left hand.
+
+In fig. 542, which represents a bar inclining from right to left,
+threads 3, 2 and 1 are knotted over thread 4; and in fig. 543, in the
+second row, threads 2, 1, 4 over thread 3. Here, it has to be the left
+hand that holds the thread extended from right to left, whilst the right
+hand does the knotting.
+
+[Illustration: FIG. 537. BUTTONHOLE LOOP TO THE RIGHT.]
+
+[Illustration: FIG. 538. FASTENING THE THREADS TO THE CORD.]
+
+[Illustration: FIG. 539. BAR SLANTING TO THE RIGHT. THE KNOT OPEN.]
+
+[Illustration: FIG. 540. BAR SLANTING TO THE RIGHT. THREAD 2 KNOTTED
+OVER THREAD 1.]
+
+[Illustration: FIG. 541. BAR SLANTING TO THE RIGHT. THREADS 3, 4, 1 TO
+BE KNOTTED OVER THREAD 2.]
+
+Fig. 544 explains how the double bars are bound together by an ordinary
+double knot.
+
+[Illustration: FIG. 542. BAR SLANTING TO THE LEFT.]
+
+[Illustration: FIG. 543. BAR SLANTING TO THE LEFT.]
+
+[Illustration: FIG. 544. BARS JOINED TOGETHER.]
+
+SINGLE CHAIN (fig. 545).--This is made with two single threads, by
+knotting them alternately over each other, that is, each in turns
+serving as cord to the other.
+
+DOUBLE CHAIN (fig. 546).--The double chain is made in the same manner
+as the single, only with a double thread.
+
+Both the double and single chain are generally used in macramé gimps and
+borders as a means of conducting threads of different colours, from one
+part of a pattern to another, which could be done in no other way; also,
+as a continuation to the Chinese knot, fig. 607, as described at the end
+of this chapter.
+
+[Illustration: FIG. 545. SINGLE CHAIN.]
+
+[Illustration: FIG. 546. DOUBLE CHAIN.]
+
+RIBBED BORDER (fig. 547).--Here, the same cord runs to and fro; the 4
+threads that hang down, form little ribbed bars running right and left.
+To distinguish from the knotting threads, the thread that runs to and
+fro it, is represented in a darker colour.
+
+MACRAMÉ FRINGE (figs. 548, 549, 550).--Entire length of the threads
+for No. 8 of Coton à tricoter D.M.C: 80 c/m.
+
+[Illustration: FIG. 547. RIBBED BORDER.]
+
+1st row--knot on the threads, as in fig. 515, and in the following
+order: 1 double white thread, 2 double red, 1 double blue and so on.
+
+2nd row--make a horizontal bar of knots, see figs. 519, 520 and 521,
+over a second cord.
+
+3rd row--3 buttonhole knots, fig. 524, each with 2 threads.
+
+4th row--like the 2nd.
+
+5th row--make slanting bars of double knots right and left, counting 6
+threads for each bar, consequently 12 for 2. The 1st and 12th thread
+serving as the cords for the knots. In the 2nd series of knots which
+forms the double slanting bar, make another double knot over the cord
+with the thread that served as cord in the preceding row.
+
+When the slanting bars are finished, bring them as close together as
+possible, tighten the last thread on the right and make another double
+knot with the left thread; the position of all the threads is clearly
+described in fig. 549. Then continue the bars in the opposite direction,
+so that the 2nd thread on the left is stretched over the right hand
+group of threads, and the 11th thread on the right over the left hand
+group.
+
+[Illustration: FIG. 548. MACRAMÉ FRINGE. MATERIALS: Coton à tricoter
+D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C Nos. 5 to 25, or Fil à
+dentelle D.M.C Nos. 25 to 70. COLOURS: Bleu-Indigo 311, Rouge-Turc 321
+and white, or Bleu tendre 710, Rouge-Maroquin 3327 and Vert-Fauve 691.]
+
+Make 3 rows of double bars and then take always 3 threads of a left hand
+group and 3 of a right hand one, tie them loosely together in a plain
+knot, put in, above the knot, a bunch of 8 threads, 15 c/m. long, fig.
+550 detail _a_, draw up the knot close to the bars and wind thread of a
+different colour several times round it, detail _b_, to form the tassel.
+
+The other bunches of threads which are hung on between two bars of knots
+must be tied on the same level with the first, but do not, nevertheless,
+come into close contact with the bars.
+
+[Illustration: FIG. 549. WORKING DETAIL OF FIG. 548.]
+
+[Illustration: FIG. 550. WORKING DETAIL OF FIG. 548.]
+
+INSERTION OR FRINGE (figs. 551 and 552).--Entire length of the threads
+for No. 8 of Coton à tricoter D.M.C: 50 c/m., including the fringe.
+
+1st row--knot on the threads as in fig. 515.
+
+2nd row--1 double horizontal bar of knots, as in figs. 519 or 520, over
+double cords.
+
+3rd row--Take 8 threads for a group of bars; 2 light and 2 dark ones on
+each side; the two sets of threads are numbered in fig. 552, a working
+detail of fig. 551, from 1 to 4.
+
+Begin by making all the knots over threads 1 and 2 of the left set, so
+that threads 3 and 4 on the left will be outside and threads 1 and 2
+inside the group. Make the same knots over the 3rd and 4th thread on the
+right, then repeat the left group again and so on.
+
+[Illustration: FIG. 551. INSERTION OR FRINGE. MATERIALS: Coton à
+tricoter D.M.C Nos. 6 to 13, Cordonnet 6 fils D.M.C Nos. 1 to 20, Fil à
+pointer D.M.C Nos. 10 to 30, or Fil à dentelle D.M.C Nos. 25 to 50.
+COLOURS: Bleu-indigo 311 and Brun-Chamois 418, or Brun-Rouille 3312 and
+Bleu-Gris 3303.]
+
+Repeat from the beginning, and make 2 double knots over thread 3 on the
+right, fig. 552, with threads 1 and 2 on the left, then again 2 knots
+over thread 4 on the right. When this series of knots is finished, make:
+3 double knots over thread 1 (dark-coloured in the engraving) with the
+left thread 2 and the right threads 1 and 2; make on the left: 3 knots
+over thread 4 with the right thread 3 and the left threads 2 and 1, and
+so on.
+
+When this pattern is worked for a gimp and not a fringe, the threads are
+made to end in knots, as explained in fig. 558.
+
+[Illustration: FIG. 552. WORKING DETAIL OF FIG. 551]
+
+GIMP MADE WITH MACRAMÉ SHUTTLES (figs. 553, 554, 555).--Cut 8 double
+threads of the length the gimp is to be.
+
+In order not to have to add on threads in the middle of the work, or
+have long ends hanging down, which are very much in the way, we
+recommend the employment of a new macramé shuttle, a kind of spool, such
+as are used in the making of pillow lace. These shuttles simplify the
+work enormously and are made hollow so that they can be mounted and
+filled on the spindle of any sewing machine.
+
+Knot on the threads, as in fig. 515, and make a single bar of knots.
+Then leaving 2 threads on the right and 2 on the left disengaged, make 3
+flat double knots with every set of 4 threads between. Make a slanting
+bar of double knots over the 16th right thread, with the 15th, 14th,
+13th, 12th, 11th, 10th and 9th thread; then make knots with the same
+threads and with the 16th over the 15th thread. Make a similar bar on
+the left, over the 1st thread, with the 2nd, 3rd, 4th, 5th, 6th, 7th and
+8th thread.
+
+[Illustration: FIG. 553. GIMP MADE WITH MACRAMÉ SHUTTLES.
+
+MATERIALS: Coton à tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C
+Nos. 1 to 10, Fil à pointer D.M.C Nos. 10 to 30, or Fil à dentelle D.M.C
+Nos. 25 to 50.[A]
+
+COLOURS: Bleu-Indigo 311 and Brun-Marron 406.[A]]
+
+[Illustration: FIG. 554. MACRAMÉ SHUTTLE.]
+
+On both sides, and with the 4 outer threads: 4 flat double knots, fig.
+516, detail _d_; 2 more bars on the right and left, but in the opposite
+direction, and knotting all the threads even to the last one, fig. 555.
+Take the 4 middle threads and make 6 flat double knots and then turn the
+bars of knots inwards; the return of the cord is indicated as before in
+fig. 555.
+
+MACRAMÉ BORDERS (figs. 556, 557, 558, 559).--Length of the single
+threads for No. 6 of Coton à tricoter D.M.C: 50 c/m.
+
+Knot the threads on for both these borders in the ordinary way, followed
+by a single horizontal bar of knots. For fig. 556, make a triple
+slanting bar of knots, with 4 threads, slanting one from right to left
+and one from left to right; then make a single horizontal bar and add
+another series of triple bars slanting the opposite way; complete the
+pattern by a vertical bar, lay another cord and make a horizontal bar
+upon it on the wrong side of the work and finish by tying the threads
+together, two and two, as shown in fig. 558, detail _a_, cut them,
+detail _b_, and push the knot upwards, detail _c_.
+
+[Illustration: FIG. 555. SLANTING BAR AND THE RETURN OF THE CORD.
+WORKING DETAIL OF FIG. 553.]
+
+[Illustration: FIG. 556. MACRAMÉ BORDER.]
+
+[Illustration: FIG. 557. MACRAMÉ BORDER.
+
+MATERIALS: Coton à tricoter D.M.C Nos. 6 to 10, Fil à pointer D.M.C Nos.
+10 to 30, or Fil à dentelle D.M.C Nos. 25 to 70.[A]
+
+COLOURS--For fig. 556: Bleu-Lapis 342 or Bleu-Gentiane 480--For fig.
+557: Rouge-Turc 321 or Rouge-Cerise 3318.[A]]
+
+For fig. 557 take 8 threads for a group of knots. Make all the bars
+slanting from right to left first, fig. 559, then take the 5th thread,
+counting from left to right, for the cord, fig. 559 again, and begin the
+second series of bars of knots, slanting from left to right. Fasten off
+the threads as already explained in fig. 558.
+
+The same pattern can also be used as an insertion: bags for instance,
+look very well made of alternate stripes of this insertion and stripes
+made of flat knots. The openwork stripes must be wider than the close
+ones.
+
+[Illustration: FIG. 558. WORKING DETAIL OF FIGS. 556 AND 557.]
+
+[Illustration: FIG. 559. WORKING DETAIL OF FIG. 557.]
+
+MACRAMÉ FRINGE (figs. 560 and 561).--Entire length of the threads,
+including the fringe, for No. 5 of Cordonnet 6 fils D.M.C: 120 c/m.
+
+[Illustration: FIG. 560. MACRAMÉ FRINGE. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 3 to 25 or Fil à dentelle D.M.C Nos. 25 to 50. COLOURS:
+Brun-Cuir 431 and 432, Bleu-Indigo 31]
+
+1st row--knot on the threads, as in fig. 520, in the following order: 4
+double blue threads, 3 single dark brown, 1 double light brown, 3 single
+dark brown; then again 4 double blue, and so on.
+
+2nd row--divide the threads into groups, so that the brown threads come
+in the middle with 4 blue ones on either side. Begin on the left = cover
+the 4th blue thread, which comes nearest to the first brown one, with
+flat double knots, made over the 1st, 2nd and 3rd brown thread and the
+light brown one = cover the 3rd blue thread with the 4 brown threads and
+the 4th blue, which served as the cord in the 1st row of knots = cover
+the 2nd blue thread with the 4 brown and the 4th and 3rd blue = cover
+the 1st blue with the 4 brown and the 4th, 3rd and 2nd blue.
+
+[Illustration: FIG. 561. WORKING DETAIL OF FIG. 560]
+
+In the working detail, fig. 561, the dark lines represent the blue
+threads, the light ones, the brown.
+
+When the quadruple bar, slanting from left to right, is finished, make a
+similar one, from right to left, then connect the 1st and 16th thread by
+a double knot and pass the first blue thread on the left over to the
+right group.
+
+2nd row--make similar groups, reversed, so that the brown knots come
+next to the last blue ones and the blue knots again terminate the groups
+of bars; the brown threads will be stretched flat between the preceding
+group and the next.
+
+3rd and 5th row--like the first.
+
+4th row--like the 2nd.
+
+[Illustration: FIG. 562. MACRAMÉ FRINGE. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 3 to 15 or Fil à dentelle D.M.C Nos. 25 to 50.[A] COLOURS:
+Écru, or any light shade mentioned in the D.M.C colour card.[A]]
+
+After the 5th row of groups, take 4 brown threads on either side of the
+blue knots, and make them into a double chain, fig. 546, consisting of
+12 knots, and make 6 flat double knots with the last threads.
+
+Lastly, unite all the threads of one group of bars, and make them into a
+handsome tassel by the addition of other threads.
+
+MACRAMÉ FRINGE (fig. 562).--Entire length of the threads for No. 3 of
+Cordonnet 6 fils D.M.C: 75 c/m.
+
+1st row--Knot on the threads as in fig. 527, succeeded by a double
+horizontal bar of knots.
+
+2nd row--twisted or waved knots with 4 knots, fig. 531.
+
+3rd row--double horizontal bar of knots.
+
+4th row--with 6 threads: 1 double bar, slanting from left to right, and
+1 bar, from right to left, joined together by the last threads.
+
+5th row--with the 4 threads coming from the groups of bars: 1 single
+chain, fig. 545, with 4 crossings of the threads, quite close to the
+point where the groups meet, and 1 single chain with 7 crossings, made
+with the outside threads.
+
+6th row--similar groups of bars to those of the 4th row, but set the
+reverse way and terminating in a horizontal bar. For the tassels, add a
+thick bunch of threads to each group of 6 threads that issues from the
+work.
+
+[Illustration: FIG. 563. FRINGE WITH MOSAIC BORDER.
+
+MATERIALS: Cordonnet 6 fils D.M.C Nos. 8 to 30, or Fil à dentelle D.M.C
+Nos. 25 to 50.
+
+COLOURS: Écru, Brun-Acajou 401 and Rouge-Cardinal 347.]
+
+[Illustration: FIG. 564. KNOT OPEN.
+
+WORKING DETAIL OF FIG. 563.]
+
+[Illustration: FIG. 565. KNOT SHUT.
+
+WORKING DETAIL OF FIG. 563.]
+
+FRINGE WITH MOSAIC BORDER (figs. 563, 564, 565).--Entire length of the
+threads for No. 8 of Cordonnet 6 fils D.M.C: 75 c/m.
+
+1st row--knot the threads on, as in fig. 515, one écru and one brown
+alternately, succeeded by a single horizontal bar of double knots.
+
+2nd, 3rd, 4th and 5th row--4 rows of knots, such as are seen in fig.
+564, in process of being made, and in fig. 565, finished, and succeeded
+by a flat knot. The colours alternate in the knots; in the 2nd and 4th
+row the knot is set in the light colour, in the 3rd and 5th, in the
+dark.
+
+6th row--1 horizontal bar of double knots over a fresh cord.
+
+7th row--lay down another cord, make another horizontal bar of knots and
+between every second of the light double knots, loop on 1 red thread;
+the loop, that fastens it to the cord, taking the place of the knot.
+
+8th row--lay down a third cord, and make 2 double knots with the red
+threads between the knots of écru thread.
+
+9th row--lay down a fourth cord, make a half knot with every red thread.
+
+10th row--lay down a fifth cord, then make a horizontal bar of double
+knots, as in the 6th row; the red threads are taken to the wrong side
+and passed over. Knot the ends of the threads together in clusters of 6,
+about 15 m/m. below the last cord of knots.
+
+[Illustration: FIG. 566. MACRAMÉ GROUND. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 15 to 30 or Fil à dentelle D.M.C Nos. 25 to 50.[A] COLOURS:
+Écru and Bleu-Indigo 322, or Vert-Perroquet 697 and Rouge-Écarlate
+498.[A]]
+
+[Illustration: FIG. 567. SHELL BAR. WORKING DETAIL OF FIG. 566.]
+
+[Illustration: FIG. 568. OPENWORK PART OF FIG. 566.]
+
+MACRAMÉ GROUND (figs. 566, 567, 568).--Fill the shuttles with the
+length of thread that you think will be required for the work.
+
+1st row--knot the threads on, as in fig. 515, 4 blue and 4 écru
+alternately, and make a double horizontal bar.
+
+2nd row--beginning in the middle, make 2 flat double knots with 8 blue
+threads; with the 4 blue threads on the left, make a quadruple group of
+bars over the 4 blue threads on the right. These quadruple groups of
+bars, called «shell bars» are illustrated in detail in fig. 567. Unite
+the blue threads at the sides by flat double knots.
+
+The beginning and continuation of the openwork parts of the pattern are
+explained in fig. 568.
+
+The threads that issue from the last group of knots are used for making
+the second shell bar, the two inner bars of which are made in écru
+cotton, and the two outer in blue. When this striped shell bar is
+finished, the blue threads are again united for the openwork figure.
+
+[Illustration: FIG. 569.
+
+FRINGE WITH FOUNDATION WORKED ON THE WRONG SIDE.
+
+MATERIALS: Coton à tricoter D.M.C Nos. 8 to 16, Cordonnet 6 fils D.M.C
+Nos. 5 to 25, Fil à pointer D.M.C Nos. 6 to 30, or Fil à dentelle D.M.C
+Nos. 25 to 50.[A]
+
+COLOURS: White, Bleu-Indigo 311 and 312 or Gris-Amadou 385,
+Brun-Caroubier 356, 357.[A]]
+
+FRINGE WITH FOUNDATION WORKED ON THE WRONG SIDE (figs. 569, 570, 571,
+572).--Entire length of the threads for No. 8 of Coton à tricoter D.M.C:
+80 c/m.
+
+Knot the threads on, as in fig. 515 and after finishing the horizontal
+bar, make from left to right, over the 1st thread, 1 double knot made
+with the 2nd and with the 3rd thread.
+
+Then, over the 2nd thread, which has now become the 1st, make double
+knots with the 3rd, 1st, 4th and 5th thread; then, over the 3rd thread,
+counting now from right to left, which in the knotting on figured as the
+4th: 1 double knot with the 5th and 2nd thread.
+
+Make the same group from right to left, only at the 3rd change of thread
+make 5 double knots instead of 2, and let the last knots count for the
+new group of bars, turned the opposite way.
+
+[Illustration: FIG. 570.
+
+OPPOSING BARS.
+
+WORKING DETAIL OF FIG. 569.]
+
+[Illustration: FIG. 571.
+
+FORMATION OF THE KNOTS ON THE WRONG SIDE.
+
+WORKING DETAIL OF FIG. 569.]
+
+[Illustration: FIG. 572.
+
+APPEARANCE OF THE KNOTS ON THE RIGHT SIDE.
+
+WORKING DETAIL OF FIG. 569.]
+
+In the middle of two opposing groups of bars, make a flat double knot
+with 2 of the right threads and 2 of the left.
+
+When the second horizontal bar is finished, turn the work round, and go
+on working on the wrong side, making plain double knots, as in fig. 571,
+turned in one row, all from right to left, and in the next, from left to
+right.
+
+When you have worked 10 such rows of knots, begin to make one knot less
+on either side of a group, so as to form pointed scallops of knots which
+you finish off with a plain bar.
+
+Tassels are then made with the threads that issue from each scallop, and
+when these are sewn up, turn the work round to the right side, where the
+knots, made on the wrong side, will present the appearance indicated in
+fig. 572.
+
+[Illustration: FIG. 573. MACRAMÉ FRINGE.
+
+MATERIALS: Coton à tricoter D.M.C No. 6, Cordonnet 6 fils D.M.C Nos. 3
+to 25, or Fil à pointer D.M.C Nos. 10 to 30.[A]
+
+COLOURS: Écru, Rouge-Turc 321 and Rouge-Grenat 358 or Violet-Mauve 315
+and 316, and Vert-Bouteille 494.[A]]
+
+MACRAMÉ FRINGE (fig. 573).--Entire length of the threads for No. 6 of
+Coton à tricoter D.M.C: 65 c/m.
+
+Knot on double threads, as in figs. 517 and 524, to count as single in
+the working directions = * 1 thread of red, colour 358, 3 of écru, 1 of
+red, colour 358, 1 of red, colour 321, 3 of écru, 1 of red, colour 321,
+and repeat from *.
+
+1st row--6 chain knots made with every 4 threads.
+
+2nd row--a single horizontal bar of knots.
+
+3rd row--collecting knots, fig. 530, made with the écru threads over the
+4 dark and the 4 light red ones, and flat double knots over the 4 écru
+threads.
+
+4th row--collecting knots over 4 écru threads with 4 red and 2 écru
+threads.
+
+5th row--collecting knots in the centre of the groups, with the écru
+threads.
+
+6th row--similar to the 4th.
+
+7th row--similar to the 5th.
+
+Then take the red threads on the right and left and twist them, each
+cluster separately, from left to right between the thumb and forefinger,
+as you do in making a cord, then unite them together, twisting them from
+left to right. Fasten off the cord by a knot, beneath which the ends of
+thread form a little tassel. Collect all the écru threads together and
+make them into a heavy tassel with the aid of supplementary threads.
+
+[Illustration: FIG. 574.
+
+BORDER WITH SHELL KNOTS.
+
+MATERIALS: Cordonnet 6 fils D.M.C Nos. 5 to 25.[A]
+
+COLOURS: Vert-Mousse 471 and Rouge-Cornouille 450, or Rouge-Framboise
+686 and Gris-Coutil 323.[A]]
+
+BORDER WITH SHELL KNOTS (figs. 574, 575, 576, 577).--Fill the macramé
+shuttles with the requisite length of thread. Knot the threads on, as in
+fig. 520, in the following order; 1 double thread of colour 471, 6
+double threads of colour 450, 2 of colour 471, 6 of colour 450, 1 of
+colour 471.
+
+From left to right and over the 1st thread: 1 double knot with the 2nd
+thread; over the 4th thread of colour 450, and from right to left,
+double knots with the 3rd, 2nd and 1st thread of the same colour = from
+left to right: 1 double knot with the 6th thread of colour 450 over the
+5th, and with the 3rd thread over the 2nd = from right to left: 5 double
+knots over the 8th thread of colour 450 = from left to right: 1 double
+knot over the 10th thread, 1 double knot over the 5th thread, 1 double
+knot over the 1st thread = from right to left: 7 double knots over the
+12th thread = from left to right: 3 detached double knots.
+
+Then, from left to right, and subsequently from right to left = with 6
+green threads: 2 double bars slanting over the 2 red threads (see the
+top of fig. 577); unite the 4 red threads in the middle and make a shell
+knot with them, fig. 575, consisting of 6 flat knots, fig. 576; take 2
+threads on the right and 2 on the left, turn them down to the left and
+right, and then from the wrong side to the right, over the threads that
+come from the bars and close with a flat knot. On the sides, make
+double bars and between each bar, 2 single chain knots.
+
+[Illustration: FIG. 575. LARGE SHELL KNOT, OPEN.
+
+WORKING DETAIL OF FIG. 574.]
+
+[Illustration: FIG. 576. LARGE SHELL KNOT, SHUT.
+
+WORKING DETAIL OF FIG. 574.]
+
+[Illustration: FIG. 577. OPENWORK PART OF FIG. 574.]
+
+Fill the empty spaces under the outside shell knots, with 9 flat double
+knots; under the middle knot make bars of inter-crossed knots, of which
+a clear explanation will be found in fig. 577.
+
+To join two borders of the kind together, pass the thread of the second
+border over the thread on which the bar in the middle of the outer
+scallop is knotted.
+
+FRINGE WITH SHELL KNOTS (fig. 578).--Entire length of the single
+threads for No. 12 of Coton à tricoter D.M.C: 90 c/m.
+
+[Illustration: FIG. 578. FRINGE WITH SHELL KNOTS.
+
+MATERIALS: Coton à tricoter D.M.C Nos. 6 to 15.
+
+COLOURS: Écru and Rouge-Turc 321.]
+
+The threads must be taken double, counting as one. Knot them on, as in
+fig. 524. This exceedingly effective pattern is a very simple one to
+work and can easily be copied from the engraving by following, for the
+bars, figs. 537 to 544; for the collecting knots fig. 530, for the
+large shell knots figs. 575 and 576, and for the chain of flat double
+knots, fig. 536 detail _a_.
+
+The tassels that complete the fringe must depend from the last
+collecting knot and hang between the triple bars of knots and beneath
+the collecting knot.
+
+[Illustration: FIG. 579. MACRAMÉ BORDER OR FRINGE. MATERIALS: Cordonnet
+6 fils D.M.C Nos. 10 to 20, Fil à dentelle D.M.C Nos. 25 to 50, or Fil à
+pointer D.M.C No. 30.[A] COLOURS: Écru, Rouge-Turc 321 and Bleu-Indigo
+312.[A]]
+
+MACRAMÉ BORDER OR FRINGE (fig. 579).--Entire length of the threads for
+No. 10 of Cordonnet 6 fils D.M.C: 170 c/m.
+
+1st row--knot on the threads with double round picots, and one
+horizontal double bar. The colours should succeed each other as follows:
+* 4 blue scallops, 4 écru, 5 red, 4 écru, repeat from *.
+
+2nd row--begin working from right to left: 1 single chain with 2 single
+threads, fig. 545, and 7 changes of the threads; after the 3rd change of
+the threads, connect the 2nd chain with the 3rd, the 4th with the 5th.
+Finish off every 2 chains with a flat double knot.
+
+Make, over the first blue threads; 1 waved plait, fig. 531 detail _b_, =
+over the 14th écru thread: 1 bar of double knots, 3 going and 4
+returning = over the last 2 red threads: waved knots, and repeat from *
+= then lay down 2 fresh cords, to make a double horizontal bar of knots.
+
+3rd row--with the blue threads: 5 large shell knots, fig. 576, 1 triple
+bar of double knots to the left and right = between the bars 9 large
+shell knots = 1 triple bar of double knots to the right and left and
+finish with 5 large shell knots, as above.
+
+With the écru threads: 3 flat double knots, 1 double horizontal bar of
+knots = over the last écru thread: 3 waved knots with 12 changes of the
+threads = 1 more double bar of knots = join the cord to the outside
+thread of the blue triple bar. With the red threads: 1 shell knot, figs.
+576 and 577, over 12 threads; 1 double bar on both sides of the shell
+knot with the outside threads, 1 single chain, consisting of 7 changes
+of the threads, made with the outside red threads; join the red thread
+and the light one that comes from the double bar together, on the left.
+
+The light thread is afterwards looped into the blue thread on the right
+= 4 collecting knots over 6 red threads on the right and left, 1
+collecting knot over all the red threads and one, on both sides, over 6
+red threads.
+
+After joining the threads on both sides, carry on the single chain with
+3 changes of the threads = over the first red thread of the left chain,
+make 1 double horizontal bar with all the disengaged threads = below the
+bar, 4 flat double knots = 1 single horizontal bar = 8 double knots,
+each over a single thread = 1 double bar of knots.
+
+From this point, continue with the écru threads: 1 row of double knots,
+1 double horizontal bar and 1 waved plait; then join: 2 blue threads and
+2 écru, and 2 écru and 2 red, together, to make flat double knots; the
+double knots between remain of one colour.
+
+The bottom border is like the top one with the exception of the picots.
+
+When this pattern is to be used for an insertion or a gimp, the threads
+should be fastened off, as indicated in fig. 558.
+
+[Illustration: FIG. 580. MACRAMÉ BORDER. MATERIALS: Coton à tricoter
+D.M.C Nos. 15 to 30, Cordonnet 6 fils D.M.C Nos. 10 to 30, or Fil à
+dentelle D.M.C Nos. 25 to 50 and Chiné d'or D.M.C[A] COLOURS: Noir grand
+teint 310, Gris-Tilleul 392 and 330, Brun-Cuir 430 and 432, Bleu-Indigo
+334 or Chiné d'or D.M.C, Bleu et Or.[A]]
+
+[Illustration: FIG. 581. CROSSED BAR SLANTING TO THE LEFT. WORKING
+DETAIL OF FIG. 580.]
+
+[Illustration: FIG. 582. CROSSED BAR SLANTING TO THE RIGHT. WORKING
+DETAIL OF FIG. 580.]
+
+MACRAMÉ BORDER (figs. 580, 581, 582).--Wind the threads on shuttles
+and knot them on, as in fig. 515, in the following order: 2 threads of,
+either colour 334 or Chiné d'or (blue and gold), 2 of colour 330, 2 of
+colour 392, 1 of colour 432, 1 of colour 310, 2 of colour 430, 1 of
+colour 310, 1 of colour 432, 2 of colour 392, 2 of colour 330, 2 of
+colour 334, or of Chiné d'or blue and gold.
+
+Begin with the open work on either side of the crossed bars, figs. 581
+and 582, with 4 blue threads and by 4 changes of the threads outwards
+and 3 inwards = the same with 4 light green threads with 3 changes
+outwards and 2 inwards = then with the dark green threads, with 2
+changes outwards and 3 inwards = over the 4th dark green thread, 1
+double knot with the 1st dark green thread with the 4th light green one
+and with the 4 blue.
+
+Over the 3 next, dark green threads, knot the 4 light green threads and
+the 4 blue, from right to left, and from left to right, thus forming
+altogether 8 bars across the first bar = then knot the 8 first threads
+over the last dark green one = add a crossed bar with 7 changes of the
+threads outwards and 5 inwards.
+
+Middle group, left side: 1 double knot with the first light brown thread
+over the second thread; 3 double knots with the black threads (the only
+ones that are to be taken double) and 2 light brown threads over the 1st
+and 2nd dark brown ones.
+
+In the 2nd bar, knot the 1st dark brown thread, and in the 3rd, the 4
+dark brown ones, over the black thread. On the right, a similar group,
+slanting towards the one on the left.
+
+On the left--over the 1st light brown thread coming from the right, 1
+double knot, made with 2 light and 2 dark brown threads, and the black
+one, all coming from the left.
+
+On the right--over the 1st light brown thread coming from the left, 1
+double knot with 1 light and 2 dark brown threads and the black one
+(used double).
+
+On the left--over the light brown thread coming from the right, 1 double
+knot with one light and 2 dark brown threads and the black one.
+
+On the right--over the light brown thread, 1 double knot with 2 dark
+brown threads and the black one.
+
+On the left--the same knots as on the right.
+
+On the right--over the 1 dark brown thread 1 knot with 1 brown thread
+and the black one.
+
+On the left--the same knots as on the right.
+
+On the right--over the 1st dark brown thread, 1 knot with a brown thread
+and the black one.
+
+On the left--the same knots over the last thread.
+
+On the right--over the last brown thread one knot with the black one.
+
+On the left--over the 4 light green threads and the 4 blue ones, double
+knots with the 4 brown threads and the black one = 1 double knot with
+the 1st light brown thread over the 2nd, 3 double knots over the 2nd
+dark brown thread, with 2 light threads and 1 dark brown = 4 double
+knots with the 2 light and the 2 dark brown threads over the black one;
+after which you make 5 other bars, taking the last thread turned inwards
+for the cord. Make similar groups, slanting from right to left, then,
+beginning again on the left, make the knots with the 4 light green
+threads over the 1st thread of the same colour running from right to
+left.
+
+[Illustration: FIG. 583. MACRAMÉ FRINGE.
+
+MATERIALS: Cordonnet 6 fils D.M.C Nos. 15 to 30, Fil à pointer D.M.C
+Nos. 10 to 30, or Fil à dentelle Nos. 25 to 50.
+
+COLOURS: Écru and Brun-Havane 455, or Gris-Tilleul 391 and 331.]
+
+On the right--knot 3 light green threads over the 1st thread coming from
+the left and repeat the same group twice, on both sides.
+
+The third bar forms, at the same time, the first scallop of a triple
+crossed bar, which has also to be made on the right.
+
+The two crossed bars finish with a triple group of bars; the last bar of
+which, on the right, consists of only one double knot.
+
+There remain to be made, on both sides, crossed bars with three whole
+scallops inside, one outside, and one half one, top and bottom.
+
+[Illustration: FIG. 584. WORKING DETAIL OF FIG. 583.]
+
+Knot all the other threads over the 4 blue and the 4 light green ones =
+in the middle, knot the right and the left threads, alternately, till
+the black threads meet at the point.
+
+Turn the group of bars, edged with blue and light green, inwards, and
+finish it off by a crossed bar, with 3 scallops inside.
+
+MACRAMÉ FRINGE (figs. 583 and 584).--Entire length of the threads for
+No. 15 of Cordonnet 6 fils D.M.C: 120 c/m.
+
+1st row--knot the threads on with picots, fig. 519, 6 écru and 6 brown.
+
+2nd row--double and slanting bars made with 6 single threads, succeeded
+by a double horizontal bar.
+
+3rd row--begin with the light threads and make bars with double knots
+between, as in fig. 577, and finish at the sides with 2 bars made with
+the brown threads; for the dark brown bars, see also figs. 555, 561,
+568, for the crossed bars, fig. 584.
+
+This pattern should always end in such a manner that the light openwork
+figure form the scallop and be framed with the brown knot.
+
+[Illustration: FIG. 585. MACRAMÉ FRINGE. MATERIALS: Coton à tricoter
+D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C Nos. 8 to 20, or Fil à
+dentelle D.M.C Nos. 25 to 50.[A] COLOURS: Brun-Cuir 325 and Brun-Marron
+403, 405, 407.[A]]
+
+MACRAMÉ FRINGE (fig. 585).--Entire length of the threads for No. 12 of
+Coton à tricoter D.M.C: 96 c/m.
+
+This pattern is so easy that we refer our readers to figs. 544 and 561
+for the working of it, merely remarking, that the bars are made
+alternately from right to left, and from left to right, and that 3
+threads are knotted over the cord that runs from the left and 4, over
+the one from the right.
+
+This fringe will always be found most effective in appearance if it be
+made in four shades of one colour, knotted on in succession.
+
+[Illustration: FIG. 586. MACRAMÉ FRINGE. MATERIALS: The same as for fig.
+585. COLOURS: Gris-Tilleul 331 and Violet-Mauve 315 or, Bleu cendré 448
+and Rouge-Cornouille 450, Bleu-Canard 3309 and Rouge-Maroquin 3328,
+etc.]
+
+[Illustration: FIG. 587. WORKING DETAIL OF FIG. 586.]
+
+MACRAMÉ FRINGE OR GROUND (figs. 586 and 587).--Entire length of the
+threads for No. 8 of Cordonnet 6 fils D.M.C: 150 c/m.
+
+This effective pattern is not difficult, save in appearance, so that it
+is unnecessary to describe it in detail; for the knotting on, see fig.
+525; for the plain bars, figs. 539 to 544; for the collecting knots,
+fig. 530. The only difficult point is where the threads cross each other
+inside the bars and form a check and by carefully following the course
+of the knots in fig. 587, that will be easily overcome.
+
+FRINGE OR GROUND WITH PICOTS (fig. 588).--Wind the threads on shuttles
+and do the knotting on, as in fig. 521, followed by a double horizontal
+bar.
+
+Leave a small space between the double bar and the 3rd bar, which is a
+single one, in which you cross the threads without knotting them.
+
+Beginning on the left--over the 2nd and 3rd thread: 2 buttonhole knots,
+1 picot, 2 button hole knots = over the 1st, 2nd and 3rd thread: 1
+double knot with each of the 3 next threads = over the 6th and 7th with
+the 5th thread: 4 buttonhole knots with 1 picot after the 2nd knot.
+
+With each of the 4 next threads, that is the 8th, 9th, 10th and 11th: 1
+flat double knot followed by: 1 bar of double knots over the 12th thread
+as the cord, made with the 11th, 10th and 9th thread = add 1 bar with
+the 11th thread as the cord, and the 7 next ones as the knotting threads
+= add 1 bar with the 10th thread as the cord, and the 7 next ones as the
+knotting threads. Leave 3 threads free on the right = with the 8 threads
+on the left: 1 bar over the thread before these 3 threads = leave 3 free
+again on the right = 1 quintuple bar with the remaining threads.
+
+* 1 flat double knot with the 15th, 16th and 17th thread = with the 20th
+thread, over the 19th, 18th and 17th thread: 4 buttonhole knots with 1
+picot after 2 knots = knot 4 threads over the 13th thread and from left
+to right = from left to right, 2 bars with all the threads **.
+
+[Illustration: FIG. 588. FRINGE OR GROUND WITH PICOTS. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 10 to 40 or Fil à dentelle D.M.C Nos. 25 to
+50.[A] COLOURS: White, écru, or any light shade mentioned in the D.M.C
+colour card.[A]]
+
+Over the 2 threads on the left and with the 3rd thread: 4 buttonhole
+knots and 1 picot = with the 6 threads from the left: 2 bars consisting
+of buttonhole knots and picots = a 3rd bar with 6 double knots = join it
+to the last bar.
+
+Leave 2 threads of the bar of buttonhole knots free = with the outer
+thread make: 4 buttonhole knots and 1 picot over the 2nd thread and the
+cord of the bar.
+
+Repeat from * to ** along the bar, also from right to left.
+
+Left group--knot the 3 last threads over the 4th thread and from left to
+right.
+
+Right group--make, from right to left, 1 bar consisting of 6 double
+knots, over the 4th thread counting from right to left. After these last
+changes of the threads no difficulty will be found in copying the rest
+of the pattern.
+
+[Illustration: FIG. 589. DOUBLE FRINGE. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 10 to 30 and Coton à broder D.M.C Nos. 16 to 35. COLOURS:
+White for the Cordonnet, Rouge-Grenat 335 for the Coton à broder.]
+
+[Illustration: FIG. 590. KNOTTED BERRY FOR FIG. 589.]
+
+[Illustration: FIG. 591. LARGE SHELL KNOT, OPEN.]
+
+[Illustration: FIG. 592. LARGE SHELL KNOT, SHUT.]
+
+DOUBLE FRINGE (figs. 589, 590, 591, 592).--Entire length of the
+threads for No. 10 of Cordonnet 6 fils D.M.C: 100 c/m., and entire
+length for No. 16 of Coton à broder D.M.C: 40 c/m. Knot on, as in fig.
+515, 1 thread of Cordonnet, 4 of Coton à broder (these are to be taken
+double) 2 of Cordonnet, 4 of Coton à broder, and so on.
+
+In the second horizontal bar, you only use the red threads of Coton à
+broder for knotting, not the white Cordonnet ones. To supply their
+place, knot on two threads of red Coton à broder under the white
+threads.
+
+With the red threads (4 count as one) make 3 rows of collecting knots,
+followed by a single horizontal bar. Divide the white threads into twos
+and make single chains with them, the whole length of the fringe; the
+thread must be changed 8 times for each chain; then pass the right chain
+under the left one and join them by a flat double knot.
+
+You then, with the threads turned outwards, right and left, make the
+single chain with 5 changes of the threads and join them together again
+by a flat knot.
+
+The other single chains are made with 6 and 8 changes of the threads and
+crossed under the double knots. The tassels, which the red threads serve
+as a foundation to, are begun by: 1 waved plait with two knots, then 4
+single chains, again a waved plait and 1 berry composed of knots.
+
+This berry is made over the 8 threads that come from the chains, with a
+long auxiliary thread, knotted as shown in fig. 590.
+
+[Illustration: FIG. 593. MACRAMÉ BORDER. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 10 to 20 and Or fin D.M.C No. 30. COLOUR--For the cotton:
+Vert métallique 465[A]]
+
+[Illustration: FIG. 594. BEADED GROUND. MATERIALS: Cordonnet 6 fils
+D.M.C No. 25 or Fil à dentelle D.M.C Nos. 25 to 50 and gold beads.[A]]
+
+Large shell knots, as described in figs. 591 and 592 may be substituted
+in the place of the berry, fig. 590.
+
+MACRAMÉ BORDER (fig. 593).--Fill 24 shuttles, knotted together, that
+is, 2 and 2, and knot on 3 green threads, 6 gold and 3 green. The
+changing of the threads and the course of the knots can be so easily
+copied from the pattern that a description in detail is not necessary,
+it is sufficient to observe that all the dark parts in the engraving
+should be worked in green and the light ones in gold.
+
+[Illustration: FIG. 595. SQUARE OF MOSAIC MACRAMÉ. MATERIALS: Fil à
+pointer D.M.C No. 30, Coton à broder D.M.C No. 16 and Or fin D.M.C pour
+la broderie No. 20[A]. COLOURS: Rouge-Cardinal 346, Rouge-Grenat 326 and
+309, Bleu-Indigo 312 and 334, Gris-Tilleul 391 and 393[A].]
+
+BEADED GROUND (fig. 594).--Knot on 4 threads for every group of knots,
+and secure them by a knot and a picot, as shown in the engraving. Work
+the groups of knots, as indicated in fig. 568, and after each group is
+finished, thread a gold bead on to every 2 threads. Our model is worked
+in écru thread and gold beads; the latter go very well with any colour
+and especially with the more subdued shades of green, such as the
+Vert-Mousse, Vert Bouteille and Gris-Tilleul of the D.M.C colour card.
+
+SQUARE OF MOSAIC MACRAMÉ (figs. 595 and 596).--This little pattern
+illustrates the way in which tapestry and cross-stitch patterns can be
+utilised for macramé.
+
+All patterns that are drawn on checked paper can be copied in macramé
+and even in several colours. For every square, you count either one
+single or one double thread, according to the scale on which the work is
+to be.
+
+In the case of a single thread, you count one double knot per square, in
+that of a double one, 4 double knots, two in the first and two in the
+second row.
+
+After knotting the threads together, two and two, and pinning them to
+the cushion, see letter _a_, make 2 single chains with 2 changes of the
+thread, letters _b_ and _c_, then take a very long cord, letter _d_, and
+knot on the threads. The cord forms picots along two sides of the
+square; into which you fasten threads, letters _e_ and _f_, for the
+single chain formed, on the two other sides by the knotting threads.
+
+[Illustration: FIG. 596. WORKING DETAIL OF FIG. 595.]
+
+The coloured threads for the flowers are knotted on as the pattern
+requires it, taking the place for the time being, of those with which
+the foundation is made, which are left hanging on the wrong side until
+they are wanted again.
+
+The top leaves of the iris shaped flower, are worked in two shades of
+blue; the bottom ones, in three shades of red, the stalk and the leaves
+in green, and the little stars, with which the ground is powdered, in
+real gold thread.
+
+When the ground is finished, you make the same openwork border at the
+sides and along the bottom, as at the top and finish off with very full
+tassels, hung on over 3 double threads and made of all the colours used
+in the square, tied up with gold thread, fig. 596 letter _g_.
+
+FRINGE WITH THREE ROWS OF TASSELS (fig. 597).--As this kind of fringe
+is chiefly used for trimming carpets, curtains and furniture, it is best
+to make it in the coarsest numbers of the materials indicated at the
+foot of the engraving.
+
+[Illustration: FIG. 597. FRINGE WITH THREE ROWS OF TASSELS. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 3 to 30, or Fil à pointer D.M.C Nos. 10 to
+30[A]. COLOURS: Bleu-Indigo 312 and écru.]
+
+The pattern is so simple in its construction that it is sufficient to
+refer our readers to fig. 528, for the knotting on of the threads and to
+fig. 531, for the waved plait.
+
+The little tassels between the knots, are made separately from the rest
+of the work and fastened on by the thread with which you sew them
+together at the top.
+
+[Illustration: FIG. 598. MACRAMÉ GROUND. MATERIALS: Ganse turque D.M.C
+No. 12 and Coton à broder D.M.C No. 16. COLOURS: Rouge-Cardinal 347, or
+Rouge-Cerise 3318.]
+
+MACRAMÉ GROUND (fig. 598).--The work represented in the engraving was
+made for a purse and copied from a beautiful piece of Arabian stuff.
+Ganse turque D.M.C was used for the light background and Coton à broder
+D.M.C for the design. It is very easy to copy this pattern from the
+illustration by paying scrupulous attention to the number of knots; we
+do not therefore enter into any detailed description of the same, merely
+referring the worker to figs. 528 and 596 and the accompanying
+directions, for the adding on and the taking off of threads.
+
+MACRAMÉ SQUARE (figs. 599 and 600).--Length of the single threads of
+both kinds: 200 c/m.
+
+Knot upon a ring consisting of one thread: * 1 thread of white
+Cordonnet, 1 of Coton à broder colour 309, 1 of colour 358, 1 of colour
+309 and repeat three times from *. (The embroidery cotton is to be taken
+double.)
+
+Begin with the light red thread and make: 1 single chain with 3 changes
+of the threads, 1 single chain with the dark red thread with 4 changes
+of the threads. Add, or rather thread, 8 supplementary threads in
+succession on to the white thread, which in fig. 600, comes in the
+middle of the group of knots, and over each of these supplementary
+threads, make 2 double knots with the light red thread and 2 with the
+dark.
+
+[Illustration: FIG. 599. MACRAMÉ SQUARE. MATERIALS: Cordonnet 6 fils
+D.M.C No. 15 and Coton à broder D.M.C No. 16 or Fil à dentelle D.M.C No.
+25 and Coton à broder D.M.C No. 30.[A] COLOURS: White, Rouge-Grenat 309
+and 358, or Gris-Lin 716 and Rouge-Maroquin 3327 and 3329.[A]]
+
+When all the red threads are knotted over the white ones, make crossed
+bars with the red threads by themselves, thus producing a point at the
+bottom of the leaf.
+
+Then, over the first white thread coming from the right, knot all the
+white threads on the left of it and in the last place, the cord itself,
+over the 3 red threads.
+
+Make the same series of threads on the left. This is succeeded by a
+second bar of white knots, the last thread of which is left unknotted.
+Make 4 double knots with the 8 white threads and close the square by a
+double bar. Add a supplementary thread to the first bar, so that you may
+have 10 threads coming from each side of the second bar and over these
+you knot the red threads, which form a dark setting to the leaves.
+
+[Illustration: FIG. 600. GRADUAL INCREASE OF THE THREADS. WORKING DETAIL
+OF FIG. 599.]
+
+When this is done on both sides, make 10 flat double knots with a
+supplementary knot, taking 4 single threads for each knot, and
+decreasing the number of knots successively to 2. At the point of the
+inside square, knot the white threads over the red ones and turn back
+the second white thread to serve as a cord to the first of the outside
+bars. Join the first thread on the left and the first on the right, to
+form a flat knot with them in the middle, the threads of which are then
+passed over the red threads; the last white threads become the cords for
+the second outer bar. Make a group of bars with the red threads and
+cross them 3 times, then finish with a handsome tassel and join the
+white threads together all round the square with tassels. In the case of
+your wishing to use these squares for making a larger piece of work,
+through joining several of them together, you can knot the ends of the
+threads into short double chains, finishing off these again with ring
+knots, fig. 608, and loops; through these loops, when you come to join
+on the next square, the knotting thread is drawn, forming them thus into
+connecting picots, like those which you make in tatting.
+
+FRINGE WITH CORNER (figs. 601, 602, 603).--Macramé fringes are not
+capable of being drawn up, as knitted, crochet, and netted fringes are,
+on the inside, so as to turn the corners. Consequently, according to the
+pattern, a greater or less number of supplementary threads have to be
+knotted in so as to form the corners.
+
+[Illustration: FIG. 601. FRINGE WITH CORNER. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 10 to 30 or Fil à dentelle D.M.C Nos. 25 to 50.[A] COLOURS:
+White and Rouge-Cardinal 348.[A]]
+
+The working detail, fig. 602, shows us how the 5 first supplementary
+threads, are looped on to the 4th row of knots. A group of crossed bars
+requires 16 threads, which answer to 4 groups of little squares, placed
+between the lozenges. The 6th supplementary thread is put into the
+double connecting knot at the corner, fig. 603, and on this, the bar of
+knots which runs right and left is subsequently made. (In order to make
+it clearer, the supplementary threads are represented in the engraving
+in a darker shade).
+
+On the two middle threads, which are a continuation of the connecting
+knot, 7 supplementary threads have next to be knotted, thread 7 singly,
+threads 8 and 9 together, threads 10, 11, 12 and 13, all singly.
+
+In this manner the supplementary threads 7, 10, 11, 12 and 13 connect
+the two cords, whilst threads 8 and 9 only, are mounted separately on
+both sides.
+
+[Illustration: FIG. 602. ADDITION OF THE FIRST SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 601.]
+
+The bars, formed by the knots which are made with the supplementary
+threads, must be drawn tight, like any other double bar. The space left
+between the cords in the engraving is intentional, to distinguish the
+supplementary threads from the others.
+
+A long, coloured thread is looped on to the topmost thread, between the
+two bars, and with this, knots are made over all the 14 threads that
+come from the bars and run inwards.
+
+In the middle of the square there must be 9 flat double knots; when
+these are made, you continue knotting the red thread from the right and
+left, down to the bottom point of the square, and complete the figure by
+a single bar of knots, made of the white thread.
+
+[Illustration: FIG. 603. ADDITION OF THE SECOND SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 601.]
+
+Knotted tassels, hanging from the points of the scallops, and others
+ornamented with flat double knots made of 10 threads, suspended between
+the scallops, form the outside finish to this fringe.
+
+FRINGE WITH POINTED SCALLOPS AND LARGE TASSELS (figs. 604, 605, 606,
+607, 608, 609, 610).--Entire length of the threads for No. 15 of
+Cordonnet 6 fils D.M.C: 200 c/m.
+
+[Illustration: FIG. 604. FRINGE WITH POINTED SCALLOPS AND LARGE TASSELS.
+
+MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Cordonnet 6 fils D.M.C
+Nos. 10 to 50, or Fil à dentelle D.M.C Nos. 25 to 50.[A]]
+
+The present pattern, which concludes our chapter on macramé work, is one
+of the most difficult of all, requiring great accuracy in every
+particular, but more especially, extremely careful attention to the
+direction of the cords, that the groups of double knots and the bars may
+be drawn up very tightly together, so as to make the pattern very
+distinct and give each figure its proper value.
+
+[Illustration: FIG. 605. ADDITION OF THE FIRST SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 604.]
+
+For each repetition of the subject 16 threads are wanted. You begin the
+half stars, on each side of the lozenges, with the 15th and 16th double
+thread of the first figure and make 3 double knots with 3 threads over a
+4th thread, fig. 606.
+
+Over 2 cords on the left and 2 on the right, consequently over 4
+threads: 5 buttonhole knots, with the 4 threads and the disengaged
+threads, 1 flat double knot over each of the 4 threads. This forms a
+shell knot, on either side of which, make 3 buttonhole knots over 3
+threads.
+
+[Illustration: FIG. 606. ADDITION OF THE OTHER SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 604.]
+
+For the groups of bars on either side of the shell, take the 11th,
+12th, 13th and 14th double thread on the left, and the 3rd, 4th, 5th and
+6th on the right. These groups are joined by buttonhole knots.
+
+Knot the 4 threads of the left group over the cord on the right; and
+over them again the 2 next threads on the right; knot the 4 threads on
+the left over the 4th thread on the right; make 2 buttonhole knots with
+the 4th thread over the 3 threads at the bottom and on the side.
+
+Over the 4 threads, that come from the left and right, make quadruple
+bars; cross the upper threads after the second row of bars, make 2
+buttonhole bars with the next thread over the 4th thread, then finish
+the 3rd and 4th bar of knots.
+
+[Illustration: FIG. 607. CHINESE KNOT AND DOUBLE CHAIN FOR A RING KNOT.]
+
+To make the olive-shaped group of knots on both sides, take the threads,
+that come out from the shells, as cords. Fig. 605 shows the adding on of
+the first supplementary thread, fig. 606, that of 12 more which, knotted
+on to the first, form with it, the group of bars on the diagonal corner
+line. The knots, of which the next large shell is composed, are made
+with 2 more supplementary threads and one thread from the preceding
+figure. Add on 2 more supplementary threads to the disengaged threads,
+which 4 then serve as cords for the groups of bars, left and right.
+
+The 4th group of bars which forms the corner of the fringe, is made on
+the 4 threads that come from the large shell, on to which the fourth set
+of 12 supplementary threads is knotted.
+
+[Illustration: FIG. 608. RING KNOT FORMED OF A SINGLE CHAIN.]
+
+The pattern ends at the bottom with a half star, and a double bar;
+beneath these, large scallops are added, consisting of 2 half stars, 4
+ovals, 1 whole star and 2 ovals.
+
+All the threads that come from the groups are then collected at the top
+of the scallops and overcast with strong thread, so as to form a thick
+round cord along the edges of the scallops, widening towards the point,
+as more and more threads are taken in. At the point, these threads are
+knotted into a big tassel with another bunch of supplementary threads
+added to them. The other small tassels, represented in fig. 604, are
+made separately and then fastened on.
+
+The fringe is further ornamented by large knotted tassels, introduced
+between the scallops, for which, a large knotted berry, fig. 590, over
+21 cords, has first to be made.
+
+Collect the 21 threads all together, to begin with; then make: 2 rows of
+knots over 12 threads, 1 over 15, 3 over 21, 1 over 15 and 2 over 12;
+then cut the ends of the 21 threads to the same length, and turn them
+inwards, to fill up the hollow space inside the berry, stuffing it
+besides, if necessary, with wadding to make it perfectly firm and hard
+and sewing it together at the ends.
+
+To this you attach 5 large and 6 small pendants; the smaller ones are
+begun with a Chinese knot, figs. 607 and 609, which terminates in a
+double chain, formed into a ring knot.
+
+[Illustration: FIG. 609. SMALL PENDANT OF THE TASSELS IN FIG. 604.]
+
+[Illustration: FIG. 610. LARGE PENDANT OF THE TASSELS IN FIG. 604.]
+
+These ring knots take the place, in macramé, of bead drops, in gimp
+trimmings; when they are made of a double chain, you cut away 3
+threads, when of a single, 1 thread, conceal the ends carefully inside
+the knot, make a loop with the 4th or 2nd thread, fig. 608, and lastly,
+fasten off all the ends with two or three invisible stitches.
+
+Into the loop formed by the 4th thread, you hang 3 small ring knots,
+made of a single chain, with a loop, top and bottom, formed of the ends
+of the thread.
+
+Fig. 609 represents the small pendant, of which six are required for a
+tassel; fig. 610, the large one, of which there should be five. The
+berry, or head of the tassel, is attached to a crochet, or knotted cord,
+of which a description will be found in the last chapter but one of this
+work.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: INSERTION IN EMBROIDERED NETTING.--ORNAMENT WITH VARIOUS
+STITCHES.]
+
+
+
+
+Netting.
+
+
+Netting is a handicraft, so ancient that it would be difficult to trace
+it to its origin, or determine the date of its invention. There is
+evidence to show that the making of nets for fishing and game catching
+was as familiar to the earlier races of mankind as it is to us.
+
+Practised in the first instance for the wants of life, it by degrees
+developed into an art, in conjunction with embroidery, to which it was
+made to serve as a foundation. The netting of every country, almost, has
+a distinctive character of its own: that of Persia is known by its fine
+silken meshes and rich gold and silver embroidery; that of Italy, by the
+varied size and shape of its meshes and a resemblance in the style of
+its embroidery to the Punto tagliato; whilst the netting of France,
+known by the name of Cluny guipure, consists of a groundwork of fine
+meshes with stiff close designs embroidered upon it, outlined in coarse
+glazed thread.
+
+Netting, which divides itself under two headings, netting proper, or
+plain netting and net embroidery, has never yet gone out of fashion and
+places are still to be found where the entire population is engaged in
+this industry.
+
+PLAIN NETTING AND THE IMPLEMENTS USED IN NETTING (figs. 611, 612,
+613).--Plain netting consists of loops, secured and rendered independent
+of one another by knots. For forming and tightening these loops and
+knots the following implements are necessary; in the first place, a
+netting needle; these are generally made of steel, split and flattened
+at both ends, with a hole bored through them below the fork at the one
+end, in which the thread, fig. 611, is secured, before it is wound on
+lengthwise between the forks. They are numbered as to size like knitting
+needles. There are netting needles likewise of bone, ivory, wood and
+tortoise-shell for twine and thick materials; these are without hole,
+fig. 612.
+
+[Illustration: FIG. 611. NETTING NEEDLE OF STEEL.]
+
+[Illustration: FIG. 612. NETTING NEEDLE OF IVORY.]
+
+The thread must be wound on very tightly, and not too much of it at a
+time, that the needle may slip easily through the loops. The mesh, or
+spool, fig. 613, whether of ivory, bone, steel or wood, should be smooth
+and round and of the same thickness throughout, so that the loops, made
+upon it, may be all of one size and easily slipped off.
+
+[Illustration: FIG. 613. MESH OR SPOOL OF IVORY.]
+
+For long loops a flat mesh is best, and in all cases, the needle and
+mesh should be selected with a view, both to the material employed, and
+the size of loop required.
+
+In addition to these two implements, a cushion, weighted with lead will
+be required, to pin the foundation loop to, on which the first row of
+netting is worked.
+
+MATERIALS SUITABLE FOR NETTING.--These, of course depend on the
+purpose of the netting: silk, twine, wool and cotton, can all be used
+and each possesses its advantages and disadvantages. Silk has the finest
+gloss but when it is strongly twisted it is very apt to knot, and when
+loosely twisted, does not make firm knots. It is difficult to get linen
+thread with a smooth uniform twist and moreover it soon frays in the
+working; wool is too elastic a fibre and is unsuitable for washing
+purposes, cotton remains therefore, in every respect the most desirable
+material, being both smooth and uniformly twisted; as qualities, more
+especially adapted for netting we may mention the following: Fil à
+pointer D.M.C, Cordonnet 6 fils D.M.C (crochet cotton), Fil à dentelle
+D.M.C (lace thread), and even Coton à tricoter D.M.C[A] (knitting
+cotton).
+
+NETTING STITCHES.--The loops are always the same--four-cornered
+whether they be square or oblong--and connected together, though secured
+and rendered independent of one another by knots. By different ways of
+passing the thread over the mesh and connecting the loops together, the
+following stitches are produced: 1° plain loop, 2° double loop, 3°
+oblong loop, 4° honeycomb loop, 5° twisted loop.
+
+[Illustration: FIG. 614. FIRST POSITION OF THE HANDS.]
+
+1° PLAIN LOOP. FIRST POSITION OF THE HANDS (fig. 614).--Every kind of
+netting requires a foundation loop, from 10 to 20 c/m. long, made either
+of Cordonnet 6 fils D.M.C Nos. 3 to 10, or Fil à pointer D.M.C No.
+10[A], which is pinned to the cushion. Fasten the working thread to the
+foundation loop; then take the mesh in the left hand, holding it between
+the thumb and forefinger, with the other fingers extended beneath. Take
+the needle filled with thread in the right hand and pass the thread
+downwards over the mesh and over the second, third and fourth fingers,
+inside, carry it up behind the third finger and lay it to the left under
+the thumb by which it has to be held fast.
+
+[Illustration: FIG. 615. SECOND POSITION OF THE HANDS.]
+
+SECOND AND THIRD POSITION OF THE HANDS (figs. 615 and 616).--Carry the
+thread down behind the second, third, fourth and fifth fingers, and put
+the needle through the loop on the fingers and behind the mesh, through
+the foundation loop, thus forming a second loop, which you hold back
+with the little finger of the left hand. Then gradually drawing up the
+thread that runs from the mesh, let go the loop held down by the thumb;
+then by degrees let go also, the loop which lies over the second, third
+and fourth fingers, still holding the last loop fast with the little
+finger; finally you release this too and pull up the knot thus formed
+close to the mesh with the right hand. This completes the stitch. The
+next stitches are made in the same way; whether they are to serve for
+casting on or for a netted foundation. The mesh is drawn out at the end
+of each row, the work turned and the mesh held beneath the last row, in
+readiness for the next, in making which you pass your needle through
+each loop. These diamond-shaped loops form a diagonal net.
+
+[Illustration: FIG. 616. THIRD POSITION OF THE HANDS.]
+
+2° DOUBLE LOOP.--To make a double loop put the thread two or three
+times round the mesh.
+
+3° OBLONG LOOP.--For oblong loops, the knots must be made a little
+distance from the mesh.
+
+4° HONEYCOMB LOOP.--Make an oblong loop, pass the thread round the
+fingers, but not over the mesh as in plain netting, put the needle, not
+into the loop of the previous row, but between the loop, just made. The
+knot which is made in the same way as in plain netting, must be drawn
+close up to the mesh; the two threads of the loop should lie side by
+side on the mesh. The loops in honeycomb netting are six-sided.
+
+5° TWISTED LOOPS.--Pass the thread, as in plain netting, over the mesh
+and fingers, but before letting the thread which is under the thumb go,
+pass the needle from right to left under the loop you are making and the
+thread, and only then draw up the knot.
+
+Although in netting the loops cannot be formed in as many different ways
+as in knitting or crochet, they admit of a certain variety, as the
+following explanations will show.
+
+PATTERNS PRODUCED IN NETTING BY USING MESHES OF DIFFERENT
+WIDTHS.--Plain netting can be varied by making one row of loops over a
+large mesh and one over a small one, or several rows over the large and
+several over the small, alternately, changing the meshes at regular
+intervals.
+
+[Illustration: FIG. 617. PATTERNS PRODUCED IN NETTING BY INCREASING AND
+DECREASING.]
+
+PATTERNS PRODUCED IN NETTING BY INCREASING AND DECREASING (fig.
+617).--Patterns of this kind are made by netting the meshes together in
+regular sequence and taking up as many meshes as you have netted
+together, or vice versa. You may increase and decrease in the same rows,
+or at an interval of so many rows.
+
+[Illustration: FIG. 618. LOOSE LOOPS IN CLUSTERS.]
+
+Two sizes of thread should be used for this patterns. To show the
+relation they should bear to one another, we instance: Fil à pointer
+D.M.C No. 30 with Fil à dentelle D.M.C No. 50[A], or Coton à tricoter
+D.M.C Nos. 14 and 30[A], with Coton à tricoter D.M.C No. 50[A], or
+Coton à repriser D.M.C No. 25 with No. 100.[A]
+
+Begin by 3 rows of plain netting with the finer thread over the small
+mesh, followed by one row with the coarser thread over the large mesh;
+then, with the coarse thread over the large mesh, one row, in which you
+net every two loops together and one row, with two loops in every one,
+so that the number of loops remains the same. These are followed by 3
+rows of plain netting with the fine thread on the small mesh.
+
+[Illustration: FIG. 619. LOOSE LOOPS IN CLUSTERS. WORKING DETAIL OF FIG.
+618.]
+
+LOOSE LOOPS IN CLUSTERS (figs. 618 and 619).--These clusters of loose
+loops are made in the following manner:
+
+1st row--one loop, the knot of which must be a little distance from the
+mesh; put the thread over the mesh and the needle through the loop where
+the knot is; repeat this three or four times, making the loops all of
+the same length. Then unite all the loops with one knot, carrying the
+needle from right to left, round the loops, instead of putting it
+through the loop of the previous row.
+
+2nd row--make one loop over each loop of the first row, leaving out the
+loops that form the cluster.
+
+As may be gathered from the drawing, many different patterns can be
+worked upon the netting in this manner.
+
+[Illustration: FIG. 620. NETTING COMPOSED OF PLAIN, DOUBLE AND OBLONG
+LOOPS.]
+
+NETTING COMPOSED OF PLAIN, DOUBLE AND OBLONG LOOPS (fig.
+620).--Netting composed of large and small loops is the kind generally
+used as a groundwork for embroidery. The loops of it are straight;
+diamond netting will serve the same purpose, but as it is less commonly
+used we have given the preference to the straight.
+
+The whole first row consists of a double and a plain loop alternately;
+the second, entirely of oblong loops, which are made by passing the
+thread only once over the mesh, and so, that in netting on the double
+loop, the knot is brought close to the needle, where as, in netting the
+plain loop, it hangs free; so that, as shown in fig. 620, all the loops
+of the 2nd row are of the same length. In the 3rd row, which is like the
+first, the plain loops should come between the small holes and the
+double ones between the large holes.
+
+[Illustration: FIG. 621. CIRCULAR NETTING COMPOSED OF LONG AND SHORT
+LOOPS.]
+
+CIRCULAR NETTING COMPOSED OF LONG AND SHORT LOOPS (fig. 621).--Make
+thirty or thirty one loops over a large mesh with a very stout material,
+such as Fil à pointer D.M.C No. 20, or a double thread of Cordonnet 6
+fils D.M.C No. 30, then draw up the thread on which the loops are
+strung, as tightly as possible, so as to form quite a small ring for the
+centre, and fasten off.
+
+For the next row, also made in coarse thread, fasten the thread on to a
+long loop and make one loop into each loop of the first row, over a
+small mesh. Use the same mesh for all the subsequent rows, which should
+be worked in a finer thread, such as Cordonnet 6 fils D.M.C No. 50 or
+60.
+
+If you want to avoid fastening on the thread afresh for each row, make a
+loop over the thumb.
+
+MAKING LOOPS OVER THE THUMB.--Put the thread, as for a plain loop over
+the mesh and fingers, and put the needle through the loop, likewise as
+for a plain loop, but before tightening the knot, draw the mesh out of
+the loop just made and make it exactly as long as the loop above.
+
+[Illustration: FIG. 622. CIRCULAR NETTING FORMED BY INCREASES.]
+
+CIRCULAR NETTING FORMED BY INCREASES (fig. 622).--Make 10 loops on the
+foundation loop, close the ring, then go on, making a row with one knot
+in the first loop and two knots in the second, until the net attains the
+right circumference; in the subsequent rows, increase by one loop, that
+is to say, make two knots in each of the previous increases.
+
+[Illustration: FIG. 623. SQUARE OF NETTING. BEGUN.]
+
+SQUARE OF NETTING (figs. 623 and 624).--To make squares of netting
+with straight loops, begin by making two loops or three knots. Make two
+knots in each of the following rows so that each row is increased by one
+loop. Continue to increase until you have one loop more than the square
+should number.
+
+[Illustration: FIG. 624. SQUARE OF NETTING. COMPLETED.]
+
+Following this row with the extra stitch, make a row without either
+increase or intake and begin the intakes in the next row, joining the
+two last loops of each row together by a knot. Finish the two last loops
+over the thumb.
+
+[Illustration: FIG. 625. SQUARE OF NETTING BEGUN FROM THE MIDDLE.
+BEGUN.]
+
+[Illustration: FIG. 626. SQUARE OF NETTING BEGUN FROM THE MIDDLE.
+COMPLETED.]
+
+SQUARE OF NETTING BEGUN FROM THE MIDDLE (figs. 625 and 626).--Instead
+of beginning a square from the corner, in the manner just described, it
+may be begun from the middle.
+
+[Illustration: FIG. 627. STRIPE OF STRAIGHT NETTING EDGED WITH EMPTY
+LOOPS.]
+
+Cast on the required number of loops, make an intake in each row, by
+omitting to take up the last loop of a row. In coming back, your first
+knot will thus be made over the last loop but one of the previous row,
+fig. 625. To complete the square, fasten the thread on again, to the end
+of the thread of the last row, then make a similar to it, and repeat the
+same rows you made at the beginning (see fig. 626).
+
+[Illustration: FIG. 628. STRIPE OF STRAIGHT NETTING.]
+
+STRIPES OF STRAIGHT NETTING (figs. 627 and 628).--These can be begun
+and finished in two ways. The simplest way, more especially when they
+are to be embroidered afterwards, is to cast on the necessary number of
+loops, to decrease on one side by dropping a loop, fig. 627, or by
+joining two loops together with a knot, fig. 628, and to increase on the
+other side, by making two knots over one loop.
+
+Great care must be taken not to change the order of the intakes and
+increases, as any mistake of the kind would break the lines of squares,
+and interfere with the subsequent embroidery, unless there happened to
+be more loops in the stripe than stitches in the pattern, in which case
+the superfluous loops might be cut away when the embroidery is finished.
+
+STRAIGHT NETTING WITH A SCALLOPED EDGE (fig. 629).--The second way of
+making stripes of straight netting is to begin by a square. After making
+two loops on the foundation loop, make rows with increases, until you
+have the required number of loops. Then make an increase in every row to
+the left and leave the last loop empty in every row to the right.
+Continuing the increases on the left, you net 4 rows, without
+increasing or decreasing on the right, whilst in the next 4, you again
+leave the outside loop empty.
+
+[Illustration: FIG. 629. STRAIGHT NETTING WITH A SCALLOPED EDGE.]
+
+SQUARE FRAME OF NETTING (fig. 630).--Handkerchief, counterpane and
+chair-back borders can be netted in one piece, leaving an empty square
+in the centre. After casting on the loops as for an ordinary square of
+netting, letter _a_, increase them to double the number required for the
+border. Thus, for example, if the border is to consist of 3 squares, you
+make 6 loops, then leave 3 loops empty on the left and continue to work
+to the right and decrease to the left, up to the dotted line from _c_ to
+_c_. After this you begin to decrease on the right and increase on the
+left, up to the dotted line from _e_ to _e_.
+
+[Illustration: FIG. 630. SQUARE FRAME OF NETTING.]
+
+Leaving the right side of the net, you now fasten on the thread at _c_,
+where the 3 empty loops are, and here you make your increases on the
+right side and your intakes on the left, till you come to the corner,
+from whence you decrease on the right and increase on the left, up to
+letter _g_. Stop on the left side and then work from left to right,
+passing over the row that is marked _e_. The fourth corner, letter _b_,
+is worked like any other piece of straight netting, with an intake in
+each row, until there are only two loops left.
+
+[Illustration: FIG. 631. DIAGONAL NETTING WITH CROSSED LOOPS. ORIGINAL
+SIZE. MATERIALS--For the netting: Cordonnet 6 fils D.M.C Nos. 10 to 30,
+or Fil à dentelle D.M.C Nos. 25 to 40.[A] For the darning stitches:
+Coton à tricoter D.M.C Nos. 12 to 20, or Coton à repriser D.M.C Nos. 12
+to 50.[A]]
+
+DIAGONAL NETTING WITH CROSSED LOOPS (figs. 631 and 632). To work this
+simple and effective pattern, begin by making a stripe of plain netting,
+14 loops in width, for the middle. When it is long enough for your
+purpose, take up all the loops on one side on a strong thread; fasten
+the work to the cushion again and work 3 rows, along the other edge in
+the following manner.
+
+1st row--long loops, to be made by the thread being passed thrice over
+the mesh.
+
+2nd row--here, 3 loops are so made as to cross each other, that is, you
+begin by putting your netting-needle at first into the 3rd loop,
+counting from left to right, then into the 1st, and lastly into the
+middle one of the three, so that the right loop leans to the left and
+the left one to the right.
+
+3rd row--one plain loop in each of the loops of the previous row. You
+now, draw out the thread, run in on the other side, and run it in
+through the loops last made, in order to make 3 rows again, as above
+described, on the bottom side.
+
+[Illustration: FIG. 632. WORKING DETAIL OF FIG. 631.]
+
+When this is done, you begin the scallops, composed of 12 knots or 11
+loops, or 14 loops and 15 knots = net 5 rows, leaving the outside loops
+empty, fig. 632, stop on the left and proceed with: 6 knots or 5 plain
+loops, 2 or 3 long loops with 3 overs, 3 plain loops = turn the work = 3
+plain loops, 3 knots = turn the work = 2 loops with 3 overs, 3 knots =
+turn the work = 2 plain loops, 2 knots = turn the work = cross 2 or 3
+loops, according to the number you crossed in the middle, then carry the
+working thread to the middle of the long loops, and connect them by 2
+knots = pass the needle under the knot of the last long loop, then, on
+the right side net: 3 plain loops = turn the work = 3 plain loops, 3
+knots = turn the work = 2 plain loops, 2 knots = turn the work and
+continue the rows of plain netting until you have only 2 loops left.
+
+To reach the next scallop, pass the netting-needle through each hole of
+the net and round each thread.
+
+Finish off the scallops with a row of plain netting, made with a coarser
+thread than the foundation.
+
+[Illustration: FIG. 633. NETTED FRINGE.
+
+MATERIALS--For the netting: Cordonnet 6 fils D.M.C Nos. 10 to 30 or Fil
+à pointer D.M.C No. 30.[A]
+
+For the fringes: Soutache D.M.C No. 3 or Lacets superfins D.M.C No.
+4.[A]]
+
+These netted edgings are generally made in unbleached cotton, because
+the patterns afterwards embroidered upon them in coarse, white knitting
+or darning cotton, show best upon it. The thread for this purpose should
+be used double, and the pattern worked in darning stitches, made over 8
+squares of the netting; the 8th knot is then encircled by a loop and the
+thread carried down over 8 squares and a loop again made round the 8th
+knot. After making 4 rows of stitches on the netting, cut 3 bars between
+the rows of white stitches.
+
+The row of openwork produced in this way has a very good effect and
+greatly improves the look of the lace.
+
+NETTED FRINGE (fig. 633).--Plain netting, pretty as it is, looks
+rather poor, unless ornamented with embroidery of some kind. The double
+netting, illustrated in fig. 633, will prove a welcome novelty. The
+footing is worked in crochet, with braid, secured on both sides by chain
+stitches.
+
+Into every fourth of these chain stitches, net one loop, missing the 3
+between. At the end of the row, turn the work and make the knot in the
+middle of the 3 chain stitches, so that the 2 loops of netting cross
+each other.
+
+In the second, or rather the third row, the knots are again made first
+into the front loops, into those of the first row that is; in the fourth
+row, into those of the second row.
+
+When the stripe is sufficiently wide, finish it off with tassels, made
+of Soutache D.M.C No. 3. Instead of tying up the lengths of braid with a
+thread, twisted round them and fastened off with a stitch, make 2 looped
+knots round them with an end of the braid, where the neck of the tassel
+should come.
+
+[Illustration: FIG. 634. WIRE FRAME FOR EMBROIDERED NETTING.]
+
+EMBROIDERED NETTING.--Embroidered netting, also known as Filet
+Guipure, Cluny Guipure, and Richelieu Guipure, is a netted ground, with
+patterns of one kind or another, worked upon it in a variety of
+stitches.
+
+IMPLEMENTS REQUIRED FOR EMBROIDERED NETTING.--Besides scissors,
+needles and thread, a light steel frame is the only thing required, and
+this renders embroidered netting very popular.
+
+The needles should be long, and blunt; those called saddlers needles are
+the best.
+
+WIRE FRAME FOR EMBROIDERED NETTING (fig. 634).--The frame on which the
+net is stretched should be made of strong iron wire, that will not bend
+in the using. In shape, it may be square or oblong, according to whether
+squares or edgings are to be made upon it, but the sides must be
+straight, so that the net can be evenly stretched.
+
+[Illustration: FIG. 635. MOUNTING THE NETTING ON THE FRAME.]
+
+This wire frame must be covered, first with wadding or tow, as shown in
+fig. 634, and then with silk ribbon, which must be wound tightly round
+it, and more particularly at the corners, very closely, so that it may
+be quite firm and not twist about when the netting is sewn in. The ends
+of the ribbon should be secured by two or three stitches.
+
+[Illustration: FIG. 636. MOUNTING THE NETTING ON THE FRAME WITH AN
+AUXILIARY TAPE.]
+
+MOUNTING THE NETTING ON THE FRAME (fig. 635).--When the netting is
+exactly the size of the inside of the frame, it need only be secured to
+it with overcasting stitches, set very closely at the corners.
+
+MOUNTING THE NETTING ON THE FRAME WITH AN AUXILIARY TAPE (fig.
+636).--When the netting, is smaller, the space between it and the frame,
+must be filled up with strong very evenly woven, linen tape, sewn on all
+round the netting.
+
+The tape must be very tightly held in the sewing, so that it even forms
+little gathers all round; this will help you to stretch the netting in
+mounting it without injuring it, and is especially necessary when the
+netting is not quite evenly made. Fig. 636 shows how the tape is sewn
+on, the fold that has to be made at the corners, and the way to fix the
+netting into the frame.
+
+Long stripes or large pieces of work, can be mounted on waxcloth, but we
+cannot recommend shortening the preparatory work in this manner, as the
+squares of netting are never so regular as when they are made in a
+frame.
+
+MATERIALS FOR EMBROIDERED NETTING.--Thick threads with a strong twist
+are the best for darned, or embroidered netting, such as Cordonnet 6
+fils D.M.C[A] (crochet cotton), or Fil à dentelle D.M.C[A] (lace
+thread).
+
+There are however certain old kinds of embroidered netting made in soft
+loose silk, for imitating which it is best to use, Coton à repriser
+D.M.C[A] that being quite the best substitute for the original material.
+
+THE STITCHES USED FOR EMBROIDERED NETTING.--These are so multifarious
+and admit of so many different combinations, that not a few of them
+seeing that be quite new to our readers, willsome we have never yet come
+across in any book on the subject that has come under our notice.
+
+ORDINARY DARNING STITCH (fig. 637).--The simplest stitch of all for
+covering a netted ground is the ordinary darning stitch; drawing the
+thread, that is to say, in and out of the number of squares, prescribed
+by the pattern, and backwards and forwards as many times as is necessary
+to fill them up.
+
+[Illustration: FIG. 637. ORDINARY DARNING STITCH.]
+
+[Illustration: FIG. 638. LINEN STITCH. FIRST STITCHES.]
+
+The number of stitches depends, to a certain extent, on the material
+employed; with Coton à broder D.M.C for example, you will have to make
+more stitches than with one of the coarser numbers of Coton à repriser
+D.M.C.
+
+This is the stitch generally used for reproducing a cross stitch pattern
+on a netted ground and is especially to be recommended for covering
+large surfaces, curtains, counterpanes and so forth, as it is quickly
+done and shows up the pattern well.
+
+[Illustration: FIG. 639. LINEN STITCH. SECOND STITCHES.]
+
+[Illustration: FIG. 640. LINEN STITCH. FORMATION OF THE CORNERS.]
+
+LINEN STITCH (figs. 638 and 639).--This is the stitch most often met
+with in the old embroideries, it being the one the solid parts of the
+leaves and flowers, and the borders are generally worked in.
+
+Fasten on the thread to a knot of the netting and carry it twice to and
+fro, over and under the threads of the netting, so that at the end of
+the row, every second thread passes under and over the thread of the
+netting, as it is carried upwards again.
+
+This constitutes the first layer of threads, the second completes the
+linen stitch and is made in the same way, only across the first,
+alternately taking up and missing a thread as is done, in darning. The
+thread may also be carried both ways over the threads of the squares. In
+this case you must draw an uneven number of threads through the squares,
+otherwise the crossing of the threads will be irregular in the last
+square.
+
+LINEN STITCH. FORMATION OF THE CORNERS (fig. 640).--When linen stitch
+is used for the border of a pattern, and a corner has to be formed, you
+begin by carrying the threads over a given number of squares. This first
+layer, especially in the case of long stripes, must be kept very slack,
+and to ensure the threads being all of the same length, lay a fine mesh
+or a thick knitting needle at one end and stretch the threads over it.
+After carrying the second layer across a few squares, take away the mesh
+or needle. The threads of the first layer become gradually shorter, from
+the passage of the cross threads in and out between them, and end by
+being just long enough to prevent the last embroidered squares from
+being too tightly stretched.
+
+On reaching the corner, you cross the threads of the next row, as shown
+in fig. 640. The first threads of the second side form the foundation of
+the corner square; from the second corner square you pass to the third;
+from the third to the fourth, carrying your thread alternately over and
+under the threads that were stretched for the first corner.
+
+LOOP STITCH (POINT D'ESPRIT) (figs. 641 and 642).--This is a light
+open stitch, chiefly used for making a less transparent foundation than
+plain netting. Fasten the thread to the middle of one bar of the
+netting, then make a loose loop to the middle of the top bar of the same
+square, fig. 641, by carrying the thread, from left to right, over one
+vertical and one horizontal bar of the net and inserting the needle
+downwards from above under the bar and in front of the working thread.
+For the second row back, also represented in fig. 641, you draw the
+needle through, underneath the bar above the loop stitch and make the
+loop upwards from below; in doing this the working thread must lie to
+the left, in front of the needle. Fig. 642 shows how to join the rows
+and pass the needle through the stitches of the preceding row.
+
+[Illustration: FIG. 641. LOOP STITCH. 1ST AND 2ND COURSE OF THE THREAD.]
+
+[Illustration: FIG. 642. LOOP STITCH. SEVERAL ROWS COMPLETED.]
+
+[Illustration: FIG. 643. STAR FORMED OF LOOSE THREADS LAYING THE
+UNDERNEATH THREADS.]
+
+[Illustration: FIG. 644. STAR FORMED OF LOOSE THREADS. LAYING THE UPPER
+THREADS.]
+
+STAR COMPOSED OF LOOSE THREADS (figs. 643, 644, 645).--This star
+covers 16 squares of netting. Fasten the thread to the middle knot of
+the 16 squares, then carry it diagonally over 4 squares, three times
+from left to right under a knot of the foundation and three times from
+right to left. In this way, the bottom rays of the star are formed. For
+the stitches that complete the figure, you start from the middle and
+following the direction of the little arrow in the illustration, you
+cover the netting with 3 horizontal and 3 vertical threads, carried
+over 4 squares. When you have laid the vertical threads, slip the needle
+4 or 5 times round in a circle, under the diagonal and over the straight
+threads, but always over the bars of the netting. This completes the
+star, as it is represented in fig. 645. Care must be taken to make the
+stitches lie quite flat side by side, and not one on the top of the
+other.
+
+[Illustration: FIG. 645. STAR FORMED OF LOOSE THREADS. FINISHED.]
+
+DARNING STITCH (POINT DE REPRISE) (figs. 646 and 647).--Little flowers
+and leaves are generally executed in this stitch; the first course of
+the thread is shown in fig. 646. Leaves can be made with one, two or
+three veins. Carry the needle, invariably from the middle, first to the
+right and then to the left, under the threads of the foundation and push
+the stitches close together, as they are made, with the point of your
+needle. This you will be able to do most easily by holding the work so
+as to make the stitches towards you.
+
+[Illustration: FIG. 646. LEAVES WORKED IN DARNING STITCH. BEGUN.]
+
+[Illustration: FIG. 647. LEAVES WORKED IN DARNING STITCH. COMPLETED.]
+
+For a leaf with only one division or vein, like the left leaf in fig.
+646, merely run the needle through the middle of the threads, whereas
+for a leaf with two or three veins, you must run it, over and under,
+either one, or two threads (see the right leaf in fig. 646).
+
+In working leaves of this kind in darning stitch, you must draw your
+stitches at the top and bottom of the leaf rather tighter than in the
+middle, so as to give them the proper shape. If you wish to make them
+very slender at the bottom, you can finish them off with a few
+overcasting stitches.
+
+Fig. 647 represents two leaves completed, one with one vein and the
+other, with two.
+
+POINTED SCALLOPS IN DARNING STITCH (fig. 648).--The simplest way to
+work these scallops is to carry a thread, as shown in the illustration,
+to and fro over the square, from the knot in one corner to the middle of
+the bar above and downwards to the opposite knot, round which the thread
+is carried and passed upwards again to the middle. As the scallop must
+always be begun from the top, you will have, two foundation threads on
+one side and three on the other. Here likewise, you must push the
+threads as closely together as possible with the needle.
+
+[Illustration: FIG. 648. POINTED SCALLOPS IN DARNING STITCH.]
+
+[Illustration: FIG. 649. POINTED SCALLOPS IN BUTTONHOLE STITCH.]
+
+POINTED SCALLOPS IN BUTTONHOLE STITCH (fig. 649).--Another quite as
+pretty and easy way of working pointed scallops on a netted foundation
+is by making two buttonhole stitches before crossing to the opposite
+side. As shown in the foregoing illustration, you begin by stretching
+single or double foundation threads across; then beginning at the point,
+you make, alternately right and left, 2 buttonhole stitches over the
+foundation threads, so that the working thread is only carried across to
+the opposite side after every second stitch.
+
+VEINED POINTED SCALLOPS (fig. 650).--A third way of making pointed
+scallops is by first stretching a thread to and fro across the middle of
+the square, after which you slip the needle from left to right under the
+middle thread, and underneath the left bar from above. Then you carry
+the needle, from right to left, over the foundation thread and under the
+right bar and so on. The one thread must be drawn tightly round the
+other, in order that the stitches may form close and evenly shaped
+veins, like small cords, on the wrong side of the scallop. There must be
+enough stitches to completely cover the foundation thread that crosses
+the middle of the square.
+
+[Illustration: FIG. 650. VEINED POINTED SCALLOPS.]
+
+[Illustration: FIG. 651. POINTED SCALLOPS IN VENETIAN STITCH.]
+
+POINTED SCALLOPS IN VENETIAN STITCH (fig. 651).--The prettiest
+scallops of all are those worked in Venetian stitch. You begin, by
+making from 8 to 10 buttonhole stitches over one bar of the netting,
+then you work on with the same stitch backwards and forwards, making one
+stitch less in each row, until you come to the one which forms the point
+of the scallop and is fastened to the bar above; you carry the working
+thread back on the wrong side to the lower bar, and then under the
+buttonhole stitches to the next square of the netting. Scallops worked
+in this manner, can be overcast round the edges in the way described
+further on, in fig. 660.
+
+WHEELS EMBROIDERED ON NETTING (figs. 652 and 653).--To make wheels or
+spiders, as they are also called, you have first to fasten the thread to
+the middle knot of four squares, thence you carry it diagonally right
+and left, fig. 652, right detail, across the empty squares of netting
+and the knot, and return to the middle, overcasting your first thread
+by the way, so as to form a closely twisted cord. This is called cording
+a thread.
+
+Having reached the centre, carry the working thread round and round,
+under and over the corded threads and under the bars of the netting till
+the wheel covers half the bars.
+
+[Illustration: FIG. 652. LAYING THE THREADS FOR A WHEEL AND BEGINNING OF
+THE WHEEL.]
+
+[Illustration: FIG. 653. WHEELS WORKED IN TWO WAYS.]
+
+Fig. 653 shows, on the right, a finished wheel, and on the left, another
+way in which it can be made, and indicates the course of the thread over
+and under the lines, as in a darn. These details show also how, when the
+foundation thread of the wheel starts from a corner, it is left single
+in the first square until the wheel is finished; then the needle is
+slipped back along the little spoke, opposite to the single thread, and
+through the wheel, and the single thread is corded like the others.
+
+[Illustration: FIG. 654. RIBBED WHEELS.]
+
+[Illustration: FIG. 655. RIBBED SQUARES OR LOZENGES.]
+
+RIBBED WHEELS (fig. 654).--Make the foundation of the wheels as
+before, over 8 threads. To form the ribs at the back of the wheels, see
+fig. 654; make a back stitch, on the right side, over a bar of the
+netting, and carry on the needle under one bar, so that the thread that
+lies outside always crosses 2 bars of the netting.
+
+In this case you must make circles of thread enough, to cover the bars
+completely, not half, as before.
+
+The same stitches, as fig. 654 shows, can be made on either side of the
+embroidery, and so as to form, either a square or a lozenge (see fig.
+655).
+
+[Illustration: FIG. 656. WHEELS SET WITH BUTTONHOLING.]
+
+WHEELS SET WITH BUTTONHOLING (fig. 656).--A very pretty lace-like
+effect is produced by encircling the wheels in large squares of netting
+with a double setting of stitches. The left detail of fig. 656 shows how
+the thread, having been passed under the wheel and twisted once round
+the single thread, is carried all round the square and forms 8 loops.
+
+The arrow shows the way in which the loops are taken up, and the first
+ring of stitches round the wheel is finished.
+
+The second detail of the same figure explains the course the thread,
+that forms the second ring, has to take through the loops and between
+the bars; whilst the white line shows the passage of the thread over the
+second ring. The third detail represents a wheel, completed.
+
+[Illustration: FIG. 657. STAR WITH ONE-SIDED BUTTONHOLE STITCHES.]
+
+STAR WITH ONE-SIDED BUTTONHOLE STITCHES (fig. 657).--The pattern
+represented in fig. 657, is the quickest to work that we know of. Two
+buttonhole stitches made upon the outside bar of a square and a simple
+crossing of the thread at the bottom, produce elongated triangles which
+should always be begun from the knot. Two triangles stand exactly
+opposite to each other in one square, and the square that comes in the
+middle of the four thus filled, is ornamented with a small wheel.
+
+[Illustration: FIG. 658. ROUNDED CORNERS ON NETTING.]
+
+[Illustration: FIG. 659. LINEN STITCH SET WITH DARNING STITCH.]
+
+[Illustration: FIG. 660. LINEN STITCH SET WITH CORD STITCH.]
+
+ROUNDED CORNERS OF NETTING (fig. 658).--Darning stitches, made over a
+thread carried diagonally across one square and the adjacent corners of
+that and two other squares, produce the figure illustrated in fig. 658.
+The accompanying detail shows the mode of working.
+
+The number of stitches depends on the material you use; there should be
+no more than can lie quite flat, side by side, on the diagonal thread.
+
+LINEN STITCH, SET WITH DARNING STITCH (fig. 659).--There are some
+patterns it would hardly be possible to work on netting unless you could
+soften the outlines by darning stitches, as shown in the foregoing
+figure.
+
+When employed as a setting to linen stitch, there should be fewer than
+in fig. 658; you may also, instead of interrupting them at every corner,
+carry them all round a square, (see the right detail of the figure).
+
+LINEN STITCH SET WITH CORD STITCH (fig. 660).--Many figures are also
+either corded or edged with twisted thread; both ways are represented
+in the illustration. In the latter case you can use the same thread as
+for the linen stitch, or if you wish the setting to be very pronounced,
+a thicker one. For instance, if the netting be made of Cordonnet 6 fils
+D.M.C No. 25[A] we recommend Fil à pointer D.M.C No. 15 or 20[A] for
+the setting. This difference of material is especially noticeable in the
+old Cluny Guipure, where the figures worked in linen stitch are edged
+with a thread like a cord. But if the linen stitch be bound with cord
+stitch, the same thread must be used for it, as for the foundation. A
+soft material, like Coton à repriser, makes the best padding for the
+overcasting stitches.
+
+[Illustration: FIG. 661. FLOWER IN DOT STITCH ON A FOUNDATION OF LINEN
+STITCH.]
+
+FLOWER IN DOT STITCH ON A FOUNDATION OF LINEN STITCH (fig. 661).--With
+the help of this stitch, which is described in the chapter on white
+embroidery and represented in fig. 179, a great variety of little
+supplementary ornaments can be made, on every description of netted
+ground.
+
+[Illustration: FIG. 662. BORDERING IN BUTTONHOLE STITCH.]
+
+BORDERING IN BUTTONHOLE STITCH (fig. 662).--Scalloped edges in netting
+should be buttonholed; 2 or 3 padding threads should be run in first,
+following the bars of the netting, over which the buttonholing is done;
+the bars of the netting must not be cut away until the edge be finished.
+
+CUT WORK IN EMBROIDERED NETTING (fig. 663).--Cut work here means half
+covering the bars of the netting with button-hole stitches and half
+cutting them away with scissors. The inner bars are frequently
+ornamented with a double buttonhole edging and knotted picots, see figs.
+698 and 699 in the next chapter. You slightly separate the stitches of
+the first row of buttonholing so as to be able to introduce the thread
+of the second row between them.
+
+[Illustration: FIG. 663. CUT WORK IN EMBROIDERED NETTING.]
+
+[Illustration: FIG. 664. STRAIGHT LOOP STITCH.]
+
+STRAIGHT LOOP STITCH (fig. 664).--In the first row you carry the
+thread over one bar and slip it through behind a knot; in the second you
+do the same thing, only that above, your needle will pass under 3
+threads, two of them the threads of the loop of the first row and the
+third a bar of the net. In every square 4 threads cross each other.
+
+[Illustration: FIG. 665. WAVED STITCH.]
+
+WAVED STITCH (fig. 665).--This stitch, which forms a close waved
+ground, is produced by passing the thread in each row of the netting
+over a square and behind a knot. When the pattern admits of it, as it
+mostly does, a considerably thicker thread is used for this stitch and
+for the stitches represented in figs. 667, 668, 669 and 670, than that
+in which the netting is made. When the netted ground is of Fil à
+dentelle D.M.C No. 50,[A] the embroidery upon it may very well be done
+in Cordonnet 6 fils. D.M.C No. 10[A], or Fil à pointer D.M.C No. 30.[A]
+
+INTERSECTED LOOP STITCH (fig. 666).--Begin by covering the whole
+surface to be embroidered with plain loop stitches, then stretch threads
+diagonally across the squares of the netting and the loop stitches; one
+set of threads running over the stitches and under the knots of the
+netting, the other under the first and second threads of the loop
+stitches and over the first crossed threads and the knots.
+
+The laying and stretching of these threads must, it is hardly necessary
+to say, be systematically and regularly done.
+
+[Illustration: FIG. 666. INTERSECTED LOOP STITCH.]
+
+GROUND WORKED IN HORIZONTAL LINES (fig. 667).--Make half cross
+stitches over 4 squares of netting, by passing the thread alternately
+over and under 3 knots, and under 3 squares of the netting. In the
+second row, cross the threads over those of the first row, as is shown
+in our engraving.
+
+GROUND WORKED IN STITCHES PLACED ONE ABOVE THE OTHER (fig.
+668).--Cover a whole row of squares with cross stitches and leave 3 rows
+of squares empty. When you have a sufficient number of rows of cross
+stitches, take a long needle and pass it upwards from below, and from
+right to left, under the two bars of the third upper square; then pass
+downwards to the first square of the 3 bottom rows and under the bars
+from right to left, so as again to leave 3 squares between the fresh
+stitches. The next row of stitches is made in the same manner, so that
+the stitches are not only set contrary ways but reciprocally cover each
+other.
+
+LATTICED GROUND (fig. 669).--Begin by running the thread, to and fro,
+under two vertical bars and over three horizontal ones. When the ground
+is entirely covered, carry your thread from right to left, under the
+bars over which the first rows of threads are crossed; then take it over
+the long crosses, that correspond to 5 squares of netting, and pass it
+in the same line under the bars of the netting. In coming back, the long
+stitches cross each other over the stitches of the first rows.
+
+[Illustration: FIG. 667. GROUND WORKED IN HORIZONTAL LINES.]
+
+[Illustration: FIG. 668. GROUND WORKED IN STITCHES PLACED ONE ABOVE THE
+OTHER.]
+
+[Illustration: FIG. 669. LATTICED GROUND.]
+
+[Illustration: FIG. 670. GROUND WORKED IN RUSSIAN STITCH.]
+
+GROUND WORKED IN RUSSIAN STITCH (fig. 670).--Pass the thread from left
+to right, under a bar of the netting, carry it downwards over 4 squares
+and pass it again, from left to right, under the bar, then upwards,
+again over 4 squares of netting and so on. The stitches of the next rows
+are made in the same manner; you have only to see that the loops formed
+by the stitches all come on the same line of knots.
+
+GROUND WORKED IN TWO SIZES OF THREAD (fig. 671).--Herewith begins the
+series of stitches, referred to at the beginning of the chapter, copied
+in part from one of the oldest and most curious pieces of embroidered
+netting we have ever met with. The copies were worked with Cordonnet 6
+fils D.M.C No. 25 and écru Fil à dentelle D.M.C No. 70[A]; the former
+being used for the darning and the almond-shaped stitches between; the
+latter for the buttonhole stitches. Wherever two sizes of thread are
+used for one pattern, all the stitches in the coarse thread should be
+put in first and those in the fine, last.
+
+[Illustration: FIG. 671. GROUND WORKED IN TWO SIZES OF THREAD.]
+
+GROUND WITH WHEELS AND LOOP STITCH (fig. 672).--You begin with the
+coarse thread and finish all the wheels first, making them each over 4
+threads of the netting; then with the fine thread, you make loop
+stitches between them, in rows, as shown in figs. 641 and 642.
+
+GROUND WORKED IN DARNING AND LOOP STITCH (fig. 673).--The darning
+stitches are made in the coarse thread, over 4 squares of the netting,
+in a horizontal direction, with loop stitches, in the fine thread, made
+between them, over the same number of squares.
+
+[Illustration: FIG. 672. GROUND WITH WHEELS AND LOOP STITCH.]
+
+GROUND WORKED IN TWO SIZES OF THREAD (fig. 674).--Carry the coarse
+thread, from right to left, under the first knot of the netting, and
+then under the next, from left to right. This has to be done twice, to
+and fro, so that the squares of the netting are edged on both sides with
+a double layer of threads.
+
+When the whole foundation has been thus covered, take the fine thread
+and make loop stitches in the squares between the other rows of
+stitches, passing the needle for that purpose over the double stitch.
+Lastly, intersect the loop stitches with straight threads and pass the
+needle each time through the knot of the netting.
+
+[Illustration: FIG. 673. GROUND WORKED IN DARNING AND LOOP STITCH.]
+
+[Illustration: FIG. 674. GROUND WORKED IN TWO SIZES OF THREAD.]
+
+[Illustration: FIG. 675. GROUND WORKED WITH CROSS STITCHES IN ONE SIZE
+OF THREAD.]
+
+GROUND WORKED WITH CROSS STITCHES IN ONE SIZE OF THREAD (fig.
+675).--This pattern, very like the foregoing one, consists of 3 diagonal
+rows of stitches, worked to and fro, with cross stitches made over them.
+
+You may also begin with the cross stitches, in the fine thread, and work
+the triple stitches over them, in the coarse.
+
+GROUND WORKED WITH DARNING AND CORD STITCHES (fig. 676).--Patterns,
+executed chiefly in darning stitches, in a comparatively coarse thread,
+present a closer and heavier appearance than those we have been
+describing. Here, every other square of the netting is filled, as
+closely as possible, with stitches; the empty squares between are
+intersected diagonally with corded threads.
+
+[Illustration: FIG. 676. GROUND WORKED WITH DARNING AND CORD STITCHES.]
+
+[Illustration: FIG. 677. GROUND WORKED WITH SQUARES AND WHEELS.]
+
+[Illustration: FIG. 678. GROUND WORKED WITH SQUARES AND WHEELS.]
+
+GROUND WORKED WITH SQUARES AND WHEELS (figs. 677, 678, 679).--A ground
+very often met with in old embroidered netting, consists of diagonal
+lines of squares, closely filled with darning stitches, alternating with
+diagonal lines of squares, each with a small wheel in the middle.
+
+In fig. 678, the darning stitches, and the wheels, which are both worked
+with the same material, cover 4 squares of the netting.
+
+Larger expanses of netting may also be entirely filled with wheels, fig.
+679. To make a really satisfactory grounding of this kind, you should be
+careful always to carry your thread over the bars of the netting and
+under the threads that are stretched diagonally across.
+
+GROUND WORKED IN CROSS AND DARNING STITCH (fig. 680).--You begin, as
+before, by making the close darning stitches, and then proceed to the
+cross stitches. To give them the right shape, finish all the rows of
+stitches one way first; in the subsequent rows, that cross the first
+ones, you introduce the thread between the stitches that were first
+crossed.
+
+[Illustration: FIG. 679. GROUND WITH LARGE WHEELS.]
+
+GROUND OF GEOMETRICAL FIGURES (fig. 681).--This pattern, quite
+different from all the others, consists of simple geometrical lines.
+Fasten the thread to a knot of the netting, then carry it, always
+diagonally, under 3 other knots and repeat this 3 times, after which,
+carry it once round the bar of the netting, to fasten it, and back again
+to the knot which it already encircles, and from thence begin a new
+square. Owing to your having always to bring the thread back to the knot
+whence the next square is to begin, you will have 4 threads on two of
+the sides and 6 on the two others.
+
+[Illustration: FIG. 680. GROUND WORKED IN CROSS AND DARNING STITCH.]
+
+In the second and subsequent rows, the needle has to pass twice under
+the angles that were first formed, in order that, over the whole
+surface, all the corners may be equally covered and connected.
+
+NETTED INSERTION WORKED IN PLAIN DARNING STITCH (fig. 682).--The taste
+for ornamenting not only curtains but bed and table linen also, with
+lace and insertion of all kinds, to break the monotony of the large
+white surfaces, is becoming more and more general and the insertion here
+described will be welcome to such of our readers as have neither time
+nor patience for work of a more elaborate nature.
+
+The way to make straight netting has already been fully described in
+figs. 625, 626, 627, 628, 629 and 630, and darning stitch in fig. 637.
+
+To those who wish to be saved the trouble of making the netting
+themselves, we can strongly recommend various fabrics, intended to take
+its place, more especially Filet Canevas, which is an exact imitation of
+the finest hand-made netting. The centre part of the pattern in fig.
+682, is worked in rows of horizontal darning stitches, the narrow border
+in vertical ones.
+
+[Illustration: FIG. 681. GROUND OF GEOMETRICAL FIGURES.]
+
+[Illustration: FIG. 682. NETTED INSERTION WORKED IN PLAIN DARNING
+STITCH. MATERIALS--For the netting: Cordonnet 6 fils D.M.C No. 25.--For
+the darning stitch: Coton à broder D.M.C No. 25, or Coton à repriser
+D.M.C Nos. 12 to 50, white or écru.[A]]
+
+[Illustration: FIG. 683. EMBROIDERED GROUND OF NETTING. MATERIALS--For
+the netting: Fil à dentelle D.M.C Nos. 25 to 50. For the darning stitch:
+Cordonnet 6 fils D.M.C No. 15, or Fil à pointer D.M.C No. 30.--For the
+loop stitch: Fil à dentelle D.M.C or Cordonnet 6 fils D.M.C according to
+the size of the netting thread.]
+
+GROUND OF NETTING EMBROIDERED (fig. 683).--We have already had
+occasion, in the foregoing explanations, to point out the advantage of
+embroidering with two sizes of thread, but it is only in a piece of work
+of a certain size that it is possible really to judge of the excellent
+effect produced by the use of two threads of different sizes.
+
+The principal lines of the pattern, which are in darning stitch, are
+worked in a very coarse thread with a strong twist, Fil à pointer D.M.C,
+whilst the loop stitches are in Cordonnet 6 fils D.M.C.
+
+Our model was worked in écru thread but there is nothing to prevent
+several colours being introduced, for instance écru, black or
+Gris-Ficelle 462 for the netted foundation; Rouge-Cardinal 346, for the
+darning stitches, and Chiné d'or D.M.C green and gold or blue and gold,
+for the loop stitches and the threads that are carried across inside.
+
+[Illustration: FIG. 684. EMBROIDERED SQUARE OF NETTING. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 15 to 30, or Fil à dentelle D.M.C Nos. 15 to
+40, white or écru.[A]]
+
+EMBROIDERED SQUARE OF NETTING WITH TWO KINDS OF LACE SUITABLE FOR THE
+BORDER (figs. 684, 685, 686).--Large pieces of embroidered netting are
+generally made up of squares and stripes, joined together with ribbon
+and fine linen insertions. It is easier and less cumbrous to make the
+netting in separate pieces. Squares of different patterns can also be
+combined with crochet and pillow lace, in this case of course the
+squares have to be arranged with some system.
+
+Fig. 685 represents a lace edging intended for the square fig. 684,
+which shows how even in such a simple pattern as this, several colours
+may be successfully introduced.
+
+Fig. 686 is a handsomer and more elaborate pattern for the same kind of
+purpose. The loop stitches and the linen stitches should be worked in a
+very light shade; instead of the colour indicated at the foot of the
+engraving, Rouge-Géranium 353, Violet-Mauve 377 or Jaune-Rouille 365 may
+be used; for the netting and the loop stitches you may combine, with the
+first shade, two shades of Brun-Caroubier 303 and 357, with the second,
+two shades of Jaune-vieil Or 678 and 680 and with the third, two shades
+of Rouge-Cardinal 346 and 348.
+
+[Illustration: FIG. 685. LACE EDGING FOR THE SQUARE, FIG. 684.
+MATERIALS: The same as for fig. 684, and Or fin D.M.C pour la broderie
+No. 30. COLOURS--For the netting and the loop stitch: White or
+écru.--For the darning stitch: Brun-Caroubier 303 and Rouge-Grenat
+335.[A]]
+
+[Illustration: FIG. 686. LACE EDGING. MATERIALS: The same as for 684.
+COLOURS--For the netting: écru.--For the ground in loop and linen
+stitch: Bleu pâle 668.--For the bars in darning stitch: Gris-Tilleul 391
+and 393.[A]]
+
+PATTERN FOR GROUND (fig. 687).--The peculiar charm of this most
+unpretending pattern is chiefly due to the variety of material and
+colour introduced into it. The netted ground is made of dark brown
+Cordonnet 6 fils D.M.C No. 25, worked over, in the first instance, with
+loop stitches in a pale grey, which are afterwards connected by darning
+stitches in Coton à repriser Gris-Tilleul 392.
+
+[Illustration: FIG. 687. PATTERN FOR GROUND. MATERIALS--For the netting:
+Cordonnet 6 fils D.M.C Nos. 15 to 30. For the embroidery: Coton à
+repriser D.M.C No. 25. COLOURS: Brun-Havane 455, Gris-Noisette 423,
+Jaune-vieil-Or 680, Gris-Tilleul 391 and Rouge-Géranium 352.[A]]
+
+The same material in Rouge-Géranium, is used for the little centre
+squares and the pink crosses, and isolated darned squares are framed
+with loose cord stitches in Coton à repriser colour Jaune-vieil-Or 680.
+
+
+We can also recommend, for the same pattern, the following combination
+of colours, all to be found on the D.M.C colour card; namely, Bleu pâle
+668 for the netting; Chiné d'or, gold with dark blue for the loop
+stitches; Ganse turque D.M.C No. 12 (Turkish gold cord) for the darning
+stitches, between the loop stitches; Coton à broder or Cordonnet 6 fils
+in Rouge-Cornouille 450, for the detached darned squares and Coton à
+repriser, in Jaune-d'Or 667 for the setting of all the different parts
+of the pattern.
+
+[Illustration: FIG. 688. EMBROIDERY ON NETTING WITH DIFFERENT-SIZED
+LOOPS. MATERIALS--For the netting: Fil à dentelle D.M.C No. 40. For the
+embroidery: Coton à broder D.M.C No. 16, white or écru.[A]]
+
+EMBROIDERY ON NETTING WITH DIFFERENT-SIZED LOOPS (fig. 688).--The
+netting, described and represented in fig. 620, with plain, oblong and
+double loops, here forms the ground for the embroidery.
+
+[Illustration: FIG. 689. SQUARE IN CUT NETTING.]
+
+[Illustration: FIG. 690. LACE EDGING IN CUT NETTING. MATERIALS: Fil à
+dentelle D.M.C Nos. 25 to 50, in three shades of one colour.]
+
+In order to make the isolated loop stitches, the thread which forms the
+cross in the middle must be carried to the middle of the bar, the loops
+that form the stitches must be finished and the thread carried back to
+the knot whence it started. It must then be taken three times backwards
+and forwards over the foundation thread and the two bars of the
+netting, when the stitches, into and over 3 squares of the netting,
+should be made. The last row in the engraving shows the pattern in the
+successive stages of its development.
+
+[Illustration: FIG. 691. NETTING INSERTION MATERIALS--For the netting:
+Cordonnet 6 fils D.M.C No. 40 white or écru.--For the embroidery: Ganse
+turque D.M.C Nos. 6 and 12.]
+
+SQUARE AND EDGING IN CUT NETTING (figs. 689 and 690).--Few patterns
+admit of such a successful application of all the stitches hitherto
+described, as the square and edging presented to our readers in the two
+subjoined figures. On a netted ground of rather fine thread, we have in
+the first place, linen stitch, in the border, worked in rather a coarser
+thread than the ground; then raised wheels, buttonholed bars with picots
+in the centre, plain wheels very close together, and long ribbed bars
+worked in darning stitch.
+
+The edging, to match the square, is worked in the original in pale
+shades, in contrast to the square which is executed entirely in écru
+thread. The squares in the netted footing of the lace are loosely
+overcast with pale Violet-Mauve 316, the same colour is also used for
+the wheels in the outside edge, each of which fills a square, and for
+the loop stitches round them; whilst the middle one of the three upper
+ribbed wheels and the star are worked in dark Violet-Mauve 315. The
+crosses in linen stitch, the three lower ribbed wheels and the long
+ribbed bars in darning stitch, are in Gris-Tilleul 392.
+
+NETTED INSERTION (fig. 691).--This is a copy of a beautiful piece of
+embroidered netting, to all appearance, several centuries old, and in a
+state that rendered, even the most delicate handling almost impossible.
+
+After several experiments, the best result has been arrived at, and the
+Turkish cord in which the original is made, has now been manufactured
+for netting purposes, as well as for other kinds of decorative work,
+already alluded to, and referred to again later on.
+
+The first foundation, that is, the actual netting, for a thing of this
+kind, should be made in white or écru thread, with very small meshes;
+the pattern itself is embroidered on the netting with Ganse turque D.M.C
+No. 12; this material, écru and gold mixed, gives the work a glittering
+and peculiarly elegant appearance, unobtainable in any other.
+
+The execution is extremely easy, it being worked entirely in darning
+stitch; but the drawing should be copied with great accuracy and the
+wide braid very carefully sewn on with close stitches round the squares,
+which are filled in with darning stitches made in Ganse turque No. 12.
+
+Any netting pattern can be copied in this braid, and the simplest piece
+of work of the kind is worth mounting on a rich foundation of silk,
+brocade, velvet or plush. To give a single example, the insertion here
+described and illustrated, was mounted on slate-blue plush and has been
+universally admired.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: INSERTION.--IRISH LACE WITH RAISED ORNAMENTS.]
+
+
+
+
+IRISH LACE.
+
+
+Irish lace, also known under the name of Renaissance lace, from its
+having been first made in the sixteenth century, is an imitation of the
+earliest pillow laces; it ought, properly speaking, to be called French
+lace, having been invented in France and thence introduced into England
+and Ireland.
+
+It is composed of braid or tape, formed into figures, joined together by
+needlemade, corded or buttonhole bars and fillings of different kinds,
+or by bars alone.
+
+The lace stitches and bars are almost the same as those used in fine
+Venetian point, but they are executed in a coarser material so that this
+section of our work may be considered as a preparation for the different
+kinds of lace, to be described in the next chapter.
+
+MATERIALS (fig. 692).--The braids used for making Irish lace are an
+English speciality and manufactured exclusively in England; they are
+very various in shade, width and thickness, and are to be had white,
+unbleached, grey and pale yellow, narrow and wide, coarse and fine in
+texture, with and without holes, open edge and picots, with large
+medallions and small.
+
+Fig. 692 represents the kinds most commonly used, in their original
+size, together with a specimen picot, or purl, as they are called in
+England, for the outside edge, also to be had ready made, for those who
+do not care for the trouble of making them themselves.
+
+For the stitches and bars by which the braids are joined together, the
+best material is Fil à dentelle D.M.C,[A] (lace thread) a smooth even
+thread, now made in every colour to match the braids.
+
+[Illustration: FIG. 692. PATTERNS OF THE DIFFERENT TAPES AND BRAIDS USED
+FOR IRISH LACE.]
+
+TRANSFERRING DESIGNS FOR IRISH LACE.--The best way is to trace them on
+oiled tracing linen with a watery ink, free from greasy matter. This
+tracing linen, which is of English make, is white, glazed on one side
+only; the unglazed surface should be turned uppermost, as it takes the
+ink better.
+
+As this tracing linen is quite transparent, the pattern can be
+transferred to it at once without recourse to any other process.
+
+It will be found less trying for the eyes to lay a piece of transparent
+coloured paper, or stuff, under the pattern whilst you are copying it.
+The Irish lace designs are almost all drawn with double lines, between
+which the braid is tacked on with small back stitches. We may mention at
+once that it is advisable to make the stitches longer on the right side
+than on the other, or at any rate to make them of the same length.
+
+TACKING DOWN AND GATHERING IN THE BRAIDS (fig. 693).--Where the lines
+of the pattern describe a curve or a circle, the outside edge of the
+braid, as shown in fig. 693, must be sewn down firmly, so as to form
+little folds or gathers on the inside edge, which are first tacked down
+and then gathered in with small overcasting stitches in fine thread, so
+as to fit exactly to the pattern.
+
+[Illustration: FIG. 693. TACKING DOWN AND DRAWING IN THE BRAIDS.]
+
+The stitches, made for the bars and the fillings, must never be drawn so
+tightly as to drag out the edges of the braids and thus spoil the
+outlines of the pattern. Nor should the stitches be caught into the
+tracing cloth, but only rest upon it.
+
+When the embroidery is finished, turn the work the wrong side up, cut
+every second or third tacking stitch and pull the threads carefully out,
+from the wrong side, when the lace will separate itself from the backing
+without difficulty; it has then to be damped and ironed also on the
+wrong side. (See the concluding chapter on the different processes for
+finishing off needlework).
+
+It is of no consequence which are made first, the bars or the fillings;
+we however incline to the former, more especially in the case of
+buttonhole bars, as they are easier to do than the fillings and once
+done, there is less risk of puckering or drawing the edges together, in
+making the fillings.
+
+THE STITCHES.--We shall now proceed to describe a series of bars and
+stitches, which, if carefully studied, will serve as a preparation for
+making all the finer kinds of laces described in the ensuing chapter.
+
+Without pretending to have exhausted the infinite variety of lace
+stitches that exists, we hope to have brought before our readers' notice
+a sufficiently numerous selection to satisfy all tastes and capacities.
+
+With regard to the names, the same stitches are known by so many
+different ones, that excepting in the case of those universally
+accepted, we have disregarded them altogether and merely numbered the
+stitches in their order.
+
+[Illustration: FIG. 694. PLAIN TWISTED BAR.]
+
+PLAIN TWISTED BAR (fig. 694).--Secure the thread to the braid and
+throw it across from one braid edge to the other, put the needle in
+downwards from above, and overcast the first thread, so as to form the
+two into a cord. If you do not make enough overcasting stitches to
+tighten the two threads, the bars will be loose and untidy and spoil the
+general appearance of the work.
+
+[Illustration: FIG. 695. DOUBLE TWISTED BAR.]
+
+DOUBLE TWISTED BAR (fig. 695).--Throw three foundation threads across
+the space to be filled and overcast them loosely, so that they remain
+visible between the stitches.
+
+PLAIN BUTTONHOLE BAR (fig. 696).--Throw three threads across and cover
+them with buttonhole stitches, made from right to left.
+
+In making this and the subsequent bars, we recommend turning the needle
+round and holding it as it were the reverse way, so that the eye not the
+point passes first under the threads; strange as it may seem, it is
+easier in this manner to avoid splitting the threads. The working thread
+should always issue from the edge of the braid, one or two threads
+before the foundation threads of the bar, to prevent the bars being of
+unequal width, or getting twisted at the beginning.
+
+BUTTONHOLE BARS WITH PINNED PICOTS (figs. 697 and 698). After covering
+half, or a third of the bar with buttonhole stitches, pass the thread
+without making a loop, under the foundation threads, and fasten the loop
+with a pin, fig. 697, then slip the needle, horizontally from right to
+left, under the 3 threads and tighten the knot close to the last
+buttonhole stitch.
+
+[Illustration: FIG, 696. PLAIN BUTTONHOLE BAR.]
+
+[Illustration: FIG. 697. BUTTONHOLE BAR WITH PINNED PICOTS.]
+
+[Illustration: FIG. 698. BUTTONHOLE BAR WITH PINNED PICOTS.]
+
+[Illustration: FIG. 699. BAR WITH LACE PICOT.]
+
+Fig. 698 shows a picot made in the same manner, but with several
+buttonhole stitches inserted between the loop and the buttonholed bar.
+
+BAR WITH LACE PICOT (fig. 699).--Here the picot is made by bringing
+the thread out through the loop and beginning the buttonhole stitches, 4
+or 5 in number, according to the size of the thread, quite close to the
+pin, so that they entirely cover the loop. The pin must be stuck in the
+width of 4 stitches, distant from the bar, and the foundation threads
+should be completely hidden under the bar.
+
+BAR WITH PICOT MADE IN BULLION STITCH (fig. 700).--Put the needle
+halfway into the last buttonhole stitch, twist the thread ten or twelve
+times round it from left to right, draw it through and tighten the
+thread, so that the spiral on the thread form a semicircle, then
+continue the bar (see also for the bullion stitch figs. 179 and 661).
+
+BAR WITH BUTTONHOLE PICOT (fig. 701).--Cover rather more than half the
+bar with buttonhole stitches, carry the thread three times to the 6th
+stitch and back, then buttonhole these threads that are attached to the
+bar in the same way as the bar itself and finish the bar in the usual
+way.
+
+These buttonhole picots are generally used for edging lace; they may in
+their turn be adorned with small pinned picots to produce a richer
+effect.
+
+[Illustration: FIG. 700. BAR WITH PICOT MADE IN BULLION STITCH.]
+
+[Illustration: FIG. 701. BAR WITH BUTTONHOLE PICOT.]
+
+[Illustration: FIG. 702. BAR WITH TWO ROWS OF KNOTS.]
+
+BAR WITH TWO ROWS OF KNOTS (fig. 702).--Over two foundation threads,
+make double knots, far enough apart to leave room for the knots of the
+next row between.
+
+These double knots consist, in the first place, of one plain buttonhole
+stitch and then one reversed, that is, made by bringing the needle out
+in front of the thread and passing it under the loop; the result being
+that the thread will lie behind the thread and not before it, as in an
+ordinary buttonhole stitch.
+
+[Illustration: FIG. 703. BRANCHED BARS.]
+
+BRANCHED BARS (fig. 703).--Where you have a larger surface to cover
+with bars, you are generally obliged to make them with branches. For
+this purpose you prepare the threads as for an ordinary bar and cover
+them halfway with buttonhole stitches; then you carry on the foundation
+thread to the next bar, buttonhole it also halfway, lay the next
+foundation thread, and finally buttonhole all the half-covered bars till
+you reach the dotted line, from whence you lay the last foundation
+threads.
+
+The last bar is worked over 2 or 4 threads, so that the working thread
+can be taken back to the edge of the braid by means of the last
+buttonhole stitches.
+
+[Illustration: FIG. 704. PLAIN RUSSIAN STITCH.]
+
+PLAIN RUSSIAN STITCH (fig. 704).--Stitches of all kinds can be used,
+as well as bars, for joining braids together that run parallel to each
+other, and for filling up the spaces between. These stitches, which
+serve as an insertion, are some of them very elementary, whilst others
+require great skill and patience to execute.
+
+The simplest of all is the Russian stitch, which bears a great
+resemblance to the crossed stitch, shown in fig. 39, and the crossed
+back-stitch, fig. 176.
+
+You pass the needle from left to right, under the edge of the braid,
+then again from right to left under the opposite edge, taking care
+always to leave the thread in front of the needle.
+
+[Illustration: FIG. 705. TWISTED RUSSIAN STITCH.]
+
+TWISTED RUSSIAN STITCH (fig. 705).--Instead of passing the needle
+behind the thread, pass it before it and round it, so that the needle
+always comes out again beneath the thread, which will then be twice
+twisted.
+
+[Illustration: FIG. 706. COLUMN STITCH.]
+
+COLUMN STITCH (fig. 706).--At the bottom, the stitch is made like the
+plain Russian stitch, and at the top, like the one in fig. 705, with the
+difference that the second thread is passed three times round the first.
+
+[Illustration: FIG. 707. INSERTION OF SINGLE BUTTONHOLE STITCHES.]
+
+[Illustration: FIG. 708. INSERTION OF PLAIN BUTTONHOLE STITCHES.]
+
+INSERTION OF SINGLE BUTTONHOLE STITCHES (figs. 707 and 708).--Make
+very loose buttonhole stitches along both edges of the braid, all the
+same size and the same distance apart, and vertically, opposite to each
+other.
+
+When these two rows are finished, pick up each loop with Russian stitch,
+either single, fig. 704, or twisted, fig. 705. Fig. 708 shows the double
+Russian stitch made in each loop; it may be trebled or quadrupled,
+according to whether you wish your insertion to be very transparent or
+not.
+
+[Illustration: FIG. 709. INSERTION WITH BEAD STITCHES.]
+
+INSERTION WITH BEAD STITCHES (fig. 709).--Join the opposite rows of
+loops together by four stitches. The threads of these stitches must lie
+quite flat, side by side, and not one on the top of the other. After the
+fourth stitch, you wind the thread round the bottom loop and then carry
+it on to the next, whence you repeat the four stitches as above.
+
+CLUSTER INSERTION (fig. 710).--Over the middle of two finished plain
+bars and one half-finished one, a short distance apart, you make five
+buttonhole stitches and overcast the remainder of the third bar. The
+first bar of the next cluster must be set quite close to the last.
+
+INSERTION WITH BRANCHES (figs. 711 and 712).--Throw the thread across
+the middle of the space between two edges of braid, and lengthways,
+from one end to the other, pass the needle horizontally under four or
+five threads of the braid, across the insertion; then carry it in a
+similar manner, first to the left and then to the right, take up the
+same number of threads of the braid and connect the three loops together
+by a knot, as is clearly shown in fig. 711.
+
+[Illustration: FIG. 710. CLUSTER INSERTION.]
+
+[Illustration: FIG. 711. INSERTION WITH PLAIN BRANCHES.]
+
+[Illustration: FIG. 712. INSERTION WITH BRANCHES AND WHEELS.]
+
+Fig. 712 represents a similar beginning, and a similar interlacing of
+the threads, but ornamented this time with a wheel, added after the knot
+has been made over the loops.
+
+[Illustration: FIG. 713. INSERTION WITH LEAVES WORKED IN DARNING
+STITCH.]
+
+INSERTION WITH LEAVES IN DARNING STITCH (fig. 713).--Fasten on the
+thread where, according to the illustration, the first leaf in the
+insertion ought to come, carry it across to the opposite side, draw it
+through the edge of the braid and bring it back to the point whence it
+started, lay threads across to both sides, like in figs. 711 and 712,
+unite them by a knot, such as described in fig. 711, lay the thread once
+more round the middle leaf, and finish the leaf in darning stitch,
+working downwards from the top, as described in the preceding chapter in
+figs. 646 and 647. As may be seen from the second middle leaf, your
+darning stitches have to be made over five threads, subdivided into two
+and three.
+
+[Illustration: Fig. 714. INSERTION WITH SMALL WHEELS.]
+
+INSERTION WITH SMALL WHEELS (fig. 714).--Here, you have to make two
+rows of Russian stitches opposite each other and carry the thread to the
+point of intersection, then, you make a wheel over five threads and pass
+the needle under the completed wheel to reach the next point of
+intersection. Half wheels may also be added at the edge of the braid, as
+in figs. 658 and 659.
+
+[Illustration: Fig. 715. INSERTION WITH BIG WHEELS.]
+
+INSERTION WITH BIG WHEELS (fig. 715).--Carry the thread horizontally
+across the middle of the space intended for the insertion, to the
+opposite side, and then conduct it by means of overcasting stitches into
+the corner; thence make a loose loop over to the opposite corner, pass
+the needle under six or eight threads of the braid edge, slip it under
+the horizontal thread first laid and behind the loop, and finish the
+stitch on the other side in the edge of the braid.
+
+Throw the thread again across the empty space and over the first thread,
+bring your needle back to the middle, make a big wheel over four
+threads, passing each time under the same threads, then overcast the
+single thread, come back to the edge of the braid and make the second
+loop, bringing out the thread at the same place where the other stitches
+came out.
+
+INSERTION WITH CONES (figs. 716 and 717).--Over plain but very
+distended Russian stitch, make darning stitches backwards and forwards,
+beginning at the point and reaching to the middle, so as to form small
+cone-shaped figures.
+
+To reach the point of the next cone you overcast the thread of the
+Russian stitch several times.
+
+You may also, as in fig. 717, double the Russian stitch and make the
+darning stitches in such a manner that the points of the cones touch
+each other and their bases meet the edge of the braid. The same thing,
+worked the reverse way, that is, with the points turned outwards to the
+edge, produces a not less pretty effect.
+
+[Illustration: Fig. 716. INSERTION WITH CONES.]
+
+[Illustration: Fig. 717. INSERTION WITH CONES.]
+
+[Illustration: Fig. 718. INSERTION WITH EMBROIDERED SQUARES.]
+
+INSERTION WITH EMBROIDERED SQUARES (fig. 718).--After making rows of
+loose buttonhole stitches along the braid edges, as in figs. 707, 708,
+709, run a thread through the buttonhole stitches; this thread serves as
+the foundation to the Russian stitches by which the two edges are joined
+together. The empty square space left between the Russian stitches is
+then filled up with buttonhole stitches, like those in fig. 651, in the
+foregoing chapter.
+
+[Illustration: Fig. 719. INSERTION WITH HALF BARS.]
+
+INSERTION WITH HALF BARS (fig. 719).--Fasten on the thread in one of
+the corners of the braid and conduct it by means of overcasting stitches
+to the middle of the insertion, draw it through the edge of the braid on
+the right and make buttonhole stitches over it, to the middle of the
+space to be filled, then carry the thread to the left, draw it through
+the left edge, a little higher up than on the other side, and make the
+same number of stitches over it as over the first. You can vary this
+insertion with very good result by making more stitches on one side than
+on the other, but it should never be more than 10 or 12 stitches wide.
+
+[Illustration: FIG. 720. PLAIN NET STITCH. FIRST LACE STITCH.]
+
+PLAIN NET STITCH. FIRST LACE STITCH (fig. 720).--Make rows of
+buttonhole stitches to and fro, loose enough to form loops into which
+the stitches of each subsequent row are set. You must be careful to make
+the same number of stitches in all the spaces that are of the same size,
+and also, when you begin a row with a whole stitch, to begin the return
+row with a half, and so on, in regular rotation.
+
+The number of stitches should vary with the width of the pattern and the
+decreasing and increasing should always be done at the edge.
+
+The loops must be as many threads of the braid edge long, as they are
+wide.
+
+[Illustration: FIG. 721. DOUBLE NET STITCH. SECOND LACE STITCH.]
+
+DOUBLE NET STITCH. SECOND LACE STITCH (fig. 721).--You leave the same
+distance between the stitches here as in the preceding figure, but in
+each of the loops of the first row, you must make two buttonhole
+stitches close together. It is as well to round the loop a little less
+than is usually done in net stitch.
+
+[Illustration: FIG. 722. THIRD LACE STITCH.]
+
+THIRD LACE STITCH (fig. 722).--Here, you make three buttonhole
+stitches close together, joined to the next three by a loop of thread,
+just long enough to hold the three buttonhole stitches of the subsequent
+row.
+
+[Illustration: FIG. 723. FOURTH LACE STITCH.]
+
+FOURTH LACE STITCH (fig. 723).--Working from left to right, make two
+buttonhole stitches rather near together, and leave twice as long a loop
+between them and the next two stitches as between the two first.
+
+In the next row, which is worked from right to left, make one stitch in
+the loop between the two stitches that are close together and three or
+four in the long loop.
+
+[Illustration: FIG. 724. FIFTH LACE STITCH.]
+
+FIFTH LACE STITCH (fig. 724).--As in fig. 723, you begin this stitch
+from left to right, but making three stitches very close together with
+an intermediate loop as long as the three stitches in one.
+
+In the second row, you make one buttonhole stitch in each of the loops
+between the three stitches and six or eight in the long intermediate
+loop.
+
+[Illustration: FIG. 725. SIXTH LACE STITCH.]
+
+SIXTH LACE STITCH (fig. 725).--Over wide loops, made from left to
+right in the first row, make in the second, enough buttonhole stitches
+entirely to cover the thread.
+
+In the third row of stitches, put the needle into the small loop between
+two sets of buttonhole stitches, so that the close stitches shall form
+vertical lines across the surface they cover.
+
+This stitch admits of every sort of modification, such as, for instance,
+making the third row of stitches on the buttonhole stitches, in the
+middle of the ones on the small loop; or making one row of close
+stitches first, and then three open rows; in the former case you should
+always make an uneven number of buttonhole stitches, so that you have
+the same number on both sides of the needle, which you must put in
+between the two threads that form the middle buttonhole stitch.
+
+[Illustration: FIG. 726. SEVENTH LACE STITCH.]
+
+SEVENTH LACE STITCH (fig. 726).--Begin, working from right to left, by
+making one row of pairs of buttonhole stitches, a very short distance
+apart; in the second row you make one buttonhole stitch between each of
+these pairs, and in the third row, two buttonhole stitches in every long
+loop. Here, the stitches must not be crowded together but have a small
+gap left between them.
+
+[Illustration: FIG. 727. EIGHTH LACE STITCH.]
+
+EIGHTH LACE STITCH (fig. 727).--This stitch is generally known as the
+"pea-stitch" on account of the holes occasioned by the different
+distribution of the stitches.
+
+The first row consists of stitches, set rather closely together, and all
+the same distance apart. In the second row, you make one buttonhole
+stitch in the last stitch of the first row, then, missing two loops and
+three buttonhole stitches, you make two stitches in the next loops and
+so on. In the third row, you make three stitches in the big loop, and
+one in the loop between the stitches of the second row.
+
+[Illustration: FIG. 728. NINTH LACE STITCH.]
+
+[Illustration: FIG. 729. TENTH LACE STITCH.]
+
+NINTH, AND TENTH LACE STITCH (figs. 728 and 729).--Both, the small and
+the big pointed groups of stitches, begin with a row of close buttonhole
+stitches.
+
+Fig. 728 requires three rows; in the second you miss two stitches and
+make two in the next loops; in the third, only one stitch is introduced
+between the two loops of the lower row.
+
+Fig. 729 requires five rows. The stitches of the first must be set as
+closely together as possible; in the second row you make four stitches
+and miss two of the first row, in the third row you make three stitches,
+in the fourth, two and in the fifth, one only. The long loops of the
+last row must not be too slack so that the first stitches of the next
+scallop may quite cover them.
+
+[Illustration: FIG. 730. ELEVENTH LACE STITCH.]
+
+ELEVENTH LACE STITCH (fig. 730).--This stitch is not really more
+difficult to work than those we have been describing, but requires
+rather more attention to learn.
+
+The first row consists of plain net stitches; in the second, you have
+three buttonhole stitches in the middle net stitch; in the third, three
+buttonhole stitches in the whole loops on either side of the three
+buttonhole stitches of the second row, and one stitch in the half loops
+that precede and immediately follow them; the fourth row is similar to
+the second.
+
+In the fifth row the close stitches are changed. The three buttonhole
+stitches are made in the third whole loop, before and after those of the
+fourth row, so that between two groups of three stitches you have six
+single buttonhole stitches and seven loops.
+
+[Illustration: FIG. 731. TWELFTH LACE STITCH.]
+
+TWELFTH LACE STITCH (fig. 731).--Fasten on your thread, take it by
+overcasting stitches over the braid edge, half a c/m. from the corner,
+and make three buttonhole stitches downwards, quite close together. The
+next loops, over four or six threads of the braid, must be left long
+enough to be on a level with the first stitch reaching downwards from
+the edge.
+
+In the second row, you cover the long loops with three buttonhole
+stitches and draw the intervening thread quite tight.
+
+The third row is like the first, with the difference, that you put the
+needle in between the two threads of the buttonhole stitch, instead of
+through the loops.
+
+[Illustration: FIG. 732. THIRTEENTH LACE STITCH.]
+
+THIRTEENTH LACE STITCH (fig. 732).--The stitch here represented, as
+well as the two next ones are looped from left to right and then again
+from right to left.
+
+As it is more unusual to make the loops from left to right than the
+reverse way, the proper position of the needle and the course of the
+thread are shown in the illustrations.
+
+Fig. 732 requires, in the first place, two buttonhole stitches very
+close together in the edge of the braid, then a third stitch covering
+the two first stitches and set quite close to them; the connecting
+thread between these stitches must be tightly stretched so as to lie
+almost vertically, that the stitches may form straight lines.
+
+[Illustration: FIG. 733. FOURTEENTH LACE STITCH.]
+
+FOURTEENTH LACE STITCH (fig. 733).--This begins, likewise, with two
+buttonhole stitches, above which you make two buttonhole stitches
+instead of one, as in fig. 732, producing an open ground with vertical
+bars.
+
+[Illustration: FIG. 734. FIFTEENTH LACE STITCH.]
+
+FIFTEENTH LACE STITCH (fig. 734).--This resembles the two foregoing
+stitches and consists of three buttonhole stitches, made over the edge
+of the braid or the intermediate bars, and joined together afterwards
+under one transverse stitch.
+
+[Illustration: FIG. 735. SIXTEENTH LACE STITCH.]
+
+SIXTEENTH LACE STITCH (fig. 735).--You begin this by a row of net
+stitches worked from right to left, or as the engraving shows, by a row
+of stitches called «seed stitches».
+
+[Illustration: FIG. 736. SEVENTEENTH LACE STITCH.]
+
+The second row, worked from left to right, consists of short bars, set
+slanting and shaped like a seed, and made the same way as the picot in
+fig. 699. The first stitch is carried through the loop of the row below,
+the second over both threads and far enough from the loop to leave room
+for three other stitches. The first of the four buttonhole stitches of
+the next group must be set quite close to the last.
+
+SEVENTEENTH LACE STITCH (fig. 786).--Here we have the same pattern as
+the preceding one without the row of net stitches; the engraving shows
+us at the same time, the proper direction of the needle and thread for
+the row that is worked from right to left.
+
+[Illustration: FIG. 737. EIGHTEENTH LACE STITCH.]
+
+EIGHTEENTH LACE STITCH (fig. 737).--This is the first of a series of
+lace stitches, often met with in old Venetian lace, and which can
+therefore with perfect right be called, Venetian stitches.
+
+Owing to the manner and order in which the rows of stitches are
+connected and placed above one another, they form less transparent
+grounds than those we have hitherto described.
+
+In these grounds you begin by making the row of loops, then you throw a
+thread across on the same level and in coming back, pass the needle
+through the row of loops under the thread stretched across, and under
+the stitch of the previous row.
+
+[Illustration: FIG. 738. NINETEENTH LACE STITCH.]
+
+NINETEENTH LACE STITCH (fig. 738).--The close stitch here represented
+is more common in Venetian lace than the loose stitch given in fig.
+737.
+
+[Illustration: FIG. 739. TWENTIETH LACE STITCH.]
+
+TWENTIETH LACE STITCH (fig. 739).--By missing some loops of the close
+ground in one row and replacing them by the same number in the next,
+small gaps are formed, and by a regular and systematic missing and
+taking up of stitches, in this way, extremely pretty grounds can be
+produced.
+
+[Illustration: FIG. 740. TWENTY-FIRST LACE STITCH.]
+
+TWENTY-FIRST LACE STITCH (fig. 740).--These close lace stitches, can
+be varied in all sorts of other ways by embroidering the needle-made
+grounds.
+
+In fig. 740, you have little tufts in darning stitch, and in a less
+twisted material than the close stitches of the ground, worked upon the
+ground.
+
+If you use Fil à dentelle D.M.C (lace thread) for the ground, you should
+take either Coton à repriser D.M.C (darning cotton), or better still,
+Coton surfin D.M.C[A] for the tufts. The ground can also be ornamented
+with little rings of buttonholing, stars or flowerets in bullion or some
+other fancy stitch.
+
+[Illustration: FIG. 741. TWENTY-SECOND LACE STITCH.]
+
+TWENTY-SECOND LACE STITCH (fig. 741).--For the above three stitches
+and the three that follow, the work has to be held, so that the
+finished rows are turned to the worker and the needle points to the
+outside of the hand. In the first row, from left to right, take hold of
+the thread near the end that is in the braid, lay it from left to right
+under the point of the needle, and bring it back again to the right,
+over the same. Whilst twisting the thread in this way round the needle
+with the right hand, you must hold the eye of the needle under the left
+thumb.
+
+When you have laid the thread round draw the needle through the loops;
+the bars must stand straight and be of uniform length. Were they to
+slant or be at all uneven, we should consider the work badly done.
+
+In the row that is worked from left to right, the thread must be twisted
+round the needle, likewise from left to right.
+
+[Illustration: FIG. 742. TWENTY-THIRD LACE STITCH.]
+
+TWENTY-THIRD LACE STITCH (fig. 742).--This is begun with the same
+stitches as fig. 741, worked from right to left. You then take up every
+loop that comes between the vertical bars with an overcasting stitch,
+drawing the thread quite out, and tightening it as much as is necessary
+after each stitch. You cannot take several stitches on the needle at the
+same time and draw out the thread for them all at once, as this pulls
+the bars out of their place.
+
+[Illustration: FIG. 743. TWENTY-FOURTH LACE STITCH]
+
+TWENTY-FOURTH LACE STITCH (fig. 743).--This is often called the
+Sorrento stitch.
+
+Every group of three bars of stitches is separated from the next by a
+long loop, round which the thread is twisted in its backward course. In
+each of the succeeding rows you place the first bar between the first
+and second of the preceding row, and the third one in the long loop, so
+that the pattern advances, as it were in steps.
+
+[Illustration: FIG. 744. TWENTY-FIFTH LACE STITCH.]
+
+[Illustration: FIG. 745. TWENTY-SIXTH LACE STITCH.]
+
+TWENTY-FIFTH AND TWENTY-SIXTH LACE STITCHES (figs. 744 and
+745).--These two figures show how the relative position of the groups
+of bars may be varied.
+
+Both consist of the same stitches as those described in fig. 741. The
+thread that connects the groups should be tightly stretched, so that the
+rows may form straight horizontal lines.
+
+[Illustration: FIG. 746. TWENTY-SEVENTH LACE STITCH.]
+
+TWENTY-SEVENTH LACE STITCH (fig. 746).--Begin by making two rows of
+net stitches, fig. 720, then two of close ones, fig. 738, and one row
+like those of fig. 741.
+
+If you want to lengthen the bars, twist the thread once or twice more
+round the needle. You can also make one row of bars surmounted by
+wheels, as shown in fig. 765, then one more row of bars and continue
+with close stitches.
+
+TWENTY-EIGHTH LACE STITCH (fig. 747).--Between every group of three
+bars, set close together, leave a space of a corresponding width; then
+bring the thread back over the bars, as in figs. 737, 738 and 739,
+without going through the loops. In the second row, you make three bars
+in the empty space, two over the three bars of the first row and again
+three in the next empty space. The third row is like the first.
+
+[Illustration: FIG. 747. TWENTY-EIGHTH LACE STITCH.]
+
+[Illustration: FIG. 748. TWENTY-NINTH LACE STITCH.]
+
+TWENTY-NINTH LACE STITCH (fig. 748).--This stitch, known as Greek net
+stitch, can be used instead of buttonhole bars for filling in large
+surfaces.
+
+Make bars from left to right, a little distance apart as in fig. 741,
+leaving the loops between rather slack, so that when they have been
+twice overcast by the returning thread, they may still be slightly
+rounded. In the next row, you make the bar in the middle of the loop and
+lift it up sufficiently with the needle, for the threads to form a
+hexagon like a net mesh.
+
+[Illustration: FIG. 749. THIRTIETH LACE STITCH.]
+
+THIRTIETH LACE STITCH (fig. 749). After a row of pairs of buttonhole
+stitches set closely together, with long loops between, as long as the
+space between the pairs, throw the thread across in a line with the
+extremities of the loops, fasten it to the edge of the braid and make
+pairs of buttonhole stitches, as in the first row above it.
+
+The loops must be perfectly regular, to facilitate which, guide lines
+may be traced across the pattern, and pins stuck in as shown in the
+figure, round which to carry the thread.
+
+[Illustration: FIG. 750. THIRTY-FIRST LACE STITCH.]
+
+THIRTY-FIRST LACE STITCH (fig. 750).--At first sight this stitch looks
+very much like the preceding one, but it differs entirely from it in the
+way in which the threads are knotted. You pass the needle under the loop
+and the laid thread, then stick in the pin at the right distance for
+making the long loop, bring the thread round behind the pin, make a loop
+round the point of the needle, as shows in the engraving, and pull up
+the knot.
+
+[Illustration: FIG. 751. THIRTY-SECOND LACE STITCH.]
+
+THIRTY-SECOND LACE STITCH (fig. 751).--To introduce a greater variety
+into lace stitches, netting can also be imitated with the needle. You
+begin with a loop in the corner of a square and work in diagonal lines.
+The loops are secured by means of the same stitch shown in fig. 750, and
+the regularity of the loops ensured, as it is there, by making them
+round a pin, stuck in at the proper distance. The squares or meshes must
+be made with the greatest accuracy; that being the case, most of the
+stitches described in the preceding chapter can be worked upon them, and
+the smallest spaces can be filled with delicate embroidery.
+
+THIRTY-THIRD LACE STITCH (fig. 752).--This stitch is frequently met
+with in the oldest Irish lace, especially in the kind where the braids
+are joined together by fillings not bars. At first sight, it looks
+merely like a close net stitch, the ground and filling all alike, so
+uniform is it in appearance, but on a closer observation it will be
+found to be quite a different stitch from any of those we have been
+describing.
+
+The first stitch is made like a plain net stitch, the second consists of
+a knot that ties up the loop of the first stitch. Fillings of this kind
+must be worked as compactly as possible, so that hardly any spaces are
+visible between the individual rows.
+
+[Illustration: FIG. 752. THIRTY-THIRD LACE STITCH.]
+
+[Illustration: FIG. 753. THIRTY-FOURTH LACE STITCH.]
+
+THIRTY-FOURTH LACE STITCH (fig. 753).--To fill in a surface with this
+stitch, known as the wheel or spider stitch, begin by laying double
+diagonal threads to and fro, at regular distances apart, so that they
+lie side by side and are not twisted. When the whole surface is covered
+with these double threads, throw a second similar series across them,
+the opposite way. The return thread, in making this second layer, must
+be conducted under the double threads of the first layer and over the
+single thread just laid, and wound two or three times round them,
+thereby forming little wheels or spiders, like those already described
+in the preceding chapter in figs. 653 and 654.
+
+THIRTY-FIFTH LACE STITCH (fig. 754).--Begin by making a very regular
+netted foundation, but without knots, where the two layers of threads
+intersect each other.
+
+Then, make a third layer of diagonal threads across the two first
+layers, so that all meet at the same points of intersection, thus
+forming six rays divergent from one centre. With the fourth and last
+thread, which forms the seventh and eighth ray, you make the wheel over
+seven threads, then slip the needle under it and carry it on to the
+point for the next wheel.
+
+[Illustration: FIG. 754. THIRTY-FIFTH LACE STITCH.]
+
+[Illustration: FIG. 755. THIRTY-SIXTH LACE STITCH.]
+
+THIRTY-SIXTH LACE STITCH (fig. 755).--After covering all the surface
+to be embroidered, with threads stretched in horizontal lines, you cover
+them with loops going from one to the other and joining themselves in
+the subsequent row to the preceding loops.
+
+The needle will thus have to pass underneath two threads. Then cover
+this needle-made canvas with cones worked in close darning stitches, as
+in figs. 648, 716 and 717.
+
+[Illustration: FIG. 756. THIRTY-SEVENTH LACE STITCH.]
+
+THIRTY-SEVENTH LACE STITCH (fig. 756).--Here, by means of the first
+threads that you lay, you make an imitation of the Penelope canvas used
+for tapestry work, covering the surface with double threads, a very
+little distance apart, stretched both ways. The second layer of threads
+must pass alternately under and over the first, where they cross each
+other, and the small squares thus left between, must be encircled
+several times with thread and then buttonholed; the thicker the
+foundation and the more raised and compact the buttonholing upon it is,
+the better the effect will be. Each of these little buttonholed rings
+should be begun and finished off independently of the others.
+
+THIRTY-EIGHTH LACE STITCH (fig. 757).--Plain net stitch being quicker
+to do than any other, one is tempted to use it more frequently; but as
+it is a little monotonous some openwork ornament upon it is a great
+improvement; such for instance as small buttonholed rings, worked all
+over the ground at regular intervals. Here again, as in the preceding
+figure the rings must be made independently of each other.
+
+[Illustration: FIG. 757. THIRTY-EIGHTH LACE STITCH.]
+
+[Illustration: FIG. 758. THIRTY-NINTH LACE STITCH.]
+
+THIRTY-NINTH LACE STITCH (fig. 758).--Corded bars, branching out into
+other bars, worked in overcasting stitches, may also serve as a lace
+ground.
+
+You lay five or six threads, according to the course the bars are to
+take; you overcast the branches up to the point of their junction with
+the principal line, thence you throw across the foundation threads for
+another branch, so that having reached a given point and coming back to
+finish the threads left uncovered in going, you will often have from six
+to eight short lengths of thread to overcast.
+
+Overcasting stitches are always worked from right to left.
+
+FORTIETH LACE STITCH (fig. 759).--Of all the different kinds of
+stitches here given, this, which terminates the series, is perhaps the
+one requiring the most patience. It was copied from a piece of very old
+and valuable Brabant lace, of which it formed the entire ground. Our
+figure of course represents it on a very magnified scale, the original
+being worked in the finest imaginable material, over a single foundation
+thread.
+
+In the first row, after the three usual foundation threads are laid, you
+make the buttonhole stitches to the number of eight or ten, up to the
+point from which the next branch issues, from the edge of the braid,
+that is, upwards.
+
+Then you bring the needle down again and buttonhole the second part of
+the bar, working from right to left.
+
+[Illustration: FIG. 759. FORTIETH LACE STITCH.]
+
+A picot, like the one described in fig. 701, marks the point where the
+bars join. More picots of the same kind may be added at discretion.
+
+[Illustration: FIG. 760. WHEEL COMPOSED OF BUTTONHOLE BARS. MAKING AND
+TAKING UP THE LOOPS.]
+
+[Illustration: FIG. 761. WHEEL COMPOSED OF BUTTONHOLE BARS. THE
+BUTTONHOLING BEGUN.]
+
+WHEEL COMPOSED OF BUTTONHOLE BARS (figs. 760, 761, 762, 763).--As we
+have already more than once given directions for making wheels, not only
+in the present chapter, but also in the one on netting, there is no need
+to enlarge on the kind of stitches to be used here, but we will explain
+the course of the thread in making wheels, composed of buttonhole bars
+in a square opening.
+
+Fig. 760 shows how the first eight loops which form the foundation of
+the bars are made.
+
+[Illustration: FIG. 762. WHEEL COMPOSED OF BUTTONHOLE BARS. PASSING FROM
+ONE BAR TO THE OTHER.]
+
+[Illustration: FIG. 763. WHEEL COMPOSED OF BUTTONHOLE BARS. BARS AND
+RING FINISHED.]
+
+In fig. 761 you will see that a thread has been passed through the
+loops, for the purpose of drawing them in and making a ring in addition
+to which, two threads added to the loop serve as padding for the
+buttonhole stitches; the latter should always be begun on the braid
+side. Fig. 762 represents the bar begun in fig. 761 completed, and the
+passage of the thread to the next bar, and fig. 763 the ring buttonholed
+after the completion of all the bars.
+
+[Illustration: FIG. 764. FILLING IN A ROUND SPACE WITH NET STITCH.]
+
+FILLING IN ROUND SPACES (figs. 764, 765, 766).--The stitches best
+adapted for filling in round spaces are those that can be drawn in and
+tightened to the required circumference, or those that admit of the
+number being reduced, regularly, in each round.
+
+In tacking braids on to circular patterns, the inside edges, as we
+pointed out at the beginning of this chapter, have to be drawn in with
+overcasting stitches in very fine thread.
+
+Fig. 764 shows how to fill in a round space with net stitches. It will
+be observed that the loop which begins the row, has the thread of the
+loop with which it terminates, wound round it, which thread then passes
+on to the second series of stitches. In the same manner you pass to the
+third row after which you pick up all the loops and fasten off the
+thread by working back to the braid edge over all the rows of loops,
+following the course indicated by the dotted line.
+
+[Illustration: FIG. 765. FILLING IN ROUND SPACES. FIRST CIRCLE OF WHEELS
+BEGUN.]
+
+[Illustration: FIG. 766. FILLING IN ROUND SPACES. THE TWO CIRCLES OF
+WHEELS FINISHED.]
+
+Fig. 765 shows how to finish a row of loops with wheels worked upon
+three threads only. In the first row, you make a wheel over each bar; in
+the second, you make a bar between every two wheels; in the third, the
+wheels are only made over every second bar; a fourth row of bars which
+you pick up with a thread completes the interior of the circle, then you
+work along the bars with overcasting stitches, fig. 766, to carry the
+thread back to the edge of the braid where you fasten it off.
+
+NEEDLE-MADE PICOTS (figs. 767, 768, 769).--The edges and outlines of
+Irish lace are generally bordered with picots, which as we have already
+said can be bought ready-made (see fig. 692). They are not however very
+strong and we cannot recommend them for lace that any one has taken the
+pains to make by hand.
+
+[Illustration: FIG. 767. CONNECTED NEEDLE-MADE PICOTS.]
+
+[Illustration: FIG. 768. ISOLATED NEEDLE-MADE PICOTS.]
+
+[Illustration: FIG. 769. BUTTONHOLE PICOTS WITH PICOTS IN BULLION
+STITCH.]
+
+In fig. 767, the way to make picots all joined together is described.
+You begin, as in fig. 762, by a knot, over which the thread is twisted
+as indicated in the engraving.
+
+It is needless to repeat that the loops should all be knotted in a line,
+all be of the same length and all the same distance apart.
+
+Fig. 768 represents the kind of needle-made picots which most resemble
+the machine-made ones, and fig. 769 show us the use of little scallops
+surmounted by picots, made in bullion stitch.
+
+One or two rows of lace stitch fig. 736, or the first rows of figs. 749,
+750, can also be used in the place of picots.
+
+IRISH LACE (fig. 770).--English braids or those braids which are
+indicated at the foot of the engraving must be tacked down on to the
+pattern and gathered on the inside edge, wherever the lines are curved,
+as explained in fig. 693; in cases however where only Lacet superfin
+D.M.C[A] is used, the needle should be slipped in underneath the outside
+threads, so that the thread with which you draw in the braid be hidden.
+
+The braids are joined together where they meet with a few overcasting
+stitches, as shown in the illustration.
+
+Here, we find one of the lace stitches used instead of picots; the first
+row of fig. 736 always makes a nice border for Irish lace.
+
+IRISH LACE (fig. 771).--This pattern, which is more complicated and
+takes more time and stitches than the preceding one, can also be
+executed with one or other of the braids mentioned at the beginning of
+the chapter; but it looks best made with a close braid.
+
+[Illustration: FIG. 770. IRISH LACE.]
+
+[Illustration: FIG. 771. IRISH LACE. MATERIALS: Lacet surfin D.M.C No.
+5, white or écru and Fil d'Alsace D.M.C Nos. 40 to 150, or Fil à
+dentelle D.M.C Nos. 50 to 150.]
+
+The bars, which in the illustration are simply buttonholed may also be
+ornamented with picots of one kind or another; the interior spaces of
+the figure on the left can be filled, instead of with corded bars, with
+one of the lace stitches we have described, either fig. 720, 721, or
+732, any one of which is suitable for filling in small spaces like
+these.
+
+In the figure on the right, the ring of braid may be replaced by close
+buttonhole stitches, made over several foundation threads or over one
+thick thread, such as Fil à pointer D.M.C No. 10 or 20[A] to make them
+full and round.
+
+You begin the ring on the inside and increase the number of stitches as
+the circumference increases.
+
+[Illustration: FIG. 772. IRISH LACE. MATERIALS: English braid with open
+edge.--For the lattice work: Fil d'Alsace D.M.C in balls Nos. 50 to 100
+or Fil à dentelle D.M.C Nos. 50 to 100, white. For the cord: Cordonnet 6
+fils D.M.C No. 15, écru.[A]]
+
+Any of the stitches, from fig. 720 to fig. 743, can be introduced here.
+
+IRISH LACE (fig. 772).--Here we find one of the fillings above alluded
+to, fig. 751, used as a ground for the flowers and leaves. For the
+design itself some of the closer stitches described in this chapter,
+should be selected. When the actual lace, is finished you sew upon the
+braid a thin cord, made of écru Cordonnet 6 fils D.M.C, as described in
+the chapter on different kinds of fancy work. Cords of this kind can be
+had ready made, but the hand-made ones are much to be preferred, being
+far softer and more supple than the machine-made.
+
+[Illustration: FIG. 773. IRISH LACE. MATERIALS--For the cord: Cordonnet
+6 fils D.M.C Nos. 15 to 25. For the bars and lace stitches: Fil à
+dentelle D.M.C No. 200.[A]]
+
+IRISH LACE (fig. 773).--This lace, more troublesome than the preceding
+ones to make, is also much more valuable and effective. The ground is
+composed entirely of bars, like the ones described in fig. 761, the
+branches, true to the character of the work are worked in the close
+stitch represented in fig. 755, and the flowers in double net stitch,
+fig. 721.
+
+In working the above fillings, the thread must not, as in lace made with
+braid, be carried on from one point to the other by overcasting stitches
+along the braid edges, but should be drawn out horizontally through the
+cord and back again the same way, giving the needle in so doing a
+slightly slanting direction.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: VENETIAN LACE OF THE XVI CENTURY.]
+
+
+
+
+Laces of different kinds.
+
+
+In general, to the uninitiated, the word «lace» signifies exclusively
+the delicate and elaborate fabrics that owe their origin to Venice and
+the Netherlands and were thence imported into other countries. But
+besides Venetian, French, English, Chantilly, Brussels, Sedan point,
+names familiar to every one, there are all kinds of other laces,
+likewise of great antiquity, and named as the above are, after the
+country they belong to.
+
+As it would be impossible in these pages to give a comprehensive account
+of them all, we have restricted ourselves to such as seem more
+especially suited to the amateur, to whom needlework is a mere
+recreation and pastime.
+
+Worked like the above-named entirely with the needle, but much less
+elaborate and minute in character and workmanship, they are quicker and
+easier to make and we are sure that by the help of the directions that
+accompany the illustrations, any careful worker will be able to imitate
+them without difficulty.
+
+MATERIALS.--It will be observed that we do not bind ourselves in the
+following directions to one size of cotton, that as in point of fact,
+one and the same piece of work can be executed in either fine or coarse
+cotton, we have only indicated the most suitable kind of material to
+use: as for instance for Armenian lace, Fil à pointer D.M.C[A] or
+Cordonnet 6 fils D.M.C[A], for Smyrna or knotted lace, Fil à pointer
+D.M.C, Cordonnet 6 fils D.M.C and Fil à dentelle D.M.C[A], for Reticella
+and Venetian lace, Fil d'Alsace D.M.C[A], for Brussels lace, the finest
+numbers of Fil à dentelle and for pillow lace, any one of those
+enumerated, excepting Coton à broder surfin.
+
+PILLOW LACE AND THE NECESSARY ARTICLES FOR ITS MANUFACTURE.--Pillow
+lace derives its name from the cushion or pillow on which all bobbin
+lace is made, which distinguishes it from point lace, so-called because
+it consists of «points» or stitches made with a needle and thread.
+
+Various articles are required for the making of pillow lace; in the
+first place a cushion or pillow, then bobbins and a winder, parchment
+patterns, pins and a pricker.
+
+THE LACE PILLOW (figs. 774, 775, 776).--The pillows used for pillow
+lace are of different kinds and vary in shape with where the country,
+and the manner in which the lace is made.
+
+[Illustration: FIG. 774. THE LACE PILLOW.]
+
+Fig. 774 represents the shape in use in the mountains of Bohemia and
+Saxony, where pillow lace has always been one of the chief industries of
+the inhabitants. Any one can make a cushion of this kind themselves with
+a piece of stuff, 60 c/m. long and 40 wide. The long sides are firmly
+sewn together and the short ones turned in with a narrow hem through
+which you run a cord to draw them up. A disc of stout cardboard is put
+inside the case after you have gathered up the one end; you then stuff
+the case as full as possible with bran, sawdust or horsehair, lay a
+second disc of cardboard in at the top and draw up the other end.
+
+These pillows are then put into cardboard boxes with rather high sides,
+or into a kind of basket, weighted at the bottom, to keep it firm and
+steady. Pillows of this most primitive kind have the great advantage of
+being perfectly easy to make.
+
+[Illustration: FIG. 775. PILLOW WITH MOVABLE CYLINDER FOR MAKING LACE.]
+
+[Illustration: FIG. 776. POSITION OF THE BOBBINS AND THE WORK ON THE
+CUSHION FIG. 775.]
+
+Fig. 775 represents a pillow of a more complicated kind, which can be
+stood upon the table or mounted on a stand. The cylinder is movable so
+that you can go on working without interruption.
+
+The whole apparatus consists of a board or stand, 50 c/m. long and 40
+wide, resting upon two transverse pieces of wood, 3½ c/m. high behind
+and 1 c/m. in front.
+
+The board should be covered, first with a very thick flannel or Bath
+coating and then with a fine dark green flannel or cloth.
+
+Two small supports are fixed on to the outside edge of the stand to hold
+the cylinder, which consists of two discs that revolve on a rod about 22
+c/m. long.
+
+This rod should be covered, in the first place with a thick layer of tow
+and then with flannel or cloth.
+
+On the left side of the cylinder is a cog-wheel and a metal spring is
+attached to the board, by means of which the wheel is prevented from
+turning the wrong way.
+
+Fig. 776 shows how the bobbins are placed upon the pillow. In Normandy a
+kind of stuffed box is used instead of a pillow. The board is 3 c/m.
+higher behind than in front and is deeply grooved to hold the cylinder,
+which is stuffed and shaped like the one represented in fig. 775.
+
+This cylinder scarcely projects above the stand, a second groove in the
+back edge receives the lace as it is worked off the cylinder.
+
+The pillows used for Valenciennes lace are of again a different
+construction, but as it is not our intention in the present work to
+describe the finer kinds of lace it appeared superfluous to give any
+illustration of the pillows on which they are made.
+
+[Illustration: FIG. 777. THE BOBBIN (Jamnig's patent).]
+
+THE BOBBINS (fig. 777).--A bobbin is a sort of little wooden spool
+with a handle to it; there are several varieties of them but we have
+confined ourselves to a representation of the kind considered best for
+beginners.
+
+As a considerable number are wanted for every pattern and they are apt
+to slip about and get entangled in inexperienced hands, they are now to
+be had with the handles weighted with lead to steady them and counteract
+any independent motion of their own. We cannot help again laying great
+stress on the importance of seeing that the size of the bobbins and the
+number of the cotton be well assorted to the kind of lace.
+
+THE WINDER (fig. 778).--Every one who means to take the work seriously
+should provide themselves with a winder, as here represented, which is
+affixed to a polished wooden stand.
+
+This stand has to be firmly screwed to the table and the bobbin is
+squeezed in between the two little rods fitted into the supports at the
+left end of the stand; one of these rods serves as the axle to the
+little wheel, the other can be drawn in and out and fitted to the length
+of the bobbin.
+
+[Illustration: FIG. 778. THE WINDER (Jamnig's patent).]
+
+When the bobbin is fixed in its place, you take the thread in the left
+hand and wind it round it, turning the wheel with the right hand from
+right to left in the direction indicated by the arrow.
+
+The thread is wound round the handles of the bobbins that are used for
+making very fine lace, and a wooden shield that is so contrived that you
+can slip it over the handle prevents the thread from getting soiled.
+
+[Illustration: FIG. 779. STOPPAGE OF THE THREAD AT THE END OF THE
+BOBBIN.]
+
+STOPPAGE OF THE THREAD AT THE END OF THE BOBBIN (fig. 779).--After
+cutting off the thread, you make a loop close to the top of the bobbin
+to prevent it from unwinding too easily. This loop is formed by taking
+the bobbin in the right hand, the thread between the fourth and fifth
+fingers of the left hand and laying it away from you round the left
+thumb; then lifting up the bottom thread with the second finger of the
+left hand you pass the bobbin upwards from below through the loop on the
+left hand.
+
+MACHINE FOR CROSSING THE THREADS (fig. 780).--This ingenious little
+machine is of great assistance in making straight running patterns and
+Irish lace braids, and is particularly useful for Russian lace and braid
+lace of all kinds.
+
+It renders the even crossing of the threads in those parts of a pattern
+that imitate linen in texture comparatively easy.
+
+Two implements like combs, fitting into one another, and movable, are
+mounted at two thirds of their length on a steel axle. The long teeth
+have holes bored through the ends, from the sides to the middle of the
+points and through these holes the threads from the bobbins are passed.
+
+[Illustration: FIG. 780. MACHINE FOR CROSSING THE THREADS (Jamnig's
+patent).]
+
+The short teeth also are pierced with transverse holes, through which a
+needle with the threads threaded in the long teeth resting upon it, is
+passed. The points of the short teeth are covered with a hollow metal
+cylinder, split through from end to end, which can be removed when new
+threads have to be added.
+
+When the threads are all on, a small spring is fixed to the two ends of
+the axle, which is independent of the machine, and the two ends of the
+spring are introduced into the hollow of the cylinder.
+
+By the pressure you exercise on the teeth in the cylinder, the long
+teeth change their position, the lower ones rise and the upper ones fall
+and the threads cross each other, as in a loom. After each movement of
+the machine, the bobbin that makes the woof must be passed between the
+crossed threads; the edges are made like those of any other kind of
+lace.
+
+Fig. 781 explains how the bobbins are passed between the threads that
+are held between the teeth of the machine.
+
+[Illustration: FIG. 781. PASSAGE OF THE BOBBINS THROUGH THE MACHINE.]
+
+THE PATTERN.--The pattern is one of the most important things in
+making pillow lace.
+
+The outlines must be clear and exact, as upon that in great measure the
+perfection of the lace depends.
+
+The drawing transferred to parchment, paper or cardboard, usually of a
+yellowish tint, should be lined with a very thin stuff such as muslin to
+prevent its tearing.
+
+[Illustration: FIG. 782. PRICKER AND HOLDER.]
+
+A stripe of quadrille, or point paper as it is called, should be laid
+upon the pattern and then holes pricked with a medium-sized needle at
+every intersection of the lines.
+
+All the curved long lines of the pattern must first be traced upon the
+point paper with ink and then pricked.
+
+The pattern should be adapted to the thickness of the thread the lace is
+to be made of; for a coarse lace large point paper should be used and
+small, for the finer kinds of lace. The pricking of the pattern
+beforehand is particularly important in the case of the common torchon
+lace, where the real beauty of the design consists in its regularity; in
+the case of fine close patterns the pricking can only be done as you
+proceed.
+
+Prickers and holders of the kind represented in fig. 782 or very much
+resembling it, are to be had at every stationer's shop.
+
+[Illustration: FIG. 783. POSITION AND MOVEMENTS OF THE HANDS.]
+
+The holes made by the prickers are to receive the pins, stuck in as you
+go along, round which you form and by which these are kept in their
+place.
+
+The pins must be long, with round heads and of a size suited to the
+thread. When your pattern is ready fasten it to the pillow or cylinder
+as the case may be, stretching it as smoothly as possible and being
+careful in so doing to fit the lines of the pattern together. If it be
+too long it must be cut to the required length or you may make the
+cylinder bigger by wrapping several folds of flannel round it.
+
+The value of lace depends not only on the work but on the thread it is
+made of; all the D.M.C cottons[A] can be recommended for lace-making and
+coloured laces of all kinds are greatly improved by the addition of a
+little Chiné d'or D.M.C or Or fin D.M.C pour la broderie.[A]
+
+POSITION AND MOVEMENTS OF THE HANDS (fig. 783).--Pillow lace is always
+made with two pairs of bobbins at once and the «stitches» are formed by
+the different ways of passing, plaiting, crossing and twisting the
+threads.
+
+To begin with the simplest operation, making a plait, hang 2 pairs of
+bobbins to a pin, take 2 bobbins in each hand and lay the right bobbin
+of each pair over its left fellow and draw up the threads slightly. Then
+take the bobbins in the 2nd, 3rd and 4th fingers of the right hand and
+with the same fingers of the left, lay the 2nd bobbin over the 3rd with
+the 2nd and 3rd fingers of the left, so that the two middle bobbins are
+crossed, then take the 4th bobbin in the 2nd and 3rd fingers of the
+right hand and the bobbin that is now the 2nd, in the 3rd and 4th
+fingers of the left hand and lay the former over the 3rd, the latter
+over the 1st. This constitutes a «half passing».
+
+The plait, fig. 784, is formed by the repetition of the half passing.
+Two half passings make a whole or «double passing».
+
+On the kind of lace you are making, depends how many pairs of bobbins
+you will have to use. But as one part of the lace is often made before
+the other, or you have to put on supernumerary bobbins, you fasten up
+those not in use on one side with pins, as shown in fig. 783.
+
+[Illustration: FIG. 784. PASSING WITH TWO PAIRS OF BOBBINS.]
+
+NET PATTERN OR GROUND (figs. 785 and 786).--This consists of half
+passings, worked in rows to and fro; the pins are stuck in at the end of
+each row.
+
+The pattern, fig. 785, is fastened upon the pillow and 6 pins are stuck
+in at the top, at regular intervals from each other; hang one pair of
+bobbins on every pin and lay the second bobbin of each pair over its
+fellow, so that the threads cross each other.
+
+[Illustration: FIG, 785. PATTERN FOR NET PASSINGS.]
+
+1 half passing with the 1st and 2nd pair = lay the 1st pair aside = 1
+half passing with the 2nd and 3rd pair = lay the 2nd pair aside = 1 half
+passing with the 3rd and 4th pair = lay the 3rd pair aside = 1 half
+passing with the 4th and 5th pair = lay the 4th pair aside = 1 half
+passing with the 5th and 6th pair = stick in a pin at point 2, then work
+back from right to left = surround the pin with a half passing made with
+the 5th and 6th pair = lay the 6th pair aside = 1 half passing with the
+5th and 4th pair = lay the 5th pair aside = 1 half passing with the 4th
+and 3rd pairs = lay the 4th pair aside = 1 half passing with the 3rd and
+2nd pair = lay the 3rd pair aside = 1 half passing with the 2nd and 1st
+pair = stick in a pin at point 3 and repeat from the beginning.
+
+Fig. 786 shows the net ground completed; the thread that runs to and
+fro, to make it more clear, is represented in a darker shade than the
+others.
+
+Before proceeding further, it is as well to prepare our readers for the
+many trials they will have to make, even with the help of the most
+minute explanations, before they succeed in carrying out the directions;
+for the whole art of making pillow lace lies in a manual dexterity, only
+attainable by practice.
+
+[Illustration: FIG. 786. NET GROUND. COMPLETED.]
+
+Even copying the patterns from description is only possible at first in
+a qualified sense; the surest way of attaining a satisfactory result is
+by constantly comparing the drawing and the work in progress and
+wherever the latter does not correspond with the former, trying at once
+to rectify the difference.
+
+LINEN OR CLOTH GROUND.--The pattern used for net passing can also be
+used for linen passing or ground but 7 pins, instead of 6, have to be
+stuck in at the top first. As in net passing, you work first from left
+to right, running 2 threads to and fro in perfectly horizontal lines, so
+as to produce a ground resembling linen in its texture.
+
+The threads that run to and fro are held at the edge with pins and
+changed by a half passing, so that the one that was first in going, is
+first also in returning.
+
+[Illustration: FIG. 787. PATTERN FOR PLAIN HOLE GROUND.]
+
+[Illustration: FIG. 788. PLAIN HOLE GROUND.]
+
+The use of the machine for crossing the threads is especially to be
+recommended in working linen ground; by pressing the short branches of
+the machine, the position of the threads is changed and the bobbin is
+pushed through; by a second pressure the second bobbin is driven
+through, the pin is stuck in for the picot or the cord, when the
+bobbins are taken back again, four movements being thus all that is
+required.
+
+[Illustration: FIG. 789. WHEEL BEGUN IN HOLE GROUND.]
+
+[Illustration: FIG. 790. WHEEL IN HOLE GROUND COMPLETED.]
+
+PLAIN HOLE GROUND (figs. 787 and 788).--Hole ground can be worked in
+various ways; we will begin by describing the plain hole ground, which
+as a rule forms the ground of all torchon laces. After fixing the
+pattern, as represented in fig. 787, upon the pillow, stick in 5 pins,
+hang 2 pairs of bobbins on to each and throw the 2nd bobbin of each pair
+over its fellow = 1 half passing with the 2nd and 3rd pairs = put up a
+pin at point 1 = 1 half passing with the same pair = this encloses the
+pin = lay the 3rd pair aside = 1 half passing with the 2nd and 1st pair
+= put up a pin at point 2 = enclose it with the same pairs = 1 half
+passing with the 5th and 4th pair = put up a pin at point 3 = enclose it
+with the same pairs = lay the 5th pair aside = 1 half passing the 4th
+and 3rd pair = put up the pin at point 4 = enclose the same = lay the
+4th pair aside = work on in the same way over points 5 and 6 = 1 half
+passing with the 6th and 7th pair = put up the pin at point 7 = enclose
+the same = work on in the same way over points 8, 9, 10, 11 and 12 = 1
+half passing with the 8th and 9th pair = put up the pin at point 31 =
+enclose the same = work on over points 14, 15, 16, 17, 18, 19 and 20 = 1
+half passing with the 9th and 10th pair = put up the pin at point 21 =
+enclose the same and proceed as in the preceding rows, from point 22 to
+29.
+
+[Illustration: FIG. 791. PATTERN FOR ROSE GROUND.]
+
+[Illustration: FIG. 792. ROSE GROUND.]
+
+Hole ground with twisted thread is made in the same way we have just
+been describing, only that after every half passing enclosing the pin,
+each pair of bobbins is twisted once. A ground which is worked in this
+way is stronger than the other. Twisted hole ground is seen again in
+figs. 792 and 794.
+
+WHEELS IN HOLE GROUND (figs. 789 and 790).--For the wheels, which are
+often worked on pillow-made grounds, 4, 6, 8 pairs of bobbins, sometimes
+even more are used (see likewise fig. 801).
+
+In fig. 789, the wheel is worked with the 4 middle pairs of bobbins.
+Each pair has first to be twisted once = 1 linen passing with the 3rd
+and 2nd pair = lay aside the 3rd pair = 1 linen passing with the 2nd
+and 4th pair = lay both pairs aside = 1 linen passing with the 4th and
+3rd pair = lay aside the 4th pair = 1 linen passing with the 3rd and 2nd
+pair = put up the pin at the next point and between the 2nd and 3rd pair
+= 1 linen passing with the 3rd and 2nd pair = lay aside the 3rd pair = 1
+linen passing with the 2nd and 1st pair = lay both pairs aside = 1 linen
+passing with the 4th and 3rd pair = lay the 4th pair aside = 1 linen
+passing with the 3rd and 2nd pair = the last passing completes the
+wheel, such as it is represented in fig. 790.
+
+Twist the pairs of bobbins again as you did before beginning the wheel
+and then proceed with the plain ground.
+
+ROSE GROUND (figs. 791 and 792).--After preparing the pattern, as in
+fig. 791, put up pins at _a_, _b_, _c_, _d_, _e_, _f_, _g_, _h_ and _i_
+and hang on 2 pairs of bobbins to the first pin, and one pair to each of
+the other 8 = 1 half passing with the 1st and 2nd pair = twist each pair
+once = take out the pin at point _a_ and put it up again at the same
+point between the pairs = enclose the pin with 1 half passing = twist
+the pair once = lay the 1st pair aside = 1 half passing with the 2nd and
+3rd pair = twist the pair again = take out the pin at _b_, put it in
+again at the same point between the pair = enclose the pin = twist the
+pairs again = lay the 2nd pair aside = 1 half passing with the 3rd and
+4th pair = twist the pair again = take out the needle at _c_ and put it
+in again at the same point between the pairs = enclose the pin = twist
+the pair again = 1 half passing with the 3rd and 2nd pair = twist the
+pair again = put up a pin at point 1 = enclose the pin = twist the pair
+again = 1 half passing with the 2nd and 1st pair = twist the pair again
+= put up a pin at point 2 = enclose the pin = work point 2 and 1 with
+the 3rd and 2nd pair = 1 half passing with the 4th and 5th pair = twist
+the pairs again = take out the pin at _d_ and put it in again at the
+same point between the pair = work point _e_ exactly like point _d_ with
+the 5th and 6th pair = work point 4 like point 3 with the 4th and 5th
+pair = work points 5, 6 and 7 in a slanting direction from right to left
+= carry out point 8 with the 5th and 4th pair = lay both pairs aside =
+work point 9 with the 3rd and 2nd pair = work point _f_ like point _e_
+with the 6th and 7th pair = work point _g_ like point _f_ with the 7th
+and 8th pair = then work points 10 to 15 with the 6th and 7th pair =
+point 16 with the 7th and 6th pair = point 17 with the 5th and 4th pair
+= point 18 with the 3rd and 2nd pair = point _h_ like point _g_ with the
+8th and 9th pair = point _i_ with the 9th and 10th pair = points 19 to
+26 with the 9th and 10th pair = point 27 with the 9th and 8th pair =
+point 28 with the 7th and 6th pair = point 29 with the 5th and 4th pair
+= point 30 with the 3rd and 2nd pair. Proceed in this manner until the
+whole ground be finished.
+
+[Illustration: FIG. 793. PATTERN FOR FIG. 794]
+
+[Illustration: FIG. 794. DOUBLE OR ORNAMENTAL GROUND.]
+
+DOUBLE OR ORNAMENTAL GROUND (figs. 793 and 794).--This ground should be
+worked in a comparatively fine material; we should recommend Fil à
+dentelle D.M.C Nos. 30 to 100. Put up pins at points _a_ and _g_ in the
+pattern and hang on a pair of bobbins = put up pins likewise at _b_,
+_c_, _d_, _e_ and _f_ and hang on a pair of bobbins to each = 1 half
+passing with the 2nd and 3rd pair = take out the pin at point _b_ and
+put it in again between the pair at the same place = enclose the pin
+with a half passing = 1 half passing with the 2nd and 1st pair = put up
+a pin at point 1 = enclose the pin = 1 half passing with the 4th and 5th
+pair = take out the pin at point _l_ and put it in again between the
+pairs at the same place = enclose the needle = 1 half passing with the
+4th and 3rd pair = put up a pin at point 2 = enclose the needle = 1 half
+passing with the 3rd and 2nd pair = put up a pin at point 3 = enclose
+the needle = 1 half passing with the 3rd and 4th pair = 1 half passing
+with the 2nd and 1st pair = put up a needle at point 4 = enclose the
+needle = work point _d_ like point _c_ with the 6th and 7th pair = 1
+half passing with the 6th and 5th pair = put up a pin at point 5 =
+enclose the pin = work over point _e_ like point _d_ with the 7th and
+8th pair = 1 half passing with the 7th and 6th pair = put up a pin at
+point 6 = enclose the pin = 1 half passing with the 6th and 5th pair =
+put up a pin at point 7 = enclose the pin = 1 half passing with the 6th
+and 7th pair = lay the 2 pairs aside = 1 half passing with the 5th and
+4th pair, by which the threads are made to cross each other in the
+square = work over point _f_ as over point _e_ with the 10th and 11th
+pair = work over points 17 to 19 as over points 5 to 7 = when the square
+is finished 1 half passing with the 10th and 11th pair = half passings
+between all the squares.
+
+[Illustration: FIG. 795. TULLE GROUND.]
+
+TULLE GROUND (fig. 795).--Prepare your pattern for the ground
+represented here on a magnified scale, by pricking holes at regular
+distances so as to form diagonal lines intersecting each other, as shown
+in the engraving, and set more or less closely together, according to
+the thickness of the thread you use.
+
+1 half passing = put up the pin at the next point, twist both pairs
+twice, but without enclosing the pin, and pass the inner left thread
+over the inner left one = twist the two pairs again = cross as before
+and so on.
+
+VALENCIENNES GROUND (fig. 796).--The Valenciennes ground is formed of
+little plaits for which 2 pairs of bobbins are used. These plaits are
+often used in other kinds of lace as well, as may be seen for instance
+in figs. 801, 802 and 806 which are not Valenciennes patterns.
+
+[Illustration: FIG. 796. VALENCIENNES GROUND.]
+
+[Illustration: FIG. 797. BRUSSELS GROUND.]
+
+According to the size of the squares the plaits are made with either 4, 6
+or 8 half passings, 2 pairs of bobbins being invariably used. The plaits
+are joined by a half passing, made with the last pair of the left plait
+and the first of the right = stick the pin into the hole = enclose the
+pin by a half passing and work the next plait on the left with the two
+left pairs and the next plait on the right with the two right pairs.
+
+BRUSSELS GROUND (fig. 797).--For the sake of greater clearness, this
+ground too has been worked and reproduced here on a magnified scale.
+
+It is worked in diagonal lines, as follows: 1 double passing with 2
+pairs of bobbins = put up a pin at the next point = enclose the pin with
+a double passing, twist both pairs each time once and so on. This
+ground, when it is worked by the hand in very fine thread, takes a long
+time to do and is therefore often made by machinery.
+
+[Illustration: FIG. 798. ETERNELLE WITH TWO ROWS OF HOLES.]
+
+ETERNELLE WITH TWO ROWS OF HOLES (fig. 798).--The so-called
+«eternelle» laces have no definite pattern; they can be made of any
+width, in the form of insertions or edgings.
+
+For a single row of holes, you want 6 pairs of bobbins; for two rows, 7;
+for three, 9, adding two pairs of bobbins for every additional row of
+holes. The upper part of fig. 798 shows how the points are distributed;
+here 7 pairs of bobbins are used.
+
+Put up a pin at the topmost point = hang on 2 pairs of bobbins = 1
+double passing = take out the pin and put it in again between the two
+pairs = tighten the pair = hang on 1 pair of bobbins again on the left =
+1 double passing with the 1st pair of the bobbins you hung on first and
+with the new pair = push the double passing close to the pin = twist the
+first pair once and then lay it aside = 1 double passing with the 2nd
+and 3rd pair that enclose the pin = hang on 2 pairs of bobbins in the
+middle = 1 double passing with both pairs = lay the 5th pair aside = 1
+double passing with the 4th and 3rd pair = lay the 4th pair aside = 1
+double passing with the 2nd and 1st pair = twist the 1st pair once and
+lay it aside = 1 double passing with the 2nd and 3rd pair that enclose
+the pin = put up 1 pin at the 3rd lower point, hang on 2 pairs of
+bobbins = 1 double passing with these bobbins = lay the 7th pair aside =
+* 1 double passing with the 6th and 5th pair = lay the 6th pair aside =
+1 double passing with the 5th and 4th pair = lay the 5th pair aside = 1
+double passing with the 4th and 3rd pair = lay the 4th pair aside = 1
+double passing with the 3rd and 2nd pair = put up a pin at the next
+point = 1 double passing with the 2nd and 1st pair = twist the 1st pair
+once = 1 double passing with the 2nd and 3rd pair, to enclose the pin =
+lay the 3 first pairs aside = 1 double stitch with the 4th and 5th pair
+= lay the last two pairs aside = 1 double passing with the 6th and 7th
+pair = put up a pin at the next point = enclose the pin with the last
+pairs = repeat from *.
+
+[Illustration: FIG. 799. LACE WITH TORCHON GROUND AND EDGE IN NET
+GROUND. MATERIALS: Fil à pointer D.M.C No. 30. Cordonnet 6 fils D.M.C
+Nos. 20 to 100, or Fil à dentelle D.M.C Nos. 25 to 150, white or
+écru.[A]]
+
+LACE WITH TORCHON GROUND AND EDGE IN NET GROUND (fig. 799).--Worked
+with 10 pairs of bobbins.
+
+Put up a pin at * = make net passings, fig. 786, to point 1 = put up a
+pin at point 1 = enclose the pin with the two last pairs on the right =
+net passings to point 2 = put up a pin at point 2 = lay one pair of
+bobbins aside = net passings to point 3 = put up a pin at point 3 =
+enclose the pin = net passings to point 4 = put up a pin at point 4 =
+lay one pair of bobbins aside = net passings to point 5 = put up a pin
+at point 5 = net passings, back to point 6 = put up a pin at point 6 =
+take up the bobbins on the left again = 1 half passing with the 1st pair
+on the left = put up a pin at point 7 = work the torchon ground, at the
+top of the lace, as in fig. 788, with the 2nd and 3rd pair = 1 half
+passing with the 3rd and 4th pair = put up a pin at point 8 = twist the
+1st and 2nd pair = 1 double passing with the 1st and 2nd pair = put up a
+pin at point 9 = 1 double passing with the 2nd and 3rd pair = lay the
+2nd pair aside = make hole or torchon stitch, fig. 788, with the 3rd and
+4th pair = put up a pin at point 10 = work on to point 11 in hole ground
+= put up a pin at point 11 = cross the 1st and 2nd pair on the left =
+put up a pin at point 12 = enclose the pin = lay 5 pairs of bobbins
+aside on the left = take up 5 pairs on the right = put up a pin at point
+13 = net passings with the 5 pairs on the right = take up, in addition,
+the 6th pair on the left = hole ground with the 5th and 6th pair = put
+up a pin at point 14 = net passings to point 15 with 5 pairs of bobbins
+= put up a pin at point 15 = net passings with 6 pairs of bobbins = take
+up a 7th pair of bobbins in addition = hole ground with the 6th and 7th
+pair = put up a pin at point 16 = net passings with 6 pairs of bobbins =
+put up a pin at point 17 = net passings with 6 pairs of bobbins = put up
+a pin at point 18 and then repeat from the first point * on the left.
+
+PILLOW LACE (figs. 800, 801, 802).--We here give as an example the
+same pattern of lace worked in two thicknesses of thread; fig. 801 in
+Cordonnet 6 fils D.M.C No. 25[A], fig. 802 in Fil à pointer D.M.C No.
+30[A], which is of course much thicker. As this pattern is especially
+suitable for trimming household articles, made of unbleached linen, such
+for instance as table-covers, curtains and hangings of all kinds, we
+prefer it made in the thicker thread; even then it looks very well as a
+trimming for articles of dress.
+
+It is worked with 40 pairs of bobbins = hang them on one after the other
+in a row = put up a pin at point 1 = twisted linen passing = work all
+the pairs to point 2 with linen passing = put up the pin at the last
+pair = go back through 3 pairs with linen passing = twist 2 pairs once =
+go back with linen passing through all the pairs to point 3 = twist each
+pair separately = at point 4 twist the 2 pairs and put up the pin =
+twist the last pair twice and so on and coming back to point 5 = put up
+the pin = come back again to point 6 = return to point 7 = put up the
+pins at the two points.
+
+[Illustration: FIG. 800. PATTERN FOR THE PILLOW LACE FIGS. 801 AND 802.]
+
+Divide the 30 other pairs into twos = put up a pin between every set of
+two pairs = linen passing. The ground is all worked alike: twist the
+pairs twice = linen passing = put up the pins = linen passing to points
+6 and 7 = twist the threads in taking them through = make a plait, fig.
+796, for the scallop point 8 = put up a pin at the point marked for the
+picot = pass the thread of the outside bobbin from right to left, round
+the pin, to form the picot = continue the plait to the next picot = put
+up a pin = form the picot = continue the plait to point 9 = connect the
+plait with the bobbins of points 9 and 7 = make 4 linen passings with 3
+pairs = continue the plait = carry the last pair to point 10 = twist the
+threads = make 1 linen passing = put up a pin and enclose it = go on in
+this manner to point 12 = make the wheel, as in figs. 789 and 790, with
+6 pairs of bobbins, hanging on 4 new pairs at point 12 = work with
+twisted linen passing = twist the 4 pairs once and cross with linen
+passing = take the last pair out from the middle to point 13, join it to
+the first pair of the scallop = make all the wheels before continuing
+the ground = then go back from point 13 to 14 = cross the pairs again =
+at point 12 twist 4 pairs = 2 twisted linen passings right and left with
+the bobbins of points 14 and 15 = 1 twisted linen passing = put up the
+pins and work all the spiders alike.
+
+[Illustration: FIG. 801. PILLOW LACE.
+
+MATERIAL: Cordonnet 6 fils D.M.C No. 30.[A]]
+
+PILLOW LACE INSERTION (figs. 803 and 804).--Hang on 12 pairs of
+bobbins.
+
+Divide the bobbins and put 2 pairs at point 1 = put up a pin = twist
+once = 2 linen passings = from point 2 to point 8 = 5 twisted linen
+passings = add one pair of bobbins = put up a pin = add one pair of
+bobbins = put up a pin = lay one pair of bobbins aside = twist = 2
+linen passings = 5 twisted linen passings to point 10 = 2 linen passings
+= twist the 2 last pairs = go back with linen passing through 2 pairs =
+join together with the two pairs and the first pair by means of a
+twisted stitch = put up the pin = lozenge stitch (for lozenge stitch in
+which the lozenges or close leaves are made, you take 4 or 6 threads; in
+the execution it resembles the darning stitch represented in figs. 646
+and 647) to point 11 = twist at point 12 = take 2 pairs from point 10 =
+plait to point 13 = twist with the bobbins of point 1 = double passing =
+plait on the right, twist on the left = put up the pin = tie up as
+described.
+
+[Illustration: FIG. 802. PILLOW LACE.
+
+MATERIAL: Fil à pointer D.M.C No. 30.[A]]
+
+Take the second pair at points 13 and 15 = put up the pin = 2 twisted
+double passings on the right = 2 linen passings = twist the 2 latter =
+put up the pin = at point 16 lay one pair of bobbins aside = with simple
+passing go back through 2 linen passings = join the latter and the
+former with linen passing = put up the pin at point 17 = lozenge stitch
+with the bobbins of points 15 and 17 to point 18 = connect the same at
+point 11 = carry on the lozenge stitch to points 19, 20 and 21 = put up
+a pin at each number and enclose with a linen passing = with the first
+pair of bobbins of point 21, 2 linen passings to the left and 2 twisted
+linen passings, that is to say, crossing the threads = put up the pin at
+point 22.
+
+[Illustration: FIG. 803. PATTERN FOR PILLOW LACE INSERTION FIG. 804.]
+
+[Illustration: FIG. 804. PILLOW LACE INSERTION. MATERIALS: Cordonnet 6
+fils D.M.C Nos. 25 to 50, or Fil à dentelle D.M.C Nos. 25 to 100.[A]]
+
+Twist the threads from point 16 to point 23 = make a plait from point 15
+to point 23 = then join the two parts together by half passings = put up
+a pin = twist the threads and make plaits to point 24 = join the threads
+as at point 23.
+
+On the left and with the first pair of point 19, 2 linen passings = with
+the 2 latter 1 twisted passing = put up the pin at point 25 = returning,
+2 linen passings to point 26 = 2 linen passings to the left = with the 2
+latter pairs 2 double passings and put up the pin.
+
+PILLOW LACE (figs. 805 and 806).--Hang on 14 pairs of bobbins.
+
+[Illustration: FIG. 805. PATTERN FOR PILLOW LACE FIG. 806.]
+
+[Illustration: FIG. 806. PILLOW LACE.
+
+MATERIAL: Cordonnet 6 fils D.M.C No. 25.[A]]
+
+These are divided into 3 groups = 3 pairs at point 1 = put up a pin =
+twisted linen passing = twist both pairs once = put up the pin at point
+3 = add on 5 pairs at point 2 = put up the pin = go back through 3 pairs
+= twist the 2 last pairs = linen passing = put up the pin at point 3 =
+twist both pairs = linen passings, as seen in the illustration, to the
+right and left as far as point 11 = at point 13 intervert 6 pairs by a
+twisted linen passing = make a plait at point 14 = put up a pin in the
+middle of the same = pass through 2 pairs of bobbins with twisted linen
+passing = put 1 pair of bobbins aside at point 22 = put up a pin at the
+2 first pairs at point 15 = work the leaf in lozenge stitch = put up a
+pin at point 16 near the first pair = twist both pairs once = linen
+passing = put up the pin at point 17 = go back in the same manner = work
+on in the same way to point 21 = put up the pin at point 22 = twisted
+linen passing to point 11 = tie up the first pair of the scallop with
+the bobbins of point 11 = bring the last pair back and work as at point
+1 = then repeat and proceed in the same way to point 27 = twist the 2
+pairs up to point 26 = put up the pin = make one lozenge stitch and join
+the plait, stitch to point 28 = continue the lozenge stitch to point 29
+= join the bobbins of point 29 to those of point 21 by a plait = put up
+the pin = linen passing = twist the two last pairs once = put up the pin
+= linen passing = put up the pin at point 31 = twist both pairs once = 2
+linen passings = put up the pin at point 82 = 2 linen passings = tie up
+the bobbins of point 33 with those of point 29 = plait stitch = put up
+the pin = join to point 34 with lozenge stitch = with the bobbins at
+point 28 make lozenge stitch to point 27 = put up a pin = twist 3 pairs
+once = make 2 linen passings = join with linen passing = continue the
+scallop according to the preceding description, from point 27 to point
+35.
+
+At point 34 make a leaf in lozenge stitch = put up the pin = continue
+from point 33 to point 36 with twisted linen passings = carry the first
+pair of bobbins of the lozenge to point 35 by means of 2 twisted linen
+passings = put up a pin in the middle of the 2 pairs = make a plait to
+point 37 = cross the pairs again as at point 13, in the beginning.
+
+PILLOW LACE (figs. 807 and 808).--Worked with 30 pairs of
+bobbins.--These are divided: 14 pairs at point 1 = put up a pin on the
+left and right = with the last pairs make plaits to point 12 = add 2
+pairs = make a double passing as for a plait = put up a pin in the
+middle of the pairs = plait with 2 pairs of bobbins to point 3 = add 2
+pairs of bobbins = make a double passing as for the plait = put up a pin
+in the middle of the pairs = then go on in the same manner to point 4 =
+add 4 pairs of bobbins = put up the pin = at point 5, add 2 pairs of
+bobbins = make a plait = put up a pin and join to point 4 by a double
+passing.
+
+[Illustration: FIG. 807. PATTERN FOR PILLOW LACE FIG. 808.]
+
+[Illustration: FIG. 808. PILLOW LACE.
+
+MATERIAL: Fil à dentelle D.M.C No. 50.[A]]
+
+At point 1, lay the two last pairs to the right = put up a pin = make a
+plait to point 6 = add 2 pairs of bobbins = 1 double passing = put up a
+pin = make a plait to point 7 with a pairs of bobbins = add 2 pairs of
+bobbins = 1 double passing = put up the pin = make a plait to point 8 =
+add 4 pairs of bobbins = 5 linen passings = put up a pin at the last
+passing = at point 9 add 2 pairs of bobbins = make a plait = put up a
+pin = join to point 8 with linen passing = make plaits from point 9 to
+point 10 = put up a pin = leave the pairs hanging = 5 linen passings
+with the bobbins of point 10 = put up the pin at point 11 = go back to
+point 10 with 5 passings = put up the pin = make a plait and tie up the
+bobbins at point 6 = leave these bobbins hanging down.
+
+With the two first pairs at point 11, make a plait to point 12 = 1 linen
+passing at point 7 and join to point 12 by a plait = plait stitch = put
+up a pin = then plait stitch to point 13 and make the same connection as
+at points 12 and 7 = continue to plait to point 14 = put up the pin at
+the first pair = 7 linen passings = leave these bobbins hanging down =
+tie up the plait of point 5 with the 1st pair of point 4 = make a plait
+on the left = put up a pin at point 15 = make 5 linen passings on the
+right and put up the pin at point 16 = make a plait to point 17 = make
+the same connection as at point 7 and 12 = the same connection also at
+point 18 = make a plait to point 19 = put up the pin = make a plaited
+lozenge with one pair = leave 2 pairs hanging at point 20, left and
+right = continue to point 21 = leave 2 pairs hanging, left and right =
+make a plait to point 22 = begin again at point 17 and make a leaf in
+lozenge stitch to point 23 = make a second leaf from point 16 to point
+23 = join the leaves at point 23 = make a plait with the first pair of
+point 16 to point 24 = put up a pin = enclose it with a double passing
+and make a plait = tie up the bobbins at point 15 = continue the edge to
+point 26 = make a leaf in lozenge stitch from point 32 to point 26 = tie
+up the bobbins at point 26 and make linen passings with the united
+bobbins to point 27 = with the bobbins of point 18 and point 20,
+therefore with 4 pairs, make a square in lozenge stitch = join the 3
+leaves at point 23 = from point 23 to point 28 make a plait with the two
+first pairs of bobbins = put up a pin at point 28 = make a plait with
+picots to point 29 = lozenge stitch from point 32 to point 22 and point
+33 = join to point 30 by a plait = plait to point 22 = work from point
+34 to 35 in the same way as from point 1 to point 33 = at point 22 and
+point 35 the pairs cross each other.
+
+PILLOW LACE (figs. 809 and 810).--Hang on 28 pairs of bobbins. Begin
+at point 1 with a plait, fig. 790 = put up a pin = * hang on 5 pairs at
+point 2 and put up a pin at the last pair = with the last pair make a
+plait to point 3 * = hang on a pair of bobbins = 1 linen passing = hang
+on a pair of bobbins = 1 linen passing = hang on 3 pairs of bobbins = 1
+linen passing = 3 linen passings = put up a pin = 1 leaf in lozenge
+stitch to point 4 = hang on 2 pairs of bobbins = 2 plait stitches = put
+up a pin = make a leaf to point 5 = hang on 2 pairs of bobbins = 1 plait
+stitch = put up a pin = repeat in the reverse order to point 3.
+
+[Illustration: FIG. 809. PATTERN FOR THE LACE FIG. 810.]
+
+[Illustration: FIG. 810. PILLOW LACE. MATERIAL: Fil à dentelle D.M.C No.
+50. ([A])]
+
+Put up a pin at point 9 = hang on a pair of bobbins = 1 linen passing =
+hang on a pair of bobbins = 1 linen passing = hang on a pair of bobbins
+= make a plait to point 11 = put up a pin = hang on 2 pairs of bobbins
+at point 12 = make a plait and tie the threads together with those of
+point 11 = on the left with 2 pairs, on the right with 3 pairs to point
+13 for the edge = put up 2 pins and continue the edge with linen
+passings to point 14.
+
+Return to point 15 and make a plait = put up a pin = divide the bobbins
+and put one pair on the right, the other on the left = take the bobbins
+at point 5 and 7 and make plaits to points 16 and 17 = make linen
+passings with the two pairs to point 18 = put up a pin and make a plait
+to point 21.
+
+Make leaves in lozenge stitch from points 4 and 8 to points 19 and 20 =
+one leaf from point 16 to point 19 = make another leaf to point 22 and
+one to point 21 = make the same leaves on the left to points 20, 21 and
+23 = cross the bobbins at point 21 = make leaves from point 21 to points
+24, 26 and 26.
+
+Make lozenge stitch with picots, with 3 pairs of bobbins from points 9
+and 10 to point 22 = join the bobbins to leaf 22 = carry on the braid to
+point 26 = join 2 pairs of bobbins to the leaf = leave the 2 pairs at
+point 28 hanging down = carry on the braid to point 25.
+
+Make a leaf at point 27 to point 14 = tie the threads together as at
+point 10 = carry on the edge to point 29 = put up a pin = make a plait
+with picots to point 30 = tie up the threads with those of leaf 28 =
+make a leaf to point 31 = introduce the threads into the edge = put up a
+pin = tie the threads together.
+
+Make a plait on the left = leave 4 pairs of bobbins hanging down on the
+right, 2 pairs for the plait and 2 for the leaf = carry on the edge to
+point 32 = leave 2 pairs hanging for another leaf = continue the edge to
+point 33. Make a plait from point 21 to point 34.
+
+Begin again on the left at points 1 and 2 and work, as on the right, to
+point 35 = cross the threads at point 25 = linen passing = distribute
+the pairs to point 36 = 2 pairs at point 37 = 2 at point 38 = 3 pairs
+at point 34 = plait to point 37 = join to point 38 = continue the plait
+and join to points 36, 35, 39 = at points 35, 36, 37 lozenge stitch with
+every 2 pairs of bobbins to point 40 = then join the next 6 pairs
+together = and work on with lozenge stitch to point 41 = work exactly in
+the same manner at points 31, 32, 34, 35, 39, 42 as at points 36, 37,
+38, 40 to 41 = at point 41, all the threads are interwoven, and then
+divided into 3 sets = continue the leaves to points 45, 46 and 47. Then
+repeat in the reverse order from points 31, 38, 25, 32 and 39.
+
+[Illustration: FIG. 811. ARMENIAN LACE. MATERIALS: Fil à pointer D.M.C
+Nos. 10 to 30, Cordonnet 6 fils D.M.C Nos. 15 to 40 or Fil à dentelle
+D.M.C Nos. 25 to 70. COLOURS: Écru and Brun-Caroubier 303.[A]]
+
+[Illustration: FIG. 812. WORKING DETAIL OF FIG. 811.]
+
+ARMENIAN LACE (figs. 811 and 812).--The dresses of the Turkish women
+are often ornamented with flowers and leaves, executed in needlework
+which take the place of fringe and braid trimmings and are often even
+employed as adornments for the neck and arms instead of necklets and
+bracelets in metal work; though, as such, they do not always accord with
+our Western notions of good taste, the Armenian work is in itself, both
+sufficiently interesting and easy of execution, to deserve description
+here amongst other kinds of needlework that are adaptable to use. It may
+be imitated with capital effect in strong stiff washing materials, such
+as those indicated in our illustration, either upon a linen or cotton
+foundation or upon plush or silk.
+
+The thread is first drawn into the edge of the stuff; you then carry it
+from right to left, determine the length of the squares, and working
+from left to right make on this first thread as many knots as you have
+room for.
+
+Fig. 812 shows the formation of the knot, the manner in which the
+thread, passing from left to right, forms a loop, and how to pass your
+needle under the straightly extended thread and through the loop. You
+leave a space of one or two m/m. between the knots, according to the
+thickness of the thread you are using. Having covered the first thread
+with knots, you return to the edge for the next row of knots, but
+passing your needle this time under three threads.
+
+The number of knots should be the same in each row, and the four sides
+of the square should be all equal.
+
+When the squares are finished they are edged with picots on the two
+lower sides, as shown in fig. 812.
+
+Thread of two colours was used for fig. 811, the squares being worked
+alternately in Écru and Brun-Caroubier and the picots, all in the latter
+colour.
+
+LACE AND INSERTION IN KNOTTED STITCH (fig. 813).--Excepting in the
+case of the returning thread, the same stitches are used for the pretty
+border and insertion given in fig. 813, as for the Armenian lace.
+
+The stitches that form the insertion are attached, on both sides, to an
+English braid, something of the nature of Rhodes linen, which is
+open-worked before the knotted work upon it is begun.
+
+As in the preceding figure, two colours are used alternately, the change
+from one to the other is distinctly marked in the engraving.
+
+The outside edge consists of light scallops, formed by the regular
+increase and decrease of the stitches. The original piece of work from
+which our drawing was taken, forms the border of a dark blue plush
+carpet; the red and écru hues of the lace harmonize exceedingly well
+with the soft colour of the plush.
+
+[Illustration: FIG. 813. LACE AND INSERTION IN KNOTTED STITCH.
+MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Cordonnet 6 fils D.M.C
+Nos. 10 to 25, or Fil à dentelle D.M.C Nos. 25 to 50. COLOURS: Écru and
+Rouge-Cardinal 46.[A]]
+
+INSERTION IN KNOTTED STITCH (figs. 814 and 815).--This kind of work,
+similarly composed of knotted stitches, can be used instead of crochet
+insertion or single and cut openwork in linen. It looks exceedingly well
+as a trimming for bed and table linen and is executed on foundation
+threads or cords, which connect the different figures together, with
+closely connected rows of knots between.
+
+[Illustration: FIG. 814. INSERTION IN KNOTTED STITCH. MATERIALS: Fil à
+pointer D.M.C No. 30, Cordonnet 6 fils D.M.C Nos. 15 to 30, or Fil à
+dentelle D.M.C Nos. 25 to 50.[A]]
+
+[Illustration: FIG. 815. WORKING DETAIL OF FIG. 814.]
+
+INSERTION IN KNOTTED STITCH (figs. 816 and 817).--The mode of making
+the insertion in knotted stitch, which is represented in the two
+accompanying engravings, is supposed to be of Italian origin, but we
+have met with quite as perfect specimens of work done in the same way,
+which were the products of Persia and Asia Minor. We have called it by
+the same name as the preceding patterns, for even the way in which the
+stitch is worked is almost the same. Through some slight difference
+however in the interlacing of the threads, shown by the open loops in
+fig. 817, the stitches lie closer together and are alike on both sides
+of the work.
+
+[Illustration: FIG. 816. INSERTION IN KNOTTED STITCH. MATERIALS: The
+same as for fig. 814.[A]]
+
+[Illustration: FIG. 817. WORKING DETAIL OF FIG. 816.]
+
+No difficulty will be found in making out the course of the rows; it is
+best to begin by the two rows of stitches that form the perpendicular
+bars and make the stitches, that compose the 4 staves between the bars
+next. For the little picots see fig. 700.
+
+[Illustration: FIG. 818. LACE IN KNOTTED STITCH. MATERIALS: Cordonnet 6
+fils D.M.C Nos. 10 to 25 or Fil à dentelle D.M.C Nos. 25 to 50.[A]]
+
+[Illustration: FIG. 819. WORKING DETAIL OF FIG. 818.]
+
+[Illustration: FIG. 820. RETICELLA LACE. MATERIALS--For the open-work:
+Cordonnet 6 fils D.M.C Nos. 10 to 100, or Fil à dentelle D.M.C Nos. 25
+to 150, white or écru. For the bars: Lacets superfins D.M.C Nos. 3 to
+8.[A]]
+
+LACE IN KNOTTED STITCH (figs. 818 and 819).--This charming little
+lace, which is of Italian origin, was taken from a cushion cover, used
+for church purposes. The stitches, made in the order indicated in the
+working detail, fig. 819, are overcast at the last with a fleecy thread,
+such as Coton à repriser D.M.C, of a rather sober colour, such for
+instance as Bleu-Indigo 334, Rouge-Géranium 352, or Jaune-Rouille 363.
+
+You overcast the slanting bars and pass over the stitches that connect
+the two picots.
+
+[Illustration: FIG. 821. WORKING DETAIL OF FIG. 820.]
+
+RETICELLA LACE (figs. 820 and 821).--The Reticella laces are generally
+made on a design traced upon parchment, similar to those required for
+the laces described later on. But as the manner of working has been
+modified in the lace represented here, we thought it as well to adopt
+the same simplification, often used in beautiful pieces of old
+needlework, which consists in substituting a braid made upon a pillow,
+for the bars made with the needle.
+
+[Illustration: FIG. 822. VENETIAN LACE.]
+
+[Illustration: FIG. 823. VENETIAN LACE.]
+
+You begin by laying and fastening down the braid by means of very small
+stitches upon the lines of the pattern, which should be traced upon
+black paper; you next proceed to make the centre bars, covered with
+plain buttonhole stitches, on which you mount a row of stitches, like
+those of fig. 755; these are followed by another bar, to make which, you
+pick up the loop of the stitches of the preceding row and by another row
+like the second, finished off with picots, like those illustrated in
+fig. 700. The bases of the pyramids likewise consist of bars,
+buttonholed on both sides and edged on the inside with picots.
+
+The stitches of the first row should not be too close together, that
+there may be room for those of the second row between, as we have
+already explained in fig. 702, in the chapter on Irish lace.
+
+The inside of the pyramids is worked in the stitch represented in fig.
+755, the picots round them are like the ones in fig. 599.
+
+[Illustration: FIG. 824. VENETIAN LACE.]
+
+[Illustration: FIG. 825. VENETIAN LACE.]
+
+The lace, represented in fig. 820 in its original size, was worked in
+Fil à dentelle D.M.C No. 80, whilst the second engraving, representing
+the same subject, shows us how perfectly well it can also be made in
+heavier and coarser materials, these being in this instance, Lacets
+superfins D.M.C No. 4 and Cordonnet 6 fils D.M.C No. 20.
+
+VENETIAN LACES (figs. 822, 823, 824, 825, 826, 827, 828).--Under the
+name of «Venetian point» are comprised, not only certain kinds of pillow
+lace, but even more generally, the beautiful needle-made lace, the
+outlines of which are bordered with handsome scallops in high relief.
+
+We shall confine our attention in the present instance to the
+needle-made Venetian lace as the other can be learnt without any great
+difficulty by following the instructions already given for the making of
+pillow lace.
+
+[Illustration: FIG. 826. VENETIAN LACE.]
+
+[Illustration: FIG. 827. VENETIAN LACE.]
+
+The preparation of the pattern, in most kinds of needlework, is a most
+important matter and one requiring the greatest care, but in the case of
+needlemade lace and pillow lace the processes are different.
+
+The paper on which the design is traced must first be backed or lined
+with unglazed black paper (made specially for this purpose). Prick holes
+all along the lines of the pattern, at exactly the same distance from
+each other, remove the tracing and tack the black paper upon rather
+coarse linen.
+
+This done, you take from three to five lengths of the thread of which
+the lace is to be made, lay them down together upon the lines marked by
+the prickings and secure them at each hole by a stitch made over the
+threads.
+
+Fig. 822, with the others of the same series in their natural size, show
+the proper distance that should be left between the prickings, and the
+laying down of the threads begun; whilst in fig. 823, we have the
+threads laid down throughout, even for the little eyelet holes, which
+are to be openworked afterwards.
+
+[Illustration: Fig. 828. VENETIAN LACE. MATERIALS--For the open
+stitches: Fil à dentelle D.M.C Nos. 100 to 200. For the outlining and
+for the padding: Coton surfin D.M.C Nos. 120 to 150.[A]]
+
+When all this preliminary work is finished, the pattern is ready for the
+lace stitches that are to form the filling in, between the raised
+outlines. In order to keep your work perfectly clean and preserve it
+from unnecessary contact with your fingers, cover all those parts of the
+pattern you are not immediately engaged on, with a piece of blue paper
+with a hole, about the size of a pea, cut in it. This you move along as
+you go, working only at the part of the pattern which is visible through
+the hole, keeping all the rest carefully covered up and sewing paper
+over each part as soon as it is finished; this should not be removed
+until you are ready to join all the separate parts together with bars or
+latticed ground and work the buttonhole edges.
+
+All the different lace stitches that are used as fillings must be begun
+and fastened off at the outline threads, which you must be careful not
+to drag out of their place.
+
+We again remark, for the benefit of those of our readers who may not
+have read the preceding chapter attentively, that in working all the
+finer lace stitches, the needle should be held with the eye towards the
+worker and the point turned outwards. All the inside portions of the
+pattern have to be worked in separately; (for a choice of stitches to
+serve as fillings see figs. 720 to 762) until all the spaces are filled,
+as represented in figs. 825 and 826. The stitches should be selected as
+far as possible, to suit the style of the design. Flowers look best
+worked in an open or lattice stitch, leaves on the other hand in a thick
+close stitch.
+
+When all the insides are done, the edges and outlines have to be closely
+buttonholed.
+
+The old Venetian laces are bordered with scallops in high relief, worked
+over a thick pad of laid threads, as described on p. 83, fig. 191,
+relating to Venetian embroidery.
+
+[Illustration: Fig. 829. VENETIAN LACE WITH NET GROUND.
+
+MATERIALS--For the open stitches: Fil à dentelle D.M.C Nos. 100 to
+200.--For the outlining: Coton surfin D.M.C Nos. 120 to 150.]
+
+VENETIAN LACE WITH NET GROUND (fig. 829).--The outlining of the
+figures with several strands of Coton surfin D.M.C, should, in the case
+of detached pieces of lace, be done at once, but where the figures are
+connected by bars or by a net ground as in fig. 825, the buttonholed
+outlines should be done last. Thus in making the lace, fig. 829, you
+should begin by working all the insides of the flowers and foliage, then
+the net ground which may be replaced by bars with picots and then only
+proceed to the outside buttonholing and the scallops.
+
+As all this kind of lace-work is very laborious and takes a long time to
+do, we advise our readers to use thread that is slightly tinted; in the
+first place it does not turn yellow as white thread is liable to do and
+secondly, being softer and less twisted it takes every bend and turn
+more readily than the stiffer white material does.
+
+Of all the different kinds of thread, so frequently alluded to in these
+pages, the higher numbers of Fil d'Alsace D.M.C and Fil à dentelle D.M.C
+are the best for the finer kinds of lace, and they all have the soft
+ivory tint, we so admire in the old needlework.
+
+[Illustration: FIG. 830. SPRAY IN NEEDLE-POINT. MATERIALS--For the open
+stitches: Fil à dentelle D.M.C No. 200.--For the outlining: Coton surfin
+D.M.C Nos. 120 to 150.[A]]
+
+SPRAY IN NEEDLE-POINT (fig. 830).--Needle-point lace, also called
+Brussels lace, requires the same preparatory work as Venetian lace; but
+it seldom contains such a variety of stitches and openwork as the
+latter.
+
+The flowers are generally worked in one of the stitches, represented in
+figs. 720 and 740; the outlines are less thickly buttonholed and the
+stitches, set everywhere less closely.
+
+Here also, the finished parts should be carefully covered with paper to
+keep them from getting soiled.
+
+The needle-point lace designs are ordinarily speaking more realistic and
+as regards the composition, less artistic and severe than the Venetian
+point ones.
+
+The spray, represented in our engraving, is a specimen of an ordinary
+Brussels lace pattern and of the stitches it is worked in.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: APPLIQUÉ WORK ON SATIN SET WITH FINE CORD.]
+
+
+
+
+Miscellaneous fancy work.
+
+
+As the plan on which this book was constructed rendered a systematic
+classification of the different subjects it treats of necessary, a
+certain amount of miscellaneous fancy work, which does not come under
+any of the previous headings remains to be dealt with in the present
+chapter. In most cases the illustrations and the accompanying directions
+are but an application to a practical use of the different kinds of
+stitches already described in previous chapters and those who are
+familiar with all these various branches of needlework will have no
+difficulty in understanding what follows.
+
+KNOTTED CORD (figs. 831, 832, 833, 834, 835).--The knotted cord
+referred to in the letter press belonging to figs. 772 and 773 in the
+chapter on Irish lace, comes under the present heading: in making it,
+the fingers take the place of a crochet needle.
+
+You tie two ends of thread or braid together, take one thread in the
+left hand fig. 831, and with the forefinger of the right, pull out a
+loop long enough for the left forefinger to pass through and hold the
+end of the thread tight with the little finger of the right hand.
+
+Then draw the left forefinger backwards through the loop and behind the
+thread that is round the loop and lies in the left hand, fig. 832. As
+you lay the thread round the left forefinger, you must pass the knot
+and the ends of thread as well, over into the left hand, and with the
+right hand pull the thread that lies on the right and draw up the loop,
+fig. 833.
+
+[Illustration: FIG. 831. KNOTTED CORD. FIRST POSITION OF THE HANDS.]
+
+[Illustration: FIG. 832. KNOTTED CORD. SECOND POSITION OF THE HANDS.]
+
+[Illustration: FIG. 833. KNOTTED CORD. THIRD POSITION OF THE HANDS.]
+
+In fig. 834, representing the fourth position of the hands, you are
+shown how the forefinger of the right hand lifts up the thread and
+passes through the loop on the left hand; the end will consequently also
+pass immediately into the right hand and the left hand will tighten the
+knot.
+
+It is by thus drawing up first a loop on the right and then one on the
+left that this pretty cord is produced.
+
+Skilful hands will soon learn to make a cord of the same kind with four
+threads, as follows: knot the four ends of thread together, make a few
+knots, using two threads as one, then dropping the loop on your
+forefinger, put the next one upon it and draw up the knot, passing
+however the threads over those that you dropped. Then drop the loop you
+have on your finger again and take up the first loops.
+
+[Illustration: FIG. 834. KNOTTED CORD. FOURTH POSITION OF THE HANDS.]
+
+For the cord made with double threads, represented in fig. 835 on a
+magnified scale, use Cordonnet 6 fils D.M.C or one of the other
+materials mentioned at the foot of the illustration. Soutache D.M.C will
+always be found to be very suitable for this purpose.
+
+BALLS FOR TRIMMINGS (figs. 836, 837, 838, 839, 840, 841).--Amongst the
+crochet patterns are two that are finished off with balls; to make
+these, begin by cutting a number of rounds of cardboard, two for every
+ball, with holes in the middle, fig. 836.
+
+[Illustration: FIG. 835. KNOTTED CORD.
+MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C
+Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or Soutache D.M.C Nos.
+1 to 3.[A]]
+
+If you have a great many balls to make it is well worth your while
+providing yourself with a metal die of the proper size, to cut the
+rounds with.
+
+[Illustration: FIG. 836. BALLS FOR TRIMMINGS. CIRCLE OF CARDBOARD.]
+
+[Illustration: FIG. 837. BALLS FOR TRIMMINGS. OVERCASTING THE CIRCLE OF
+CARDBOARD.]
+
+[Illustration: FIG. 838. BALLS FOR TRIMMINGS. CUTTING THE STITCHES ROUND
+THE EDGE.]
+
+[Illustration: FIG. 839. BALLS FOR TRIMMINGS. PUTTING IN THE LOOP.]
+
+[Illustration: FIG. 840. BALLS FOR TRIMMINGS. CUTTING OUT THE
+CARDBOARD.]
+
+[Illustration: FIG. 841. BALL COMPLETED WITH LOOP ATTACHED.]
+
+Lay two of these rounds together and cover them closely with stitches,
+fig. 837, using for this purpose Coton à tricoter D.M.C (knitting
+cotton) or Coton à repriser D.M.C (darning cotton).[A]
+
+When the round is entirely covered, put the scissors in between the two
+circles of cardboard and cut open the stitches all round the outer edge,
+fig. 838; then draw a piece of thread between the two circles and knot
+it firmly round the stitches that meet in the centre hole, fig. 839;
+leave sufficiently long ends of thread hanging to form a loop by which
+the ball can afterwards be fastened to the heading of the fringe; when
+the stitches are knotted together you cut and pull out the cardboard,
+fig. 840, and snip the thread with your scissors until it becomes quite
+fluffy and the ball is perfectly round, as shown in fig. 841.
+
+TAMBOUR WORK (figs. 842, 843, 844, 845).--Since the introduction of
+the sewing machine, by means of which this charming kind of embroidery
+can be so quickly and easily executed, it has somewhat gone out of
+favour. As however, the fine patterns with a good deal of shading in
+them, can be far more accurately worked by hand than by machine,
+tambouring, which is in point of fact merely a form of crochet, has
+lately been revived. The piece of stuff on which the tambour work is to
+be done must be mounted on a frame.
+
+[Illustration: FIG. 842. THIMBLE FOR TAMBOURING.]
+
+[Illustration: FIG. 843. TAMBOUR NEEDLE.]
+
+The loops which are made with a small hook, called a tambour needle,
+form a fine chain stitch and must be regular and even; to facilitate
+this a sort of thimble, fig. 842, is worn on the forefinger of the right
+hand, formed of a small plate of sheet brass, rolled up but not joined,
+so as to fit any finger; it is open at the top like a tailor's thimble
+and has a little notch on the side which is placed above the nail, and
+in which you lay the tambour needle whilst you work. From the thimble
+being cut slightly slanting at the top, it follows that the inside where
+the two ends meet is a little shorter than the outside.
+
+The thread is drawn through in a loop to the front of the work by means
+of the hook, whilst it is held at the back in the left hand, and when
+the needle is put downwards through the stuff, laid round it. The needle
+in its downward and upward passage, should be kept in the notch in the
+thimble and the stuff pressed down with the thimble, as the needle is
+drawn up to the surface of the work, fig. 844.
+
+[Illustration: FIG. 844. POSITION OF THE HANDS IN TAMBOURING.]
+
+A little practice is necessary to acquire the right action of the hands,
+there being always a tendency, the same as in tatting and macramé, to
+confuse the movements of the two. As soon as you realize that the upward
+drawing of the needle and the downward pressure of the stuff with the
+thimble must be simultaneous, you will find that you can work with
+great rapidity and with admirable results. Thread with a very strong
+twist, which the hook will not split, is the only suitable kind for
+tambouring. Of the D.M.C materials, Fil d'Alsace[A] and Fil à
+dentelle[A] are the most to be recommended.
+
+Numbers of patterns, originally intended for other kinds of embroidery
+can be executed in tambour work; amongst those contained in this
+Encyclopedia, figs. 192, 210, 216, 219, and 227 are the ones that are
+best adapted to the purpose.
+
+[Illustration: FIG. 845. DRAWING OUT THE THREAD WITH THE NEEDLE.]
+
+SMYRNA STITCH WORKED WITH A CROCHET-NEEDLE (figs. 846, 847, 848,
+849).--In the chapter on tapestry, p. 137 we remarked that Oriental
+carpets and mats could be worked in different other ways, to be
+subsequently alluded to at greater length.
+
+[Illustration: FIG. 846. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
+FIRST DETAIL.]
+
+[Illustration: FIG. 847. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
+SECOND DETAIL.]
+
+[Illustration: FIG. 848. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
+APPEARANCE OF THE KNOTS UNDERNEATH.]
+
+[Illustration: FIG. 849. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
+APPEARANCE OF THE WORK WHEN FINISHED.]
+
+Smyrna stitch requires only a crochet needle and is worked on very
+coarse canvas or Java linen. You take a coarse mesh of cotton, such as
+Nos. 6, 8 or 10 of Colon à tricoter D.M.C (knitting cotton), cut it into
+lengths of 8 c/m., fold two lengths together in half, stick in the
+crochet needle from above, under two threads of the canvas, take hold of
+the loop with the hook, fig. 846, and draw it in; then push out the
+hook to seize the ends of the cotton and draw them through the loop
+which is on the needle, as indicated by the little arrow in fig. 847.
+The stitches or tassels should be two or three double threads of the
+canvas apart. As you finish each row, comb the ends of the tassels out
+carefully with a fine metal comb. When the whole piece of work is
+finished shear the entire surface, quite even, with a pair of sharp
+scissors. Fig. 849 shows a square of the work completed, presenting that
+warm velvety appearance which distinguishes the Smyrna carpets.
+
+[Illustration: FIG. 850. MALTA STITCH. FIRST DETAIL.]
+
+[Illustration: FIG. 851. MALTA STITCH. SECOND DETAIL.]
+
+[Illustration: FIG. 852. MALTA STITCH. THIRD DETAIL.]
+
+[Illustration: FIG. 853. MALTA STITCH. FOURTH DETAIL.]
+
+MALTA STITCH (figs. 850, 851, 852, 853, 854).--This stitch is much
+used by the Maltese; it is the same as the «point tricot» excepting that
+in the latter, the loops formed by the return of the thread are open and
+the stitches packed very closely together, whereas in the Maltese work
+there is always one close loop and two open tassels.
+
+[Illustration: FIG. 854. MALTA EMBROIDERY. MATERIALS: Coton à repriser
+D.M.C No. 25.[A] COLOURS: Jaune-vieil-Or 680, Vert-Mousse 469,
+Bleu-Indigo 311 and Rouge-Cornouille 449.[A]]
+
+It is worked as follows: take a thick bunch of lengths of Coton à
+repriser D.M.C, pass it under two vertical threads of the stuff, from
+right to left, fig. 850, leaving an end, 1 or 2 c/m. long, lying on the
+surface of the work; put the needle in again under the two threads that
+are in front of the first stitch and leave the tassel, formed by the
+first stitch, above the one by which you bring the needle back between
+the two stitches.
+
+The needle must now follow the same course it took for the first stitch
+and the thread must be drawn out far enough to form a loop as long as
+the tassel; you then repeat the second stitch, carrying back the working
+thread however this time above the loop, after which you cut the two
+open ends the same length as the loop. In the Maltese work, three times
+as many threads have to be left between the tassels as are covered by
+the stitch.
+
+Thus if your stitch cover 4 threads of the foundation, you should leave
+12 threads between the tassels, and if it cover 6, you should leave an
+interval of 18 threads, that the stuff may always be visible between the
+little tassels or balls.
+
+Fig. 854 represents a portion of a curtain, embroidered on Flemish linen
+in the colours indicated at the foot of the engraving; these may be
+arranged according to the taste of the worker.
+
+Malta embroidery is mostly done on coarse coloured linen fabrics or on
+single thread canvas.
+
+TRIANGULAR TURKISH STITCH (figs. 855, 856, 857, 858, 859). Amongst the
+many pretty stitches for which Turkish embroideries are distinguished,
+there is one in particular, which though apparently very difficult, is
+in reality quite the reverse; it resembles line stitch upon straight
+threads, only that in the East it is generally worked in diagonal lines,
+each row requiring two journeys to and fro.
+
+In the first, fig. 855, the needle must always be carried, first over,
+then under two threads in a diagonal line and so on to the end of the
+row.
+
+Coming back, you pass the needle under the stuff and the stitch on the
+right side, and bring it out at the bottom of the stitch; then you make
+a back stitch over two horizontal and two vertical threads, pass the
+needle over two straight threads, put it in behind the same, bring it
+out again near the upper stitch and then insert it near the bottom
+vertical stitch; after this you carry it to the second stitch lower down
+and pass it over the same. Four threads should meet in every hole which
+the needle makes. The third and fourth row should be worked in a colour
+that forms a sharp contrast with the one in which the two first rows are
+worked and constitute with these one complete row of stitches, fig. 856.
+
+Figs. 857, 858 and 859 show how the same stitch can be worked in
+straight, instead of in diagonal rows.
+
+[Illustration: FIG. 855. TRIANGULAR TURKISH STITCH WORKED DIAGONALLY.
+FIRST JOURNEY COMPLETED AND SECOND BACK, BEGUN.]
+
+[Illustration: FIG. 856. TRIANGULAR TURKISH STITCH WORKED DIAGONALLY.
+TWO JOURNEYS TO AND FRO FORMING THE COMPLETE ROW.]
+
+The dark shade in fig. 859 shows the first row of stitches, the light,
+the second, or rather the third and fourth, as four rows of stitches are
+required to make one complete row of triangular Turkish stitch.
+
+[Illustration: FIG. 857. TRIANGULAR TURKISH STITCH WORKED HORIZONTALLY.
+FIRST JOURNEY.]
+
+[Illustration: FIG. 858. TRIANGULAR TURKISH STITCH WORKED HORIZONTALLY.
+FIRST JOURNEY BACK.]
+
+PATTERN WORKED IN TRIANGULAR TURKISH STITCH AND GOBELIN STITCH (fig.
+860).--The diagonal lines are all worked with Chiné gold and blue, and
+gold and red. The stitch we have just described is most effective in
+conjunction with other kinds of embroidery, as illustrated in fig. 860,
+where it is combined with Gobelin stitch.
+
+[Illustration: FIG. 859. TRIANGULAR TURKISH STITCH WORKED HORIZONTALLY.
+SECOND JOURNEY BACK.]
+
+The running foundation is divided into slanting squares; the diagonal
+lines are all worked in gold and red. The squares number 9 stitches
+inside, these are followed by a tenth which is covered by the first
+stitch of the next square. Where two kinds of coloured gold thread are
+used, one square will be framed on all sides by one kind, say, gold and
+blue for instance, the next by the other, gold and red.
+
+[Illustration: FIG. 860. PATTERN WORKED IN TRIANGULAR TURKISH STITCH.
+MATERIALS: Chiné d'or D.M.C. COLOURS: Gold and red, gold and dark blue,
+gold and light blue, gold and green.]
+
+The stalk that divides the two little leaves and has a small lozenge at
+the top, is begun above the fifth of the 9 stitches; you make 5
+stitches, but in such a manner as to end at the top of these 5 with the
+stitch that runs in a diagonal direction over the threads, turned to the
+inside of the stalk, so that the last stitch of the first row may form
+with the first stitch of the second row, a triangle at the top of the
+stalk, which is surmounted by the aforesaid lozenge.
+
+The lozenges in Chiné gold and light blue, of which there are three in
+each of the half squares, besides those that terminate the stalk,
+consist of 9 stitches, the first, extending over 3 threads, the second
+over 5, the third over 7, the fourth over 9 and the fifth over 11; the
+four next decreasing in a similar manner. The leaves in Chiné gold and
+green, on either side of the stalk, also begin with a stitch over 3
+threads of the stuff, followed by 8, each increasing in length by one
+thread on the side of the stalk, but all equal on the other, the last
+extending over 12 threads of the stuff. After these 9, the subsequent 8
+must decrease in the same manner by one thread on the opposite side;
+then you make 4 more extending over only 3 threads and set the contrary
+way to the others.
+
+The zig-zag border and the small squares of 5 stitches within it are
+worked entirely in Chiné gold and red.
+
+[Illustration: FIG. 861. TURKISH EMBROIDERY. MATERIALS: Chiné d'or D.M.C
+No. 30 and Coton à broder D.M.C No. 40.[A] COLOURS--For the Chiné: Gold
+and red, gold and dark blue and gold and green. For the Coton à broder:
+Noir grand-teint 310.[A]]
+
+TURKISH EMBROIDERY (fig. 861).--The powdering of flowers and also the
+border are worked like the preceding pattern in two-sided Gobelin
+stitch. Embroidery of this kind looks best on Algerian linen, which is
+exactly like the Turkish stuff. It is not absolutely necessary to count
+the threads for the little flowers and stalks, but it is as well to do
+so for the border, that you may be sure to get the zig-zags perfectly
+regular.
+
+The petals of the flowers are worked alternately in Chiné gold and red,
+and gold and blue, the centre in Or fin D.M.C pour la broderie and the
+leaves and stalks in Chiné gold and green. The petals are set with stem
+stitch in fine black Coton à broder and if the embroidery is to be the
+same on both sides this setting must be repeated at the back.
+
+The distribution of colours in the border is left to the taste of the
+worker, but we should recommend for the zig-zags Chiné gold and red, as
+being the most effective.
+
+APPLIQUÉ WORK (fig. 862).--Appliqué work means the laying on of pieces
+of one kind of stuff on to a foundation of a different kind, so as to
+form a pattern--these pieces of stuff of various shapes and sizes,
+taking the place of solid needlemade embroidery.
+
+Appliqué work may be done on linen, silk, velvet, plush and leather. The
+stuff out of which the pattern is cut has, in most cases, to be backed
+first with very fine tissue paper.
+
+This is done in the following manner with starch paste, which dries
+quicker than any other. Spread the paste on the paper with a brush,
+carefully removing all the little lumps; it should only be just liquid
+enough to make the stuff and the paper adhere perfectly together and
+above all must never penetrate to the right side of the stuff. When the
+paper has been evenly spread with the paste, lay your stuff upon it and
+smooth and press it down with a clean cloth, stroking it out carefully
+in the line of the thread to prevent its becoming in the least dragged
+or puckered, or any air remaining between it and the paper.
+
+You next lay several sheets of paper without a mark or a fold in them,
+on a perfectly smooth flat board, and upon these, your paper-lined
+stuff, covered in its turn with several loose sheets of paper, all being
+kept in their place by another board with several stones or heavy
+weights laid upon it to act as a press. Leave the stuff in the press
+until it be quite dry. You will find that any kind of fabric, even the
+slightest, can be rendered available in this manner for appliqué work,
+not even plush or velvet being in the least injured by the process.
+
+You then transfer the whole pattern on to the foundation, whatever it
+happen to be, but only the detached figures on to the paper-lined stuff,
+carefully cutting out the latter with a very sharp pair of scissors so
+as to avoid unravelling the threads along the edges.
+
+The foundation, stretched in a frame, as described on page 115, fig.
+236, is to be placed on a board or table in such a manner that only the
+stuff rests upon it, whilst the frame projects on all four sides.
+
+Then cover the cut-out figures with paste on the wrong side and fit them
+into their proper places upon the foundation. In larger pieces of work
+especially, this should be done as quickly as possible so that a board
+with weights upon it, to serve as a press, may be laid over them all at
+once.
+
+The board must not be removed until the paste be dry; then you can begin
+the needlework, fastening down the appliqué figures and finishing them
+off round the edges by laying down a fine round, cord, or by flat
+stitches.
+
+[Illustration: FIG. 862. APPLIQUÉ WORK.]
+
+You either sew on the cord with invisible stitches, opening it a little
+at each stitch so as to slip the needle and thread in between the twist,
+or else with ordinary overcasting stitches.
+
+[Illustration: FIG. 863. MOROCCO EMBROIDERY. MATERIALS--According to the
+stuff: Fil à pointer D.M.C, Cordonnet 6 fils D.M.C, Coton à broder D.M.C
+or Coton à repriser D.M.C[A]. COLOUR: Rouge-Cardinal 346[A].]
+
+In either case it must be so laid on as completely to hide the cut edges
+and keep them from fraying.
+
+Should you wish to frame the appliqué figures with flat embroidery, you
+must bring your needle out close to the cut edge and enter it, 1 or 2
+m/m. within the edge from above.
+
+Both, cord and flat stitch setting, should be of a subdued shade and if
+possible, of a colour to match the foundation.
+
+MOROCCO EMBROIDERY (figs. 863, 864, 865, 866).--This work named after
+the country where it was originated, belongs both to the class of darned
+and damask embroidery.
+
+[Illustration: FIG. 864. MOROCCO EMBROIDERY. QUARTER OF THE SUBJECTS OF
+FIG. 863.]
+
+In fig. 864, the stitches are formed by passing over 5 threads and
+taking up the sixth. Coming back you take up the third of the 5 threads
+first missed and proceed in the same manner over the whole surface of
+the work, unless the lines of the pattern require you to depart from
+this rule; as, for instance, in certain parts of fig. 864, where you
+will notice stitches, carried over 7 or 8 threads; also in the borders,
+fig. 865 and 866, where the stitches are arranged in a rather arbitrary
+manner, in order to bring out the pattern more clearly.
+
+Fig. 864 represents the fourth part of one of the subjects that make up
+the design fig. 863; that is, four such, joined together, form one of
+the squares of fig. 863.
+
+[Illustration: FIG. 865. MOROCCO EMBROIDERY. SMALL OUTER BORDER OF FIG.
+863.]
+
+Figs. 865 and 866 are patterns of two little borders and an insertion,
+suitable as a finish to fig. 863, which can be enlarged to any size by
+the addition of other squares to those that are represented here.
+
+[Illustration: FIG. 866. MOROCCO EMBROIDERY. BORDER AND INSERTION
+SUITABLE FOR FIG. 863.]
+
+Most of the stuffs, already so frequently alluded to in this work, can
+be used as a foundation for this kind of embroidery, provided the right
+working materials to go with it are chosen; Coton à tricoter or Fil à
+pointer should only be used for the coarser stuffs, such as Rhodes linen
+No. 1, or Russian linen and the different kinds of tammy cloth, whereas
+the other kinds of D.M.C threads and cottons and especially the finer
+numbers, are best adapted for embroidery on fine stuffs, such as Rhodes
+linen No. 2, and Spanish or Algerian linen.
+
+SPANISH EMBROIDERY (figs. 867 and 868).--Spanish embroidery consists
+almost exclusively of buttonhole stitch, fig. 171, and flat stitch, fig.
+221.
+
+[Illustration: FIG. 867. SQUARE OF SPANISH EMBROIDERY. MATERIALS: Or fin
+D.M.C pour la broderie No. 40, Coton à broder D.M.C Nos. 50 and 100, or
+Fil à dentelle D.M.C No. 80.[A] COLOURS: Bleu-Indigo 312, 322, 334 and
+Bleu pâle 668.[A]]
+
+The buttonhole stitches, for which the more subdued shade of the colours
+indicated should always be taken, or else yellow, dark or pale, to match
+the gold thread, are made over two threads of gold and follow the
+outlines of the pattern, which should be more or less appropriate to
+this style of embroidery. One of the gold threads always keeps the
+inside of the line and follows it throughout in an unbroken course,
+whilst with the second, the outside one, you form picots, folding the
+gold thread over from right to left and catching down the loop by a
+buttonhole stitch, which is introduced into the loop itself and carried
+over the combined gold threads, as shown in the left corner of fig. 868,
+representing one quarter of the whole design, where the position of the
+needle and the way in which the picot is secured are plainly indicated.
+
+For the scallops, a round material with rather a strong twist should be
+used, such as Soie de coton D.M.C No. 100[A] or Fil à dentelle D.M.C
+Nos. 70 to 100[A], wound on reels.
+
+[Illustration: FIG. 868. QUARTER OF THE PATTERN FOR FIG. 867, IN THE
+NATURAL SIZE.]
+
+Where the picots have to fill up empty spaces of a larger size, you can
+join several together by connecting them each in turn with the first.
+
+When you have bordered all the outlines with buttonhole stitches and
+picots, fill up the spaces enclosed within the lines, which properly
+speaking form the pattern, with flat stitch embroidery, worked in Coton
+à broder or Coton à repriser; after which the whole surface is sewn over
+with fine little spangles which give the sparkling look that constitutes
+the peculiar charm of this kind of embroidery. The flowers are covered
+with a fancy stitch that forms regular little lozenges, and every second
+row of stitches is hidden under a spangle.
+
+With regard to the colours indicated at the foot of fig. 867, this is
+how they were distributed in the original, from which our engraving was
+taken; all the outlines in buttonhole stitch, in Bleu pâle 668; the tops
+of the flowers in Bleu-Indigo 334; the bottom parts in Bleu-Indigo 332,
+and all three shades of blue so blended together in the solid parts of
+the design as to be undistinguishable from each other. It is not
+absolutely necessary to keep to the colours here indicated; there is no
+reason whatever why a greater variety should not be introduced, but in
+every case the more subdued shades should be selected; a pale red, for
+instance, for the flowers, a green and a brown for the arabesques, will
+always be found to produce a very pretty and harmonious effect.
+
+When all the needlework is finished, you cut away the stuff underneath
+the network formed by the picots, with a pair of sharp scissors.
+
+A word remains to be said with regard to the copying of fig. 868.
+
+Our readers will notice that in fig. 867 the flowers and arabesques
+succeed and grow out of each other; that whilst the four quarters are
+symmetrical, yet at the same time, the curves in each quarter take a
+different inclination.
+
+You cannot therefore simply repeat the subject four times; when you have
+copied the one quarter, given in fig. 868, you must lay this first
+quarter on again at the cross + on the left side; when the second
+quarter is finished, you again turn the copy to the left and tack it on
+at the +; when you come to the fourth quarter the lines of the first
+quarter must exactly meet those of the last. We beg here to draw
+attention to the directions, relative to the copying of patterns, given
+in the subsequent chapter.
+
+BASKET STITCH ON LINEN (fig. 869).--This stitch has some resemblance
+with the Greek stitch, fig. 278, and the Montenegrin, fig. 306, only
+that it is not crossed like the latter.
+
+[Illustration: FIG. 869. BASKET STITCH ON LINEN.]
+
+Basket stitch can be worked on all kinds of stuffs, on counted threads
+or on a wide or narrow tracing, with fine or coarse thread, and more or
+less closely, according to the taste of the worker.
+
+You insert the needle from right, and pass it under, from 3 to 6 threads
+of the foundation, according to the stuff and the material you are
+using, then downwards from left to right, and over, from 6 to 8 threads,
+into the stuff again from right to left; then you push it under the
+stuff in an upward direction and bring it out on the left in the middle
+of the space left between the last stitch and the top of the second. The
+dotted line in the engraving indicates the course of the stitches.
+
+[Illustration: FIG. 870. OLD GERMAN KNOTTED STITCH.]
+
+OLD GERMAN KNOTTED STITCH (fig. 870).--This is a stitch often met with
+in old church and house linen embroidery. A beautiful design worked in
+this way is given further on.
+
+Contrary to most stitches, this is worked upwards; the needle is put in
+horizontally under the stuff, the thread tightly drawn, then laid from
+left to right and drawn through underneath the first stitch and a tight
+knot made. We find the same stitch, worked in a variety of ways,
+according to the taste and skill of the worker; for instance the knots
+may be set slanting, as in fig. 870, or else straight and very close
+together, as in fig. 873, where they present the appearance of a close
+string of beads, or again wide apart, as they are in fig. 876.
+
+All these ways are admissible but care should be taken in each case, to
+make the stitches perfectly regular; it is the direction which is given
+to the stitch and the number of threads taken up with the needle that
+changes the appearance of the stitch.
+
+[Illustration: FIG. 871. RAISED STEM STITCH.]
+
+[Illustration: FIG. 872. ANOTHER KIND OF RAISED STEM STITCH.]
+
+RAISED STEM STITCH (figs. 871, 872).--Take a very thick thread, such
+as Fil à pointer D.M.C No. 10 or 20, or one of the coarser numbers of
+Cordonnet 6 fils D.M.C, lay it as a foundation thread along the line of
+your pattern and work over it wide stem stitches, as represented in
+figs. 172 and 173, either in the same number of thread used for the
+foundation thread, or a finer, according to the stuff you are
+embroidering upon.
+
+You may overcast the same stitch in the manner indicated in fig. 872,
+using a different colour for the second layer of stitches to produce an
+agreeable variety.
+
+BORDER IN DIFFERENT KINDS OF STITCHES (fig. 873).--The straight lines
+of this border are all worked in old German knotted stitch in écru
+thread, forming a thick round cord which stands out from the surface in
+high relief; the flatter outlining of the outside figures is done in
+basket stitch in soft blue knitting cotton. The little oblong figures
+within the two inner lines of the border are worked in Gobelin stitch,
+in red embroidery cotton, and the filling of the figures, outlined in
+basket stitch, in one or other of the Irish lace stitches, worked in
+white lace thread, either so that all the stitches enter the stuff, or
+form a network over it.
+
+The work may be simplified by sewing Soutache D.M.C or Lacet superfin
+D.M.C along the straight lines instead of embroidering them in basket
+stitch.
+
+[Illustration: FIG. 873. BORDER IN DIFFERENT KINDS OF STITCHES.
+MATERIALS--For the old German knotted stitch: Cordonnet 6 fils D.M.C No.
+2, écru--For the basket stitch: Coton à tricoter D.M.C No. 16,
+Bleu-Indigo 312--For the Gobelin stitches: Coton à broder D.M.C No. 20,
+Rouge-Turc 321--For the lace stitches: Fil à dentelle D.M.C No. 40,
+white.]
+
+ROUMANIAN STITCH (figs. 874, 875).--This consists of stitches that are
+worked in the width of the stuff, intersected by back-stitches set
+slightly slanting.
+
+Though the engraving is so clear as to render it hardly necessary, we
+subjoin an exact description of the way the stitches run.
+
+Bring out the needle on the left, 2 or 6 threads beyond the line your
+embroidery is to follow; with regard to the number of threads you take
+up, you must be guided by the quality of the stuff and the material you
+have selected: put the needle in on the right, the same distance in
+advance of the line as before and bring it out in the middle of the
+stitch; then passing the needle over the first stitch, put it in again
+one or two threads in advance of the point where it came out, and draw
+it out close to where the first stitch began.
+
+The border, represented in fig. 875, is worked in great part in
+Roumanian stitch.
+
+[Illustration: FIG. 874. ROUMANIAN STITCH.]
+
+The original, still very well preserved, notwithstanding its age, is
+worked in silk of a brilliant red on a stiff stuff which has been
+coloured by time and use.
+
+Willems satin, Rhodes linen No. 2 and Algerian linen, make very suitable
+foundations for this kind of embroidery and have that soft tint which is
+almost indispensable to a satisfactory imitation of old needlework.
+
+Any one of the shades of red named at the foot of the illustration, will
+be found to be a good match for the original colours.
+
+Roumanian stitch is used wherever the lines of the pattern are widest;
+there where they narrow, in the indentures of the leaves and the twists
+of the stalks, flat stitch is used instead.
+
+By the repetition of the detached subject, this pattern may be made to
+serve either for a stripe or for a grounding; if you use it for a
+stripe, the centre flower of the principal subject with the stalks
+lengthened, will look very well worked as a separate subject between the
+large bouquets. Worked in a double row, base to base, on any stuff and
+in any material, these large figures form a very handsome border which
+makes an effective trimming for furniture and curtains.
+
+PATTERN FOR PIQUÉ EMBROIDERY (fig. 876).--The stuff, called piqué,
+such as it is now manufactured, is simply an imitation of an old kind of
+needlework, almost unknown in these days, but very popular in the
+fifteenth and sixteenth century in Italy, for making coverlets and more
+especially curtains and blinds; the latter being highly esteemed,
+because without intercepting the light altogether, they tempered it
+agreeably.
+
+A similar kind of work was common in Bohemia until a recent date for the
+making of caps. It is done on two layers of stuff, of different kinds,
+the upper one fine and transparent, the lower, more substantial.
+
+The pattern is drawn upon the fine stuff, because on that side the
+different kinds of stitches are made.
+
+[Illustration: FIG. 875. BORDER IN ROUMANIAN STITCH. MATERIALS: Coton à
+broder D.M.C No. 16, Coton à repriser D.M.C No. 50, or Cordonnet 6 fils
+D.M.C No. 20.[A] COLOURS: Rouge-Cardinal 346, Rouge-Grenat 358,
+Brun-Caroubier 355, Rouge Maroquin 3327 et 3328, or Rouge-Cerise 3317 et
+3318.[A]]
+
+You then tack the two stuffs together and work all the outlines of the
+pattern in Old German knotted stitch with écru Fil à pointer D.M.C No.
+20; that done, thread a tapestry needle with white Cordonnet 6 fils
+D.M.C No. 1 or 2, slip it in between the two layers of stuff and secure
+the end by two or three stitches; then push the twist quite close to
+the knotted stitch and fasten it in between the two layers of stuff,
+with small and very regular running stitches, in a fine pliable
+material, such as Fil d'Alsace D.M.C on reels.
+
+[Illustration: FIG. 876. PATTERN FOR PIQUÉ EMBROIDERY. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 1 and 25, Fil d'Alsace D.M.C No. 100, Fil à
+pointer D.M.C No. 30 and Fil à dentelle D.M.C No. 30.[A]]
+
+Fill up in this manner all the ground of the pattern, leaving the
+arabesques and the ornaments plain, or embellishing them with some kind
+of lace or embroidery stitch.
+
+When these stripes are intended for blinds, you can produce pretty
+transparent effects in them by cutting away the underneath stuff, in
+places.
+
+ALPHABET IN SOUTACHE (braid) (figs. 877, 878, 879, 880, 881,
+882).--This alphabet, which is one of the best of its kind, was taken
+from a work published in Venice in 1662, by Giovan' Antonio Tagliente,
+secretary and calligraphist to the Republic.
+
+The letters lend themselves, better than any we know, to being executed
+in Soutache D.M.C.
+
+[Illustration: FIG. 877. LETTER T OF THE SOUTACHE ALPHABET. MODE OF
+INTERLACING THE SOUTACHE.]
+
+The sewing on of the braid is done with very small running stitches and
+the interlacing with a tapestry needle, into which the braid is
+threaded; both operations are shown in figs. 877 and 880. The embroidery
+of the connecting bars, and the small leaves and tendrils that complete
+the letter are explained in fig. 881, whilst fig. 882 represents the
+letter A in its finished state.
+
+For sewing on the braid, a fine soft material is the best, such as Soie
+de coton D.M.C[A] and for embroidering the small accessories, Coton à
+broder D.M.C No. 50[A].
+
+[Illustration: FIG. 878. ALPHABET IN SOUTACHE. LETTERS A TO N.]
+
+[Illustration: FIG. 879. ALPHABET IN SOUTACHE. LETTERS O TO Z.]
+
+For the ears of corn in fig. 883, use either Soutache écru, or
+Jaune-d'Ocre 677 No. 2; for the marguerites, white Soutache No. 2½ and
+for the corn flowers, Soutache Bleu-Indigo 322 No. 2. Nothing could be
+simpler than the mode of working these flowers.
+
+[Illustration: FIG. 880. LETTER M OF THE ALPHABET IN SOUTACHE. MODE OF
+SEWING ON THE SOUTACHE.]
+
+[Illustration: FIG. 881. LETTER W OF THE ALPHABET IN SOUTACHE. MODE OF
+PLACING THE BARS AND EMBROIDERING THE LEAVES.]
+
+[Illustration: FIG. 882. LETTER A OF THE ALPHABET IN SOUTACHE IN ITS
+FINISHED STATE.]
+
+FLOWERS EXECUTED IN SOUTACHE AND EMBROIDERY (fig. 883). Flowers and
+sprays, such as here represented, make a charming trimming for summer
+dresses, sunshades, aprons etc. and can be executed with admirable
+effect in the D.M.C Soutache, now to be had in all the colours of the
+D.M.C colour card. A very pretty running pattern can be formed out of
+the spray, fig. 883, by turning the flowers first to the right and then
+to the left and making the stalks come out underneath the ears of corn.
+In order to reverse the position of the flowers thus, you will have to
+make two tracings of the spray, one negative and one positive.
+
+Thread a tapestry needle with the Soutache and draw it into the stuff,
+and then pass it through from the right side to the wrong at the bottom
+of one of the petals of the flowers, secure it on the wrong side by two
+or three stitches and then bring the working thread, which should be of
+the same colour as the Soutache, out again at the point of the petal,
+then carry the Soutache back to the bottom of the petal and fasten it
+down, like the gold threads in fig. 242, by a stitch rather wider than
+the Soutache, fold the Soutache over again to the starting point, and
+secure it by a stitch, and so on. In order to give a different character
+to the flowers, use Soutache of different widths, fold it over more or
+less closely and lay it down in shorter or longer lengths, as required.
+The natural irregularity of the petals of a flower can be very
+faithfully imitated in this manner. Fig. 883 shows the way in which, for
+the ears of corn, the braid is folded back upon itself and fastened
+down, whilst in the white flowers the two layers of the braid that form
+each petal are separated at the bottom.
+
+The stamens of the marguerites are worked in knot stitch with yellow
+cotton and those of the cornflowers with dark blue.
+
+The other little details are executed in flat and stem stitch in the
+colours indicated at the foot of the engraving. With the pattern to go
+by, the distribution of the colours for the different parts can present
+no possible difficulty.
+
+[Illustration: FIG. 883. FLOWERS EXECUTED IN SOUTACHE AND EMBROIDERY.
+MATERIALS: Soutache D.M.C Nos. 1 to 3 and Coton à broder D.M.C No.
+35.[A] COLOURS--For the Soutache: White, écru or Jaune d'Ocre 677, and
+Bleu-Indigo 322.--For the Coton à broder: Écru, Jaune-Orange 444,
+Bleu-Indigo 311, Gris-Tilleul 391 and 330, Vert-Pistache 319, 320 and
+369, Rouge-Cardinal 348.[A]]
+
+We need only point out that Rouge-Cardinal 348 is intended for the
+little knot that connects the stalks of the flowers.
+
+CHINESE SUBJECT (fig. 884).--This quaint and graceful composition,
+copied from an interesting piece of Chinese embroidery, gives our
+readers the opportunity of turning the different damask stitches,
+already described in these pages, to quite a new use.
+
+The kind of gauze which forms the foundation of the original work can be
+replaced either by Spanish or Rhodes linen No. 2, by any stuff, in fact,
+the threads of which can be counted.
+
+The drawing has to be transferred to the stuff, and the different parts
+are filled in with the stitches, clearly indicated in the illustration.
+
+[Illustration: FIG. 884. CHINESE SUBJECT. MATERIALS: Coton à repriser
+D.M.C No. 50, Or fin D.M.C pour la broderie No. 40 and Chiné d'or
+D.M.C[A].]
+
+By the introduction of several colours, this pattern is capable of being
+infinitely varied.
+
+Thus, in the model before us, the neck and bulb of the flask, the
+leaves it stands upon and those attached to the flowers in it, are
+worked in Vert-Pistache 367, the handles, the ornament on the bottle,
+and the triangular figure in the centre are in white; the little flower
+on the left, the second on the right, the straight staff, the upper
+wings of the butterfly, as well as the three leaves underneath the
+triangle are in Bleu-Indigo 334; the first flower on the right of the
+flask, the knot above the triangle, the lower wings of the butterfly and
+the middle part of the bottom subject on the right of the engraving are
+in Gris-Amadou 383; and Violet-lie-de-vin and Brun-Caroubier 357
+alternate in the pointed leaves that support the flask; the former
+colour recurs in the ornaments of the staff, and Rouge-Cardinal 347,
+black and Gris-Tilleul alternate in the other details of the drawing.
+
+For the setting it will be best to take Or fin D.M.C pour la broderie or
+else Chiné d'or D.M.C, used either double or single, according to
+whichever the drawing seems to require.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: ORNAMENT AFTER HOLBEIN.]
+
+
+
+
+Practical directions.
+
+
+Hitherto we have been chiefly occupied with descriptions and
+explanations of the different kinds of needlework; to render these
+complete, it remains for us to give a few practical directions with
+regard to the copying, adjustment and transposition of the patterns, as
+well as to the different processes, often so essential to the ultimate
+success of a piece of needlework. For this success will soon be found
+not to depend on the stitches only but very largely on the proper
+adaptation of the design to the space it is intended to fill.
+
+Then, in the case of new lace, it is necessary to know the amount of
+dressing it will require to give it the right stiffness and when this
+dressing has worn off how to renew it; whilst in the case of appliqué
+work more especially, it is indispensable to know exactly what the
+ingredients are, of which the paste should be composed and how to make
+and lay it on in the proper manner.
+
+TRACING PATTERNS AGAINST A WINDOW PANE.--In order to copy a pattern in
+this way, the first step is to tack or pin the piece of stuff or paper
+on which the copy is to be made upon the pattern. In the case of a small
+pattern, the tacking or pinning may be dispensed with and the two
+sheets held firmly pressed against the window pane with the left hand,
+whilst the right hand does the tracing, but even then it is safer to pin
+or gum the four corners of the two sheets together, in case of
+interruption, as it is difficult to fit them together again exactly.
+
+The tracing may be done with a pencil, or better still, with a brush
+dipped in Indian ink or water-colour paint.
+
+The process of tracing is easy enough, so long as the hand does not get
+tired but as this generally comes to pass very soon it is best, if the
+pattern be a large and complicated one, to stick the sheets to the pane
+with strong gum or suspend them on a string, fastened across the pane by
+pins stuck into the window frame on either side.
+
+TO TAKE OFF A PATTERN BY RUBBING.--If you want to take a pattern of a
+piece of embroidery direct from the work itself, lay it, the right side
+up, flat upon a board or table and cover it with letter or tissue paper.
+
+The paper should be of a good medium thickness, if it be too thick it
+will not take a clear impression of the pattern, and if very thin it is
+apt to tear.
+
+Fasten the paper down upon the embroidery with drawing-pins and rub off
+the pattern with drawing-wax. In default of the right kind of wax, the
+bowl or handle of a spoon, or a large silver coin will serve the purpose
+equally well, as will also some powdered graphite or charcoal. The
+outlines will not of course, in any case, be very clearly defined upon
+the paper and will have to be gone over and carefully supplemented
+afterwards with a pencil.
+
+Taking off the pattern with charcoal or graphite is less injurious to
+the embroidery than rubbing it off with wax or metal, as the pressure
+required in the latter case flattens the needle-work very considerably.
+As soon as you have fixed the lines of the pattern by drawing them over
+with ink, it is ready for use.
+
+TO TRANSFER A PATTERN DIRECT ON TO THE STUFF.--Patterns cannot be
+copied by either of the above methods direct on to the stuff and can
+only be used when the stuff on which the embroidery is to be executed
+is transparent; in the case of thick close fabrics the drawing must be
+made on the stuff itself. The following is the simplest way of
+transferring a pattern on to a transparent stuff; begin by going over
+all the lines of the drawing with Indian ink so as to make them quite
+thick and distinct, and tacking the paper with large stitches on to the
+back of the stuff. Then, mix some very dark powdered indigo diluted with
+water, in a glass with a small pinch of sugar and powdered gum arabic,
+and using this as ink and a fine pen very slightly split, trace the
+pattern that shines through on the stuff.
+
+The tracing must be very slight, for if the embroidery be not done till
+some time afterwards the lines get so firmly fixed in the stuff that one
+washing will not obliterate them; the tracing ink moreover makes the
+work unpleasantly sticky.
+
+TO COPY WITH OILED PAPER.--Another rather expeditious mode of
+transferring patterns on to thin and more especially smooth glossy
+stuffs, is by means of a special kind of tinted paper, called
+autographic paper, which is impregnated with a coloured oily substance
+and is to be had at any stationer's shop. This you place between the
+pattern and the stuff, having previously fastened the stuff, perfectly
+straight by the line of the thread, to a board, with drawing-pins. When
+you have fitted the two papers likewise exactly together, you go over
+all the lines of the pattern with a blunt pencil, or with, what is
+better still, the point of a bone crochet needle or the edge of a
+folder. You must be careful not to press so heavily upon the pattern
+paper as to tear it; by the pressure exercised on the two sheets of
+paper, the oily substance of the blue paper discharges itself on to the
+stuff, so that when it is removed all the lines you have traced are
+imprinted upon the stuff.
+
+This blue tracing paper is however only available for the reproduction
+of patterns on washing stuffs, as satin and all other silky textures are
+discoloured by it.
+
+TO POUNCE PATTERNS UPON STUFFS.--The modes of copying, hitherto
+described, cannot be indiscriminately used for all kinds of stuff; for
+cloth, velvet and plush, for instance, they are not available and
+pouncing is the only way that answers.
+
+The patterns, after having been transferred to straw or parchment paper,
+have to be pricked through. To do this you lay the paper upon cloth or
+felt and prick out all the lines of the drawing, making the holes, which
+should be clear and round, all exactly the same distance apart.
+
+The closer and more complicated the pattern is, the finer and closer the
+holes should be. Every line of the outline must be carefully pricked
+out.
+
+If the paper be sufficiently thin, several pouncings can be pricked at
+the same time, and a symmetrical design can be folded together into four
+and all pricked at once.
+
+The pricked pattern has next to be tacked upon the material, the side
+from which the pricking was done next to the stuff and the little
+funnel-shaped holes uppermost. Paper and stuff must be firmly fastened
+down and kept in position by drawing pins, so that neither of them may
+move during the process, otherwise you will have double lines on the
+stuff which you will find very confusing afterwards.
+
+For the pouncing, use either powdered chalk or charcoal, according to
+whether the stuff be dark or light in colour. Dip the pouncing
+implement, a thing like a small drum-stick, stuffed and covered with
+cloth, into the powder and rub it lightly over the whole surface of the
+pricked pattern, so that the powder penetrates through the pin-holes to
+the stuff. In default of a proper pouncing implement take a small stripe
+of cloth, roll it up round a stick and wind a string round, and dip this
+into the powder.
+
+When the powder has penetrated to the stuff, remove the paper and if the
+pattern is to be repeated, lay it on again further on, taking care to
+make the lines meet exactly so that the join may not be seen.
+
+When you have finished the pouncing and taken off the paper, you proceed
+to draw or rather paint in the pattern with water-colour paints:
+Ackermann's are the best for the purpose; no others, as far as our
+experience has proved, adhere so well to even the roughest fabrics or so
+little affect the brilliancy of the embroidery thread. Four paints,
+blue, black, yellow and white are sufficient for all purposes, whatever
+the colour of the stuff may be.
+
+On a smooth surface the tracing may be done with a pen but a small
+sable-hair brush is preferable under all circumstances.
+
+The rougher and more hairy the surface, the finer the brush ought to be,
+in order that the colour may sink well in between the fibres.
+
+Before beginning to paint in the pattern, gently blow away all the
+superfluous powder from the surface. This process may be objected to as
+being an old one which has been superseded by new inventions; a resinous
+powder for instance, by the use of which patterns can be fixed, as soon
+as they have been pounced, by passing a hot iron over the stuff, a sheet
+of paper having first been laid upon it to protect it; or else a mixture
+of gum and powder which can be dissolved on the stuff itself by the
+steam of spirits-of-wine, and various other processes needless to
+mention here, as some are only useful in tracing patterns on a large
+scale, whilst others require a variety of appliances, not as a rule,
+within the reach of those to whom needle-work is a simple recreation.
+
+THE PREPARATION OF THE STUFFS AND THE SUBDIVISION OF THE
+PATTERNS.--Long years of experience and practice have brought us in
+contact with a good many designers, many of them artists in their way,
+so long as it was only a question of putting their own compositions on
+paper but who yet found themselves confronted by real difficulties the
+moment they were called upon to transfer them to stuff.
+
+We shall, as far as possible, point out to our readers the precautions
+to be taken in tracing patterns and must for that purpose go back to one
+of the first operations, namely that of pricking.
+
+To begin with, the paper on which the pattern is should always be large
+enough for there to be a clear margin of from 4 to 5 c/m. all round the
+pattern, so that the pouncing instrument may never come in contact with
+the stuff beneath.
+
+In transferring patterns to stuff, no lines of division should ever be
+made directly upon it either with lead, chalk or charcoal, as it is
+hardly ever possible entirely to obliterate them and they often become
+very confusing afterwards.
+
+Before beginning the tracing, divide your stuff into four, then decide
+what the width of the border outside the pattern is to be; it is quite
+an exceptional thing to carry a pattern right up to the edge. Stuffs
+that will take a bend, such as all linen and cotton textures, can be
+folded in four, like the paper, the folds ought then to be pinched and
+pressed down so that the lines may remain clear and distinct until the
+tracing be finished.
+
+After dividing it into four, mark out the diagonal lines; these are
+absolutely necessary in order to get the corner figures rightly placed.
+
+Though most of our readers know how to make these lines on paper with a
+pencil and ruler, few, easy as it is, know how to make them upon stuff.
+You have only to fold over the corner of your piece of stuff so that the
+outside thread of the warp or cut edge run parallel with the woof edge
+which marks the angle of the fold-over.
+
+This double folding over divides the ground into 8 parts. To arrange for
+the outside border or margin, is easy enough if the stuff and the kind
+of work you are going to do upon it admit of the drawing out of threads,
+as then a thread drawn out each way serves as a guide for tracing the
+pattern, straight to the line of the stuff. It is often better however,
+not to draw out the threads for an open-work border till the pattern be
+traced. If you do not wish or are not able to draw out threads to mark
+the pattern and you are working on a stuff of which the threads can be
+counted, follow the directions given on page 128, and explained in fig.
+252.
+
+You cannot mark cloth, silk stuffs or plush by folding them in the above
+way, cloth and some kinds of silken textures will not take a bend and
+others that will would be spoiled by it.
+
+All such stuffs should be mounted in a frame, before the pattern be
+traced and the ground be then divided out in the following way: take a
+strong thread, make a knot at one end, stick a pin into it and tighten
+the knot round it; with a pair of compasses, divide one of the sides
+into two equal parts, stick the pin with the knot round it in at the
+middle and the same on the opposite side, putting in a second pin by
+means of which you stretch the thread; carry other threads across in a
+similar way, in the width of the stuff and from corner to corner and you
+will have your ground correctly marked out, in such a manner as to leave
+no marks when, after pouncing in the pattern, you remove the threads.
+Before finishing the pouncing of a pattern, see that it is the right
+size for the purpose it is intended for.
+
+Supposing that you are tracing a border with a corner, you should
+measure the length it will occupy and then by a very light pouncing, you
+can mark the points from which the pattern will have to be repeated. It
+may be that a gap will be left in the middle, which, if not too large,
+can be got rid of without altering the pattern by pushing the whole
+thing a little further in and so shortening the distance between the two
+corners.
+
+Should the gap however be too large for this, you will have to make a
+supplementary design to fill up the place. The same thing would be
+necessary in the case of your having to shorten a pattern.
+
+TO TRANSPOSE AND REPEAT PATTERNS BY MEANS OF LOOKING-GLASSES (fig.
+885).--We have referred to the necessity that often occurs of adapting
+patterns to certain given proportions; this can in most cases be done
+easily enough without the help of a draughtsman, especially in the case
+of cross stitch embroideries, by means of two unframed looking-glasses
+(Penelope mirrors, as they are called) used in the following manner.
+
+If you want to utilize a piece only of a straight border, or after
+repeating it several times, to form a corner with it, you place the
+mirror in the first instance across it at right angles, at the place
+from which the pattern is to be repeated, and then exactly diagonally
+inwards.
+
+To make a square out of a straight pattern, you take two mirrors and so
+place them that they touch at the point where the diagonal lines meet,
+as represented in fig. 885, and you have your square at once.
+
+This is all easy enough, but before beginning any large piece of work it
+is necessary to consider carefully which parts of the drawing will best
+fill the centre and which are best suited to form the corners, as it is
+not every part of a straight pattern that is adapted for repetition.
+
+A few preliminary trials with the help of the mirrors will better show
+the importance of these explanations than anything further we can say on
+the subject.
+
+[Illustration: FIG. 885. TO TRANSPOSE AND REPEAT A STRAIGHT PATTERN BY
+MEANS OF LOOKING GLASSES.]
+
+TO ALTER THE PROPORTIONS OF A PATTERN BY DIVIDING THE GROUND INTO
+SQUARES (figs. 886 and 887).--Cases will occur where it will be found
+necessary to subject the pattern to greater modifications still than
+those we have hitherto been dealing with.
+
+You want, for example, to embroider a rather large running ground
+pattern on a piece of stuff, that is relatively too small for the
+subject; or a small and rather minute pattern on a large surface on
+which it is likely to look, either too insignificant, or too crowded and
+confused and the chances are, if you do not know how to draw, you will
+either think it necessary to get a draughtsman to help you or you will
+give up the piece of work altogether, deterred by the difficulties that
+confront you. You need not do either if you will follow the directions
+here given.
+
+Take a sheet of large-sized quadrille paper which if necessary you can
+prepare for yourself; trace your pattern upon it, or rule the squares
+direct upon the drawing, as shown in fig. 886.
+
+[Illustration: FIG. 886. DIVIDING THE GROUND INTO SQUARES BEFORE
+COPYING.]
+
+On a second sheet of vegetable paper, rule squares, a fourth, a third or
+half as small again as those on the first sheet. Thus, if the sides of
+the first squares be 15 m/m. long and you want to reduce your pattern by
+one fifth, the sides of your new squares should measure only 12 m/m.
+
+If, on the contrary, you want to enlarge the pattern by one fifth, make
+the sides of your squares 18 m/m. long.
+
+Then you follow, square by square, the lines of the drawing, extending
+or contracting them, according to whether the pattern is to be enlarged
+or diminished.
+
+To copy a pattern directly from a piece of embroidery and enlarge or
+diminish it at the same time, proceed as follows: fix the embroidery on
+a board, stretching it equally in every direction; then measure the
+length of the drawing, divide the centimetres by the number of units
+corresponding to whatever the proportions of your copy are to be, and if
+there be any fractions of centimetres over, subdivide them into
+millimetres, if necessary, into half millimetres and make your division
+by whatever measure you have adopted; take a pair of compasses with dry
+points, open them sufficiently for the opening to correspond to the
+number and the distance obtained by the division; plant a pin with a
+thread fastened to it, at the point indicated by the point of the
+compasses and repeat the last operation all along one side of the
+embroidery and, if possible a little beyond it, so that it may not be
+defaced by the marks of the pins. All you now have to do is to pull the
+threads in perfectly straight lines to the opposite side and carry other
+threads across them in a similar manner so that the whole surface be
+divided into squares.
+
+[Illustration: FIG. 887. PATTERN REDUCED BY MARKING OUT THE GROUND IN
+SMALL SQUARES.]
+
+It is needless to say that if you have to trace a pattern from a mounted
+piece of work you cannot stretch it on a board; with a little invention
+however some way can always be found of planting the pins so as not to
+injure the work.
+
+[Illustration: FIG. 888. PATTERN IN SOUTACHE. Original size.]
+
+[Illustration: FIG. 889. PATTERN IN FIG. 888 DRAWN OUT IN THE WIDTH.]
+
+[Illustration: FIG. 890. PATTERN IN FIG. 888 COMPRESSED IN THE WIDTH.]
+
+TO ALTER THE WIDTH OF A PATTERN RETAINING THE ORIGINAL HEIGHT (figs.
+888, 889, 890).--Sometimes it is necessary to lengthen out a pattern
+without however altering its height. In this case you modify the shape
+of the square and make long or narrow squares, according to the general
+shape of the design you wish to reproduce. Fig. 888 represents a
+pattern in Soutache D.M.C, marked out in squares; in fig. 889 the
+squares are lengthened out a third beyond their original size and the
+pattern is expanded; in fig. 890, the squares are compressed to a third
+less than their original size.
+
+This method of subdividing patterns greatly facilitates the alterations
+they have so often to undergo and we are sure that there are few amongst
+those who have any real aptitude for needlework, who cannot draw enough
+to be able to copy the contents of a square.
+
+TO PREPARE THE PASTE FOR APPLIQUÉ WORK.--It may seem strange to devote
+a separate paragraph to such an apparently simple operation; but in
+appliqué work it is a most important one, as not only the stuff on which
+the work is done but all the expensive accessories are liable to be
+spoilt by paste that has been badly prepared.
+
+Put some wheaten (not rice) starch into a vessel with a rounded bottom,
+pour on just enough water to dissolve the starch and stir it with a
+wooden spoon till it becomes perfectly smooth.
+
+In the meantime put about 1/4 of a pint of clean water on the fire to
+boil and when it boils add to it a little powdered pitch or carpenter's
+glue, in quantity about the size of a pea and pour in the starch,
+stirring it the whole time. When the mixture has boiled up several times
+take it off the fire and go on stirring it till it gets cold, otherwise
+lumps will form in it, which as we specially pointed out in the
+preceding chapter, must never be allowed to get in between the stuff and
+the paper.
+
+This kind of paste makes no spots and does not injure even the most
+delicate colours as it contains no acid. In winter it will keep for
+several days, but in hot weather it very soon begins to ferment and
+should then on no account be used.
+
+Gum arabic ought never to be used for appliqué work, as it becomes so
+hard that it is impossible to get the needle through, whilst the
+saccharine it contains almost always causes ugly spots to appear in the
+stuff when it dries.
+
+When the work is finished it is a good plan to spread a very thin layer
+of paste over the entire back of it with a fine brush made of hog's
+bristles, and not to take it out of the frame until it is perfectly dry.
+
+TO STIFFEN NEW NEEDLEWORK.--In the chapter on Irish lace, page 441,
+we said that new needlework of that kind had to be ironed; this should
+be done in the following manner: when the lace has been taken off its
+foundation, lay it, face downwards, on a piece of fine white flannel;
+then dip a piece of very stiff new organdie muslin into water, take it
+out again almost immediately and wring it slightly, so that no drops may
+fall from it, and then dab the wrong side of the lace all over with this
+pad of damp muslin and iron it with a hot iron which should be moved
+slowly forwards so that the moisture which the organdie has imparted to
+the lace may evaporate slowly. Not until you are quite sure that the
+lace is dry should it be taken off the board.
+
+There is no better way than this of giving new lace that almost
+imperceptible degree of stiffness by which alone it is often to be
+distinguished from old. Water only does not stiffen the thread
+sufficiently and it is difficult with starch to hit upon exactly the
+right consistency, whereas the organdie muslin supplies just the needful
+quantity.
+
+Embroidered network can be stiffened in the same manner and should be
+damped in the frame on the wrong side and not taken off until it is
+quite dry.
+
+We even recommend embroidery on linen being treated in the same way but
+when the linen is very creased, cover it with a damp cloth and iron upon
+that first, then take the cloth away and iron the embroidery itself so
+as to dry it completely.
+
+TO WASH ORDINARY LACE.--Wind it round a bottle the same width top and
+bottom and cover it entirely with muslin, fastened to the lace by a few
+stitches. Fill the bottle half full of sand, so that it may not get
+knocked about too violently when the water boils.
+
+Immerse the bottle in a saucepan of cold water with a piece of soap the
+size of a nut in it, and if the lace be very dirty, a small pinch of
+salt, and let it boil for about an hour pouring off the water as it gets
+dirty and adding clean.
+
+When all the dirt has been boiled out of the lace, which you will know
+to be the case when the water remains perfectly clear, rinse out the
+soap before you take the lace off the bottle, by plunging it into cold
+water.
+
+TO WASH REAL LACE.--The process is the same as the above, but as real
+lace is so seldom washed and is generally very yellow and fragile,
+particularly if it has been roughly used, it is rather difficult to
+clean.
+
+If stained or greasy, it should be left to soak for some hours or even
+days, in good olive oil. This restores to the thread that softness and
+smoothness which use and bad washing had impaired. After the oil bath it
+should be washed on a bottle in the manner already described.
+
+TO STIFFEN LACE.--Dip the lace when perfectly dry in thin starch
+prepared as follows.
+
+Take as much fine wheaten starch, as you think you will require, divide
+it into two portions and dissolve both in cold water. Boil the one
+portion and when it has so far cooled as to have ceased to steam, stir
+the cold starch into it and dilute the whole with cold water to the
+consistency of thick cream. If the lace is to be slightly coloured, add
+a few drops of black coffee, or dilute the starch with weak tea or
+guimauve water; the coffee will give it a dark cream colour, either of
+the latter a pale greenish hue.
+
+Dip the lace in the mixture and squeeze it out gently without wringing
+it to get rid of all the superfluous liquid, then lay it flat on the
+left hand and beat it for a few minutes with the right to work the
+starch well in; repeat the whole process twice, then roll the lace in
+fine linen and leave it there till you are ready to iron or pin it out,
+as the case may be.
+
+TO IRON LACE.--After the lace has lain for an hour or two in the
+cloth, iron it if it be machine-made and if it be Irish Guipure or real
+point lace of any sort, pin it out.
+
+Before you begin to iron, hold the lace tight in your left hand by the
+footing and with the right hand pull out all the picots, along the edge
+of the lace, to an equal length, then lay it out flat upon a board
+covered with white flannel and iron it with a moderately hot iron,
+passing the iron backwards and forwards over it until it be quite dry.
+
+If creases should come in the ironing where they ought not to be, dab
+them over lightly with a sponge moistened with water and a few drops of
+starch and pass the iron over them again.
+
+After ironing the whole length of lace, pull it out crossways from left
+to right, and from right to left and iron it all over once more. This
+does away with the artificial stiffness and gives it the agreeable
+softness and pliancy of new lace.
+
+TO PIN OUT LACE.--In order to pin out lace in a thoroughly
+satisfactory manner, you should provide yourself with a wooden drum,
+about 30 c/m. high and from 50 to 60 c/m. in diameter, large enough to
+rest upon the knees.
+
+The outside circumference of the wood should be padded and covered with
+grey or white ticking.
+
+The pins must be exactly the size of the picots they are to pin down;
+you will require extremely fine ones for Valenciennes and coarser for
+other kinds of lace: steel pins are of no use whatever, because of their
+liability to rust. Cover the cylinder with blue paper (less trying for
+the eyes than any other) and take only just as much lace out of the damp
+cloth as you are likely to be able to pin out before it gets dry,
+keeping the remainder covered up.
+
+Lay the lace upon the drum and pin the footing down first in a straight
+line, sticking the pins in pretty closely and at regular distances
+apart; then pin down each picot separately, taking care not to open them
+if they have kept their original shape and to shut them up by twisting
+them if they have got untwisted.
+
+If you find the pinning out troublesome and cannot get it all done
+before the lace dries, damp the picots with a sponge as you proceed.
+
+Lace should never be pinned out when it is dry as the threads of the
+picots are then very apt to break and torn picots destroy the value of
+even the choicest lace.
+
+Raised lace has to be stamped out from the wrong side with a lace awl or
+kind of pricker of bone made for the purpose. Some professional
+lace-cleaners use this implement even for Valenciennes lace but we
+cannot recommend it, seeing that it is a lace that is by nature
+perfectly flat.
+
+Let the length of lace you have pinned out remain on the drum till it be
+quite dry; if you have several yards to pin out, wind it round and round
+the cylinder. Cover up the lace as you proceed and put each length away
+as soon as it is ready in a blue paper bag, so as to keep the whole
+perfectly clean.
+
+In conclusion we may remark that the cleaning of lace should only be
+undertaken when you are fairly sure of not being interrupted, as more
+especially the pinning requires to be finished off as quickly as
+possible.
+
+TO WASH COLOURED COTTONS AND WORK DONE WITH THE SAME.--In order to
+test the fastness of the dyes, untie the skeins and pour boiling water
+upon them, leave them to soak for about a quarter of an hour, soap and
+rub them lightly with the hand from end to end and rinse them out
+thoroughly in as many changes of cold water as may be found necessary,
+until the water remain perfectly colourless.
+
+Squeeze out all the water you can and let them dry quickly without
+exposing them to the sun.
+
+Coloured cottons are often washed in vinegar, because it is supposed to
+affect the colour less than water does. We have come to the conclusion
+after several trials that this is a delusion, for the good dyes keep
+their colour without the aid of vinegar and the bad ones wash out in
+spite of it.
+
+The fast colours lose none of their beauty in the process nor does it
+affect the quality of the cotton; any excess of colouring matter which
+the fibres of the cotton may have absorbed in the process of dyeing is
+got rid of by this means.
+
+If a piece of work has been done with unwashed cottons and the colours
+run in the first washing, you have only to rinse it out in several
+changes of tepid water to restore it to its original freshness and if
+you want to give it a yellowish tinge, it should be dipped it in weak
+tea or coffee.
+
+MATERIALS.--It was stated in the preface that our readers would find
+the choice of colours and material rendered comparatively easy to them
+by the notes affixed to the illustrations, but these notes, in spite of
+all the care bestowed upon them must still have remained very incomplete
+had it not been for the following tables which we were fortunately
+enabled to append to our work and which will help every one to choose
+their own materials without having them actually before them. The
+strokes that are affixed to each number indicate the exact size of the
+thread, so that to find out the number you want to buy you have but to
+lay your pattern thread, stretching it slightly, on the strokes, in
+succession, till you come to the one that matches it in size.
+
+With regard to the colours, the names and shades of which have been
+classed in the second table with the greatest care, and of which our
+workers have no less than 460 to choose from ([3]), all those referred
+to in connection with our illustrations are quite fast dyes ([4]), save
+in a few instances in which we were forced to make an exception in
+favour of a doubtful colour to secure a harmonious effect.
+
+A complete table of colours must of necessity include certain more or
+less staring shades, which though they may not be to every one's taste
+cannot on that account be left out.
+
+We conclude our work with the well-meant and by no means useless
+recommendation to our readers, never to begin a piece of work of any
+considerable size without first making sure that the colours they intend
+to use are fast and providing themselves with a larger supply of
+materials than even on a close calculation they think they are likely to
+require, lest they should find themselves under the disagreeable
+necessity of having either to leave their work unfinished or finish it
+with materials that do not match. There is generally a slight difference
+in tone between cottons that have been bought at different times, and
+there is also a reasonable likelihood, considering their great variety,
+of some mistake being made in the number by either buyer or seller in
+ordering a fresh supply.
+
+[Illustration: All of the above articles, excepting those marked with an
+asterisk, are contained in the D.M.C colour card.]
+
+[Illustration: Made in all numbers in écru, white, black and the 450
+shades names of the colours, see next page.]
+
+
+
+|-----------------------------------------------------------------------+
+|   Alphabetical list of the names and the numbers of the 450 shades    |
+|          D.M.C Alsace Thread, Sewing and Embroidery Cottons,          |
+|    contained in the D.M.C colour-card, in any of which shades the     |
+|       knitting Cotton, Soutaches and Braids etc. are to be had.       |
+|--------------------+------------+-------+--------+-------+------------+
+| Couleurs           | Très-foncé | Foncé | Moyen  | Clair | Très-clair |
+| Colours            | Very dark  | Dark  | Medium | Light | Very light |
+|--------------------+------------+-------+--------+-------+------------+
+| Bleu d'Azur        |            |       |        | 3325  |            |
+| Bleu-Canard        | 3395       | 3306  | 3307   | 3308  | 3309       |
+| Bleu cendré        |            |       |  448   |       |            |
+| Bleu de Ciel       |  515       |  516  |  517   |  518  |  519       |
+| Bleu-Fayence       |  481       |  482  |  483   |  484  |  485       |
+| Bleu de France     |  337       |  338  |  339   |  340  |  341       |
+| Bleu-Gentiane      |  476       |  477  |  478   |  479  |  480       |
+| Bleu-Gris          | 3300       | 3301  | 3302   | 3303  | 3304       |
+| Bleu-Indigo        |  336       |  311  |  312   |  322  |  334       |
+| Bleu-Lapis         |  342       |  333  |  343   |  344  |  345       |
+| Bleu-Marin         |  505       |  506  |  507   |  508  |  509       |
+| Bleu-Outremer      |            |  682  |  683   |       |            |
+| Bleu pâle          |            |       |        |  668  |            |
+| Bleu-Prunelle      |  486       |  487  |  488   |  489  |  490       |
+| Bleu tendre        |            |       |        |       |  709       |
+| Bleu vert          |  525       |  526  |  527   |  528  |  529       |
+| Bleu violacé       |            |  674  |  675   |       |            |
+| -----              |            |       |        |       |            |
+| Bronze doré        |  585       |  586  |  587   |  588  |  589       |
+| -----              |            |       |        |       |            |
+| Brun-Acajou        |  300       |  400  |  301   |  401  |  402       |
+| Brun-Cachou        |  433       |  434  |  435   |  436  |  437       |
+| Brun-Cannelle      |  660       |  661  |  662   |  663  |  664       |
+| Brun-Caroubier     |  354       |  355  |  303   |  356  |  357       |
+| Brun-Chamois       |  416       |  417  |  324   |  418  |  419       |
+| Brun-Cuir          |  430       |  431  |  302   |  432  |  325       |
+| Brun-Feuille-morte |  615       |  616  |  617   |  618  |  619       |
+| Brun-Havane        |  454       |  455  |  456   |  457  |  458       |
+| Brun-Loutre        |  438       |  439  |  440   |  441  |  442       |
+| Brun-Marron        |  403       |  404  |  405   |  406  |  407       |
+| Brun-Myrthe        |            |       |  463   |       |            |
+| Brun-Puce          |  459       |       |        |       |            |
+| Brun-Rouille       | 3310       | 3311  | 3312   | 3313  | 3314       |
+| -----              |            |       |        |       |            |
+| Gris-Acier         |  650       |  651  |  652   |  653  |  654       |
+| Gris-Amadou        |  329       |  383  |  384   |  385  |  386       |
+| Gris d'Argent      |            |       |  719   |       |            |
+| Gris-Bleu          |  590       |  591  |  592   |  593  |  594       |
+| Gris-Bois          |  610       |  611  |  612   |  613  |  614       |
+| Gris-Brun          |  408       |  409  |  410   |  411  |  412       |
+| Gris-Castor        |  645       |  646  |  647   |  648  |  649       |
+| Gris-Cendre        |  413       |  317  |  414   |  318  |  415       |
+| Gris-Coutil        |  387       |  388  |  323   |  389  |  390       |
+| Gris-Deuil         |  655       |  656  |  657   |  658  |  659       |
+| Gris-Écru          |            |  704  |  705   |  706  |            |
+| Gris-Etoupe        |            |  707  |  708   |       |            |
+| Gris de Fer        |  600       |  601  |  602   |  603  |  604       |
+| Gris-Feutre        |  635       |  636  |  637   |  638  |  639       |
+| Gris-Ficelle       |            |  460  |  461   |  462  |            |
+| Gris-Foin          |  520       |  521  |  522   |  523  |  524       |
+| Gris-Fumée         |  640       |  641  |  642   |  643  |  644       |
+| Gris-Lin           |            |       |  716   |  717  |            |
+| Gris-Mastic        |            |       |  718   |       |            |
+| Gris neutre        |  620       |  621  |  622   |  623  |  624       |
+| Gris-Noisette      |  420       |  421  |  422   |  423  |  424       |
+| Gris-Perle         |  625       |  626  |  627   |  628  |  629       |
+| Gris de Plomb      |  378       |  379  |  380   |  381  |  382       |
+| Gris-Poussière     |  630       |  631  |  632   |  633  |  634       |
+| Gris-Souris        |  425       |  426  |  427   |  428  |  429       |
+| Gris-Tilleul       |  391       |  392  |  393   |  330  |  331       |
+| Gris verdâtre      |  595       |  596  |  597   |  598  |  599       |
+|--------------------+------------+-------+--------+-------+------------+
+| Couleurs           | Très-foncé | Foncé | Moyen  | Clair | Très-clair |
+| Colours            | Very dark  | Dark  | Medium | Light | Very light |
+|--------------------+------------+-------+--------+-------+------------+
+| Jaune-Citron       |            |  307  |  445   |  446  |            |
+| Jaune-Crême        |            |       |  711   |  712  |            |
+| Jaune-Maïs         |  575       |  576  |  577   |  678  |  579       |
+| Jaune d'Ocre       |            |       |  676   |  677  |            |
+| Jaune-Orange       |            |       |  443   |  444  |            |
+| Jaune-Rouille      |  363       |  364  |  308   |  365  |  366       |
+| Jaune d'Or         |            |       |  667   |       |            |
+| Jaune-vieil-Or     |  678       |  679  |  680   |       |            |
+| -----              |            |       |        |       |            |
+| Lilas gris         |  313       |  398  |  314   |  328  |  399       |
+| -----              |            |       |        |       |            |
+| Noir grand-teint   |  310       |       |        |       |            |
+| Noir-Jais          |  681       |       |        |       |            |
+| Noir vert          |  473       |       |        |       |            |
+| -----              |            |       |        |       |            |
+| Rose-Eglantine     |  570       |  571  |  572   |  573  |  574       |
+| Rose tendre        |            |       |        |       |  3326      |
+| Rose vif           |  565       |  566  |  567   |  568  |  569       |
+| -----              |            |       |        |       |            |
+| Rouge-Aurore       |  360       |  306  |  361   |  332  |  362       |
+| Rouge-Bordeaux     |  496       |  497  |        |       |            |
+| Rouge-Cardinal     |  346       |  347  |  304   |  305  |  348       |
+| Rouge-Cerise       | 3315       | 3316  | 3317   | 3318  | 3319       |
+| Rouge-Corinthe     |            |       |  447   |       |            |
+| Rouge-Cornouille   |            |  449  |  450   |       |            |
+| Rouge-Ecarlate     |            |  498  |  464   |       |            |
+| Rouge-Framboise    |  684       |  685  |  686   |  687  |  688       |
+| Rouge-Géranium     |  349       |  350  |  351   |  352  |  353       |
+| Rouge-Grenat       |  358       |  359  |  326   |  309  |  335       |
+| Rouge-Groseille    |  605       |  606  |  607   |  608  |  609       |
+| Rouge-Maroquin     |            |       | 3327   | 3328  | 3329       |
+| Rouge-Turc         |            |       |  321   |       |            |
+| Rouge-Vermillon    |            |       |  666   |       |            |
+| -----              |            |       |        |       |            |
+| Vert-Bouteille     |  491       |  492  |  493   |  494  |  495       |
+| Vert-Bronze        |  669       |  670  |  671   |  672  |  673       |
+| Vert-Canard        |  545       |  546  |  547   |  548  |  549       |
+| Vert-Corbeau       |  665       |       |        |       |            |
+| Vert doré          |  580       |  581  |  582   |  583  |  584       |
+| Vert d'Eau         |            |       |  713   |  714  |  715       |
+| Vert-de-gris       |            |  474  |  475   |       |            |
+| Vert-Emeraude      |  555       |  556  |  557   |  558  |  559       |
+| Vert-Fauve         |  689       |  690  |  691   |  692  |  693       |
+| Vert-Lierre        |  500       |  501  |  502   |  503  |  504       |
+| Vert-Madeira       |            |       |        |  710  |            |
+| Vert-Malachite     |  560       |  561  |  562   |  563  |  564       |
+| Vert métallique    |  465       |  466  |  467   |       |            |
+| Vert-Mousse        |  468       |  469  |  470   |  471  |  472       |
+| Vert-Myrthe        |  535       |  536  |  537   |  538  |  539       |
+| Vert-Olive         |  510       |  511  |  512   |  513  |  514       |
+| Vert-Perroquet     |  694       |  695  |  696   |  697  |  698       |
+| Vert-Pistache      |  319       |  367  |  320   |  368  |  369       |
+| Vert-Pré           |  699       |  700  |  701   |  702  |  703       |
+| Vert russe         |            |  499  |        |       |            |
+| -----              |            |       |        |       |            |
+| Violet-Améthyste   | 3320       | 3321  | 3322   | 3323  | 3324       |
+| Violet-Evêque      |  451       |  452  |  453   |       |            |
+| Violet-Lie-de-vin  |  370       |  371  |  372   |  373  |  374       |
+| Violet-Mauve       |  375       |  315  |  376   |  316  |  377       |
+| Violet-de-Parme    |  540       |  541  |  542   |  543  |  544       |
+| Violet-Pensée      |  530       |  531  |  532   |  533  |  534       |
+| Violet-Prune       |  550       |  551  |  552   |  553  |  554       |
+| Violet-Scabieuse   |  394       |  327  |  395   |  396  |  397       |
+|--------------------+------------+-------+--------+-------+------------+
+| Couleurs           | Très-foncé | Foncé | Moyen  | Clair | Très-clair |
+| Colours            | Very dark  | Dark  | Medium | Light | Very light |
+|--------------------+------------+-------+--------+-------+------------+
+
+To avoid mistakes the public is urgently requested to designate the
+colours by the number, never by name.
+
+The colours whose numbers begin with 3 or 4 are the fastest.
+
+
+       *       *       *       *       *
+
+
+Further information respecting mode of execution, materials and so forth
+may be had by applying to the firm of
+
+TH. DE DILLMONT, DORNACH (ALSACE).
+
+FOOTNOTES:
+
+[3] The D.M.C colour-card consists of 450 shades about half of which are
+fast dyes. See the list of names on pp. 572 and 573.
+
+[4] By fast (bon-teint) colours are meant those which will bear ordinary
+and repeated washing. There are only very few which are really fast, or
+grand-teint, that is to say, which will resist the action of chemical
+agents, amongst of these, the black, Noir 310, is quite indestructible.
+
+
+
+
+TABLE OF CONTENTS.
+
+
+PREFACE.                                                            Page
+
+PLAIN SEWING
+  Stitches
+  Seams
+  Gathering
+  Sewing on cord and flaps                                            10
+  Button-holes                                                        11
+  Sewing on buttons                                                   12
+  Binding slits                                                       13
+  Sewing on piping                                                    13
+  Fixing whale-bones--Herring-boning                                  14
+
+MENDING                                                               15
+  Linen darning                                                       16
+  Satin or twill darning                                              17
+  Damask darning                                                      18
+  Fine-drawing                                                        20
+  Patching                                                            20
+
+SINGLE AND CUT OPEN-WORK                                              23
+  Hem-stitching                                                       24
+  Open-work patterns                                                  27
+  Cutting out threads at the corners                                  39
+  Cut open-work                                                       40
+  Patterns for cut open-work                                          42
+
+NET AND DAMASK STITCHES                                               51
+  Net embroidery                                                      51
+  Net patterns                                                        52
+  Net darning                                                         62
+  Damask stitches                                                     63
+
+WHITE EMBROIDERY                                                      76
+  Stitches                                                            77
+  Different kinds of scallops                                         79
+  Eyelet holes                                                        80
+  Six ways of making dots                                             81
+  Venetian embroidery                                                 82
+  Patterns and alphabets                                              83
+
+FLAT STITCH AND GOLD EMBROIDERY                                      105
+  Encroaching satin stitch                                           105
+  Oriental stitch                                                    106
+  Plaited stitch and mosaic stitch                                   108
+  Persian stitch                                                     109
+  Straight and encroaching flat stitch patterns                      110
+  Chinese embroidery                                                 111
+  Raised embroidery                                                  113
+  Turkish embroidery                                                 113
+  Implements and materials for gold embroidery                       115
+  Stitches used in gold embroidery                                   119
+  Patterns for gold embroidery                                       120
+
+TAPESTRY AND LINEN EMBROIDERY                                        127
+  Marking out the embroidery ground                                  128
+  Tapestry stitches                                                  129
+  Tapestry patterns                                                  138
+  Stitches for linen embroidery                                      143
+  Patterns for linen embroidery                                      152
+
+KNITTING                                                             171
+  Position of the hands                                              172
+  Casting on                                                         173
+  Stitches                                                           178
+  Stocking knitting                                                  182
+  Scalloped edge                                                     183
+  Heels                                                              184
+  Toes                                                               189
+  Mending knitting                                                   190
+  Piqué patterns                                                     195
+  Patent knitting                                                    201
+  Turkish stitch                                                     201
+  Knitting patterns                                                  203
+
+CROCHET WORK                                                         221
+  Position of the hands                                              223
+  Stitches                                                           223
+  Method for copying tapestry patterns in crochet                    238
+  Crochet with soutache or lacet                                     239
+  Crochet square, hexagon and star                                   240
+  Tunisian crochet                                                   241
+  Hairpin crochet                                                    243
+  Patterns for hairpin crochet                                       245
+  Crochet lace patterns                                              249
+  Crochet counterpanes                                               284
+  Crochet stars                                                      300
+  Crochet collar                                                     304
+  Crochet chair-back                                                 316
+
+TATTING                                                              325
+  Position of the hands                                              326
+  Knots                                                              328
+  Patterns of scallops and medallions                                331
+
+MACRAMÉ                                                              343
+  Materials and implements                                           344
+  Formation of the knots                                             345
+  Macramé shuttles                                                   360
+  Macramé patterns                                                   361
+
+NETTING                                                              395
+  Implements and materials                                           395
+  Stitches                                                           397
+  Patterns produced in netting                                       400
+  Mounting the netting on the frame                                  410
+  Stars and wheels                                                   414
+  Grounds and lace                                                   423
+  Embroidery on netting                                              434
+  Netted insertion                                                   438
+
+IRISH LACE                                                           439
+  Materials                                                          439
+  Tacking down the braids                                            440
+  Bars of different kinds                                            442
+  Insertion stitches                                                 445
+  Lace stitches                                                      450
+  Needle-made picots                                                 467
+  Irish lace patterns                                                468
+
+LACES OF DIFFERENT KINDS                                             473
+  Pillow lace and the implements for its manufacture                 474
+  «Stitches» or passings                                             481
+  Patterns or grounds                                                481
+  Armenian lace                                                      503
+  Laces in knotted stitch                                            505
+  Reticella-lace                                                     508
+  Venetian-lace                                                      510
+  Brussels-lace                                                      515
+
+MISCELLANEOUS FANCY WORK                                             517
+  Knotted cord                                                       518
+  Balls for trimmings                                                519
+  Tambour work                                                       521
+  Smyrna stitch                                                      523
+  Malta stitch                                                       525
+  Triangular Turkish stitch                                          526
+  Turkish embroidery                                                 530
+  Appliqué-work                                                      531
+  Morocco embroidery                                                 535
+
+Spanish embroidery                                                   536
+  Different kinds of linen stitches                                  540
+  Pattern for linen stitches                                         541
+  Pattern for Roumanian stitch                                       544
+  Pattern for Piqué embroidery                                       546
+  Embroideries with Soutache                                         546
+  Chinese subject                                                    551
+
+PRACTICAL DIRECTIONS                                                 553
+  Tracing and drawing the designs                                    553
+  The preparation of the stuffs and the subdivision of the patterns  557
+  To transpose and repeat patterns by means of looking glasses       559
+  To alter the proportions of a pattern by dividing the ground into
+  squares                                                            560
+  To prepare the paste for appliqué work                             564
+  To stiffen new needlework                                          565
+  To wash ordinary lace                                              565
+  To wash real lace                                                  566
+  To stiffen lace                                                    566
+  To iron lace                                                       566
+  To pin out lace                                                    567
+  To wash coloured cottons and work done with the same               568
+  Materials                                                          569
+
+
+
+
+By the same Author
+
+ALBUM DE BRODERIES
+
+AU POINT DE CROIX.
+
+(Album of cross-stitch embroidery)
+
+BY TH. DE DILLMONT
+
+32 Plates with 278 Designs, and a complete treatise on the embroidery
+itself.
+
+Quarto; artistic boards, price 1_s._ 6_d._
+
+[Illustration: FIG. 153.]
+
+_To be had by applying to the Author and Editor TH. DE DILLMONT,
+DORNACH, Alsace, and at all the leading booksellers and Embroidery
+shops._
+
+
+
+
+[Illustration]
+
+PRINTED BY BRUSTLEIN & Co.,
+
+MULHOUSE (Alsace)
+
+
+
+
+
+
+End of Project Gutenberg's Encyclopedia of Needlework, by Thérèse de Dillmont
+
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+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
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+
+Project Gutenberg's Encyclopedia of Needlework, by Thérèse de Dillmont
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Encyclopedia of Needlework
+
+Author: Thérèse de Dillmont
+
+Release Date: March 8, 2007 [EBook #20776]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ENCYCLOPEDIA OF NEEDLEWORK ***
+
+
+
+
+Produced by Susan Skinner, Julie Barkley and the Online
+Distributed Proofreading Team at http://www.pgdp.net. This
+file is gratefully uploaded to the PG collection in honor
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+ebooks.
+
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+
+</pre>
+
+
+<h1><span style="font-size: 75%;">ENCYCLOPEDIA</span><br />
+<br />
+<span style="font-size: 50%;">OF</span><br />
+<br />
+NEEDLEWORK</h1>
+
+<h3>BY</h3>
+
+<h2>TH&Eacute;R&Egrave;SE DE DILLMONT</h2>
+
+<div class="figcenter" style="width: 345px;">
+<img src="images/001.jpg" alt="" title="" />
+</div>
+
+<p class="center"><i>ENGLISH EDITION</i></p>
+
+<hr style='width: 15%;' />
+
+<p class="center">ALL RIGHTS RESERVED</p>
+
+
+
+<hr style="width: 25%;" />
+<p class="center"><i>To be had:</i></p>
+
+<p class="center"><i>of TH. DE DILLMONT, DORNACH, Alsace,<br />
+and at all booksellers, and embroidery shops</i>.</p>
+
+<hr style='width: 15%;' />
+
+<p class="center">Price, English bound with gilt edges:</p>
+
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'>English edition</td><td align='left'>Sh. </td><td align='left'>3.&mdash;</td></tr>
+<tr><td align='left'>French edition</td><td align='left'>Fr. </td><td align='left'>5.75</td></tr>
+<tr><td align='left'>German edition</td><td align='left'>Mk. </td><td align='left'>3.&mdash;</td></tr>
+</table></div>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Preface" id="Preface"></a>Preface.</h2>
+
+
+<p>The absolute want of any comprehensive book on
+needlework&mdash;such an one as contains both verbal and
+pictorial descriptions of everything included under the
+name of needlework&mdash;has led me to put into the serviceable
+form of an Encyclopedia, all the knowledge and
+experience, which years of unceasing study and practice
+have enabled me to accumulate on the subject, with the
+hope that diligent female workers of all ages, may be able,
+by its means to instruct themselves in every branch of
+plain and fancy needlework.</p>
+
+<p>All the patterns given, even the most insignificant,
+were worked afresh for the purpose, and thus, not merely
+faithful representations, but also lucid and intelligible
+explanations of the same, are secured.</p>
+
+<p>In order that my readers may have something besides
+the dull theory, the work is enlivened by a number of
+useful patterns, some new, some derived from the artistic
+productions of such countries and epochs as have
+become famous by special excellence in the domain of
+needlework.</p>
+
+<p>Though, at first sight, the reproduction of many of
+these patterns may seem to present insuperable difficulties,
+<a name="Page_0" id="Page_0"></a>they will, after a careful study of the text, and exact attention
+to the directions given, prove easy to carry out.</p>
+
+<p>Many of these interesting designs are drawn from
+private collections, whose owners, with great kindness,
+placed their treasures at my disposal, to copy and borrow
+from at discretion, for which I desire to take the present
+opportunity, of tendering them my warmest thanks.</p>
+
+<p>The choice of colours and material&mdash;a difficult matter
+to many&mdash;my readers will find rendered comparatively
+easy to them by the notes affixed to the illustrations; and
+I may point out, that most of the patterns were worked
+with D.M.C cottons, which enjoy the well-earned reputation
+of being, the very best of their kind, in the market
+of the world.</p>
+
+<p>Experience has convinced me that, in many instances,
+these cottons may with advantage take the place of wool,
+linen thread, and even silk.</p>
+
+<p>If this work meet with indulgent judges, and prove
+really useful, I shall find ample reward in that fact for
+the trouble and difficulties that have unavoidably attended
+its completion.</p>
+
+
+<p><a name="Page_573" id="Page_573"></a></p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="TABLE_OF_CONTENTS" id="TABLE_OF_CONTENTS"></a>TABLE OF CONTENTS.</h2>
+
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'><a href="#Preface">PREFACE.</a></td><td align='left'>Page</td></tr>
+<tr><td align='left'><a href="./chapter_1.html">PLAIN SEWING</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#stitches">Stitches</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#seams">Seams</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#gathering">Gathering</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#sewing_on_cord">Sewing on cord and flaps</a></td><td align='right'><a href="./chapter_1.html#Page_10">10</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#button_holes">Button-holes</a></td><td align='right'><a href="./chapter_1.html#Page_11">11</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#sewing_on_buttons">Sewing on buttons</a></td><td align='right'><a href="./chapter_1.html#Page_12">12</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#binding_slits">Binding slits</a></td><td align='right'><a href="./chapter_1.html#Page_13">13</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#sewing_on_piping">Sewing on piping</a></td><td align='right'><a href="./chapter_1.html#Page_13">13</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#fixing_whale_bones">Fixing whale-bones&mdash;Herring-boning</a></td><td align='right'><a href="./chapter_1.html#Page_14">14</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html">MENDING</a></td><td align='right'><a href="./chapter_2.html#Page_15">15</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html#linen_darning">Linen darning</a></td><td align='right'><a href="./chapter_2.html#Page_16">16</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html#satin_darning">Satin or twill darning</a></td><td align='right'><a href="./chapter_2.html#Page_17">17</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html#damask_darning">Damask darning</a></td><td align='right'><a href="./chapter_2.html#Page_18">18</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html#fine_drawing">Fine-drawing</a></td><td align='right'><a href="./chapter_2.html#Page_20">20</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html#patching">Patching</a></td><td align='right'><a href="./chapter_2.html#Page_20">20</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html">SINGLE AND CUT OPEN-WORK</a></td><td align='right'><a href="./chapter_3.html#Page_23">23</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html#hem_stitching">Hem-stitching</a></td><td align='right'><a href="./chapter_3.html#Page_24">24</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html#open_work_patterns">Open-work patterns</a></td><td align='right'><a href="./chapter_3.html#Page_27">27</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html#cutting_out_threads">Cutting out threads at the corners</a></td><td align='right'><a href="./chapter_3.html#Page_39">39</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html#cut_open_work">Cut open-work</a></td><td align='right'><a href="./chapter_3.html#Page_40">40</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html#patterns_for_cut_open_work">Patterns for cut open-work</a></td><td align='right'><a href="./chapter_3.html#Page_42">42</a></td></tr>
+<tr><td align='left'><a href="./chapter_4.html">NET AND DAMASK STITCHES</a></td><td align='right'><a href="./chapter_4.html#Page_51">51</a></td></tr>
+<tr><td align='left'><a href="./chapter_4.html#Net_embroidery">Net embroidery</a></td><td align='right'><a href="./chapter_4.html#Page_51">51</a></td></tr>
+<tr><td align='left'><a href="./chapter_4.html#Net_pattern">Net patterns</a></td><td align='right'><a href="./chapter_4.html#Page_52">52</a></td></tr>
+<tr><td align='left'><a href="./chapter_4.html#Net_darning">Net darning</a></td><td align='right'><a href="./chapter_4.html#Page_62">62</a></td></tr>
+<tr><td align='left'><a href="./chapter_4.html#Damask_stitches">Damask stitches</a></td><td align='right'><a href="./chapter_4.html#Page_63">63</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html">WHITE EMBROIDERY</a></td><td align='right'><a href="./chapter_5.html#Page_76">76</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#stitches">Stitches</a></td><td align='right'><a href="./chapter_5.html#Page_77">77</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#Different_kinds_of_scallops">Different kinds of scallops</a></td><td align='right'><a href="./chapter_5.html#Page_79">79</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#Eyelet_holes">Eyelet holes</a></td><td align='right'><a href="./chapter_5.html#Page_80">80</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#Six_ways_of_making_dots">Six ways of making dots</a></td><td align='right'><a href="./chapter_5.html#Page_81">81</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#Venetian_embroidery">Venetian embroidery</a></td><td align='right'><a href="./chapter_5.html#Page_82">82</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#patterns">Patterns and alphabets</a></td><td align='right'><a href="./chapter_5.html#Page_83">83</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html">FLAT STITCH AND GOLD EMBROIDERY</a></td><td align='right'><a href="./chapter_6.html#Page_105">105</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Encroaching_flat_stitch">Encroaching satin stitch</a></td><td align='right'><a href="./chapter_6.html#Page_105">105</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Oriental_stitch">Oriental stitch</a></td><td align='right'><a href="./chapter_6.html#Page_106">106</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Plaited_stitch">Plaited stitch and mosaic stitch</a></td><td align='right'><a href="./chapter_6.html#Page_108">108</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Persian_stitch">Persian stitch</a></td><td align='right'><a href="./chapter_6.html#Page_109">109</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#straight_and_encroaching_flat_stitch">Straight and encroaching flat stitch patterns</a></td><td align='right'><a href="./chapter_6.html#Page_110">110</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Chinese_manner">Chinese embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_111">111</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Raised_embroidery">Raised embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_113">113</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Turkish_style">Turkish embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_113">113</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Gold_embroidery">Implements and materials for gold embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_115">115</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Embroidery_with_gold_purl">Stitches used in gold embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_119">119</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Chinese_gold_embroidery">Patterns for gold embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_120">120</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html">TAPESTRY AND LINEN EMBROIDERY</a></td><td align='right'><a href="./chapter_7.html#Page_127">127</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html#Marking_out_the_embroidery_ground">Marking out the embroidery ground</a></td><td align='right'><a href="./chapter_7.html#Page_128">128</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html#Cross_stitch">Tapestry stitches</a></td><td align='right'><a href="./chapter_7.html#Page_129">129</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html#Pattern_for_borders">Tapestry patterns</a></td><td align='right'><a href="./chapter_7.html#Page_138">138</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html#Plain_cross_stitch">Stitches for linen embroidery</a></td><td align='right'><a href="./chapter_7.html#Page_143">143</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html#Gothic_borders">Patterns for linen embroidery</a></td><td align='right'><a href="./chapter_7.html#Page_152">152</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html">KNITTING</a></td><td align='right'><a href="./chapter_8.html#Page_171">171</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Position_of_the_hands">Position of the hands</a></td><td align='right'><a href="./chapter_8.html#Page_172">172</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Casting_on">Casting on</a></td><td align='right'><a href="./chapter_8.html#Page_173">173</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Plain_stitch">Stitches</a></td><td align='right'><a href="./chapter_8.html#Page_178">178</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Stocking_knitting">Stocking knitting</a></td><td align='right'><a href="./chapter_8.html#Page_182">182</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Scalloped_edge">Scalloped edge</a></td><td align='right'><a href="./chapter_8.html#Page_183">183</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Common_heel">Heels</a></td><td align='right'><a href="./chapter_8.html#Page_184">184</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Toe">Toes</a></td><td align='right'><a href="./chapter_8.html#Page_189">189</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Mending_knitting">Mending knitting</a></td><td align='right'><a href="./chapter_8.html#Page_190">190</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Piqueacute_pattern">Piqu&eacute; patterns</a></td><td align='right'><a href="./chapter_8.html#Page_195">195</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Plain_patent_knitting">Patent knitting</a></td><td align='right'><a href="./chapter_8.html#Page_201">201</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Turkish_stitch">Turkish stitch</a></td><td align='right'><a href="./chapter_8.html#Page_201">201</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Knitting_pattern">Knitting patterns</a></td><td align='right'><a href="./chapter_8.html#Page_203">203</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html">CROCHET WORK</a></td><td align='right'><a href="./chapter_9.html#Page_221">221</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Position_of_the_hands">Position of the hands</a></td><td align='right'><a href="./chapter_9.html#Page_223">223</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Position_of_the_hands">Stitches</a></td><td align='right'><a href="./chapter_9.html#Page_223">223</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Method_for_copying_tapestry">Method for copying tapestry patterns in crochet</a></td><td align='right'><a href="./chapter_9.html#Page_238">238</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Crochet_with_Soutache">Crochet with soutache or lacet</a></td><td align='right'><a href="./chapter_9.html#Page_239">239</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Crochet_square">Crochet square, hexagon and star</a></td><td align='right'><a href="./chapter_9.html#Page_240">240</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Tunisian_crochet">Tunisian crochet</a></td><td align='right'><a href="./chapter_9.html#Page_241">241</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Hairpin_crochet">Hairpin crochet</a></td><td align='right'><a href="./chapter_9.html#Page_243">243</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Hairpin_insertion">Patterns for hairpin crochet</a></td><td align='right'><a href="./chapter_9.html#Page_245">245</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Lace_made_on_Point_Lace_braid">Crochet lace patterns</a></td><td align='right'><a href="./chapter_9.html#Page_249">249</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Square_with_coloured_tufts">Crochet counterpanes</a></td><td align='right'><a href="./chapter_9.html#Page_284">284</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Crochet_star">Crochet stars</a></td><td align='right'><a href="./chapter_9.html#Page_300">300</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Crochet_collar">Crochet collar</a></td><td align='right'><a href="./chapter_9.html#Page_304">304</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Crochet_chair-back">Crochet chair-back</a></td><td align='right'><a href="./chapter_9.html#Page_316">316</a></td></tr>
+<tr><td align='left'><a href="./chapter_10.html">TATTING</a></td><td align='right'><a href="./chapter_10.html#Page_325">325</a></td></tr>
+<tr><td align='left'><a href="./chapter_10.html#First_position_of_the_hands">Position of the hands</a></td><td align='right'><a href="./chapter_10.html#Page_326">326</a></td></tr>
+<tr><td align='left'><a href="./chapter_10.html#Single_or_half_knots">Knots</a></td><td align='right'><a href="./chapter_10.html#Page_328">328</a></td></tr>
+<tr><td align='left'><a href="./chapter_10.html#Detached_scallops">Patterns of scallops and medallions</a></td><td align='right'><a href="./chapter_10.html#Page_331">331</a></td></tr>
+<tr><td align='left'><a href="./chapter_11.html">MACRAM&Eacute;</a></td><td align='right'><a href="./chapter_11.html#Page_343">343</a></td></tr>
+<tr><td align='left'><a href="./chapter_11.html#Materials">Materials and implements</a></td><td align='right'><a href="./chapter_11.html#Page_344">344</a></td></tr>
+<tr><td align='left'><a href="./chapter_11.html#Formation_of_the_knots">Formation of the knots</a></td><td align='right'><a href="./chapter_11.html#Page_345">345</a></td></tr>
+<tr><td align='left'><a href="./chapter_11.html#macrameacute_shuttles">Macram&eacute; shuttles</a></td><td align='right'><a href="./chapter_11.html#Page_360">360</a></td></tr>
+<tr><td align='left'><a href="./chapter_11.html#Macrameacute_borders">Macram&eacute; patterns</a></td><td align='right'><a href="./chapter_11.html#Page_361">361</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html">NETTING</a></td><td align='right'><a href="./chapter_12.html#Page_395">395</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Plain_netting">Implements and materials</a></td><td align='right'><a href="./chapter_12.html#Page_395">395</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Netting_stitches">Stitches</a></td><td align='right'><a href="./chapter_12.html#Page_397">397</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Patterns_produced_in_netting">Patterns produced in netting</a></td><td align='right'><a href="./chapter_12.html#Page_400">400</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Mounting_the_netting_on_the_frame">Mounting the netting on the frame</a></td><td align='right'><a href="./chapter_12.html#Page_410">410</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Star_composed_of_loose_threads">Stars and wheels</a></td><td align='right'><a href="./chapter_12.html#Page_414">414</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Ground_worked_in">Grounds and lace</a></td><td align='right'><a href="./chapter_12.html#Page_423">423</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Ground_of_netting_embroidered">Embroidery on netting</a></td><td align='right'><a href="./chapter_12.html#Page_434">434</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Netted_insertion">Netted insertion</a></td><td align='right'><a href="./chapter_12.html#Page_438">438</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html">IRISH LACE</a></td><td align='right'><a href="./chapter_13.html#Page_439">439</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#Materials">Materials</a></td><td align='right'><a href="./chapter_13.html#Page_439">439</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#Tacking_down">Tacking down the braids</a></td><td align='right'><a href="./chapter_13.html#Page_440">440</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#The_stitches">Bars of different kinds</a></td><td align='right'><a href="./chapter_13.html#Page_442">442</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#Insertion">Insertion stitches</a></td><td align='right'><a href="./chapter_13.html#Page_445">445</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#First_lace_stitch">Lace stitches</a></td><td align='right'><a href="./chapter_13.html#Page_450">450</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#Needle-made_picots">Needle-made picots</a></td><td align='right'><a href="./chapter_13.html#Page_467">467</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#Irish_lace_pattern">Irish lace patterns</a></td><td align='right'><a href="./chapter_13.html#Page_468">468</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html">LACES OF DIFFERENT KINDS</a></td><td align='right'><a href="./chapter_14.html#Page_473">473</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Materials">Pillow lace and the implements for its manufacture</a></td><td align='right'><a href="./chapter_14.html#Page_474">474</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Position_and_movements_of_the_hands">&laquo;Stitches&raquo; or passings</a></td><td align='right'><a href="./chapter_14.html#Page_481">481</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Net_pattern_or_ground">Patterns or grounds</a></td><td align='right'><a href="./chapter_14.html#Page_481">481</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Armenian_lace">Armenian lace</a></td><td align='right'><a href="./chapter_14.html#Page_503">503</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Lace_and_insertion_in_knotted_stitch">Laces in knotted stitch</a></td><td align='right'><a href="./chapter_14.html#Page_505">505</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Reticella_lace">Reticella-lace</a></td><td align='right'><a href="./chapter_14.html#Page_508">508</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Venetian_laces">Venetian-lace</a></td><td align='right'><a href="./chapter_14.html#Page_510">510</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Spray_in_needle-point">Brussels-lace</a></td><td align='right'><a href="./chapter_14.html#Page_515">515</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html">MISCELLANEOUS FANCY WORK</a></td><td align='right'><a href="./chapter_15.html#Page_517">517</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Knotted_cord">Knotted cord</a></td><td align='right'><a href="./chapter_15.html#Page_518">518</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Balls_for_trimmings">Balls for trimmings</a></td><td align='right'><a href="./chapter_15.html#Page_519">519</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Tambour_work">Tambour work</a></td><td align='right'><a href="./chapter_15.html#Page_521">521</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Smyrna_stitch">Smyrna stitch</a></td><td align='right'><a href="./chapter_15.html#Page_523">523</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Malta_stitch">Malta stitch</a></td><td align='right'><a href="./chapter_15.html#Page_525">525</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Triangular_Turkish_stitch">Triangular Turkish stitch</a></td><td align='right'><a href="./chapter_15.html#Page_526">526</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Turkish_embroidery">Turkish embroidery</a></td><td align='right'><a href="./chapter_15.html#Page_530">530</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Appliqueacute_work">Appliqu&eacute;-work</a></td><td align='right'><a href="./chapter_15.html#Page_531">531</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Morocco_embroidery">Morocco embroidery</a></td><td align='right'><a href="./chapter_15.html#Page_535">535</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Spanish_embroidery">Spanish embroidery</a></td><td align='right'><a href="./chapter_15.html#Page_536">536</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Basket_stitch_on_linen">Different kinds of linen stitches</a></td><td align='right'><a href="./chapter_15.html#Page_540">540</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Border_in_different_kinds_of_stitches">Pattern for linen stitches</a></td><td align='right'><a href="./chapter_15.html#Page_541">541</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Roumanian_stitch">Pattern for Roumanian stitch</a></td><td align='right'><a href="./chapter_15.html#Page_544">544</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Pattern_for_piqueacute_embroidery">Pattern for Piqu&eacute; embroidery</a></td><td align='right'><a href="./chapter_15.html#Page_546">546</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Alphabet_in_Soutache">Embroideries with Soutache</a></td><td align='right'><a href="./chapter_15.html#Page_546">546</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Chinese_subject">Chinese subject</a></td><td align='right'><a href="./chapter_15.html#Page_551">551</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html">PRACTICAL DIRECTIONS</a></td><td align='right'><a href="./chapter_16.html#Page_553">553</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#Tracing_patterns">Tracing and drawing the designs</a></td><td align='right'><a href="./chapter_16.html#Page_553">553</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#The_preparation_of_the_stuffs">The preparation of the stuffs and the subdivision of the patterns</a></td><td align='right'><a href="./chapter_16.html#Page_557">557</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_transpose_and_repeat_patterns">To transpose and repeat patterns by means of looking glasses</a></td><td align='right'><a href="./chapter_16.html#Page_559">559</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_alter_the_proportions_of_a_pattern">To alter the proportions of a pattern by dividing the ground into squares</a></td><td align='right'><a href="./chapter_16.html#Page_560">560</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_prepare_the_paste">To prepare the paste for appliqu&eacute; work</a></td><td align='right'><a href="./chapter_16.html#Page_564">564</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_stiffen_new_needlework">To stiffen new needlework</a></td><td align='right'><a href="./chapter_16.html#Page_565">565</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_wash_ordinary_lace">To wash ordinary lace</a></td><td align='right'><a href="./chapter_16.html#Page_565">565</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_wash_real_lace">To wash real lace</a></td><td align='right'><a href="./chapter_16.html#Page_566">566</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_stiffen_lace">To stiffen lace</a></td><td align='right'><a href="./chapter_16.html#Page_566">566</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_iron_lace">To iron lace</a></td><td align='right'><a href="./chapter_16.html#Page_566">566</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_pin_out_lace">To pin out lace</a></td><td align='right'><a href="./chapter_16.html#Page_567">567</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_wash_coloured_cottons">To wash coloured cottons and work done with the same</a></td><td align='right'><a href="./chapter_16.html#Page_568">568</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#Materials">Materials</a></td><td align='right'><a href="./chapter_16.html#Page_569">569</a></td></tr>
+</table></div>
+
+
+
+
+<hr style="width: 65%;" /><p><a name="Page_577" id="Page_577"></a></p>
+<p class='center'>&#9758;&nbsp;By the same Author&nbsp;&#9756;</p>
+<hr style="width: 25%;" />
+
+<p class='center' style="font-size: x-large;">ALBUM DE BRODERIES</p>
+
+<p class='center'>AU POINT DE CROIX.</p>
+
+<p class='center' style="font-size: x-large;">(Album of cross-stitch embroidery)</p>
+
+<p class='center'>BY TH. DE DILLMONT</p>
+
+<p class='center'>32 Plates with 278 Designs, and a complete treatise
+on the embroidery itself.</p>
+
+<p class='center'>Quarto; artistic boards, price 1<i>s.</i> 6<i>d.</i></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/906.jpg" alt="FIG. 153." title="" />
+<span class="caption"><span class="smcap">Fig. 153.</span></span>
+</div>
+
+<p class='center'><i>To be had by applying to the Author and Editor
+TH. DE DILLMONT, DORNACH, Alsace, and at all the leading
+booksellers and Embroidery shops.</i></p>
+
+
+
+<hr style="width: 65%;" /><p><a name="Page_578" id="Page_578"></a></p>
+<div class="figcenter" style="width: 250px;">
+<img src="images/907.jpg" alt="" title="" />
+</div>
+
+<p class='center'>PRINTED BY BRUSTLEIN &amp; Co.,<br />
+<br />
+MULHOUSE (Alsace)</p>
+
+
+
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Encyclopedia of Needlework, by Thérèse de Dillmont
+
+*** END OF THIS PROJECT GUTENBERG EBOOK ENCYCLOPEDIA OF NEEDLEWORK ***
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+</pre>
+
+</body>
+</html>
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+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
+    <style type="text/css">
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+<body>
+<p><a name="Page_1" id="Page_1"></a></p>
+
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 100%;">
+<img src="images/002.jpg" alt="STRIPE SHOWING RUNNING, STITCHING, BUTTON-HOLING, AND HERRING-BONING." title="" />
+</div>
+<p class="center"><span class="caption smcap">Stripe showing running, stitching, button-holing, and herring-boning.</span></p>
+
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Plain_Sewing" id="Plain_Sewing"></a>Plain Sewing.</h2>
+
+
+<p>Many, on opening the Encyclopedia of needlework will
+be disposed to exclaim as they read the heading of this first
+section: What is the use of describing all the old well-known
+stitches, when machines have so nearly superseded the slower
+process of hand-sewing? To this our reply is that, of all
+kinds of needlework, Plain Sewing needs to be most thoroughly
+learned, as being the foundation of all. Those who are
+able to employ others to work for them, should at least know
+how to distinguish good work from bad, and those who are in
+less fortunate circumstances, have to be taught how to work for
+themselves.</p>
+
+<p><b>Position of the body and hands.</b>&mdash;Before describing
+different kinds of stitches, a word should be said as to
+the position of the body and hands when at work. Long experience
+has convinced me that no kind of needlework necessitates
+a stooping or cramped attitude. To obviate which, see
+that your chair and table suit each other in height, and that you
+so hold your work as hardly to need to bend your head at all.
+The practice of fastening the work to the knee, besides being
+ungraceful, is injurious to the health.</p>
+
+<p><b>Needles.</b>&mdash;These should be of the best quality. To test
+a needle, try to break it; if it resist, and then break clean in
+<a name="Page_2" id="Page_2"></a>two, the steel is good; if it bend without breaking, or break
+without any resistance, it is bad. Never use a bent needle, it
+makes ugly and irregular stitches, and see that the eye, whether
+round or egg-shaped, be well-drilled, that it may not fray
+or cut the thread. Long or half-long needles are the best for
+white work, long ones for dress-making, and longer ones still,
+with long eyes, for darning. A stock of each, from No 5 to 12,
+is advised. The needle should always be a little thicker than
+the thread, to make an easy passage for it through the stuff.</p>
+
+<p>To keep needles from rusting, strew a little stone alum in
+the packets, and workers whose hands are apt to get damp,
+should have a small box of it handy, to powder their fingers
+with. Blackened needles can be made quite bright again by
+drawing them through an emery cushion.</p>
+
+<p><b>Scissors</b>.&mdash;Scissors are a very important accessory of the
+work-table, and two varieties are indispensable; a pair of large
+ones for cutting-out, with one point blunt and the other sharp,
+the latter to be always held downwards; and a pair of smaller
+ones with two sharp points. The handles should be large and
+round; if at all tight, they tire and disfigure the hand.</p>
+
+<p><b>Thimble</b>.&mdash;Steel thimbles are the best; bone are very
+liable to break, and silver ones are not deeply enough pitted, to
+hold the needle. A thimble should be light, with a rounded
+top and flat rim.</p>
+
+<p><b>The thread</b>.&mdash;Except for tacking, your thread should never
+be more than from 40 to 50 c/m. long.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> If the thread is
+in skeins, it does not matter which end you begin with, but if
+you use reeled cotton, thread your needle with the end that
+points to the reel, when you cut it; as the other end will split,
+and unravel, when twisted from left to right, which is generally
+done, to facilitate the process of threading. The cotton should
+always be cut, as it is weakened by breaking.</p>
+
+<p><b>Knotting the thread into the needle</b> (fig. <a href="#fig_1">1</a>).&mdash;When the
+thread becomes inconveniently short, and you do not want
+take a fresh one, it may be knotted into the needle, thus:
+bring it round the forefinger close to the needle, cross it on the
+inside next to the finger, hold the crossed threads fast, with the<a name="Page_3" id="Page_3"></a>
+thumb draw the needle out through the loop thus formed,
+and tighten the loop round both ends.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_1" id="fig_1"></a>
+<img src="images/003.jpg" alt="FIG. 1. KNOTTING THE THREAD INTO THE NEEDLE." title="" />
+<span class="caption smcap">Fig. 1. Knotting the thread into the needle.</span>
+</div>
+
+<p><b>Materials</b>.&mdash;For tacking, use Coton &agrave; coudre D.M.C qualit&eacute;
+sup&eacute;rieure (black and gold stamp) Nos. 2 to 6.<a href="#Footnote_A" class="fnanchor">[A]</a> For hand-sewing,
+Fil d'Alsace D.M.C Nos. 30 to 700,<a href="#Footnote_A" class="fnanchor">[A]</a> and Fil &agrave; dentelle D.M.C,
+balls or reels, Nos. 25 to 100<a href="#Footnote_A" class="fnanchor">[A]</a> will be found most useful. For
+machine-work: C&acirc;bl&eacute; 6 fils pour machines D.M.C, Nos. 30 to
+300,<a href="#Footnote_A" class="fnanchor">[A]</a>  black and
+white, or white
+and blue stamp.
+These can also be
+used for hand-work.
+Both these
+and the lace-thread
+(Fil &agrave; dentelle) on reels, are
+superfine in quality.
+The medium
+sizes are the most
+useful; but the
+only suitable ones
+for very fine and
+delicate fabrics are
+the Fil &agrave; dentelle
+D.M.C, and Fil
+d'Alsace, and the
+latter only is manufactured
+in the
+higher numbers.</p>
+
+<p>All these threads are to be had, wound in balls, or on
+reels, the buyer may make his own choice; balls are apt to
+get tangled, but the cotton preserves its roundness better than
+when it is wound on reels. Linen is generally sewn with
+linen-thread, but Fil &agrave; dentelle and the Fil d'Alsace are very
+good substitutes.</p>
+<p><a name="Page_4" id="Page_4"></a></p>
+<p><b>Position of the hands</b> (fig. <a href="#fig_2">2</a>).&mdash;The stuff, fastened to a
+cushion, must be held with the left hand, which should neither
+rest on the table, nor on the cushion, the needle must be held
+between the thumb and forefinger, of the right hand, and
+the middle finger, armed with the thimble, pushes the needle
+far enough through the stuff, for the other fingers to take hold
+of it and draw it out; the thread then comes to lie between the
+fourth and fifth fingers in the form of a loop, which must be
+tightened gradually to avoid its knotting.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_2" id="fig_2"></a>
+<img src="images/004.jpg" alt="FIG. 2. POSITION OF THE HANDS." title="" />
+<span class="caption smcap">Fig. 2. Position of the hands.</span>
+</div>
+
+<p><b>Position of the hands without cushion</b> (fig. <a href="#fig_3">3</a>).&mdash;When
+the work cannot be
+fastened to a cushion
+it should be
+held between the
+forefinger and the
+thumb, and left
+hanging down, over
+the other fingers.
+If it need to be
+more firmly held,
+draw it between the fourth and fifth fingers, which will prevent
+it from getting puckered or dragged.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_3" id="fig_3"></a>
+<img src="images/005.jpg" alt="FIG. 3. POSITION OF THE HANDS WITHOUT CUSHION." title="" />
+<span class="caption smcap">Fig. 3. Position of the hands without cushion.</span>
+</div>
+
+<p><a name="stitches" id="stitches"></a><b>Stitches</b>.&mdash;Plain-Sewing comprises 4 varieties of stitches,
+(1) running, (2) back-stitching, (3) hemming and (4) top or
+over-sewing.</p>
+
+<p>(1) <b>Running-stitch</b> (fig. <a href="#fig_4">4</a>).&mdash;This is the simplest and
+easiest of all. Pass the needle in and out of the material, at
+regular intervals, in a horizontal direction,
+taking up three or four threads at a time.
+If the stuff allow, several stitches may
+be taken on the needle at once, before the
+thread is drawn out. Running-stitch is used
+for plain seams, for joining light materials,
+for making gathers and for hems.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_4" id="fig_4"></a>
+<img src="images/006.jpg" alt="FIG. 4. RUNNING-STITCH." title="" />
+<span class="caption smcap">Fig. 4. Running-stitch.</span>
+</div>
+
+
+<p>(2) <b>Back-stitch</b> (fig. <a href="#fig_5">5</a>).&mdash;Insert the needle, and draw it out
+six threads further on, carry your thread back, from left to
+right, and insert the needle three threads back from the point
+at which it was last drawn out, and bring it out six threads
+<a name="Page_5" id="Page_5"></a>beyond. Stitching and back-stitching are better and more
+quickly done by machine than by hand.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_5" id="fig_5"></a>
+<img src="images/007.jpg" alt="FIG. 5. BACK-STITCH." title="" />
+<span class="caption smcap">Fig. 5. Back-stitch.</span>
+</div>
+
+<p><b>Stitching</b> (fig. <a href="#fig_6">6</a>).&mdash;The production of
+a row of back-stitches, that exactly meet
+one another, constitutes what is called
+stitching. Only one stitch can be made
+at a time, and the needle must be put
+in, exactly at the point where it was
+drawn out to form the preceding back-stitch,
+and brought out as many threads
+further on as were covered by the last back-stitch.
+The beauty of stitching depends
+on the uniform length of the stitches, and
+the straightness of the line formed, to
+ensure which it is necessary to count the
+threads for each stitch, and to draw a
+thread to mark the line. If you have to
+stitch in a slanting line across the stuff,
+or the stuff be such as to render the
+drawing of a thread impossible, a coloured
+tacking thread should be run in first, to
+as a guide.</p>
+
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_6" id="fig_6"></a>
+<img src="images/008.jpg" alt="FIG. 6. STITCHING." title="" />
+<span class="caption smcap">Fig. 6. Stitching.</span>
+</div>
+
+
+<p><b>Stitched hem</b> (fig. <a href="#fig_7">7</a>).&mdash;Make a double
+turning, as for a hem, draw a thread
+two or three threads above the edge of the first turning, and
+do your stitching through all three layers of stuff; the right
+side will be that on which you form your stitches.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_7" id="fig_7"></a>
+<img src="images/009.jpg" alt="FIG. 7. STITCHED HEM." title="" />
+<span class="caption smcap">Fig. 7. Stitched hem.</span>
+</div>
+
+
+
+<p>(3) <b>Hemming-stitch</b> (fig. <a href="#fig_8">8</a>).&mdash;To make a good hem,
+your stuff must be cut in the line of the thread. Highly dressed
+stuffs, such as linen and calico; should be rubbed in the hand,
+to soften them, before the hem is laid. Your first turning
+should not be more than 2 m/m. wide; turn down the whole
+length of your hem, and then make the second turning of the
+same width, so that the raw edge is enclosed between two
+layers of stuff.</p>
+
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_8" id="fig_8"></a>
+<img src="images/010.jpg" alt="FIG. 8. HEMMING-STITCH." title="" />
+<span class="caption smcap">Fig. 8. Hemming-stitch.</span>
+</div>
+
+
+
+<p>Narrow hems do not need to be tacked, but wide ones, where
+the first turning should only be just wide enough to prevent
+the edge from fraying, ought always to be. In hemming you
+<a name="Page_6" id="Page_6"></a>insert the needle and thread directed in a slanting position
+towards you, just below the edge of the hem, and push it
+out two threads above, and so on to the end, setting the
+stitches, two or three threads apart, in a continuous straight
+line. To ensure the hem being straight, a thread may be
+drawn to mark the line for the second turning, but it is not
+a good plan, especially in shirt-making, as the edge of the
+stuff, too apt in any case, to cut and fray, is, thereby, still
+further weakened. Hems in woollen materials, which will not
+take a bend, can only be laid and tacked, bit by bit. In making,
+what are called rolled hems, the needle must be slipped in, so
+as only to pierce the first turning, in order that the stitches
+may not be visible on the outside.</p>
+
+
+<p><a name="seams" id="seams"></a><b>Flat seam</b> (fig. <a href="#fig_9">9</a>).&mdash;Lay your two edges, whether straight
+or slanting, exactly even, tack them together with stitches
+2 c/m. long, distant 1 to 2 c/m. from the edge, and then back-stitch
+them by machine or by hand, following
+the tacking-thread. Cut off half the inner
+edge, turn the outer one in, as for a hem
+and sew it down with hemming-stitches.</p>
+
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_9" id="fig_9"></a>
+<img src="images/011.jpg" alt="FIG. 9. FLAT SEAM." title="" />
+<span class="caption smcap">Fig. 9. Flat seam.</span>
+</div>
+
+<p>Smooth the seam underneath with the
+forefinger as you go, to make it lie quite
+flat. Beginners should flatten down the seam with their
+thimbles, or with the handle of the scissors, before they
+begin to hem, as the outer and wider edge is very apt to get
+pushed up and bulge over, in the sewing, which hides the
+stitches.</p>
+
+<p><b>Rounded seam</b>.&mdash;Back-stitch your two edges together, as
+above directed, then cut off the inner edge to a width of four
+threads, and roll the outer one in, with the left thumb, till
+the raw edge is quite hidden, hemming as you roll. This
+kind of seam, on the wrong side, looks like a fine cord, laid
+on, and is used in making the finer qualities of underclothing.</p>
+
+<p><b>Fastening threads off, and on</b> (fig. <a href="#fig_10">10</a>).&mdash;Knots should be
+avoided in white work. To fasten on, in hemming, turn the
+needle backwards with the point up, take one stitch, and stroke
+and work the end of the thread in, underneath the turning.<a name="Page_7" id="Page_7"></a>
+To fasten on, in back-stitching or running, make one stitch
+with the new thread, then take both ends and lay them
+down together to the left, and work over them, so that they
+wind in, and out of the next few stitches.</p>
+
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_10" id="fig_10"></a>
+<img src="images/012.jpg" alt="FIG. 10.
+FASTENING THREADS OFF
+AND ON." title="" />
+<span class="caption smcap">Fig. 10.
+Fastening threads off
+and on.</span>
+</div>
+
+
+<p>(4) <b>Top or over-sewing stitch</b> (fig. <a href="#fig_11">11</a>).&mdash;This stitch is used
+for joining selvedges together. To keep the
+two pieces even, it is better, either to tack or
+pin them together first. Insert the needle,
+from right to left, under the first thread of
+the selvedge, and through both edges, and
+sew from right to left, setting your stitches
+not more than three threads apart. The
+thread must not be drawn too tightly, so
+that when the seam is finished and flattened
+with the thimble, the selvedges may
+lie, side by side.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_11" id="fig_11"></a>
+<img src="images/013.jpg" alt="FIG. 11.
+TOP OR OVER-SEWING
+STITCH." title="" />
+<span class="caption smcap">Fig. 11.
+Top or over-sewing
+stitch.</span>
+</div>
+
+<p><b>Another kind of sewing-stitch</b> (fig.
+<a href="#fig_12">12</a>)&mdash;For dress-seams and patching; sew
+left to right, tacking or pinning the
+edges together first, and holding them
+tightly with the thumb and finger, to keep
+perfectly even.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_12" id="fig_12"></a>
+<img src="images/014.jpg" alt="FIG. 12.
+ANOTHER KIND OF
+SEWING-STITCH." title="" />
+<span class="caption smcap">Fig. 12.
+Another kind of
+sewing-stitch.</span>
+</div>
+
+<p><b>Antique or old-German seam</b> (figs. <a href="#fig_13">13</a>
+and <a href="#fig_14">14</a>).&mdash;Tack or pin the selvedges together
+as above, then, pointing your needle
+upwards from below, insert it, two threads
+from the selvedge, first on the wrong side,
+then on the right, first through one selvedge,
+then through the other, setting the
+stitches two threads apart. In this manner,
+the thread crosses itself, between the two
+selvedges, and a perfectly flat seam is produced.
+Seams of this kind occur in old embroidered
+linen articles, where the stuff was
+too narrow to allow for any other. A
+similar stitch, fig. <a href="#fig_14">14</a>, only slanting,
+instead of quite straight, as in fig. <a href="#fig_13">13</a>, is used in making
+sheets.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_13" id="fig_13"></a><a name="fig_14" id="fig_14"></a>
+<div class="figleft" style="width: 107px;">
+<img src="images/015.jpg" alt="FIG. 13.
+ANTIQUE OR OLD-GERMAN
+SEAM." title="" />
+<span class="caption smcap">Fig. 13.
+Antique or old-german
+seam.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/016.jpg" alt="FIG. 14.
+ANTIQUE OR OLD
+GERMAN SEAM." title="" />
+<span class="caption smcap">Fig. 14.
+Antique or old
+german seam.</span>
+</div>
+</div>
+<p><a name="Page_8" id="Page_8"></a></p>
+
+
+<p><b>French double seam</b> (fig. <a href="#fig_15">15</a>).&mdash;For joining such stuffs
+as fray, use the so-called French-seam.</p>
+
+<p>Run your two pieces of stuff together, the wrong sides
+touching, and the edges perfectly even, then turn them round
+just at the seam, so that the right sides come together inside,
+and the two raw edges
+are enclosed between,
+and run them together
+again. See that no threads
+are visible on the outside.
+This seam is used chiefly
+in dress-making, for
+joining slight materials
+together which cannot be
+kept from fraying by any
+other means.</p>
+
+<div class="figcenter" style="width: 150px;">
+<a name="fig_15" id="fig_15"></a>
+<img src="images/017.jpg" alt="FIG. 15.
+FRENCH DOUBLE-SEAM." title="" />
+<span class="caption smcap">Fig. 15.
+French double-seam.</span>
+</div>
+
+<p><b>Hemmed double
+seam</b> (figs. <a href="#fig_16">16</a> and <a href="#fig_17">17</a>).&mdash;Turn
+in the two raw
+edges, and lay them one
+upon the other, so that
+the one next the forefinger, lies slightly higher than the
+one next the thumb. Insert the needle, not upwards from below
+but first into the upper edge, and then, slightly slanting, into
+the lower one. This seam is used
+in dress-making, for fastening
+down linings. Fig. <a href="#fig_17">17</a> shows
+another kind of double seam, where
+the two edges are laid together,
+turned in twice, and hemmed in
+the ordinary manner, with the sole
+difference, that the needle has to
+pass through a sixfold layer of stuff.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_16" id="fig_16"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/018.jpg" alt="FIG. 16.
+HEMMED DOUBLE-SEAM." title="" />
+<span class="caption smcap">Fig. 16.
+Hemmed double-seam.</span>
+</div>
+
+<a name="fig_17" id="fig_17"></a>
+<div class="figright" style="width: 150px;">
+<img src="images/019.jpg"  alt="FIG. 17.
+OPEN HEMMED DOUBLE-SEAM." title="" />
+<span class="caption smcap">Fig. 17.
+Open hemmed double-seam.</span>
+</div>
+</div>
+
+<p><a name="gathering" id="gathering"></a><b>Gathering</b> (fig. <a href="#fig_18">18</a>).&mdash;Gathers are made with running-stitches
+of perfectly equal length; take up and leave three or
+four threads, alternately, and instead of holding the stuff fast
+with your thumb, push it on to the needle as you go, and
+draw up your thread after every four or five stitches.</p>
+
+<div class="figcenter" style="width: 200px;">
+<a name="fig_18" id="fig_18"></a>
+<img src="images/020.jpg"  alt="FIG. 18. GATHERING." title="" />
+<span class="caption smcap">Fig. 18. Gathering.</span>
+</div>
+
+<p><a name="Page_9" id="Page_9"></a></p>
+
+<p><b>Stroking gathers</b> (fig. <a href="#fig_19">19</a>).&mdash;When you have run in your
+gathering thread, draw it up tight, and make it fast round the
+finger of your left hand, and then stroke down the gathers
+with a strong needle, so that they lie evenly side by side,
+pushing each gather, in stroking
+it, under your left thumb,
+whilst you support the stuff
+at the back with your other
+fingers.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="fig_19" id="fig_19"></a>
+<img src="images/021.jpg"  alt="FIG. 19. STROKING GATHERS." title="" />
+<span class="caption smcap">Fig. 19. Stroking gathers.</span>
+</div>
+
+
+<p><b>Running in a second
+gathering thread</b> (fig. <a href="#fig_20">20</a>).&mdash;This
+is to fix the gathers after
+they have been stroked, and
+should be run in 1 or 2 c/m.
+below the first thread, according to the
+kind of stuff, and the purpose it is intended
+for: take up five or six gathers
+at a time, and draw your two threads
+perfectly even, that the gathers may
+be straight to the line of the thread.</p>
+
+<div class="figcenter" style="width: 200px;">
+<a name="fig_20" id="fig_20"></a>
+<img src="images/022.jpg"  alt="FIG. 20.
+RUNNING IN A SECOND GATHERING-THREAD." title="" />
+<span class="caption smcap">Fig. 20.
+Running in a second gathering-thread.</span>
+</div>
+
+
+<p><b>Sewing on gathers</b> (fig. <a href="#fig_21">21</a>).&mdash;To
+distribute the fulness equally,
+divide the gathered portion of ma<a name="Page_10" id="Page_10"></a>terial,
+and the band, or plain piece, on to which it is to be
+sewn, into equal parts, and pin the two together at corresponding
+distances, the gathered portion under the plain, and
+hem each gather to the band or plain piece, sloping the needle
+to make the thread slant, and slipping it through the upper
+threads only of the gathers.</p>
+
+<div class="figcenter" style="width: 200px;">
+<a name="fig_21" id="fig_21"></a>
+<img src="images/023.jpg"  alt="FIG. 21. SEWING ON GATHERS." title="" />
+<span class="caption smcap">Fig. 21. Sewing on gathers.</span>
+</div>
+
+
+<p><b>Whipping</b> (fig. <a href="#fig_22">22</a>).&mdash;Whipping is another form of gathering,
+used for fine materials.
+With the thumb and forefinger
+of the left hand, roll the
+edge over towards you, into a
+very tight thin roll, insert the
+needle on the inside of the roll
+next the thumb, and bring it
+out on the outside next the
+forefinger, at very regular distances,
+and draw up the thread
+slightly, from time to time, to
+form the gathers.</p>
+
+<div class="figcenter" style="width: 200px;">
+<a name="fig_22" id="fig_22"></a>
+<img src="images/024.jpg" alt="FIG. 22. WHIPPING." title="" />
+<span class="caption smcap">Fig. 22. Whipping.</span>
+</div>
+
+
+
+<p><b>Ornamental hem</b> (fig. <a href="#fig_23">23</a>).
+For an ornamental hem, make a turning, 2 or 3 c/m. deep, and
+run in a thread, with small running-stitches up and down,
+as shown in fig. <a href="#fig_23">23</a>. By slightly drawing
+the thread, the straight edge will be made
+to look as if it were scalloped.</p>
+
+<div class="figcenter" style="width: 200px;">
+<a name="fig_23" id="fig_23"></a>
+<img src="images/025.jpg" alt="FIG. 23. ORNAMENTAL HEM." title="" />
+<span class="caption smcap">Fig. 23. Ornamental hem.</span>
+</div>
+
+
+<p><a name="sewing_on_cord" id="sewing_on_cord"></a><b>Sewing on cord</b> (fig. <a href="#fig_24">24</a>).&mdash;For sewing
+on cord, use strong thread, either Fil
+d'Alsace D.M.C, Fil &agrave; dentelle D.M.C or
+C&acirc;bl&eacute; 6 fils D.M.C No. 25, 30, 35 or 40.<sup><a href="#Footnote_A">[A]</a></sup>
+Be careful not to stretch the cord, but to hold it in, as
+you sew it, as it invariably
+shrinks more than the
+stuff in the first washing.
+Fasten it with hemming
+stitches to the edge of the
+turning, taking care that
+it does not get twisted.</p>
+
+<div class="figcenter" style="width: 150px;">
+<a name="fig_24" id="fig_24"></a>
+<img src="images/026.jpg"  alt="FIG. 24. SEWING ON CORD." title="" />
+<span class="caption smcap">Fig. 24. Sewing on cord.</span>
+</div>
+
+
+<p><a name="Page_11" id="Page_11"></a></p>
+<p><b>Sewing on flaps</b> (fig. <a href="#fig_25">25</a>).&mdash;These should be back-stitched
+on to the right side of the article they are to be affixed to, quite
+close to the edge, then folded over in half, and hemmed down on
+the wrong side. Like the cord, the flap must, in the process,
+be held in very firmly with the left hand. Though the back-stitching
+could be more quickly done
+by machine, hand-work is here preferable,
+as the holding in cannot be
+done by machine.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_25" id="fig_25"></a>
+<img src="images/027.jpg"  alt="FIG. 25. SEWING ON FLAPS." title="" />
+<span class="caption smcap">Fig. 25. Sewing on flaps.</span>
+</div>
+
+
+
+<p><b>Sewing on tape-loops</b> (figs. <a href="#fig_26">26</a>
+and <a href="#fig_27">27</a>).&mdash;These, in the case of the
+coarser articles of household linen,
+are generally fastened to the corners.
+Lay the ends of your piece of tape,
+which should be from 15 to 17
+c/m. long, side by side, turn in
+and hem them down, on three sides:
+the loop should be so folded as
+to form a three-cornered point,
+shewn in the illustration. Join
+the two edges of the tape together
+in the middle with a few cross-stitches,
+and stitch the edge of
+the hem of the article to the loop,
+on the right side.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_26" id="fig_26"></a><a name="fig_27" id="fig_27"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/028.jpg"  alt="FIG. 26. SEWING ON
+TAPE-LOOPS TO THE CORNER." title="" />
+<span class="caption smcap">Fig. 26. Sewing on
+tape-loops to the corner.</span></div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/029.jpg"  alt="FIG. 27. SEWING ON TAPE-LOOPS IN
+THE MIDDLE OF THE ARTICLE." title="" />
+<span class="caption smcap">Fig. 27. Sewing on tape-loops in
+the middle of the article.</span></div>
+</div>
+
+
+<p>Fig. <a href="#fig_27">27</a> shows how to sew on
+a loop in the middle of an article,
+the two ends separately, one on
+one side, the other on the other.</p>
+
+<p><b>Strings and loops for fine
+under-linen</b> (fig. <a href="#fig_28">28</a>).&mdash;Sew these
+on, likewise, on the wrong side of
+the article, hemming down the ends,
+and fastening them on the
+right side, with two rows of stitching
+crossing each other, and a third row along the edge.</p>
+
+<div class="figcenter" style="width: 150px;">
+<a name="fig_28" id="fig_28"></a>
+<img src="images/030.jpg"  alt="FIG. 28.
+STRINGS AND LOOPS ON FINE
+UNDER-LINEN." title="" />
+<span class="caption smcap">Fig. 28.
+Strings and loops on fine
+under-linen.</span>
+</div>
+
+
+<p><a name="button_holes" id="button_holes"></a><b>Button-holes in linen</b> (fig. <a href="#fig_29">29</a>).&mdash;Cut your hole perfectly
+straight, and of exactly, the diameter of the button, having
+<a name="Page_12" id="Page_12"></a>previously marked out the place for it, with two rows of
+running-stitches,
+two or three threads apart. Put in your needle at the
+back of the slit, and take up about
+three threads, bring the working
+thread round, from right to left
+under the point of the needle, and
+draw the needle out through the loop,
+so that the little knot comes at the
+edge of the slit, and so on to the end,
+working from the lower left-hand corner
+to the right. Then make a bar of button-hole
+stitching across each end, the
+knotted edge towards the slit.</p>
+
+<div class="figcenter" style="width: 150px;">
+<a name="fig_29" id="fig_29"></a>
+<img src="images/031.jpg"  alt="FIG. 29.
+BUTTON-HOLES IN LINEN." title="" />
+<span class="caption smcap">Fig. 29.
+Button-holes in linen.</span>
+</div>
+
+
+<p><b>Button holes in dress materials</b>
+(fig. <a href="#fig_30">30</a>).&mdash;Mark out and cut them as
+above described; if however, the material
+be liable to fray, wet the slit as
+soon as you have cut it, with liquid
+gum, and lay a strand of strong thread
+along the edge to make your stitches
+over; one end of dress button-holes
+must be round, the stitches diverging
+like rays from the centre, and when
+you have worked the second side, thread the needle with the
+loose strand, and pull it slightly, to
+straighten the edges; then fasten off, and
+close the button-hole with a straight bar of
+stitches across the other end, as in fig. <a href="#fig_29">29</a>.</p>
+
+<div class="figcenter" style="width: 150px;">
+<a name="fig_30" id="fig_30"></a>
+<img src="images/032.jpg"  alt="FIG. 30.
+BUTTON-HOLES IN DRESS-MATERIALS." title="" />
+<span class="caption smcap">Fig. 30.
+Button-holes in dress-materials.</span>
+</div>
+
+<p><a name="sewing_on_buttons" id="sewing_on_buttons"></a><b>Sewing on buttons</b> (figs. <a href="#fig_31">31</a> and <a href="#fig_32">32</a>).&mdash;To
+sew linen, or webbed buttons on to underclothing,
+fasten in your thread with a stitch
+or two, at the place where the button is to
+be; bring the needle out through the middle
+of the button, and make eight stitches, diverging
+from the centre like a star, and if
+you like, encircle them by a row of stitching,
+as in fig. <a href="#fig_32">32</a>. This done, bring the
+needle out between the stuff and the button, and twist the
+<a name="Page_13" id="Page_13"></a>cotton six or seven times round it, then push the needle through
+to the wrong side, and fasten off.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_31" id="fig_31"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/033.jpg" alt="FIG. 31. SEWING ON
+LINEN BUTTONS." title="" />
+<span class="caption smcap">Fig. 31. Sewing on
+linen buttons.</span></div>
+
+<a name="fig_32" id="fig_32"></a>
+<div class="figright" style="width: 150px;">
+<img src="images/034.jpg" alt="FIG. 32. SEWING ON
+WEBBED BUTTONS." title="" />
+<span class="caption smcap">Fig. 32. Sewing on
+webbed buttons.</span></div>
+</div>
+
+<p><a name="binding_slits" id="binding_slits"></a><b>Binding slits</b> (figs. <a href="#fig_33">33</a>, <a href="#fig_34">34</a>, <a href="#fig_35">35</a>, <a href="#fig_36">36</a>).&mdash;Nothing is more apt
+to tear than a slit whether
+it be hemmed or merely
+bound. To prevent this,
+make a semicircle of button-hole
+stitches at the
+bottom of the slit, and
+above that, to connect the
+two sides, a bridge of
+several threads, covered
+with button-hole stitches.</p>
+
+<p>In fig. <a href="#fig_33">33</a>, we show a
+hemmed slit, and in figs.
+<a href="#fig_34">34</a> and <a href="#fig_35">35</a>, are two slits
+backed the one with a
+narrow, the other, with a
+broad piece of the material,
+cut on the cross.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_33" id="fig_33"></a>
+<div class="figleft" style="width: 106px;">
+<img src="images/035.jpg"  alt="FIG. 33. BINDING SLITS
+WITH HEM." title="" />
+<span class="caption smcap">Fig. 33. Binding slits
+with hem.</span></div>
+
+<a name="fig_34" id="fig_34"></a>
+<div class="figright" style="width: 111px;">
+<img src="images/036.jpg"  alt="FIG. 34. BINDING SLITS
+WITH PIECE ON CROSS." title="" />
+<span class="caption smcap">Fig. 34. Binding slits
+with piece on cross.</span></div>
+</div>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_35" id="fig_35"></a>
+<div class="figleft" style="width: 142px;">
+<img src="images/037.jpg"  alt="FIG. 35. BINDING SLITS
+WITH BROAD BAND." title="" />
+<span class="caption smcap">Fig. 35. Binding slits
+with broad band.</span></div>
+
+<a name="fig_36" id="fig_36"></a>
+<div class="figright" style="width: 105px;">
+<img src="images/038.jpg"  alt="FIG. 36. STRENGTHENING
+SLITS WITH
+GUSSET." title="" />
+<span class="caption smcap">Fig. 36. Strengthening
+slits with
+gusset.</span></div>
+</div>
+
+
+<p>In under-linen, it often
+so happens that two
+selvedges meet at the slit,
+which renders binding
+unnecessary; in that case
+take a small square of
+stuff, turn in the raw
+edges, top-sew it into the
+slit on two sides, turn in the other two, fold over on the bias,
+and hem them down over the
+top-sewing, as shewn in fig. <a href="#fig_36">36</a>.
+Such little squares of material,
+inserted into a slit or seam, to
+prevent its tearing, are called
+gussets.</p>
+
+<p><a name="sewing_on_piping" id="sewing_on_piping"></a><b>Sewing on piping</b> (fig. <a href="#fig_37">37</a>).
+Piping is a border, consisting of a cord or bobbin, folded into
+<a name="Page_14" id="Page_14"></a>a stripe of material, cut on the cross, and affixed to the edge
+of an article to give it more strength and finish. It is a
+good substitute for a hem or binding on a
+bias edge, which by means of the cord, can be
+held in, and prevented from stretching. Cut
+your stripes diagonally, across the web of the
+stuff, and very even; run them together, lay
+the cord or bobbin along the stripe, on the
+wrong side, 5 m/m. from the edge, fold the
+edge over, and tack the cord lightly in. Then
+lay it on the raw edge of the article, with the
+cord towards you, and with all the raw edges
+turned away from you. Back-stitch the piping
+to the edge, keeping close to the cord. Then
+turn the article round, fold in the raw outside
+edge over the others, and hem it down like
+an ordinary hem.</p>
+
+<div class="figcenter" style="width: 200px;">
+<a name="fig_37" id="fig_37"></a>
+<img src="images/039.jpg"  alt="FIG. 37. SEWING ON PIPING." title="" />
+<span class="caption smcap">Fig. 37. Sewing on piping.</span>
+</div>
+
+<p><a name="fixing_whale_bones" id="fixing_whale_bones"></a><b>Fixing whale-bones</b> (fig. <a href="#fig_38">38</a>).&mdash;Before
+slipping the whale-bone into its case or fold
+of stuff, pierce holes in it, top and bottom,
+with a red hot stiletto. Through these holes,
+make your stitches, diverging like
+rays or crossing each other as
+shown in fig. <a href="#fig_38">38</a>.</p>
+
+<div class="figcenter" style="width: 70px;">
+<a name="fig_38" id="fig_38"></a>
+<img src="images/040.jpg" alt="FIG. 38.
+FIXING WHALE-BONES." title="" />
+<span class="caption smcap">Fig. 38.
+Fixing whale-bones.</span>
+</div>
+
+<p><b>Herring-boning</b> (fig. <a href="#fig_39">39</a>).&mdash;This
+stitch is chiefly used for
+seams in flannel, and for overcasting
+dress-seams, and takes
+the place of hemming, for fastening down the raw edges of a
+seam that has been run or stitched, without turning them in.
+Herring-boning is done from left to right, and forms two rows
+of stitches. Insert the needle from right to left, and make a
+stitch first above, and then below the edge, the threads crossing
+each other diagonally, as shewn in fig. <a href="#fig_39">39</a>.</p>
+
+<div class="figcenter" style="width: 200px;">
+<a name="fig_39" id="fig_39"></a>
+<img src="images/041.jpg"  alt="FIG. 39. HERRING-BONING" title="" />
+<span class="caption smcap">Fig. 39. Herring-boning</span>
+</div>
+
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_2.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Our readers should be provided with a French metre, with the English
+yard marked on the back for purposes of comparison.</p></div>
+
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
+    <style type="text/css">
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+<body>
+
+
+
+<p><a name="Page_325" id="Page_325"></a></p>
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/499.jpg"  alt="TATTED INSERTION.&mdash;DOUBLE KNOTS, SINGLE PICOTS AND JOSEPHINE PICOTS." title="" />
+<span class="caption smcap">Tatted insertion.&mdash;Double knots, single picots and josephine picots.</span>
+</div>
+
+<hr style="width: 15%;" />
+<h2><a name="Tatting" id="Tatting"></a>Tatting.</h2>
+<hr style="width: 15%;" />
+
+
+<p>On account of a similarity in their construction, a chapter
+on tatting seems to form a natural sequence to the one on
+crochet and is in some ways a preparation for that on macram&eacute;
+which succeeds it.</p>
+
+<p>The English name of tatting is said to be derived from
+&laquo;tatters&raquo; and to denote the frail disconnected character of the
+fabric. By the Italians it was formerly called &laquo;occhi&raquo;, whilst
+in the East it still bears the name of &laquo;makouk&raquo;, from the
+shuttle used in making it.</p>
+
+<p>In the eighteenth century, when tatting was in great vogue,
+much larger shuttles than our present ones were used, because of
+the voluminous materials they had to carry, silk cord being one.</p>
+
+<p><b>Shuttles</b>.&mdash;The tatting shuttle consists of two oval blades
+of either bone, ivory, mother of pearl or tortoise-shell, pointed
+at both ends, and joined together in the middle. A good shuttle
+contributes materially to the rapid and perfect execution of the
+work and attention should be paid in its selection to the following
+particulars: that it be not more than 7 c/m. long and
+2 or 3 c/m. wide: that the two ends be close enough to
+prevent the thread from protruding; this is more especially
+important in tatting with two shuttles and lastly, that the centre
+piece that joins the two oval blades together should have a
+hole bored in it, large enough for the thread to pass through.</p>
+
+<p>In filling the shuttle, be careful not to wind on too much
+<a name="Page_326" id="Page_326"></a>thread at once, or the blades will gape open at the ends and the
+thread get soiled by constant contact with the worker's hands.</p>
+
+<p><b>Materials</b>.&mdash;A strongly twisted thread such as Fil d'Alsace
+D.M.C, Fil &agrave; dentelle D.M.C, or Cordonnet 6 fils D.M.C,
+is best for tatting. We particularly recommend Fil d'Alsace,
+as forming the best shaped knots and picots. A soft material
+such as Coton &agrave; tricoter D.M.C, can also be used where it
+suits the purpose better.</p>
+
+<p><b><a name="First_position_of_the_hands" id="First_position_of_the_hands"></a>First position of the hands</b> (fig. <a href="#fig_486">486</a>).&mdash;The construction
+of the knots or stitches, appears at first sight to present great
+difficulties but will be easily mastered by attention to the
+indications here given. One thing, to be constantly borne in
+mind is, that when the right hand has passed the shuttle
+through the loop, it must stop with a sudden jerk and hold
+the thread tightly extended until the left hand has drawn up
+the knot. After filling the shuttle, take the end of the thread
+between the thumb and forefinger of the left hand, and the
+shuttle in the right, pass the thread over the third and fourth
+fingers of the left hand, bring it back towards the thumb and
+cross the two threads under the fingers, as indicated in fig. <a href="#fig_486">486</a>. Pass the thread that comes from the shuttle round the
+little finger of the right hand, and give the shuttle the direction
+shown in the engraving.</p><p><a name="Page_327" id="Page_327"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/500.jpg"  alt="FIG. 486. FIRST POSITION OF THE HANDS." title="" />
+<a name="fig_486" id="fig_486"></a><span class="caption smcap">Fig. 486. First position of the hands.</span>
+</div>
+
+<p><b>Second and third position of the hands</b> (figs. <a href="#fig_487">487</a> and
+<a href="#fig_488">488</a>).&mdash;Make the shuttle pass between the first and third fingers,
+in the direction indicated by the arrow in fig. <a href="#fig_487">487</a>, and bring
+it out behind the loop.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/501.jpg"  alt="FIG. 487. SECOND POSITION OF THE HANDS." title="" />
+<a name="fig_487" id="fig_487"></a><span class="caption smcap">Fig. 487. Second position of the hands.</span>
+</div>
+
+<p>Here the first difficulties for beginners arise and until they
+have sufficiently mastered the movements of both hands not
+to confuse them, we advise them to pay careful attention to
+the following instructions. As soon as you have put the shuttle
+through the loop, place
+the right hand on the
+table with the thread
+tightly extended, leaving
+the left hand perfectly
+passive.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/502.jpg"  alt="FIG. 488. THIRD POSITION OF THE HANDS." title="" />
+<a name="fig_488" id="fig_488"></a><span class="caption smcap">Fig. 488. Third position of the hands.</span>
+</div>
+
+<p>Then, raising the
+third and fourth fingers
+of the left hand with
+the loop upon them,
+pull up the loop,
+stretching the thread
+tightly in so doing by
+extending the fingers.
+By this movement
+a knot is
+formed, the
+first part of the
+&laquo;double knot&raquo;,
+which is the
+most common
+one in tatting.</p>
+
+<p>Remember
+that the right
+hand must be
+kept perfectly
+still as long as
+the left is in motion and that the knot must be formed of the
+loop thread that is in the left hand.</p>
+
+<p>The right hand, or shuttle thread, must always be free to
+<a name="Page_328" id="Page_328"></a>run through the knots; if it were itself formed into knots it
+would not have the free play, needed for loosening and tightening
+the loop on the left hand, as required.</p>
+
+<p><b>Fourth position of the hands</b> (fig. <a href="#fig_489">489</a>).&mdash;The second
+part of a knot is formed by the following movements: pass the
+shuttle, as indicated in fig. <a href="#fig_489">489</a>, from left to right, between the
+first and third fingers through the extended loop; the right
+hand seizes the shuttle in front of the empty loop and extends
+the thread; the left hand pulls up this second part of the knot
+as it did the first.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/503.jpg"  alt="FIG. 489. FOURTH POSITION OF THE HANDS." title="" />
+<a name="fig_489" id="fig_489"></a><span class="caption smcap">Fig. 489. Fourth position of the hands.</span>
+</div>
+
+<p><b><a name="Single_or_half_knots" id="Single_or_half_knots"></a>Single or half knots. Josephine picots</b> (figs. <a href="#fig_490">490</a> and <a href="#fig_491">491</a>).&mdash;The
+Josephine picot or purl, as it is also called in tatting,
+consists of a series of single or half knots formed of the first
+knot only. These picots may be made of 4 or 5 knots, as in
+fig. <a href="#fig_490">490</a>, or of 10 or 12 knots, as in fig. <a href="#fig_491">491</a>.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_490" id="fig_490"></a><a name="fig_491" id="fig_491"></a>
+<div class="figleft" style="width: 100px;">
+<img src="images/504.jpg"  alt="FIG. 490. SINGLE OR HALF KNOTS.
+SMALL JOSEPHINE PICOT." title="" />
+<span class="caption smcap">Fig. 490. Single or half knots.
+Small josephine picot.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/505.jpg"  alt="FIG. 491. SINGLE OR HALF KNOTS.
+LARGE JOSEPHINE PICOT." title="" />
+<span class="caption smcap">Fig. 491. Single or half knots.
+Large josephine picot.</span>
+</div>
+</div>
+
+<p><b>Fifth position of the hands</b> (fig. <a href="#fig_492">492</a>).&mdash;When the second
+knot forming the double knot has been made, the two hands
+<a name="Page_329" id="Page_329"></a>resume the position shown in fig. <a href="#fig_487">487</a>. Fig. <a href="#fig_492">492</a> reproduces the
+same and shows us a few finished knots as well.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/506.jpg"  alt="FIG. 492. FIFTH POSITION OF THE HANDS." title="" />
+<a name="fig_492" id="fig_492"></a><span class="caption smcap">Fig. 492. Fifth position of the hands.</span>
+</div>
+
+<p><b>Position of the hands for making a picot</b> (fig. <a href="#fig_493">493</a>).&mdash;Picots
+are introduced into tatting patterns as they are into
+knitting and crochet. They also serve to connect the different
+parts of a pattern together and render a great many pretty
+combinations feasible.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/507.jpg"  alt="FIG. 493. POSITION OF THE HANDS FOR MAKING A PICOT." title="" />
+<a name="fig_493" id="fig_493"></a><span class="caption smcap">Fig. 493. Position of the hands for making a picot.</span>
+</div>
+
+<p><b>Open and close picot</b> (figs. <a href="#fig_494">494</a> and <a href="#fig_495">495</a>).&mdash;These are
+<a name="Page_330" id="Page_330"></a>formed of single knots, leaving a loop on the extended thread,
+as shown in fig. <a href="#fig_494">494</a>, and a short length of thread between the
+knots; finish the second half knot and when you have pulled
+it up, join it to the preceding knot. In this manner the picot
+represented in fig. <a href="#fig_495">495</a> is formed quite naturally.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_494" id="fig_494"></a><a name="fig_495" id="fig_495"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/508.jpg"  alt="FIG. 494. OPEN PICOT." title="" />
+<span class="caption smcap">Fig. 494. Open picot.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/509.jpg"  alt="FIG. 495. CLOSE PICOT." title="" />
+<span class="caption smcap">Fig. 495. Close picot.</span>
+</div>
+</div>
+
+<p>In every kind of tatting the knot that comes after the picot
+is independent of the loop.</p>
+
+<p>Thus if the directions say: 2 knots, 1 picot, 3 knots, 1 picot,
+2 knots, etc., you must count the knot that served to form the
+loop and not make: 2 knots, 1 picot, 4 knots, etc. To join the
+different rings, ovals, etc., together by means of picots, take up
+the thread that runs over the left hand with a crochet needle,
+inserting it into the picot downwards from above, draw the
+thread through and pull it up like any other knot.</p>
+
+<p><b>Tatting with two shuttles</b> (fig. <a href="#fig_496">496</a>).&mdash;Two shuttles are
+used in tatting when the little rings are not to be connected
+together at the bottom by a thread, when you want to hide the
+<a name="Page_331" id="Page_331"></a>passage of the thread to another group of knots and when
+threads of several colours are used.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/510.jpg"  alt="FIG. 496. TATTING WITH TWO SHUTTLES." title="" />
+<a name="fig_496" id="fig_496"></a><span class="caption smcap">Fig. 496. Tatting with two shuttles.</span>
+</div>
+
+<p>When you work with two shuttles, tie the two threads together.
+Pass one thread over the third finger of the left hand,
+wind it twice round the fourth finger and leave the shuttle
+hanging down.</p>
+
+<p>Pass the second shuttle into the right hand and make the
+same movements with it as you do in working with one shuttle
+only.</p>
+
+<p><b><a name="Detached_scallops" id="Detached_scallops"></a>Detached scallops</b> (fig. <a href="#fig_497">497</a>).&mdash;Make 12 double knots with
+one shuttle, then tighten the thread so as to draw them together
+into a half ring; the next knot
+must touch the last knot of
+the scallop before it.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/511.jpg"  alt="FIG. 497. DETACHED SCALLOPS." title="" />
+<a name="fig_497" id="fig_497"></a><span class="caption"><span class="smcap">Fig. 497. Detached scallops.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C in balls
+Nos 30 to 70 or Cordonnet 6 fils D.M.C
+Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Scallops joined together
+at the top</b> (fig. <a href="#fig_498">498</a>).
+With one shuttle make 4
+double, 1 picot, * 8 double,
+1 picot, 4 double, close the
+half ring, 4 double, draw
+the thread through the picot
+and repeat from *.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/512.jpg"  alt="FIG. 498.
+SCALLOPS JOINED TOGETHER AT THE TOP." title="" />
+<a name="fig_498" id="fig_498"></a><span class="caption"><span class="smcap">Fig. 498.
+Scallops joined together at the top.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C Nos. 30 to 70,
+Cordonnet 6 fils D.M.C Nos. 15 to 40, or
+Fil &agrave; dentelle D.M.C Nos. 25 to 60 <a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Scallops with picots</b>
+(fig. <a href="#fig_499">499</a>).&mdash;Make with one
+shuttle: 4 double, 1 picot,
+* 3 double, 1 picot, 2 double,
+1 picot, 2 double, 1 picot, 3
+double, 1 picot, 4 double,
+close the ring.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/513.jpg"  alt="FIG. 499. SCALLOPS WITH PICOTS." title="" />
+<a name="fig_499" id="fig_499"></a><span class="caption"><span class="smcap">Fig. 499. Scallops with picots.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C in balls
+Nos. 30 to 70, &eacute;cru or white.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Leave sufficient length of
+thread before beginning the
+next ring, for the rings not to overlap each other = make 4
+double, draw the left hand thread through the 5th picot of the
+preceding ring and repeat from *.</p>
+
+<p><b>Tatted insertion</b> (fig. <a href="#fig_500">500</a>).&mdash;Make with one shuttle a
+<a name="Page_332" id="Page_332"></a>ring like the ones in fig. <a href="#fig_499">499</a>, then leaving a length of, from 5
+to 10 m/m. of thread, make a
+second ring = turn the work
+= leave the same length of
+thread again, begin a third
+ring which you join after the
+4th double, to the 5th picot
+of the 1st ring = turn the
+work after each ring is made,
+so that all the upper rings
+represent the right side of
+the work and all the lower
+ones the wrong.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/514.jpg"  alt="FIG. 500. TATTED INSERTION." title="" />
+<a name="fig_500" id="fig_500"></a><span class="caption"><span class="smcap">Fig. 500. Tatted insertion.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C in balls
+Nos. 30 to 70, &eacute;cru or white.</span>
+</div>
+
+<p><b>Tatted insertion</b> (fig. <a href="#fig_501">501</a>).&mdash;To be worked with
+two shuttles. Begin with one
+thread and one shuttle and
+make a ring, as in figs. <a href="#fig_499">499</a>
+and <a href="#fig_500">500</a>; and a second close
+to it; then pass the thread
+over the left hand, take the
+second shuttle in the right
+hand and make 6 double on
+the 2nd thread, after which
+you again make a ring above
+and one below with one
+shuttle only.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/515.jpg"  alt="FIG. 501. TATTED INSERTION." title="" />
+<a name="fig_501" id="fig_501"></a><span class="caption"><span class="smcap">Fig. 501. Tatted insertion.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C Nos. 30
+to 70, or Cordonnet 6 fils D.M.C No. 20.</span>
+</div>
+
+<p><b>Edging of tatting and crochet</b> (fig. <a href="#fig_502">502</a>).&mdash;Make with one
+shuttle: 1 double, 1 picot, 2 double, 1 picot, 2 double, 1 picot,
+2 double, 1 picot twice as long as the others, 2 double, 1 picot,
+2 double, 1 picot, 2 double, 1 picot, 2 double, 1 long picot, 1
+double = close the ring = fasten off the two threads on the
+wrong side with two or three stitches.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/516.jpg"  alt="FIG. 502. EDGING OF TATTING AND CROCHET." title="" />
+<a name="fig_502" id="fig_502"></a><span class="caption"><span class="smcap">Fig. 502. Edging of tatting and crochet.<br />
+Materials</span>&mdash;For the tatting: Fil d&#39;Alsace
+D.M.C in balls No. 30.
+For the crochet: Cordonnet 6 fils D.M.C
+No. 60.</span>
+</div>
+
+<p>After the first knot join the next ring to the preceding
+one by the long picot, and work the remainder as has been
+already described.</p>
+
+<p>When you have a sufficient number of rings, pick up the
+picots by crochet trebles with 3 chain stitches between them. On
+<a name="Page_333" id="Page_333"></a>this first row, crochet a second, consisting of: 2 chain, 1 picot,
+2 chain, 1 single in the treble of the 1st row. To finish the bottom
+part of the work, make 1 plain in the 1st picot, 3 chain; 1
+plain in the 2nd picot, 3 chain, 1 plain in the 3rd picot, 1
+chain, 1 plain in the 1st picot of the next ring.</p>
+
+<p>One row of single crochet serves as a footing to the edging.</p>
+
+<p><b>Tatted edging in three rows</b> (fig. <a href="#fig_503">503</a>).&mdash;Worked with
+two shuttles. The first row is
+worked like fig. <a href="#fig_495">495</a>, with one
+shuttle. The second and third
+are worked with two.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/517.jpg"  alt="FIG. 503.
+TATTED EDGING IN THREE ROWS." title="" />
+<a name="fig_503" id="fig_503"></a><span class="caption"><span class="smcap">Fig. 503.
+Tatted edging in three rows.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C in balls
+Nos. 30 to 70, or Cordonnet 6 fils D.M.C
+Nos. 20 to 60.</span>
+</div>
+
+<p>Fasten the thread of the
+right hand shuttle into the first
+picot; then work on this thread
+the same number of double
+knots and picots as in the 1st
+row and join each half ring to
+the picot of the row before. In
+the 3rd row, insert 3 picots between
+the 8 double knots of
+the row above. Here the Josephine
+picot may be substituted
+for the plain picot.</p>
+
+<p><b>Tatted edging</b> (fig. <a href="#fig_504">504</a>).&mdash;Worked
+with two shuttles and
+two colours. After making a
+string of rings like those in fig. <a href="#fig_502">502</a>, with Fil d'Alsace D.M.C
+No. 30 &eacute;cru, fasten the blue and
+unbleached threads of the respective
+shuttles to the middle picot. Holding the light thread
+in the right hand, and the dark one laid over the left hand,
+work: 3 double, 1 picot, 3 double = then put the right hand
+thread separately through the 2 picots of the rings and continue
+to make: 3 double, 1 picot, 3 double.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/518.jpg"  alt="FIG. 504. TATTED EDGING." title="" />
+<a name="fig_504" id="fig_504"></a><span class="caption"><span class="smcap">Fig. 504. Tatted edging.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C in balls
+Nos. 30 to 70, or Fil &agrave; dentelle D.M.C
+Nos. 25 to 50.<br />
+<span class="smcap">Colours</span>: &Eacute;cru and Bleu-Indigo 334, or
+Jaune d&#39;Ocre 667 and Rouge-Cornouille
+450, Gris-Tilleul 331 and Brun-Caroubier
+356.</span>
+</div>
+
+<p>The next row also is made with two shuttles. Hold the light
+thread in the right hand; with the dark thread, laid across
+the left hand, make: * 4 double, 1 picot, 2 double, 1 picot, 2
+<a name="Page_334" id="Page_334"></a>double = turn the work = with the right hand shuttle make:
+6 double, put the thread through the little picot formed above
+the middle picot of the rings, 6 double, close the ring =
+turn the work = make with two shuttles: 2 double, 1 picot,
+2 double, 1 picot, 4 double, put the light thread through the
+2 blue picots and repeat from *. The first row of crochet for
+the footing consists of chain and plain stitches only, the
+second, of chain stitches and trebles.</p>
+
+<p><b>Medallion</b> (fig. <a href="#fig_505">505</a>).&mdash;Take two colours of thread and fill
+two shuttles with the light colour
+and two with the dark. Make with
+one shuttle: 24 double and 12 picots,
+6 of them short and 6 long; close
+the ring, break off the thread and
+fasten off the ends by a stitch or
+two on the wrong side.&mdash;For the
+next 4 rows take two shuttles.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/519.jpg"  alt="FIG. 505. MEDALLION." title="" />
+<a name="fig_505" id="fig_505"></a><span class="caption"><span class="smcap">Fig. 505. Medallion.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C in
+balls Nos. 30 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: White and Rouge-G&eacute;ranium
+352, or &eacute;cru and Vert-Mousse
+471, Bleu p&acirc;le 668 and Jaune d'Or 676.</span>
+</div>
+
+<p>1st row&mdash;with the shuttles
+containing the light colour = fasten
+the ends on to a short picot and
+make: * 3 double, 1 short picot, 2
+double, 1 long picot, 2 double, 1
+long picot, 2 double, 1 long picot,
+2 double, 1 short picot, 3 double;
+pass the right hand thread through
+one of the short picots of the first ring, repeat the series 5
+times from *.</p>
+
+<p>When you reach the 6th half ring, instead of making the
+second picot, put the left hand thread through the short
+picot of the first half ring, then complete the last double
+knots, cut the threads off, pass them through the picot of
+the ring and fasten them off on the wrong side.</p>
+
+<p>2nd row&mdash;with the shuttles filled with the light colour =
+fasten the ends on to a long picot, then make: * 4 double, 1
+picot, 4 double, pass the right hand thread through the picot
+of the first row and repeat the series 17 times from *.</p>
+<p><a name="Page_335" id="Page_335"></a></p>
+<p>3rd row&mdash;with the shuttles filled with the dark colour =
+fasten the ends on to one of the picots of the last row and
+make: * 4 double, pass the right hand thread through the picot
+of the 2nd row, make a long picot, 4 double and repeat this
+series all round the medallion, until you have 18 scallops.</p>
+
+<p>4th row&mdash;with the shuttles filled with the dark colour =
+* 2 double, 1 picot, 2 double, 1 picot, 2 double, 1 picot, 2
+double, pass the right hand thread, from the wrong side, through
+the picot of the 2nd row and begin again from *.</p>
+
+<p><b>Insertion of tatting and crochet</b> (fig. <a href="#fig_506">506</a>).&mdash;Fill two
+shuttles, one with a light colour, say, Bleu de France 344,
+the other with a darker,
+such as Jaune-Rouille 365,
+and two numbers coarser
+than the thread you intend
+to use for the crochet. Begin
+with the dark colour
+and make: * 4 double, 1
+picot, 8 double, 1 picot, 4
+double, close the ring.
+With both shuttles, the
+light colour in the left
+hand: 4 double, 1 picot,
+2 double, 1 picot, 2 double,
+1 picot, 4 double, put the
+right hand thread through
+the picot of the first circle;
+then add: 4 double, 1 picot, 2 double, 1 picot, 2 double, 1 picot,
+4 double.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/520.jpg"  alt="FIG. 506. INSERTION OF TATTING AND CROCHET." title="" />
+<a name="fig_506" id="fig_506"></a><span class="caption"><span class="smcap">Fig. 506. Insertion of tatting and crochet.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C in balls Nos. 30
+to 70, or Fil &agrave; dentelle D.M.C Nos. 25 to 50.<br />
+<span class="smcap">Colours</span>: Bleu de France 344 and
+Jaune-Rouille 365.</span>
+</div>
+
+<p>With the shuttle, filled with the dark colour: 5 double,
+pass the thread through the picot of the first ring, make 8
+double, 1 picot, 5 double, close the ring. Then, leaving a
+short length of thread between, make: 4 double, put the
+thread through the picot of the preceding ring, 8 double, 1
+picot, 4 double, close the ring **; then repeat from * to **.</p>
+
+<p>When you have thus made two equal lengths, join them together
+with crochet, using a thread two numbers finer than the
+tatting thread; if the latter for instance was Fil d'Alsace No. 30,
+<a name="Page_336" id="Page_336"></a>you would take No. 50 of the same material for the crochet&mdash;1
+plain in the 1st picot, 5 chain, 1 plain in the middle picot,
+5 chain, 1 plain in the 3rd and 1st picot = then, over 5
+chain: 1 sextuple cluster stitch (fig. <a href="./chapter_9.html#fig_426">426</a>), 5 chain.</p>
+
+<p>In the row on the opposite side of the tatting, take out
+the crochet needle
+at the 3rd chain
+stitch and put it in
+from beneath into
+the corresponding
+stitch of the opposite
+row; in this
+manner join the
+two insertions together
+so as to
+complete the pattern.</p>
+
+<p><b>Insertion of tatting and crochet</b>
+(figs. <a href="#fig_507">507</a> and
+<a href="#fig_508">508</a>).&mdash;Worked
+with one shuttle.
+The tatting thread
+should be two
+numbers coarser than the crochet thread. Begin with 2 strings
+of half rings consisting of: 4 short picots and 3 long. Leave a
+length of thread between, equal to the diameter of the ring.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="fig_507" id="fig_507"></a>
+<img src="images/521.jpg"  alt="FIG. 507. INSERTION OF TATTING AND CROCHET." title="" />
+<span class="caption"><span class="smcap">Fig. 507. Insertion of tatting and crochet.<br />
+Materials</span>&mdash;For the tatting: Fil d&#39;Alsace D.M.C in balls
+Nos. 30 to 70, or Cordonnet 6 fils D.M.C Nos. 25 to 50,
+&eacute;cru or white.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+For the crochet: The same materials, but two
+numbers finer.</span>
+</div>
+
+<p>When the two strings of half rings are finished, crochet with
+the fine thread: 6 plain over each length of thread between,
+and at the base of the scallops.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/522.jpg"  alt="FIG. 508. WORKING DETAIL OF FIG. 507." title="" />
+<a name="fig_508" id="fig_508"></a><span class="caption smcap">Fig. 508. Working detail of fig. <a href="#fig_507">507</a>.</span>
+</div>
+
+<p>2nd row&mdash;5 chain, 1 plain in the 4th plain of the 1st row.</p>
+
+<p>In the row that connects the two rows of tatting, put the
+3rd chain stitch into the corresponding stitch of the opposite row.</p>
+
+<p>For the outside edge make: 1 plain in the 1st short picot,
+8 chain *, 1 treble in the 2nd short picot, 7 chain, 1 treble
+in the 3rd short picot, 8 chain, 1 plain in the 4th short picot,<a name="Page_337" id="Page_337"></a>
+1 plain in the short picot opposite, 3 chain, pass the thread
+through the 4th of the 8 chain stitches, 4 chain and repeat from *.</p>
+
+<p>For the last row make: 3 plain in each of the 3 last of
+8 chain, * 1 picot of 5 chain above the treble, 4 plain in
+the 4 next chain, 1 picot, 1 single in the same stitch as the
+plain before the picot, 3 plain, 1 picot, 3 plain, miss the
+1st and the last stitch, then make 3 plain on the next scallop
+and repeat from *.</p>
+
+<p><b>Edging of tatting and crochet</b> (fig. <a href="#fig_509">509</a>).&mdash;Worked with
+two shuttles and in two shades. With the light shade: 2
+double, 1 short picot,
+2 double, 1
+long picot, * 2 double,
+1 picot of the
+ordinary size, 2
+double, 1 picot, 2
+double, 1 picot, 2
+double, 1 long picot,
+2 double, 1
+short picot, 2 double,
+close the ring
+= with 2 shuttles: 3 double, pass the thread through the 1st
+picot, make 3 double, 1 long picot, 2 double = with the light
+shade: 4 double, pass the thread through the 9th picot of the
+1st ring, make 3 double, 1 picot, 4 double, close the ring = with
+2 shuttles: 2 double, 1 picot, 3 double, 1 short picot, 3 double
+= with one shuttle: 2 double, pass the thread through the empty
+picot of the small ring, make 2 double, pass the thread through
+the long picot of the big ring, then repeat from *.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_523.jpg"><img src="images/523.jpg"  alt="FIG. 509. EDGING OF TATTING AND CROCHET." title="" /></a>
+<a name="fig_509" id="fig_509"></a><span class="caption"><span class="smcap">Fig. 509. Edging of tatting and crochet.<br />
+Materials</span>&mdash;For the tatting: Fil d&#39;Alsace D.M.C in balls
+No. 30 in two shades of one colour.<br />
+For the crochet: Fil d&#39;Alsace D.M.C in balls No. 50
+in one colour only.</span>
+</div>
+
+<p>To complete the edge, crochet first one row, consisting of:
+* 1 plain in the 1st of the 5 picots of the big ring, 4 chain,
+1 plain in the 2nd picot, 4 chain, 1 plain in the 3rd picot, 4
+chain, 1 plain in the 4th picot, 4 chain, 1 plain in the 5th
+picot and repeat from *.</p>
+
+<p>2nd row&mdash;2 plain on the 3rd and 4th of the first chain
+stitches = over the 2nd and 3rd chain: 1 plain, 1 half treble,
+2 trebles, 1 half treble, 1 plain; on the 4 last chain: 2 plain.</p>
+
+<p>For the footing make: 1 plain in the long picot, 5 chain,<a name="Page_338" id="Page_338"></a>
+1 plain in the next picot, 5 chain, 1 double treble in the short
+picot, leave the 2 last loops of the treble on the needle = 3
+trebles in the first lower loop of the double treble, keep the
+last loops of these 3 trebles on the needle, after the 4th treble,
+draw the needle through the 4 trebles. The last row consists
+of: 3 chain, 1 treble over 5 chain.</p>
+
+<p><b>Tatted medallion</b> (fig. <a href="#fig_510">510</a>).&mdash;Worked with two shuttles
+and two colours.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/full_524.jpg"><img src="images/524.jpg"  alt="FIG. 510. TATTED MEDALLION." title="" /></a>
+<a name="fig_510" id="fig_510"></a><span class="caption"><span class="smcap">Fig. 510. Tatted medallion.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C Nos. 30 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Gris-Tilleul 330 and Rouge-Cardinal 304.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st row&mdash;with one shuttle: 12 double and 6 picots, close
+the ring.</p>
+
+<p>2nd row&mdash;with two shuttles and the dark coloured thread
+laid across the left hand = knot the threads into one of the picots
+of the 1st ring: 1
+double, 1 long picot,
+2 double, pass
+the right hand
+thread through one
+of the picots of the
+ring, 1 picot, 2 double
+and so on. After
+the 12th picot fasten
+off the threads
+on the wrong side
+by two or three
+stitches.</p>
+
+<p>3rd row&mdash;with
+one shuttle: * 3
+double, pass the
+thread through one
+of the picots of the
+2nd row, make 3
+double, close the
+ring = leave 5 m/m. of thread = turn the work = 4 double,
+1 picot, 4 double, close the ring = leave 5 m/m. of thread
+again and repeat 11 times from *.</p>
+
+<p>4th row&mdash;with two shuttles; fasten the ends to one of
+<a name="Page_339" id="Page_339"></a>the picots of one of the 12 rings of the 3rd row: * 3 double,
+1 picot, 3 double = with one shuttle: 3 double, pass the thread
+through the picot, 3 double, 1 picot, 2 double, 1 picot, 3
+double, close the ring = close to this: 3 double, pass the
+thread through the 2nd picot of the 1st ring, 3 double, 1 picot,
+3 double, close the ring = again, close to the last ring: 3 double,
+pass the thread through the picot of the 2nd ring, 2 double, 1
+picot, 3 double, close the ring = with 2 shuttles: 3 double, pass
+the thread through the 2nd picot of the 3rd ring, 3 double,
+fasten the thread to the picot of the ring of the 3rd row and
+repeat 11 times from *.</p>
+
+<p>5th row&mdash;with two shuttles and the dark colour across the
+left hand: 6 double and 2 picots over the lower rings and
+10 double and 4 picots over the upper rings.</p>
+
+<p><b>Tatted edging</b> (fig. <a href="#fig_511">511</a>).&mdash;With two shuttles and with the
+two colours indicated,
+or in any
+other combination
+of colours.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a href="images/full_525.jpg"><img src="images/525.jpg"  alt="FIG. 511. TATTED EDGING." title="" /></a>
+<a name="fig_511" id="fig_511"></a><span class="caption"><span class="smcap">Fig. 511. Tatted edging.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C in balls Nos. 30 to 70,
+Cordonnet 6 fils D.M.C Nos. 40 to 50, or Fil &agrave; dentelle
+D.M.C Nos. 25 to 40.<br />
+<span class="smcap">Colours</span>: Gris-Tilleul 330 and Rouge-Grenat 326.</span>
+</div>
+
+<p>Begin with two
+shuttles, the red
+thread across the
+left hand = 10 double,
+1 picot, 6 double
+= with one
+shuttle: 6 double,
+1 picot, 6 double,
+close the ring =
+turn the work =
+make a second ring
+like the first and
+close to it = turn
+the work = with
+two shuttles: 6 double, 1 picot, 6 double = with one shuttle:
+6 double, pass the thread through the picot of the ring opposite,
+6 double, close the ring = 6 double, 1 picot, 6 double, close
+the ring = turn the work to make the next half ring.</p>
+
+<p>Make 3 rows of half rings connected by rings. In the 2nd
+<a name="Page_340" id="Page_340"></a>row, you pass the thread from the ring through the picot to
+which the 2nd ring was fastened in the 1st row.</p>
+
+<p>For the outside scallops, make with one shuttle: * 5 double,
+pass the thread through the picot that connects 2 rings, 5
+double, close the ring = with two shuttles: 4 double = with
+one shuttle: 2 double, 1 picot, 2 double, 1 picot, 2 double,
+pass the thread through the picot of the half ring of the 3rd row,
+2 double; then 8 picots more with 2 double between each,
+close the ring = with two shuttles: 4 double, 1 long picot, 2
+double, 1 short picot, 2 double, 1 short picot, 3 double = with
+one shuttle: 5 double, pass the thread through the 3rd picot
+of the big ring, 5 double, close the ring = with two shuttles:
+2 double, 6 picots with 2 double after each picot = with one
+shuttle: 5 double, pass the thread through the 3rd picot of the
+big ring, 5 double, close the ring = with two shuttles: 3
+double, 1 picot, 2 double, 1 picot, 2 double, 1 picot, 4 double,
+pass the right hand thread through the 6th picot of the big
+ring = with two shuttles: 4 double, then repeat from *.</p>
+
+<p>The footing is worked in crochet and consists of one row
+of chain stitches and one of trebles.</p>
+
+<p><b>Square of tatting</b> (fig. <a href="#fig_512">512</a>).&mdash;Worked with two shuttles
+and two colours. With the light colour: 2 double, 1 picot, 4
+double, 1 picot, 4 double, 1 picot, 4 double, 1 picot, 2 double,
+close the ring.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/full_526.jpg"><img src="images/526.jpg"  alt="FIG. 512. SQUARE OF TATTING." title="" /></a>
+<a name="fig_512" id="fig_512"></a><span class="caption"><span class="smcap">Fig. 512. Square of tatting.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C in balls Nos. 30 to 100, Cordonnet 6 fils D.M.C
+Nos. 10 to 60, or Fil &agrave; dentelle D.M.C Nos. 25 to 70. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Jaune-Rouille 366 and Brun-Caroubier 359.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st row&mdash;with two shuttles, the dark coloured thread across
+the left hand = fasten the thread to a picot and make: * 2
+double, 1 picot, 2 double, 1 picot, 2 double, 1 picot, 2 double,
+pass the right hand thread through the picot of the ring;
+1 picot over the connecting thread, then repeat 3 times from *.
+The last picot over the picot of the small ring is made at the end.</p>
+
+<p>2nd row&mdash;with two shuttles, the light thread over the left
+hand = fasten the thread to the picot over the light picot: *
+2 double, pass the right hand thread through the picot of the
+1st row, 1 long picot over the lower picot, 3 double, pass the
+thread through the next picot of the 1st row = in the corner,
+1 rather longer picot than the one before, 3 double, pass the
+right hand thread through a picot, 1 long picot, 2 double, pass
+the thread through a picot; repeat 3 times from *. To form
+<a name="Page_341" id="Page_341"></a>the last picot, fasten off the thread on the wrong side by
+two or three stitches.</p>
+
+<p>3rd row&mdash;with one shuttle and the dark colour: * 4 double,
+pass the thread through the picot above the picot of the small
+ring, 4 double, close the ring = leave 10 m/m. of thread,
+make a second ring like the 1st = leave 10 m/m. of thread,
+make 6 double, pass the thread through the long picot, 6
+double, close the ring = leave 10 m/m. of thread, make another
+ring of 12 knots, fasten it to the same picot, the preceding
+knot is fastened to; then make a ring of 8 double knots and
+repeat 3 times from *.</p>
+<p><a name="Page_342" id="Page_342"></a></p>
+<p>4th row&mdash;with one shuttle and the light colour and
+worked like the 3rd row, leaving a rather longer length of
+thread between; then make: 16 instead of 12 double for the
+corner rings.</p>
+
+<p>5th row&mdash;with one shuttle and the light colour = 8 double,
+fasten the thread to one of the corner loops and between 2
+rings of the 4th ring: 8 double, close the ring = turn the
+work = leave a length of thread, 3 double, 1 picot, then 4
+times 2 double knots and 1 picot, 3 double, close the ring.
+Make the second ring as close as possible to the first, beginning
+and finishing the second with 5 double knots = make
+a 3rd ring like the 1st, join it to the 2nd ring by the 4th
+picot = turn the work = make another ring of 16 knots
+and join it to the same loop of the 4th row, to which the two
+other rings are already joined = turn the work = 1 ring
+above, with 4 picots, like the first one we described, then a
+ring of 12 double knots below.</p>
+
+<p>At the top, 6 detached half rings, placed between 3 connected
+rings, which form the corners. The top rings are to be
+joined after the 3rd double knot, to the 4th picot of the preceding
+ring.</p>
+
+<p>6th row&mdash;with two shuttles and the dark colour only =
+fasten the threads to a picot that serves as a connecting link,
+take the dark thread over the left hand and make: 3 double,
+1 picot, 2 double, 1 picot, 2 double, 1 picot, 3 double = fasten
+the thread to the connecting picot and carry the half rings
+all round the square.</p>
+
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_11.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents.</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
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+
+
+<p><a name="Page_343" id="Page_343"></a></p>
+
+
+
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/527.jpg"  alt="MACRAM&Eacute; STRIPE&mdash;ARABIC SUBJECT." title="" />
+<span class="caption smcap">Macram&eacute; stripe&mdash;Arabic subject.</span>
+</div>
+
+
+
+<hr style="width: 15%;" />
+<h2><a name="Macrame" id="Macrame"></a>Macram&eacute;.</h2>
+<hr style="width: 15%;" />
+
+
+<p>Macram&eacute; is an Arabic word, signifying an ornamental fringe
+or trimming, which has been adopted as the term for a certain
+kind of hand-work, known also as &laquo;knotted fringe&raquo; or
+&laquo;Mexican lace&raquo; and produced by the knotting, interweaving
+and tying together of threads.</p>
+
+<p>We have given the preference to the Arabic name because
+of its less definite meaning, seeing that not only fringe and lace,
+but trimmings of all kinds, in the shape of bands and stripes
+and headings, can be worked in macram&eacute;.</p>
+
+<p>Until its revival about ten years ago, when it was regarded
+by many as a new invention, the art of macram&eacute; making had
+for centuries become almost extinct and save here and there
+in the convents, was quite unknown.</p>
+
+<p>The multitude of uses to which it can be turned as a trimming,
+the infinite variety it admits of and its great durability
+and strength, make macram&eacute; well worth a study; the difficulties
+that repel many at first sight are only on the surface and
+any one who carefully follows the instructions given in the
+following pages, will soon overcome them and be able without
+pains to copy the charming designs that accompany them,
+which remind us of the wooden lattices in the windows of
+Eastern houses, doubtless familiar to many of our readers,
+under the name of <i>moucharabieh</i>.</p><p><a name="Page_344" id="Page_344"></a></p>
+
+<p><b><a name="Materials" id="Materials"></a>Materials.</b>&mdash;These may be of almost any kind; silk, gold
+thread, cord, wool or cotton, can all be employed with good
+effect. Almost any of the D.M.C cottons can be used for macram&eacute;;
+but the ones especially to be recommended are: Fil &agrave;
+dentelle D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a>, Cordonnet 6 fils D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> and Coton &agrave;
+broder D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> for the finer kinds of work, and for the coarser,
+Fil &agrave; pointer D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a>, Coton &agrave; tricoter D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> and Ganse
+turque D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a>. The twist in all these is so regular as to
+admit of a high degree of perfection being attained with them:
+they are moreover very agreeable to the touch, a great recommendation
+considering how much they have to be handled by
+the worker.</p>
+
+<p><b>Macram&eacute; cushion and other accessories</b> (figs. <a href="#fig_513">513</a> and
+<a href="#fig_514">514</a>).&mdash;The only really important requisite for macram&eacute; work
+is the cushion, which should be well stuffed, and weighted
+with lead (fig. <a href="#fig_513">513</a>). It is convenient to have it made to screw
+on to a table like the Swiss tambour frames. There are other
+kinds of macram&eacute; cushions but none, in our opinion, as practical
+as these because any pattern can be worked upon them
+and patterns that have a heading or a border of picots can not
+be worked on any others. The pegs at the ends of the cushion
+<a name="Page_345" id="Page_345"></a>are for fixing and winding the long threads upon, which carry
+the knots, and which we shall in future call &laquo;cords&raquo;.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="fig_513" id="fig_513"></a>
+<img src="images/528.jpg"  alt="FIG. 513. MACRAM&Eacute; CUSHION." title="" />
+<span class="caption smcap">Fig. 513. Macram&eacute; cushion.</span>
+</div>
+
+<p>For making long lengths of macram&eacute; fringe, metal clamps,
+with round-headed pegs attached to them top and bottom, to
+fasten the cords to, as represented in fig. <a href="#fig_514">514</a>, will be found
+far better than a cushion, as any number of threads can be
+knotted on to them at a time by pushing them more or less
+closely together on the cord.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/529.jpg"  alt="FIG. 514. CLAMPS FOR MACRAM&Eacute; FRINGE." title="" />
+<a name="fig_514" id="fig_514"></a><span class="caption smcap">Fig. 514. Clamps for macram&eacute; fringe.</span>
+</div>
+
+<p>Besides the cushion and clamps, you will require, some big
+glass-headed pins, made expressly for the purpose, a crochet
+needle for pulling the threads through the stuff when they have
+to be knotted on to an edge, and a French m&egrave;tre or yard
+measure to measure the threads with; to these implements
+may further be added, scissors and a metal comb and ruler
+for cutting and straightening the ends of the threads.</p>
+
+<p>The length of the threads must depend on their substance
+and size; that is to say, that a knot will take up more of a
+coarse stiff thread than of a fine pliable one, on which account,
+to avoid the necessity of preliminary trials, the right length of
+thread, for the quality and size of material, is given with each
+pattern. If, for any reason, our workers should not follow the
+directions given, they must bear in mind that the thicker and
+stiffer the material, the more they will have to allow for the
+knots and vice versa.</p>
+
+<p><b><a name="Formation_of_the_knots" id="Formation_of_the_knots"></a>Formation of the knots</b>.&mdash;Beginners must be careful, in
+macram&eacute; as in tatting, not to move or slacken the cord, or
+horizontal thread that carries the knots. The knots made by
+the &laquo;knotting-thread&raquo;, as it will be called in future, consist of
+<a name="Page_346" id="Page_346"></a>loops formed over the cord and then tightened. The knotting-thread
+and the cord are constantly changing places, as you
+work, loops having to be made now with the one and now
+with the other.</p>
+
+<p><b>Knotting on the threads</b> (fig. <a href="#fig_515">515</a>).&mdash;Excepting when you
+work with the threads of a material obtained by unravelling and
+drawing out the cross threads, you
+must knot on lengths of thread on to
+a cord; cut them double the length
+the fringe is to be and fold them in
+half, so as to form a loop by means
+of which you attach them to the
+cord, in the following manner. Put
+the loop over the cord from the front and bring it back underneath,
+put the ends down through the loop, detail <i>a</i>, and
+tighten it, detail <i>b</i>, as shown in the engraving.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/530.jpg"  alt="FIG. 515. KNOTTING ON THE THREADS." title="" />
+<a name="fig_515" id="fig_515"></a><span class="caption smcap">Fig. 515. Knotting on the threads.</span>
+</div>
+
+<p><b>Knotting on the threads on to a stuff edge and formation
+of a flat double knot</b> (fig. <a href="#fig_516">516</a>).&mdash;Push your crochet needle
+through the edge of the stuff from the right to the wrong side
+and catch hold of the loop, formed by the folding in half of
+the thread that is to be knotted on; pull it out to the right
+side, put the ends through, and tighten the loop, detail <i>a</i>. Detail
+<i>b</i> shows two double threads, knotted on near to each other in
+this way, and the first tying together of the two outer threads
+for the flat knot which is formed as follows: you take the two
+outer of the four threads hanging down and cross the right hand
+<a name="Page_347" id="Page_347"></a>one under, and the left hand one over the two centre threads.
+Whilst doing this, hold the inner ones tightly stretched out on
+the 3rd and 4th fingers
+of the left hand, detail <i>b</i>.
+The manner in which
+the two threads are
+brought back and tied
+together again is shown
+in detail <i>c</i>; the drawing
+up of the threads completes
+the so-called flat
+double knot, detail <i>d</i>.
+Detail <i>e</i>, of the same figure, shows two flat double knots, side
+by side, and the first step towards the formation of a third,
+connecting together
+the two right threads
+of the one with the
+two left threads of the
+other.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/531.jpg"  alt="FIG. 516. KNOTTING ON THE THREADS ON TO A STUFF EDGE AND FORMATION
+OF A FLAT DOUBLE KNOT." title="" />
+<a name="fig_516" id="fig_516"></a><span class="caption smcap">Fig. 516. Knotting on the threads on to a stuff edge and formation
+of a flat double knot.</span>
+</div>
+
+<p><b>Knotting on threads
+on to a knotted heading</b>
+(fig. <a href="#fig_517">517</a>).&mdash;Make
+flat double knots as in
+fig. <a href="#fig_516">516</a>, detail <i>d</i>, on a
+double cord and then
+knot on your threads
+on to the loops of the
+double knots, putting the loop through from the right side, so
+that it may lie at the back. Use double threads so that the
+work beneath the heading may not be too open.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/532.jpg"  alt="FIG. 517. KNOTTING ON THREADS ONTO A KNOTTED HEADING." title="" />
+<a name="fig_517" id="fig_517"></a><span class="caption smcap">Fig. 517. Knotting on threads onto a knotted heading.</span>
+</div>
+
+<p><b>Knotting on threads on to a picot heading</b> (fig. <a href="#fig_518">518</a>)
+&mdash;First, crochet a row of chain stitches, then make flat double
+knots on the chain, far enough apart for the thread between
+to form picots on the chain, then a second chain of crochet
+drawn through the picots on one side, on to which tie triple
+or quadruple lengths of thread, as shown in the engraving.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/533.jpg"  alt="FIG. 518. KNOTTING ON THREADS ON TO A PICOT HEADING." title="" />
+<a name="fig_518" id="fig_518"></a><span class="caption smcap">Fig. 518. Knotting on threads on to a picot heading.</span>
+</div>
+
+<p><b>Knotting on threads with round picots</b> (fig. <a href="#fig_519">519</a>).&mdash;
+Fasten the lengths of thread to the cushion with pins, about
+<a name="Page_348" id="Page_348"></a>half a c/m. apart, fix the cord to one of the pegs at the left
+end of the cushion, hold it tightly extended in a horizontal line
+with the right hand. With the
+left hand knot the threads that
+are pinned down on to the cord,
+looping each end twice round
+it, upwards from below and then
+drawing it through between the
+two loops or knots thus formed,
+pulling each knot to the left as
+you tighten it round the cord.
+Make the second row of knots in
+the same way, taking care to lay
+the second cord as close to the
+first as possible that the vertical
+threads may not be visible between. One series of knots
+forms a bar; there are both horizontal and slanting bars as
+will be seen later on.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/534.jpg"  alt="FIG. 519. KNOTTING ON THREADS WITH ROUND PICOTS." title="" />
+<a name="fig_519" id="fig_519"></a><span class="caption smcap">Fig. 519. Knotting on threads with round picots.</span>
+</div>
+
+<p><b>Knotting on threads with a fringe heading</b> (fig. <a href="#fig_520">520</a>).&mdash;Knot
+the threads
+on with a picot heading,
+as explained in
+the preceding figure,
+then cut the picots
+through and unravel
+and comb out the
+threads.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/535.jpg"  alt="FIG. 520. KNOTTING ON WITH A FRINGE HEADING." title="" />
+<a name="fig_520" id="fig_520"></a><span class="caption smcap">Fig. 520. Knotting on with a fringe heading.</span>
+</div>
+
+<p>For this way of
+knotting on threads,
+a very strongly twisted
+material is better than
+a loose one, as when it is cut and untwisted, it makes a much
+richer and fuller fringe.</p>
+
+<p><b>Knotting on with picots and flat double knots</b> (fig. <a href="#fig_521">521</a>).
+&mdash;Take two threads, pin them on close together, make a flat
+double knot, fig. <a href="#fig_516">516</a>, tying the outer threads over the inner
+ones, and loop the ends over a cord to make a horizontal
+bar of knots.</p><p><a name="Page_349" id="Page_349"></a></p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/536.jpg"  alt="FIG. 521.
+KNOTTING ON THREADS WITH PICOTS AND TWO
+FLAT DOUBLE KNOTS." title="" />
+<a name="fig_521" id="fig_521"></a><span class="caption smcap">Fig. 521.
+Knotting on threads with picots and two
+flat double knots.</span>
+</div>
+
+<p><b>Knotting on threads with picots and two flat double
+knots</b> (figs. <a href="#fig_522">522</a> and <a href="#fig_523">523</a>).&mdash;Pin the two threads on as before
+and make two flat double
+knots, one below the other;
+detail <i>a</i> shows the first
+knot begun, detail <i>b</i> the two
+knots completed. Fig. <a href="#fig_523">523</a>
+shows the picots secured by
+a horizontal bar of knots
+beneath them.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_522" id="fig_522"></a><a name="fig_523" id="fig_523"></a>
+<div class="figleft" style="width: 200px; height: 242px;">
+<img src="images/537.jpg"  alt="FIG. 522. &amp; FIG. 523.
+KNOTTING ON THREADS WITH PICOT AND TWO FLAT DOUBLE KNOTS." title="" />
+</div>
+<div class="figright" style="width: 250px; height: 242px;">
+<img src="images/538.jpg"  alt="FIG. 522. &amp; FIG. 523.
+KNOTTING ON THREADS WITH PICOT AND TWO FLAT DOUBLE KNOTS." title="" />
+
+</div>
+<span class="caption smcap">Fig. 522. &amp; fig. 523.
+knotting on threads with picot and two flat double knots.</span>
+</div>
+
+<p><b>Knotting on threads
+with scallops</b> (fig. <a href="#fig_524">524</a>).&mdash;The
+threads for the scallops
+must be cut much longer
+than those that are to be
+knotted on below
+them. The
+buttonhole
+loops must be
+so made that
+they turn upwards;
+and
+there must be
+12 of them, all
+made with the
+left hand thread over the right hand thread, detail <i>a</i>. Then, knot
+on two double threads underneath the scallop and besides, make
+knots with the threads that come from the scallops, detail <i>b</i>.</p><p><a name="Page_350" id="Page_350"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/539.jpg"  alt="FIG. 524. KNOTTING ON THREADS WITH SCALLOPS." title="" />
+<a name="fig_524" id="fig_524"></a><span class="caption smcap">Fig. 524. Knotting on threads with scallops.</span>
+</div>
+
+<p><b>Knotting on threads with loops</b> (fig. <a href="#fig_525">525</a>).&mdash;Pin on two
+threads folded in half, a little distance apart, detail <i>a</i>, and bind
+them together
+with a flat
+double knot.
+Pin on more
+lengths close
+to them, the
+inner threads
+of which are
+held by a "collecting
+knot",
+as the flat double
+knot is called
+when it
+is made over
+more than two threads (see
+also fig. <a href="#fig_530">530</a>). The ends of
+the threads can then be looped
+over one or two cords,
+so as to form a single or
+double bar of knots, as required.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/540.jpg"  alt="FIG. 525. KNOTTING ON THREADS WITH LOOPS." title="" />
+<a name="fig_525" id="fig_525"></a><span class="caption smcap">Fig. 525. Knotting on threads with loops.</span>
+</div>
+
+<p><b>Knotting on threads
+with triple scallops</b> (fig. <a href="#fig_526">526</a>).&mdash;Knot on three single
+threads in succession; first,
+the middle one, then the
+second, with the knot right
+and left and the loop long enough to form the scallop, then
+the third in the same manner.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/541.jpg"  alt="FIG. 526. KNOTTING ON THREADS WITH TRIPLE SCALLOPS." title="" />
+<a name="fig_526" id="fig_526"></a><span class="caption smcap">Fig. 526. Knotting on threads with triple scallops.</span>
+</div>
+
+<p><b>Knotting on threads for ribbed picots</b> (fig. <a href="#fig_527">527</a>).&mdash;Take
+a double thread and make two slanting bars of knots, see
+details <i>a</i> and <i>b</i>, then secure them, like the preceding scallops
+by a horizontal bar of knots, see detail <i>c</i>.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/542.jpg"  alt="FIG. 527. KNOTTING ON THREADS WITH RIBBED PICOTS." title="" />
+<a name="fig_527" id="fig_527"></a><span class="caption smcap">Fig. 527. Knotting on threads with ribbed picots.</span>
+</div>
+
+<p><b>Knotting on threads for a gimp heading</b> (fig. <a href="#fig_528">528</a>).&mdash;This
+mode of knotting on forms a broad gimp, consisting of vertical
+bars of knots, made over a single cord. On the one side, that
+<a name="Page_351" id="Page_351"></a>which is afterwards turned downwards, the cord, the ribs are
+made on, forms loops, held with pins, into which meshes of
+threads can be
+knotted when
+the gimp is finished,
+for making
+either a fringe
+or a grounding.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/543.jpg"  alt="FIG. 528. KNOTTING ON THREADS FOR A GIMP HEADING." title="" />
+<a name="fig_528" id="fig_528"></a><span class="caption smcap">Fig. 528. Knotting on threads for a gimp heading.</span>
+</div>
+
+<p>Patterns in
+several colours
+may likewise
+be knotted into
+gimp headings
+of this kind.</p>
+
+<p><b>Flat double
+knots with half
+knots</b> (fig. <a href="#fig_529">529</a>).&mdash;These
+are double
+knots followed by a
+third knot, or more
+correctly speaking,
+a half one of the
+first flat knots.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/544.jpg"  alt="FIG. 529. FLAT DOUBLE KNOTS WITH HALF KNOTS." title="" />
+<a name="fig_529" id="fig_529"></a><span class="caption smcap">Fig. 529. Flat double knots with half knots.</span>
+</div>
+
+<p><b>Collecting knots</b>
+(fig. <a href="#fig_530">530</a>).&mdash;As explained
+in fig. <a href="#fig_525">525</a>,
+these are flat double
+knots, made over
+more than two
+threads. The engraving shows, in the first place on the left,
+a flat double knot made over two threads, completed, and the
+first crossing of the thread for the collecting knot; secondly, the
+second crossing of the threads; thirdly how the collecting knot
+can, if necessary, be continued over 4 threads, and fourthly,
+how the collecting knot should be made to finish with a flat
+double knot.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/545.jpg"  alt="FIG. 530. COLLECTING KNOTS." title="" />
+<a name="fig_530" id="fig_530"></a><span class="caption smcap">Fig. 530. Collecting knots.</span>
+</div>
+
+<p><b>Plaited and waved knots</b> (fig. <a href="#fig_531">531</a>).&mdash;Plaited knots are
+formed by a continuous repetition of the first crossing of the
+<a name="Page_352" id="Page_352"></a>threads for making a flat knot, detail <i>a</i>; waved knots by a
+slight twist given to the plaited knots from left to right, detail
+<i>b</i>. These plaits of waved knots are secured by joining together
+the threads of opposite
+meshes, two and two, by a
+flat double knot.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/546.jpg"  alt="FIG. 531. PLAITED AND WAVED KNOTS." title="" />
+<a name="fig_531" id="fig_531"></a><span class="caption smcap">Fig. 531. Plaited and waved knots.</span>
+</div>
+
+<p><b>Single crossed knots
+and double crossed knots</b>
+(figs. <a href="#fig_532">532</a> and <a href="#fig_533">533</a>).&mdash;Two
+plain crossings of the
+threads, detail <i>a</i>, to begin
+with; after which you rapidly
+reverse the threads,
+turning the knot to the
+wrong side, drawing it up
+tightly at the same time;
+this forms the first knot,
+detail <i>b</i>. The second knot, fig. <a href="#fig_533">533</a>, is formed by 3 crossings,
+detail <i>a</i>; reverse the threads rapidly, to form the double crossed
+knot, detail <i>b</i>. For the following knots tie the threads together,
+as for the flat double knot, detail <i>c</i>.</p><p><a name="Page_353" id="Page_353"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_532" id="fig_532"></a><a name="fig_533" id="fig_533"></a>
+<div class="figleft" style="width: 200px;">
+<img src="images/547.jpg"  alt="FIG. 532. SINGLE CROSSED KNOT." title="" />
+<span class="caption smcap">Fig. 532. Single crossed knot.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/548.jpg"  alt="FIG. 533. DOUBLE CROSSED KNOT." title="" />
+<span class="caption smcap">Fig. 533. Double crossed knot.</span>
+</div>
+</div>
+
+<p><b>Looped picot and knotted picots</b> (figs. <a href="#fig_534">534</a> and <a href="#fig_535">535</a>).&mdash;Looped
+picots are made along a row of knots by setting the
+knots, far enough
+apart for the loop
+between, to form
+a picot when the
+knots are drawn
+up close together.
+In fig. <a href="#fig_534">534</a>, the detail
+<i>a</i> represents
+the picot, in its
+first open stage,
+detail <i>b</i> the same
+picot when it is
+finished.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/549.jpg"  alt="FIG. 534. LOOPED PICOT." title="" />
+<a name="fig_534" id="fig_534"></a><span class="caption smcap">Fig. 534. Looped picot.</span>
+</div>
+
+<p>Knotted picots,
+fig. <a href="#fig_535">535</a>, are
+formed after one
+or more flat double knots, by a knot made in the outer thread;
+to get this knot into the right place, make it on a big pin and
+draw it up close to the flat knot before you take out the pin.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/550.jpg"  alt="FIG. 535. KNOTTED PICOT." title="" />
+<a name="fig_535" id="fig_535"></a><span class="caption smcap">Fig. 535. Knotted picot.</span>
+</div>
+
+<p>These picots are always made on both sides and can be
+repeated several times along a row of knots. Detail <i>a</i> shows
+the crossing of the threads for the picots, detail <i>b</i> the picots
+completed and followed by a flat knot.</p><p><a name="Page_354" id="Page_354"></a></p>
+
+<p><b>Bead knots</b> (fig. <a href="#fig_536">536</a>).&mdash;A bead knot is made by turning
+back the threads after a row of flat double knots. Detail <i>a</i>
+shows three flat double knots finished, detail <i>b</i> the inner
+threads turned back over the flat double knots, detail <i>c</i> the
+two knotting threads, brought between the two threads coming
+from the left to the right, and detail <i>d</i> the bead knot finished
+and followed by a flat double knot.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/551.jpg"  alt="FIG. 536. BEAD KNOTS." title="" />
+<a name="fig_536" id="fig_536"></a><span class="caption smcap">Fig. 536. Bead knots.</span>
+</div>
+
+<p><b>Bars of knots to the right and left</b> (figs. <a href="#fig_537">537</a>, <a href="#fig_538">538</a>,
+<a href="#fig_539">539</a>, <a href="#fig_540">540</a>, <a href="#fig_541">541</a>, <a href="#fig_542">542</a>, <a href="#fig_543">543</a>, <a href="#fig_544">544</a>).&mdash;After knotting on the requisite
+number of threads on to a double cord, make two buttonhole
+loops with the right thread round the left one, fig. <a href="#fig_537">537</a>,
+then knot each thread twice over the second cord, fig. <a href="#fig_538">538</a>.<a name="Page_355" id="Page_355"></a>
+These knots must be as close together as possible. This done,
+begin to make the slanting bars, inclining from left to right,
+with 4 threads.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_537" id="fig_537"></a><a name="fig_538" id="fig_538"></a>
+<div class="figleft" style="width: 100px;">
+<img src="images/552.jpg"  alt="FIG. 537. BUTTONHOLE LOOP TO THE RIGHT." title="" />
+<span class="caption smcap">Fig. 537. Buttonhole loop to the right.</span>
+</div>
+
+<div class="figright" style="width: 200px;">
+<img src="images/553.jpg"  alt="FIG. 538. FASTENING THE THREADS TO THE CORD." title="" />
+<span class="caption smcap">Fig. 538. Fastening the threads to the cord.</span>
+</div>
+</div>
+
+<p>The first thread on
+the left, marked 1 in fig. <a href="#fig_540">540</a>, serves as cord to the
+threads 2, 3, 4, which are
+looped in succession over
+thread 1.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_539" id="fig_539"></a><a name="fig_540" id="fig_540"></a>
+<div class="figleft" style="width: 175px;">
+<img src="images/554.jpg"  alt="FIG. 539. BAR SLANTING TO THE RIGHT. THE KNOT OPEN." title="" />
+<span class="caption smcap">Fig. 539. Bar slanting to the right. The knot open.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/555.jpg"  alt="FIG. 540. BAR SLANTING TO THE RIGHT. THREAD 2 KNOTTED OVER THREAD 1." title="" />
+<span class="caption smcap">Fig. 540. Bar slanting to the right. Thread 2 knotted over thread 1.</span>
+</div>
+</div>
+
+<p>Fig. <a href="#fig_541">541</a> represents
+threads 2, 3 and 4, knotted
+thread 1 and in the
+second bar, thread 2 becoming
+in its turn the
+cord, and having threads
+3, 4 and 1 knotted over
+it, whilst it is being held,
+tightly stretched in the right hand. The knotting should be
+done with the left hand.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_541" id="fig_541"></a><a name="fig_542" id="fig_542"></a>
+<div class="figleft" style="width: 125px;">
+<img src="images/556.jpg"  alt="FIG. 541. BAR SLANTING TO THE RIGHT. THREADS 3, 4, 1 TO BE KNOTTED OVER THREAD 2." title="" />
+<span class="caption smcap">Fig. 541. Bar slanting to the right. Threads 3, 4, 1 to be knotted over thread 2.</span>
+</div>
+
+<div class="figright" style="width: 125px;">
+<img src="images/557.jpg"  alt="FIG. 542. BAR SLANTING TO THE LEFT." title="" />
+<span class="caption smcap">Fig. 542. Bar slanting to the left.</span>
+</div>
+</div>
+<p><a name="Page_356" id="Page_356"></a></p>
+<p>In fig. <a href="#fig_542">542</a>, which represents a bar inclining from right to
+left, threads 3, 2 and 1 are knotted over thread 4; and in fig. <a href="#fig_543">543</a>, in the second row, threads 2, 1, 4 over thread 3. Here,
+it has to be the left hand that holds the thread extended from
+right to left, whilst the right hand does the knotting.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_543" id="fig_543"></a><a name="fig_544" id="fig_544"></a>
+<div class="figleft" style="width: 125px;">
+<img src="images/558.jpg"  alt="FIG. 543. BAR SLANTING TO THE LEFT." title="" />
+<span class="caption smcap">Fig. 543. Bar slanting to the left.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/559.jpg"  alt="FIG. 544. BARS JOINED TOGETHER." title="" />
+<span class="caption smcap">Fig. 544. Bars joined together.</span>
+</div>
+</div>
+
+<p>Fig. <a href="#fig_544">544</a> explains how the double bars are bound together
+by an ordinary double knot.</p>
+
+<p><b>Single chain</b> (fig. <a href="#fig_545">545</a>).&mdash;This is made with two single
+threads, by knotting them alternately over each other, that is,
+each in turns serving as cord to the other.</p>
+
+<p><b>Double chain</b> (fig. <a href="#fig_546">546</a>).&mdash;The double chain is made in
+the same manner as the single, only with a double thread.</p>
+
+<div class="figcenter" style="width: 275px;">
+<a name="fig_545" id="fig_545"></a><a name="fig_546" id="fig_546"></a>
+<div class="figleft" style="width: 100px;">
+<img src="images/560.jpg"  alt="FIG. 545. SINGLE CHAIN." title="" />
+<span class="caption smcap">Fig. 545. Single chain.</span>
+</div>
+
+<div class="figright" style="width: 125px;">
+<img src="images/561.jpg"  alt="FIG. 546. DOUBLE CHAIN." title="" />
+<span class="caption smcap">Fig. 546. Double chain.</span>
+</div>
+</div>
+
+<p>Both the double and single chain are generally used in
+macram&eacute; gimps and borders as a means of conducting threads
+of different colours, from one part
+of a pattern to another, which could
+be done in no other way; also, as a
+continuation to the Chinese knot,
+fig. <a href="#fig_607">607</a>, as described at the end of
+this chapter.</p>
+
+<p><b>Ribbed border</b> (fig. <a href="#fig_547">547</a>).&mdash;Here,
+the same cord runs to and
+fro; the 4 threads that hang down,
+form little ribbed bars running right
+and left. To distinguish from the
+knotting threads, the thread that
+runs to and fro it, is represented in
+a darker colour.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/562.jpg"  alt="FIG. 547. RIBBED BORDER." title="" />
+<a name="fig_547" id="fig_547"></a><span class="caption smcap">Fig. 547. Ribbed border.</span>
+</div>
+
+<p><b>Macram&eacute; fringe</b> (figs. <a href="#fig_548">548</a>, <a href="#fig_549">549</a>, <a href="#fig_550">550</a>).&mdash;Entire length of
+the threads for No. 8 of Coton &agrave; tricoter D.M.C: 80 c/m.</p><p><a name="Page_357" id="Page_357"></a></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/563.jpg"  alt="FIG. 548. MACRAM&Eacute; FRINGE." title="" />
+<a name="fig_548" id="fig_548"></a><span class="caption"><span class="smcap">Fig. 548. Macram&eacute; fringe.<br />
+Materials</span>: Coton &agrave; tricoter D.M.C Nos. 6 to 16,
+Cordonnet 6 fils D.M.C Nos. 5 to 25,
+or Fil &agrave; dentelle D.M.C Nos. 25 to 70.<br />
+<span class="smcap">Colours</span>: Bleu-Indigo 311, Rouge-Turc 321
+and white, or Bleu tendre 710, Rouge-Maroquin
+3327 and Vert-Fauve 691.</span>
+</div>
+<p>1st row&mdash;knot on the threads, as in fig. <a href="#fig_515">515</a>, and in the
+following order: 1 double white thread, 2
+double red, 1 double blue and so on.</p>
+
+<p>2nd row&mdash;make a horizontal bar of
+knots, see figs. <a href="#fig_519">519</a>, <a href="#fig_520">520</a> and <a href="#fig_521">521</a>, over a
+second cord.</p>
+
+<p>3rd row&mdash;3 buttonhole knots, fig. <a href="#fig_524">524</a>,
+each with 2 threads.</p>
+
+<p>4th row&mdash;like the 2nd.</p>
+
+<p>5th row&mdash;make slanting bars of double
+knots right and left, counting 6 threads for
+each bar, consequently 12 for 2. The 1st
+and 12th thread serving as the cords for
+the knots. In the 2nd series of knots which
+forms the double slanting
+bar, make another double
+knot over the cord with
+the thread that served as
+cord in the preceding
+row.</p>
+
+<p>When the slanting
+bars are finished, bring
+them as close together
+as possible, tighten the
+last thread on the right
+and make another double
+knot with the left thread;
+the position of all the
+threads is clearly described
+in fig. <a href="#fig_549">549</a>. Then
+continue the bars in the
+opposite direction, so
+that the 2nd thread on
+the left is stretched over
+the right hand group of
+threads, and the 11th
+thread on the right over
+the left hand group.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/564.jpg"  alt="FIG. 549. WORKING DETAIL OF FIG. 548." title="" />
+<a name="fig_549" id="fig_549"></a><span class="caption smcap">Fig. 549. Working detail of fig. <a href="#fig_548">548</a>.</span>
+</div>
+
+<p><a name="Page_358" id="Page_358"></a></p>
+
+<p>Make 3 rows of double bars and then take always 3 threads
+of a left hand group and 3 of a right hand one, tie them loosely
+together in a plain knot, put in,
+above the knot, a bunch of 8
+threads, 15 c/m. long, fig. <a href="#fig_550">550</a> detail
+<i>a</i>, draw up the knot close to the
+bars and wind thread of a different
+colour several times round it, detail
+<i>b</i>, to form the tassel.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/565.jpg"  alt="FIG. 550. WORKING DETAIL OF FIG. 548." title="" />
+<a name="fig_550" id="fig_550"></a><span class="caption smcap">Fig. 550. Working detail of fig. <a href="#fig_548">548</a>.</span>
+</div>
+
+<p>The other bunches of threads
+which are hung on between two
+bars of knots must be tied on the
+same level with the first, but do
+not, nevertheless, come into close
+contact with the bars.</p>
+
+<p><b>Insertion or fringe</b>
+(figs. <a href="#fig_551">551</a> and <a href="#fig_552">552</a>).&mdash;Entire
+length of the threads
+for No. 8 of Coton &agrave; tricoter
+D.M.C: 50 c/m., including
+the fringe.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/566.jpg"  alt="FIG. 551. INSERTION OR FRINGE." title="" />
+<a name="fig_551" id="fig_551"></a><span class="caption"><span class="smcap">Fig. 551. Insertion or fringe.<br />
+Materials</span>: Coton &agrave;
+tricoter D.M.C Nos. 6
+to 13, Cordonnet 6 fils
+D.M.C Nos. 1 to 20, Fil
+&agrave; pointer D.M.C Nos. 10
+to 30, or Fil &agrave; dentelle
+D.M.C Nos. 25 to 50.<br />
+<span class="smcap">Colours</span>: Bleu-indigo
+311 and Brun-Chamois
+418, or Brun-Rouille
+3312 and Bleu-Gris
+3303.</span>
+</div>
+
+<p>1st row&mdash;knot on
+the threads as in fig. <a href="#fig_515">515</a>.</p>
+
+<p>2nd row&mdash;1 double
+horizontal bar of knots,
+as in figs. <a href="#fig_519">519</a> or <a href="#fig_520">520</a>,
+over double cords.</p>
+
+<p>3rd row&mdash;Take 8
+threads for a group of
+bars; 2 light and 2 dark
+ones on each side; the
+two sets of threads are numbered in fig. <a href="#fig_552">552</a>, a working detail
+of fig. <a href="#fig_551">551</a>, from 1 to 4.</p>
+
+<p>Begin by making all the knots over threads 1 and 2 of the
+left set, so that threads 3 and 4 on the left will be outside
+and threads 1 and 2 inside the group. Make the same knots over
+the 3rd and 4th thread on the right, then repeat the left group
+again and so on.</p><p><a name="Page_359" id="Page_359"></a></p>
+
+<p>Repeat from the beginning, and make 2
+double knots over thread 3 on the right, fig. <a href="#fig_552">552</a>, with threads 1 and 2 on the left, then
+again 2 knots over thread 4 on the right.
+When this series of knots is finished, make:
+3 double knots over thread 1 (dark-coloured
+in the engraving) with the left thread 2 and
+the right threads 1 and 2; make on the left:
+3 knots over thread 4 with the right thread
+3 and the left threads 2 and 1, and so on.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/567.jpg"  alt="FIG. 552. WORKING DETAIL OF FIG. 551" title="" />
+<a name="fig_552" id="fig_552"></a><span class="caption smcap">Fig. 552. Working detail of fig. <a href="#fig_551">551</a></span>
+</div>
+
+<p>When this pattern is worked for a gimp
+and not a fringe, the threads are made to
+end in knots, as explained in fig. <a href="#fig_558">558</a>.</p>
+
+<p><b>Gimp made with <a name="macrameacute_shuttles" id="macrameacute_shuttles"></a>macram&eacute; shuttles</b>
+(figs. <a href="#fig_553">553</a>, <a href="#fig_554">554</a>, <a href="#fig_555">555</a>).&mdash;Cut 8 double threads
+of the length the gimp is to be.</p>
+
+<p>In order not to have to add on threads in
+the middle of the work, or have long ends
+hanging down, which are very much in the
+way, we recommend the employment of a
+new macram&eacute; shuttle, a kind of spool, such
+as are used in the making of
+pillow lace. These shuttles simplify
+the work enormously and
+are made hollow so that they
+can be mounted and filled on
+the spindle of any sewing machine.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/568.jpg"  alt="FIG. 553. GIMP MADE WITH MACRAM&Eacute; SHUTTLES." title="" />
+<a name="fig_553" id="fig_553"></a><span class="caption"><span class="smcap">Fig. 553. Gimp made with macram&eacute; shuttles.
+<br />
+Materials</span>: Coton &agrave; tricoter D.M.C Nos. 6 to 16,
+Cordonnet 6 fils D.M.C Nos. 1 to 10, Fil &agrave; pointer
+D.M.C Nos. 10 to 30, or Fil &agrave; dentelle D.M.C
+Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Bleu-Indigo 311 and Brun-Marron 406.<a href="#Footnote_A" class="fnanchor">[A]</a>
+</span>
+</div>
+
+<p>Knot on the threads, as in
+fig. <a href="#fig_515">515</a>, and make a single bar
+of knots. Then leaving 2 threads
+on the right and 2 on the left
+disengaged, make 3 flat double
+knots with every set of 4 threads
+between. Make a slanting bar
+of double knots over the 16th
+right thread, with the 15th,
+14th, 13th, 12th, 11th, 10th
+<a name="Page_360" id="Page_360"></a>and 9th thread; then make knots with the same threads and
+with the 16th over the 15th thread. Make a similar bar on the
+left, over the 1st thread, with the 2nd, 3rd, 4th, 5th, 6th, 7th
+and 8th thread.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_554" id="fig_554"></a><a name="fig_555" id="fig_555"></a>
+<div class="figleft" style="width: 100px;">
+<img src="images/569.jpg"  alt="FIG. 554.
+MACRAM&Eacute; SHUTTLE." title="" />
+<span class="caption smcap">Fig. 554.
+Macram&eacute; shuttle.</span>
+</div>
+
+<div class="figright" style="width: 200px;">
+<img src="images/570.jpg"  alt="FIG. 555. SLANTING BAR AND
+THE RETURN OF THE CORD.
+WORKING DETAIL OF
+FIG. 553." title="" />
+<span class="caption smcap">Fig. 555. Slanting bar and
+the return of the cord.
+Working detail of
+fig. <a href="#fig_553">553</a>.</span>
+</div>
+</div>
+
+<p>On both sides, and with the 4 outer threads: 4 flat double
+knots, fig. <a href="#fig_516">516</a>, detail
+<i>d</i>; 2 more bars on
+the right and left, but
+in the opposite direction,
+and knotting all
+the threads even to
+the last one, fig. <a href="#fig_555">555</a>.
+Take the 4 middle
+threads and make 6
+flat double knots and then turn the bars of knots inwards; the
+return of the cord is indicated as before in fig. <a href="#fig_555">555</a>.</p>
+<p><a name="Page_361" id="Page_361"></a></p>
+<p><b><a name="Macrameacute_borders" id="Macrameacute_borders"></a>Macram&eacute; borders</b> (figs. <a href="#fig_556">556</a>, <a href="#fig_557">557</a>, <a href="#fig_558">558</a>, <a href="#fig_559">559</a>).&mdash;Length of
+the single threads for No. 6 of Coton &agrave; tricoter D.M.C: 50 c/m.</p>
+
+<p>Knot the threads on for both these borders in the ordinary
+way, followed by a single horizontal bar
+of knots. For fig. <a href="#fig_556">556</a>, make a triple slanting
+bar of knots, with 4 threads, slanting
+one from right to left and one from left
+to right; then make a single horizontal bar
+and add another series of triple bars
+slanting the opposite way; complete the
+pattern by a vertical bar, lay another cord
+and make a horizontal bar upon it on the
+wrong side of the work and finish by tying
+the threads together, two and two, as
+shown in fig. <a href="#fig_558">558</a>, detail <i>a</i>, cut them, detail
+<i>b</i>, and push the knot upwards, detail <i>c</i>.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/571.jpg"  alt="FIG. 556. MACRAM&Eacute; BORDER." title="" />
+<a name="fig_556" id="fig_556"></a><span class="caption smcap">Fig. 556. Macram&eacute; border.</span>
+</div>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/572.jpg"  alt="FIG. 557. MACRAM&Eacute; BORDER." title="" />
+<a name="fig_557" id="fig_557"></a><span class="caption"><span class="smcap">Fig. 557. Macram&eacute; border.
+<br />
+Materials</span>: Coton &agrave; tricoter D.M.C Nos. 6 to 10,
+Fil &agrave; pointer D.M.C Nos. 10 to 30, or Fil &agrave; dentelle
+D.M.C Nos. 25 to 70.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>&mdash;For fig. <a href="#fig_556">556</a>: Bleu-Lapis 342 or Bleu-Gentiane
+480&mdash;For fig. <a href="#fig_557">557</a>: Rouge-Turc 321 or Rouge-Cerise 3318.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+
+
+<p>For fig. <a href="#fig_557">557</a> take 8 threads for a group
+of knots. Make all the bars slanting from
+right to left first, fig. <a href="#fig_559">559</a>, then take the
+5th thread, counting
+from left to right,
+for the cord, fig. <a href="#fig_559">559</a>
+again, and begin the
+second series of bars
+of knots, slanting
+from left to right.
+Fasten off the
+threads as already
+explained in fig. <a href="#fig_558">558</a>.</p>
+
+<div class="figcenter" style="width: 225px;">
+<img src="images/573.jpg"  alt="FIG. 558. WORKING DETAIL OF
+FIGS. 556 AND 557." title="" />
+<a name="fig_558" id="fig_558"></a><span class="caption smcap">Fig. 558. Working detail of
+figs. <a href="#fig_556">556</a> and <a href="#fig_557">557</a>.</span>
+</div>
+
+<p>The same pattern
+can also be used as
+an insertion: bags
+for instance, look
+very well made of
+alternate stripes of
+this insertion and
+<a name="Page_362" id="Page_362"></a>stripes made of flat knots. The openwork
+stripes must be wider than the
+close ones.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/574.jpg"  alt="FIG. 559. WORKING DETAIL OF FIG. 557." title="" />
+<a name="fig_559" id="fig_559"></a><span class="caption smcap">Fig. 559. Working detail of fig. <a href="#fig_557">557</a>.</span>
+</div>
+
+<p><b>Macram&eacute; fringe</b>
+(figs. <a href="#fig_560">560</a> and <a href="#fig_561">561</a>).&mdash;Entire
+length of the
+threads, including the
+fringe, for No. 5 of Cordonnet
+6 fils D.M.C:
+120 c/m.</p>
+
+<div class="figcenter" style="width: 375px;">
+<img src="images/575.jpg"  alt="FIG. 560. MACRAM&Eacute; FRINGE." title="" />
+<a name="fig_560" id="fig_560"></a><span class="caption"><span class="smcap">Fig. 560. Macram&eacute; fringe.<br />
+Materials</span>: Cordonnet 6 fils D.M.C Nos. 3 to 25
+or Fil &agrave; dentelle D.M.C Nos. 25 to 50.<br />
+<span class="smcap">Colours</span>: Brun-Cuir 431 and 432, Bleu-Indigo 31</span>
+</div>
+
+<p>1st row&mdash;knot on
+the threads, as in fig. <a href="#fig_520">520</a>, in the following
+order: 4 double blue
+threads, 3 single dark
+brown, 1 double light
+brown, 3 single dark
+brown; then again 4
+double blue, and so on.</p>
+
+<p>2nd row&mdash;divide the
+threads into groups, so
+that the brown threads
+come in the middle with
+4 blue ones on either
+side. Begin on the left
+= cover the 4th blue
+<a name="Page_363" id="Page_363"></a>thread, which comes nearest to the first brown one, with flat
+double knots, made over the 1st, 2nd and 3rd brown thread
+and the light brown one =
+cover the 3rd blue thread with
+the 4 brown threads and the
+4th blue, which served as the
+cord in the 1st row of knots =
+cover the 2nd blue thread with
+the 4 brown and the 4th and
+3rd blue = cover the 1st blue
+with the 4 brown and the 4th,
+3rd and 2nd blue.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/576.jpg"  alt="FIG. 561. WORKING DETAIL OF FIG. 560" title="" />
+<a name="fig_561" id="fig_561"></a><span class="caption smcap">Fig. 561. Working detail of fig. <a href="#fig_560">560</a></span>
+</div>
+
+<p>In the working detail, fig. <a href="#fig_561">561</a>, the dark lines represent the
+blue threads, the light ones, the
+brown.</p>
+
+<p>When the quadruple bar, slanting
+from left to right, is finished,
+make a similar one, from right to
+left, then connect the 1st and 16th
+thread by a double knot and pass
+the first blue thread on the left
+over to the right group.</p>
+
+<p>2nd row&mdash;make similar groups,
+reversed, so that the brown knots
+come next to the last blue ones and
+the blue knots again terminate the
+groups of bars; the brown threads
+will be stretched flat between the
+preceding group and the next.</p>
+
+<p>3rd and 5th row&mdash;like the first.</p>
+
+<p>4th row&mdash;like the 2nd.</p>
+
+<p>After the 5th row of groups, take
+4 brown threads on either side of
+the blue knots, and make them into a double chain, fig. <a href="#fig_546">546</a>,
+<a name="Page_364" id="Page_364"></a>consisting of 12 knots, and make 6 flat double knots with the
+last threads.</p>
+
+<p>Lastly, unite all the threads of one group of bars, and make
+them into a handsome tassel by the addition of other threads.</p>
+
+<p><b>Macram&eacute; fringe</b> (fig. <a href="#fig_562">562</a>).&mdash;Entire
+length of the threads for No. 3
+of Cordonnet 6 fils D.M.C: 75 c/m.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/577.jpg"  alt="FIG. 562. MACRAM&Eacute; FRINGE." title="" />
+<a name="fig_562" id="fig_562"></a><span class="caption"><span class="smcap">Fig. 562. Macram&eacute; fringe.<br />
+Materials</span>: Cordonnet 6 fils D.M.C
+Nos. 3 to 15 or Fil &agrave; dentelle
+D.M.C Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: &Eacute;cru, or any light shade
+mentioned in the D.M.C
+colour card.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st row&mdash;Knot on the threads
+as in fig. <a href="#fig_527">527</a>, succeeded by a double
+horizontal bar of knots.</p>
+
+<p>2nd row&mdash;twisted or waved knots
+with 4 knots, fig. <a href="#fig_531">531</a>.</p>
+
+<p>3rd row&mdash;double horizontal bar
+of knots.</p>
+
+<p>4th row&mdash;with 6 threads: 1 double
+bar, slanting from left to right,
+and 1 bar, from right to left, joined
+together by the last threads.</p>
+
+<p>5th row&mdash;with the 4 threads
+coming from the groups of bars: 1
+single chain, fig. <a href="#fig_545">545</a>, with 4 crossings
+of the threads, quite close to the point
+where the groups meet, and 1 single
+chain with 7 crossings, made with the
+outside threads.</p>
+
+<p>6th row&mdash;similar groups of bars
+to those of the 4th row, but set the
+reverse way and terminating in a
+horizontal bar. For the tassels, add
+a thick bunch of threads to each group
+of 6 threads that issues from the work.</p>
+
+<p><b>Fringe with mosaic border</b>
+(figs. <a href="#fig_563">563</a>, <a href="#fig_564">564</a>, <a href="#fig_565">565</a>).&mdash;Entire length
+of the threads for No. 8 of Cordonnet
+6 fils D.M.C: 75 c/m.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/578.jpg"  alt="FIG. 563. FRINGE WITH MOSAIC
+BORDER." title="" />
+<a name="fig_563" id="fig_563"></a><span class="caption"><span class="smcap">Fig. 563. Fringe with mosaic
+border.<br />
+Materials</span>: Cordonnet 6 fils
+D.M.C Nos. 8 to 30, or Fil &agrave;
+dentelle D.M.C Nos. 25 to 50.<br />
+
+<span class="smcap">Colours</span>: &Eacute;cru, Brun-Acajou
+401 and Rouge-Cardinal 347.</span>
+</div>
+
+<p>1st row&mdash;knot the threads on, as in fig. <a href="#fig_515">515</a>, one &eacute;cru and
+one brown alternately, succeeded by a single horizontal bar of
+double knots.</p><p><a name="Page_365" id="Page_365"></a></p>
+
+<p>2nd, 3rd, 4th and 5th row&mdash;4 rows of knots, such as are
+seen in fig. <a href="#fig_564">564</a>, in process of being made, and in fig. <a href="#fig_565">565</a>,
+finished, and succeeded by a flat knot. The colours alternate
+in the knots; in the 2nd and 4th row the knot is set in the
+light colour, in the 3rd and 5th, in the dark.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_564" id="fig_564"></a><a name="fig_565" id="fig_565"></a>
+<div class="figleft" style="width: 100px;">
+<img src="images/579.jpg"  alt="FIG. 564.
+KNOT OPEN.
+WORKING DETAIL
+OF FIG. 563." title="" />
+<span class="caption smcap">Fig. 564.
+Knot open.<br />
+Working detail
+of fig. <a href="#fig_563">563</a>.</span>
+</div>
+
+<div class="figright" style="width: 100px;">
+<img src="images/580.jpg"  alt="FIG. 565.
+KNOT SHUT.
+WORKING DETAIL
+OF FIG. 563." title="" />
+<span class="caption smcap">Fig. 565.
+Knot shut.<br />
+Working detail
+of fig. <a href="#fig_563">563</a>.</span>
+</div>
+</div>
+
+<p>6th row&mdash;1 horizontal bar of double knots over a fresh
+cord.</p>
+
+<p>7th row&mdash;lay down another cord, make another horizontal
+bar of knots and between every second of the light double knots,
+loop on 1 red thread; the loop, that fastens it to the cord,
+taking the place of the knot.</p>
+
+<p>8th row&mdash;lay down a third cord, and make 2 double knots
+with the red threads between the knots of &eacute;cru thread.</p>
+
+<p>9th row&mdash;lay down a fourth cord, make
+a half knot with every red thread.</p>
+
+<p>10th row&mdash;lay down a fifth cord, then
+make a horizontal bar of double knots, as
+in the 6th row; the red threads are taken
+to the wrong side and passed over. Knot
+the ends of the threads together in clusters
+of 6, about 15 m/m. below the last cord
+of knots.</p>
+
+<p><b>Macram&eacute; ground</b> (figs. <a href="#fig_566">566</a>, <a href="#fig_567">567</a>, <a href="#fig_568">568</a>).&mdash;Fill the shuttles
+<a name="Page_366" id="Page_366"></a>with the length of thread that you think will be required for
+the work.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/581.jpg"  alt="FIG. 566.
+MACRAM&Eacute; GROUND." title="" />
+<a name="fig_566" id="fig_566"></a><span class="caption"><span class="smcap">Fig. 566.
+Macram&eacute; ground.<br />
+Materials</span>: Cordonnet
+6 fils D.M.C Nos. 15 to
+30 or Fil &agrave; dentelle
+D.M.C Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: &Eacute;cru and
+Bleu-Indigo 322, or Vert-Perroquet
+697 and
+Rouge-&Eacute;carlate 498.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st row&mdash;knot the threads on, as in fig. <a href="#fig_515">515</a>, 4 blue and
+4 &eacute;cru alternately, and make a double horizontal bar.</p>
+
+<p>2nd row&mdash;beginning in the middle, make 2 flat double
+knots with 8 blue threads; with the 4 blue threads on the left,
+make a quadruple group of bars over the 4 blue threads on the
+right. These quadruple groups of bars, called &laquo;shell bars&raquo; are
+illustrated in detail in fig. <a href="#fig_567">567</a>. Unite the blue threads at the
+sides by flat double knots.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_567" id="fig_567"></a><a name="fig_568" id="fig_568"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/582.jpg"  alt="FIG. 567.
+SHELL BAR.
+WORKING DETAIL OF FIG. 566." title="" />
+<span class="caption smcap">Fig. 567.
+Shell bar.
+Working detail of fig. <a href="#fig_566">566</a>.</span>
+</div>
+
+<div class="figright" style="width: 200px;">
+<img src="images/583.jpg"  alt="FIG. 568.
+OPENWORK PART OF
+FIG. 566." title="" />
+<span class="caption smcap">Fig. 568.
+Openwork part of
+fig. <a href="#fig_566">566</a>.</span>
+</div>
+</div>
+
+<p>The beginning and continuation of the openwork parts of
+the pattern are explained
+in fig. <a href="#fig_568">568</a>.</p>
+
+<p>The threads that issue
+from the last group of
+knots are used for making
+the second shell bar,
+the two inner bars of
+which are made in &eacute;cru
+cotton, and the two outer
+in blue. When this striped
+shell bar is finished,
+the blue threads are
+again united for the
+openwork figure.</p>
+
+<p><b>Fringe with foundation
+worked on the
+wrong side</b> (figs. <a href="#fig_569">569</a>,
+<a href="#fig_570">570</a>, <a href="#fig_571">571</a>, <a href="#fig_572">572</a>).&mdash;Entire
+length of the threads for
+No. 8 of Coton &agrave; tricoter
+D.M.C: 80 c/m.</p>
+
+<div class="figcenter" style="width: 375px;">
+<img src="images/584.jpg"  alt="FIG. 569.
+FRINGE WITH FOUNDATION WORKED ON THE
+WRONG SIDE." title="" />
+<a name="fig_569" id="fig_569"></a><span class="caption"><span class="smcap">Fig. 569.
+Fringe with foundation worked on the
+wrong side.<br />
+Materials</span>: Coton &agrave; tricoter D.M.C Nos. 8 to 16,
+Cordonnet 6 fils D.M.C Nos. 5 to 25, Fil &agrave; pointer
+D.M.C Nos. 6 to 30, or Fil &agrave; dentelle D.M.C
+Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: White, Bleu-Indigo 311 and 312 or
+Gris-Amadou 385, Brun-Caroubier 356, 357.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Knot the threads on,
+as in fig. <a href="#fig_515">515</a> and after
+finishing the horizontal bar, make from left to right, over the 1st
+thread, 1 double knot made with the 2nd and with the 3rd thread.</p>
+<p><a name="Page_367" id="Page_367"></a></p>
+<p>Then, over the 2nd thread, which has now become the 1st,
+make double knots with the 3rd, 1st, 4th and 5th thread; then,
+over the 3rd thread, counting now from right to left, which
+in the knotting on figured as the 4th: 1 double knot with the
+5th and 2nd thread.</p>
+
+<p>Make the same group from right to left, only at the 3rd
+change of thread make 5 double knots instead of 2, and let the
+last knots count for the new group of bars, turned the opposite
+way.</p>
+
+<div class="figcenter" style="width: 450px;">
+<a name="fig_570" id="fig_570"></a><a name="fig_571" id="fig_571"></a>
+<div class="figleft" style="width: 200px;">
+<img src="images/585.jpg"  alt="FIG. 570.
+OPPOSING BARS.
+WORKING DETAIL OF
+FIG. 569." title="" />
+<span class="caption smcap">Fig. 570.
+Opposing bars.<br />
+Working detail of
+fig. <a href="#fig_569">569</a>.</span>
+</div>
+
+<div class="figright" style="width: 200px;">
+<img src="images/586.jpg"  alt="FIG. 571.
+FORMATION OF THE KNOTS
+ON THE WRONG SIDE.
+WORKING DETAIL OF FIG. 569." title="" />
+<span class="caption smcap">Fig. 571.
+Formation of the knots
+on the wrong side.<br />
+Working detail of fig. <a href="#fig_569">569</a>.</span>
+</div>
+</div>
+
+<p>In the middle of two opposing groups of bars, make a flat
+double knot with 2 of the right threads and 2 of the left.</p>
+
+<p>When the second horizontal bar is finished, turn the work
+round, and go on working on the wrong side, making plain
+double knots, as in fig. <a href="#fig_571">571</a>, turned in one row, all from right
+to left, and in the next, from left to right.</p>
+
+<p>When you have worked 10 such rows of knots, begin to
+make one knot less on either side of a group, so as to form
+pointed scallops of knots which you finish off with a plain bar.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/587.jpg"  alt="FIG. 572.
+APPEARANCE OF THE KNOTS
+ON THE RIGHT SIDE.
+WORKING DETAIL OF
+FIG. 569." title="" />
+<a name="fig_572" id="fig_572"></a><span class="caption smcap">Fig. 572.
+Appearance of the knots
+on the right side.<br />
+
+Working detail of
+fig. <a href="#fig_569">569</a>.</span>
+</div>
+
+<p>Tassels are then made with the threads that issue from
+each scallop, and when these are sewn up, turn the work
+round to the right side, where the knots, made on the wrong
+side, will present the appearance indicated in fig. <a href="#fig_572">572</a>.</p><p><a name="Page_368" id="Page_368"></a></p>
+
+<p><b>Macram&eacute; fringe</b> (fig. <a href="#fig_573">573</a>).&mdash;Entire length of the threads
+for No. 6 of Coton &agrave; tricoter D.M.C: 65 c/m.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/588.jpg"  alt="FIG. 573. MACRAM&Eacute; FRINGE." title="" />
+<a name="fig_573" id="fig_573"></a><span class="caption"><span class="smcap">Fig. 573. Macram&eacute; fringe.
+<br />
+Materials</span>: Coton &agrave; tricoter D.M.C No. 6, Cordonnet
+6 fils D.M.C Nos. 3 to 25, or Fil &agrave; pointer D.M.C
+Nos. 10 to 30.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: &Eacute;cru, Rouge-Turc 321 and Rouge-Grenat 358
+or Violet-Mauve 315 and 316, and Vert-Bouteille 494.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Knot on double threads, as in figs. <a href="#fig_517">517</a> and <a href="#fig_524">524</a>, to count
+as single in the working directions = * 1 thread of red,
+colour 358, 3 of &eacute;cru, 1 of red, colour 358, 1 of red, colour
+321, 3 of &eacute;cru,
+1 of red, colour
+321, and repeat
+from *.</p>
+
+<p>1st row&mdash;6
+chain knots made
+with every 4
+threads.</p>
+
+<p>2nd row&mdash;a
+single horizontal
+bar of knots.</p>
+
+<p>3rd row&mdash;collecting
+knots,
+fig. <a href="#fig_530">530</a>, made
+with the &eacute;cru
+threads over the
+4 dark and the 4
+light red ones,
+and flat double
+knots over the 4
+&eacute;cru threads.</p>
+
+<p>4th row&mdash;collecting knots over 4 &eacute;cru threads with 4 red
+and 2 &eacute;cru threads.</p>
+
+<p>5th row&mdash;collecting knots in the centre of the groups, with
+the &eacute;cru threads.</p>
+
+<p>6th row&mdash;similar to the 4th.</p>
+
+<p>7th row&mdash;similar to the 5th.</p>
+
+<p>Then take the red threads on the right and left and twist
+them, each cluster separately, from left to right between the
+thumb and forefinger, as you do in making a cord, then unite
+them together, twisting them from left to right. Fasten off the
+<a name="Page_369" id="Page_369"></a>cord by a knot, beneath which the ends of thread form a little
+tassel. Collect all the &eacute;cru threads
+together and make them into a heavy
+tassel with the aid of supplementary
+threads.</p>
+
+<p><b>Border with shell knots</b> (figs. <a href="#fig_574">574</a>,
+<a href="#fig_575">575</a>, <a href="#fig_576">576</a>, <a href="#fig_577">577</a>).&mdash;Fill the macram&eacute;
+shuttles with the requisite length of
+thread. Knot the threads on, as in fig. <a href="#fig_520">520</a>, in the following order; 1 double
+thread of colour 471, 6 double threads
+of colour 450, 2 of colour 471, 6 of colour
+450, 1 of colour 471.</p>
+
+<div class="figcenter" style="width: 225px;">
+<img src="images/589.jpg"  alt="FIG. 574.
+BORDER WITH SHELL KNOTS." title="" />
+<a name="fig_574" id="fig_574"></a><span class="caption"><span class="smcap">Fig. 574. Border with shell knots.<br />
+Materials</span>: Cordonnet 6 fils
+D.M.C Nos. 5 to 25.<a href="#Footnote_A" class="fnanchor">[A]</a>
+
+<br /><span class="smcap">Colours</span>: Vert-Mousse 471
+and Rouge-Cornouille 450,
+or Rouge-Framboise 686
+and Gris-Coutil 323.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>From left to right and over the 1st
+thread: 1 double knot with the 2nd
+thread; over the 4th thread of colour 450,
+and from right to left, double knots with
+the 3rd, 2nd and 1st thread of the same
+colour = from left to right: 1 double
+knot with the 6th thread of colour 450
+over the 5th, and with the 3rd thread
+over the 2nd = from right to left: 5
+double knots over the 8th thread of
+colour 450 = from left to right: 1 double
+knot over the 10th thread, 1 double
+knot over the 5th thread, 1 double knot
+over the 1st thread = from right to left:
+7 double knots over the 12th thread = from left to right: 3
+detached double knots.</p>
+
+<p>Then, from left to right, and subsequently from right to
+left = with 6 green threads: 2 double bars slanting over the 2
+red threads (see the top of fig. <a href="#fig_577">577</a>); unite the 4 red threads in
+the middle and make a shell knot with them, fig. <a href="#fig_575">575</a>, consisting
+of 6 flat knots, fig. <a href="#fig_576">576</a>; take 2 threads on the right and 2 on the
+left, turn them down to the left and right, and then from the
+wrong side to the right, over the threads that come from the
+<a name="Page_370" id="Page_370"></a>bars and close with a flat knot. On the sides, make double
+bars and between each bar, 2 single chain knots.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_575" id="fig_575"></a><a name="fig_576" id="fig_576"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/590.jpg"  alt="FIG. 575. LARGE SHELL
+KNOT, OPEN." title="" />
+<span class="caption smcap">Fig. 575. Large shell
+knot, open.
+<br />
+Working detail of
+fig. <a href="#fig_574">574</a>.</span>
+</div>
+
+<div class="figright" style="width: 100px;">
+<img src="images/591.jpg"  alt="FIG. 576.
+LARGE SHELL KNOT,
+SHUT." title="" />
+<span class="caption smcap">Fig. 576.
+Large shell knot,
+shut.<br />
+Working detail
+of fig. <a href="#fig_574">574</a>.</span>
+</div>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/592.jpg"  alt="FIG. 577.
+OPENWORK PART OF FIG. 574." title="" />
+<a name="fig_577" id="fig_577"></a><span class="caption smcap">Fig. 577.
+Openwork part of fig. <a href="#fig_574">574</a>.</span>
+</div>
+
+<p>Fill the empty spaces under
+the outside shell knots, with 9 flat
+double knots; under the middle
+knot make bars of inter-crossed
+knots, of which a clear explanation
+will be found in fig. <a href="#fig_577">577</a>.</p>
+
+<p>To join two borders of the kind
+together, pass the thread of the
+second border over the thread on
+which the bar in the middle of
+the outer scallop is knotted.</p>
+
+<p><b>Fringe with shell knots</b> (fig. <a href="#fig_578">578</a>).&mdash;Entire length of the single
+threads for No. 12 of Coton &agrave;
+tricoter D.M.C: 90 c/m.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/593.jpg"  alt="FIG. 578. FRINGE WITH SHELL KNOTS." title="" />
+<a name="fig_578" id="fig_578"></a><span class="caption"><span class="smcap">Fig. 578. Fringe with shell knots.
+<br />
+Materials</span>: Coton &agrave; tricoter D.M.C
+Nos. 6 to 15.
+<br />
+<span class="smcap">Colours</span>: &Eacute;cru and Rouge-Turc 321.</span>
+</div>
+
+<p>The threads must be taken
+double, counting as one. Knot
+them on, as in fig. <a href="#fig_524">524</a>. This
+exceedingly effective pattern is a
+very simple one to work and can
+easily be copied from the engraving
+by following, for the bars,
+figs. <a href="#fig_537">537</a> to <a href="#fig_544">544</a>; for the collec<a name="Page_371" id="Page_371"></a>ting
+knots fig. <a href="#fig_530">530</a>, for the large shell knots figs. <a href="#fig_575">575</a> and <a href="#fig_576">576</a>,
+and for the chain of flat double knots, fig. <a href="#fig_536">536</a> detail <i>a</i>.</p>
+
+<p>The tassels that complete the fringe must depend from
+the last collecting knot and hang between the triple bars of
+knots and beneath the collecting knot.</p>
+
+<p><b>Macram&eacute; border or fringe</b> (fig. <a href="#fig_579">579</a>).&mdash;Entire length of
+the threads for No. 10 of Cordonnet 6 fils D.M.C: 170 c/m.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/594.jpg"  alt="FIG. 579. MACRAM&Eacute; BORDER OR FRINGE." title="" />
+<a name="fig_579" id="fig_579"></a><span class="caption"><span class="smcap">Fig. 579. Macram&eacute; border or fringe.<br />
+Materials</span>: Cordonnet 6 fils D.M.C Nos. 10 to 20, Fil &agrave; dentelle D.M.C
+Nos. 25 to 50, or Fil &agrave; pointer D.M.C No. 30.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: &Eacute;cru, Rouge-Turc 321 and Bleu-Indigo 312.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st row&mdash;knot on the threads with double round picots,
+and one horizontal double bar. The colours should succeed
+each other as follows: * 4 blue scallops, 4 &eacute;cru, 5 red, 4 &eacute;cru,
+repeat from *.</p>
+
+<p>2nd row&mdash;begin working from right to left: 1 single chain
+<a name="Page_372" id="Page_372"></a>with 2 single threads, fig. <a href="#fig_545">545</a>, and 7 changes of the threads;
+after the 3rd change of the threads, connect the 2nd chain with
+the 3rd, the 4th with the 5th. Finish off every 2 chains with
+a flat double knot.</p>
+
+<p>Make, over the first blue threads; 1 waved plait, fig. <a href="#fig_531">531</a>
+detail <i>b</i>, = over the 14th &eacute;cru thread: 1 bar of double knots,
+3 going and 4 returning = over the last 2 red threads: waved
+knots, and repeat from * = then lay down 2 fresh cords, to
+make a double horizontal bar of knots.</p>
+
+<p>3rd row&mdash;with the blue threads: 5 large shell knots, fig. <a href="#fig_576">576</a>, 1 triple bar of double knots to the left and right = between
+the bars 9 large shell knots = 1 triple bar of double
+knots to the right and left and finish with 5 large shell knots,
+as above.</p>
+
+<p>With the &eacute;cru threads: 3 flat double knots, 1 double horizontal
+bar of knots = over the last &eacute;cru thread: 3 waved
+knots with 12 changes of the threads = 1 more double bar of
+knots = join the cord to the outside thread of the blue triple
+bar. With the red threads: 1 shell knot, figs. <a href="#fig_576">576</a> and <a href="#fig_577">577</a>,
+over 12 threads; 1 double bar on both sides of the shell knot
+with the outside threads, 1 single chain, consisting of 7 changes
+of the threads, made with the outside red threads; join the red
+thread and the light one that comes from the double bar together,
+on the left.</p>
+
+<p>The light thread is afterwards looped into the blue thread
+on the right = 4 collecting knots over 6 red threads on the
+right and left, 1 collecting knot over all the red threads and
+one, on both sides, over 6 red threads.</p>
+
+<p>After joining the threads on both sides, carry on the single
+chain with 3 changes of the threads = over the first red thread
+of the left chain, make 1 double horizontal bar with all the
+disengaged threads = below the bar, 4 flat double knots = 1
+single horizontal bar = 8 double knots, each over a single
+thread = 1 double bar of knots.</p>
+
+<p>From this point, continue with the &eacute;cru threads: 1 row of
+double knots, 1 double horizontal bar and 1 waved plait;
+then join: 2 blue threads and 2 &eacute;cru, and 2 &eacute;cru and 2 red,
+<a name="Page_373" id="Page_373"></a>together, to make flat double knots; the double knots between
+remain of one colour.</p>
+
+<p>The bottom border is
+like the top one with the
+exception of the picots.</p>
+
+<p>When this pattern is
+to be used for an insertion
+or a gimp, the threads
+should be fastened off, as
+indicated in fig. <a href="#fig_558">558</a>.</p>
+
+<p><b>Macram&eacute; border</b> (figs.
+<a href="#fig_580">580</a>, <a href="#fig_581">581</a>, <a href="#fig_582">582</a>).&mdash;Wind
+the threads on shuttles
+and knot them on, as in
+fig. <a href="#fig_515">515</a>, in the following
+order: 2 threads of, either
+colour 334 or Chin&eacute; d'or
+(blue and gold), 2 of colour
+330, 2 of colour 392, 1 of
+colour 432, 1 of colour
+310, 2 of colour 430, 1 of
+colour 310, 1 of colour
+432, 2 of colour 392, 2
+of colour 330, 2 of colour
+334, or of Chin&eacute; d'or blue
+and gold.</p>
+
+<div class="figcenter" style="width: 225px;">
+<img src="images/595.jpg"  alt="FIG. 580.
+MACRAM&Eacute; BORDER" title="" />
+<a name="fig_580" id="fig_580"></a><span class="caption"><span class="smcap">Fig. 580.
+Macram&eacute; border.<br />
+Materials</span>: Coton &agrave; tricoter
+D.M.C Nos. 15 to 30,
+Cordonnet 6 fils D.M.C
+Nos. 10 to 30, or Fil &agrave; dentelle
+D.M.C Nos. 25 to 50 and
+Chin&eacute; d&#39;or D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Noir grand teint
+310, Gris-Tilleul 392 and 330,
+Brun-Cuir 430 and 432, Bleu-Indigo
+334 or Chin&eacute; d'or
+D.M.C, Bleu et Or.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Begin with the open
+work on either side of the
+crossed bars, figs. <a href="#fig_581">581</a> and
+<a href="#fig_582">582</a>, with 4 blue threads
+and by 4 changes of the
+threads outwards and 3 inwards = the
+same with 4 light green threads with
+3 changes outwards and 2 inwards = then with the dark
+green threads, with 2 changes outwards and 3 inwards =<a name="Page_374" id="Page_374"></a>
+over the 4th dark green thread, 1 double knot with the 1st
+dark green thread with the 4th light green one and with the
+4 blue.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_581" id="fig_581"></a><a name="fig_582" id="fig_582"></a>
+<div class="figleft" style="width: 100px;">
+<img src="images/596.jpg"  alt="FIG. 581.
+CROSSED BAR
+SLANTING TO THE
+LEFT.
+WORKING DETAIL OF
+FIG. 580." title="" />
+<span class="caption smcap">Fig. 581.
+Crossed bar
+slanting to the
+left.
+Working detail of
+fig. <a href="#fig_580">580</a>.</span>
+</div>
+
+<div class="figright" style="width: 125px;">
+<img src="images/597.jpg"  alt="FIG. 582. CROSSED
+BAR SLANTING TO
+THE RIGHT.
+WORKING DETAIL OF
+FIG. 580." title="" />
+<span class="caption smcap">Fig. 582. crossed
+bar slanting to
+the right.
+Working detail of
+fig. <a href="#fig_580">580</a>.</span>
+</div>
+</div>
+
+<p>Over the 3 next, dark green threads, knot the 4 light green
+threads and the 4 blue, from right to left, and from left to
+right, thus forming altogether 8 bars across the first bar =
+then knot the 8 first threads over the last dark green one =
+add a crossed bar with 7 changes of the threads outwards and
+5 inwards.</p>
+
+<p>Middle group, left side: 1 double knot with the first light
+brown thread over the second thread; 3 double knots with the
+black threads (the only ones that are to be taken double) and
+2 light brown threads over the 1st and 2nd dark brown ones.</p>
+
+<p>In the 2nd bar, knot the 1st dark brown thread, and in
+the 3rd, the 4 dark brown ones, over the black thread. On the
+right, a similar group, slanting towards the one on the left.</p>
+
+<p>On the left&mdash;over the 1st light brown thread coming from
+the right, 1 double knot, made with 2 light and 2 dark brown
+threads, and the black one, all coming from the left.</p>
+
+<p>On the right&mdash;over the 1st light brown thread coming from
+the left, 1 double knot with 1 light and 2 dark brown threads
+and the black one (used double).</p>
+
+<p>On the left&mdash;over the light brown thread coming from the
+right, 1 double knot with one light and 2 dark brown threads
+and the black one.</p>
+
+<p>On the right&mdash;over the light brown thread, 1 double knot
+with 2 dark brown threads and the black one.</p>
+
+<p>On the left&mdash;the same knots as on the right.</p>
+
+<p>On the right&mdash;over the 1 dark brown thread 1 knot with
+1 brown thread and the black one.</p>
+
+<p>On the left&mdash;the same knots as on the right.</p>
+
+<p>On the right&mdash;over the 1st dark brown thread, 1 knot with
+a brown thread and the black one.</p>
+
+<p>On the left&mdash;the same knots over the last thread.</p>
+
+<p>On the right&mdash;over the last brown thread one knot with
+the black one.</p>
+
+<p>On the left&mdash;over the 4 light green threads and the 4 blue
+ones, double knots with the 4 brown threads and the black
+<a name="Page_375" id="Page_375"></a>one = 1 double knot with the
+1st light brown thread over
+the 2nd, 3 double knots over
+the 2nd dark brown thread,
+with 2 light threads and 1 dark
+brown = 4 double knots with
+the 2 light and the 2 dark
+brown threads over the black
+one; after which you make 5
+other bars, taking the last
+thread turned inwards for the
+cord. Make similar groups,
+slanting from right to left,
+then, beginning again on the
+left, make the knots with the
+4 light green threads over the
+1st thread of the same colour
+running from right to left.</p>
+
+<p>On the right&mdash;knot 3 light
+green threads over the 1st
+thread coming from the left
+and repeat the same group
+twice, on both sides.</p>
+
+<p>The third bar forms, at the
+same time, the first scallop of
+a triple crossed bar, which has
+also to be made on the right.</p>
+
+<p>The two crossed bars finish
+with a triple group of bars;
+the last bar of which, on the
+right, consists of only one
+double knot.</p>
+
+<p>There remain to be made,
+on both sides, crossed bars
+with three whole scallops inside,
+one outside, and one half
+one, top and bottom.</p>
+
+<p>Knot all the other threads over the 4 blue and the 4 light
+<a name="Page_376" id="Page_376"></a>green ones = in the middle, knot the right and the left threads,
+alternately, till the black threads meet at the point.</p>
+
+<p>Turn the group of bars, edged with blue and light green,
+inwards, and finish it off by a crossed bar, with 3 scallops
+inside.</p>
+
+<p><b>Macram&eacute; fringe</b> (figs. <a href="#fig_583">583</a> and <a href="#fig_584">584</a>).&mdash;Entire length of
+the threads for No. 15 of Cordonnet 6 fils D.M.C: 120 c/m.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/598.jpg"  alt="FIG. 583. MACRAM&Eacute; FRINGE." title="" />
+<a name="fig_583" id="fig_583"></a><span class="caption"><span class="smcap">Fig. 583. Macram&eacute; fringe.
+<br />
+Materials</span>: Cordonnet 6 fils D.M.C Nos.
+15 to 30, Fil &agrave; pointer D.M.C Nos. 10 to
+30, or Fil &agrave; dentelle Nos. 25 to 50.
+<br />
+<span class="smcap">Colours</span>: &Eacute;cru and Brun-Havane 455,
+or Gris-Tilleul 391 and 331.</span>
+</div>
+
+<p>1st row&mdash;knot the threads
+on with picots, fig. <a href="#fig_519">519</a>, 6 &eacute;cru
+and 6 brown.</p>
+
+<p>2nd row&mdash;double and slanting
+bars made with 6 single
+threads, succeeded by a double
+horizontal bar.</p>
+
+<p>3rd row&mdash;begin with the
+light threads and make bars
+with double knots between, as
+in fig. <a href="#fig_577">577</a>, and finish at the
+sides with 2 bars made with
+the brown threads; for the
+dark brown bars, see also figs.
+<a href="#fig_555">555</a>, <a href="#fig_561">561</a>, <a href="#fig_568">568</a>, for the crossed
+bars, fig. <a href="#fig_584">584</a>.</p>
+
+<div class="figcenter" style="width: 275px;">
+<img src="images/599.jpg"  alt="FIG. 584. WORKING DETAIL OF FIG. 583." title="" />
+<a name="fig_584" id="fig_584"></a><span class="caption smcap">Fig. 584. Working detail of fig. <a href="#fig_583">583</a>.</span>
+</div>
+
+<p>This pattern should always
+end in such a manner that the
+light openwork figure form the
+scallop and be framed with the
+brown knot.</p>
+
+<p><b>Macram&eacute; fringe</b> (fig. <a href="#fig_585">585</a>).&mdash;Entire
+length of the threads
+for No. 12 of Coton &agrave; tricoter
+D.M.C: 96 c/m.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/600.jpg"  alt="FIG. 585. MACRAM&Eacute; FRINGE." title="" />
+<a name="fig_585" id="fig_585"></a><span class="caption"><span class="smcap">Fig. 585. Macram&eacute; fringe.<br />
+Materials</span>: Coton &agrave; tricoter D.M.C Nos.
+6 to 16, Cordonnet 6 fils D.M.C Nos. 8
+to 20, or Fil &agrave; dentelle D.M.C Nos. 25
+to 50.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Brun-Cuir 325 and Brun-Marron
+403, 405, 407.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>This pattern is so easy that
+we refer our readers to figs.
+<a href="#fig_544">544</a> and <a href="#fig_561">561</a> for the working of
+it, merely remarking, that the bars are made alternately from
+<a name="Page_377" id="Page_377"></a>right to left, and from left to right,
+and that 3 threads are knotted over
+the cord that runs from the left
+and 4, over the one from the right.</p>
+
+<p>This fringe will always be
+found most effective in appearance
+if it be made in four shades of
+one colour, knotted on in succession.</p>
+
+<p><b>Macram&eacute; fringe or ground</b>
+(figs. <a href="#fig_586">586</a> and <a href="#fig_587">587</a>).&mdash;Entire length
+of the threads for No. 8 of Cordonnet
+6 fils D.M.C: 150 c/m.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/601.jpg"  alt="FIG. 586. MACRAM&Eacute; FRINGE." title="" />
+<a name="fig_586" id="fig_586"></a><span class="caption"><span class="smcap">Fig. 586. Macram&eacute; fringe.<br />
+Materials</span>: The same as for fig. <a href="#fig_585">585</a>.<br />
+<span class="smcap">Colours</span>: Gris-Tilleul 331 and
+Violet-Mauve 315 or, Bleu cendr&eacute; 448
+and Rouge-Cornouille 450, Bleu-Canard
+3309 and Rouge-Maroquin
+3328, etc.</span>
+</div>
+
+<p>This effective pattern is not
+difficult, save in appearance, so
+that it is unnecessary to describe
+it in detail; for the knotting on,
+see fig. <a href="#fig_525">525</a>; for the plain bars,
+figs. <a href="#fig_539">539</a> to <a href="#fig_544">544</a>; for the collecting
+knots, fig. <a href="#fig_530">530</a>. The only difficult
+point is where the threads cross
+each other inside the bars and
+form a check and by carefully
+following the course of the knots
+in fig. <a href="#fig_587">587</a>, that will be
+easily overcome.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/602.jpg"  alt="FIG. 587. WORKING DETAIL OF FIG. 586." title="" />
+<a name="fig_587" id="fig_587"></a><span class="caption smcap">Fig. 587. Working detail of fig. <a href="#fig_586">586</a>.</span>
+</div>
+
+<p><b>Fringe or ground with
+picots</b> (fig. <a href="#fig_588">588</a>).&mdash;Wind
+the threads on shuttles and
+do the knotting on, as in
+fig. <a href="#fig_521">521</a>, followed by a double
+horizontal bar.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/603.jpg"  alt="FIG. 588. FRINGE OR GROUND WITH PICOTS." title="" />
+<a name="fig_588" id="fig_588"></a><span class="caption"><span class="smcap">Fig. 588. Fringe or ground with picots.<br />
+Materials</span>: Cordonnet 6 fils D.M.C
+Nos. 10 to 40 or Fil &agrave; dentelle D.M.C
+Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: White, &eacute;cru, or any light shade
+mentioned in the D.M.C colour card.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Leave a small space between
+the double bar and
+the 3rd bar, which is a single
+one, in which you cross the
+threads without knotting
+them.</p><p><a name="Page_378" id="Page_378"></a></p>
+
+<p>Beginning on the left&mdash;over the 2nd and 3rd thread: 2
+buttonhole knots, 1 picot, 2 button hole knots = over the 1st,
+2nd and 3rd thread: 1 double knot with each of the 3 next
+threads = over the 6th and 7th with the 5th thread: 4 buttonhole
+knots with 1 picot after the 2nd knot.</p>
+
+<p>With each of the 4 next threads, that is the 8th, 9th, 10th
+and 11th: 1 flat double knot followed by: 1 bar of double
+knots over the 12th thread as
+the cord, made with the 11th,
+10th and 9th thread = add
+1 bar with the 11th thread as
+the cord, and the 7 next ones
+as the knotting threads = add
+1 bar with the 10th thread
+as the cord, and the 7 next
+ones as the knotting threads.
+Leave 3 threads free on the
+right = with the 8 threads
+on the left: 1 bar over the
+thread before these 3 threads
+= leave 3 free again on the
+right = 1 quintuple bar with
+the remaining threads.</p>
+
+<p>* 1 flat double knot with
+the 15th, 16th and 17th thread
+= with the 20th thread, over
+the 19th, 18th and 17th
+thread: 4 buttonhole knots
+with 1 picot after 2 knots =
+knot 4 threads over the 13th
+thread and from left to right = from left to right, 2 bars with
+all the threads **.</p>
+
+<p>Over the 2 threads on the left and with the 3rd thread: 4
+buttonhole knots and 1 picot = with the 6 threads from the
+left: 2 bars consisting of buttonhole knots and picots = a 3rd
+bar with 6 double knots = join it to the last bar.</p>
+<p><a name="Page_379" id="Page_379"></a></p>
+<p>Leave 2 threads of the bar of buttonhole knots free =
+with the outer thread make: 4 buttonhole knots and 1 picot
+over the 2nd thread and the cord
+of the bar.</p>
+
+<p>Repeat from * to ** along the
+bar, also from right to left.</p>
+
+<p>Left group&mdash;knot the 3 last
+threads over the 4th thread and
+from left to right.</p>
+
+<p>Right group&mdash;make, from right
+to left, 1 bar consisting of 6 double
+knots, over the 4th thread counting
+from right to left. After these last changes
+of the threads no difficulty will be found in
+copying the rest of the pattern.</p>
+
+<p><b>Double fringe</b> (figs. <a href="#fig_589">589</a>, <a href="#fig_590">590</a>, <a href="#fig_591">591</a>, <a href="#fig_592">592</a>).&mdash;Entire
+length of the threads for No. 10 of
+Cordonnet 6 fils D.M.C: 100 c/m., and entire
+length for No. 16 of Coton &agrave; broder D.M.C:
+40 c/m. Knot on, as in fig. <a href="#fig_515">515</a>, 1 thread of
+Cordonnet, 4 of Coton &agrave; broder (these are to
+be taken double) 2 of Cordonnet, 4 of Coton
+&agrave; broder, and so on.</p><p><a name="Page_380" id="Page_380"></a></p>
+
+<div class="figcenter" style="width: 325px;">
+<img src="images/604.jpg"  alt="FIG. 589. DOUBLE FRINGE" title="" />
+<a name="fig_589" id="fig_589"></a><span class="caption"><span class="smcap">Fig. 589. Double fringe.<br />
+Materials</span>: Cordonnet 6 fils D.M.C
+Nos. 10 to 30 and Coton &agrave; broder
+D.M.C Nos. 16 to 35.<br />
+<span class="smcap">Colours</span>: White for the Cordonnet,
+Rouge-Grenat 335 for the Coton
+&agrave; broder.</span>
+</div>
+
+<p>In the second horizontal bar, you only use the red threads
+of Coton &agrave; broder for knotting, not the white Cordonnet ones.
+To supply their place, knot on two threads of red Coton &agrave;
+broder under the white threads.</p>
+
+<p>With the red threads (4 count as one) make 3 rows of collecting
+knots, followed
+by a single horizontal
+bar. Divide the white
+threads into twos and
+make single chains
+with them, the whole
+length of the fringe;
+the thread must be
+changed 8 times for
+each chain; then pass
+the right chain under
+the left one and join
+them by a flat double
+knot.</p>
+
+<p>You then, with the
+threads turned outwards, right and left,
+make the single chain with 5 changes of
+the threads and join them together again
+by a flat knot.</p>
+
+<p>The other single chains are made with
+6 and 8 changes of the threads and crossed
+under the double knots. The tassels, which
+the red threads serve as a foundation to,
+are begun by: 1 waved plait with two knots,
+then 4 single chains, again a waved plait
+and 1 berry composed of knots.</p>
+
+<p>This berry is made over the 8 threads
+that come from the chains, with a long auxiliary thread, knotted
+as shown in fig. <a href="#fig_590">590</a>.</p>
+
+<div class="figcenter" style="width: 125px;">
+<img src="images/605.jpg"  alt="FIG. 590. KNOTTED BERRY FOR FIG. 589." title="" />
+<a name="fig_590" id="fig_590"></a><span class="caption smcap">Fig. 590. Knotted berry for fig. <a href="#fig_589">589</a>.</span>
+</div>
+
+<p>Large shell knots, as described in figs. <a href="#fig_591">591</a> and <a href="#fig_592">592</a> may be
+substituted in the place of the berry, fig. <a href="#fig_590">590</a>.</p>
+
+
+<div class="figcenter" style="width: 400px;">
+<a name="fig_591" id="fig_591"></a><a name="fig_592" id="fig_592"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/606.jpg"  alt="FIG. 591. LARGE SHELL KNOT, OPEN." title="" />
+<span class="caption smcap">Fig. 591. Large shell knot, open.</span>
+</div>
+
+<div class="figright" style="width: 175px;">
+<img src="images/607.jpg"  alt="FIG. 592. LARGE SHELL KNOT, SHUT." title="" />
+<span class="caption smcap">Fig. 592. Large shell knot, shut.</span>
+</div>
+</div>
+
+
+<p><a name="Page_381" id="Page_381"></a></p>
+<p><b>Macram&eacute; border</b> (fig. <a href="#fig_593">593</a>).&mdash;Fill 24 shuttles, knotted
+together, that is, 2 and 2, and knot on 3 green threads, 6 gold
+and 3 green. The changing of the threads and the course of the
+knots can be so easily copied from the pattern that a description
+in detail is not necessary, it is sufficient to observe that all the
+dark parts in the engraving should be worked in green and
+the light ones in gold.</p>
+
+<div class="figcenter" style="width: 175px;">
+<a href="images/full_608.jpg"><img src="images/608.jpg"  alt="FIG. 593. MACRAM&Eacute; BORDER." title="" /></a>
+<a name="fig_593" id="fig_593"></a><span class="caption"><span class="smcap">Fig. 593. Macram&eacute; border.<br />
+Materials</span>: Cordonnet 6
+fils D.M.C Nos. 10 to 20
+and Or fin D.M.C No. 30.<br />
+COLOUR&mdash;For the cotton:
+Vert m&eacute;tallique 465<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Beaded ground</b> (fig. <a href="#fig_594">594</a>).&mdash;Knot on 4 threads for every
+group of knots, and secure them by a knot and a picot, as shown
+in the engraving. Work the groups of knots, as indicated in
+fig. <a href="#fig_568">568</a>, and after each group is finished, thread a gold bead on
+<a name="Page_382" id="Page_382"></a>to every 2 threads. Our model is worked in &eacute;cru thread and
+gold beads; the latter go very well with any colour and especially
+with the more subdued shades of green, such as the Vert-Mousse,
+Vert Bouteille and Gris-Tilleul of the D.M.C colour card.</p>
+
+<div class="figcenter" style="width: 431px;">
+<img src="images/609.jpg"  alt="FIG. 594. BEADED GROUND." title="" />
+<a name="fig_594" id="fig_594"></a><span class="caption"><span class="smcap">Fig. 594. Beaded ground.<br />
+Materials</span>: Cordonnet
+6 fils D.M.C No. 25 or
+Fil &agrave; dentelle D.M.C
+Nos. 25 to 50 and gold
+beads.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+
+<p><b>Square of mosaic macram&eacute;</b> (figs. <a href="#fig_595">595</a> and <a href="#fig_596">596</a>).&mdash;This
+little pattern illustrates the way in which tapestry and cross-stitch
+patterns can be utilised for macram&eacute;.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/610.jpg"  alt="FIG. 595. SQUARE OF MOSAIC MACRAM&Eacute;" title="" />
+<a name="fig_595" id="fig_595"></a><span class="caption"><span class="smcap">Fig. 595. Square of mosaic macram&eacute;.<br />
+Materials</span>: Fil &agrave; pointer D.M.C No. 30, Coton &agrave; broder D.M.C No. 16
+and Or fin D.M.C pour la broderie No. 20<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Rouge-Cardinal 346, Rouge-Grenat 326 and 309, Bleu-Indigo 312
+and 334, Gris-Tilleul 391 and 393<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+<p>All patterns that are drawn on checked paper can be copied
+in macram&eacute; and even in several colours. For every square, you
+count either one single or one double thread, according to the
+scale on which the work is to be.</p>
+
+<p>In the case of a single thread, you count one double knot per
+square, in that of a double one, 4 double knots, two in the first
+and two in the second row.</p>
+
+<p>After knotting the threads together, two and two, and pinning
+them to the cushion, see letter <i>a</i>, make 2 single chains with
+2 changes of the thread, letters
+<i>b</i> and <i>c</i>, then take a very
+long cord, letter <i>d</i>, and knot on
+the threads. The cord forms
+picots along two sides of the
+square; into which you fasten
+threads, letters <i>e</i> and <i>f</i>, for the
+single chain formed, on the two
+other sides by the knotting
+threads.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/611.jpg"  alt="FIG. 596. WORKING DETAIL OF FIG. 595." title="" />
+<a name="fig_596" id="fig_596"></a><span class="caption smcap">Fig. 596. Working detail of fig. <a href="#fig_595">595</a>.</span>
+</div>
+
+<p>The coloured threads for
+the flowers are knotted on as
+the pattern requires it, taking
+the place for the time being, of
+those with which the foundation
+is made, which are left
+hanging on the wrong side
+until they are wanted again.</p>
+
+<p>The top leaves of the iris shaped flower, are worked in two
+shades of blue; the bottom ones, in three shades of red, the
+stalk and the leaves in green, and the little stars, with which
+the ground is powdered, in real gold thread.</p><p><a name="Page_383" id="Page_383"></a></p>
+
+<p>When the ground is finished, you make the same openwork
+border at the sides and along the bottom, as at the top and
+finish off with very full tassels, hung on over 3 double threads
+and made of all the colours used in the square, tied up with
+gold thread, fig. <a href="#fig_596">596</a> letter <i>g</i>.</p>
+
+<p><b>Fringe with three rows of tassels</b> (fig. <a href="#fig_597">597</a>).&mdash;As this
+kind of fringe is chiefly used for trimming carpets, curtains
+and furniture, it is best to make it in the coarsest numbers of
+the materials indicated at the foot of the engraving.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/612.jpg"  alt="FIG. 597. FRINGE WITH THREE ROWS OF TASSELS." title="" />
+<a name="fig_597" id="fig_597"></a><span class="caption"><span class="smcap">Fig. 597. Fringe with three rows of tassels.<br />
+Materials</span>: Cordonnet 6 fils D.M.C Nos. 3 to 30, or Fil &agrave; pointer D.M.C
+Nos. 10 to 30<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Bleu-Indigo 312 and &eacute;cru.</span>
+</div>
+
+<p>The pattern is so simple in its construction that it is sufficient<a name="Page_384" id="Page_384"></a>
+to refer our readers to fig. <a href="#fig_528">528</a>, for the knotting on of
+the threads and to fig. <a href="#fig_531">531</a>, for the waved plait.</p>
+
+<p>The little tassels between the knots, are made separately
+from the rest of the work and fastened on by the thread with
+which you sew them together at the top.</p>
+
+<p><b>Macram&eacute; ground</b> (fig. <a href="#fig_598">598</a>).&mdash;The work represented in
+the engraving was made for a purse and copied from a beautiful
+piece of Arabian stuff. Ganse turque D.M.C was used for
+the light background
+and
+Coton &agrave; broder
+D.M.C for
+the design. It
+is very easy to
+copy this pattern
+from the
+illustration by
+paying scrupulous
+attention
+to the
+number of
+knots; we do
+not therefore
+enter into any
+detailed description
+of the
+same, merely
+referring the
+worker to figs. <a href="#fig_528">528</a> and <a href="#fig_596">596</a>
+and the accompanying
+directions, for the adding on and the taking off of threads.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/612a.jpg"  alt="FIG. 598. MACRAM&Eacute; GROUND." title="" />
+<a name="fig_598" id="fig_598"></a><span class="caption"><span class="smcap">Fig. 598. Macram&eacute; ground.<br />
+Materials</span>: Ganse turque D.M.C No. 12 and Coton &agrave; broder
+D.M.C No. 16.<br />
+<span class="smcap">Colours</span>: Rouge-Cardinal 347, or Rouge-Cerise 3318.</span>
+</div>
+
+<p><b>Macram&eacute; square</b> (figs. <a href="#fig_599">599</a> and <a href="#fig_600">600</a>).&mdash;Length of the single
+threads of both kinds: 200 c/m.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/612b.jpg"  alt="FIG. 599. MACRAM&Eacute; SQUARE." title="" />
+<a name="fig_599" id="fig_599"></a><span class="caption"><span class="smcap">Fig. 599. Macram&eacute; square.<br />
+Materials</span>: Cordonnet 6 fils D.M.C No. 15 and Coton &agrave; broder D.M.C No. 16
+or Fil &agrave; dentelle D.M.C No. 25 and Coton &agrave; broder D.M.C No. 30.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: White, Rouge-Grenat 309 and 358, or Gris-Lin 716
+and Rouge-Maroquin 3327 and 3329.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Knot upon a ring consisting of one thread: * 1 thread of
+white Cordonnet, 1 of Coton &agrave; broder colour 309, 1 of colour
+358, 1 of colour 309 and repeat three times from *. (The embroidery
+cotton is to be taken double.)</p><p><a name="Page_385" id="Page_385"></a></p>
+
+<p>Begin with the light red thread and make: 1 single chain
+with 3 changes of the threads, 1 single chain with the dark
+red thread with 4 changes of the threads. Add, or rather thread,
+8 supplementary threads in succession on to the white thread,
+which in fig. <a href="#fig_600">600</a>, comes in the middle of the group of knots,
+and over each of these supplementary threads, make 2 double
+knots with the light red thread and 2 with the dark.</p>
+
+<p>When all the red threads are knotted over the white ones,
+<a name="Page_386" id="Page_386"></a>make crossed bars with the red threads by themselves, thus
+producing a point at the bottom of the leaf.</p>
+
+<p>Then, over the first white thread coming from the right,
+knot all the white threads on the left of it and in the last place,
+the cord itself, over the 3 red threads.</p>
+
+<p>Make the same series of threads on the left. This is succeeded
+by a second bar of white knots, the last thread of which
+is left unknotted. Make 4
+double knots with the 8
+white threads and close the
+square by a double bar. Add
+a supplementary thread to
+the first bar, so that you
+may have 10 threads coming
+from each side of the
+second bar and over these
+you knot the red threads,
+which form a dark setting
+to the leaves.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/613.jpg"  alt="FIG. 600.
+GRADUAL INCREASE OF THE THREADS.
+WORKING DETAIL OF FIG. 599." title="" />
+<a name="fig_600" id="fig_600"></a><span class="caption smcap">Fig. 600.
+Gradual increase of the threads.
+Working detail of fig. <a href="#fig_599">599</a>.</span>
+</div>
+
+<p>When this is done on
+both sides, make 10 flat
+double knots with a supplementary
+knot, taking 4
+single threads for each knot,
+and decreasing the number
+of knots successively to 2.
+At the point of the inside
+square, knot the white threads over the red ones and turn
+back the second white thread to serve as a cord to the first of
+the outside bars. Join the first thread on the left and the first
+on the right, to form a flat knot with them in the middle, the
+threads of which are then passed over the red threads; the
+last white threads become the cords for the second outer bar.
+Make a group of bars with the red threads and cross them 3
+times, then finish with a handsome tassel and join the white
+threads together all round the square with tassels. In the case
+of your wishing to use these squares for making a larger
+piece of work, through joining several of them together, you
+<a name="Page_387" id="Page_387"></a>can knot the ends of the threads into short double chains,
+finishing off these again with ring knots, fig. <a href="#fig_608">608</a>, and loops;
+through these loops, when you come to join on the next square,
+the knotting thread is drawn, forming them thus into connecting
+picots, like those which you make in tatting.</p>
+
+<p><b>Fringe with corner</b> (figs. <a href="#fig_601">601</a>, <a href="#fig_602">602</a>, <a href="#fig_603">603</a>).&mdash;Macram&eacute;
+fringes are not capable of being drawn up, as knitted, crochet,
+and netted fringes
+are, on the
+inside, so as to
+turn the corners.
+Consequently,
+according to the
+pattern, a greater
+or less number
+of supplementary
+threads have
+to be knotted in
+so as to form the
+corners.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/614.jpg"  alt="FIG. 601. FRINGE WITH CORNER." title="" />
+<a name="fig_601" id="fig_601"></a><span class="caption"><span class="smcap">Fig. 601. Fringe with corner.<br />
+Materials</span>: Cordonnet 6 fils D.M.C Nos. 10 to 30 or
+Fil &agrave; dentelle D.M.C Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: White and Rouge-Cardinal 348.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The working
+detail, fig. <a href="#fig_602">602</a>,
+shows us how
+the 5 first supplementary
+threads,
+are looped on to
+the 4th row of
+knots. A group of
+crossed bars requires 16 threads, which answer to 4 groups of
+little squares, placed between the lozenges. The 6th supplementary
+thread is put into the double connecting knot at the
+corner, fig. <a href="#fig_603">603</a>, and on this, the bar of knots which runs right
+and left is subsequently made. (In order to make it clearer, the
+supplementary threads are represented in the engraving in a
+darker shade).</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/615.jpg"  alt="FIG. 602. ADDITION OF THE FIRST SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 601." title="" />
+<a name="fig_602" id="fig_602"></a><span class="caption smcap">Fig. 602. Addition of the first supplementary threads.
+Working detail of fig. <a href="#fig_601">601</a>.</span>
+</div>
+
+<p>On the two middle threads, which are a continuation of
+<a name="Page_388" id="Page_388"></a>the connecting knot, 7 supplementary threads have next to be
+knotted, thread 7 singly, threads 8 and 9 together, threads 10,
+11, 12 and 13, all singly.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/616.jpg"  alt="FIG. 603. ADDITION OF THE SECOND SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 601." title="" />
+<a name="fig_603" id="fig_603"></a><span class="caption smcap">Fig. 603. Addition of the second supplementary threads.
+Working detail of fig. <a href="#fig_601">601</a>.</span>
+</div>
+
+<p>In this manner the supplementary threads 7, 10, 11, 12
+and 13 connect the two cords, whilst threads 8 and 9 only, are
+mounted separately on both sides.</p>
+
+<p>The bars, formed by the knots which are made with the
+supplementary threads, must be drawn tight, like any other
+double bar. The space left between the cords in the engraving
+is intentional, to distinguish the supplementary threads from
+the others.</p>
+
+<p>A long, coloured thread is looped on to the topmost thread,
+between the two bars, and with this, knots are made over all the
+14 threads that come from the bars and run inwards.</p>
+
+<p>In the middle of the square there must be 9 flat double
+knots; when these are made, you continue knotting the red
+<a name="Page_389" id="Page_389"></a>thread from the right and left, down to the bottom point of the
+square, and complete the figure by a single bar of knots, made
+of the white thread.</p>
+
+<p>Knotted tassels, hanging from the points of the scallops,
+and others ornamented with flat double knots made of 10
+threads, suspended between the scallops, form the outside
+finish to this fringe.</p>
+
+<p><b>Fringe with pointed scallops and large tassels</b> (figs. <a href="#fig_604">604</a>,
+<a href="#fig_605">605</a>, <a href="#fig_606">606</a>, <a href="#fig_607">607</a>, <a href="#fig_608">608</a>, <a href="#fig_609">609</a>, <a href="#fig_610">610</a>).&mdash;Entire length of the threads
+for No. 15 of Cordonnet 6 fils D.M.C: 200 c/m.</p><p><a name="Page_390" id="Page_390"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/616a.jpg"  alt="FIG. 604. FRINGE WITH POINTED SCALLOPS AND LARGE TASSELS." title="" />
+<a name="fig_604" id="fig_604"></a><span class="caption"><span class="smcap">Fig. 604. Fringe with pointed scallops and large tassels.
+<br />
+Materials</span>: Fil &agrave; pointer D.M.C Nos. 10 to 30, Cordonnet 6 fils D.M.C Nos. 10
+to 50, or Fil &agrave; dentelle D.M.C Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The present pattern, which concludes our chapter on macram&eacute;
+work, is one of the most difficult of all, requiring great
+accuracy in every particular, but more especially, extremely
+careful attention to the direction of the cords, that the groups
+of double knots and the bars may be drawn up very tightly
+<a name="Page_391" id="Page_391"></a>together, so as to make the pattern very distinct and give each
+figure its proper value.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/616b.jpg"  alt="FIG. 605. ADDITION OF THE FIRST SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 604." title="" />
+<a name="fig_605" id="fig_605"></a><span class="caption smcap">Fig. 605. Addition of the first supplementary threads.
+Working detail of fig. <a href="#fig_604">604</a>.</span>
+</div>
+
+<p>For each repetition of the subject 16
+threads are wanted. You begin the half
+stars, on each side of the lozenges, with
+the 15th and 16th double thread of the
+first figure and make 3 double knots with
+3 threads over a 4th thread, fig. <a href="#fig_606">606</a>.</p>
+
+<p>Over 2 cords on the left and 2 on the
+right, consequently over 4 threads: 5 buttonhole
+knots, with the 4 threads and the
+disengaged threads, 1 flat double knot over
+each of the 4 threads. This forms a shell
+knot, on either side of which, make 3
+buttonhole knots over 3 threads.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/616c.jpg"  alt="FIG. 606. ADDITION OF THE OTHER SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 604." title="" />
+<a name="fig_606" id="fig_606"></a><span class="caption smcap">Fig. 606. Addition of the other supplementary threads.
+Working detail of fig. <a href="#fig_604">604</a>.</span>
+</div>
+
+<p>For the groups of bars on either side
+<a name="Page_392" id="Page_392"></a>of the shell, take the 11th, 12th, 13th and 14th double thread
+on the left, and the 3rd, 4th, 5th and 6th on the right. These
+groups are joined by buttonhole knots.</p>
+
+<p>Knot the 4 threads of the left group over the cord on the
+right; and over them again the 2 next threads
+on the right; knot the 4 threads on the left
+over the 4th thread on the right; make 2 buttonhole
+knots with the 4th thread over the 3
+threads at the bottom and on the side.</p>
+
+<p>Over the 4 threads, that come from the left
+and right, make quadruple bars; cross the upper
+threads after the second row of bars, make
+2 buttonhole bars with the next thread over
+the 4th thread, then finish the 3rd and 4th
+bar of knots.</p>
+
+<p>To make the olive-shaped group of knots
+on both sides, take the threads, that come
+out from the shells, as cords. Fig. <a href="#fig_605">605</a> shows
+the adding on of the first supplementary
+thread, fig. <a href="#fig_606">606</a>, that of 12 more which, knotted
+on to the first, form with it, the group
+of bars on the diagonal corner line. The knots,
+of which the next large shell is composed, are
+made with 2 more supplementary threads
+and one thread from the preceding figure. Add
+on 2 more supplementary threads to the
+disengaged threads, which 4 then serve as
+cords for the groups of bars, left and right.</p>
+
+<p>The 4th group of bars which forms the
+corner of the fringe, is made on the 4 threads
+that come from the large shell, on to which
+the fourth set of 12 supplementary threads is
+knotted.</p>
+
+<p>The pattern ends at the bottom with a
+half star, and a double bar; beneath these,
+large scallops are added, consisting of 2 half stars, 4 ovals, 1
+whole star and 2 ovals.</p>
+
+<p>All the threads that come from the groups are then collected
+<a name="Page_393" id="Page_393"></a>at the top of the scallops and overcast with strong thread, so
+as to form a thick round
+cord along the edges of the
+scallops, widening towards
+the point, as more and more
+threads are taken in. At the
+point, these threads are
+knotted into a big tassel
+with another bunch of supplementary
+threads added to
+them. The other small tassels,
+represented in fig. <a href="#fig_604">604</a>, are
+made separately and then
+fastened on.</p>
+
+<p>The fringe is further
+ornamented by large knotted
+tassels, introduced between
+the scallops, for which, a
+large knotted berry, fig. <a href="#fig_590">590</a>,
+over 21 cords, has first to be made.</p>
+
+<p>Collect the 21 threads all together, to
+begin with; then make: 2 rows of knots
+over 12 threads, 1 over 15, 3 over 21, 1
+over 15 and 2 over 12; then cut the ends
+of the 21 threads to the same length, and
+turn them inwards, to fill up the hollow
+space inside the berry, stuffing it besides,
+if necessary, with wadding to make it perfectly
+firm and hard and sewing it together
+at the ends.</p>
+
+<p>To this you attach 5 large and 6 small
+pendants; the smaller ones are begun with
+a Chinese knot, figs. <a href="#fig_607">607</a> and <a href="#fig_609">609</a>, which
+terminates in a double chain, formed into a
+ring knot.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_607" id="fig_607"></a><a name="fig_608" id="fig_608"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/617.jpg"  alt="FIG. 607. CHINESE KNOT AND DOUBLE CHAIN FOR A RING KNOT." title="" />
+<span class="caption smcap">Fig. 607. Chinese knot and double chain for a ring knot.</span>
+</div>
+
+<div class="figright" style="width: 100px;">
+<img src="images/618.jpg"  alt="FIG. 608. RING KNOT FORMED OF A SINGLE CHAIN." title="" />
+<span class="caption smcap">Fig. 608. Ring knot formed of a single chain.</span>
+</div>
+</div>
+
+<p>These ring knots take the place, in macram&eacute;,
+of bead drops, in gimp trimmings; when
+they are made of a double chain, you cut
+<a name="Page_394" id="Page_394"></a>away 3 threads, when of a single, 1 thread, conceal the ends
+carefully inside the knot, make a loop with the 4th or 2nd
+thread, fig. <a href="#fig_608">608</a>, and lastly, fasten off all the ends with two or
+three invisible stitches.</p>
+
+<p>Into the loop formed by the 4th thread, you hang 3 small
+ring knots, made of a single chain, with a loop, top and bottom,
+formed of the ends of the thread.</p>
+
+<p>Fig. <a href="#fig_609">609</a> represents the small pendant, of which six are required
+for a tassel; fig. <a href="#fig_610">610</a>, the large one, of which there
+should be five. The berry, or head of the tassel, is attached to a
+crochet, or knotted cord, of which a description will be found
+in the last chapter but one of this work.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_609" id="fig_609"></a><a name="fig_610" id="fig_610"></a>
+<div class="figleft" style="width: 125px;">
+<img src="images/619.jpg"  alt="FIG. 609. SMALL PENDANT OF THE TASSELS IN FIG. 604." title="" />
+<span class="caption smcap">Fig. 609. Small pendant of the tassels in fig. <a href="#fig_604">604</a>.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/620.jpg"  alt="FIG. 610. LARGE PENDANT OF THE TASSELS IN FIG. 604." title="" />
+<span class="caption smcap">Fig. 610. Large pendant of the tassels in fig. <a href="#fig_604">604</a>.</span>
+</div>
+</div>
+
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_12.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents.</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
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+<body>
+
+
+<p><a name="Page_395" id="Page_395"></a></p>
+
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/621.jpg"  alt="INSERTION IN EMBROIDERED NETTING.&mdash;ORNAMENT WITH VARIOUS STITCHES." title="" />
+<span class="caption smcap">Insertion in embroidered netting.&mdash;Ornament with various stitches.</span>
+</div>
+
+
+
+<hr style="width: 15%;" />
+
+<h2><a name="Netting" id="Netting"></a>Netting.</h2>
+<hr style="width: 15%;" />
+
+
+<p>Netting is a handicraft, so ancient that it would be difficult
+to trace it to its origin, or determine the date of its invention.
+There is evidence to show that the making of nets for fishing
+and game catching was as familiar to the earlier races of mankind
+as it is to us.</p>
+
+<p>Practised in the first instance for the wants of life, it by
+degrees developed into an art, in conjunction with embroidery,
+to which it was made to serve as a foundation. The netting of
+every country, almost, has a distinctive character of its own:
+that of Persia is known by its fine silken meshes and rich
+gold and silver embroidery; that of Italy, by the varied size
+and shape of its meshes and a resemblance in the style of its
+embroidery to the Punto tagliato; whilst the netting of
+France, known by the name of Cluny guipure, consists of a
+groundwork of fine meshes with stiff close designs embroidered
+upon it, outlined in coarse glazed thread.</p>
+
+<p>Netting, which divides itself under two headings, netting
+proper, or plain netting and net embroidery, has never yet
+gone out of fashion and places are still to be found where the
+entire population is engaged in this industry.</p>
+
+<p><b><a name="Plain_netting" id="Plain_netting"></a>Plain netting and the implements used in netting</b>
+(figs. <a href="#fig_611">611</a>, <a href="#fig_612">612</a>, <a href="#fig_613">613</a>).&mdash;Plain netting consists of loops, secured
+and rendered independent of one another by knots. For forming
+and tightening these loops and knots the following implements<a name="Page_396" id="Page_396"></a>
+are necessary; in the first place, a netting needle; these
+are generally made of steel, split and flattened at both ends,
+with a hole bored through them below the fork at the one
+end, in which the thread, fig. <a href="#fig_611">611</a>, is secured, before it is
+wound on lengthwise between the forks. They are numbered
+as to size like knitting needles. There are netting needles likewise
+of bone, ivory, wood and tortoise-shell for twine and thick
+materials; these are without hole, fig. <a href="#fig_612">612</a>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/622.jpg"  alt="FIG. 611. NETTING NEEDLE OF STEEL." title="" />
+<a name="fig_611" id="fig_611"></a><span class="caption smcap">Fig. 611. Netting needle of steel.</span>
+</div>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/623.jpg"  alt="FIG. 612. NETTING NEEDLE OF IVORY." title="" />
+<a name="fig_612" id="fig_612"></a><span class="caption smcap">Fig. 612. Netting needle of ivory.</span>
+</div>
+
+<p>The thread must be wound on very tightly, and not too
+much of it at a time, that the needle may slip easily through
+the loops. The mesh, or spool, fig. <a href="#fig_613">613</a>, whether of ivory, bone,
+steel or wood, should be smooth and round and of the same
+thickness throughout, so that the loops, made upon it, may be
+all of one size and easily slipped off.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/624.jpg"  alt="FIG. 613. MESH OR SPOOL OF IVORY." title="" />
+<a name="fig_613" id="fig_613"></a><span class="caption smcap">Fig. 613. Mesh or spool of ivory.</span>
+</div>
+
+<p>For long loops a flat mesh is best, and in all cases, the
+needle and mesh should be selected with a view, both to the
+material employed, and the size of loop required.</p>
+
+<p>In addition to these two implements, a cushion, weighted
+with lead will be required, to pin the foundation loop to, on
+which the first row of netting is worked.</p>
+
+<p><b>Materials suitable for netting.</b>&mdash;These, of course depend
+on the purpose of the netting: silk, twine, wool and cotton,
+can all be used and each possesses its advantages and disadvantages.
+Silk has the finest gloss but when it is strongly twisted
+it is very apt to knot, and when loosely twisted, does not make
+firm knots. It is difficult to get linen thread with a smooth
+uniform twist and moreover it soon frays in the working; wool
+is too elastic a fibre and is unsuitable for washing purposes,
+cotton remains therefore, in every respect the most desirable
+material, being both smooth and uniformly twisted; as qualities,
+<a name="Page_397" id="Page_397"></a>more especially adapted for netting we may mention the following:
+Fil &agrave; pointer D.M.C, Cordonnet 6 fils D.M.C (crochet
+cotton), Fil &agrave; dentelle D.M.C (lace thread), and even Coton
+&agrave; tricoter D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> (knitting cotton).</p>
+
+<p><b><a name="Netting_stitches" id="Netting_stitches"></a>Netting stitches</b>.&mdash;The loops are always the same&mdash;four-cornered
+whether they be square or oblong&mdash;and connected
+together, though secured and rendered independent of one
+another by knots. By different ways of passing the thread over
+the mesh and connecting the loops together, the following
+stitches are produced: 1º plain loop, 2º double loop, 3º oblong
+loop, 4º honeycomb loop, 5º twisted loop.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/625.jpg"  alt="FIG. 614. FIRST POSITION OF THE HANDS." title="" />
+<a name="fig_614" id="fig_614"></a><span class="caption smcap">Fig. 614. First position of the hands.</span>
+</div>
+
+<p><b>1º Plain loop. First position of the hands</b> (fig. <a href="#fig_614">614</a>).&mdash;Every
+kind of netting requires a foundation loop, from 10 to
+20 c/m. long, made either of Cordonnet 6 fils D.M.C Nos. 3 to
+10, or Fil &agrave; pointer D.M.C No. 10<a href="#Footnote_A" class="fnanchor">[A]</a>, which is pinned to the
+<a name="Page_398" id="Page_398"></a>cushion. Fasten the working thread to the foundation loop;
+then take the mesh in the left hand, holding it between the
+thumb and forefinger, with the other fingers extended beneath.
+Take the needle filled with thread in the right hand and pass
+the thread downwards over the mesh and over the second,
+third and fourth fingers, inside, carry it up behind the third
+finger and lay it to the left under the thumb by which it has to
+be held fast.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/626.jpg"  alt="FIG. 615. SECOND POSITION OF THE HANDS." title="" />
+<a name="fig_615" id="fig_615"></a><span class="caption smcap">Fig. 615. Second position of the hands.</span>
+</div>
+
+<p><b>Second and third position of the hands</b> (figs. <a href="#fig_615">615</a> and
+<a href="#fig_616">616</a>).&mdash;Carry the thread down behind the second, third, fourth
+and fifth fingers, and put the needle through the loop on the
+fingers and behind the mesh, through the foundation loop,
+thus forming a second loop, which you hold back with the
+little finger of the left hand. Then gradually drawing up the
+thread that runs from the mesh, let go the loop held down
+by the thumb; then by degrees let go also, the loop which lies
+over the second, third and fourth fingers, still holding the last
+loop fast with the little finger; finally you release this too and
+pull up the knot thus formed close to the mesh with the right
+hand. This completes the stitch. The next stitches are made
+<a name="Page_399" id="Page_399"></a>in the same way; whether they are to serve for casting on or
+for a netted foundation. The mesh is drawn out at the end
+of each row, the work turned and the mesh held beneath the
+last row, in readiness for the next, in making which you pass
+your needle through each loop. These diamond-shaped loops
+form a diagonal net.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/627.jpg"  alt="FIG. 616. THIRD POSITION OF THE HANDS." title="" />
+<a name="fig_616" id="fig_616"></a><span class="caption smcap">Fig. 616. Third position of the hands.</span>
+</div>
+
+<p><b>2º Double loop</b>.&mdash;To make a double loop put the thread
+two or three times round the mesh.</p>
+
+<p><b>3º Oblong loop</b>.&mdash;For oblong loops, the knots must be
+made a little distance from the mesh.</p>
+
+<p><b>4º Honeycomb loop</b>.&mdash;Make an oblong loop, pass the
+thread round the fingers, but not over the mesh as in plain
+netting, put the needle, not into the loop of the previous row,
+but between the loop, just made. The knot which is made
+in the same way as in plain netting, must be drawn close up
+to the mesh; the two threads of the loop should lie side by side
+on the mesh. The loops in honeycomb netting are six-sided.</p>
+
+<p><b>5º Twisted loops</b>.&mdash;Pass the thread, as in plain netting,
+over the mesh and fingers, but before letting the thread which
+<a name="Page_400" id="Page_400"></a>is under the thumb go, pass the needle from right to left under
+the loop you are making and the thread, and only then draw
+up the knot.</p>
+
+<p>Although in netting the loops cannot be formed in as many
+different ways as in knitting or crochet,
+they admit of a certain variety,
+as the following explanations will
+show.</p>
+
+<p><b><a name="Patterns_produced_in_netting" id="Patterns_produced_in_netting"></a>Patterns produced in netting
+by using meshes of different
+widths.</b>&mdash;Plain netting can be varied
+by making one row of loops over a
+large mesh and one over a small
+one, or several rows over the large
+and several over the small, alternately,
+changing the meshes at regular intervals.</p>
+
+<p><b>Patterns produced in netting by increasing
+and decreasing</b> (fig. <a href="#fig_617">617</a>).&mdash;Patterns
+of this kind are made by netting
+the meshes together in regular sequence
+and taking up as many meshes as you have
+netted together, or vice versa. You may
+increase and decrease in the same rows, or
+at an interval of so many rows.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/628.jpg"  alt="FIG. 617. PATTERNS PRODUCED IN
+NETTING BY INCREASING AND DECREASING." title="" />
+<a name="fig_617" id="fig_617"></a><span class="caption smcap">Fig. 617. Patterns produced in
+netting by increasing and decreasing.</span>
+</div>
+
+<p>Two sizes of thread should be used for
+this patterns. To show the relation they
+should bear to one another, we instance:
+Fil &agrave; pointer D.M.C No. 30 with Fil &agrave; dentelle
+D.M.C No. 50<a href="#Footnote_A" class="fnanchor">[A]</a>, or Coton &agrave; tricoter D.M.C Nos. 14
+and 30<a href="#Footnote_A" class="fnanchor">[A]</a>, with Coton &agrave; tricoter D.M.C No. 50<a href="#Footnote_A" class="fnanchor">[A]</a>, or Coton
+&agrave; repriser D.M.C No. 25 with No. 100.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+<p>Begin by 3 rows of plain netting with the finer thread over
+the small mesh, followed by one row with the coarser thread
+over the large mesh; then, with the coarse thread over the large
+mesh, one row, in which you net every two loops together
+<a name="Page_401" id="Page_401"></a>and one row, with two loops in every
+one, so that the number of loops remains
+the same. These are followed
+by 3 rows of plain netting with the
+fine thread on the small mesh.</p>
+
+<p><b>Loose loops in clusters</b> (figs.
+<a href="#fig_618">618</a> and <a href="#fig_619">619</a>).&mdash;These clusters of
+loose loops are made in the following
+manner:</p>
+
+<div class="figcenter" style="width: 475px;">
+<a name="fig_618" id="fig_618"></a><a name="fig_619" id="fig_619"></a>
+<div class="figleft" style="width: 175px;">
+<img src="images/629.jpg"  alt="FIG. 618. LOOSE LOOPS IN CLUSTERS." title="" />
+<span class="caption smcap">Fig. 618. Loose loops in clusters.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/630.jpg"  alt="FIG. 619. LOOSE LOOPS IN CLUSTERS.
+WORKING DETAIL OF FIG. 618." title="" />
+<span class="caption smcap">Fig. 619. Loose loops in clusters.
+Working detail of fig. <a href="#fig_618">618</a>.</span>
+</div>
+</div>
+
+<p>1st row&mdash;one loop, the knot of
+which must be a little distance from
+the mesh; put the thread over the mesh
+and the needle through the loop where the knot is; repeat
+this three or four times, making the loops all of the same length.
+Then unite all the loops with one knot, carrying the needle
+from right to left, round the loops, instead of putting it through
+the loop of the previous row.</p>
+
+<p>2nd row&mdash;make one
+loop over each loop of
+the first row, leaving out
+the loops that form the
+cluster.</p>
+
+<p>As may be gathered
+from the drawing, many
+different patterns can be
+worked upon the netting
+in this manner.</p>
+
+<p><b>Netting composed
+of plain, double and
+oblong loops</b> (fig. <a href="#fig_620">620</a>).&mdash;Netting
+composed of
+large and small loops is
+the kind generally used
+as a groundwork for embroidery. The loops of it are straight;
+diamond netting will serve the same purpose, but as it is less
+commonly used we have given the preference to the straight.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/631.jpg"  alt="FIG. 620. NETTING COMPOSED OF PLAIN, DOUBLE
+AND OBLONG LOOPS." title="" />
+<a name="fig_620" id="fig_620"></a><span class="caption smcap">Fig. 620. Netting composed of plain, double
+and oblong loops.</span>
+</div>
+
+<p>The whole first row consists of a double and a plain loop
+alternately; the second, entirely of oblong loops, which are
+<a name="Page_402" id="Page_402"></a>made by passing the thread only once over the mesh, and so,
+that in netting on the double loop, the knot is brought close
+to the needle, where as, in netting the plain loop, it hangs free;
+so that, as shown in fig. <a href="#fig_620">620</a>,
+all the loops of the 2nd row
+are of the same length. In the
+3rd row, which is like the
+first, the plain loops should
+come between the small holes
+and the double ones between
+the large holes.</p>
+
+<p><b>Circular netting composed
+of long and short
+loops</b> (fig. <a href="#fig_621">621</a>).&mdash;Make thirty
+or thirty one loops over a large
+mesh with a very stout material, such as Fil &agrave; pointer
+D.M.C No. 20, or a double thread of Cordonnet 6 fils D.M.C
+No. 30, then draw up the thread on which the loops are
+strung, as tightly as possible, so as to form quite a small ring
+for the centre, and fasten off.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/632.jpg"  alt="FIG. 621. CIRCULAR NETTING COMPOSED OF
+LONG AND SHORT LOOPS." title="" />
+<a name="fig_621" id="fig_621"></a><span class="caption smcap">Fig. 621. Circular netting composed of
+long and short loops.</span>
+</div>
+
+<p>For the next row, also made in coarse thread, fasten the
+thread on to a long loop and make one loop into each loop of
+the first row, over a small mesh. Use the same mesh for all
+the subsequent rows, which should
+be worked in a finer thread, such as
+Cordonnet 6 fils D.M.C No. 50 or 60.</p>
+
+<p>If you want to avoid fastening
+on the thread afresh for each row,
+make a loop over the thumb.</p>
+
+<p><b>Making loops over the thumb</b>.&mdash;Put
+the thread, as for a plain loop
+over the mesh and fingers, and put
+the needle through the loop, likewise
+as for a plain loop, but before tightening
+the knot, draw the mesh out
+of the loop just made and make it exactly as long as the
+loop above.</p>
+
+<p><b>Circular netting formed by increases</b> (fig. <a href="#fig_622">622</a>).&mdash;Make
+10 loops on the foundation loop,
+close the ring, then go on, making a
+row with one knot in the first loop
+and two knots in the second, until
+the net attains the right circumference;
+in the subsequent rows,
+increase by one loop, that is to say,
+make two knots in each of the previous
+increases.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/633.jpg"  alt="FIG. 622. CIRCULAR NETTING
+FORMED BY INCREASES." title="" />
+<a name="fig_622" id="fig_622"></a><span class="caption smcap">Fig. 622. Circular netting
+formed by increases.</span>
+</div><p><a name="Page_403" id="Page_403"></a></p>
+
+<p><b>Square of netting</b> (figs. <a href="#fig_623">623</a> and
+<a href="#fig_624">624</a>).&mdash;To make squares of netting
+with straight loops, begin by making
+two loops or three knots. Make two
+knots in each of the following rows
+so that each row is increased by one
+loop. Continue to increase until you
+have one loop more than the square
+should number.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_623" id="fig_623"></a><a name="fig_624" id="fig_624"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/634.jpg"  alt="FIG. 623. SQUARE OF NETTING. BEGUN." title="" />
+<span class="caption smcap">Fig. 623. Square of netting. Begun.</span>
+</div>
+
+<div class="figright" style="width: 200px;">
+<img src="images/635.jpg"  alt="FIG. 624. SQUARE OF NETTING. COMPLETED." title="" />
+<span class="caption smcap">Fig. 624. Square of netting. Completed.</span>
+</div>
+</div>
+
+<p>Following this row with the extra
+stitch, make a row without either increase
+or intake and begin the intakes
+in the next row, joining the two last loops of each row together
+by a knot. Finish the two last loops over the thumb.</p>
+
+<p><b>Square of netting begun from the middle</b> (figs. <a href="#fig_625">625</a> and
+<a href="#fig_626">626</a>).&mdash;Instead of beginning a square from the corner, in the
+manner just described, it may be begun from the middle.</p><p><a name="Page_404" id="Page_404"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_625" id="fig_625"></a><a name="fig_626" id="fig_626"></a>
+<div class="figleft" style="width: 350px;">
+<img src="images/636.jpg"  alt="FIG. 625. SQUARE OF NETTING BEGUN FROM THE MIDDLE. BEGUN." title="" />
+<span class="caption smcap">Fig. 625. Square of netting begun from the middle. Begun.</span>
+</div>
+
+<div class="figright" style="width: 200px;">
+<img src="images/637.jpg"  alt="FIG. 626. SQUARE OF NETTING BEGUN FROM THE MIDDLE. COMPLETED." title="" />
+<span class="caption smcap">Fig. 626. Square of netting begun from the middle. Completed.</span>
+</div>
+</div>
+
+<p>Cast on the required number of loops, make an intake in
+each row, by omitting to take
+up the last loop of a row. In
+coming back, your first knot
+will thus be made over the
+last loop but one of the previous
+row, fig. <a href="#fig_625">625</a>. To complete
+the square, fasten the
+thread on again, to the end of
+the thread of the last row,
+then make a similar to it, and repeat the same rows you
+made at the beginning (see fig. <a href="#fig_626">626</a>).</p>
+
+<p><b>Stripes of straight netting</b> (figs. <a href="#fig_627">627</a> and <a href="#fig_628">628</a>).&mdash;These
+can be begun and
+finished in two
+ways. The simplest
+way, more especially
+when they are
+to be embroidered
+afterwards, is to
+cast on the necessary
+number of
+loops, to decrease
+on one side by dropping a loop, fig. <a href="#fig_627">627</a>, or by joining two
+loops together with a knot, fig. <a href="#fig_628">628</a>, and to increase on the
+other side, by making two knots over one loop.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/638.jpg"  alt="FIG. 627. STRIPE OF STRAIGHT NETTING EDGED WITH EMPTY LOOPS." title="" />
+<a name="fig_627" id="fig_627"></a><span class="caption smcap">Fig. 627. Stripe of straight netting edged with empty loops.</span>
+</div>
+
+<p>Great care must be taken not to change the order of the
+intakes and increases, as any mistake of the kind would break
+the lines of squares, and interfere with the subsequent embroidery,
+unless there happened to be more loops in the stripe than
+stitches in the pattern, in which case the superfluous loops
+might be cut away when the embroidery is finished.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/639.jpg"  alt="FIG. 628. STRIPE OF STRAIGHT NETTING." title="" />
+<a name="fig_628" id="fig_628"></a><span class="caption smcap">Fig. 628. Stripe of straight netting.</span>
+</div>
+
+<p><b>Straight netting with a scalloped edge</b> (fig. <a href="#fig_629">629</a>).&mdash;The
+second way of making stripes of straight netting is to begin
+by a square. After making two loops on the foundation loop,
+make rows with increases, until you have the required number
+of loops. Then make an increase in every row to the left and
+leave the last loop empty in every row to the right. Continu<a name="Page_405" id="Page_405"></a>ing
+the increases on the left, you net 4 rows, without increasing
+or decreasing on the right, whilst in the next 4, you again
+leave the outside loop empty.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/640.jpg"  alt="FIG. 629. STRAIGHT NETTING WITH A SCALLOPED EDGE." title="" />
+<a name="fig_629" id="fig_629"></a><span class="caption smcap">Fig. 629. Straight netting with a scalloped edge.</span>
+</div>
+
+<p><b>Square frame of netting</b> (fig. <a href="#fig_630">630</a>).&mdash;Handkerchief, counterpane
+and chair-back borders can be netted in one piece,
+leaving an empty square in the centre. After casting on the
+loops as for an ordinary square of netting, letter <i>a</i>, increase them
+to double the number required
+for the border. Thus, for example,
+if the border is to consist
+of 3 squares, you make 6
+loops, then leave 3 loops empty
+on the left and continue to
+work to the right and decrease
+to the left, up to the dotted line
+from <i>c</i> to <i>c</i>. After this you begin
+to decrease on the right and
+increase on the left, up to the
+dotted line from <i>e</i> to <i>e</i>.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/641.jpg"  alt="FIG. 630. SQUARE FRAME OF NETTING." title="" />
+<a name="fig_630" id="fig_630"></a><span class="caption smcap">Fig. 630. Square frame of netting.</span>
+</div>
+
+<p>Leaving the right side of
+the net, you now fasten on the thread at <i>c</i>, where the 3 empty
+loops are, and here you make your increases on the right side
+and your intakes on the left, till you come to the corner, from
+whence you decrease on the right and increase on the left, up
+to letter <i>g</i>. Stop on the left side and then work from left to
+<a name="Page_406" id="Page_406"></a>right, passing over the row that is marked <i>e</i>. The fourth corner,
+letter <i>b</i>, is worked like any other piece of straight netting, with
+an intake in each row, until there are only two loops left.</p>
+
+<p><b>Diagonal netting with crossed loops</b> (figs. <a href="#fig_631">631</a> and <a href="#fig_632">632</a>).
+To work this simple and effective pattern, begin by making
+a stripe of plain netting, 14 loops in width, for the middle.
+When it is long enough for your purpose, take up all the
+loops on one side on a strong thread; fasten the work to the
+cushion again
+and work 3
+rows, along
+the other edge
+in the following
+manner.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/642.jpg"  alt="FIG. 631. DIAGONAL NETTING WITH CROSSED LOOPS." title="" />
+<a name="fig_631" id="fig_631"></a><span class="caption"><span class="smcap">Fig. 631. Diagonal netting with crossed loops.<br />
+Original size.<br />Materials</span>&mdash;For the netting: Cordonnet 6 fils D.M.C
+Nos. 10 to 30, or Fil &agrave; dentelle D.M.C Nos. 25 to 40.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+For the darning stitches: Coton &agrave; tricoter D.M.C Nos. 12
+to 20, or Coton &agrave; repriser D.M.C Nos. 12 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st row&mdash;long
+loops, to
+be made by the
+thread being
+passed thrice
+over the mesh.</p>
+
+<p>2nd row&mdash;here,
+3 loops
+are so made as
+to cross each
+other, that is,
+you begin by
+putting your
+netting-needle
+at first into
+the 3rd loop,
+counting from left to right, then into the 1st, and lastly into
+the middle one of the three, so that the right loop leans to the
+left and the left one to the right.</p>
+
+<p>3rd row&mdash;one plain loop in each of the loops of the previous
+row. You now, draw out the thread, run in on the other
+<a name="Page_407" id="Page_407"></a>side, and run it in through the loops last made, in order to
+make 3 rows again, as above described, on the bottom side.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/643.jpg"  alt="FIG. 632. WORKING DETAIL OF FIG. 631." title="" />
+<a name="fig_632" id="fig_632"></a><span class="caption smcap">Fig. 632. Working detail of fig. <a href="#fig_631">631</a>.</span>
+</div>
+
+<p>When this is done, you begin the scallops, composed of
+12 knots or 11 loops, or 14 loops and 15 knots = net 5 rows,
+leaving the outside loops empty, fig. <a href="#fig_632">632</a>, stop on the left and
+proceed with: 6 knots or 5 plain loops, 2 or 3 long loops with
+3 overs, 3 plain loops = turn the work = 3 plain loops, 3
+knots = turn the work = 2 loops with 3 overs, 3 knots =
+turn the work = 2 plain loops, 2 knots = turn the work =
+cross 2 or 3 loops, according to the number you crossed in the
+middle, then carry the working thread to the middle of the
+long loops, and connect them by 2 knots = pass the needle
+under the knot of the last long loop, then, on the right side
+<a name="Page_408" id="Page_408"></a>net: 3 plain loops = turn the work = 3 plain loops, 3 knots
+= turn the work = 2 plain loops, 2 knots = turn the work
+and continue the rows of plain netting until you have only 2
+loops left.</p>
+
+<p>To reach the next scallop, pass the netting-needle through
+each hole of the net and round each thread.</p>
+
+<p>Finish off the scallops with a row of plain netting, made
+with a coarser thread than the foundation.</p>
+
+<p>These netted edgings are generally made in unbleached
+cotton, because the patterns afterwards embroidered upon
+them in coarse, white knitting or darning cotton, show best
+upon it. The thread for this purpose should be used double,
+and the pattern worked in darning stitches, made over 8
+squares of the netting; the 8th knot is then encircled by a loop
+and the thread carried down over 8 squares and a loop again
+<a name="Page_409" id="Page_409"></a>made round the 8th knot. After making 4 rows of stitches
+on the netting, cut 3 bars between the rows of white stitches.</p>
+
+<p>The row of openwork produced in this way has a very
+good effect and greatly improves the look of the lace.</p>
+
+<p><b>Netted fringe</b> (fig. <a href="#fig_633">633</a>).&mdash;Plain netting, pretty as it is,
+looks rather poor, unless ornamented with embroidery of some
+kind. The double netting, illustrated in fig. <a href="#fig_633">633</a>, will prove a
+welcome novelty. The footing is worked in crochet, with braid,
+secured on both sides by chain stitches.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/644.jpg"  alt="FIG. 633. NETTED FRINGE." title="" />
+<a name="fig_633" id="fig_633"></a><span class="caption"><span class="smcap">Fig. 633. Netted fringe.<br />
+Materials</span>&mdash;For the netting: Cordonnet 6 fils D.M.C Nos. 10 to 30 or
+Fil &agrave; pointer D.M.C No. 30.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+For the fringes: Soutache D.M.C No. 3 or Lacets superfins D.M.C No. 4.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Into every fourth of these chain stitches, net one loop,
+missing the 3 between. At the end of the row, turn the work
+and make the knot in the middle of the 3 chain stitches, so
+that the 2 loops of netting cross each other.</p>
+
+<p>In the second, or rather the third row, the knots are again
+made first into the
+front loops, into those
+of the first row that
+is; in the fourth row,
+into those of the second
+row.</p>
+
+<p>When the stripe
+is sufficiently wide,
+finish it off with
+tassels, made of Soutache
+D.M.C No. 3.
+Instead of tying up
+the lengths of braid
+with a thread, twisted
+round them and
+fastened off with a
+stitch, make 2 looped
+knots round them with an end of the braid, where the neck
+of the tassel should come.</p>
+
+<p><b>Embroidered netting.</b>&mdash;Embroidered netting, also known
+as Filet Guipure, Cluny Guipure, and Richelieu Guipure, is
+a netted ground, with patterns of one kind or another, worked
+upon it in a variety of stitches.</p>
+
+<p><b>Implements required for embroidered netting.</b>&mdash;Be<a name="Page_410" id="Page_410"></a>sides
+scissors, needles and thread, a light steel frame is the
+only thing required,
+and this renders embroidered
+netting very
+popular.</p>
+
+<p>The needles should
+be long, and blunt;
+those called saddlers
+needles are the best.</p>
+
+<p><b>Wire frame for
+embroidered netting</b>
+(fig. <a href="#fig_634">634</a>).&mdash;The frame
+on which the net is
+stretched should be
+made of strong iron
+wire, that will not bend
+in the using. In shape,
+it may be square or
+oblong, according to
+whether squares or edgings
+are to be made
+upon it, but the sides
+must be straight, so
+that the net can be
+evenly stretched.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/645.jpg"  alt="FIG. 634. WIRE FRAME FOR EMBROIDERED NETTING." title="" />
+<a name="fig_634" id="fig_634"></a><span class="caption smcap">Fig. 634. Wire frame for embroidered netting.</span>
+</div>
+
+<p>This wire frame
+must be covered, first
+with wadding or tow,
+as shown in fig. <a href="#fig_634">634</a>,
+and then with silk
+ribbon, which must be
+wound tightly round it,
+and more particularly
+at the corners, very
+closely, so that it may be quite firm and not twist about when
+the netting is sewn in. The ends of the ribbon should be secured
+by two or three stitches.</p>
+
+<p><b><a name="Mounting_the_netting_on_the_frame" id="Mounting_the_netting_on_the_frame"></a>Mounting the netting on the frame</b> (fig. <a href="#fig_635">635</a>).&mdash;When
+<a name="Page_411" id="Page_411"></a>the netting is exactly the size of the inside of the frame, it need
+only be secured to it with overcasting stitches, set very closely
+at the corners.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/646.jpg"  alt="FIG. 635. MOUNTING THE NETTING ON THE FRAME." title="" />
+<a name="fig_635" id="fig_635"></a><span class="caption smcap">Fig. 635. Mounting the netting on the frame.</span>
+</div>
+
+<p><b>Mounting the netting on the frame with an auxiliary
+tape</b> (fig. <a href="#fig_636">636</a>).&mdash;When the netting, is smaller, the space between
+it and the frame, must be filled up with strong very
+evenly woven, linen tape, sewn on all round the netting.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/647.jpg"  alt="FIG. 636. MOUNTING THE NETTING ON THE FRAME
+WITH AN AUXILIARY TAPE." title="" />
+<a name="fig_636" id="fig_636"></a><span class="caption smcap">Fig. 636. Mounting the netting on the frame
+with an auxiliary tape.</span>
+</div>
+
+<p>The tape must be very tightly held in the sewing, so
+that it even forms little gathers all round; this will help you
+to stretch the netting in mounting it without injuring it, and
+is especially necessary when the netting is not quite evenly
+made. Fig. <a href="#fig_636">636</a> shows how the tape is sewn on, the fold that
+has to be made at the corners, and the way to fix the netting
+into the frame.</p>
+
+<p>Long stripes or large pieces of work, can be mounted on
+waxcloth, but we cannot recommend shortening the preparatory
+work in this manner, as the squares of netting are never so
+regular as when they are made in a frame.</p>
+
+<p><b>Materials for embroidered netting</b>.&mdash;Thick threads with
+a strong twist are the best for darned, or embroidered netting,
+such as Cordonnet 6 fils D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> (crochet cotton), or Fil &agrave;
+dentelle D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> (lace thread).</p>
+
+<p>There are however certain old kinds of embroidered netting
+made in soft loose silk, for imitating which it is best to use,
+Coton &agrave; repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> that being quite the best substitute
+for the original material.</p>
+
+<p><b>The stitches used for embroidered netting</b>.&mdash;These
+are so multifarious and admit of so many different combinations,
+that not a few of them seeing that be quite new to our readers,
+willsome we have never yet come across in any book on
+the subject that has come under our notice.</p>
+
+<p><b>Ordinary darning stitch</b> (fig. <a href="#fig_637">637</a>).&mdash;The simplest stitch
+of all for covering a netted ground is the ordinary darning
+stitch; drawing the thread, that is to say, in and out of the
+number of squares, prescribed by the pattern, and backwards
+and forwards as many times as is necessary to fill them up.</p>
+<p><a name="Page_412" id="Page_412"></a></p>
+<div class="figcenter" style="width: 250px;">
+<img src="images/648.jpg"  alt="FIG. 637.
+ORDINARY DARNING STITCH." title="" />
+<a name="fig_637" id="fig_637"></a><span class="caption smcap">Fig. 637.
+Ordinary darning stitch.</span>
+</div>
+
+<p>The number of stitches depends, to a certain extent, on the
+material employed; with Coton &agrave; broder D.M.C for example,
+you will have to make more stitches than with one of the
+coarser numbers of Coton &agrave; repriser D.M.C.</p>
+
+<p>This is the stitch generally used for reproducing a cross
+stitch pattern on a netted ground and is especially to be recommended
+for covering large surfaces, curtains, counterpanes and
+so forth, as it is quickly done and shows up the pattern
+well.</p>
+
+<p><b>Linen stitch</b> (figs. <a href="#fig_638">638</a> and <a href="#fig_639">639</a>).&mdash;This is the stitch most
+often met with in the old embroideries, it being the one the
+solid parts of the leaves and flowers, and the borders are generally
+worked in.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_638" id="fig_638"></a><a name="fig_639" id="fig_639"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/649.jpg"  alt="FIG. 638.
+LINEN STITCH. FIRST STITCHES." title="" />
+<span class="caption smcap">Fig. 638.
+Linen stitch. First stitches.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/650.jpg"  alt="FIG. 639. LINEN STITCH.
+SECOND STITCHES." title="" />
+<span class="caption smcap">Fig. 639. Linen stitch.
+Second stitches.</span>
+</div>
+</div>
+
+<p>Fasten on the thread to a knot of the netting and carry it
+<a name="Page_413" id="Page_413"></a>twice to and fro, over and under the threads of the netting, so
+that at the end of the row, every second thread passes under
+and over the thread of the netting, as it is carried upwards again.</p>
+
+<p>This constitutes the first layer of threads, the second completes
+the linen stitch and is made in the same way, only across
+the first, alternately taking up and missing a thread as is done,
+in darning. The thread may also be carried both ways over the
+threads of the squares. In this case you must draw an uneven
+number of threads through the squares, otherwise the crossing
+of the threads will be irregular in the last square.</p>
+
+<p><b>Linen stitch. Formation of the corners</b> (fig. <a href="#fig_640">640</a>).&mdash;When
+linen stitch is used for the border of a pattern, and a
+corner has to be formed, you begin by carrying the threads
+over a given number of squares. This first layer, especially
+in the case of long stripes, must be kept very slack, and to ensure
+the threads being all of the same length, lay a fine mesh or a
+thick knitting needle at one end and stretch the threads over it.
+After carrying the second layer across a few squares, take
+away the mesh or needle. The threads of the first layer become
+gradually shorter, from the passage of the cross threads in
+and out between them, and end by being just long enough to
+prevent the last embroidered squares from being too tightly
+stretched.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/651.jpg"  alt="FIG. 640. LINEN STITCH.
+FORMATION OF THE CORNERS." title="" />
+<a name="fig_640" id="fig_640"></a><span class="caption smcap">Fig. 640. Linen stitch.
+Formation of the corners.</span>
+</div>
+
+<p>On reaching the corner, you cross the threads of the next
+row, as shown in fig. <a href="#fig_640">640</a>. The first threads of the second side
+form the foundation of the corner square; from the second corner
+square you pass to the third; from the third to the fourth,
+carrying your thread alternately over and under the threads that
+were stretched for the first corner.</p>
+
+<p><b>Loop stitch (point d'esprit)</b> (figs. <a href="#fig_641">641</a> and <a href="#fig_642">642</a>).&mdash;This
+is a light open stitch, chiefly used for making a less transparent
+foundation than plain netting. Fasten the thread to the middle
+of one bar of the netting, then make a loose loop to the middle of
+the top bar of the same square, fig. <a href="#fig_641">641</a>, by carrying the thread,
+from left to right, over one vertical and one horizontal bar of
+the net and inserting the needle downwards from above under
+the bar and in front of the working thread. For the second
+row back, also represented in fig. <a href="#fig_641">641</a>, you draw the needle
+<a name="Page_414" id="Page_414"></a>through, underneath the bar above the loop stitch and make
+the loop upwards from below; in doing this the working thread
+must lie to the left, in front of the needle. Fig. <a href="#fig_642">642</a> shows how
+to join the rows and pass the needle through the stitches of
+the preceding row.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_641" id="fig_641"></a><a name="fig_642" id="fig_642"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/652.jpg"  alt="FIG. 641. LOOP STITCH.
+1ST AND 2ND COURSE OF THE THREAD." title="" />
+<span class="caption smcap">Fig. 641. Loop stitch.
+1st and 2nd course of the thread.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/653.jpg"  alt="FIG. 642. LOOP STITCH.
+SEVERAL ROWS COMPLETED." title="" />
+<span class="caption smcap">Fig. 642. Loop stitch.
+Several rows completed.</span>
+</div>
+</div>
+
+<p><b><a name="Star_composed_of_loose_threads" id="Star_composed_of_loose_threads"></a>Star composed of loose threads</b> (figs. <a href="#fig_643">643</a>, <a href="#fig_644">644</a>, <a href="#fig_645">645</a>).&mdash;This
+star covers 16 squares of netting. Fasten the thread to the
+middle knot of the 16 squares, then carry it diagonally over
+4 squares, three times from left to right under a knot of the
+foundation and three times from right to left. In this way, the
+bottom rays of the star are formed. For the stitches that complete
+the figure, you start from the middle and following the
+direction of the little arrow in the illustration, you cover the
+<a name="Page_415" id="Page_415"></a>netting with 3 horizontal and 3
+vertical threads, carried over 4
+squares. When you have laid the
+vertical threads, slip the needle
+4 or 5 times round in a circle, under
+the diagonal and over the
+straight threads, but always over
+the bars of the netting. This completes
+the star, as it is represented
+in fig. <a href="#fig_645">645</a>. Care must be taken
+to make the stitches lie quite flat
+side by side, and not one on the
+top of the other.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_643" id="fig_643"></a><a name="fig_644" id="fig_644"></a>
+<div class="figleft" style="width: 240px;">
+<img src="images/654.jpg"  alt="FIG. 643.
+STAR FORMED OF LOOSE THREADS
+LAYING THE UNDERNEATH THREADS." title="" />
+<span class="caption smcap">Fig. 643.
+Star formed of loose threads
+laying the underneath threads.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/655.jpg"  alt="FIG. 644.
+STAR FORMED OF LOOSE THREADS.
+LAYING THE UPPER THREADS." title="" />
+<span class="caption smcap">Fig. 644.
+Star formed of loose threads.
+Laying the upper threads.</span>
+</div>
+</div>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/656.jpg"  alt="FIG. 645.
+STAR FORMED OF LOOSE THREADS.
+FINISHED." title="" />
+<a name="fig_645" id="fig_645"></a><span class="caption smcap">Fig. 645.
+Star formed of loose threads.
+Finished.</span>
+</div>
+
+<p><b>Darning stitch (point de reprise)</b> (figs. <a href="#fig_646">646</a> and <a href="#fig_647">647</a>).&mdash;Little
+flowers and leaves are generally executed in this stitch;
+the first course of the thread is shown in fig. <a href="#fig_646">646</a>. Leaves can
+be made with one, two or three veins. Carry the needle, invariably
+from the middle, first to the right and then to the left,
+under the threads of the foundation and push the stitches close
+together, as they are made, with the point of your needle. This
+you will be able to do most easily by holding the work so as
+to make the stitches towards you.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_646" id="fig_646"></a><a name="fig_647" id="fig_647"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/657.jpg"  alt="FIG. 646.
+LEAVES WORKED IN DARNING STITCH.
+BEGUN." title="" />
+<span class="caption smcap">Fig. 646.
+Leaves worked in darning stitch.
+Begun.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/658.jpg"  alt="FIG. 647.
+LEAVES WORKED IN DARNING STITCH.
+COMPLETED." title="" />
+<span class="caption smcap">Fig. 647.
+Leaves worked in darning stitch.
+Completed.</span>
+</div>
+</div>
+
+<p>For a leaf with only one division or vein, like the left leaf
+in fig. <a href="#fig_646">646</a>, merely run the needle through the middle of the
+threads, whereas for a leaf with two or three veins, you must
+<a name="Page_416" id="Page_416"></a>run it, over and under, either one, or two threads (see the
+right leaf in fig. <a href="#fig_646">646</a>).</p>
+
+<p>In working leaves of this kind in darning stitch, you must
+draw your stitches at the top and bottom of the leaf rather
+tighter than in the middle, so as to give them the proper shape.
+If you wish to make them very slender at the bottom, you can
+finish them off with a few overcasting stitches.</p>
+
+<p>Fig. <a href="#fig_647">647</a> represents two leaves completed, one with one vein
+and the other, with two.</p>
+
+<p><b>Pointed scallops in darning stitch</b> (fig. <a href="#fig_648">648</a>).&mdash;The simplest
+way to work these scallops is to carry a thread, as shown
+in the illustration, to and fro over the square, from the knot in
+one corner to the middle of the bar above and downwards to
+the opposite knot, round which the thread is carried and passed
+upwards again to the middle. As the scallop must always be
+begun from the top, you will have, two foundation threads on
+one side and three on the other. Here likewise, you must
+push the threads as closely together as possible with the needle.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/659.jpg"  alt="FIG. 648. POINTED SCALLOPS IN
+DARNING STITCH." title="" />
+<a name="fig_648" id="fig_648"></a><span class="caption smcap">Fig. 648. Pointed scallops in
+darning stitch.</span>
+</div>
+
+<p><b>Pointed scallops in buttonhole stitch</b> (fig. <a href="#fig_649">649</a>).&mdash;Another
+quite as pretty and easy way of working pointed scallops
+on a netted foundation is by making two buttonhole stitches
+before crossing to the opposite side. As shown in the foregoing
+illustration, you begin by stretching single or double foundation
+threads across; then beginning at the point, you make,
+alternately right and left, 2 buttonhole stitches over the foundation
+threads, so that the working thread is only carried across
+to the opposite side after every second stitch.</p><p><a name="Page_417" id="Page_417"></a></p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/660.jpg"  alt="FIG. 649. POINTED SCALLOPS IN
+BUTTONHOLE STITCH." title="" />
+<a name="fig_649" id="fig_649"></a><span class="caption smcap">Fig. 649. Pointed scallops in
+buttonhole stitch.</span>
+</div>
+
+<p><b>Veined pointed scallops</b> (fig. <a href="#fig_650">650</a>).&mdash;A third way of making
+pointed scallops is by first stretching a thread to and fro across
+the middle of the square, after which you slip the needle from
+left to right under the middle thread, and underneath the
+left bar from above. Then you carry the needle, from right to
+left, over the foundation thread and under the right bar and
+so on. The one thread must be drawn tightly round the other,
+in order that the stitches may form close and evenly shaped
+veins, like small cords, on the wrong side of the scallop. There
+must be enough stitches to completely cover the foundation
+thread that crosses the middle of the square.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/661.jpg"  alt="FIG. 650. VEINED POINTED SCALLOPS." title="" />
+<a name="fig_650" id="fig_650"></a><span class="caption smcap">Fig. 650. Veined pointed scallops.</span>
+</div>
+
+<p><b>Pointed scallops in Venetian stitch</b> (fig. <a href="#fig_651">651</a>).&mdash;The
+prettiest scallops of all are those worked in Venetian stitch.
+You begin, by making from 8 to 10 buttonhole stitches over
+one bar of the netting, then you work on with the same stitch
+backwards and forwards, making one stitch less in each row,
+until you come to the one which forms the point of the scallop
+and is fastened to the bar above; you carry the working thread
+back on the wrong side to the lower bar, and then under the
+buttonhole stitches to the next square of the netting. Scallops
+worked in this manner, can be overcast round the edges in
+the way described further on, in fig. <a href="#fig_660">660</a>.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/662.jpg"  alt="FIG. 651. POINTED SCALLOPS IN VENETIAN STITCH." title="" />
+<a name="fig_651" id="fig_651"></a><span class="caption smcap">Fig. 651. Pointed scallops in venetian stitch.</span>
+</div>
+
+<p><b>Wheels embroidered on netting</b> (figs. <a href="#fig_652">652</a> and <a href="#fig_653">653</a>).&mdash;To
+make wheels or spiders, as they are also called, you have first
+to fasten the thread to the middle knot of four squares, thence
+you carry it diagonally right and left, fig. <a href="#fig_652">652</a>, right detail,
+across the empty squares of netting and the knot, and return
+<a name="Page_418" id="Page_418"></a>to the middle, overcasting your first thread by the way, so as
+to form a closely twisted cord. This is called cording a thread.</p>
+
+<p>Having reached the centre, carry the working thread round
+and round, under and over the corded threads and under the
+bars of the netting till the wheel covers half the bars.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_652" id="fig_652"></a><a name="fig_653" id="fig_653"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/663.jpg"  alt="FIG. 652.
+LAYING THE THREADS FOR A WHEEL
+AND BEGINNING OF THE WHEEL." title="" />
+<span class="caption smcap">Fig. 652.
+Laying the threads for a wheel
+and beginning of the wheel.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/664.jpg"  alt="FIG. 653.
+WHEELS WORKED IN
+TWO WAYS." title="" />
+<span class="caption smcap">Fig. 653.
+Wheels worked in
+two ways.</span>
+</div>
+</div>
+
+<p>Fig. <a href="#fig_653">653</a> shows, on the right, a finished wheel, and on the
+left, another way in which it can be made, and indicates the
+course of the thread over and under the lines, as in a darn.
+These details show also how, when the foundation thread of the
+wheel starts from a corner, it is left single in the first square
+until the wheel is finished; then the needle is slipped back
+along the little spoke, opposite to the single thread, and through
+the wheel, and the single thread is corded like the others.</p>
+
+<p><b>Ribbed wheels</b> (fig. <a href="#fig_654">654</a>).&mdash;Make the foundation of the
+wheels as before, over 8 threads. To form the ribs at the back
+of the wheels, see fig. <a href="#fig_654">654</a>; make a back stitch, on the right
+side, over a bar of the netting, and carry on the needle under
+one bar, so that the thread that lies outside always crosses 2
+bars of the netting.</p><p><a name="Page_419" id="Page_419"></a></p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/665.jpg"  alt="FIG. 654.
+RIBBED WHEELS." title="" />
+<a name="fig_654" id="fig_654"></a><span class="caption smcap">Fig. 654.
+Ribbed wheels.</span>
+</div>
+
+<p>In this case you must make circles of thread enough, to cover
+the bars completely, not half, as before.</p>
+
+<p>The same stitches, as fig. <a href="#fig_654">654</a> shows, can be made on
+either side of
+the embroidery,
+and so as
+to form, either
+a square or a
+lozenge (see
+fig. <a href="#fig_655">655</a>).</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/666.jpg"  alt="FIG. 655.
+RIBBED SQUARES OR LOZENGES." title="" />
+<a name="fig_655" id="fig_655"></a><span class="caption smcap">Fig. 655.
+Ribbed squares or lozenges.</span>
+</div>
+
+<p><b>Wheels set
+with buttonholing</b>
+(fig. <a href="#fig_656">656</a>).&mdash;A very
+pretty lace-like
+effect is produced
+by encircling the wheels in large squares of netting with
+a double setting of stitches. The left detail of fig. <a href="#fig_656">656</a> shows
+how the thread, having
+been passed under the
+wheel and twisted once
+round the single thread,
+is carried all round the
+square and forms 8 loops.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/667.jpg"  alt="FIG. 656. WHEELS SET WITH BUTTONHOLING." title="" />
+<a name="fig_656" id="fig_656"></a><span class="caption smcap">Fig. 656. Wheels set with buttonholing.</span>
+</div>
+
+<p>The arrow shows the
+way in which the loops
+are taken up, and the first
+ring of stitches round the
+wheel is finished.</p>
+
+<p>The second detail of
+the same figure explains
+the course the thread, that
+forms the second ring,
+has to take through the loops and between the bars; whilst
+the white line shows the passage of the thread over the second
+ring. The third detail represents a wheel, completed.</p>
+
+<p><b>Star with one-sided buttonhole stitches</b> (fig. <a href="#fig_657">657</a>).&mdash;The
+pattern represented in fig. <a href="#fig_657">657</a>, is the quickest to work that we
+<a name="Page_420" id="Page_420"></a>know of. Two buttonhole stitches made upon the outside bar
+of a square and a simple crossing of the thread at the bottom,
+produce elongated triangles which should always be begun
+from the knot. Two triangles
+stand exactly opposite to each
+other in one square, and the
+square that comes in the
+middle of the four thus filled,
+is ornamented with a small
+wheel.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/668.jpg"  alt="FIG. 657. STAR WITH ONE-SIDED BUTTONHOLE STITCHES." title="" />
+<a name="fig_657" id="fig_657"></a><span class="caption smcap">Fig. 657. Star with one-sided buttonhole stitches.</span>
+</div>
+
+<p><b>Rounded corners of
+netting</b> (fig. <a href="#fig_658">658</a>).&mdash;Darning
+stitches, made over a thread
+carried diagonally across one
+square and the adjacent corners
+of that and two other
+squares, produce the figure
+illustrated in fig. <a href="#fig_658">658</a>. The
+accompanying detail shows
+the mode of working.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/668a.jpg"  alt="FIG. 658.
+ROUNDED CORNERS ON NETTING." title="" />
+<a name="fig_658" id="fig_658"></a><span class="caption smcap">Fig. 658.
+Rounded corners on netting.</span>
+</div>
+
+<p>The number of stitches
+depends on the material you
+use; there should be no more
+than can lie quite flat, side by
+side, on the diagonal thread.</p>
+
+<p><b>Linen stitch, set with
+darning stitch</b> (fig. <a href="#fig_659">659</a>).&mdash;There
+are some patterns it
+would hardly be possible to
+work on netting unless you
+could soften the outlines by
+darning stitches, as shown in the foregoing figure.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/668b.jpg"  alt="FIG. 659.
+LINEN STITCH SET WITH DARNING STITCH." title="" />
+<a name="fig_659" id="fig_659"></a><span class="caption smcap">Fig. 659.
+Linen stitch set with darning stitch.</span>
+</div>
+
+<p>When employed as a setting to linen stitch, there should
+be fewer than in fig. <a href="#fig_658">658</a>; you may also, instead of interrupting
+them at every corner, carry them all round a square, (see
+the right detail of the figure).</p>
+
+<p><b>Linen stitch set with cord stitch</b> (fig. <a href="#fig_660">660</a>).&mdash;Many
+figures are also either corded or edged with twisted thread;
+<a name="Page_421" id="Page_421"></a>both ways are represented in the illustration. In the latter case
+you can use the same thread as for the linen stitch, or if you
+wish the setting to be very pronounced, a thicker one. For
+instance, if the netting be made of Cordonnet 6 fils D.M.C
+No. 25<a href="#Footnote_A" class="fnanchor">[A]</a> we recommend Fil &agrave; pointer D.M.C No. 15 or 20<a href="#Footnote_A" class="fnanchor">[A]</a>
+for the setting. This difference of material is especially noticeable
+in the old Cluny Guipure, where the figures worked
+in linen stitch are edged
+with a thread like a cord.
+But if the linen stitch be bound
+with cord stitch, the same
+thread must be used for it, as
+for the foundation. A soft material,
+like Coton &agrave; repriser,
+makes the best padding for
+the overcasting stitches.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/668c.jpg"  alt="FIG. 660.
+LINEN STITCH SET WITH CORD STITCH." title="" />
+<a name="fig_660" id="fig_660"></a><span class="caption smcap">Fig. 660.
+Linen stitch set with cord stitch.</span>
+</div>
+
+<p><b>Flower in dot stitch on a foundation of linen stitch</b>
+(fig. <a href="#fig_661">661</a>).&mdash;With the help of this stitch, which is described
+in the chapter on white embroidery and represented in fig. <a href="./chapter_5.html#fig_179">179</a>, a great
+variety of little
+supplementary
+ornaments can
+be made, on
+every description
+of netted
+ground.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/668d.jpg"  alt="FIG. 661. FLOWER IN DOT STITCH ON A
+FOUNDATION OF LINEN STITCH." title="" />
+<a name="fig_661" id="fig_661"></a><span class="caption smcap">Fig. 661. Flower in dot stitch on a
+foundation of linen stitch.</span>
+</div>
+
+<p><b>Bordering
+in buttonhole
+stitch</b> (fig. <a href="#fig_662">662</a>).&mdash;Scalloped edges in netting should be buttonholed;
+2 or 3 padding threads should be run in first, following
+the bars of the netting, over which the buttonholing is done;
+the bars of the netting must not be cut away until the edge
+be finished.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/668e.jpg"  alt="FIG. 662. BORDERING IN BUTTONHOLE STITCH." title="" />
+<a name="fig_662" id="fig_662"></a><span class="caption smcap">Fig. 662. Bordering in buttonhole stitch.</span>
+</div>
+
+<p><b>Cut work in embroidered netting</b> (fig. <a href="#fig_663">663</a>).&mdash;Cut work
+here means half covering the bars of the netting with button-<a name="Page_422" id="Page_422"></a>hole
+stitches and half cutting
+them away with scissors.
+The inner bars are frequently
+ornamented with a
+double buttonhole edging
+and knotted picots, see figs.
+<a href="./chapter_13.html#fig_698">698</a> and <a href="./chapter_13.html#fig_699">699</a> in the next
+chapter. You slightly separate
+the stitches of the first
+row of buttonholing so as to
+be able to introduce the thread of the second row between them.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/669.jpg"  alt="FIG. 663. CUT WORK IN EMBROIDERED NETTING." title="" />
+<a name="fig_663" id="fig_663"></a><span class="caption smcap">Fig. 663. Cut work in embroidered netting.</span>
+</div>
+
+<p><b>Straight loop stitch</b> (fig. <a href="#fig_664">664</a>).&mdash;In the first row you
+carry the thread over one bar and slip it through behind a knot;
+in the second you do the same thing, only that above, your
+needle will pass under 3 threads, two of them the threads of the
+loop of the first row and the third a bar of the net. In every
+square 4 threads cross each other.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/670.jpg"  alt="FIG. 664. STRAIGHT LOOP STITCH." title="" />
+<a name="fig_664" id="fig_664"></a><span class="caption smcap">Fig. 664. Straight loop stitch.</span>
+</div>
+
+<p><b>Waved stitch</b> (fig. <a href="#fig_665">665</a>).&mdash;This stitch, which forms a close
+waved ground, is produced by passing the thread in each row
+of the netting over a square and behind a knot. When the pattern
+admits of it, as it mostly does, a considerably thicker thread
+is used for this stitch and for the stitches represented in figs.
+<a href="#fig_667">667</a>, <a href="#fig_668">668</a>, <a href="#fig_669">669</a> and <a href="#fig_670">670</a>, than that in which the netting is made.
+When the netted ground is of Fil &agrave; dentelle D.M.C No. 50,<a href="#Footnote_A" class="fnanchor">[A]</a><a name="Page_423" id="Page_423"></a>
+the embroidery upon it may very well be done in Cordonnet
+6 fils. D.M.C No. 10<a href="#Footnote_A" class="fnanchor">[A]</a>, or Fil &agrave; pointer D.M.C No. 30.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/671.jpg"  alt="FIG. 665. WAVED STITCH." title="" />
+<a name="fig_665" id="fig_665"></a><span class="caption smcap">Fig. 665. Waved stitch.</span>
+</div>
+
+<p><b>Intersected loop stitch</b> (fig. <a href="#fig_666">666</a>).&mdash;Begin by covering
+the whole surface to be embroidered with plain loop stitches,
+then stretch threads diagonally across the squares of the
+netting and the loop stitches; one set of threads running over
+the stitches and under the knots of the netting, the other
+under the first and second threads of the loop stitches and over
+the first crossed threads and the knots.</p>
+
+<p>The laying and stretching of these threads must, it is hardly
+necessary to say, be systematically and regularly done.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/672.jpg"  alt="FIG. 666. INTERSECTED LOOP STITCH." title="" />
+<a name="fig_666" id="fig_666"></a><span class="caption smcap">Fig. 666. Intersected loop stitch.</span>
+</div>
+
+<p><b><a name="Ground_worked_in" id="Ground_worked_in"></a>Ground worked in horizontal
+lines</b> (fig. <a href="#fig_667">667</a>).&mdash;Make
+half cross stitches over
+4 squares of netting, by passing
+the thread alternately
+over and under 3 knots, and
+under 3 squares of the netting.
+In the second row, cross
+the threads over those of the
+first row, as is shown in our
+engraving.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/673.jpg"  alt="FIG. 667. GROUND WORKED IN HORIZONTAL LINES." title="" />
+<a name="fig_667" id="fig_667"></a><span class="caption smcap">Fig. 667. Ground worked in horizontal lines.</span>
+</div>
+
+<p><b>Ground worked in stitches
+placed one above the
+other</b> (fig. <a href="#fig_668">668</a>).&mdash;Cover a
+whole row of squares with
+cross stitches and leave 3 rows of squares empty. When you have
+a sufficient number of rows of cross stitches, take a long needle
+and pass it upwards from below, and from right to left, under
+the two bars of the third upper square; then pass downwards
+to the first square of the 3 bottom rows and under the bars
+from right to left, so as again to leave 3 squares between the
+fresh stitches. The next row of stitches is made in the same
+manner, so that the stitches are not only set contrary ways but
+reciprocally cover each other.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/674.jpg"  alt="FIG. 668. GROUND WORKED IN STITCHES PLACED ONE ABOVE THE OTHER." title="" />
+<a name="fig_668" id="fig_668"></a><span class="caption smcap">Fig. 668. Ground worked in stitches placed one above the other.</span>
+</div>
+
+<p><a name="Page_424" id="Page_424"></a></p>
+
+<p><b>Latticed ground</b> (fig. <a href="#fig_669">669</a>).&mdash;Begin by running the thread,
+to and fro, under two vertical bars and over three horizontal
+ones. When the ground is entirely covered, carry your thread
+from right to left, under the bars over which the first rows of
+threads are crossed; then take it over the long crosses, that
+correspond to 5 squares of netting, and pass it in the same line
+under the bars of the netting. In coming back, the long stitches
+cross each other over the stitches of the first rows.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/675.jpg"  alt="FIG. 669. LATTICED GROUND." title="" />
+<a name="fig_669" id="fig_669"></a><span class="caption smcap">Fig. 669. Latticed ground.</span>
+</div>
+
+<p><b>Ground worked in Russian stitch</b> (fig. <a href="#fig_670">670</a>).&mdash;Pass the
+thread from left to right, under a bar of the netting, carry it
+downwards over 4 squares and pass it again, from left to right,
+under the bar, then upwards, again over 4 squares of netting
+and so on. The stitches of the next rows are made in the same
+<a name="Page_425" id="Page_425"></a>manner; you have only to see that the loops formed by the
+stitches all come on the same line of knots.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/676.jpg"  alt="FIG. 670. GROUND WORKED IN RUSSIAN STITCH." title="" />
+<a name="fig_670" id="fig_670"></a><span class="caption smcap">Fig. 670. Ground worked in russian stitch.</span>
+</div>
+
+<p><b>Ground worked in two sizes of thread</b> (fig. <a href="#fig_671">671</a>).&mdash;Herewith
+begins the series of stitches,
+referred to at the beginning of the
+chapter, copied in part from one of
+the oldest and most curious pieces
+of embroidered netting we have ever
+met with. The copies were worked
+with Cordonnet 6 fils D.M.C No.
+25 and &eacute;cru Fil &agrave; dentelle D.M.C
+No. 70<a href="#Footnote_A" class="fnanchor">[A]</a>; the former being used for
+the darning and the almond-shaped
+stitches between; the latter for the
+buttonhole stitches. Wherever two
+sizes of thread are used for one pattern, all the stitches in the
+coarse thread should be put in first and those in the fine, last.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/677.jpg"  alt="FIG. 671. GROUND WORKED IN TWO SIZES OF THREAD." title="" />
+<a name="fig_671" id="fig_671"></a><span class="caption smcap">Fig. 671. Ground worked in two sizes of thread.</span>
+</div>
+
+<p><b>Ground with wheels and loop stitch</b> (fig. <a href="#fig_672">672</a>).&mdash;You
+begin with the coarse thread and
+finish all the wheels first, making
+them each over 4 threads of the
+netting; then with the fine thread,
+you make loop stitches between
+them, in rows, as shown in figs.
+<a href="#fig_641">641</a> and <a href="#fig_642">642</a>.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/678.jpg"  alt="FIG. 672. GROUND WITH WHEELS AND LOOP STITCH." title="" />
+<a name="fig_672" id="fig_672"></a><span class="caption smcap">Fig. 672. Ground with wheels and loop stitch.</span>
+</div>
+
+<p><b>Ground worked in darning
+and loop stitch</b> (fig. <a href="#fig_673">673</a>).&mdash;The
+darning stitches are made in the
+coarse thread, over 4 squares of
+the netting, in a horizontal direction,
+with loop stitches, in the
+fine thread, made between them, over the same number of
+squares.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/679.jpg"  alt="FIG. 673. GROUND WORKED IN DARNING AND LOOP STITCH." title="" />
+<a name="fig_673" id="fig_673"></a><span class="caption smcap">Fig. 673. Ground worked in darning and loop stitch.</span>
+</div>
+
+<p><b>Ground worked in two sizes of thread</b> (fig. <a href="#fig_674">674</a>).&mdash;Carry
+the coarse thread, from right to left, under the first
+knot of the netting, and then under the next, from left to
+<a name="Page_426" id="Page_426"></a>right. This has to be done
+twice, to and fro, so that the
+squares of the netting are
+edged on both sides with a
+double layer of threads.</p>
+<div class="figcenter" style="width: 300px;">
+<img src="images/680.jpg"  alt="FIG. 674. GROUND WORKED IN TWO SIZES OF THREAD." title="" />
+<a name="fig_674" id="fig_674"></a><span class="caption smcap">Fig. 674. Ground worked in two sizes of thread.</span>
+</div>
+
+<p>When the whole foundation
+has been thus covered,
+take the fine thread and make
+loop stitches in the squares
+between the other rows of
+stitches, passing the needle
+for that purpose over the double
+stitch. Lastly, intersect the
+loop stitches with straight
+threads and pass the needle each time through the knot of
+the netting.</p>
+
+<p><b>Ground worked with cross stitches in one size of thread</b>
+(fig. <a href="#fig_675">675</a>).&mdash;This pattern, very like the foregoing one, consists
+of 3 diagonal rows of stitches, worked to and fro, with cross
+stitches made over them.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/681.jpg"  alt="FIG. 675. GROUND WORKED WITH CROSS STITCHES IN ONE SIZE OF THREAD." title="" />
+<a name="fig_675" id="fig_675"></a><span class="caption smcap">Fig. 675. Ground worked with cross stitches in one size of thread.</span>
+</div>
+
+<p>You may also begin with the cross stitches, in the fine
+thread, and work the triple stitches over them, in the coarse.</p>
+
+<p><b>Ground worked with darning and cord stitches</b> (fig.<a name="Page_427" id="Page_427"></a>
+<a href="#fig_676">676</a>).&mdash;Patterns, executed chiefly in darning stitches, in a
+comparatively coarse thread, present a closer and heavier
+appearance than those we have been describing. Here, every
+other square of the netting is filled, as closely as possible, with
+stitches; the empty squares between are intersected diagonally
+with corded threads.</p>
+
+<p><b>Ground worked with squares and wheels</b> (figs. <a href="#fig_677">677</a>, <a href="#fig_678">678</a>,
+<a href="#fig_679">679</a>).&mdash;A ground very often met
+with in old embroidered netting,
+consists of diagonal lines of squares,
+closely filled with darning stitches,
+alternating with diagonal lines of
+squares, each with a small wheel
+in the middle.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_676" id="fig_676"></a><a name="fig_677" id="fig_677"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/682.jpg"  alt="FIG. 676. GROUND WORKED WITH DARNING AND CORD STITCHES." title="" />
+<span class="caption smcap">Fig. 676. Ground worked with darning and cord stitches.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/683.jpg"  alt="FIG. 677. GROUND WORKED WITH SQUARES AND WHEELS." title="" />
+<span class="caption smcap">Fig. 677. Ground worked with squares and wheels.</span>
+</div>
+</div>
+
+<p>In fig. <a href="#fig_678">678</a>, the darning stitches,
+and the wheels, which are both
+worked with the same material,
+cover 4 squares of the netting.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_678" id="fig_678"></a><a name="fig_679" id="fig_679"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/684.jpg"  alt="FIG. 678. GROUND WORKED WITH SQUARES AND WHEELS." title="" />
+<span class="caption smcap">Fig. 678. Ground worked with squares and wheels.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/685.jpg"  alt="FIG. 679.
+GROUND WITH LARGE WHEELS." title="" />
+<span class="caption smcap">Fig. 679.
+Ground with large wheels.</span>
+</div>
+</div>
+
+<p>Larger expanses of netting may
+also be entirely filled with wheels,
+fig. <a href="#fig_679">679</a>. To make a really satisfactory grounding of this kind,
+you should be careful always to carry your thread over the
+bars of the netting and under the threads that are stretched
+diagonally across.</p><p><a name="Page_428" id="Page_428"></a></p>
+
+<p><b>Ground worked in cross and darning stitch</b> (fig. <a href="#fig_680">680</a>).&mdash;You
+begin, as before, by making the close darning stitches,
+and then proceed to the cross stitches. To give them the right
+shape, finish all the rows of
+stitches one way first; in the
+subsequent rows, that cross
+the first ones, you introduce
+the thread between the stitches
+that were first crossed.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/686.jpg"  alt="FIG. 680.
+GROUND WORKED IN CROSS AND
+DARNING STITCH." title="" />
+<a name="fig_680" id="fig_680"></a><span class="caption smcap">Fig. 680.
+Ground worked in cross and
+darning stitch.</span>
+</div>
+
+<p><b>Ground of geometrical
+figures</b> (fig. <a href="#fig_681">681</a>).&mdash;This pattern,
+quite different from all
+the others, consists of simple
+geometrical lines. Fasten the
+thread to a knot of the netting,
+then carry it, always diagonally,
+under 3 other knots
+and repeat this 3 times, after which, carry it once round the
+bar of the netting, to fasten it, and back again to the knot
+which it already encircles, and from thence begin a new square.
+Owing to your having always to bring
+the thread back to the knot whence
+the next square is to begin, you will
+have 4 threads on two of the sides
+and 6 on the two others.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/687.jpg"  alt="FIG. 681. GROUND OF GEOMETRICAL FIGURES." title="" />
+<a name="fig_681" id="fig_681"></a><span class="caption smcap">Fig. 681. Ground of geometrical figures.</span>
+</div>
+
+<p>In the second and subsequent
+rows, the needle has to pass twice
+under the angles that were first formed,
+in order that, over the whole
+surface, all the corners may be equally
+covered and connected.</p>
+
+<p><b>Netted insertion worked in
+plain darning stitch</b> (fig. <a href="#fig_682">682</a>).&mdash;The taste for ornamenting
+not only curtains but bed and table linen also, with lace and
+insertion of all kinds, to break the monotony of the large white
+surfaces, is becoming more and more general and the insertion
+here described will be welcome to such of our readers as have
+neither time nor patience for work of a more elaborate nature.</p><p><a name="Page_429" id="Page_429"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="./images/full_688.jpg"><img src="images/688.jpg"  alt="FIG. 682. NETTED INSERTION WORKED IN PLAIN DARNING STITCH." title="" /></a>
+<a name="fig_682" id="fig_682"></a><span class="caption"><span class="smcap">Fig. 682. Netted insertion worked in plain darning stitch.<br />
+Materials</span>&mdash;For the netting: Cordonnet 6 fils D.M.C No. 25.&mdash;For the
+darning stitch: Coton &agrave; broder D.M.C No. 25, or Coton &agrave; repriser D.M.C Nos. 12
+to 50, white or &eacute;cru.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The way to make straight
+netting has already been fully
+described in figs. <a href="#fig_625">625</a>, <a href="#fig_626">626</a>,
+<a href="#fig_627">627</a>, <a href="#fig_628">628</a>, <a href="#fig_629">629</a> and <a href="#fig_630">630</a>, and
+darning stitch in fig. <a href="#fig_637">637</a>.</p>
+
+<p>To those who wish to be
+saved the trouble of making
+the netting themselves, we can
+strongly recommend various
+fabrics, intended to take its
+place, more especially Filet
+Canevas, which is an exact
+imitation of the finest hand-made
+netting. The centre part
+of the pattern in fig. <a href="#fig_682">682</a>, is worked in rows of horizontal
+darning stitches, the narrow border in vertical ones.</p>
+
+<p><b><a name="Ground_of_netting_embroidered" id="Ground_of_netting_embroidered"></a>Ground of netting embroidered</b> (fig. <a href="#fig_683">683</a>).&mdash;We have
+already had occasion, in the foregoing explanations, to point
+out the advantage of embroidering with two sizes of thread,
+but it is only in a piece of work of a certain size that it is
+possible really to judge of the excellent effect produced by the
+use of two threads of different sizes.</p>
+
+<p><a name="Page_430" id="Page_430"></a></p>
+<div class="figcenter" style="width: 600px;">
+<img src="images/689.jpg"  alt="FIG. 683. EMBROIDERED GROUND OF NETTING." title="" />
+<a name="fig_683" id="fig_683"></a><span class="caption"><span class="smcap">Fig. 683. Embroidered ground of netting.<br />
+Materials</span>&mdash;For the netting: Fil &agrave; dentelle D.M.C Nos. 25 to 50.<br />
+For the darning stitch: Cordonnet 6 fils D.M.C No. 15, or Fil &agrave; pointer D.M.C
+No. 30.&mdash;For the loop stitch: Fil &agrave; dentelle D.M.C or Cordonnet 6 fils D.M.C
+according to the size of the netting thread.</span>
+</div>
+
+<p>The principal lines of the pattern, which are in darning
+stitch, are worked in a very coarse thread with a strong twist,
+Fil &agrave; pointer D.M.C, whilst the loop stitches are in Cordonnet
+6 fils D.M.C.</p><p><a name="Page_431" id="Page_431"></a></p>
+
+<p>Our model was worked in &eacute;cru thread but there is nothing
+to prevent several colours being introduced, for instance &eacute;cru,
+black or Gris-Ficelle 462 for the netted foundation; Rouge-Cardinal
+346, for the darning stitches, and Chin&eacute; d'or D.M.C
+green and gold or blue and gold, for the loop stitches and the
+threads that are carried across inside.</p>
+
+<p><b>Embroidered square of netting with two kinds of
+lace suitable for the border</b> (figs. <a href="#fig_684">684</a>, <a href="#fig_685">685</a>, <a href="#fig_686">686</a>).&mdash;Large
+pieces of embroidered netting are generally made up of squares
+<a name="Page_432" id="Page_432"></a>and stripes, joined together with ribbon and fine linen insertions.
+It is easier and less cumbrous to make the netting in separate
+pieces. Squares of different patterns can also be combined with
+crochet and pillow lace, in this case of course the squares
+have to be arranged with some system.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/690.jpg"  alt="FIG. 684. EMBROIDERED SQUARE OF NETTING." title="" />
+<a name="fig_684" id="fig_684"></a><span class="caption"><span class="smcap">Fig. 684. Embroidered square of netting.<br />
+Materials</span>: Cordonnet 6 fils D.M.C Nos. 15 to 30, or Fil &agrave; dentelle D.M.C
+Nos. 15 to 40, white or &eacute;cru.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Fig. <a href="#fig_685">685</a> represents a lace edging intended for the square
+fig. <a href="#fig_684">684</a>, which shows how even in such a simple pattern as
+this, several colours may be successfully introduced.</p>
+
+<div class="figcenter" style="width: 425px;">
+<img src="images/691.jpg"  alt="FIG. 685. LACE EDGING FOR THE SQUARE, FIG. 684" title="" />
+<a name="fig_685" id="fig_685"></a><span class="caption"><span class="smcap">Fig. 685. Lace edging for the square, fig. <a href="#fig_684">684</a>.<br />
+Materials:</span> The same as for fig. <a href="#fig_684">684</a>, and Or fin
+D.M.C pour la broderie No. 30.<br />
+<span class="smcap">Colours</span>&mdash;For the netting and the loop stitch:
+White or &eacute;cru.&mdash;For the darning stitch:
+Brun-Caroubier 303 and Rouge-Grenat 335.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Fig. <a href="#fig_686">686</a> is a handsomer and more elaborate pattern for
+the same kind of purpose. The loop stitches and the linen
+stitches should be
+worked in a very
+light shade; instead
+of the colour indicated
+at the foot of the
+engraving, Rouge-G&eacute;ranium
+353, Violet-Mauve
+377 or
+Jaune-Rouille 365
+may be used; for
+the netting and the
+loop stitches you
+may combine, with
+the first shade, two
+shades of Brun-Caroubier
+303 and 357, with
+the second, two shades
+of Jaune-vieil Or 678
+and 680 and with the
+third, two shades of
+Rouge-Cardinal 346 and
+348.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/692.jpg"  alt="FIG. 686. LACE EDGING." title="" />
+<a name="fig_686" id="fig_686"></a><span class="caption"><span class="smcap">Fig. 686. Lace edging.<br />
+Materials</span>: The same as for <a href="#fig_684">684</a>.<br />
+<span class="smcap">Colours</span>&mdash;For the netting: &eacute;cru.&mdash;For the
+ground in loop and linen stitch:
+Bleu p&acirc;le 668.&mdash;For the bars in darning stitch:
+Gris-Tilleul 391 and 393.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Pattern for ground</b>
+(fig. <a href="#fig_687">687</a>).&mdash;The peculiar
+charm of this most
+unpretending pattern is
+<a name="Page_433" id="Page_433"></a>chiefly due to the variety of material and colour introduced
+into it. The netted ground is made of dark brown Cordonnet
+6 fils D.M.C No. 25, worked over, in the first instance, with
+loop stitches in a pale grey, which are afterwards connected
+by darning stitches in Coton &agrave; repriser Gris-Tilleul 392.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/693.jpg"  alt="FIG. 687. PATTERN FOR GROUND." title="" />
+<a name="fig_687" id="fig_687"></a><span class="caption"><span class="smcap">Fig. 687. Pattern for ground.<br />
+Materials</span>&mdash;For the netting: Cordonnet 6 fils D.M.C Nos. 15 to 30.
+For the embroidery: Coton &agrave; repriser D.M.C No. 25.<br />
+<span class="smcap">Colours</span>: Brun-Havane 455, Gris-Noisette 423, Jaune-vieil-Or 680,
+Gris-Tilleul 391 and Rouge-G&eacute;ranium 352.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The same material in Rouge-G&eacute;ranium, is used for the
+little centre squares and the pink crosses, and isolated darned
+squares are framed with loose cord stitches in Coton &agrave; repriser
+colour Jaune-vieil-Or 680.</p>
+<p><a name="Page_434" id="Page_434"></a></p>
+<p>We can also recommend, for the same pattern, the following
+combination of colours, all to be found on the D.M.C colour
+card; namely, Bleu p&acirc;le 668 for the netting; Chin&eacute; d'or, gold
+with dark blue for the loop stitches; Ganse turque D.M.C No. 12
+(Turkish gold cord) for the darning stitches, between the loop
+stitches; Coton &agrave; broder or Cordonnet 6 fils in Rouge-Cornouille
+450, for the detached darned squares and Coton &agrave; repriser, in
+Jaune-d'Or 667 for the setting of all the different parts of the
+pattern.</p>
+
+<p><b>Embroidery on netting with different-sized loops</b> (fig. <a href="#fig_688">688</a>).&mdash;The netting, described and represented in fig. <a href="#fig_620">620</a>,
+with plain, oblong and double loops, here forms the ground
+for the embroidery.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/694.jpg"  alt="FIG. 688. EMBROIDERY ON NETTING WITH DIFFERENT-SIZED LOOPS." title="" />
+<a name="fig_688" id="fig_688"></a><span class="caption"><span class="smcap">Fig. 688. Embroidery on netting with different-sized loops. <br />
+Materials</span>&mdash;For the netting: Fil &agrave; dentelle D.M.C No. 40.
+For the embroidery: Coton &agrave; broder D.M.C No. 16, white or &eacute;cru.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>In order to make the isolated loop stitches, the thread
+which forms the cross in the middle must be carried to the
+<a name="Page_435" id="Page_435"></a>middle of the bar, the loops that form the stitches must be
+finished and the thread carried back to the knot whence it
+started. It must then be taken three times backwards and for<a name="Page_436" id="Page_436"></a>wards
+over the foundation thread and the two bars of the netting,
+when the stitches, into and over 3 squares of the netting,
+should be made. The last row in the engraving shows the
+pattern in the successive stages of its development.</p>
+
+<p><b>Square and edging in cut netting</b> (figs. <a href="#fig_689">689</a> and <a href="#fig_690">690</a>).&mdash;Few
+patterns admit of such a successful application of all the
+stitches hitherto described, as the square and edging presented
+to our readers in the two subjoined figures. On a netted ground
+of rather fine thread, we have in the first place, linen stitch, in
+the border, worked in rather a coarser thread than the ground;
+then raised wheels, buttonholed bars with picots in the centre,
+<a name="Page_437" id="Page_437"></a>plain wheels very close together, and long ribbed bars worked
+in darning stitch.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="./images/full_695.jpg"><img src="images/695.jpg"  alt="FIG. 689. SQUARE IN CUT NETTING." title="" /></a>
+<a name="fig_689" id="fig_689"></a><span class="caption smcap">Fig. 689. Square in cut netting.</span>
+</div>
+
+<p>The edging, to match the square, is worked in the original
+in pale shades, in contrast to the square which is executed
+entirely in &eacute;cru thread. The squares in the netted footing of
+the lace are loosely overcast with pale Violet-Mauve 316, the
+same colour is also used for the wheels in the outside edge,
+each of which fills a square, and for the loop stitches round
+them; whilst the middle one of the three upper ribbed wheels
+and the star are worked in dark Violet-Mauve 315. The
+crosses in linen stitch, the three lower ribbed wheels and
+<a name="Page_438" id="Page_438"></a>the long ribbed bars in darning stitch, are in Gris-Tilleul
+392.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="fig_690" id="fig_690"></a>
+<a href="./images/full_696.jpg"><img src="images/696.jpg"  alt="FIG. 690. LACE EDGING IN CUT NETTING.
+MATERIALS: Fil &agrave; dentelle D.M.C Nos. 25 to 50, in three shades of one colour." title="" /></a>
+<span class="caption"><span class="caption smcap">Fig. 690. Lace edging in cut netting.<br />
+Materials</span>: Fil &agrave; dentelle D.M.C Nos. 25 to 50, in three shades of one colour.</span>
+</div>
+
+<p><b><a name="Netted_insertion" id="Netted_insertion"></a>Netted insertion</b> (fig. <a href="#fig_691">691</a>).&mdash;This is a copy of a beautiful
+piece of embroidered netting, to all appearance, several centuries
+old, and in a state that rendered, even the most delicate
+handling almost impossible.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_697.jpg"><img src="images/697.jpg"  alt="FIG. 691. NETTING INSERTION" title="" /></a>
+<a name="fig_691" id="fig_691"></a><span class="caption"><span class="caption smcap">Fig. 691. Netting insertion</span>&mdash;For the netting: Cordonnet 6 fils D.M.C No. 40 white or &eacute;cru.
+&mdash;For the embroidery: Ganse turque D.M.C Nos. 6 and 12.</span>
+</div>
+
+<p>After several experiments, the best result has been arrived
+at, and the Turkish cord in which the original is made, has
+now been manufactured for netting purposes, as well as for
+other kinds of decorative work, already alluded to, and referred
+to again later on.</p>
+
+<p>The first foundation, that is, the actual netting, for a thing
+of this kind, should be made in white or &eacute;cru thread, with very
+small meshes; the pattern itself is embroidered on the netting
+with Ganse turque D.M.C No. 12; this material, &eacute;cru and
+gold mixed, gives the work a glittering and peculiarly elegant
+appearance, unobtainable in any other.</p>
+
+<p>The execution is extremely easy, it being worked entirely
+in darning stitch; but the drawing should be copied with great
+accuracy and the wide braid very carefully sewn on with close
+stitches round the squares, which are filled in with darning
+stitches made in Ganse turque No. 12.</p>
+
+<p>Any netting pattern can be copied in this braid, and the
+simplest piece of work of the kind is worth mounting on a rich
+foundation of silk, brocade, velvet or plush. To give a single
+example, the insertion here described and illustrated, was
+mounted on slate-blue plush and has been universally admired.</p>
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_13.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents.</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
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+<p><a name="Page_439" id="Page_439"></a></p>
+
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/698.jpg"  alt="INSERTION.&mdash;IRISH LACE WITH RAISED ORNAMENTS." title="" />
+<span class="caption smcap">Insertion.&mdash;Irish lace with raised ornaments.</span>
+</div>
+
+
+
+<hr style="width: 15%;" />
+<h2><a name="IRISH_LACE" id="IRISH_LACE"></a>Irish Lace.</h2>
+<hr style="width: 15%;" />
+
+
+<p>Irish lace, also known under the name of Renaissance lace,
+from its having been first made in the sixteenth century, is an
+imitation of the earliest pillow laces; it ought, properly speaking,
+to be called French lace, having been invented in France
+and thence introduced into England and Ireland.</p>
+
+<p>It is composed of braid or tape, formed into figures, joined
+together by needlemade, corded or buttonhole bars and fillings
+of different kinds, or by bars alone.</p>
+
+<p>The lace stitches and bars are almost the same as those used
+in fine Venetian point, but they are executed in a coarser material
+so that this section of our work may be considered as a
+preparation for the different kinds of lace, to be described in
+the next chapter.</p>
+
+<p><b><a name="Materials" id="Materials"></a>Materials</b> (fig. <a href="#fig_692">692</a>).&mdash;The braids used for making Irish
+lace are an English speciality and manufactured exclusively in
+England; they are very various in shade, width and thickness,
+and are to be had white, unbleached, grey and pale yellow,
+narrow and wide, coarse and fine in texture, with and without
+holes, open edge and picots, with large medallions and small.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/699.jpg"  alt="FIG. 692. PATTERNS OF THE DIFFERENT
+TAPES AND BRAIDS USED FOR IRISH LACE." title="" />
+<a name="fig_692" id="fig_692"></a><span class="caption smcap">Fig. 692. Patterns of the different
+tapes and braids used for irish lace.</span>
+</div>
+
+<p>Fig. <a href="#fig_692">692</a> represents the kinds most commonly used, in their
+original size, together with a specimen picot, or purl, as they
+are called in England, for the outside edge, also to be had
+ready made, for those who do not care for the trouble of making
+them themselves.</p><p><a name="Page_440" id="Page_440"></a></p>
+
+<p>For the stitches and bars by which the braids are joined
+together, the best material is Fil &agrave; dentelle D.M.C,<a href="#Footnote_A" class="fnanchor">[A]</a> (lace
+thread) a smooth even thread, now made in every colour to
+match the braids.</p>
+
+<p><b>Transferring designs for Irish lace.</b>&mdash;The best way is
+to trace them on oiled tracing
+linen with a watery ink, free
+from greasy matter. This tracing
+linen, which is of English make,
+is white, glazed on one side only;
+the unglazed surface should be
+turned uppermost, as it takes the
+ink better.</p>
+
+<p>As this tracing linen is quite
+transparent, the pattern can be
+transferred to it at once without
+recourse to any other
+process.</p>
+
+<p>It will be found less trying
+for the eyes to lay a piece of
+transparent coloured paper, or
+stuff, under the pattern whilst
+you are copying it. The Irish lace
+designs are almost all drawn with
+double lines, between which
+the braid is tacked on with small
+back stitches. We may mention
+at once that it is advisable to
+make the stitches longer on the
+right side than on the other, or
+at any rate to make them of the
+same length.</p>
+
+<p><b><a name="Tacking_down" id="Tacking_down"></a>Tacking down and gathering in the braids</b> (fig. <a href="#fig_693">693</a>).&mdash;Where
+the lines of the pattern describe a curve or a circle, the
+outside edge of the braid, as shown in fig. <a href="#fig_693">693</a>, must be sewn
+down firmly, so as to form little folds or gathers on the inside
+<a name="Page_441" id="Page_441"></a>edge, which are first tacked down and then gathered in with
+small overcasting stitches in fine thread, so as to fit exactly to
+the pattern.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/700.jpg"  alt="FIG. 693. TACKING DOWN AND DRAWING IN THE BRAIDS." title="" />
+<a name="fig_693" id="fig_693"></a><span class="caption smcap">Fig. 693. Tacking down and drawing in the braids.</span>
+</div>
+
+<p>The stitches, made for the bars and the fillings, must
+never be drawn so tightly as to drag out the edges of the
+braids and thus spoil the outlines of the pattern. Nor should
+the stitches be caught into the tracing cloth, but only rest
+upon it.</p>
+
+<p>When the embroidery is finished, turn the work the wrong
+side up, cut every second or third tacking stitch and pull the
+threads carefully out, from the wrong side, when the lace will
+separate itself from the backing without difficulty; it has
+then to be damped and ironed also on the wrong side. (See
+the concluding chapter on the different processes for finishing
+off needlework).</p>
+
+<p>It is of no consequence which are made first, the bars or
+the fillings; we however incline to the former, more especially
+in the case of buttonhole bars, as they are easier to do than
+the fillings and once done, there is less risk of puckering or
+drawing the edges together, in making the fillings.</p>
+
+<p><b><a name="The_stitches" id="The_stitches"></a>The stitches.</b>&mdash;We shall now proceed to describe a series
+of bars and stitches, which, if carefully studied, will serve as
+<a name="Page_442" id="Page_442"></a>a preparation for making all the finer kinds of laces described
+in the ensuing chapter.</p>
+
+<p>Without pretending to have exhausted the infinite variety
+of lace stitches that exists, we hope to have brought before
+our readers' notice a sufficiently numerous
+selection to satisfy all tastes and capacities.</p>
+
+<p>With regard to the names, the same
+stitches are known by so many different ones,
+that excepting in the case of those universally
+accepted, we have disregarded them
+altogether and merely numbered the stitches
+in their order.</p>
+
+<p><b>Plain twisted bar</b> (fig. <a href="#fig_694">694</a>).&mdash;Secure
+the thread to the braid and throw it across
+from one braid edge to the other, put the
+needle in downwards from above, and overcast
+the first thread, so as to form the two
+into a cord. If you do not make enough overcasting
+stitches to tighten the two threads,
+the bars will be loose and untidy and spoil
+the general appearance of the work.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_694" id="fig_694"></a><a name="fig_695" id="fig_695"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/701.jpg"  alt="FIG. 694. PLAIN TWISTED BAR." title="" />
+<span class="caption smcap">Fig. 694. Plain twisted bar.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/702.jpg"  alt="FIG. 695. DOUBLE TWISTED BAR." title="" />
+<span class="caption smcap">Fig. 695. Double twisted bar.</span>
+</div>
+</div>
+
+<p><b>Double twisted bar</b> (fig. <a href="#fig_695">695</a>).&mdash;Throw
+three foundation threads across the space to
+be filled and overcast them loosely, so that
+they remain visible between the stitches.</p>
+
+<p><b>Plain buttonhole bar</b> (fig. <a href="#fig_696">696</a>).&mdash;Throw
+three threads across and cover them with
+buttonhole stitches, made from right to left.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/703.jpg"  alt="FIG. 696. PLAIN BUTTONHOLE BAR." title="" />
+<a name="fig_696" id="fig_696"></a><span class="caption smcap">Fig. 696. Plain buttonhole bar.</span>
+</div>
+
+<p>In making this and the subsequent bars,
+we recommend turning the needle round and holding it as it
+were the reverse way, so that the eye not the point passes
+first under the threads; strange as it may seem, it is easier in
+this manner to avoid splitting the threads. The working thread
+should always issue from the edge of the braid, one or two
+threads before the foundation threads of the bar, to prevent
+the bars being of unequal width, or getting twisted at the
+beginning.</p><p><a name="Page_443" id="Page_443"></a></p>
+
+<p><b>Buttonhole bars with pinned picots</b> (figs. <a href="#fig_697">697</a> and <a href="#fig_698">698</a>).
+After covering half, or a third of the bar with buttonhole
+stitches, pass the thread without making a loop, under the
+foundation threads, and fasten the loop with a pin, fig. <a href="#fig_697">697</a>,
+then slip the needle, horizontally from right to left, under the
+3 threads and tighten the knot close to the
+last buttonhole stitch.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_697" id="fig_697"></a><a name="fig_698" id="fig_698"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/704.jpg"  alt="FIG. 697. BUTTONHOLE BAR WITH PINNED PICOTS." title="" />
+<span class="caption smcap">Fig. 697. Buttonhole bar with pinned picots.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/705.jpg"  alt="FIG. 698. BUTTONHOLE BAR WITH PINNED PICOTS." title="" />
+<span class="caption smcap">Fig. 698. Buttonhole bar with pinned picots.</span>
+</div>
+</div>
+
+<p>Fig. <a href="#fig_698">698</a> shows a picot made in the same
+manner, but with several buttonhole stitches
+inserted between the loop and the buttonholed
+bar.</p>
+
+<p><b>Bar with lace picot</b> (fig. <a href="#fig_699">699</a>).&mdash;Here
+the picot is made by bringing the thread
+out through the loop and beginning the buttonhole
+stitches, 4 or 5 in number, according
+to the size of the thread, quite close to the
+pin, so that they entirely cover the loop. The
+pin must be stuck in the width of 4 stitches,
+distant from the bar, and the foundation threads should be
+completely hidden under the bar.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_699" id="fig_699"></a><a name="fig_700" id="fig_700"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/706.jpg"  alt="FIG. 699. BAR WITH LACE PICOT." title="" />
+<span class="caption smcap">Fig. 699. Bar with lace picot.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/707.jpg"  alt="FIG. 700. BAR WITH PICOT MADE IN BULLION STITCH." title="" />
+<span class="caption smcap">Fig. 700. Bar with picot made in bullion stitch.</span>
+</div>
+</div>
+
+<p><b>Bar with picot made in bullion stitch</b> (fig. <a href="#fig_700">700</a>).&mdash;Put
+the needle halfway into the last buttonhole stitch, twist the
+thread ten or twelve times round it from left to right, draw
+<a name="Page_444" id="Page_444"></a>it through and tighten the thread, so that the spiral on the
+thread form a semicircle, then continue the bar (see also for
+the bullion stitch figs. <a href="./chapter_5.html#fig_179">179</a> and <a href="./chapter_12.html#fig_661">661</a>).</p>
+
+<p><b>Bar with buttonhole picot</b> (fig. <a href="#fig_701">701</a>).&mdash;Cover rather more
+than half the bar with buttonhole stitches, carry the thread
+three times to the 6th stitch and back, then buttonhole these
+threads that are attached to the bar in the same way as the
+bar itself and finish the bar in the usual way.</p>
+
+<p>These buttonhole picots are generally used for edging lace;
+they may in their turn be adorned with small pinned picots to
+produce a richer effect.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_701" id="fig_701"></a><a name="fig_702" id="fig_702"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/708.jpg"  alt="FIG. 701. BAR WITH BUTTONHOLE PICOT." title="" />
+<span class="caption smcap">Fig. 701. Bar with buttonhole picot.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/709.jpg"  alt="FIG. 702. BAR WITH TWO ROWS OF KNOTS." title="" />
+<span class="caption smcap">Fig. 702. Bar with two rows of knots.</span>
+</div>
+</div>
+
+<p><b>Bar with two rows of knots</b> (fig. <a href="#fig_702">702</a>).&mdash;Over two foundation
+threads, make double knots, far enough apart to leave
+room for the knots of the next row between.</p>
+
+<p>These double knots consist, in
+the first place, of one plain buttonhole
+stitch and then one reversed,
+that is, made by bringing the
+needle out in front of the thread
+and passing it under the loop; the
+result being that the thread will
+lie behind the thread and not before
+it, as in an ordinary buttonhole stitch.</p>
+
+<p><b>Branched bars</b> (fig. <a href="#fig_703">703</a>).&mdash;Where you have a larger surface
+<a name="Page_445" id="Page_445"></a>to cover with bars, you are generally obliged to make them
+with branches. For this purpose you prepare the threads as for
+an ordinary bar and cover them halfway with buttonhole
+stitches; then you carry on the foundation thread to the next
+bar, buttonhole it also halfway, lay the next foundation thread,
+and finally buttonhole all the half-covered bars till you reach
+the dotted line, from whence you lay the last foundation
+threads.</p>
+
+<p>The last bar is worked over 2 or 4 threads, so that the
+working thread can be taken back to the edge of the braid by
+means of the last buttonhole stitches.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_703" id="fig_703"></a><a name="fig_704" id="fig_704"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/710.jpg"  alt="FIG. 703. BRANCHED BARS." title="" />
+<span class="caption smcap">Fig. 703. Branched bars.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/711.jpg"  alt="FIG. 704. PLAIN RUSSIAN STITCH." title="" />
+<span class="caption smcap">Fig. 704. Plain russian stitch.</span>
+</div>
+</div>
+
+<p><b>Plain Russian stitch</b> (fig. <a href="#fig_704">704</a>).&mdash;Stitches of all kinds can
+be used, as well as bars, for joining braids together that run
+parallel to each other, and for
+filling up the spaces between.
+These stitches, which serve as
+an insertion, are some of them
+very elementary, whilst others
+require great skill and patience
+to execute.</p>
+
+<p>The simplest of all is the
+Russian stitch, which bears
+a great resemblance to the
+crossed stitch, shown in fig. <a href="./chapter_1.html#fig_39">39</a>,
+and the crossed back-stitch,
+fig. <a href="./chapter_5.html#fig_176">176</a>.</p>
+
+<p>You pass the needle from
+left to right, under the edge
+of the braid, then again from right to left under the opposite
+edge, taking care always to leave the thread in front of the needle.</p>
+
+<p><b>Twisted Russian stitch</b> (fig. <a href="#fig_705">705</a>).&mdash;Instead of passing
+the needle behind the thread,
+pass it before it and round
+it, so that the needle always
+comes out again beneath
+the thread, which will then be
+twice twisted.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_705" id="fig_705"></a><a name="fig_706" id="fig_706"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/712.jpg"  alt="FIG. 705. TWISTED RUSSIAN STITCH." title="" />
+<span class="caption smcap">Fig. 705. Twisted russian stitch.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/713.jpg"  alt="FIG. 706. COLUMN STITCH." title="" />
+<span class="caption smcap">Fig. 706. Column stitch.</span>
+</div>
+</div>
+
+<p><b>Column Stitch</b> (fig. <a href="#fig_706">706</a>).&mdash;<a name="Page_446" id="Page_446"></a>At
+the bottom, the stitch is made like the plain Russian stitch,
+and at the top, like the one in fig. <a href="#fig_705">705</a>, with the difference
+that the second thread is passed three times round the first.</p>
+
+<p><b><a name="Insertion" id="Insertion"></a>Insertion of single buttonhole
+stitches</b> (figs. <a href="#fig_707">707</a> and
+<a href="#fig_708">708</a>).&mdash;Make very loose buttonhole
+stitches along both
+edges of the braid, all the
+same size and the same
+distance apart, and vertically,
+opposite to each other.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_707" id="fig_707"></a><a name="fig_708" id="fig_708"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/714.jpg"  alt="FIG. 707. INSERTION OF SINGLE BUTTONHOLE STITCHES." title="" />
+<span class="caption smcap">Fig. 707. Insertion of single buttonhole stitches.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/715.jpg"  alt="FIG. 708. INSERTION OF PLAIN BUTTONHOLE STITCHES." title="" />
+<span class="caption smcap">Fig. 708. Insertion of plain buttonhole stitches.</span>
+</div>
+</div>
+
+<p>When these two rows are
+finished, pick up each loop
+with Russian stitch, either
+single, fig. <a href="#fig_704">704</a>, or twisted,
+fig. <a href="#fig_705">705</a>. Fig. <a href="#fig_708">708</a> shows the
+double Russian stitch made in
+each loop; it may be trebled or
+quadrupled, according to whether
+you wish your insertion
+to be very transparent or not.</p>
+
+<p><b>Insertion with bead stitches</b>
+(fig. <a href="#fig_709">709</a>).&mdash;Join the opposite
+rows of loops together by
+four stitches. The threads of
+these stitches must lie quite
+flat, side by side, and not one
+on the top of the other. After
+the fourth stitch, you wind the
+thread round the bottom loop and then carry it on to the next,
+whence you repeat the four stitches as above.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/716.jpg"  alt="FIG. 709. INSERTION WITH BEAD STITCHES." title="" />
+<a name="fig_709" id="fig_709"></a><span class="caption smcap">Fig. 709. Insertion with bead stitches.</span>
+</div>
+
+<p><b>Cluster insertion</b> (fig. <a href="#fig_710">710</a>).&mdash;Over the middle of two
+finished plain bars and one half-finished one, a short distance
+apart, you make five buttonhole stitches and overcast the remainder
+of the third bar. The first bar of the next cluster
+must be set quite close to the last.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/717.jpg"  alt="FIG. 710. CLUSTER INSERTION." title="" />
+<a name="fig_710" id="fig_710"></a><span class="caption smcap">Fig. 710. Cluster insertion.</span>
+</div>
+
+<p><b>Insertion with branches</b> (figs. <a href="#fig_711">711</a> and <a href="#fig_712">712</a>).&mdash;Throw the
+thread across the middle of the space between two edges of
+<a name="Page_447" id="Page_447"></a>braid, and lengthways, from one end to the
+other, pass the needle horizontally under four
+or five threads of the braid, across the insertion;
+then carry it in a similar manner, first to the
+left and then to the right, take up the same
+number of threads of the braid and connect
+the three loops together by a knot, as is clearly
+shown in fig. <a href="#fig_711">711</a>.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_711" id="fig_711"></a><a name="fig_712" id="fig_712"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/718.jpg"  alt="FIG. 711. INSERTION WITH PLAIN BRANCHES." title="" />
+<span class="caption smcap">Fig. 711. Insertion with plain branches.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/719.jpg"  alt="FIG. 712. INSERTION WITH BRANCHES AND WHEELS." title="" />
+<span class="caption smcap">Fig. 712. Insertion with branches and wheels.</span>
+</div>
+</div>
+
+<p>Fig. <a href="#fig_712">712</a> represents a similar beginning, and
+a similar interlacing of the threads, but ornamented
+this time with a wheel, added after
+the knot has been made over the loops.</p>
+
+<p><b>Insertion with leaves in darning
+stitch</b> (fig. <a href="#fig_713">713</a>).&mdash;Fasten on the thread
+where, according to the illustration, the first leaf in the insertion
+ought to come, carry it across to the opposite side, draw
+it through the edge of the braid and bring it back to the point
+whence it started, lay threads across to both sides, like in
+figs. <a href="#fig_711">711</a> and <a href="#fig_712">712</a>, unite them by a knot, such as described
+in fig. <a href="#fig_711">711</a>, lay the thread once more round the middle
+leaf, and finish the leaf in darning stitch, working downwards
+from the top, as described in the preceding chapter in figs. <a href="./chapter_12.html#fig_646">646</a>
+and <a href="./chapter_12.html#fig_647">647</a>. As may be seen from the second middle leaf, your
+<a name="Page_448" id="Page_448"></a>darning stitches have to be made over five threads, subdivided
+into two and three.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/720.jpg"  alt="FIG. 713. INSERTION WITH LEAVES WORKED IN DARNING STITCH." title="" />
+<a name="fig_713" id="fig_713"></a><span class="caption smcap">Fig. 713. Insertion with leaves worked in darning stitch.</span>
+</div>
+
+<p><b>Insertion with small wheels</b> (fig. <a href="#fig_714">714</a>).&mdash;Here, you have
+to make two rows of Russian
+stitches opposite each other
+and carry the thread to the
+point of intersection, then,
+you make a wheel over five
+threads and pass the needle
+under the completed wheel to
+reach the next point of intersection.
+Half wheels may also
+be added at the edge of the
+braid, as in figs. <a href="./chapter_12.html#fig_658">658</a> and <a href="./chapter_12.html#fig_659">659</a>.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_714" id="fig_714"></a><a name="fig_715" id="fig_715"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/721.jpg"  alt="Fig. 714. INSERTION WITH SMALL WHEELS." title="" />
+<span class="caption smcap">Fig. 714. Insertion with small wheels.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/722.jpg"  alt="Fig. 715. INSERTION WITH BIG WHEELS." title="" />
+<span class="caption smcap">Fig. 715. Insertion with big wheels.</span>
+</div>
+</div>
+
+<p><b>Insertion with big wheels</b>
+(fig. <a href="#fig_715">715</a>).&mdash;Carry the thread
+horizontally across the middle
+of the space intended for the
+insertion, to the opposite side,
+and then conduct it by means of overcasting stitches into the
+corner; thence make a loose loop over to the opposite corner,
+pass the needle under six or eight threads of the braid edge, slip
+it under the horizontal thread first laid and behind the loop,
+and finish the stitch on the other side in the edge of the braid.</p>
+
+<p>Throw the thread again across the empty space and over
+the first thread, bring your needle back to the middle, make a
+big wheel over four threads, passing each time under the same
+threads, then overcast the single thread, come back to the edge
+of the braid and make the second loop, bringing out the thread
+at the same place where the other stitches came out.</p>
+
+<p><b>Insertion with cones</b> (figs. <a href="#fig_716">716</a> and <a href="#fig_717">717</a>).&mdash;Over plain
+but very distended Russian stitch, make darning stitches backwards
+and forwards, beginning at the point and reaching to
+the middle, so as to form small cone-shaped figures.</p>
+
+<p>To reach the point of the next cone you overcast the thread
+of the Russian stitch several times.</p>
+
+<p>You may also, as in fig. <a href="#fig_717">717</a>, double the Russian stitch and
+make the darning stitches in such a manner that the points of
+<a name="Page_449" id="Page_449"></a>the cones touch each other and
+their bases meet the edge of
+the braid. The same thing,
+worked the reverse way, that
+is, with the points turned outwards
+to the edge, produces
+a not less pretty effect.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_716" id="fig_716"></a><a name="fig_717" id="fig_717"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/723.jpg"  alt="Fig. 716. INSERTION WITH CONES." title="" />
+<span class="caption smcap">Fig. 716. Insertion with cones.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/724.jpg"  alt="Fig. 717. INSERTION WITH CONES." title="" />
+<span class="caption smcap">Fig. 717. Insertion with cones.</span>
+</div>
+</div>
+
+<p><b>Insertion with embroidered
+squares</b> (fig. <a href="#fig_718">718</a>).&mdash;After
+making rows of loose
+buttonhole stitches along the
+braid edges, as in figs. <a href="#fig_707">707</a>,
+<a href="#fig_708">708</a>, <a href="#fig_709">709</a>, run a thread through
+the buttonhole stitches; this
+thread serves as the foundation
+to the Russian stitches by
+which the two edges are joined
+together. The empty square
+space left between the Russian
+stitches is then filled up with
+buttonhole stitches, like those
+in fig. <a href="./chapter_12.html#fig_651">651</a>, in the foregoing
+chapter.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_718" id="fig_718"></a>
+<img src="images/725.jpg"  alt="Fig. 718. INSERTION WITH EMBROIDERED SQUARES." title="" />
+<span class="caption smcap">Fig. 718. Insertion with embroidered squares.</span>
+</div>
+
+<p><b>Insertion with half bars</b>
+(fig. <a href="#fig_719">719</a>).&mdash;Fasten on the thread in one of
+the corners of the braid and conduct it by
+means of overcasting stitches to the middle
+of the insertion, draw it through the edge of
+the braid on the right and make buttonhole
+stitches over it, to the middle of the space to
+be filled, then carry the thread to the left, draw
+it through the left edge, a little higher up
+than on the other side, and make the same
+number of stitches over it as over the first.
+You can vary this insertion with very good
+result by making more stitches on one side
+than on the other, but it should never be
+more than 10 or 12 stitches wide.</p><p><a name="Page_450" id="Page_450"></a></p>
+
+<div class="figcenter" style="width: 150px;">
+<a name="fig_719" id="fig_719"></a>
+<img src="images/726.jpg"  alt="Fig. 719: INSERTION WITH HALF BARS." title="" />
+<span class="caption smcap">Fig. 719. Insertion with half bars.</span>
+</div>
+
+<p><b>Plain net stitch. <a name="First_lace_stitch" id="First_lace_stitch"></a>First lace stitch</b> (fig. <a href="#fig_720">720</a>).&mdash;Make rows
+of buttonhole stitches to and fro, loose enough to form loops
+into which the stitches of each subsequent row are set. You
+must be careful to make the same number of stitches in all the
+spaces that are of the same size, and also, when you begin a
+row with a whole stitch, to begin the return row with a half,
+and so on, in regular rotation.</p>
+
+<p>The number of stitches should vary with the width of the
+pattern and the decreasing and increasing should always be
+done at the edge.</p>
+
+<p>The loops must be as many threads of the braid edge long,
+as they are wide.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_720" id="fig_720"></a><a name="fig_721" id="fig_721"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/727.jpg"  alt="FIG. 720. PLAIN NET STITCH. FIRST LACE STITCH." title="" />
+<span class="caption smcap">Fig. 720. Plain net stitch. First lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/728.jpg"  alt="FIG. 721. DOUBLE NET STITCH. SECOND LACE STITCH." title="" />
+<span class="caption smcap">Fig. 721. Double net stitch. Second lace stitch.</span>
+</div>
+</div>
+
+<p><b>Double net stitch. Second lace
+stitch</b> (fig. <a href="#fig_721">721</a>).&mdash;You leave the
+same distance between the stitches
+here as in the preceding figure, but
+in each of the loops of the first row,
+you must make two buttonhole
+stitches close together. It is as well
+to round the loop a little less than
+is usually done in net stitch.</p>
+
+<p><b>Third lace stitch</b> (fig. <a href="#fig_722">722</a>).&mdash;Here,
+you make three buttonhole
+stitches close together, joined to the next three by a loop of
+thread, just long enough to hold the three buttonhole stitches
+of the subsequent row.</p><p><a name="Page_451" id="Page_451"></a></p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_722" id="fig_722"></a><a name="fig_723" id="fig_723"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/729.jpg"  alt="FIG. 722. THIRD LACE STITCH." title="" />
+<span class="caption smcap">Fig. 722. Third lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/730.jpg"  alt="FIG. 723. FOURTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 723. Fourth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Fourth lace stitch</b> (fig. <a href="#fig_723">723</a>).&mdash;Working from left to
+right, make two buttonhole stitches rather near together, and
+leave twice as long a loop between them and the next two
+stitches as between the two first.</p>
+
+<p>In the next row, which is worked from right to left, make
+one stitch in the loop between the two stitches that are close
+together and three or four in the long loop.</p>
+
+<p><b>Fifth lace stitch</b> (fig. <a href="#fig_724">724</a>).&mdash;As in fig. <a href="#fig_723">723</a>, you begin
+this stitch from left to right, but making three stitches very
+close together with an intermediate loop as long as the three
+stitches in one.</p>
+
+<p>In the second row, you make one buttonhole stitch in each
+of the loops between the three stitches and six or eight in the
+long intermediate loop.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_724" id="fig_724"></a><a name="fig_725" id="fig_725"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/731.jpg"  alt="FIG. 724. FIFTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 724. Fifth lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/732.jpg"  alt="FIG. 725. SIXTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 725. Sixth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Sixth lace stitch</b> (fig. <a href="#fig_725">725</a>).&mdash;Over
+wide loops, made from left to
+right in the first row, make in the
+second, enough buttonhole stitches
+entirely to cover the thread.</p>
+
+<p>In the third row of stitches, put
+the needle into the small loop between
+two sets of buttonhole stitches,
+so that the close stitches shall
+form vertical lines across the surface
+they cover.</p><p><a name="Page_452" id="Page_452"></a></p>
+
+<p>This stitch admits of every sort of modification, such as,
+for instance, making the third row of stitches on the buttonhole
+stitches, in the middle of the ones on the small loop;
+or making one row of close stitches first, and then three open
+rows; in the former case you should always make an uneven
+number of buttonhole stitches, so that you have the same number
+on both sides of the needle, which you must put in between
+the two threads that form the middle buttonhole stitch.</p>
+
+<p><b>Seventh lace stitch</b> (fig. <a href="#fig_726">726</a>).&mdash;Begin, working from right
+to left, by making one row of pairs of buttonhole stitches, a
+very short distance apart; in the second row you make one
+buttonhole stitch between each of these pairs, and in the
+third row, two buttonhole stitches in every long loop. Here,
+the stitches must not be crowded together but have a small
+gap left between them.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_726" id="fig_726"></a><a name="fig_727" id="fig_727"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/739.jpg"  alt="FIG. 726. SEVENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 726. Seventh lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/740.jpg"  alt="FIG. 727. EIGHTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 727. Eighth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Eighth lace stitch</b> (fig. <a href="#fig_727">727</a>).&mdash;This stitch is generally
+known as the "pea-stitch" on account of the holes occasioned
+by the different distribution of the stitches.</p>
+
+<p>The first row consists of stitches, set rather closely together,
+and all the same distance apart. In the second row, you make
+one buttonhole stitch in the last stitch of the first row, then,
+missing two loops and three buttonhole stitches, you make two
+stitches in the next loops and so on. In the third row, you
+make three stitches in the big loop, and one in the loop between
+the stitches of the second row.</p><p><a name="Page_453" id="Page_453"></a></p>
+
+<p><b>Ninth, and tenth lace stitch</b> (figs. <a href="#fig_728">728</a> and <a href="#fig_729">729</a>).&mdash;Both,
+the small and the big pointed groups of stitches, begin with a
+row of close buttonhole stitches.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_728" id="fig_728"></a><a name="fig_729" id="fig_729"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/741.jpg"  alt="FIG. 728. NINTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 728. Ninth lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/742.jpg"  alt="FIG. 729. TENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 729. Tenth lace stitch.</span>
+</div>
+</div>
+
+<p>Fig. <a href="#fig_728">728</a> requires three rows; in the second you miss two
+stitches and make two in the next loops; in the third, only one
+stitch is introduced between the two loops of the lower row.</p>
+
+<p>Fig. <a href="#fig_729">729</a> requires five rows. The stitches of the first must
+be set as closely together as possible; in the second row you
+make four stitches and miss two of the first row, in the third
+row you make three stitches, in the fourth, two and in the fifth,
+one only. The long loops of the last row must not be too slack
+so that the first stitches of the next scallop may quite cover them.</p>
+
+<p><b>Eleventh lace stitch</b> (fig. <a href="#fig_730">730</a>).&mdash;This stitch is not really
+more difficult to work than those we
+have been describing, but requires
+rather more attention to learn.</p>
+
+<p>The first row consists of plain
+net stitches; in the second, you
+have three buttonhole stitches in the
+middle net stitch; in the third,
+three buttonhole stitches in the
+whole loops on either side of the
+three buttonhole stitches of the second
+row, and one stitch in the half
+loops that precede and immediately
+follow them; the fourth row is similar to the second.</p><p><a name="Page_454" id="Page_454"></a></p>
+
+<p>In the fifth row the close stitches are changed. The three
+buttonhole stitches are made in the third whole loop, before
+and after those of the fourth row, so that between two groups
+of three stitches you have six single buttonhole stitches and
+seven loops.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_730" id="fig_730"></a><a name="fig_731" id="fig_731"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/743.jpg"  alt="FIG. 730. ELEVENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 730. Eleventh lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/744.jpg"  alt="FIG. 731. TWELFTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 731. Twelfth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Twelfth lace stitch</b> (fig. <a href="#fig_731">731</a>).&mdash;Fasten on your thread,
+take it by overcasting stitches over the braid edge, half a
+c/m. from the corner, and make three buttonhole stitches
+downwards, quite close together. The next loops, over four or
+six threads of the braid, must be left long enough to be on a
+level with the first stitch reaching downwards from the edge.</p>
+
+<p>In the second row, you cover the long loops with three
+buttonhole stitches and draw the intervening thread quite tight.</p>
+
+<p>The third row is like the first, with the difference, that you
+put the needle in between the two threads of the buttonhole
+stitch, instead of through the loops.</p>
+
+<p><b>Thirteenth lace stitch</b> (fig. <a href="#fig_732">732</a>).&mdash;The stitch here represented,
+as well as the two next ones are looped from left to
+right and then again from right to left.</p>
+
+<p>As it is more unusual to make the loops from left to right
+than the reverse way, the proper position of the needle and
+the course of the thread are shown in the illustrations.</p>
+
+<p>Fig. <a href="#fig_732">732</a> requires, in the first place, two buttonhole stitches
+very close together in the edge of the braid, then a third
+stitch covering the two first stitches and set quite close to them;
+the connecting thread between these stitches must be tightly
+<a name="Page_455" id="Page_455"></a>stretched so as to lie almost vertically, that the stitches may
+form straight lines.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_732" id="fig_732"></a><a name="fig_733" id="fig_733"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/745.jpg"  alt="FIG. 732. THIRTEENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 732. Thirteenth lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/746.jpg"  alt="FIG. 733. FOURTEENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 733. Fourteenth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Fourteenth lace stitch</b> (fig. <a href="#fig_733">733</a>).&mdash;This begins, likewise,
+with two buttonhole stitches, above which you make two
+buttonhole stitches instead of one, as in fig. <a href="#fig_732">732</a>, producing
+an open ground with vertical bars.</p>
+
+<p><b>Fifteenth lace stitch</b> (fig. <a href="#fig_734">734</a>).&mdash;This resembles the two
+foregoing stitches and consists of three buttonhole stitches,
+made over the edge of the braid or the intermediate bars, and
+joined together afterwards under one transverse stitch.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_734" id="fig_734"></a><a name="fig_735" id="fig_735"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/747.jpg"  alt="FIG. 734. FIFTEENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 734. Fifteenth lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/748.jpg"  alt="FIG. 735. SIXTEENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 735. Sixteenth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Sixteenth lace stitch</b> (fig. <a href="#fig_735">735</a>).&mdash;You begin this by a
+row of net stitches worked from right to left, or as the
+engraving shows, by a row of stitches called &laquo;seed stitches&raquo;.</p>
+<p><a name="Page_456" id="Page_456"></a></p>
+
+<p>The second row, worked from left to right, consists of
+short bars, set slanting and shaped like a seed, and made the
+same way as the picot in fig. <a href="#fig_699">699</a>. The first stitch is carried
+through the loop of the row below, the second over both threads
+and far enough from the loop to leave room for three other
+stitches. The first of the four buttonhole stitches of the next
+group must be set quite close to the last.</p>
+
+<p><b>Seventeenth lace stitch</b> (fig. <a href="#fig_736">736</a>).&mdash;Here we have the
+same pattern as the preceding one without the row of net
+stitches; the engraving shows us at the same time, the proper
+direction of the needle and thread for the row that is worked
+from right to left.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_736" id="fig_736"></a><a name="fig_737" id="fig_737"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/749.jpg"  alt="FIG. 736. SEVENTEENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 736. Seventeenth lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/750.jpg"  alt="FIG. 737. EIGHTEENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 737. Eighteenth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Eighteenth lace stitch</b> (fig. <a href="#fig_737">737</a>).&mdash;This is the first of a
+series of lace stitches, often met with in old Venetian lace, and
+which can therefore with perfect right be called, Venetian
+stitches.</p>
+
+<p>Owing to the manner and order in which the rows of
+stitches are connected and placed above one another, they form
+less transparent grounds than those we have hitherto described.</p>
+
+<p>In these grounds you begin by making the row of loops, then
+you throw a thread across on the same level and in coming
+back, pass the needle through the row of loops under the
+thread stretched across, and under the stitch of the previous row.</p>
+
+<p><b>Nineteenth lace stitch</b> (fig. <a href="#fig_738">738</a>).&mdash;The close stitch here
+represented is more common in Venetian lace than the loose
+stitch given in fig. <a href="#fig_737">737</a>.</p><p><a name="Page_457" id="Page_457"></a></p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_738" id="fig_738"></a><a name="fig_739" id="fig_739"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/751.jpg"  alt="FIG. 738. NINETEENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 738. Nineteenth lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/752.jpg"  alt="FIG. 739. TWENTIETH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 739. Twentieth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Twentieth lace stitch</b> (fig. <a href="#fig_739">739</a>).&mdash;By missing some loops
+of the close ground in one row and replacing them by the
+same number in the next, small gaps are formed, and by a
+regular and systematic missing and taking up of stitches, in
+this way, extremely pretty grounds can be produced.</p>
+
+<p><b>Twenty-first lace stitch</b> (fig. <a href="#fig_740">740</a>).&mdash;These close lace
+stitches, can be varied in all sorts of other ways by embroidering
+the needle-made grounds.</p>
+
+<p>In fig. <a href="#fig_740">740</a>, you have little tufts in darning stitch, and in
+a less twisted material than the close stitches of the ground,
+worked upon the ground.</p>
+
+<p>If you use Fil &agrave; dentelle D.M.C
+(lace thread) for the ground, you
+should take either Coton &agrave; repriser
+D.M.C (darning cotton), or better
+still, Coton surfin D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> for the
+tufts. The ground can also be ornamented
+with little rings of buttonholing,
+stars or flowerets in bullion
+or some other fancy stitch.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_740" id="fig_740"></a><a name="fig_741" id="fig_741"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/753.jpg"  alt="FIG. 740. TWENTY-FIRST LACE STITCH." title="" />
+<span class="caption smcap">Fig. 740. Twenty-first lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/754.jpg"  alt="FIG. 741. TWENTY-SECOND LACE STITCH." title="" />
+<span class="caption smcap">Fig. 741. Twenty-second lace stitch.</span>
+</div>
+</div>
+
+<p><b>Twenty-second lace stitch</b> (fig. <a href="#fig_741">741</a>).&mdash;For the above three stitches
+and the three that follow, the work
+<a name="Page_458" id="Page_458"></a>has to be held, so that the finished rows are turned to the worker
+and the needle points to the outside of the hand. In the first
+row, from left to right, take hold of the thread near the end that
+is in the braid, lay it from left to right under the point of the
+needle, and bring it back again to the right, over the same.
+Whilst twisting the thread in this way round the needle with
+the right hand, you must hold the eye of the needle under
+the left thumb.</p>
+
+<p>When you have laid the thread round draw the needle
+through the loops; the bars must stand straight and be of
+uniform length. Were they to slant or be at all uneven, we
+should consider the work badly done.</p>
+
+<p>In the row that is worked from left to right, the thread
+must be twisted round the needle, likewise from left to right.</p>
+
+<p><b>Twenty-third lace stitch</b> (fig. <a href="#fig_742">742</a>).&mdash;This is begun with
+the same stitches as fig. <a href="#fig_741">741</a>, worked from right to left. You
+then take up every loop that comes between the vertical bars
+with an overcasting stitch, drawing the thread quite out, and
+tightening it as much as is necessary after each stitch. You
+cannot take several stitches on the needle at the same time
+and draw out the thread for them all at once, as this pulls
+the bars out of their place.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_742" id="fig_742"></a><a name="fig_743" id="fig_743"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/755.jpg"  alt="FIG. 742. TWENTY-THIRD LACE STITCH." title="" />
+<span class="caption smcap">Fig. 742. Twenty-third lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/756.jpg"  alt="FIG. 743. TWENTY-FOURTH LACE STITCH" title="" />
+<span class="caption smcap">Fig. 743. Twenty-fourth lace stitch</span>
+</div>
+</div>
+
+<p><b>Twenty-fourth lace stitch</b> (fig. <a href="#fig_743">743</a>).&mdash;This is often called
+the Sorrento stitch.</p>
+
+<p>Every group of three bars of stitches is separated from the
+next by a long loop, round which the thread is twisted in its
+<a name="Page_459" id="Page_459"></a>backward course. In each of the succeeding rows you place the
+first bar between the first and second of the preceding row, and
+the third one in the long loop, so that the pattern advances, as
+it were in steps.</p>
+
+<p><b>Twenty-fifth and twenty-sixth lace stitches</b> (figs. <a href="#fig_744">744</a>
+and <a href="#fig_745">745</a>).&mdash;These two figures show how the relative position
+of the groups of bars may be varied.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_744" id="fig_744"></a><a name="fig_745" id="fig_745"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/757.jpg"  alt="FIG. 744. TWENTY-FIFTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 744. Twenty-fifth lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/758.jpg"  alt="FIG. 745. TWENTY-SIXTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 745. Twenty-sixth lace stitch.</span>
+</div>
+</div>
+
+<p>Both consist of the same stitches as those described in fig. <a href="#fig_741">741</a>. The thread that connects the groups should be tightly
+stretched, so that the rows may
+form straight horizontal lines.</p>
+
+<p><b>Twenty-seventh lace stitch</b>
+(fig. <a href="#fig_746">746</a>).&mdash;Begin by making two
+rows of net stitches, fig. <a href="#fig_720">720</a>, then
+two of close ones, fig. <a href="#fig_738">738</a>, and one
+row like those of fig. <a href="#fig_741">741</a>.</p>
+
+<p>If you want to lengthen the bars,
+twist the thread once or twice more
+round the needle. You can also make
+one row of bars surmounted by
+wheels, as shown in fig. <a href="#fig_765">765</a>, then
+one more row of bars and continue with close stitches.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_746" id="fig_746"></a><a name="fig_747" id="fig_747"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/759.jpg"  alt="FIG. 746. TWENTY-SEVENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 746. Twenty-seventh lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/761.jpg"  alt="FIG. 747. TWENTY-EIGHTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 747. Twenty-eighth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Twenty-eighth lace stitch</b> (fig. <a href="#fig_747">747</a>).&mdash;Between every
+group of three bars, set close together, leave a space of a cor<a name="Page_460" id="Page_460"></a>responding
+width; then bring the thread back over the bars, as
+in figs. <a href="#fig_737">737</a>, <a href="#fig_738">738</a> and <a href="#fig_739">739</a>, without going through the loops.
+In the second row, you make three bars in the empty space,
+two over the three bars of the first row and again three in
+the next empty space. The third row is like the first.</p>
+
+<p><b>Twenty-ninth lace stitch</b> (fig. <a href="#fig_748">748</a>).&mdash;This stitch, known
+as Greek net stitch, can be used instead of buttonhole bars
+for filling in large surfaces.</p>
+
+<p>Make bars from left to right, a little distance apart as in
+fig. <a href="#fig_741">741</a>, leaving the loops between rather slack, so that when
+they have been twice overcast by the returning thread, they
+may still be slightly rounded. In the next row, you make the
+bar in the middle of the loop and lift it up sufficiently with the
+needle, for the threads to form a
+hexagon like a net mesh.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_748" id="fig_748"></a><a name="fig_749" id="fig_749"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/762.jpg"  alt="FIG. 748. TWENTY-NINTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 748. Twenty-ninth lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/760.jpg"  alt="FIG. 749. THIRTIETH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 749. Thirtieth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Thirtieth lace stitch</b> (fig. <a href="#fig_749">749</a>).
+After a row of pairs of buttonhole
+stitches set closely together, with
+long loops between, as long as the
+space between the pairs, throw the
+thread across in a line with the
+extremities of the loops, fasten it
+to the edge of the braid and make
+pairs of buttonhole stitches, as in
+the first row above it.</p><p><a name="Page_461" id="Page_461"></a></p>
+
+<p>The loops must be perfectly regular, to facilitate which,
+guide lines may be traced across the pattern, and pins stuck
+in as shown in the figure, round which to carry the thread.</p>
+
+<p><b>Thirty-first lace stitch</b> (fig. <a href="#fig_750">750</a>).&mdash;At first sight this stitch
+looks very much like the preceding one, but it differs entirely
+from it in the way in which the threads are knotted.
+You pass the needle under the loop and the laid thread,
+then stick in the pin at the right distance for making the long
+loop, bring the thread round behind the pin, make a loop
+round the point of the needle, as shows in the engraving, and
+pull up the knot.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_750" id="fig_750"></a><a name="fig_751" id="fig_751"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/763.jpg"  alt="FIG. 750. THIRTY-FIRST LACE STITCH." title="" />
+<span class="caption smcap">Fig. 750. Thirty-first lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/764.jpg"  alt="FIG. 751. THIRTY-SECOND LACE STITCH." title="" />
+<span class="caption smcap">Fig. 751. Thirty-second lace stitch.</span>
+</div>
+</div>
+
+<p><b>Thirty-second lace stitch</b> (fig. <a href="#fig_751">751</a>).&mdash;To introduce a
+greater variety into lace stitches, netting can also be imitated
+with the needle. You begin with a loop in the corner of a
+square and work in diagonal lines. The loops are secured by
+means of the same stitch shown in fig. <a href="#fig_750">750</a>, and the regularity
+of the loops ensured, as it is there, by making them round a
+pin, stuck in at the proper distance. The squares or meshes
+must be made with the greatest accuracy; that being the case,
+most of the stitches described in the preceding chapter can be
+worked upon them, and the smallest spaces can be filled with
+delicate embroidery.</p>
+
+<p><b>Thirty-third lace stitch</b> (fig. <a href="#fig_752">752</a>).&mdash;This stitch is frequently
+met with in the oldest Irish lace, especially in the kind
+where the braids are joined together by fillings not bars. At
+<a name="Page_462" id="Page_462"></a>first sight, it looks merely like a close net stitch, the ground
+and filling all alike, so uniform is it in appearance, but on
+a closer observation it will be found to be quite a different
+stitch from any of those we have been describing.</p>
+
+<p>The first stitch is made like a plain net stitch, the second
+consists of a knot that ties up the loop of the first stitch. Fillings
+of this kind must be worked as compactly as possible, so
+that hardly any spaces are visible between the individual rows.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_752" id="fig_752"></a><a name="fig_753" id="fig_753"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/765.jpg"  alt="FIG. 752. THIRTY-THIRD LACE STITCH." title="" />
+<span class="caption smcap">Fig. 752. Thirty-third lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/766.jpg"  alt="FIG. 753. THIRTY-FOURTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 753. Thirty-fourth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Thirty-fourth lace stitch</b> (fig. <a href="#fig_753">753</a>).&mdash;To fill in a surface
+with this stitch, known as the wheel or spider stitch, begin by
+laying double diagonal threads to and fro, at regular distances
+apart, so that they lie side by side and are not twisted. When
+the whole surface is covered with these double threads, throw
+a second similar series across them, the opposite way. The
+return thread, in making this second layer, must be conducted
+under the double threads of the first layer and over the single
+thread just laid, and wound two or three times round them,
+thereby forming little wheels or spiders, like those already
+described in the preceding chapter in figs. <a href="./chapter_12.html#fig_653">653</a> and <a href="./chapter_12.html#fig_654">654</a>.</p>
+
+<p><b>Thirty-fifth lace stitch</b> (fig. <a href="#fig_754">754</a>).&mdash;Begin by making a
+very regular netted foundation, but without knots, where the
+two layers of threads intersect each other.</p>
+
+<p>Then, make a third layer of diagonal threads across the
+two first layers, so that all meet at the same points of intersection,
+thus forming six rays divergent from one centre. With
+<a name="Page_463" id="Page_463"></a>the fourth and last thread, which forms the seventh and eighth
+ray, you make the wheel over seven threads, then slip the
+needle under it and carry it on to the point for the next wheel.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_754" id="fig_754"></a><a name="fig_755" id="fig_755"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/767.jpg"  alt="FIG. 754. THIRTY-FIFTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 754. Thirty-fifth lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/768.jpg"  alt="FIG. 755. THIRTY-SIXTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 755. Thirty-sixth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Thirty-sixth lace stitch</b> (fig. <a href="#fig_755">755</a>).&mdash;After covering all the
+surface to be embroidered, with threads stretched in horizontal
+lines, you cover them with loops going from one to the
+other and joining themselves in the subsequent row to the
+preceding loops.</p>
+
+<p>The needle will thus have to pass underneath two threads.
+Then cover this needle-made canvas
+with cones worked in close
+darning stitches, as in figs. <a href="./chapter_12.html#fig_648">648</a>,
+<a href="#fig_716">716</a> and <a href="#fig_717">717</a>.</p>
+
+<p><b>Thirty-seventh lace stitch</b>
+(fig. <a href="#fig_756">756</a>).&mdash;Here, by means of
+the first threads that you lay, you
+make an imitation of the Penelope
+canvas used for tapestry work,
+covering the surface with double
+threads, a very little distance apart,
+stretched both ways. The second
+layer of threads must pass alternately under and over the first,
+where they cross each other, and the small squares thus left
+between, must be encircled several times with thread and then
+buttonholed; the thicker the foundation and the more raised
+<a name="Page_464" id="Page_464"></a>and compact the buttonholing upon it is, the better the effect
+will be. Each of these little buttonholed rings should be begun
+and finished off independently of the others.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_756" id="fig_756"></a><a name="fig_757" id="fig_757"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/769.jpg"  alt="FIG. 756. THIRTY-SEVENTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 756. Thirty-seventh lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/770.jpg"  alt="FIG. 757. THIRTY-EIGHTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 757. Thirty-eighth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Thirty-eighth lace stitch</b> (fig. <a href="#fig_757">757</a>).&mdash;Plain net stitch
+being quicker to do than any other, one is tempted to use it
+more frequently; but as it is a little monotonous some openwork
+ornament upon it is a great improvement; such for
+instance as small buttonholed rings, worked all over the ground
+at regular intervals. Here again, as in the preceding figure the
+rings must be made independently of each other.</p>
+
+<p><b>Thirty-ninth lace stitch</b> (fig. <a href="#fig_758">758</a>).&mdash;Corded bars,
+branching out into other bars, worked in overcasting stitches,
+may also serve as a lace ground.</p>
+
+<p>You lay five or six threads, according to the course the
+bars are to take; you overcast the branches up to the point
+of their junction with the principal line, thence you throw
+across the foundation threads for another branch, so that
+having reached a given point and coming back to finish the
+threads left uncovered in going, you will often have from six
+to eight short lengths of thread to overcast.</p>
+
+<p>Overcasting stitches are always worked from right to left.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_758" id="fig_758"></a><a name="fig_759" id="fig_759"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/771.jpg"  alt="FIG. 758. THIRTY-NINTH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 758. Thirty-ninth lace stitch.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/772.jpg"  alt="FIG. 759. FORTIETH LACE STITCH." title="" />
+<span class="caption smcap">Fig. 759. Fortieth lace stitch.</span>
+</div>
+</div>
+
+<p><b>Fortieth lace stitch</b> (fig. <a href="#fig_759">759</a>).&mdash;Of all the different kinds
+of stitches here given, this, which terminates the series, is
+perhaps the one requiring the most patience. It was copied
+from a piece of very old and valuable Brabant lace, of which
+<a name="Page_465" id="Page_465"></a>it formed the entire ground. Our figure of course represents
+it on a very magnified scale, the original being worked in the
+finest imaginable material, over a single foundation thread.</p>
+
+<p>In the first row, after the three
+usual foundation threads are laid,
+you make the buttonhole stitches
+to the number of eight or ten, up
+to the point from which the next
+branch issues, from the edge of
+the braid, that is, upwards.</p>
+
+<p>Then you bring the needle
+down again and buttonhole the
+second part of the bar, working
+from right to left.</p>
+
+<p>A picot, like the one described
+in fig. <a href="#fig_701">701</a>, marks the point where the bars join. More picots
+of the same kind may be added at discretion.</p>
+
+<p><b>Wheel composed of buttonhole bars</b> (figs. <a href="#fig_760">760</a>, <a href="#fig_761">761</a>,
+<a href="#fig_762">762</a>, <a href="#fig_763">763</a>).&mdash;As we have already more than once given directions
+for making wheels, not only in the present chapter, but
+also in the one on netting, there is no need to enlarge on the
+kind of stitches to be used here, but we will explain the course
+of the thread in making wheels, composed of buttonhole bars
+in a square opening.</p><p><a name="Page_466" id="Page_466"></a></p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_760" id="fig_760"></a><a name="fig_761" id="fig_761"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/773.jpg"  alt="FIG. 760. WHEEL COMPOSED OF BUTTONHOLE BARS.
+MAKING AND TAKING UP THE LOOPS." title="" />
+<span class="caption smcap">Fig. 760. Wheel composed of buttonhole bars.
+Making and taking up the loops.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/774.jpg"  alt="FIG. 761. WHEEL COMPOSED OF BUTTONHOLE BARS.
+THE BUTTONHOLING BEGUN." title="" />
+<span class="caption smcap">Fig. 761. Wheel composed of buttonhole bars.
+The buttonholing begun.</span>
+</div>
+</div>
+
+<p>Fig. <a href="#fig_760">760</a> shows how the first eight loops which form the
+foundation of the bars are made.</p>
+
+<p>In fig. <a href="#fig_761">761</a> you will see that a thread has been passed
+through the loops, for the purpose of drawing them in and
+making a ring in addition to which, two threads added to
+the loop serve as padding for the buttonhole stitches; the
+latter should always be begun on the braid side. Fig. <a href="#fig_762">762</a> represents
+the bar begun in fig. <a href="#fig_761">761</a> completed, and the passage of
+the thread to the next bar, and
+fig. <a href="#fig_763">763</a> the ring buttonholed
+after the completion of all the
+bars.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_762" id="fig_762"></a><a name="fig_763" id="fig_763"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/775.jpg"  alt="FIG. 762. WHEEL COMPOSED OF BUTTONHOLE BARS.
+PASSING FROM ONE BAR TO THE OTHER." title="" />
+<span class="caption smcap">Fig. 762. Wheel composed of buttonhole bars.
+Passing from one bar to the other.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/776.jpg"  alt="FIG. 763. WHEEL COMPOSED OF BUTTONHOLE BARS.
+BARS AND RING FINISHED." title="" />
+<span class="caption smcap">Fig. 763. Wheel composed of buttonhole bars.
+Bars and ring finished.</span>
+</div>
+</div>
+
+<p><b>Filling in round spaces</b>
+(figs. <a href="#fig_764">764</a>, <a href="#fig_765">765</a>, <a href="#fig_766">766</a>).&mdash;The
+stitches best adapted for filling
+in round spaces are those that
+can be drawn in and tightened
+to the required circumference,
+or those that admit of the number
+being reduced, regularly,
+in each round.</p>
+
+<div class="figcenter" style="width: 300px;"><a name="fig_764" id="fig_764"></a>
+<img src="images/777.jpg"  alt="FIG. 764. FILLING IN A ROUND SPACE WITH NET STITCH." title="" />
+<span class="caption smcap">Fig. 764. Filling in a round space with net stitch.</span>
+</div>
+
+<p>In tacking braids on to circular
+patterns, the inside edges,
+as we pointed out at the beginning of this chapter, have to be
+drawn in with overcasting stitches in very fine thread.</p><p><a name="Page_467" id="Page_467"></a></p>
+
+<p>Fig. <a href="#fig_764">764</a> shows how to fill in a round space with net
+stitches. It will be observed that the loop which begins the
+row, has the thread of the loop with which it terminates,
+wound round it, which thread then passes on to the second
+series of stitches. In the same manner you pass to the third
+row after which you pick up all the loops and fasten off the
+thread by working back to the braid edge over all the rows
+of loops, following the course indicated by the dotted line.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_765" id="fig_765"></a><a name="fig_766" id="fig_766"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/778.jpg"  alt="FIG. 765. FILLING IN ROUND SPACES.
+FIRST CIRCLE OF WHEELS BEGUN." title="" />
+<span class="caption smcap">Fig. 765. Filling in round spaces.
+First circle of wheels begun.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/779.jpg"  alt="FIG. 766. FILLING IN ROUND SPACES.
+THE TWO CIRCLES OF WHEELS FINISHED." title="" />
+<span class="caption smcap">Fig. 766. Filling in round spaces.
+The two circles of wheels finished.</span>
+</div>
+</div>
+
+<p>Fig. <a href="#fig_765">765</a> shows how to finish a row of loops with wheels
+worked upon three threads only. In the first row, you make a
+wheel over each bar; in the second, you make a bar between
+every two wheels; in the third, the wheels are only made over
+every second bar; a fourth row of bars which you pick up
+with a thread completes the interior of the circle, then you
+work along the bars with overcasting stitches, fig. <a href="#fig_766">766</a>, to
+carry the thread back to the edge of the braid where you
+fasten it off.</p>
+
+<p><b><a name="Needle-made_picots" id="Needle-made_picots"></a>Needle-made picots</b> (figs. <a href="#fig_767">767</a>, <a href="#fig_768">768</a>, <a href="#fig_769">769</a>).&mdash;The edges
+and outlines of Irish lace are generally bordered with picots,
+which as we have already said can be bought ready-made
+(see fig. <a href="#fig_692">692</a>). They are not however very strong and we cannot
+recommend them for lace that any one has taken the pains
+to make by hand.</p><p><a name="Page_468" id="Page_468"></a></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/780.jpg"  alt="FIG. 767. CONNECTED NEEDLE-MADE PICOTS." title="" />
+<a name="fig_767" id="fig_767"></a><span class="caption smcap">Fig. 767. Connected needle-made picots.</span>
+</div>
+
+<p>In fig. <a href="#fig_767">767</a>, the way to make
+picots all joined together is
+described. You begin, as in fig. <a href="#fig_762">762</a>, by a knot, over which the
+thread is twisted as indicated in
+the engraving.</p>
+
+<p>It is needless to repeat that
+the loops should all be knotted
+in a line, all be of the same
+length and all the same distance
+apart.</p>
+
+<p>Fig. <a href="#fig_768">768</a> represents the kind
+of needle-made picots which most
+resemble the machine-made ones,
+and fig. <a href="#fig_769">769</a> show us the use of
+little scallops surmounted by picots,
+made in bullion stitch.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/781.jpg"  alt="FIG. 768. ISOLATED NEEDLE-MADE PICOTS." title="" />
+<a name="fig_768" id="fig_768"></a><span class="caption smcap">Fig. 768. Isolated needle-made picots.</span>
+</div>
+
+<p>One or two rows of lace stitch
+fig. <a href="#fig_736">736</a>, or the first rows of figs.
+<a href="#fig_749">749</a>, <a href="#fig_750">750</a>, can also be used in
+the place of picots.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/782.jpg"  alt="FIG. 769. BUTTONHOLE PICOTS WITH PICOTS IN BULLION STITCH." title="" />
+<a name="fig_769" id="fig_769"></a><span class="caption smcap">Fig. 769. Buttonhole picots with picots in bullion stitch.</span>
+</div>
+
+
+<p><b><a name="Irish_lace_pattern" id="Irish_lace_pattern"></a>Irish lace</b> (fig. <a href="#fig_770">770</a>).&mdash;English braids or those braids
+which are indicated at the foot of the engraving must be tacked
+down on to the pattern and gathered on the inside edge,
+wherever the lines are curved, as explained in fig. <a href="#fig_693">693</a>; in cases
+however where only Lacet superfin D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> is used, the
+needle should be slipped in underneath the outside threads, so
+that the thread with which you draw in the braid be hidden.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/783.jpg"  alt="FIG. 770. IRISH LACE." title="" />
+<a name="fig_770" id="fig_770"></a><span class="caption smcap">Fig. 770. Irish lace.</span>
+</div>
+
+<p>The braids are joined together where they meet with a few
+overcasting stitches, as shown in the illustration.</p>
+
+<p>Here, we find one of the lace stitches used instead of picots;
+the first row of fig. <a href="#fig_736">736</a> always makes a nice border for Irish lace.</p>
+
+<p><b>Irish lace</b> (fig. <a href="#fig_771">771</a>).&mdash;This pattern, which is more complicated
+and takes more time and stitches than the preceding one,
+can also be executed with one or other of the braids men<a name="Page_469" id="Page_469"></a>tioned
+at the beginning of the chapter; but it looks best made
+with a close braid.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/784.jpg"  alt="FIG. 771. IRISH LACE.
+MATERIALS: Lacet surfin D.M.C No. 5, white or &eacute;cru and Fil d&#39;Alsace D.M.C
+Nos. 40 to 150, or Fil &agrave; dentelle D.M.C Nos. 50 to 150." title="" />
+<a name="fig_771" id="fig_771"></a><span class="caption"><span class="smcap">Fig. 771. Irish lace.<br />
+Materials</span>: Lacet surfin D.M.C No. 5, white or &eacute;cru and Fil d&#39;Alsace D.M.C
+Nos. 40 to 150, or Fil &agrave; dentelle D.M.C Nos. 50 to 150.</span>
+</div>
+
+<p>The bars, which in the illustration are simply buttonholed
+may also be ornamented with picots of one kind or another;
+the interior spaces of the figure on the left can be filled,
+instead of with corded bars, with one of the lace stitches we
+have described, either fig. <a href="#fig_720">720</a>, <a href="#fig_721">721</a>, or <a href="#fig_732">732</a>, any one of which
+is suitable for filling in small spaces like these.</p>
+
+<p>In the figure on the right, the ring of braid may be replaced
+by close buttonhole stitches, made over several foundation
+threads or over one thick thread, such as Fil &agrave; pointer D.M.C
+No. 10 or 20<a href="#Footnote_A" class="fnanchor">[A]</a> to make them full and round.</p>
+
+<p>You begin the ring on the inside and increase the number
+of stitches as the circumference increases.</p>
+
+<p><a name="Page_471" id="Page_471"></a></p>
+<p>Any of the stitches, from fig. <a href="#fig_720">720</a> to fig. <a href="#fig_743">743</a>, can be introduced
+here.</p>
+
+<p><b>Irish lace</b> (fig. <a href="#fig_772">772</a>).&mdash;Here we find one of the fillings
+above alluded to, fig. <a href="#fig_751">751</a>, used as a ground for the flowers and
+leaves. For the design itself some of the closer stitches described
+in this chapter, should be selected. When the actual
+lace, is finished you sew upon the braid a thin cord, made of
+&eacute;cru Cordonnet 6 fils D.M.C, as described in the chapter on
+different kinds of fancy work. Cords of this kind can be had
+ready made, but the hand-made ones are much to be preferred,
+being far softer and more supple than the machine-made.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/785.jpg"  alt="FIG. 772. IRISH LACE." title="" />
+<a name="fig_772" id="fig_772"></a><span class="caption"><span class="smcap">Fig. 772. Irish lace.<br />
+Materials</span>: English braid with open edge.&mdash;For the lattice work: Fil d&#39;Alsace
+D.M.C in balls Nos. 50 to 100 or Fil &agrave; dentelle D.M.C Nos. 50 to 100, white.
+For the cord: Cordonnet 6 fils D.M.C No. 15, &eacute;cru.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Irish lace</b> (fig. <a href="#fig_773">773</a>).&mdash;This lace, more troublesome than
+the preceding ones to make, is also much more valuable and
+<a name="Page_472" id="Page_472"></a>effective. The ground is composed entirely of bars, like the
+ones described in fig. <a href="#fig_761">761</a>, the branches, true to the character
+of the work are worked in the close stitch represented in
+fig. <a href="#fig_755">755</a>, and the flowers in double net stitch, fig. <a href="#fig_721">721</a>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/786.jpg"  alt="FIG. 773. IRISH LACE." title="" />
+<a name="fig_773" id="fig_773"></a><span class="caption"><span class="smcap">Fig. 773. Irish lace.<br />
+Materials</span>&mdash;For the cord: Cordonnet 6 fils D.M.C Nos. 15 to 25.
+For the bars and lace stitches: Fil &agrave; dentelle D.M.C No. 200.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>In working the above fillings, the thread must not, as in
+lace made with braid, be carried on from one point to the other
+by overcasting stitches along the braid edges, but should be
+drawn out horizontally through the cord and back again the
+same way, giving the needle in so doing a slightly slanting
+direction.</p>
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_14.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents.</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+
+
+<p><a name="Page_473" id="Page_473"></a></p>
+
+
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/787.jpg"  alt="VENETIAN LACE OF THE XVI CENTURY." title="" />
+<span class="caption smcap">Venetian lace of the xvi century.</span>
+</div>
+
+
+<hr style="width: 15%;" />
+<h2><a name="Laces_of_different_kinds" id="Laces_of_different_kinds"></a>Laces of different kinds.</h2>
+<hr style="width: 15%;" />
+
+
+<p>In general, to the uninitiated, the word &laquo;lace&raquo; signifies
+exclusively the delicate and elaborate fabrics that owe their
+origin to Venice and the Netherlands and were thence imported
+into other countries. But besides Venetian, French, English,
+Chantilly, Brussels, Sedan point, names familiar to every one,
+there are all kinds of other laces, likewise of great antiquity,
+and named as the above are, after the country they belong to.</p>
+
+<p>As it would be impossible in these pages to give a comprehensive
+account of them all, we have restricted ourselves to
+such as seem more especially suited to the amateur, to whom
+needlework is a mere recreation and pastime.</p>
+
+<p>Worked like the above-named entirely with the needle,
+but much less elaborate and minute in character and workmanship,
+they are quicker and easier to make and we are sure that
+by the help of the directions that accompany the illustrations,
+any careful worker will be able to imitate them without difficulty.</p>
+
+<p><b>Materials.</b>&mdash;It will be observed that we do not bind ourselves
+in the following directions to one size of cotton, that as
+in point of fact, one and the same piece of work can be executed
+in either fine or coarse cotton, we have only indicated the most
+suitable kind of material to use: as for instance for Armenian
+<a name="Page_474" id="Page_474"></a>lace, Fil &agrave; pointer D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> or Cordonnet 6 fils D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a>, for
+Smyrna or knotted lace, Fil &agrave; pointer D.M.C, Cordonnet 6 fils
+D.M.C and Fil &agrave; dentelle D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a>, for Reticella and Venetian
+lace, Fil d'Alsace D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a>, for Brussels lace, the finest numbers
+of Fil &agrave; dentelle and for pillow lace, any one of those
+enumerated, excepting Coton &agrave; broder surfin.</p>
+
+<p><b><a name="Materials" id="Materials"></a>Pillow lace and the necessary articles for its manufacture</b>.&mdash;Pillow
+lace derives its name from the cushion or pillow
+on which all bobbin lace is made, which distinguishes it
+from point lace, so-called because it consists of &laquo;points&raquo; or
+stitches made with a needle and thread.</p>
+
+<p>Various articles are required for the making of pillow lace;
+in the first place a cushion or pillow, then bobbins and a
+winder, parchment patterns, pins and a pricker.</p>
+
+<p><b>The lace pillow</b> (figs. <a href="#fig_774">774</a>, <a href="#fig_775">775</a>, <a href="#fig_776">776</a>).&mdash;The pillows used
+for pillow lace are of different kinds and vary in shape with
+where the country,
+and the manner
+in which the lace
+is made.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/788.jpg"  alt="FIG. 774. THE LACE PILLOW." title="" />
+<a name="fig_774" id="fig_774"></a><span class="caption smcap">Fig. 774. The lace pillow.</span>
+</div>
+
+<p>Fig. <a href="#fig_774">774</a> represents
+the shape in
+use in the mountains
+of Bohemia
+and Saxony, where
+pillow lace has always
+been one of
+the chief industries
+of the inhabitants.
+Any one can make
+a cushion of this
+kind themselves
+with a piece of
+stuff, 60 c/m. long
+and 40 wide. The
+long sides are firmly sewn together and the short ones turned
+<a name="Page_475" id="Page_475"></a>in with a narrow hem through which you run a cord to draw
+them up. A disc of stout cardboard is put inside the case after
+you have gathered up the one end; you then stuff the case as
+full as possible with bran, sawdust or horsehair, lay a second
+disc of cardboard in at the top and draw up the other end.</p>
+
+<p>These pillows are then put into cardboard boxes with
+rather high sides, or into a kind of basket, weighted at the
+bottom, to keep it firm and steady. Pillows of this most
+primitive kind have the great advantage of being perfectly easy
+to make.</p>
+
+<p>Fig. <a href="#fig_775">775</a> represents a pillow of a more complicated kind,
+which can be stood upon the table or mounted on a stand. The
+cylinder is movable so that you can go on working without
+interruption.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/789.jpg"  alt="FIG. 775. PILLOW WITH MOVABLE CYLINDER FOR MAKING LACE." title="" />
+<a name="fig_775" id="fig_775"></a><span class="caption smcap">Fig. 775. Pillow with movable cylinder for making lace.</span>
+</div>
+
+<p>The whole apparatus consists of a board or stand, 50 c/m.
+long and 40 wide, resting upon two transverse pieces of wood,
+3&frac12; c/m. high behind and 1 c/m. in front.</p>
+
+<p>The board should be covered, first with a very thick flannel
+or Bath coating and then with a fine dark green flannel or cloth.</p><p><a name="Page_476" id="Page_476"></a></p>
+
+<p>Two small supports are fixed on to the outside edge of the
+stand to hold the cylinder, which consists of two discs that
+revolve on a rod about 22 c/m. long.</p>
+
+<p>This rod should be covered, in the first place with a thick
+layer of tow and then with flannel or cloth.</p>
+
+<p>On the left side of the cylinder is a cog-wheel and a metal
+spring is attached to the board, by means of which the wheel
+is prevented from turning the wrong way.</p>
+
+<p>Fig. <a href="#fig_776">776</a> shows how the bobbins are placed upon the pillow.
+In Normandy a kind of stuffed box is used instead of a pillow.
+The board is 3 c/m. higher behind than in front and is deeply
+grooved to hold the cylinder, which is stuffed and shaped like
+the one represented in fig. <a href="#fig_775">775</a>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/790.jpg"  alt="FIG. 776. POSITION OF THE BOBBINS AND THE WORK ON THE CUSHION FIG. 775." title="" />
+<a name="fig_776" id="fig_776"></a><span class="caption smcap">Fig. 776. Position of the bobbins and the work on the cushion fig. <a href="#fig_775">775</a>.</span>
+</div>
+
+<p>This cylinder scarcely projects above the stand, a second
+groove in the back edge receives the lace as it is worked off the
+cylinder.</p>
+
+<p>The pillows used for Valenciennes lace are of again a different
+construction, but as it is not our intention in the present
+work to describe the finer kinds of lace it appeared superfluous
+to give any illustration of the pillows on which they are made.</p>
+
+<p><b>The bobbins</b> (fig. <a href="#fig_777">777</a>).&mdash;A bobbin is a sort of little wooden
+spool with a handle to it; there are several varieties of them
+but we have confined ourselves to a representation of the
+kind considered best for beginners.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/791.jpg"  alt="FIG. 777. THE BOBBIN (Jamnig&#39;s patent)." title="" />
+<a name="fig_777" id="fig_777"></a><span class="caption"><span class="smcap">Fig. 777. The bobbin</span> (Jamnig&#39;s patent).</span>
+</div>
+
+<p>As a considerable number are wanted for every pattern and
+they are apt to slip about and get entangled in inexperienced
+hands, they are now to be had with the handles weighted
+with lead to steady them and counteract any independent
+motion of their own. We cannot help again laying great stress
+on the importance of seeing that the size of the bobbins and
+the number of the cotton be well assorted to the kind of lace.</p>
+
+<p><b>The winder</b> (fig. <a href="#fig_778">778</a>).&mdash;Every one who means to take
+the work seriously should provide themselves with a winder,
+as here represented, which is affixed to a polished wooden stand.</p><p><a name="Page_477" id="Page_477"></a></p>
+
+<p>This stand has to be firmly screwed to the table and the
+bobbin is squeezed in between the two little rods fitted into
+the supports at the left end of the stand; one of these rods
+serves as the axle to the little wheel, the other can be drawn
+in and out and fitted to the length of the bobbin.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/792.jpg"  alt="FIG. 778. THE WINDER (Jamnig&#39;s patent)." title="" />
+<a name="fig_778" id="fig_778"></a><span class="caption"><span class="smcap">Fig. 778. The winder</span> (Jamnig&#39;s patent).</span>
+</div>
+
+<p>When the bobbin is fixed in its place, you take the thread
+in the left hand and wind it round it, turning the wheel with
+the right hand from right to left in the direction indicated by
+the arrow.</p>
+
+<p>The thread is wound round the handles of the bobbins that
+are used for making very fine lace, and a wooden shield that is so
+contrived that you can slip it over the handle prevents the thread
+from getting soiled.</p>
+
+<p><b>Stoppage of the thread
+at the end of the bobbin</b>
+(fig. <a href="#fig_779">779</a>).&mdash;After cutting
+off the thread, you make a
+loop close to the top of the
+bobbin to prevent it from
+unwinding too easily. This
+loop is formed by taking the bobbin in the right hand, the
+thread between the fourth and fifth fingers of the left hand
+<a name="Page_478" id="Page_478"></a>and laying it away from you round the left thumb; then lifting
+up the bottom thread with the second finger of the left hand
+you pass the bobbin upwards from below through the loop on
+the left hand.</p>
+
+<div class="figcenter" style="width: 375px;">
+<img src="images/793.jpg"  alt="FIG. 779. STOPPAGE OF THE THREAD AT THE END OF THE BOBBIN." title="" />
+<a name="fig_779" id="fig_779"></a><span class="caption smcap">Fig. 779. Stoppage of the thread at the end of the bobbin.</span>
+</div>
+
+<p><b>Machine for crossing the threads</b> (fig. <a href="#fig_780">780</a>).&mdash;This ingenious
+little machine is of great assistance in making straight
+running patterns and Irish lace braids, and is particularly
+useful for Russian lace and braid lace of all kinds.</p>
+
+<p>It renders the even crossing of the threads in those parts
+of a pattern that imitate linen in texture comparatively easy.</p>
+
+<p>Two implements
+like combs, fitting
+into one another, and
+movable, are mounted
+at two thirds of
+their length on a steel
+axle. The long teeth
+have holes bored
+through the ends,
+from the sides to
+the middle of the
+points and through
+these holes the
+threads from the bobbins are passed.</p>
+
+<div class="figcenter" style="width: 425px;">
+<img src="images/794.jpg"  alt="FIG. 780. MACHINE FOR CROSSING THE THREADS (Jamnig&#39;s patent)." title="" />
+<a name="fig_780" id="fig_780"></a><span class="caption"><span class="smcap">Fig. 780. Machine for crossing the threads</span> (Jamnig&#39;s patent).</span>
+</div>
+
+<p>The short teeth also are pierced with transverse holes,
+through which a needle with the threads threaded in the long
+teeth resting upon it, is passed. The points of the short teeth
+are covered with a hollow metal cylinder, split through from
+end to end, which can be removed when new threads have to
+be added.</p>
+
+<p>When the threads are all on, a small spring is fixed to the
+two ends of the axle, which is independent of the machine, and
+the two ends of the spring are introduced into the hollow of
+the cylinder.</p>
+
+<p>By the pressure you exercise on the teeth in the cylinder,
+the long teeth change their position, the lower ones rise and
+the upper ones fall and the threads cross each other, as in a loom.
+After each movement of the machine, the bobbin that makes
+<a name="Page_479" id="Page_479"></a>the woof must be passed between the crossed threads; the
+edges are made like those of any other kind of lace.</p>
+
+<p>Fig. <a href="#fig_781">781</a> explains how the bobbins are passed between the
+threads that are held between the teeth of the machine.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/795.jpg"  alt="FIG. 781. PASSAGE OF THE BOBBINS THROUGH THE MACHINE." title="" />
+<a name="fig_781" id="fig_781"></a><span class="caption smcap">Fig. 781. Passage of the bobbins through the machine.</span>
+</div>
+
+<p><b>The pattern</b>.&mdash;The pattern is one of the most important
+things in making pillow lace.</p>
+
+<p>The outlines must be clear and exact, as upon that in
+great measure the perfection of the lace depends.</p>
+
+<p>The drawing transferred to parchment, paper or cardboard,
+usually of a yellowish tint, should be lined with a very thin
+stuff such as muslin to prevent its tearing.</p>
+
+<p>A stripe of quadrille, or point paper as it is called, should
+be laid upon the pattern and then holes pricked with a medium-sized
+needle at every intersection of the lines.</p>
+
+<p>All the curved long lines of the pattern must first be traced
+upon the point paper with ink and then pricked.</p><p><a name="Page_480" id="Page_480"></a></p>
+
+<p>The pattern should be adapted to the thickness of the
+thread the lace is to be made of; for a coarse lace large point
+paper should be used and small, for the finer kinds of lace.
+The pricking of the pattern beforehand is particularly important
+in the case of the common torchon lace, where the real
+beauty of the design consists in its regularity; in the case of
+fine close patterns the pricking can only be done as you
+proceed.</p>
+
+<p>Prickers and holders of the kind represented in fig. <a href="#fig_782">782</a> or
+very much resembling it, are to be had at every stationer's shop.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/796.jpg"  alt="FIG. 782. PRICKER AND HOLDER." title="" />
+<a name="fig_782" id="fig_782"></a><span class="caption smcap">Fig. 782. Pricker and holder.</span>
+</div>
+
+<p>The holes made by the prickers are to receive the pins,
+stuck in as you go along, round which you form and by which
+these are kept in their place.</p>
+
+<p>The pins must be long, with round heads and of a size
+suited to the thread. When your pattern is ready fasten it to
+the pillow or cylinder as the case may be, stretching it as
+smoothly as possible and being careful in so doing to fit the
+lines of the pattern together. If it be too long it must be cut
+to the required length or you may make the cylinder bigger
+by wrapping several folds of flannel round it.</p><p><a name="Page_481" id="Page_481"></a></p>
+
+<p>The value of lace depends not only on the work but on
+the thread it is made of; all the D.M.C cottons<a href="#Footnote_A" class="fnanchor">[A]</a> can be recommended
+for lace-making and coloured laces of all kinds
+are greatly improved by the addition of a little Chin&eacute; d'or
+D.M.C or Or fin D.M.C pour la broderie.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+<p><b><a name="Position_and_movements_of_the_hands" id="Position_and_movements_of_the_hands"></a>Position and movements of the hands</b> (fig. <a href="#fig_783">783</a>).&mdash;Pillow
+lace is always made with two pairs of bobbins at once
+and the &laquo;stitches&raquo; are formed by the different ways of passing,
+plaiting, crossing and twisting the threads.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/797.jpg"  alt="FIG. 783. POSITION AND MOVEMENTS OF THE HANDS." title="" />
+<a name="fig_783" id="fig_783"></a><span class="caption smcap">Fig. 783. Position and movements of the hands.</span>
+</div>
+
+<p>To begin with the simplest operation, making a plait, hang
+2 pairs of bobbins to a pin, take 2 bobbins in each hand and
+lay the right bobbin of each pair over its left fellow and draw
+up the threads slightly. Then take the bobbins in the 2nd, 3rd
+and 4th fingers of the right hand and with the same
+fingers of the left, lay the 2nd bobbin over the 3rd
+with the 2nd and 3rd fingers of the left, so that
+the two middle bobbins are crossed, then take the
+4th bobbin in the 2nd and 3rd fingers of the right
+hand and the bobbin that is now the 2nd, in the
+3rd and 4th fingers of the left hand and lay the former
+over the 3rd, the latter over the 1st. This constitutes
+a &laquo;half passing&raquo;.</p>
+
+<p>The plait, fig. <a href="#fig_784">784</a>, is formed by the repetition
+of the half passing. Two half passings make a whole
+or &laquo;double passing&raquo;.</p>
+
+<p>On the kind of lace you are making, depends
+how many pairs of bobbins you will have to use.
+But as one part of the lace is often made before the
+other, or you have to put on supernumerary bobbins,
+you fasten up those not in use on one side with pins,
+as shown in fig. <a href="#fig_783">783</a>.</p>
+
+<div class="figcenter" style="width: 100px;">
+<img src="images/798.jpg"  alt="FIG. 784. PASSING WITH TWO PAIRS OF BOBBINS." title="" />
+<a name="fig_784" id="fig_784"></a><span class="caption smcap">Fig. 784. Passing with two pairs of bobbins.</span>
+</div>
+
+<p><b><a name="Net_pattern_or_ground" id="Net_pattern_or_ground"></a>Net pattern or ground</b> (figs. <a href="#fig_785">785</a> and <a href="#fig_786">786</a>).&mdash;This
+consists of half passings, worked in rows to and fro;
+the pins are stuck in at the end of each row.</p>
+
+<p>The pattern, fig. <a href="#fig_785">785</a>, is fastened upon the pillow and 6
+pins are stuck in at the top, at regular intervals from each
+<a name="Page_482" id="Page_482"></a>other; hang one pair of bobbins on every pin and lay the
+second bobbin of each pair over its fellow,
+so that the threads cross each other.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/799.jpg"  alt="FIG. 785. PATTERN FOR NET PASSINGS." title="" />
+<a name="fig_785" id="fig_785"></a><span class="caption smcap">Fig. 785. Pattern for net passings.</span>
+</div>
+
+<p>1 half passing with the 1st and 2nd
+pair = lay the 1st pair aside = 1 half
+passing with the 2nd and 3rd pair =
+lay the 2nd pair aside = 1 half passing
+with the 3rd and 4th pair = lay the
+3rd pair aside = 1 half passing with the
+4th and 5th pair = lay the 4th pair
+aside = 1 half passing with the 5th and
+6th pair = stick in a pin at point 2,
+then work back from right to left =
+surround the pin with a half passing
+made with the 5th and 6th pair = lay
+the 6th pair aside = 1 half passing with
+the 5th and 4th pair = lay the 5th pair
+aside = 1 half passing with the 4th and
+3rd pairs = lay the 4th pair aside = 1
+half passing with the 3rd and 2nd pair =
+lay the 3rd pair aside = 1 half passing
+with the 2nd and 1st pair = stick in a
+pin at point 3 and repeat from the beginning.</p>
+
+<p>Fig. <a href="#fig_786">786</a> shows the net ground completed;
+the thread that runs to and fro,
+to make it more clear, is represented in
+a darker shade than the others.</p>
+
+<p>Before proceeding further, it is as well
+to prepare our readers for the many
+trials they will have to make, even with
+the help of the most minute explanations,
+before they succeed in carrying out the
+directions; for the whole art of making
+pillow lace lies in a manual dexterity,
+only attainable by practice.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/800.jpg"  alt="FIG. 786. NET GROUND. COMPLETED." title="" />
+<a name="fig_786" id="fig_786"></a><span class="caption smcap">Fig. 786. Net ground. Completed.</span>
+</div>
+
+<p>Even copying the patterns from description
+is only possible at first in a qua<a name="Page_483" id="Page_483"></a>lified
+sense; the surest way of attaining a satisfactory result
+is by constantly comparing the drawing and the work in progress
+and wherever the latter does not correspond with the
+former, trying at once to rectify the difference.</p>
+
+<p><b>Linen or cloth ground</b>.&mdash;The pattern used for net passing
+can also be used for linen passing or ground but 7 pins, instead of
+6, have to be stuck in at the top first. As in net passing, you
+work first from left to right,
+running 2 threads to and fro
+in perfectly horizontal lines, so
+as to produce a ground resembling
+linen in its texture.</p>
+
+<p>The threads that run to and
+fro are held at the edge with
+pins and changed by a half
+passing, so that the one that
+was first in going, is first also in returning.</p>
+
+<p>The use of the machine for crossing the threads is especially
+to be recommended in working linen ground; by pressing the
+short branches of the machine, the position of the threads is
+changed and the bobbin is pushed through; by a second pressure
+the second bobbin is driven through, the pin is stuck in
+<a name="Page_484" id="Page_484"></a>for the picot or the cord, when the bobbins are taken back
+again, four movements being thus all that is required.</p>
+
+<p><b>Plain hole ground</b> (figs. <a href="#fig_787">787</a> and <a href="#fig_788">788</a>).&mdash;Hole ground can
+be worked in various ways; we will begin by describing the plain
+hole ground, which as a rule forms the ground of all torchon
+laces. After fixing the pattern, as represented in fig. <a href="#fig_787">787</a>, upon
+the pillow, stick in 5 pins, hang 2 pairs of bobbins on to
+each and throw the 2nd bobbin of each pair over its fellow
+= 1 half passing with the 2nd
+and 3rd pairs = put up a pin at
+point 1 = 1 half passing with
+the same pair = this encloses
+the pin = lay the 3rd pair aside
+= 1 half passing with the 2nd and 1st pair = put up a pin at
+point 2 = enclose it with the same pairs = 1 half passing with
+the 5th and 4th pair = put up a pin at point 3 = enclose it
+with the same pairs = lay the 5th pair aside = 1 half passing
+<a name="Page_485" id="Page_485"></a>the 4th and 3rd pair = put up the pin at point 4 =
+enclose the same = lay the 4th
+pair aside = work on in the
+same way over points 5 and 6 =
+1 half passing with the 6th and
+7th pair = put up the pin at
+point 7 = enclose the same =
+work on in the same way over
+points 8, 9, 10, 11 and 12 = 1
+half passing with the 8th and 9th
+pair = put up the pin at point 31
+= enclose the same = work on
+over points 14, 15, 16, 17, 18, 19
+and 20 = 1 half passing with the
+9th and 10th pair = put up the
+pin at point 21 = enclose the same
+and proceed as in the preceding
+rows, from point 22 to 29.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/801.jpg"  alt="FIG. 787. PATTERN FOR PLAIN HOLE GROUND." title="" />
+<a name="fig_787" id="fig_787"></a><span class="caption smcap">Fig. 787. Pattern for plain hole ground.</span>
+</div>
+
+<p>Hole ground with twisted thread
+is made in the same way we have
+just been describing, only that
+after every half passing enclosing
+the pin, each pair of bobbins is
+twisted once. A ground which is
+worked in this way is stronger than
+the other. Twisted hole ground is
+seen again in figs. <a href="#fig_792">792</a> and <a href="#fig_794">794</a>.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/802.jpg"  alt="FIG. 788. PLAIN HOLE GROUND." title="" />
+<a name="fig_788" id="fig_788"></a><span class="caption smcap">Fig. 788. Plain hole ground.</span>
+</div>
+
+<p><b>Wheels in hole ground</b> (figs.
+<a href="#fig_789">789</a> and <a href="#fig_790">790</a>).&mdash;For the wheels,
+which are often worked on pillow-made
+grounds, 4, 6, 8 pairs of
+bobbins, sometimes even more are
+used (see likewise fig. <a href="#fig_801">801</a>).</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/803.jpg"  alt="FIG. 789. WHEEL BEGUN IN HOLE GROUND." title="" />
+<a name="fig_789" id="fig_789"></a><span class="caption smcap">Fig. 789. Wheel begun in hole ground.</span>
+</div>
+
+<p>In fig. <a href="#fig_789">789</a>, the wheel is worked
+with the 4 middle pairs of bobbins.
+Each pair has first to be
+twisted once = 1 linen passing with
+the 3rd and 2nd pair = lay aside
+<a name="Page_486" id="Page_486"></a>the 3rd pair = 1 linen passing with the 2nd and 4th pair =
+lay both pairs aside = 1 linen passing with the 4th and 3rd pair
+= lay aside the 4th pair = 1 linen passing with the 3rd and 2nd
+pair = put up the pin at the next point and between the 2nd
+and 3rd pair = 1 linen passing with the 3rd and 2nd pair =
+lay aside the 3rd pair = 1 linen passing with the 2nd and 1st
+pair = lay both pairs aside = 1 linen passing with the 4th and
+3rd pair = lay the 4th pair aside = 1 linen passing with the
+3rd and 2nd pair = the last passing completes the wheel, such
+as it is represented in fig. <a href="#fig_790">790</a>.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/804.jpg"  alt="FIG. 790. WHEEL IN HOLE GROUND COMPLETED." title="" />
+<a name="fig_790" id="fig_790"></a><span class="caption smcap">Fig. 790. Wheel in hole ground completed.</span>
+</div>
+
+<p>Twist the pairs of bobbins again as you did before beginning
+the wheel and then proceed with the plain ground.</p>
+
+<p><b>Rose ground</b> (figs. <a href="#fig_791">791</a> and <a href="#fig_792">792</a>).&mdash;After preparing the
+pattern, as in fig. <a href="#fig_791">791</a>, put up pins at <i>a</i>, <i>b</i>, <i>c</i>, <i>d</i>, <i>e</i>, <i>f</i>, <i>g</i>, <i>h</i> and <i>i</i>
+and hang on 2 pairs of bobbins to the first pin, and one pair
+to each of the other 8 = 1 half passing with the 1st and 2nd pair
+= twist each pair once = take out the pin at point <i>a</i> and put
+it up again at the same point between the pairs = enclose the
+pin with 1 half passing = twist the pair once = lay the 1st pair
+aside = 1 half passing with the 2nd and 3rd pair = twist the
+pair again = take out the pin at <i>b</i>, put it in again at the same
+point between the pair = enclose the pin = twist the pairs
+again = lay the 2nd pair aside = 1 half passing with the 3rd
+and 4th pair = twist the pair again = take out the needle
+at <i>c</i> and put it in again at the same point between the pairs =
+enclose the pin = twist the pair again = 1 half passing with
+the 3rd and 2nd pair = twist the pair again = put up a pin
+at point 1 = enclose the pin = twist the pair again = 1 half
+passing with the 2nd and 1st pair = twist the pair again =
+put up a pin at point 2 = enclose the pin = work point 2 and
+1 with the 3rd and 2nd pair = 1 half passing with the 4th and
+5th pair = twist the pairs again = take out the pin at <i>d</i> and
+put it in again at the same point between the pair = work
+point <i>e</i> exactly like point <i>d</i> with the 5th and 6th pair = work
+point 4 like point 3 with the 4th and 5th pair = work points
+5, 6 and 7 in a slanting direction from right to left = carry
+out point 8 with the 5th and 4th pair = lay both pairs aside
+= work point 9 with the 3rd and 2nd pair = work point <i>f</i><a name="Page_487" id="Page_487"></a>
+like point <i>e</i> with the 6th and
+7th pair = work point <i>g</i> like
+point <i>f</i> with the 7th and 8th
+pair = then work points 10 to
+15 with the 6th and 7th pair
+= point 16 with the 7th and
+6th pair = point 17 with the
+5th and 4th pair = point 18
+with the 3rd and 2nd pair =
+point <i>h</i> like point <i>g</i> with the
+8th and 9th pair = point <i>i</i>
+with the 9th and 10th pair
+= points 19 to 26 with the
+9th and 10th pair = point
+27 with the 9th and 8th pair
+= point 28 with the 7th and
+6th pair = point 29 with the
+5th and 4th pair = point 30
+with the 3rd and 2nd pair.
+Proceed in this manner until
+the whole ground be finished.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/805.jpg"  alt="FIG. 791.
+PATTERN FOR ROSE GROUND." title="" />
+<a name="fig_791" id="fig_791"></a><span class="caption smcap">Fig. 791.
+Pattern for rose ground.</span>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/806.jpg"  alt="FIG. 792. ROSE GROUND." title="" />
+<a name="fig_792" id="fig_792"></a><span class="caption smcap">Fig. 792. Rose ground.</span>
+</div>
+
+<p><b>Double or ornamental
+ground</b> (figs. <a href="#fig_793">793</a> and <a href="#fig_794">794</a>).&mdash;This
+ground should be worked
+in a comparatively fine
+material; we should recommend
+Fil &agrave; dentelle D.M.C
+Nos. 30 to 100. Put up pins
+at points <i>a</i> and <i>g</i> in the pattern
+and hang on a pair of
+bobbins = put up pins likewise
+at <i>b</i>, <i>c</i>, <i>d</i>, <i>e</i> and <i>f</i> and
+hang on a pair of bobbins to
+each = 1 half passing with the
+2nd and 3rd pair = take out
+the pin at point <i>b</i> and put it
+in again between the pair at
+the same place = enclose the
+<a name="Page_488" id="Page_488"></a>pin with a half passing = 1 half passing with the 2nd and 1st
+pair = put up a pin at point 1 = enclose the pin = 1 half passing
+with the 4th and 5th pair = take out the pin at point <i>l</i> and
+put it in again between the pairs at the same place = enclose
+the needle = 1 half passing with the 4th and 3rd pair = put
+up a pin at point 2 = enclose the needle = 1 half passing
+with the 3rd and 2nd pair = put up a pin at point 3 = enclose
+the needle = 1 half passing with the 3rd and 4th pair = 1
+half passing with the 2nd and 1st pair = put up a needle
+at point 4 = enclose the needle = work point <i>d</i> like point <i>c</i>
+with the 6th and 7th pair = 1 half passing with the 6th and
+5th pair = put up a pin at point 5 = enclose the pin = work
+over point <i>e</i> like point <i>d</i> with the 7th and 8th pair = 1 half
+passing with the 7th and 6th pair
+= put up a pin at point 6 = enclose
+the pin = 1 half passing with the
+6th and 5th pair = put up a pin
+at point 7 = enclose the pin =
+1 half passing with the 6th and 7th
+pair = lay the 2 pairs aside = 1
+half passing with the 5th and 4th
+pair, by which the threads are
+made to cross each other in the
+square = work over point <i>f</i> as
+over point <i>e</i> with the 10th and
+11th pair = work over points 17
+to 19 as over points 5 to 7 =
+when the square is finished 1 half
+passing with the 10th and 11th
+pair = half passings between all
+the squares.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/807.jpg"  alt="FIG. 793. PATTERN FOR FIG. 794" title="" />
+<a name="fig_793" id="fig_793"></a><span class="caption smcap">Fig. 793. Pattern for fig. <a href="#fig_794">794</a></span>
+</div>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/808.jpg"  alt="FIG. 794. DOUBLE OR ORNAMENTAL GROUND." title="" />
+<a name="fig_794" id="fig_794"></a><span class="caption smcap">Fig. 794. Double or ornamental ground.</span>
+</div>
+
+<p><b>Tulle ground</b> (fig. <a href="#fig_795">795</a>).&mdash;Prepare
+your pattern for the
+ground represented here on a magnified
+scale, by pricking holes at regular distances so as to
+form diagonal lines intersecting each other, as shown in the
+engraving, and set more or less closely together, according to
+the thickness of the thread you use.</p><p><a name="Page_489" id="Page_489"></a></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/809.jpg"  alt="FIG. 795. TULLE GROUND." title="" />
+<a name="fig_795" id="fig_795"></a><span class="caption smcap">Fig. 795. Tulle ground.</span>
+</div>
+
+<p>1 half passing = put up the pin at the next point, twist both
+pairs twice, but without enclosing the pin, and pass the inner
+left thread over the inner left one = twist the two pairs again
+= cross as before and so on.</p>
+
+<p><b>Valenciennes ground</b> (fig. <a href="#fig_796">796</a>).&mdash;The Valenciennes
+ground is formed of little plaits for which 2 pairs of bobbins
+are used. These plaits are often used in other kinds
+of lace as well, as may be seen for instance in figs. <a href="#fig_801">801</a>, <a href="#fig_802">802</a>
+and <a href="#fig_806">806</a> which are not Valenciennes patterns.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/810.jpg"  alt="FIG. 796. VALENCIENNES GROUND." title="" />
+<a name="fig_796" id="fig_796"></a><span class="caption smcap">Fig. 796. Valenciennes ground.</span>
+</div>
+
+<p>According to the size of the squares the plaits are made with
+either 4, 6 or 8 half passings, 2 pairs of bobbins being invariably
+used. The plaits are joined by a half passing, made with the last
+pair of the left plait and the first of the right = stick the pin
+into the hole = enclose the pin by a half passing and work the
+next plait on the left with the two left pairs and the next plait
+on the right with the two right pairs.</p>
+
+<p><b>Brussels ground</b> (fig. <a href="#fig_797">797</a>).&mdash;For the sake of greater clearness,
+this ground too has been worked and reproduced here on
+a magnified scale.</p><p><a name="Page_490" id="Page_490"></a></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/811.jpg"  alt="FIG. 797. BRUSSELS GROUND." title="" />
+<a name="fig_797" id="fig_797"></a><span class="caption smcap">Fig. 797. Brussels ground.</span>
+</div>
+
+<p>It is worked in diagonal lines, as follows: 1 double passing
+with 2 pairs of bobbins = put up a pin at the next point = enclose
+the pin with a double passing, twist both pairs each time
+once and so on. This ground, when it is worked by the hand
+in very fine thread, takes a long time to do and is therefore
+often made by machinery.</p>
+
+<p><b>Eternelle with two rows of holes</b> (fig. <a href="#fig_798">798</a>).&mdash;The so-called
+&laquo;eternelle&raquo; laces have no definite
+pattern; they can be made of
+any width, in the form of insertions
+or edgings.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/811a.jpg"  alt="FIG. 798. ETERNELLE WITH TWO ROWS OF HOLES." title="" />
+<a name="fig_798" id="fig_798"></a><span class="caption smcap">Fig. 798. Eternelle with two rows of holes.</span>
+</div>
+
+<p>For a single row of holes, you
+want 6 pairs of bobbins; for two
+rows, 7; for three, 9, adding two
+pairs of bobbins for every additional
+row of holes. The upper part of fig. <a href="#fig_798">798</a> shows how the points are distributed;
+here 7 pairs of bobbins are
+used.</p>
+
+<p>Put up a pin at the topmost
+point = hang on 2 pairs of bobbins
+= 1 double passing = take out the
+pin and put it in again between the
+two pairs = tighten the pair = hang
+on 1 pair of bobbins again on the left
+= 1 double passing with the 1st pair
+of the bobbins you hung on first and
+with the new pair = push the double
+passing close to the pin = twist the
+first pair once and then lay it aside
+= 1 double passing with the 2nd and
+3rd pair that enclose the pin = hang
+on 2 pairs of bobbins in the middle
+= 1 double passing with both pairs
+= lay the 5th pair aside = 1 double
+passing with the 4th and 3rd pair = lay the 4th pair aside = 1
+double passing with the 2nd and 1st pair = twist the 1st pair
+once and lay it aside = 1 double passing with the 2nd and 3rd
+<a name="Page_491" id="Page_491"></a>pair that enclose the pin = put up 1 pin at the 3rd lower point,
+hang on 2 pairs of bobbins = 1 double passing with these bobbins =
+lay the 7th pair aside = * 1 double passing with the 6th
+and 5th pair = lay the 6th pair aside = 1 double passing with
+the 5th and 4th pair = lay the 5th
+pair aside = 1 double passing with
+the 4th and 3rd pair = lay the 4th
+pair aside = 1 double passing with
+the 3rd and 2nd pair = put up a pin
+at the next point = 1 double passing
+with the 2nd and 1st pair = twist
+the 1st pair once = 1 double passing
+with the 2nd and 3rd pair, to enclose
+the pin = lay the 3 first pairs
+aside = 1 double stitch with the 4th
+and 5th pair = lay the last two
+pairs aside = 1 double passing with
+the 6th and 7th pair = put up a pin
+at the next point = enclose the pin
+with the last pairs = repeat from *.</p>
+
+<p><b>Lace with torchon ground and
+edge in net ground</b> (fig. <a href="#fig_799">799</a>).&mdash;Worked
+with 10 pairs of bobbins.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/811b.jpg"  alt="FIG. 799.
+LACE WITH TORCHON GROUND AND
+EDGE IN NET GROUND." title="" />
+<a name="fig_799" id="fig_799"></a><span class="caption"><span class="smcap">Fig. 799.<br />
+Lace with torchon ground and
+edge in net ground.<br />
+Materials:</span> Fil &agrave; pointer D.M.C
+No. 30. Cordonnet 6 fils D.M.C
+Nos. 20 to 100, or Fil &agrave; dentelle
+D.M.C Nos. 25 to 150, white
+or &eacute;cru.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Put up a pin at * = make net
+passings, fig. <a href="#fig_786">786</a>, to point 1 = put
+up a pin at point 1 = enclose the
+pin with the two last pairs on the
+right = net passings to point 2 = put
+up a pin at point 2 = lay one pair
+of bobbins aside = net passings to
+point 3 = put up a pin at point 3 =
+enclose the pin = net passings to
+point 4 = put up a pin at point 4
+= lay one pair of bobbins aside =
+net passings to point 5 = put up a
+pin at point 5 = net passings, back
+<a name="Page_492" id="Page_492"></a>to point 6 = put up a pin at point 6 = take up the bobbins
+on the left again = 1 half passing with the 1st pair on
+the left = put up a pin at point 7 = work the torchon ground,
+at the top of the lace, as in fig. <a href="#fig_788">788</a>, with the 2nd and
+3rd pair = 1 half passing with the 3rd and 4th pair = put
+up a pin at point 8 = twist the 1st and 2nd pair = 1 double
+passing with the 1st and 2nd pair = put up a pin at point 9
+= 1 double passing with the 2nd and 3rd pair = lay the 2nd
+pair aside = make hole or torchon stitch, fig. <a href="#fig_788">788</a>, with the
+3rd and 4th pair = put up a pin at point 10 = work on to
+point 11 in hole ground = put up a pin at point 11 = cross the
+1st and 2nd pair on the left = put up a pin at point 12 = enclose
+the pin = lay 5 pairs of bobbins aside on the left = take
+up 5 pairs on the right = put up a pin at point 13 = net
+passings with the 5 pairs on the right = take up, in addition, the
+6th pair on the left = hole ground with the 5th and 6th pair
+= put up a pin at point 14 = net passings to point 15 with 5
+pairs of bobbins = put up a pin at point 15 = net passings
+with 6 pairs of bobbins = take up a 7th pair of bobbins in
+addition = hole ground with the 6th and 7th pair = put up a
+pin at point 16 = net passings with 6 pairs of bobbins = put up
+a pin at point 17 = net passings with 6 pairs of bobbins = put
+up a pin at point 18 and then repeat from the first point * on
+the left.</p>
+
+<p><b>Pillow lace</b> (figs. <a href="#fig_800">800</a>, <a href="#fig_801">801</a>, <a href="#fig_802">802</a>).&mdash;We here give as an
+example the same pattern of lace worked in two thicknesses
+of thread; fig. <a href="#fig_801">801</a> in Cordonnet 6 fils D.M.C No. 25<a href="#Footnote_A" class="fnanchor">[A]</a>, fig. <a href="#fig_802">802</a> in Fil &agrave; pointer D.M.C No. 30<a href="#Footnote_A" class="fnanchor">[A]</a>, which is of course much
+thicker. As this pattern is especially suitable for trimming
+household articles, made of unbleached linen, such for
+instance as table-covers, curtains and hangings of all kinds, we
+prefer it made in the thicker thread; even then it looks very
+well as a trimming for articles of dress.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_812.jpg"><img src="images/812.jpg"  alt="FIG. 800. PATTERN FOR THE PILLOW LACE FIGS. 801 AND 802." title="" /></a>
+<a name="fig_800" id="fig_800"></a><span class="caption smcap">Fig. 800. Pattern for the pillow lace figs. <a href="#fig_801">801</a> and <a href="#fig_802">802</a>.</span>
+</div>
+
+<p>It is worked with 40 pairs of bobbins = hang them on one
+after the other in a row = put up a pin at point 1 = twisted
+linen passing = work all the pairs to point 2 with linen passing<a name="Page_493" id="Page_493"></a>
+= put up the pin at the last pair = go back through 3 pairs
+with linen passing = twist 2 pairs once = go back with linen
+passing through all the pairs to point 3 = twist each pair separately =
+at point 4 twist the 2 pairs and put up the pin =
+twist the last pair twice and so on and coming back to point
+5 = put up the pin = come back again to point 6 = return
+to point 7 = put up the pins at the two points.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a href="images/full_813.jpg"><img src="images/813.jpg"  alt="FIG. 801. PILLOW LACE." title="" /></a>
+<a name="fig_801" id="fig_801"></a><span class="caption"><span class="smcap">Fig. 801. Pillow lace.<br />
+Material:</span> Cordonnet 6 fils D.M.C No. 30.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Divide the 30 other pairs into twos = put up a pin between
+every set of two pairs = linen passing. The ground is all
+worked alike: twist the pairs twice = linen passing = put up the
+pins = linen passing to points 6 and 7 = twist the threads in
+taking them through = make a plait, fig. <a href="#fig_796">796</a>, for the scallop
+point 8 = put up a pin at the point marked for the picot = pass
+the thread of the outside bobbin from right to left, round the
+pin, to form the picot = continue the plait to the next picot =
+put up a pin = form the picot = continue the plait to point 9
+= connect the plait with the bobbins of points 9 and 7 = make
+4 linen passings with 3 pairs = continue the plait = carry the
+last pair to point 10 = twist the threads = make 1 linen passing
+= put up a pin and enclose it = go on in this manner to point<a name="Page_494" id="Page_494"></a>
+12 = make the wheel, as
+in figs. <a href="#fig_789">789</a> and <a href="#fig_790">790</a>, with
+6 pairs of bobbins, hanging
+on 4 new pairs at point
+12 = work with twisted
+linen passing = twist the 4
+pairs once and cross with
+linen passing = take the
+last pair out from the middle
+to point 13, join it to
+the first pair of the scallop
+= make all the wheels
+before continuing the
+ground = then go back
+from point 13 to 14 =
+cross the pairs again =
+at point 12 twist 4 pairs
+= 2 twisted linen passings
+right and left with the bobbins
+of points 14 and 15
+= 1 twisted linen passing =
+put up the pins and work
+all the spiders alike.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a href="images/full_814.jpg"><img src="images/814.jpg"  alt="FIG. 802. PILLOW LACE." title="" /></a>
+<a name="fig_802" id="fig_802"></a><span class="caption"><span class="smcap">Fig. 802. Pillow lace.<br />
+Material:</span> Fil &agrave; pointer D.M.C No. 30.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Pillow lace insertion</b>
+(figs. <a href="#fig_803">803</a> and <a href="#fig_804">804</a>).&mdash;Hang
+on 12 pairs of bobbins.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_815.jpg"><img src="images/815.jpg"  alt="FIG. 803. PATTERN FOR PILLOW LACE INSERTION FIG. 804." title="" /></a>
+<a name="fig_803" id="fig_803"></a><span class="caption smcap">Fig. 803. Pattern for pillow lace insertion fig. <a href="#fig_804">804</a>.</span>
+</div>
+
+<p>Divide the bobbins and
+put 2 pairs at point 1 =
+put up a pin = twist once
+= 2 linen passings = from
+point 2 to point 8 = 5
+twisted linen passings =
+add one pair of bobbins =
+put up a pin = add one
+pair of bobbins = put up
+a pin = lay one pair of
+<a name="Page_495" id="Page_495"></a>bobbins aside = twist = 2
+linen passings = 5 twisted
+linen passings to point 10
+= 2 linen passings = twist
+the 2 last pairs = go back
+with linen passing through
+2 pairs = join together with
+the two pairs and the first
+pair by means of a twisted
+stitch = put up the pin =
+lozenge stitch (for lozenge
+stitch in which the lozenges
+or close leaves are made,
+you take 4 or 6 threads;
+in the execution it resembles
+the darning stitch represented
+in figs. <a href="./chapter_12.html#fig_646">646</a> and
+<a href="./chapter_12.html#fig_647">647</a>) to point 11 = twist at
+point 12 = take 2 pairs
+from point 10 = plait to
+point 13 = twist with the
+bobbins of point 1 = double
+passing = plait on the
+right, twist on the left =
+put up the pin = tie up as
+described.</p>
+
+<p>Take the second pair at
+points 13 and 15 = put up
+the pin = 2 twisted double
+passings on the right = 2
+linen passings = twist the
+2 latter = put up the pin
+= at point 16 lay one pair
+of bobbins aside = with
+simple passing go back
+through 2 linen passings =<a name="Page_496" id="Page_496"></a>
+join the latter and the former with linen passing = put up the
+pin at point 17 = lozenge stitch with the bobbins of points 15
+and 17 to point 18 = connect the same at point 11 = carry on
+the lozenge stitch to points 19, 20 and 21 = put up a pin at
+each number and enclose with a linen passing = with the first
+pair of bobbins of point 21, 2 linen passings to the left and 2
+twisted linen passings, that is to say, crossing the threads =
+put up the pin at point 22.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/816.jpg"  alt="FIG. 804. PILLOW LACE INSERTION." title="" />
+<a name="fig_804" id="fig_804"></a><span class="caption"><span class="smcap">Fig. 804. Pillow lace insertion.<br />
+Materials</span>: Cordonnet 6 fils D.M.C Nos. 25 to 50, or Fil &agrave; dentelle D.M.C
+Nos. 25 to 100.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Twist the threads from point 16 to point 23 = make a plait
+from point 15 to point 23 = then join the two parts together
+by half passings = put up a pin = twist the threads and make
+plaits to point 24 = join the threads as at point 23.</p>
+
+<p>On the left and with the first pair of point 19, 2 linen
+passings = with the 2 latter 1 twisted passing = put up the
+pin at point 25 = returning, 2 linen passings to point 26 = 2
+linen passings to the left = with the 2 latter pairs 2 double
+passings and put up the pin.</p>
+
+<p><b>Pillow lace</b> (figs. <a href="#fig_805">805</a> and <a href="#fig_806">806</a>).&mdash;Hang on 14 pairs of bobbins.</p><p><a name="Page_497" id="Page_497"></a></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_817.jpg"><img src="images/817.jpg"  alt="FIG. 805. PATTERN FOR PILLOW LACE FIG. 806." title="" /></a>
+<a name="fig_805" id="fig_805"></a><span class="caption smcap">Fig. 805. Pattern for pillow lace fig. <a href="#fig_806">806</a>.</span>
+</div>
+
+<p>These are divided into 3 groups = 3 pairs at point 1 = put
+up a pin = twisted linen passing = twist both pairs once = put up
+the pin at point 3 = add on 5 pairs at point 2 = put up the
+pin = go back through 3 pairs = twist the 2 last pairs = linen
+passing = put up the pin at point 3 = twist both pairs = linen
+passings, as seen in the illustration, to the right and left as far as
+point 11 = at point 13 intervert 6 pairs by a twisted linen passing
+= make a plait at point 14 = put up a pin in the middle of the
+same = pass through 2 pairs of bobbins with twisted linen passing
+= put 1 pair of bobbins aside at point 22 = put up a pin at the
+2 first pairs at point 15 = work the leaf in lozenge stitch<a name="Page_498" id="Page_498"></a>
+= put up a pin at point 16 near the first pair = twist both
+pairs once = linen passing = put up the pin at point 17 = go
+back in the same manner = work on in the same way to point
+21 = put up the pin at point 22 = twisted linen passing to point
+11 = tie up the first pair of the scallop with the bobbins of
+point 11 = bring the last pair back and work as at point 1 = then
+repeat and proceed in the same way to point 27 = twist
+the 2 pairs up to point 26 = put up the pin = make one
+lozenge stitch and join the plait, stitch to point 28 = continue
+the lozenge stitch to point 29 = join the bobbins of point 29
+to those of point 21 by a plait = put up the pin = linen passing
+= twist the two last pairs once = put up the pin = linen passing
+= put up the pin at point 31 = twist both pairs once = 2 linen
+passings = put up the pin at point 82 = 2 linen passings = tie
+up the bobbins of point 33 with those of point 29 = plait
+stitch = put up the pin = join to point 34 with lozenge stitch
+= with the bobbins at point 28 make lozenge stitch to point
+27 = put up a pin = twist 3 pairs once = make 2 linen passings
+= join with linen passing = continue the scallop according to
+the preceding description, from point 27 to point 35.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/818.jpg"  alt="FIG. 806. PILLOW LACE." title="" />
+<a name="fig_806" id="fig_806"></a><span class="caption"><span class="smcap">Fig. 806. Pillow lace.
+<br />
+Material:</span> Cordonnet 6 fils D.M.C No. 25.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>At point 34 make a leaf in lozenge stitch = put up the
+pin = continue from point 33 to point 36 with twisted linen
+passings = carry the first pair of bobbins of the lozenge to point
+35 by means of 2 twisted linen passings = put up a pin in the
+middle of the 2 pairs = make a plait to point 37 = cross the
+pairs again as at point 13, in the beginning.</p>
+
+<p><b>Pillow lace</b> (figs. <a href="#fig_807">807</a> and <a href="#fig_808">808</a>).&mdash;Worked with 30 pairs of
+bobbins.&mdash;These are divided: 14 pairs at point 1 = put up a
+pin on the left and right = with the last pairs make plaits to
+point 12 = add 2 pairs = make a double passing as for a plait
+= put up a pin in the middle of the pairs = plait with 2 pairs
+of bobbins to point 3 = add 2 pairs of bobbins = make a
+double passing as for the plait = put up a pin in the middle of
+the pairs = then go on in the same manner to point 4 = add
+4 pairs of bobbins = put up the pin = at point 5, add 2 pairs
+of bobbins = make a plait = put up a pin and join to point 4
+by a double passing.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_807" id="fig_807"></a><a name="fig_808" id="fig_808"></a>
+<div class="figleft" style="width: 300px;">
+<a href="./images/full_819.jpg"><img src="images/819.jpg"  alt="FIG. 807.
+PATTERN FOR PILLOW LACE FIG. 808." title="" /></a>
+<span class="caption smcap">Fig. 807.
+Pattern for pillow lace fig. <a href="#fig_808">808</a>.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/820.jpg"  alt="FIG. 808. PILLOW LACE." title="" />
+<span class="caption"><span class="smcap">Fig. 808. Pillow lace.
+<br />
+Material:</span> Fil &agrave; dentelle D.M.C
+No. 50.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div></div>
+
+<p>At point 1, lay the two last pairs to the right = put up a
+<a name="Page_499" id="Page_499"></a>pin = make a plait to point 6 = add 2 pairs of bobbins = 1 double
+passing = put up a pin = make a plait to point 7 with a pairs
+of bobbins = add 2 pairs of
+bobbins = 1 double passing = put
+up the pin = make a plait to point 8 = add 4 pairs of bobbins
+= 5 linen passings = put up a pin at the last passing = at
+point 9 add 2 pairs of bobbins = make a plait = put up a pin = join
+to point 8 with linen passing = make plaits from point 9 to
+point 10 = put up a pin = leave the pairs hanging = 5 linen
+<a name="Page_500" id="Page_500"></a>passings with the bobbins of point 10 = put up the pin at point
+11 = go back to point 10 with 5 passings = put up the pin =
+make a plait and tie up the bobbins at point 6 = leave these
+bobbins hanging down.</p>
+
+<p>With the two first pairs at point 11, make a plait to point
+12 = 1 linen passing at point 7 and join to point 12 by a plait = plait
+stitch = put up a pin = then plait stitch to point 13
+and make the same connection as at points 12 and 7 = continue
+to plait to point 14 = put up the pin at the first pair =
+7 linen passings = leave these bobbins hanging down = tie up
+the plait of point 5 with the 1st pair of point 4 = make a plait
+on the left = put up a pin at point 15 = make 5 linen passings
+on the right and put up the pin at point 16 = make a plait to
+point 17 = make the same connection as at point 7 and 12 = the
+same connection also at point 18 = make a plait to point
+19 = put up the pin = make a plaited lozenge with one pair = leave
+2 pairs hanging at point 20, left and right = continue
+to point 21 = leave 2 pairs hanging, left and right = make a
+plait to point 22 = begin again at point 17 and make a leaf in
+lozenge stitch to point 23 = make a second leaf from point 16 to
+point 23 = join the leaves at point 23 = make a plait with the
+first pair of point 16 to point 24 = put up a pin = enclose it
+with a double passing and make a plait = tie up the bobbins at
+point 15 = continue the edge to point 26 = make a leaf in
+lozenge stitch from point 32 to point 26 = tie up the bobbins
+at point 26 and make linen passings with the united bobbins to
+point 27 = with the bobbins of point 18 and point 20, therefore
+with 4 pairs, make a square in lozenge stitch = join the
+3 leaves at point 23 = from point 23 to point 28 make a plait
+with the two first pairs of bobbins = put up a pin at point 28 = make
+a plait with picots to point 29 = lozenge stitch from
+point 32 to point 22 and point 33 = join to point 30 by a plait = plait
+to point 22 = work from point 34 to 35 in the same
+way as from point 1 to point 33 = at point 22 and point 35
+the pairs cross each other.</p>
+
+<p><b>Pillow lace</b> (figs. <a href="#fig_809">809</a> and <a href="#fig_810">810</a>).&mdash;Hang on 28 pairs of
+bobbins. Begin at point 1 with a plait, fig. <a href="#fig_790">790</a> = put up a
+pin = * hang on 5 pairs at point 2 and put up a pin at the last
+<a name="Page_501" id="Page_501"></a>pair = with the last pair make a plait to point 3 * = hang on
+a pair of bobbins = 1 linen passing = hang on a pair of bobbins = 1
+linen passing = hang on 3 pairs of bobbins = 1 linen
+passing = 3 linen passings = put up a pin = 1 leaf in lozenge
+stitch to point 4 = hang on 2 pairs of bobbins = 2 plait stitches = put
+up a pin = make a leaf to point 5 = hang on 2 pairs of
+bobbins = 1 plait stitch = put up a pin = repeat in the reverse
+order to point 3.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_809" id="fig_809"></a><a name="fig_810" id="fig_810"></a>
+<div class="figleft" style="width: 350px;">
+<a href="./images/full_821.jpg"><img src="images/821.jpg"  alt="FIG. 809. PATTERN FOR THE LACE FIG. 810." title="" /></a>
+<span class="caption smcap">Fig. 809. Pattern for the lace fig. <a href="#fig_810">810</a>.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/822.jpg"  alt="FIG. 810. PILLOW LACE." title="" />
+<span class="caption"><span class="smcap">Fig. 810. Pillow lace.<br />
+Material:</span> Fil &agrave; dentelle D.M.C
+No. 50.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+</div>
+<p><a name="Page_502" id="Page_502"></a></p>
+<p>Put up a pin at point 9 = hang on a pair of bobbins = 1
+linen passing = hang on a pair of bobbins = 1 linen passing =
+hang on a pair of bobbins = make a plait to point 11 = put
+up a pin = hang on 2 pairs of bobbins at point 12 = make a
+plait and tie the threads together with those of point 11 = on
+the left with 2 pairs, on the right with 3 pairs to point 13
+for the edge = put up 2 pins and continue the edge with
+linen passings to point 14.</p>
+
+<p>Return to point 15 and make a plait = put up a pin
+= divide the bobbins and put one pair on the right, the other
+on the left = take the bobbins at point 5 and 7 and make
+plaits to points 16 and 17 = make linen passings with the two
+pairs to point 18 = put up a pin and make a plait to point 21.</p>
+
+<p>Make leaves in lozenge stitch from points 4 and 8 to points
+19 and 20 = one leaf from point 16 to point 19 = make another
+leaf to point 22 and one to point 21 = make the same leaves
+on the left to points 20, 21 and 23 = cross the bobbins
+at point 21 = make leaves from point 21 to points 24, 26
+and 26.</p>
+
+<p>Make lozenge stitch with picots, with 3 pairs of bobbins
+from points 9 and 10 to point 22 = join the bobbins to leaf
+22 = carry on the braid to point 26 = join 2 pairs of bobbins
+to the leaf = leave the 2 pairs at point 28 hanging down =
+carry on the braid to point 25.</p>
+
+<p>Make a leaf at point 27 to point 14 = tie the threads together
+as at point 10 = carry on the edge to point 29 = put
+up a pin = make a plait with picots to point 30 = tie up the
+threads with those of leaf 28 = make a leaf to point 31 = introduce
+the threads into the edge = put up a pin = tie the
+threads together.</p>
+
+<p>Make a plait on the left = leave 4 pairs of bobbins hanging
+down on the right, 2 pairs for the plait and 2 for the leaf =
+carry on the edge to point 32 = leave 2 pairs hanging for
+another leaf = continue the edge to point 33. Make a plait
+from point 21 to point 34.</p>
+
+<p>Begin again on the left at points 1 and 2 and work, as on
+the right, to point 35 = cross the threads at point 25 = linen
+passing = distribute the pairs to point 36 = 2 pairs at point 37<a name="Page_503" id="Page_503"></a>
+= 2 at point 38 = 3 pairs at point 34 = plait to point 37 =
+join to point 38 = continue the plait and join to points 36, 35,
+39 = at points 35, 36, 37 lozenge stitch with every 2 pairs of
+bobbins to point 40 = then join the next 6 pairs together =
+and work on with lozenge stitch to point 41 = work exactly
+in the same manner at points 31, 32, 34, 35, 39, 42 as at
+points 36, 37, 38, 40 to 41 = at point 41, all the threads are
+interwoven, and then divided into 3 sets = continue the
+leaves to points 45, 46 and 47. Then repeat in the reverse
+order from points 31, 38, 25, 32 and 39.</p>
+
+<p><b><a name="Armenian_lace" id="Armenian_lace"></a>Armenian lace</b> (figs. <a href="#fig_811">811</a> and <a href="#fig_812">812</a>).&mdash;The dresses of the
+Turkish women are often
+ornamented with flowers
+and leaves, executed in
+needlework which take the
+place of fringe and braid
+trimmings and are often
+even employed as adornments
+for the neck and
+arms instead of necklets
+and bracelets in metal
+work; though, as such,
+they do not always accord
+with our Western
+notions of good taste,
+the Armenian work
+is in itself, both sufficiently
+interesting
+and easy of execution,
+to deserve description
+here amongst
+other kinds
+of needlework that
+are adaptable to use.
+It may be imitated
+with capital effect in strong stiff washing materials, such as those
+<a name="Page_504" id="Page_504"></a>indicated in our illustration, either upon a linen or cotton
+foundation or upon plush or silk.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/823.jpg"  alt="FIG. 811. ARMENIAN LACE." title="" />
+<a name="fig_811" id="fig_811"></a><span class="caption"><span class="smcap">Fig. 811. Armenian lace.<br />
+Materials</span>: Fil &agrave; pointer D.M.C Nos. 10 to 30,
+Cordonnet 6 fils D.M.C Nos. 15 to 40 or
+Fil &agrave; dentelle D.M.C Nos. 25 to 70.<br />
+<span class="smcap">Colours</span>: &Eacute;cru and Brun-Caroubier 303.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The thread is first drawn into the edge of the stuff; you then
+carry it from right to left, determine the length of the squares,
+and working from left to right make on this first thread as
+many knots as you have room for.</p>
+
+<p>Fig. <a href="#fig_812">812</a> shows the formation of the knot, the manner in
+which the thread, passing from left to right, forms a loop, and
+how to pass your needle under the straightly extended thread
+and through the loop. You leave a space of one or two m/m.
+between the knots, according to the thickness of the thread you
+are using. Having covered the first thread with knots, you return
+to the edge for the next row of knots, but passing your
+needle this time under three threads.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/824.jpg"  alt="FIG. 812. WORKING DETAIL OF FIG. 811." title="" />
+<a name="fig_812" id="fig_812"></a><span class="caption smcap">Fig. 812. Working detail of fig. <a href="#fig_811">811</a>.</span>
+</div>
+
+<p>The number of knots should be the same in each row,
+and the four sides of the square should be all equal.</p>
+
+<p>When the squares are finished they are edged with picots
+on the two lower sides, as shown in fig. <a href="#fig_812">812</a>.</p>
+
+<p>Thread of two colours was used for fig. <a href="#fig_811">811</a>, the squares being
+worked alternately in &Eacute;cru and Brun-Caroubier and the picots,
+all in the latter colour.</p>
+
+<p><b><a name="Lace_and_insertion_in_knotted_stitch" id="Lace_and_insertion_in_knotted_stitch"></a>Lace and insertion in knotted stitch</b> (fig. <a href="#fig_813">813</a>).&mdash;Excepting
+in the case of the returning thread, the same stitches are
+used for the pretty border and insertion given in fig. <a href="#fig_813">813</a>, as
+for the Armenian lace.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/825.jpg"  alt="FIG. 813. LACE AND INSERTION IN KNOTTED STITCH." title="" />
+<a name="fig_813" id="fig_813"></a><span class="caption"><span class="smcap">Fig. 813. Lace and insertion in knotted stitch.<br />
+Materials</span>: Fil &agrave; pointer D.M.C Nos. 10 to 30, Cordonnet 6 fils D.M.C Nos. 10
+to 25, or Fil &agrave; dentelle D.M.C Nos. 25 to 50.<br />
+<span class="smcap">Colours</span>: &Eacute;cru and Rouge-Cardinal 46.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The stitches that form the insertion are attached, on both
+sides, to an English braid, something of the nature of Rhodes
+linen, which is open-worked before the knotted work upon it
+is begun.</p>
+
+<p>As in the preceding figure, two colours are used alternately,
+the change from one to the other is distinctly marked
+in the engraving.</p>
+
+<p>The outside edge consists of light scallops, formed by
+the regular increase and decrease of the stitches. The original
+piece of work from which our drawing was taken, forms the
+border of a dark blue plush carpet; the red and &eacute;cru hues
+of the lace harmonize exceedingly well with the soft colour
+of the plush.</p><p><a name="Page_505" id="Page_505"></a></p>
+
+<p><b>Insertion in knotted stitch</b> (figs. <a href="#fig_814">814</a> and <a href="#fig_815">815</a>).&mdash;This
+kind of work, similarly composed of knotted stitches, can be
+used instead of crochet insertion or single and cut openwork
+in linen. It looks exceedingly well as a trimming for bed
+and table linen and is executed on foundation threads or cords,
+which connect the different figures together, with closely connected
+rows of knots between.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/826.jpg"  alt="FIG. 814. INSERTION IN KNOTTED STITCH." title="" />
+<a name="fig_814" id="fig_814"></a><span class="caption"><span class="smcap">Fig. 814. Insertion in knotted stitch.<br />
+Materials</span>: Fil &agrave; pointer D.M.C No. 30, Cordonnet 6 fils D.M.C Nos. 15 to 30,
+or Fil &agrave; dentelle D.M.C Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/827.jpg"  alt="FIG. 815. WORKING DETAIL OF FIG. 814." title="" />
+<a name="fig_815" id="fig_815"></a><span class="caption smcap">Fig. 815. Working detail of fig. <a href="#fig_814">814</a>.</span>
+</div>
+
+<p><b>Insertion in knotted stitch</b> (figs. <a href="#fig_816">816</a> and <a href="#fig_817">817</a>).&mdash;The
+mode of making the insertion in knotted stitch, which is repre<a name="Page_506" id="Page_506"></a>sented
+in the two accompanying engravings, is supposed to be
+of Italian origin, but we have met with quite as perfect specimens
+of work done in the same way, which were the products
+of Persia and Asia Minor. We have called it by the same name
+<a name="Page_507" id="Page_507"></a>as the preceding patterns, for even the way in which the stitch
+is worked is almost the same. Through some slight difference
+however in the interlacing of the threads, shown by the open
+loops in fig. <a href="#fig_817">817</a>, the stitches lie closer together and are alike
+on both sides of the work.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/828.jpg"  alt="FIG. 816. INSERTION IN KNOTTED STITCH." title="" />
+<a name="fig_816" id="fig_816"></a><span class="caption"><span class="smcap">Fig. 816. Insertion in knotted stitch.<br />
+Materials</span>: The same as for fig. <a href="#fig_814">814</a>.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><a name="Page_508" id="Page_508"></a></p>
+<p>No difficulty will be found in making out the course of the
+rows; it is best to begin by the two rows of stitches that
+form the perpendicular bars and make the stitches, that compose
+the 4 staves between the bars next. For the little picots
+see fig. <a href="./chapter_13.html#fig_700">700</a>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/829.jpg"  alt="FIG. 817. WORKING DETAIL OF FIG. 816." title="" />
+<a name="fig_817" id="fig_817"></a><span class="caption smcap">Fig. 817. Working detail of fig. <a href="#fig_816">816</a>.</span>
+</div>
+
+<p><b>Lace in knotted stitch</b> (figs. <a href="#fig_818">818</a> and <a href="#fig_819">819</a>).&mdash;This charming
+little lace, which is of Italian origin, was taken from a
+cushion cover, used for church purposes. The stitches, made in
+the order indicated in the working detail, fig. <a href="#fig_819">819</a>, are overcast
+at the last with a fleecy thread, such as Coton &agrave; repriser D.M.C,
+<a name="Page_509" id="Page_509"></a>of a rather sober colour, such for instance as Bleu-Indigo
+334, Rouge-G&eacute;ranium 352, or Jaune-Rouille 363.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_818" id="fig_818"></a><a name="fig_819" id="fig_819"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/830.jpg"  alt="FIG. 818. LACE IN KNOTTED STITCH." title="" />
+<span class="caption"><span class="smcap">Fig. 818. Lace in knotted stitch.<br />
+Materials</span>: Cordonnet 6 fils D.M.C
+Nos. 10 to 25 or Fil &agrave; dentelle D.M.C
+Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/831.jpg"  alt="FIG. 819.
+WORKING DETAIL OF FIG. 818." title="" />
+<span class="caption smcap">Fig. 819.
+Working detail of fig. <a href="#fig_818">818</a>.</span>
+</div>
+</div>
+
+<p>You overcast the slanting bars and pass over the stitches
+that connect the two picots.</p>
+
+<p><b><a name="Reticella_lace" id="Reticella_lace"></a>Reticella lace</b> (figs. <a href="#fig_820">820</a> and <a href="#fig_821">821</a>).&mdash;The Reticella laces
+are generally made on a design traced upon parchment, similar
+to those required for the laces described later on. But
+as the manner of working has been modified in the lace represented
+here, we thought it as well to adopt the same simplification,
+often used in beautiful pieces of old needlework, which
+consists in substituting a braid made upon a pillow, for the
+bars made with the needle.</p><p><a name="Page_510" id="Page_510"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/832.jpg"  alt="FIG. 820. RETICELLA LACE." title="" />
+<a name="fig_820" id="fig_820"></a><span class="caption"><span class="smcap">Fig. 820. Reticella lace.<br />
+Materials</span>&mdash;For the open-work: Cordonnet 6 fils D.M.C Nos. 10 to 100,
+or Fil &agrave; dentelle D.M.C Nos. 25 to 150, white or &eacute;cru.
+For the bars: Lacets superfins D.M.C Nos. 3 to 8.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/833.jpg"  alt="FIG. 821. WORKING DETAIL OF FIG. 820." title="" />
+<a name="fig_821" id="fig_821"></a><span class="caption smcap">Fig. 821. Working detail of fig. <a href="#fig_820">820</a>.</span>
+</div>
+
+<p>You begin by laying
+and fastening down the
+braid by means of very
+small stitches upon the
+lines of the pattern, which
+should be traced upon
+black paper; you next
+proceed to make the centre
+bars, covered with
+plain buttonhole stitches,
+on which you mount a
+row of stitches, like those
+of fig. <a href="./chapter_13.html#fig_755">755</a>; these are followed
+by another bar,
+to make which, you pick
+up the loop of the stitches
+of the preceding row and
+by another row like the
+second, finished off with
+picots, like those illustrated
+in fig. <a href="./chapter_13.html#fig_700">700</a>. The
+bases of the pyramids likewise
+consist of bars, buttonholed
+on both sides
+and edged on the inside
+with picots.</p>
+
+<p>The stitches of the
+first row should not be
+too close together, that
+there may be room for
+those of the second row
+between, as we have already
+explained in fig. <a href="./chapter_13.html#fig_702">702</a>, in the chapter on
+<a href="./chapter_13.html">Irish lace</a>.</p>
+
+<p>The inside of the pyramids
+is worked in the
+stitch represented in fig.<a name="Page_511" id="Page_511"></a>
+<a href="./chapter_13.html#fig_755">755</a>, the picots round
+them are like the ones
+in fig. <a href="./chapter_11.html#fig_599">599</a>.</p>
+
+<p>The lace, represented
+in fig. <a href="#fig_820">820</a> in its original
+size, was worked in
+Fil &agrave; dentelle D.M.C No.
+80, whilst the second
+engraving, representing
+the same subject, shows
+us how perfectly well it
+can also be made in heavier
+and coarser materials,
+these being in this
+instance, Lacets superfins
+D.M.C No. 4 and Cordonnet
+6 fils D.M.C No. 20.</p>
+
+<p><b><a name="Venetian_laces" id="Venetian_laces"></a>Venetian laces</b> (figs.
+<a href="#fig_822">822</a>, <a href="#fig_823">823</a>, <a href="#fig_824">824</a>, <a href="#fig_825">825</a>, <a href="#fig_826">826</a>,
+<a href="#fig_827">827</a>, <a href="#fig_828">828</a>).&mdash;Under the
+name of &laquo;Venetian point&raquo;
+are comprised, not only
+certain kinds of pillow
+lace, but even more generally,
+the beautiful
+needle-made lace, the outlines
+of which are bordered
+with handsome
+scallops in high relief.</p>
+
+<p>We shall confine our
+attention in the present
+instance to the needle-made
+Venetian lace as the
+other can be learnt without
+any great difficulty by
+following the instructions
+already given for the
+making of pillow lace.</p><p><a name="Page_512" id="Page_512"></a></p>
+
+<p>The preparation of the
+pattern, in most kinds of
+needlework, is a most
+important matter and one
+requiring the greatest
+care, but in the case of
+needlemade lace and pillow
+lace the processes are
+different.</p>
+
+<p>The paper on which
+the design is traced must
+first be backed or lined
+with unglazed black paper
+(made specially for
+this purpose). Prick holes
+all along the lines of the
+pattern, at exactly the
+same distance from each
+other, remove the tracing
+and tack the black paper
+upon rather coarse linen.</p>
+
+<p>This done, you take
+from three to five lengths
+of the thread of which
+the lace is to be made,
+lay them down together
+upon the lines marked
+by the prickings and secure
+them at each hole
+by a stitch made over
+the threads.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/834.jpg"  alt="FIG. 822. VENETIAN LACE." title="" />
+<a name="fig_822" id="fig_822"></a><span class="caption smcap">Fig. 822. Venetian lace.</span>
+</div>
+
+<p>Fig. <a href="#fig_822">822</a>, with the
+others of the same series
+in their natural size, show
+the proper distance that
+should be left between
+the prickings, and the laying
+down of the threads
+<a name="Page_513" id="Page_513"></a>begun; whilst in fig. <a href="#fig_823">823</a>, we have the threads laid down
+throughout, even for the little eyelet holes, which are to be
+openworked afterwards.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/835.jpg"  alt="FIG. 823. VENETIAN LACE." title="" />
+<a name="fig_823" id="fig_823"></a><span class="caption smcap">Fig. 823. Venetian lace.</span>
+</div>
+
+<p>When all this preliminary work is finished, the pattern is
+ready for the lace stitches that are to form the filling in, between
+the raised outlines.
+In order to keep your
+work perfectly clean and
+preserve it from unnecessary
+contact with your
+fingers, cover all those
+parts of the pattern you
+are not immediately engaged
+on, with a piece of
+blue paper with a hole,
+about the size of a pea,
+cut in it. This you move
+along as you go, working
+only at the part of the
+pattern which is visible
+through the hole, keeping
+all the rest carefully covered
+up and sewing paper
+over each part as
+soon as it is finished;
+this should not be removed
+until you are ready
+to join all the separate
+parts together with bars or latticed ground and work the buttonhole
+edges.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/836.jpg"  alt="FIG. 824. VENETIAN LACE." title="" />
+<a name="fig_824" id="fig_824"></a><span class="caption smcap">Fig. 824. Venetian lace.</span>
+</div>
+
+<p>All the different lace stitches that are used as fillings must
+be begun and fastened off at the outline threads, which you
+must be careful not to drag out of their place.</p>
+
+<p>We again remark, for the benefit of those of our readers
+who may not have read the preceding chapter attentively, that
+in working all the finer lace stitches, the needle should be held
+<a name="Page_514" id="Page_514"></a>with the eye towards the worker and the point turned outwards.
+All the inside portions
+of the pattern have to
+be worked in separately;
+(for a choice of stitches to
+serve as fillings see figs.
+<a href="./chapter_13.html#fig_720">720</a> to <a href="./chapter_13.html#fig_762">762</a>) until all the
+spaces are filled, as represented
+in figs. <a href="#fig_825">825</a> and <a href="#fig_826">826</a>.
+The stitches should be
+selected as far as possible,
+to suit the style of the design.
+Flowers look best
+worked in an open or lattice
+stitch, leaves on the
+other hand in a thick
+close stitch.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/837.jpg"  alt="FIG. 825. VENETIAN LACE." title="" />
+<a name="fig_825" id="fig_825"></a><span class="caption smcap">Fig. 825. Venetian lace.</span>
+</div>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/838.jpg"  alt="FIG. 826. VENETIAN LACE." title="" />
+<a name="fig_826" id="fig_826"></a><span class="caption smcap">Fig. 826. Venetian lace.</span>
+</div>
+
+<p>When all the insides
+are done, the edges and
+outlines have to be closely
+buttonholed.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/839.jpg"  alt="FIG. 827. VENETIAN LACE." title="" />
+<a name="fig_827" id="fig_827"></a><span class="caption smcap">Fig. 827. Venetian lace.</span>
+</div>
+
+<p>The old Venetian laces
+are bordered with scallops
+in high relief, worked over
+a thick pad of laid threads,
+as described on p. <a href="./chapter_5.html#Page_83">83</a>, fig. <a href="./chapter_5.html#fig_191">191</a>, relating to Venetian
+embroidery.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_828" id="fig_828"></a>
+<img src="images/840.jpg"  alt="Fig. 828. VENETIAN LACE." title="" />
+<span class="caption"><span class="smcap">Fig. 828. Venetian lace.<br />
+Materials</span>&mdash;For the open stitches: Fil &agrave; dentelle
+D.M.C Nos. 100 to 200.<br />
+For the outlining and for the padding: Coton
+surfin D.M.C Nos. 120 to 150.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Venetian lace with
+net ground</b> (fig. <a href="#fig_829">829</a>).&mdash;The
+outlining of the figures
+with several strands
+of Coton surfin D.M.C,
+should, in the case of detached
+pieces of lace, be
+done at once, but where
+the figures are connected
+by bars or by a net
+<a name="Page_515" id="Page_515"></a>ground as in fig. <a href="#fig_825">825</a>, the buttonholed outlines should be done
+last. Thus in making the lace, fig. <a href="#fig_829">829</a>, you should begin by
+working all the insides of the flowers and foliage, then the net
+ground which may be replaced by bars with picots and then
+only proceed to the outside buttonholing and the scallops.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_829" id="fig_829"></a>
+<img src="images/841.jpg"  alt="FIG. 829. VENETIAN LACE WITH NET GROUND." title="" />
+<span class="caption"><span class="smcap">Fig. 829. Venetian lace with net ground.
+<br />
+Materials</span>&mdash;For the open stitches: Fil &agrave; dentelle
+D.M.C Nos. 100 to 200.&mdash;For the outlining:
+Coton surfin D.M.C Nos. 120 to 150.</span>
+</div>
+
+<p>As all this kind of lace-work is very laborious and takes a
+long time to do, we advise our readers to use thread that is
+slightly tinted; in the first place it does not turn yellow as
+white thread is liable to do and secondly, being softer and
+less twisted it takes every bend and turn more readily than
+the stiffer white material does.</p>
+
+<p>Of all the different kinds
+of thread, so frequently alluded
+to in these pages, the
+higher numbers of Fil d'Alsace
+D.M.C and Fil &agrave; dentelle
+D.M.C are the best for the
+finer kinds of lace, and they
+all have the soft ivory tint,
+we so admire in the old
+needlework.</p>
+
+<p><b><a name="Spray_in_needle-point" id="Spray_in_needle-point"></a>Spray in needle-point</b>
+(fig. <a href="#fig_830">830</a>).&mdash;Needle-point
+lace, also called Brussels lace,
+requires the same preparatory
+work as Venetian lace;
+but it seldom contains such
+a variety of stitches and openwork
+as the latter.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/842.jpg"  alt="FIG. 830. SPRAY IN NEEDLE-POINT." title="" />
+<a name="fig_830" id="fig_830"></a><span class="caption"><span class="smcap">Fig. 830. Spray in needle-point.<br />
+Materials</span>&mdash;For the open stitches: Fil &agrave;
+dentelle D.M.C No. 200.&mdash;For the outlining:
+Coton surfin D.M.C Nos. 120 to 150.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The flowers are generally
+worked in one of the stitches,
+represented in figs. <a href="./chapter_13.html#fig_720">720</a> and
+<a href="./chapter_13.html#fig_740">740</a>; the outlines are less thickly buttonholed and the stitches,
+set everywhere less closely.</p>
+
+<p>Here also, the finished parts should be carefully covered
+with paper to keep them from getting soiled.</p>
+<p><a name="Page_516" id="Page_516"></a></p>
+<p>The needle-point lace designs are ordinarily speaking
+more realistic and as regards the composition, less artistic
+and severe than the Venetian point ones.</p>
+
+<p>The spray, represented in our engraving, is a specimen of
+an ordinary Brussels lace pattern and of the stitches it is
+worked in.</p>
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_15.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents.</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label"><sup>[A]</sup></span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
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+
+<p><a name="Page_517" id="Page_517"></a></p>
+
+
+
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/843.jpg"  alt="APPLIQU&Eacute; WORK ON SATIN SET WITH FINE CORD." title="" />
+<span class="caption smcap">Appliqu&eacute; work on satin set with fine cord.</span>
+</div>
+<hr style="width: 15%;" />
+
+<h2><a name="Miscellaneous_fancy_work" id="Miscellaneous_fancy_work"></a>Miscellaneous fancy work.</h2>
+<hr style="width: 15%;" />
+
+
+<p>As the plan on which this book was constructed rendered
+a systematic classification of the different subjects it treats of
+necessary, a certain amount of miscellaneous fancy work,
+which does not come under any of the previous headings
+remains to be dealt with in the present chapter. In most
+cases the illustrations and the accompanying directions are but
+an application to a practical use of the different kinds of stitches
+already described in previous chapters and those who are
+familiar with all these various branches of needlework will have
+no difficulty in understanding what follows.</p>
+
+<p><b><a name="Knotted_cord" id="Knotted_cord"></a>Knotted cord</b> (figs. <a href="#fig_831">831</a>, <a href="#fig_832">832</a>, <a href="#fig_833">833</a>, <a href="#fig_834">834</a>, <a href="#fig_835">835</a>).&mdash;The knotted
+cord referred to in the letter press belonging to figs. <a href="./chapter_13.html#fig_772">772</a> and
+<a href="./chapter_13.html#fig_773">773</a> in the chapter on <a href="./chapter_13.html">Irish lace</a>, comes under the present
+heading: in making it, the fingers take the place of a crochet
+needle.</p>
+
+<p>You tie two ends of thread or braid together, take one
+thread in the left hand fig. <a href="#fig_831">831</a>, and with the forefinger of the
+right, pull out a loop long enough for the left forefinger to
+pass through and hold the end of the thread tight with the
+little finger of the right hand.</p>
+
+<p>Then draw the left forefinger backwards through the loop
+and behind the thread that is round the loop and lies in the
+left hand, fig. <a href="#fig_832">832</a>. As you lay the thread round the left fore<a name="Page_518" id="Page_518"></a>finger,
+you must pass the knot and the ends of thread as well,
+over into the left hand, and with the right hand pull the
+thread that lies on the right and draw up the loop, fig. <a href="#fig_833">833</a>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/844.jpg"  alt="FIG. 831. KNOTTED CORD. FIRST POSITION OF THE HANDS." title="" />
+<a name="fig_831" id="fig_831"></a><span class="caption smcap">Fig. 831. Knotted cord. First position of the hands.</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/845.jpg"  alt="FIG. 832. KNOTTED CORD. SECOND POSITION OF THE HANDS." title="" />
+<a name="fig_832" id="fig_832"></a><span class="caption smcap">Fig. 832. Knotted cord. Second position of the hands.</span>
+</div>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/846.jpg"  alt="FIG. 833. KNOTTED CORD. THIRD POSITION OF THE HANDS." title="" />
+<a name="fig_833" id="fig_833"></a><span class="caption smcap">Fig. 833. Knotted cord. Third position of the hands.</span>
+</div>
+
+<p>In fig. <a href="#fig_834">834</a>, representing the fourth position of the hands,
+you are shown how the forefinger of the right hand lifts up the
+thread and passes through the loop on the left hand; the end
+will consequently also pass immediately into the right hand
+and the left hand will tighten the knot.</p><p><a name="Page_519" id="Page_519"></a></p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/847.jpg"  alt="FIG. 834. KNOTTED CORD. FOURTH POSITION OF THE HANDS." title="" />
+<a name="fig_834" id="fig_834"></a><span class="caption smcap">Fig. 834. Knotted cord. Fourth position of the hands.</span>
+</div>
+
+<p>It is by thus drawing up first a loop on the right and then
+one on the left that this pretty cord is produced.</p>
+
+<p>Skilful hands will soon learn to make a cord of the same
+kind with four threads, as follows: knot the four ends of thread
+together, make a few knots, using two threads as one, then
+dropping the loop on your forefinger, put the next one upon
+it and draw up the knot, passing however the
+threads over those that you dropped. Then
+drop the loop you have on your finger again
+and take up the first loops.</p>
+
+<p>For the cord made with double threads,
+represented in fig. <a href="#fig_835">835</a> on a magnified scale,
+use Cordonnet 6 fils D.M.C or one of the other
+materials mentioned at the foot of the illustration.
+Soutache D.M.C will always be found to
+be very suitable for this purpose.</p>
+
+<div class="figcenter" style="width: 125px;">
+<img src="images/848.jpg"  alt="FIG. 835. KNOTTED CORD." title="" />
+<a name="fig_835" id="fig_835"></a><span class="caption"><span class="smcap">Fig. 835. Knotted cord.<br />
+Materials</span>: Fil &agrave;
+pointer D.M.C Nos.
+10 to 30, Coton &agrave; tricoter
+D.M.C Nos. 6 to
+12, Cordonnet 6 fils
+D.M.C Nos. 3 to 25
+or Soutache D.M.C
+Nos. 1 to 3.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b><a name="Balls_for_trimmings" id="Balls_for_trimmings"></a>Balls for trimmings</b> (figs. <a href="#fig_836">836</a>, <a href="#fig_837">837</a>, <a href="#fig_838">838</a>,
+<a href="#fig_839">839</a>, <a href="#fig_840">840</a>, <a href="#fig_841">841</a>).&mdash;Amongst the crochet patterns
+are two that are finished off with balls; to
+make these, begin by cutting a number of
+rounds of cardboard, two for every ball, with
+holes in the middle, fig. <a href="#fig_836">836</a>.</p>
+
+<p>If you have a great many balls to make
+<a name="Page_520" id="Page_520"></a>it is well worth your while providing yourself with a metal
+die of the proper size, to cut the rounds with.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/849.jpg"  alt="FIG. 836. BALLS FOR TRIMMINGS. CIRCLE OF CARDBOARD." title="" />
+<a name="fig_836" id="fig_836"></a><span class="caption smcap">Fig. 836. Balls for trimmings. Circle of cardboard.</span>
+</div>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/850.jpg"  alt="FIG. 837. BALLS FOR TRIMMINGS. OVERCASTING THE CIRCLE OF CARDBOARD." title="" />
+<a name="fig_837" id="fig_837"></a><span class="caption smcap">Fig. 837. Balls for trimmings. Overcasting the circle of cardboard.</span>
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/851.jpg"  alt="FIG. 838. BALLS FOR TRIMMINGS. CUTTING THE STITCHES ROUND THE EDGE." title="" />
+<a name="fig_838" id="fig_838"></a><span class="caption smcap">Fig. 838. Balls for trimmings. Cutting the stitches round the edge.</span>
+</div>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/852.jpg"  alt="FIG. 839. BALLS FOR TRIMMINGS. PUTTING IN THE LOOP." title="" />
+<a name="fig_839" id="fig_839"></a><span class="caption smcap">Fig. 839. Balls for trimmings. Putting in the loop.</span>
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/853.jpg"  alt="FIG. 840. BALLS FOR TRIMMINGS. CUTTING OUT THE CARDBOARD." title="" />
+<a name="fig_840" id="fig_840"></a><span class="caption smcap">Fig. 840. Balls for trimmings. Cutting out the cardboard.</span>
+</div>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/854.jpg"  alt="FIG. 841. BALL COMPLETED WITH LOOP ATTACHED." title="" />
+<a name="fig_841" id="fig_841"></a><span class="caption smcap">Fig. 841. Ball completed with loop attached.</span>
+</div>
+
+<p>Lay two of these rounds together and cover them closely
+with stitches, fig. <a href="#fig_837">837</a>, using for this purpose Coton &agrave; tricoter<a name="Page_521" id="Page_521"></a>
+D.M.C (knitting cotton) or Coton &agrave; repriser D.M.C (darning
+cotton).<a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+<p>When the round is entirely covered, put the scissors in
+between the two circles of cardboard and cut open the stitches
+all round the outer edge, fig. <a href="#fig_838">838</a>; then draw a piece of thread
+between the two circles and knot it firmly round the stitches
+that meet in the centre hole, fig. <a href="#fig_839">839</a>; leave sufficiently long
+ends of thread hanging to form a loop by which the ball can
+afterwards be fastened to the heading of the fringe; when the
+stitches are knotted together you cut and pull out the cardboard,
+fig. <a href="#fig_840">840</a>, and snip the thread with your scissors until it
+becomes quite fluffy and the ball is perfectly round, as shown
+in fig. <a href="#fig_841">841</a>.</p>
+
+<p><b><a name="Tambour_work" id="Tambour_work"></a>Tambour work</b> (figs. <a href="#fig_842">842</a>, <a href="#fig_843">843</a>, <a href="#fig_844">844</a>, <a href="#fig_845">845</a>).&mdash;Since the
+introduction of the sewing machine, by means of which this
+charming kind of embroidery can be so quickly and
+easily executed, it has somewhat gone out of favour.
+As however, the fine patterns with a good deal
+of shading in them, can be far more accurately
+worked by hand than by machine, tambouring, which
+is in point of fact merely a form of crochet, has lately
+been revived. The piece of stuff on which the tambour
+work is to be done must be mounted on a frame.</p>
+
+<div class="figcenter" style="width: 100px;">
+<img src="images/855.jpg"  alt="FIG. 842. THIMBLE FOR TAMBOURING." title="" />
+<a name="fig_842" id="fig_842"></a><span class="caption smcap">Fig. 842. Thimble for tambouring.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/856.jpg"  alt="FIG. 843. TAMBOUR NEEDLE." title="" />
+<a name="fig_843" id="fig_843"></a><span class="caption smcap">Fig. 843. Tambour needle.</span>
+</div>
+
+<p>The loops which are made with a small hook,
+called a tambour needle, form a fine chain stitch and
+must be regular and even; to facilitate this a sort of thimble,
+fig. <a href="#fig_842">842</a>, is worn on the forefinger of the right hand, formed
+of a small plate of sheet brass, rolled up but not joined, so
+as to fit any finger; it is open at the top like a tailor's
+thimble and has a little notch on the side which is placed
+above the nail, and in which you lay the tambour needle whilst
+<a name="Page_522" id="Page_522"></a>you work. From the thimble being cut slightly slanting at the
+top, it follows that the inside where the two ends meet is a
+little shorter than the outside.</p>
+
+<p>The thread is drawn through in a loop to the front of the
+work by means of the hook, whilst it is held at the back in
+the left hand, and when the needle is put downwards through
+the stuff, laid round it. The needle in its downward and upward
+passage, should be kept in the notch in the thimble and
+the stuff pressed down with the thimble, as the needle is drawn
+up to the surface of the work, fig. <a href="#fig_844">844</a>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/857.jpg"  alt="FIG. 844. POSITION OF THE HANDS IN TAMBOURING." title="" />
+<a name="fig_844" id="fig_844"></a><span class="caption smcap">Fig. 844. Position of the hands in tambouring.</span>
+</div>
+
+<p>A little practice is necessary to acquire the right action of the
+hands, there being always a tendency, the same as in tatting
+and macram&eacute;, to confuse the movements of the two. As soon
+as you realize that the upward drawing of the needle and the
+downward pressure of the stuff with the thimble must be
+<a name="Page_523" id="Page_523"></a>simultaneous, you will find that you can work with great rapidity
+and with admirable results. Thread with a very strong
+twist, which the hook will not split, is the only suitable kind
+for tambouring. Of the D.M.C materials, Fil d'Alsace<a href="#Footnote_A" class="fnanchor">[A]</a> and
+Fil &agrave; dentelle<a href="#Footnote_A" class="fnanchor">[A]</a> are the most to be recommended.</p>
+
+<p>Numbers of patterns, originally intended for other kinds of
+embroidery can be executed in tambour work; amongst those
+contained in this Encyclopedia, figs. <a href="./chapter_5.html#fig_192">192</a>, <a href="./chapter_5.html#fig_210">210</a>, <a href="./chapter_5.html#fig_216">216</a>, <a href="./chapter_5.html#fig_219">219</a>, and
+<a href="./chapter_6.html#fig_227">227</a> are the ones that are best adapted to the purpose.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/858.jpg"  alt="FIG. 845. DRAWING OUT THE THREAD WITH THE NEEDLE." title="" />
+<a name="fig_845" id="fig_845"></a><span class="caption smcap">Fig. 845. Drawing out the thread with the needle.</span>
+</div>
+
+<p><b><a name="Smyrna_stitch" id="Smyrna_stitch"></a>Smyrna stitch worked with a crochet-needle</b> (figs. <a href="#fig_846">846</a>,
+<a href="#fig_847">847</a>, <a href="#fig_848">848</a>, <a href="#fig_849">849</a>).&mdash;In the chapter on tapestry, p. <a href="./chapter_7.html#Page_137">137</a> we remarked
+that Oriental carpets and mats could be worked in
+<a name="Page_524" id="Page_524"></a>different other ways, to be subsequently alluded to at greater
+length.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_846" id="fig_846"></a><a name="fig_847" id="fig_847"></a>
+<div class="figleft" style="width: 200px;">
+<img src="images/859.jpg"  alt="FIG. 846. SMYRNA STITCH
+WORKED WITH A CROCHET
+NEEDLE. FIRST DETAIL." title="" />
+<span class="caption smcap">Fig. 846. Smyrna stitch
+worked with a crochet
+needle. First detail.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/860.jpg"  alt="FIG. 847.
+SMYRNA STITCH WORKED WITH A
+CROCHET NEEDLE. SECOND DETAIL." title="" />
+<span class="caption smcap">Fig. 847.
+Smyrna stitch worked with a
+crochet needle. Second detail.</span>
+</div>
+</div>
+
+
+<p>Smyrna stitch requires only a crochet needle and is worked
+on very coarse canvas or Java linen. You take a coarse mesh
+of cotton, such as Nos. 6, 8 or 10 of Colon &agrave; tricoter D.M.C
+(knitting cotton), cut it into lengths of 8 c/m., fold two lengths
+together in half, stick in the crochet needle from above, under
+two threads of the canvas, take hold of the loop with the hook,
+<a name="Page_525" id="Page_525"></a>fig. <a href="#fig_846">846</a>, and draw it in; then push out the hook to seize the
+ends of the cotton and draw them through the loop which is
+on the needle, as indicated by the little arrow in fig. <a href="#fig_847">847</a>. The
+stitches or tassels should be two or three double threads of
+the canvas apart. As you finish each row, comb the ends of
+the tassels out carefully with a fine metal comb. When the
+whole piece of work is finished shear the entire surface, quite
+even, with a pair of sharp scissors. Fig. <a href="#fig_849">849</a> shows a square
+of the work completed, presenting that warm velvety appearance
+which distinguishes the Smyrna carpets.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_848" id="fig_848"></a><a name="fig_849" id="fig_849"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/861.jpg"  alt="FIG. 848. SMYRNA STITCH
+WORKED WITH A CROCHET NEEDLE.
+APPEARANCE OF THE KNOTS UNDERNEATH." title="" />
+<span class="caption smcap">Fig. 848. Smyrna stitch
+worked with a crochet needle.
+Appearance of the knots underneath.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/862.jpg"  alt="FIG. 849. SMYRNA STITCH
+WORKED WITH A CROCHET NEEDLE.
+APPEARANCE OF THE WORK WHEN FINISHED." title="" />
+<span class="caption smcap">Fig. 849. Smyrna stitch
+worked with a crochet needle.
+Appearance of the work when finished.</span>
+</div>
+</div>
+
+<p><b><a name="Malta_stitch" id="Malta_stitch"></a>Malta stitch</b> (figs. <a href="#fig_850">850</a>, <a href="#fig_851">851</a>, <a href="#fig_852">852</a>, <a href="#fig_853">853</a>, <a href="#fig_854">854</a>).&mdash;This
+<a name="Page_526" id="Page_526"></a>stitch is much used by the Maltese; it is the same as the «point
+tricot» excepting that in the latter, the loops formed by the
+return of the thread are open and the stitches packed very
+closely together, whereas in the Maltese work there is always
+one close loop and two open tassels.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_850" id="fig_850"></a><a name="fig_851" id="fig_851"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/863.jpg"  alt="FIG. 850. MALTA STITCH. FIRST DETAIL." title="" />
+<span class="caption smcap">Fig. 850. Malta stitch. First detail.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/864.jpg"  alt="FIG. 851. MALTA STITCH. SECOND DETAIL." title="" />
+<span class="caption smcap">Fig. 851. Malta stitch. Second detail.</span>
+</div>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_852" id="fig_852"></a><a name="fig_853" id="fig_853"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/865.jpg"  alt="FIG. 852. MALTA STITCH. THIRD DETAIL." title="" />
+<span class="caption smcap">Fig. 852. Malta stitch. Third detail.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/866.jpg"  alt="FIG. 853. MALTA STITCH. FOURTH DETAIL." title="" />
+<span class="caption smcap">Fig. 853. Malta stitch. Fourth detail.</span>
+</div>
+</div>
+
+
+<p>It is worked as follows: take a thick bunch of lengths of
+Coton &agrave; repriser D.M.C, pass it under two vertical threads of
+the stuff, from right to left, fig. <a href="#fig_850">850</a>, leaving an end, 1 or
+2 c/m. long, lying on the surface of the work; put the needle
+in again under the two threads that are in front of the first
+stitch and leave the tassel, formed by the first stitch, above
+<a name="Page_527" id="Page_527"></a>the one by which you bring the needle back between the
+two stitches.</p>
+
+<p>The needle must now follow the same course it took for
+the first stitch and the thread must be drawn out far enough
+to form a loop as long as the tassel; you then repeat the
+second stitch, carrying back the working thread however this
+time above the loop, after which you cut the two open ends
+the same length as the loop. In the Maltese work, three times
+as many threads have to be left between the tassels as are
+covered by the stitch.</p>
+
+<p>Thus if your stitch cover 4 threads of the foundation, you
+should leave 12 threads between the tassels, and if it cover 6,
+you should leave an interval of 18 threads, that the stuff may
+always be visible between the little tassels or balls.</p>
+
+<p>Fig. <a href="#fig_854">854</a> represents a portion of a curtain, embroidered on
+Flemish linen in the colours indicated at the foot of the engraving;
+these may be arranged according to the taste of the worker.</p>
+<div class="figcenter" style="width: 600px;">
+<img src="images/867.jpg"  alt="FIG. 854. MALTA EMBROIDERY." title="" />
+<a name="fig_854" id="fig_854"></a><span class="caption"><span class="smcap">Fig. 854. Malta embroidery.<br />
+Materials</span>: Coton &agrave; repriser D.M.C No. 25.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Jaune-vieil-Or 680, Vert-Mousse 469, Bleu-Indigo 311 and
+Rouge-Cornouille 449.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Malta embroidery is mostly done on coarse coloured linen
+fabrics or on single thread canvas.</p>
+
+<p><b><a name="Triangular_Turkish_stitch" id="Triangular_Turkish_stitch"></a>Triangular Turkish stitch</b> (figs. <a href="#fig_855">855</a>, <a href="#fig_856">856</a>, <a href="#fig_857">857</a>, <a href="#fig_858">858</a>, <a href="#fig_859">859</a>).
+Amongst the many pretty stitches for which Turkish embroideries
+are distinguished, there is one in particular, which
+though apparently very difficult, is in reality quite the reverse;
+it resembles line stitch upon straight threads, only that in the
+East it is generally worked in diagonal lines, each row requiring
+two journeys to and fro.</p>
+
+<p>In the first, fig. <a href="#fig_855">855</a>, the needle must always be carried,
+first over, then under two threads in a diagonal line and so on
+to the end of the row.</p>
+
+<p>Coming back, you pass the needle under the stuff and the
+stitch on the right side, and bring it out at the bottom of the
+stitch; then you make a back stitch over two horizontal and
+two vertical threads, pass the needle over two straight threads,
+put it in behind the same, bring it out again near the upper
+stitch and then insert it near the bottom vertical stitch; after
+this you carry it to the second stitch lower down and pass it
+over the same. Four threads should meet in every hole which
+the needle makes. The third and fourth row should be worked
+<a name="Page_528" id="Page_528"></a>in a colour that forms a sharp contrast with the one in which
+the two first rows are worked and constitute with these one
+complete row of stitches, fig. <a href="#fig_856">856</a>.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_855" id="fig_855"></a><a name="fig_856" id="fig_856"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/868.jpg"  alt="FIG. 855. TRIANGULAR TURKISH STITCH
+WORKED DIAGONALLY.
+FIRST JOURNEY COMPLETED AND SECOND
+BACK, BEGUN." title="" />
+<span class="caption smcap">Fig. 855. Triangular turkish stitch
+worked diagonally.
+First journey completed and second
+back, begun.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/869.jpg"  alt="FIG. 856. TRIANGULAR TURKISH STITCH
+WORKED DIAGONALLY.
+TWO JOURNEYS TO AND FRO FORMING THE
+COMPLETE ROW." title="" />
+<span class="caption smcap">Fig. 856. Triangular turkish stitch
+worked diagonally.
+Two journeys to and fro forming the
+complete row.</span>
+</div>
+</div>
+
+<p>Figs. <a href="#fig_857">857</a>, <a href="#fig_858">858</a> and <a href="#fig_859">859</a> show how the same stitch can be
+worked in straight, instead of in diagonal rows.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_857" id="fig_857"></a><a name="fig_858" id="fig_858"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/870.jpg"  alt="FIG. 857. TRIANGULAR TURKISH STITCH
+WORKED HORIZONTALLY.
+FIRST JOURNEY." title="" />
+<span class="caption smcap">Fig. 857. Triangular turkish stitch
+worked horizontally.
+First journey.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/871.jpg"  alt="FIG. 858. TRIANGULAR TURKISH STITCH
+WORKED HORIZONTALLY.
+FIRST JOURNEY BACK." title="" />
+<span class="caption smcap">Fig. 858. Triangular turkish stitch
+worked horizontally.
+First journey back.</span>
+</div>
+</div>
+
+<p>The dark shade in fig. <a href="#fig_859">859</a> shows the first row of stitches,
+the light, the second, or rather the third and fourth, as four
+rows of stitches are required to make one complete row of triangular
+Turkish stitch.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/872.jpg"  alt="FIG. 859. TRIANGULAR TURKISH STITCH
+WORKED HORIZONTALLY.
+SECOND JOURNEY BACK." title="" />
+<a name="fig_859" id="fig_859"></a><span class="caption smcap">Fig. 859. Triangular turkish stitch
+worked horizontally.
+Second journey back.</span>
+</div>
+
+
+<p><b>Pattern worked in triangular Turkish stitch and
+Gobelin stitch</b> (fig. <a href="#fig_860">860</a>).&mdash;The diagonal lines are all worked
+with Chin&eacute; gold and blue, and gold and red. The stitch we
+<a name="Page_529" id="Page_529"></a>have just described is most effective in conjunction with other
+kinds of embroidery, as illustrated in fig. <a href="#fig_860">860</a>, where it is
+combined with Gobelin stitch.</p>
+
+<p>The running foundation is
+divided into slanting squares;
+the diagonal lines are all worked
+in gold and red. The squares
+number 9 stitches inside, these
+are followed by a tenth which
+is covered by the first stitch of
+the next square. Where two
+kinds of coloured gold thread
+are used, one square will be
+framed on all sides by one kind, say, gold and blue for instance,
+the next by the other, gold and red.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/873.jpg"  alt="FIG. 860. PATTERN WORKED IN TRIANGULAR TURKISH STITCH." title="" />
+<a name="fig_860" id="fig_860"></a><span class="caption"><span class="smcap">Fig. 860. Pattern worked in triangular turkish stitch.<br />
+Materials</span>: Chin&eacute; d&#39;or D.M.C.<br />
+<span class="smcap">Colours</span>: Gold and red, gold and dark blue, gold and light blue, gold and green.</span>
+</div>
+
+<p>The stalk that divides the two little leaves and has a small
+<a name="Page_530" id="Page_530"></a>lozenge at the top, is begun above the fifth of the 9 stitches;
+you make 5 stitches, but in such a manner as to end at the top
+of these 5 with the stitch that runs in a diagonal direction
+over the threads, turned to the inside of the stalk, so that the
+last stitch of the first row may form with the first stitch of
+the second row, a triangle at the top of the stalk, which is
+surmounted by the aforesaid lozenge.</p>
+
+<p>The lozenges in Chin&eacute; gold and light blue, of which there
+are three in each of the half squares, besides those that terminate
+the stalk, consist of 9 stitches, the first, extending over
+3 threads, the second over 5, the third over 7, the fourth over
+9 and the fifth over 11; the four next decreasing in a similar
+manner. The leaves in Chin&eacute; gold and green, on either side
+of the stalk, also begin with a stitch over 3 threads of the
+stuff, followed by 8, each increasing in length by one thread
+on the side of the stalk, but all equal on the other, the last
+extending over 12 threads of the stuff. After these 9, the subsequent
+8 must decrease in the same manner by one thread
+on the opposite side;
+then you make 4 more
+extending over only 3
+threads and set the
+contrary way to the
+others.</p>
+
+<p>The zig-zag border
+and the small squares
+of 5 stitches within it
+are worked entirely in
+Chin&eacute; gold and red.</p>
+
+<p><b><a name="Turkish_embroidery" id="Turkish_embroidery"></a>Turkish embroidery</b>
+(fig. <a href="#fig_861">861</a>).&mdash;The
+powdering of flowers
+and also the border
+are worked like the
+preceding pattern in
+two-sided Gobelin
+<a name="Page_531" id="Page_531"></a>stitch. Embroidery of this kind looks best on Algerian linen,
+which is exactly like the Turkish stuff. It is not absolutely
+necessary to count the threads for the little flowers and stalks,
+but it is as well to do so for the border, that you may be sure
+to get the zig-zags perfectly regular.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/874.jpg"  alt="FIG. 861. TURKISH EMBROIDERY." title="" />
+<a name="fig_861" id="fig_861"></a><span class="caption"><span class="smcap">Fig. 861. Turkish embroidery.<br />
+Materials</span>: Chin&eacute; d&#39;or D.M.C No. 30 and Coton
+&agrave; broder D.M.C No. 40.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>&mdash;For the Chin&eacute;: Gold and red, gold
+and dark blue and gold and green.
+For the Coton &agrave; broder: Noir grand-teint 310.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The petals of the flowers are worked alternately in Chin&eacute;
+gold and red, and gold and blue, the centre in Or fin D.M.C
+pour la broderie and the leaves and stalks in Chin&eacute; gold and
+green. The petals are set with stem stitch in fine black Coton
+&agrave; broder and if the embroidery is to be the same on both
+sides this setting must be repeated at the back.</p>
+
+<p>The distribution of colours in the border is left to the taste
+of the worker, but we should recommend for the zig-zags
+Chin&eacute; gold and red, as being the most effective.</p>
+
+<p><b><a name="Appliqueacute_work" id="Appliqueacute_work"></a>Appliqu&eacute; work</b> (fig. <a href="#fig_862">862</a>).&mdash;Appliqu&eacute; work means the
+laying on of pieces of one kind of stuff on to a foundation of a
+different kind, so as to form a pattern&mdash;these pieces of stuff
+of various shapes and sizes, taking the place of solid needlemade
+embroidery.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_875.jpg"><img src="images/875.jpg"  alt="FIG. 862. APPLIQU&Eacute; WORK." title="" /></a>
+<a name="fig_862" id="fig_862"></a><span class="caption smcap">Fig. 862. Appliqu&eacute; work.</span>
+</div>
+
+<p>Appliqu&eacute; work may be done on linen, silk, velvet, plush
+and leather. The stuff out of which the pattern is cut has, in
+most cases, to be backed first with very fine tissue paper.</p>
+
+<p>This is done in the following manner with starch paste,
+which dries quicker than any other. Spread the paste on the
+paper with a brush, carefully removing all the little lumps; it
+should only be just liquid enough to make the stuff and the
+paper adhere perfectly together and above all must never
+penetrate to the right side of the stuff. When the paper has
+been evenly spread with the paste, lay your stuff upon it and
+smooth and press it down with a clean cloth, stroking it out
+carefully in the line of the thread to prevent its becoming in
+the least dragged or puckered, or any air remaining between
+it and the paper.</p>
+
+<p>You next lay several sheets of paper without a mark or a
+fold in them, on a perfectly smooth flat board, and upon these,
+your paper-lined stuff, covered in its turn with several loose
+sheets of paper, all being kept in their place by another
+<a name="Page_532" id="Page_532"></a>board with several stones or heavy weights laid upon it to act
+as a press. Leave the stuff in the press until it be quite dry.
+You will find that any kind of fabric, even the slightest,
+can be rendered available in this manner for appliqu&eacute; work,
+not even plush or velvet being in the least injured by the
+process.</p>
+
+<p>You then transfer the whole pattern on to the foundation,
+whatever it happen to be, but only the detached figures on to
+the paper-lined stuff, carefully cutting out the latter with a very
+sharp pair of scissors so as to avoid unravelling the threads
+along the edges.</p>
+
+<p>The foundation, stretched in a frame, as described on page<a name="Page_533" id="Page_533"></a>
+<a href="./chapter_6.html#Page_115">115</a>, fig. <a href="./chapter_6.html#fig_236">236</a>, is to be placed on a board or table in such a
+manner that only the stuff rests upon it, whilst the frame
+projects on all four sides.</p>
+
+<p>Then cover the cut-out figures with paste on the wrong
+side and fit them into their proper places upon the foundation.
+In larger pieces of work especially, this should be done
+as quickly as possible so that a board with weights upon it,
+to serve as a press, may be laid over them all at once.</p>
+
+<p>The board must not be removed until the paste be dry; then
+you can begin the needlework, fastening down the appliqu&eacute;
+figures and finishing them off round the edges by laying down
+a fine round, cord, or by flat stitches.</p>
+<p><a name="Page_534" id="Page_534"></a></p>
+
+<p>You either sew on the cord with invisible stitches, opening
+it a little at each stitch so as to slip the needle and
+thread in between the twist, or else with ordinary overcasting
+stitches.</p>
+
+<p>In either case it must be so laid on as completely to hide
+the cut edges and keep them from fraying.</p>
+
+<p>Should you wish to frame the appliqu&eacute; figures with flat
+embroidery, you must bring your needle out close to the cut
+edge and enter it, 1 or 2 m/m. within the edge from above.</p>
+<p><a name="Page_535" id="Page_535"></a></p>
+<p>Both, cord and flat stitch setting, should be of a subdued
+shade and if possible, of a colour to match the foundation.</p>
+
+<p><b><a name="Morocco_embroidery" id="Morocco_embroidery"></a>Morocco embroidery</b> (figs. <a href="#fig_863">863</a>, <a href="#fig_864">864</a>, <a href="#fig_865">865</a>, <a href="#fig_866">866</a>).&mdash;This
+work named after the country where it was originated, belongs
+both to the class of darned and damask embroidery.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/876.jpg"  alt="FIG. 863. MOROCCO EMBROIDERY." title="" />
+<a name="fig_863" id="fig_863"></a><span class="caption"><span class="smcap">Fig. 863. Morocco embroidery.<br />
+Materials</span>&mdash;According to the stuff: Fil &agrave; pointer D.M.C, Cordonnet 6 fils D.M.C,
+Coton &agrave; broder D.M.C or Coton &agrave; repriser D.M.C.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colour</span>: Rouge-Cardinal 346.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>In fig. <a href="#fig_864">864</a>, the stitches are formed by passing over 5 threads
+and taking up the sixth. Coming back you take up the third
+of the 5 threads first missed and proceed in the same manner
+over the whole surface of the work, unless the lines of the
+pattern require you to depart from this rule; as, for instance,
+in certain parts of fig. <a href="#fig_864">864</a>, where you will notice stitches,
+<a name="Page_536" id="Page_536"></a>carried over 7 or 8 threads; also in the borders, fig. <a href="#fig_865">865</a> and
+<a href="#fig_866">866</a>, where the stitches are arranged in a rather arbitrary
+manner, in order to bring out the pattern more clearly.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/877.jpg"  alt="FIG. 864. MOROCCO EMBROIDERY.
+QUARTER OF THE SUBJECTS OF FIG. 863." title="" />
+<a name="fig_864" id="fig_864"></a><span class="caption smcap">Fig. 864. Morocco embroidery.<br />
+Quarter of the subjects of fig. <a href="#fig_863">863</a>.</span>
+</div>
+
+<p>Fig. <a href="#fig_864">864</a> represents the fourth part of one of the subjects
+that make up the design
+fig. <a href="#fig_863">863</a>; that is, four
+such, joined together,
+form one of the squares
+of fig. <a href="#fig_863">863</a>.</p>
+
+<p>Figs. <a href="#fig_865">865</a> and <a href="#fig_866">866</a> are
+patterns of two little borders
+and an insertion,
+suitable as a finish to
+fig. <a href="#fig_863">863</a>, which can be enlarged to any size by the addition of
+other squares to those that are represented here.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/878.jpg"  alt="FIG. 865. MOROCCO EMBROIDERY.
+SMALL OUTER BORDER OF FIG. 863." title="" />
+<a name="fig_865" id="fig_865"></a><span class="caption smcap">Fig. 865. Morocco embroidery.<br />
+Small outer border of fig. <a href="#fig_863">863</a>.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/879.jpg"  alt="FIG. 866. MOROCCO EMBROIDERY.
+BORDER AND INSERTION SUITABLE FOR FIG. 863." title="" />
+<a name="fig_866" id="fig_866"></a><span class="caption smcap">Fig. 866. Morocco embroidery.<br />
+Border and insertion suitable for fig. <a href="#fig_863">863</a>.</span>
+</div>
+
+<p>Most of the stuffs, already so frequently alluded to in this
+work, can be used as a foundation for this kind of embroidery,
+provided the right working materials to go with it are chosen;
+Coton &agrave; tricoter or Fil &agrave; pointer should only be used for the
+coarser stuffs, such as Rhodes linen No. 1, or Russian linen
+and the different kinds of tammy cloth, whereas the other
+kinds of D.M.C threads and cottons and especially the finer
+numbers, are best adapted for embroidery on fine stuffs, such
+as Rhodes linen No. 2, and Spanish or Algerian linen.</p>
+
+<p><b><a name="Spanish_embroidery" id="Spanish_embroidery"></a>Spanish embroidery</b> (figs. <a href="#fig_867">867</a> and <a href="#fig_868">868</a>).&mdash;Spanish em<a name="Page_537" id="Page_537"></a>broidery
+consists almost exclusively of buttonhole stitch, fig. <a href="./chapter_5.html#fig_171">171</a>, and flat stitch, fig. <a href="./chapter_6.html#fig_221">221</a>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_880.jpg"><img src="images/880.jpg"  alt="FIG. 867. SQUARE OF SPANISH EMBROIDERY." title="" /></a>
+<a name="fig_867" id="fig_867"></a><span class="caption"><span class="smcap">Fig. 867. Square of spanish embroidery.<br />
+Materials</span>: Or fin D.M.C pour la broderie No. 40, Coton &agrave; broder D.M.C
+Nos. 50 and 100, or Fil &agrave; dentelle D.M.C No. 80.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Bleu-Indigo 312, 322, 334 and Bleu p&acirc;le 668.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The buttonhole stitches, for which the more subdued shade
+of the colours indicated should always be taken, or else yellow,
+dark or pale, to match the gold thread, are made over two
+threads of gold and follow the outlines of the pattern, which
+should be more or less appropriate to this style of embroidery.
+One of the gold threads always keeps the inside of the line
+and follows it throughout in an unbroken course, whilst with
+<a name="Page_538" id="Page_538"></a>the second, the outside one, you form picots, folding the gold
+thread over from right to left and catching down the loop by
+a buttonhole stitch, which is introduced into the loop itself and
+carried over the combined gold threads, as shown in the left
+corner of fig. <a href="#fig_868">868</a>, representing one quarter of the whole design,
+where the position of the needle and the way in which
+the picot is secured are plainly indicated.</p>
+
+<p>For the scallops, a round material with rather a strong twist
+should be used, such as Soie de coton D.M.C No. 100<a href="#Footnote_A" class="fnanchor">[A]</a> or
+Fil &agrave; dentelle D.M.C Nos. 70 to 100<a href="#Footnote_A" class="fnanchor">[A]</a>, wound on reels.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/881.jpg"  alt="FIG. 868. QUARTER OF THE PATTERN FOR FIG. 867, IN THE NATURAL SIZE." title="" />
+<a name="fig_868" id="fig_868"></a><span class="caption smcap">Fig. 868. Quarter of the pattern for fig. <a href="#fig_867">867</a>, in the natural size.</span>
+</div>
+
+<p>Where the picots have to fill up empty spaces of a larger
+size, you can join several together by connecting them each in
+turn with the first.</p>
+<p><a name="Page_539" id="Page_539"></a></p>
+<p>When you have bordered all the outlines with buttonhole
+stitches and picots, fill up the spaces enclosed within the lines,
+which properly speaking form the pattern, with flat stitch
+embroidery, worked in Coton &agrave; broder or Coton &agrave; repriser;
+after which the whole surface is sewn over with fine little
+spangles which give the sparkling look that constitutes the
+peculiar charm of this kind of embroidery. The flowers are
+covered with a fancy stitch that forms regular little lozenges,
+and every second row of stitches is hidden under a spangle.</p>
+
+<p>With regard to the colours indicated at the foot of fig. <a href="#fig_867">867</a>,
+this is how they were distributed in the original, from which
+our engraving was taken; all the outlines in buttonhole stitch,
+in Bleu p&acirc;le 668; the tops of the flowers in Bleu-Indigo 334;
+the bottom parts in Bleu-Indigo 332, and all three shades of
+blue so blended together in the solid parts of the design as
+to be undistinguishable from each other. It is not absolutely
+necessary to keep to the colours here indicated; there is no
+reason whatever why a greater variety should not be introduced,
+but in every case the more subdued shades should be selected;
+a pale red, for instance, for the flowers, a green and a brown
+for the arabesques, will always be found to produce a very
+pretty and harmonious effect.</p>
+
+<p>When all the needlework is finished, you cut away the
+stuff underneath the network formed by the picots, with a pair
+of sharp scissors.</p>
+
+<p>A word remains to be said with regard to the copying of
+fig. <a href="#fig_868">868</a>.</p>
+
+<p>Our readers will notice that in fig. <a href="#fig_867">867</a> the flowers and
+arabesques succeed and grow out of each other; that whilst
+the four quarters are symmetrical, yet at the same time, the
+curves in each quarter take a different inclination.</p>
+
+<p>You cannot therefore simply repeat the subject four times;
+when you have copied the one quarter, given in fig. <a href="#fig_868">868</a>, you
+must lay this first quarter on again at the cross + on the left
+side; when the second quarter is finished, you again turn the
+copy to the left and tack it on at the +; when you come to the
+fourth quarter the lines of the first quarter must exactly meet
+those of the last. We beg here to draw attention to the direc<a name="Page_540" id="Page_540"></a>tions,
+relative to the copying of patterns, given in the subsequent
+chapter.</p>
+
+<p><b><a name="Basket_stitch_on_linen" id="Basket_stitch_on_linen"></a>Basket stitch on linen</b> (fig. <a href="#fig_869">869</a>).&mdash;This stitch has some
+resemblance with the Greek
+stitch, fig. <a href="./chapter_7.html#fig_278">278</a>, and the Montenegrin,
+fig. <a href="./chapter_7.html#fig_306">306</a>, only that it is
+not crossed like the latter.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/882.jpg"  alt="FIG. 869. BASKET STITCH ON LINEN." title="" />
+<a name="fig_869" id="fig_869"></a><span class="caption smcap">Fig. 869. Basket stitch on linen.</span>
+</div>
+
+<p>Basket stitch can be worked
+on all kinds of stuffs, on counted
+threads or on a wide or
+narrow tracing, with fine or
+coarse thread, and more or less
+closely, according to the taste
+of the worker.</p>
+
+<p>You insert the needle from right, and pass it
+under, from 3 to 6 threads of the foundation, according to the
+stuff and the material you are using, then downwards from
+left to right, and over, from 6 to 8 threads, into the stuff again
+from right to left; then you push it under
+the stuff in an upward direction and bring it
+out on the left in the middle of the space
+left between the last stitch and the top of
+the second. The dotted line in the engraving
+indicates the course of the stitches.</p>
+
+<p><b>Old German knotted stitch</b> (fig. <a href="#fig_870">870</a>).&mdash;This
+is a stitch often met with in old
+church and house linen embroidery. A beautiful
+design worked in this way is given
+further on.</p>
+
+<div class="figcenter" style="width: 175px;">
+<img src="images/883.jpg"  alt="FIG. 870. OLD GERMAN KNOTTED STITCH." title="" />
+<a name="fig_870" id="fig_870"></a><span class="caption smcap">Fig. 870. Old german knotted stitch.</span>
+</div>
+
+<p>Contrary to most stitches, this is worked upwards; the
+needle is put in horizontally under the stuff, the thread tightly
+drawn, then laid from left to right and drawn through underneath
+the first stitch and a tight knot made. We find the same
+stitch, worked in a variety of ways, according to the taste and
+skill of the worker; for instance the knots may be set slanting,
+as in fig. <a href="#fig_870">870</a>, or else straight and very close together,
+as in fig. <a href="#fig_873">873</a>, where they present the appearance of a close
+string of beads, or again wide apart, as they are in fig. <a href="#fig_876">876</a>.</p><p><a name="Page_541" id="Page_541"></a></p>
+
+<p>All these ways are admissible but care should be taken in
+each case, to make the stitches perfectly regular; it is the direction
+which is given to the stitch and the number of threads
+taken up with the needle that changes the appearance of the stitch.</p>
+
+<p><b>Raised stem stitch</b> (figs. <a href="#fig_871">871</a>, <a href="#fig_872">872</a>).&mdash;Take a very thick
+thread, such as Fil &agrave; pointer
+D.M.C No. 10 or 20, or one
+of the coarser numbers of Cordonnet
+6 fils D.M.C, lay it as
+a foundation thread along the
+line of your pattern and work
+over it wide stem stitches, as
+represented in figs. <a href="./chapter_5.html#fig_172">172</a> and
+<a href="./chapter_5.html#fig_173">173</a>, either in the same number
+of thread used for the
+foundation thread, or a finer,
+according to the stuff you are
+embroidering upon.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_871" id="fig_871"></a><a name="fig_872" id="fig_872"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/884.jpg"  alt="FIG. 871.
+RAISED STEM STITCH." title="" />
+<span class="caption smcap">Fig. 871.
+Raised stem stitch.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/885.jpg"  alt="FIG. 872.
+ANOTHER KIND OF RAISED STEM STITCH." title="" />
+<span class="caption smcap">Fig. 872.
+Another kind of raised stem stitch.</span>
+</div>
+</div>
+
+<p>You may overcast the same
+stitch in the manner indicated
+in fig. <a href="#fig_872">872</a>, using a different
+colour for the second layer
+of stitches to produce an agreable
+variety.</p>
+
+<p><b><a name="Border_in_different_kinds_of_stitches" id="Border_in_different_kinds_of_stitches"></a>Border in different kinds of stitches</b> (fig. <a href="#fig_873">873</a>).&mdash;The
+straight lines of this border are all worked in old German
+knotted stitch in &eacute;cru thread, forming a thick round cord which
+stands out from the surface in high relief; the flatter outlining of
+the outside figures is done in basket stitch in soft blue knitting
+cotton. The little oblong figures within the two inner lines of
+the border are worked in Gobelin stitch, in red embroidery
+cotton, and the filling of the figures, outlined in basket stitch,
+in one or other of the Irish lace stitches, worked in white
+lace thread, either so that all the stitches enter the stuff, or form
+a network over it.</p>
+
+<p>The work may be simplified by sewing Soutache D.M.C or
+Lacet superfin D.M.C along the straight lines instead of embroidering
+them in basket stitch.</p><p><a name="Page_542" id="Page_542"></a></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/886.jpg"  alt="FIG. 873. BORDER IN DIFFERENT KINDS OF STITCHES." title="" />
+<a name="fig_873" id="fig_873"></a><span class="caption"><span class="smcap">Fig. 873. Border in different kinds of stitches.<br />
+Materials</span>&mdash;For the old German knotted stitch:
+Cordonnet 6 fils D.M.C No. 2, &eacute;cru&mdash;For the basket
+stitch: Coton &agrave; tricoter D.M.C No. 16, Bleu-Indigo
+312&mdash;For the Gobelin stitches: Coton &agrave; broder D.M.C
+No. 20, Rouge-Turc 321&mdash;For the lace stitches:
+Fil &agrave; dentelle D.M.C No. 40, white.</span>
+</div>
+
+<p><b><a name="Roumanian_stitch" id="Roumanian_stitch"></a>Roumanian
+stitch</b> (figs. <a href="#fig_874">874</a>,
+<a href="#fig_875">875</a>).&mdash;This consists
+of stitches that are
+worked in the width
+of the stuff, intersected
+by back-stitches
+set slightly
+slanting.</p>
+
+<p>Though the engraving
+is so clear
+as to render it hardly
+necessary, we
+subjoin an exact description
+of the way
+the stitches run.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/887.jpg"  alt="FIG. 874.
+ROUMANIAN STITCH." title="" />
+<a name="fig_874" id="fig_874"></a><span class="caption smcap">Fig. 874.
+Roumanian stitch.</span>
+</div>
+
+<p>Bring out the
+needle on the left,
+2 or 6 threads beyond
+the line your
+embroidery is to
+follow; with regard
+to the number of
+threads you take up,
+you must be guided
+by the quality of the
+stuff and the material
+you have selected:
+put the needle
+in on the right, the
+same distance in
+advance of the line
+as before and bring
+it out in the middle
+of the stitch; then
+passing the needle
+over the first stitch,
+put it in again one
+<a name="Page_543" id="Page_543"></a>or two threads in advance of the point where it came out, and
+draw it out close to where the first stitch began.</p>
+
+<p>The border, represented in fig. <a href="#fig_875">875</a>, is worked in great part
+in Roumanian stitch.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/888.jpg"  alt="FIG. 875. BORDER IN ROUMANIAN STITCH." title="" />
+<a name="fig_875" id="fig_875"></a><span class="caption"><span class="smcap">Fig. 875. Border in roumanian stitch.<br />
+Materials</span>: Coton &agrave; broder D.M.C No. 16, Coton &agrave; repriser D.M.C No. 50, or
+Cordonnet 6 fils D.M.C No. 20.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Rouge-Cardinal 346, Rouge-Grenat 358, Brun-Caroubier 355, Rouge
+Maroquin 3327 et 3328, or Rouge-Cerise 3317 et 3318.<a href="#Footnote_A" class="fnanchor">[A]</a>
+</span>
+</div>
+
+<p>The original, still very well preserved, notwithstanding its
+age, is worked in silk of a brilliant red on a
+stiff stuff which has been coloured by time
+and use.</p>
+
+<p>Willems satin, Rhodes linen No. 2 and
+Algerian linen, make very suitable foundations
+for this kind of embroidery and have that soft
+tint which is almost indispensable to a satisfactory
+imitation of old needlework.</p>
+
+<p>Any one of the shades of red named at
+the foot of the illustration, will be found to
+be a good match for the original colours.</p>
+
+<p>Roumanian stitch is used wherever the lines of the pattern
+are widest; there where they narrow, in the indentures of the
+leaves and the twists of the stalks, flat stitch is used instead.</p>
+
+<p>By the repetition of the detached subject, this pattern may be
+made to serve either for a stripe or for a grounding; if you
+use it for a stripe, the centre flower of the principal subject
+with the stalks lengthened, will look very well worked as a
+separate subject between the large bouquets. Worked in a
+double row, base to base, on any stuff and in any material,
+these large figures form a very handsome border which makes
+an effective trimming for furniture and curtains.</p>
+
+<p><b><a name="Pattern_for_piqueacute_embroidery" id="Pattern_for_piqueacute_embroidery"></a>Pattern for piqu&eacute; embroidery</b> (fig. <a href="#fig_876">876</a>).&mdash;The stuff,
+called piqu&eacute;, such as it is now manufactured, is simply an
+imitation of an old kind of needlework, almost unknown in
+these days, but very popular in the fifteenth and sixteenth century
+in Italy, for making coverlets and more especially curtains
+and blinds; the latter being highly esteemed, because without
+intercepting the light altogether, they tempered it agreably.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/889.jpg"  alt="FIG. 876. PATTERN FOR PIQU&Eacute; EMBROIDERY." title="" />
+<a name="fig_876" id="fig_876"></a><span class="caption"><span class="smcap">Fig. 876. Pattern for piqu&eacute; embroidery.<br />
+Materials</span>: Cordonnet 6 fils D.M.C Nos. 1 and 25, Fil d&#39;Alsace D.M.C No. 100,
+Fil &agrave; pointer D.M.C No. 30 and Fil &agrave; dentelle D.M.C No. 30.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>A similar kind of work was common in Bohemia until a
+recent date for the making of caps. It is done on two layers
+of stuff, of different kinds, the upper one fine and transparent,
+the lower, more substantial.</p><p><a name="Page_544" id="Page_544"></a></p>
+
+<p>The pattern is drawn upon the fine stuff, because on that
+side the different kinds of stitches are made.</p>
+
+<p>You then tack the two stuffs together and work all the
+outlines of the pattern in Old German knotted stitch with
+&eacute;cru Fil &agrave; pointer D.M.C No. 20; that done, thread a tapestry
+needle with white Cordonnet 6 fils D.M.C No. 1 or 2, slip it
+in between the two layers of stuff and secure the end by two
+<a name="Page_545" id="Page_545"></a>or three stitches; then push the twist quite close to the knotted
+stitch and fasten it in between the two layers of stuff, with
+small and very regular running stitches, in a fine pliable material,
+such as Fil d'Alsace D.M.C on reels.</p>
+
+<p>Fill up in this manner all the ground of the pattern, leaving
+the arabesques and the ornaments plain, or embellishing them
+with some kind of lace or embroidery stitch.</p>
+<p><a name="Page_546" id="Page_546"></a></p>
+<p>When these stripes are intended for blinds, you can produce
+pretty transparent effects in them by cutting away the
+underneath stuff, in places.</p>
+
+<p><b><a name="Alphabet_in_Soutache" id="Alphabet_in_Soutache"></a>Alphabet in Soutache</b> (braid) (figs. <a href="#fig_877">877</a>, <a href="#fig_878">878</a>, <a href="#fig_879">879</a>, <a href="#fig_880">880</a>,
+<a href="#fig_881">881</a>, <a href="#fig_882">882</a>).&mdash;This alphabet, which is one
+of the best of its kind, was taken from a
+work published in Venice in 1662, by Giovan'
+Antonio Tagliente, secretary and calligraphist
+to the Republic.</p>
+
+<div class="figcenter" style="width: 225px;">
+<img src="images/890.jpg"  alt="FIG. 877. LETTER T OF THE SOUTACHE ALPHABET. MODE OF INTERLACING THE SOUTACHE." title="" />
+<a name="fig_877" id="fig_877"></a><span class="caption smcap">Fig. 877. Letter T of the soutache alphabet. Mode of interlacing the soutache.</span>
+</div>
+
+<p>The letters lend themselves, better than
+any we know, to being executed in Soutache
+D.M.C.</p>
+
+<p>The sewing on of the braid is done
+with very small running stitches and the interlacing with a
+tapestry needle, into which the braid is threaded; both
+operations are shown in figs. <a href="#fig_877">877</a> and <a href="#fig_880">880</a>. The embroidery
+of the connecting bars, and the small leaves and tendrils that
+complete the letter are explained in fig. <a href="#fig_881">881</a>, whilst fig. <a href="#fig_882">882</a>
+represents the letter A in its finished state.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/891.jpg"  alt="FIG. 878. ALPHABET IN SOUTACHE. LETTERS A TO N." title="" />
+<a name="fig_878" id="fig_878"></a><span class="caption smcap">Fig. 878. Alphabet in soutache. Letters A to N.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/892.jpg"  alt="FIG. 879. ALPHABET IN SOUTACHE. LETTERS O TO Z." title="" />
+<a name="fig_879" id="fig_879"></a><span class="caption smcap">Fig. 879. Alphabet in soutache. Letters O to Z.</span>
+</div>
+
+<p>For sewing on the braid, a fine soft material is the best,
+such as Soie de coton D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> and for embroidering the
+small accessories, Coton &agrave; broder D.M.C No. 50<a href="#Footnote_A" class="fnanchor">[A]</a>.</p>
+
+<div class="figcenter" style="width: 450px;">
+<a name="fig_880" id="fig_880"></a><a name="fig_881" id="fig_881"></a>
+<div class="figleft" style="width: 200px;">
+<img src="images/893.jpg"  alt="FIG. 880.
+LETTER M OF THE
+ALPHABET IN SOUTACHE.
+MODE OF SEWING ON
+THE SOUTACHE." title="" />
+<span class="caption smcap">Fig. 880.
+Letter M of the
+alphabet in soutache.
+Mode of sewing on
+the soutache.</span>
+</div>
+
+<div class="figright" style="width: 200px;">
+<img src="images/894.jpg"  alt="FIG. 881.
+LETTER W OF THE
+ALPHABET IN SOUTACHE.
+MODE OF PLACING THE
+BARS AND EMBROIDERING
+THE LEAVES." title="" />
+<span class="caption smcap">Fig. 881.
+Letter W of the
+alphabet in soutache.
+Mode of placing the
+bars and embroidering
+the leaves.</span>
+</div>
+</div>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/895.jpg"  alt="FIG. 882.
+LETTER A OF THE
+ALPHABET IN SOUTACHE
+IN ITS FINISHED
+STATE." title="" />
+<a name="fig_882" id="fig_882"></a><span class="caption smcap">Fig. 882.
+Letter A of the
+alphabet in soutache
+in its finished
+state.</span>
+</div>
+
+<p><b>Flowers executed in Soutache and embroidery</b> (fig. <a href="#fig_883">883</a>).
+Flowers and sprays, such as here represented, make a charming
+trimming for summer dresses, sunshades, aprons etc. and
+can be executed with admirable effect in the D.M.C Soutache,
+now to be had in all the colours of the D.M.C colour card.
+A very pretty running pattern can be formed out of the spray,
+fig. <a href="#fig_883">883</a>, by turning the flowers first to the right and then to
+the left and making the stalks come out underneath the ears
+of corn. In order to reverse the position of the flowers thus,
+you will have to make two tracings of the spray, one negative
+and one positive.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/896.jpg"  alt="FIG. 883. FLOWERS EXECUTED IN SOUTACHE AND EMBROIDERY." title="" />
+<a name="fig_883" id="fig_883"></a><span class="caption"><span class="smcap">Fig. 883. Flowers executed in soutache and embroidery.<br />
+Materials</span>: Soutache D.M.C Nos. 1 to 3 and Coton &agrave; broder D.M.C No. 35.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>&mdash;For the Soutache: White, &eacute;cru or Jaune d'Ocre 677,
+and Bleu-Indigo 322.&mdash;For the Coton &agrave; broder: &Eacute;cru, Jaune-Orange 444,
+Bleu-Indigo 311, Gris-Tilleul 391 and 330, Vert-Pistache 319, 320 and 369,
+Rouge-Cardinal 348.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+<p>For the ears of corn in fig. <a href="#fig_883">883</a>, use either Soutache &eacute;cru,
+or Jaune-d'Ocre 677 No. 2; for the marguerites, white Sou<a name="Page_547" id="Page_547"></a><a name="Page_548" id="Page_548"></a>tache
+No. 2&frac12; and for the corn flowers, Soutache Bleu-Indigo
+322 No. 2. Nothing could be simpler than the mode of working
+these flowers.</p>
+
+<p>Thread a tapestry needle with the Soutache and draw it
+into the stuff, and then pass it through from the right side to
+the wrong at the bottom of one of the petals of the flowers,
+secure it on the wrong side by two or three stitches and then
+bring the working thread, which should be of the same colour
+as the Soutache, out again at the point of the petal, then carry
+the Soutache back to the bottom of the petal and fasten it
+down, like the gold threads in fig. <a href="./chapter_6.html#fig_242">242</a>, by a stitch rather
+wider than the Soutache, fold the Soutache over again to the
+starting point, and secure it by a stitch, and so on. In order
+to give a different character to the flowers, use Soutache of
+different widths, fold it over more or less closely and lay it
+down in shorter or longer lengths, as required. The natural
+irregularity of the petals of a flower can be very faithfully
+imitated in this manner. Fig. <a href="#fig_883">883</a> shows the way in which, for
+the ears of corn, the braid is folded back upon itself and
+fastened down, whilst in the white flowers the two layers of
+the braid that form each petal are separated at the bottom.</p>
+
+<p>The stamens of the marguerites are worked in knot stitch
+with yellow cotton and those of the cornflowers with dark blue.</p>
+
+<p>The other little details are executed in flat and stem stitch
+in the colours indicated at the foot of the engraving. With the
+<a name="Page_550" id="Page_550"></a>pattern to go by, the distribution of the colours for the different
+parts can present no possible difficulty.</p>
+
+<p><a name="Page_551" id="Page_551"></a></p>
+<p>We need only point out that Rouge-Cardinal 348 is intended
+for the little knot that connects the stalks of the flowers.</p>
+
+<p><b><a name="Chinese_subject" id="Chinese_subject"></a>Chinese subject</b> (fig. <a href="#fig_884">884</a>).&mdash;This quaint and graceful
+composition, copied from an interesting piece of Chinese embroidery,
+gives our readers the opportunity of turning the different
+damask stitches, already described in these pages, to quite
+a new use.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/897.jpg"  alt="FIG. 884. CHINESE SUBJECT." title="" />
+<a name="fig_884" id="fig_884"></a><span class="caption"><span class="smcap">Fig. 884. Chinese subject.<br />
+Materials</span>: Coton &agrave; repriser D.M.C No. 50, Or fin D.M.C pour la broderie
+No. 40 and Chin&eacute; d&#39;or D.M.C.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The kind of gauze which forms the foundation of the original
+work can be replaced either by Spanish or Rhodes linen
+No. 2, by any stuff, in fact, the threads of which can be
+counted.</p>
+
+<p>The drawing has to be transferred to the stuff, and the
+different parts are filled in with the stitches, clearly indicated
+in the illustration.</p>
+
+<p>By the introduction of several colours, this pattern is capable
+of being infinitely varied.</p>
+
+<p>Thus, in the model before us, the neck and bulb of the
+<a name="Page_552" id="Page_552"></a>flask, the leaves it stands upon and those attached to the flowers
+in it, are worked in Vert-Pistache 367, the handles, the ornament
+on the bottle, and the triangular figure in the centre
+are in white; the little flower on the left, the second on the
+right, the straight staff, the upper wings of the butterfly, as
+well as the three leaves underneath the triangle are in Bleu-Indigo
+334; the first flower on the right of the flask, the knot
+above the triangle, the lower wings of the butterfly and the
+middle part of the bottom subject on the right of the engraving
+are in Gris-Amadou 383; and Violet-lie-de-vin and
+Brun-Caroubier 357 alternate in the pointed leaves that support
+the flask; the former colour recurs in the ornaments of
+the staff, and Rouge-Cardinal 347, black and Gris-Tilleul
+alternate in the other details of the drawing.</p>
+
+<p>For the setting it will be best to take Or fin D.M.C pour
+la broderie or else Chin&eacute; d'or D.M.C, used either double or
+single, according to whichever the drawing seems to require.</p>
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_16.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents.</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
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+
+
+<p><a name="Page_553" id="Page_553"></a></p>
+
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/898.jpg"  alt="ORNAMENT AFTER HOLBEIN" title="" />
+<span class="caption smcap">Ornament after Holbein.</span>
+</div>
+
+
+
+<hr style="width: 15%;" />
+<h2><a name="Practical_directions" id="Practical_directions"></a>Practical directions.</h2>
+<hr style="width: 15%;" />
+
+
+<p>Hitherto we have been chiefly occupied with descriptions
+and explanations of the different kinds of needlework; to render
+these complete, it remains for us to give a few practical directions
+with regard to the copying, adjustment and transposition
+of the patterns, as well as to the different processes, often so
+essential to the ultimate success of a piece of needlework. For
+this success will soon be found not to depend on the stitches
+only but very largely on the proper adaptation of the design to
+the space it is intended to fill.</p>
+
+<p>Then, in the case of new lace, it is necessary to know
+the amount of dressing it will require to give it the right stiffness
+and when this dressing has worn off how to renew it;
+whilst in the case of appliqu&eacute; work more especially, it is indispensable
+to know exactly what the ingredients are, of which
+the paste should be composed and how to make and lay it on
+in the proper manner.</p>
+
+<p><b><a name="Tracing_patterns" id="Tracing_patterns"></a>Tracing patterns against a window pane.</b>&mdash;In order
+to copy a pattern in this way, the first step is to tack or pin
+the piece of stuff or paper on which the copy is to be made
+upon the pattern. In the case of a small pattern, the tacking
+<a name="Page_554" id="Page_554"></a>or pinning may be dispensed with and the two sheets held
+firmly pressed against the window pane with the left hand,
+whilst the right hand does the tracing, but even then it is safer
+to pin or gum the four corners of the two sheets together, in
+case of interruption, as it is difficult to fit them together again
+exactly.</p>
+
+<p>The tracing may be done with a pencil, or better still,
+with a brush dipped in Indian ink or water-colour paint.</p>
+
+<p>The process of tracing is easy enough, so long as the hand
+does not get tired but as this generally comes to pass very soon
+it is best, if the pattern be a large and complicated one, to
+stick the sheets to the pane with strong gum or suspend them
+on a string, fastened across the pane by pins stuck into the
+window frame on either side.</p>
+
+<p><b>To take off a pattern by rubbing.</b>&mdash;If you want to take
+a pattern of a piece of embroidery direct from the work itself,
+lay it, the right side up, flat upon a board or table and cover
+it with letter or tissue paper.</p>
+
+<p>The paper should be of a good medium thickness, if it be
+too thick it will not take a clear impression of the pattern, and
+if very thin it is apt to tear.</p>
+
+<p>Fasten the paper down upon the embroidery with drawing-pins
+and rub off the pattern with drawing-wax. In default of
+the right kind of wax, the bowl or handle of a spoon, or a
+large silver coin will serve the purpose equally well, as will
+also some powdered graphite or charcoal. The outlines will
+not of course, in any case, be very clearly defined upon the paper
+and will have to be gone over and carefully supplemented afterwards
+with a pencil.</p>
+
+<p>Taking off the pattern with charcoal or graphite is less
+injurious to the embroidery than rubbing it off with wax or
+metal, as the pressure required in the latter case flattens the
+needle-work very considerably. As soon as you have fixed the
+lines of the pattern by drawing them over with ink, it is ready
+for use.</p>
+
+<p><b>To transfer a pattern direct on to the stuff.</b>&mdash;Patterns
+cannot be copied by either of the above methods direct on to
+the stuff and can only be used when the stuff on which the
+<a name="Page_555" id="Page_555"></a>embroidery is to be executed is transparent; in the case of thick
+close fabrics the drawing must be made on the stuff itself. The
+following is the simplest way of transferring a pattern on to a
+transparent stuff; begin by going over all the lines of the drawing
+with Indian ink so as to make them quite thick and
+distinct, and tacking the paper with large stitches on to the
+back of the stuff. Then, mix some very dark powdered indigo
+diluted with water, in a glass with a small pinch of sugar and
+powdered gum arabic, and using this as ink and a fine pen
+very slightly split, trace the pattern that shines through on
+the stuff.</p>
+
+<p>The tracing must be very slight, for if the embroidery be
+not done till some time afterwards the lines get so firmly fixed
+in the stuff that one washing will not obliterate them; the
+tracing ink moreover makes the work unpleasantly sticky.</p>
+
+<p><b>To copy with oiled paper</b>.&mdash;Another rather expeditious
+mode of transferring patterns on to thin and more especially
+smooth glossy stuffs, is by means of a special kind of tinted
+paper, called autographic paper, which is impregnated with a
+coloured oily substance and is to be had at any stationer's
+shop. This you place between the pattern and the stuff,
+having previously fastened the stuff, perfectly straight by the
+line of the thread, to a board, with drawing-pins. When you
+have fitted the two papers likewise exactly together, you go over
+all the lines of the pattern with a blunt pencil, or with, what
+is better still, the point of a bone crochet needle or the edge
+of a folder. You must be careful not to press so heavily upon the
+pattern paper as to tear it; by the pressure exercised on the two
+sheets of paper, the oily substance of the blue paper discharges
+itself on to the stuff, so that when it is removed all the lines
+you have traced are imprinted upon the stuff.</p>
+
+<p>This blue tracing paper is however only available for the
+reproduction of patterns on washing stuffs, as satin and all
+other silky textures are discoloured by it.</p>
+
+<p><b>To pounce patterns upon stuffs.</b>&mdash;The modes of copying,
+hitherto described, cannot be indiscriminately used for all
+kinds of stuff; for cloth, velvet and plush, for instance, they
+are not available and pouncing is the only way that answers.</p><p><a name="Page_556" id="Page_556"></a></p>
+
+<p>The patterns, after having been transferred to straw or
+parchment paper, have to be pricked through. To do this you
+lay the paper upon cloth or felt and prick out all the lines of
+the drawing, making the holes, which should be clear and
+round, all exactly the same distance apart.</p>
+
+<p>The closer and more complicated the pattern is, the finer
+and closer the holes should be. Every line of the outline must
+be carefully pricked out.</p>
+
+<p>If the paper be sufficiently thin, several pouncings can be
+pricked at the same time, and a symmetrical design can be
+folded together into four and all pricked at once.</p>
+
+<p>The pricked pattern has next to be tacked upon the material,
+the side from which the pricking was done next to the
+stuff and the little funnel-shaped holes uppermost. Paper and
+stuff must be firmly fastened down and kept in position by
+drawing pins, so that neither of them may move during the
+process, otherwise you will have double lines on the stuff which
+you will find very confusing afterwards.</p>
+
+<p>For the pouncing, use either powdered chalk or charcoal,
+according to whether the stuff be dark or light in colour. Dip
+the pouncing implement, a thing like a small drum-stick, stuffed
+and covered with cloth, into the powder and rub it lightly over
+the whole surface of the pricked pattern, so that the powder
+penetrates through the pin-holes to the stuff. In default of a
+proper pouncing implement take a small stripe of cloth, roll
+it up round a stick and wind a string round, and dip this into
+the powder.</p>
+
+<p>When the powder has penetrated to the stuff, remove the
+paper and if the pattern is to be repeated, lay it on again
+further on, taking care to make the lines meet exactly so that
+the join may not be seen.</p>
+
+<p>When you have finished the pouncing and taken off the
+paper, you proceed to draw or rather paint in the pattern
+with water-colour paints: Ackermann's are the best for the
+purpose; no others, as far as our experience has proved, adhere
+so well to even the roughest fabrics or so little affect the
+brilliancy of the embroidery thread. Four paints, blue, black,
+<a name="Page_557" id="Page_557"></a>yellow and white are sufficient for all purposes, whatever the
+colour of the stuff may be.</p>
+
+<p>On a smooth surface the tracing may be done with a pen
+but a small sable-hair brush is preferable under all circumstances.</p>
+
+<p>The rougher and more hairy the surface, the finer the
+brush ought to be, in order that the colour may sink well in
+between the fibres.</p>
+
+<p>Before beginning to paint in the pattern, gently blow away
+all the superfluous powder from the surface. This process may
+be objected to as being an old one which has been superseded
+by new inventions; a resinous powder for instance, by the use
+of which patterns can be fixed, as soon as they have been pounced,
+by passing a hot iron over the stuff, a sheet of paper
+having first been laid upon it to protect it; or else a mixture
+of gum and powder which can be dissolved on the stuff itself
+by the steam of spirits-of-wine, and various other processes
+needless to mention here, as some are only useful in tracing
+patterns on a large scale, whilst others require a variety of
+appliances, not as a rule, within the reach of those to whom
+needle-work is a simple recreation.</p>
+
+<p><b><a name="The_preparation_of_the_stuffs" id="The_preparation_of_the_stuffs"></a>The preparation of the stuffs and the subdivision of
+the patterns</b>.&mdash;Long years of experience and practice have
+brought us in contact with a good many designers, many of
+them artists in their way, so long as it was only a question of
+putting their own compositions on paper but who yet found
+themselves confronted by real difficulties the moment they were
+called upon to transfer them to stuff.</p>
+
+<p>We shall, as far as possible, point out to our readers the
+precautions to be taken in tracing patterns and must for that
+purpose go back to one of the first operations, namely that
+of pricking.</p>
+
+<p>To begin with, the paper on which the pattern is should
+always be large enough for there to be a clear margin of from
+4 to 5 c/m. all round the pattern, so that the pouncing instrument
+may never come in contact with the stuff beneath.</p>
+
+<p>In transferring patterns to stuff, no lines of division should
+<a name="Page_558" id="Page_558"></a>ever be made directly upon it either with lead, chalk or charcoal,
+as it is hardly ever possible entirely to obliterate them
+and they often become very confusing afterwards.</p>
+
+<p>Before beginning the tracing, divide your stuff into four,
+then decide what the width of the border outside the pattern
+is to be; it is quite an exceptional thing to carry a pattern
+right up to the edge. Stuffs that will take a bend, such as all
+linen and cotton textures, can be folded in four, like the paper,
+the folds ought then to be pinched and pressed down so that
+the lines may remain clear and distinct until the tracing be
+finished.</p>
+
+<p>After dividing it into four, mark out the diagonal lines;
+these are absolutely necessary in order to get the corner
+figures rightly placed.</p>
+
+<p>Though most of our readers know how to make these lines
+on paper with a pencil and ruler, few, easy as it is, know how
+to make them upon stuff. You have only to fold over the
+corner of your piece of stuff so that the outside thread of the
+warp or cut edge run parallel with the woof edge which
+marks the angle of the fold-over.</p>
+
+<p>This double folding over divides the ground into 8 parts.
+To arrange for the outside border or margin, is easy enough
+if the stuff and the kind of work you are going to do upon
+it admit of the drawing out of threads, as then a thread
+drawn out each way serves as a guide for tracing the pattern,
+straight to the line of the stuff. It is often better however,
+not to draw out the threads for an open-work border till the
+pattern be traced. If you do not wish or are not able to draw out
+threads to mark the pattern and you are working on a stuff of
+which the threads can be counted, follow the directions given
+on page <a href="./chapter_7.html#Page_128">128</a>, and explained in fig. <a href="./chapter_7.html#fig_252">252</a>.</p>
+
+<p>You cannot mark cloth, silk stuffs or plush by folding them
+in the above way, cloth and some kinds of silken textures will
+not take a bend and others that will would be spoiled by it.</p>
+
+<p>All such stuffs should be mounted in a frame, before the
+pattern be traced and the ground be then divided out in the
+following way: take a strong thread, make a knot at one end,
+<a name="Page_559" id="Page_559"></a>stick a pin into it and tighten the knot round it; with a pair of
+compasses, divide one of the sides into two equal parts, stick
+the pin with the knot round it in at the middle and the same
+on the opposite side, putting in a second pin by means of
+which you stretch the thread; carry other threads across in a
+similar way, in the width of the stuff and from corner to corner
+and you will have your ground correctly marked out, in such
+a manner as to leave no marks when, after pouncing in the
+pattern, you remove the threads. Before finishing the pouncing
+of a pattern, see that it is the right size for the purpose it is
+intended for.</p>
+
+<p>Supposing that you are tracing a border with a corner, you
+should measure the length it will occupy and then by a very
+light pouncing, you can mark the points from which the pattern
+will have to be repeated. It may be that a gap will be left
+in the middle, which, if not too large, can be got rid of without
+altering the pattern by pushing the whole thing a little further
+in and so shortening the distance between the two corners.</p>
+
+<p>Should the gap however be too large for this, you will
+have to make a supplementary design to fill up the place. The
+same thing would be necessary in the case of your having to
+shorten a pattern.</p>
+
+<p><b><a name="To_transpose_and_repeat_patterns" id="To_transpose_and_repeat_patterns"></a>To transpose and repeat patterns by means of looking-glasses</b>
+(fig. <a href="#fig_885">885</a>).&mdash;We have referred to the necessity that
+often occurs of adapting patterns to certain given proportions;
+this can in most cases be done easily enough without the help
+of a draughtsman, especially in the case of cross stitch embroideries,
+by means of two unframed looking-glasses (Penelope
+mirrors, as they are called) used in the following manner.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/899.jpg"  alt="FIG. 885. TO TRANSPOSE AND REPEAT A STRAIGHT PATTERN BY MEANS
+OF LOOKING GLASSES." title="" />
+<a name="fig_885" id="fig_885"></a><span class="caption smcap">Fig. 885. To transpose and repeat a straight pattern by means
+of looking glasses.</span>
+</div>
+
+<p>If you want to utilize a piece only of a straight border, or
+after repeating it several times, to form a corner with it, you
+place the mirror in the first instance across it at right angles,
+at the place from which the pattern is to be repeated, and
+then exactly diagonally inwards.</p>
+
+<p>To make a square out of a straight pattern, you take two
+mirrors and so place them that they touch at the point where
+the diagonal lines meet, as represented in fig. <a href="#fig_885">885</a>, and you
+have your square at once.</p><p><a name="Page_560" id="Page_560"></a></p>
+
+<p>This is all easy enough, but before beginning any large
+piece of work it is necessary to consider carefully which parts
+of the drawing will best fill the centre and which are best suited
+to form the corners, as it is not every part of a straight pattern
+that is adapted for repetition.</p>
+
+<p>A few preliminary trials with the help of the mirrors will
+better show the importance of these explanations than anything
+further we can say on the subject.</p>
+
+<p><b><a name="To_alter_the_proportions_of_a_pattern" id="To_alter_the_proportions_of_a_pattern"></a>To alter the proportions of a pattern by dividing the
+ground into squares</b> (figs. <a href="#fig_886">886</a> and <a href="#fig_887">887</a>).&mdash;Cases will occur
+where it will be found necessary to subject the pattern to
+greater modifications still than those we have hitherto been
+dealing with.</p>
+
+<p>You want, for example, to embroider a rather large running
+ground pattern on a piece of stuff, that is relatively too small
+for the subject; or a small and rather minute pattern on a large
+surface on which it is likely to look, either too insignificant, or
+too crowded and confused and the chances are, if you do not
+know how to draw, you will either think it necessary to get
+a draughtsman to help you or you will give up the piece of
+<a name="Page_561" id="Page_561"></a>work altogether, deterred by the difficulties that confront you.
+You need not do either if you will follow the directions here
+given.</p>
+
+<p>Take a sheet of large-sized quadrille paper which if necessary
+you can prepare for yourself; trace your pattern upon it,
+or rule the squares direct upon the drawing, as shown in
+fig. <a href="#fig_886">886</a>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/900.jpg"  alt="FIG. 886. DIVIDING THE GROUND INTO SQUARES BEFORE COPYING." title="" />
+<a name="fig_886" id="fig_886"></a><span class="caption smcap">Fig. 886. Dividing the ground into squares before copying.</span>
+</div>
+
+<p>On a second sheet of vegetable paper, rule squares, a fourth,
+a third or half as small again as those on the first sheet. Thus,
+if the sides of the first squares be 15 m/m. long and you want
+to reduce your pattern by one fifth, the sides of your new
+squares should measure only 12 m/m.</p>
+
+<p>If, on the contrary, you want to enlarge the pattern by one
+fifth, make the sides of your squares 18 m/m. long.</p>
+
+<p>Then you follow, square by square, the lines of the drawing,
+<a name="Page_562" id="Page_562"></a>extending or contracting them, according to whether the pattern
+is to be enlarged or diminished.</p>
+
+<p>To copy a pattern directly from a piece of embroidery and
+enlarge or diminish it at the same time, proceed as follows:
+fix the embroidery on a board, stretching it equally in every
+direction; then measure the length of the drawing, divide the
+centimetres by the number of units corresponding to whatever
+the proportions of your copy are to be, and if there be any
+fractions of centimetres over, subdivide them into millimetres,
+if necessary, into half millimetres and make your division by
+whatever measure you have adopted; take a pair of compasses
+with dry points, open them sufficiently for the opening to
+correspond to the number and the distance obtained by the
+division; plant a pin with a thread fastened to it, at the point
+indicated by the point of the compasses and repeat the last
+operation all along one side of the embroidery and, if possible
+a little beyond it, so that it may not be defaced by the
+marks of the pins. All you now have to do is to pull the
+threads in perfectly straight lines to the opposite side and
+carry other threads across them in a similar manner so that the
+whole surface be divided into squares.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/901.jpg"  alt="FIG. 887. PATTERN REDUCED BY MARKING OUT THE GROUND IN SMALL SQUARES." title="" />
+<a name="fig_887" id="fig_887"></a><span class="caption smcap">Fig. 887. Pattern reduced by marking out the ground in small squares.</span>
+</div>
+
+<p>It is needless to say that if you have to trace a pattern
+from a mounted piece of work you cannot stretch it on a
+<a name="Page_563" id="Page_563"></a>board; with a little invention however some way can always
+be found of planting the pins so as not to injure the work.</p>
+
+<p><b>To alter the width of a pattern retaining the original
+height</b> (figs. <a href="#fig_888">888</a>, <a href="#fig_889">889</a>, <a href="#fig_890">890</a>).&mdash;Sometimes it is necessary to
+lengthen out a pattern without however altering its height.
+In this case you modify the shape of the square and make
+long or narrow squares, according to the general shape of the
+<a name="Page_564" id="Page_564"></a>design you wish to reproduce. Fig. <a href="#fig_888">888</a> represents a pattern
+in Soutache D.M.C, marked out in squares; in fig. <a href="#fig_889">889</a> the
+squares are lengthened out a third beyond their original size
+and the pattern is expanded; in fig. <a href="#fig_890">890</a>, the squares are
+compressed to a third less than their original size.</p>
+
+<p>This method of subdividing patterns greatly facilitates the
+alterations they have so often to undergo and we are sure
+that there are few amongst those who have any real aptitude
+for needlework, who cannot draw enough to be able to copy
+the contents of a square.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/902.jpg"  alt="FIG. 888. PATTERN IN SOUTACHE. Original size." title="" />
+<a name="fig_888" id="fig_888"></a><span class="caption smcap">Fig. 888. Pattern in soutache. Original size.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/903.jpg"  alt="FIG. 889. PATTERN IN FIG. 888 DRAWN OUT IN THE WIDTH." title="" />
+<a name="fig_889" id="fig_889"></a><span class="caption smcap">Fig. 889. Pattern in fig. <a href="#fig_888">888</a> drawn out in the width.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/904.jpg"  alt="FIG. 890. PATTERN IN FIG. 888 COMPRESSED IN THE WIDTH." title="" />
+<a name="fig_890" id="fig_890"></a><span class="caption smcap">Fig. 890. Pattern in fig. <a href="#fig_888">888</a> compressed in the width.</span>
+</div>
+
+<p><b><a name="To_prepare_the_paste" id="To_prepare_the_paste"></a>To prepare the paste for appliqu&eacute; work</b>.&mdash;It may seem
+strange to devote a separate paragraph to such an apparently
+simple operation; but in appliqu&eacute; work it is a most important
+one, as not only the stuff on which the work is done but
+all the expensive accessories are liable to be spoilt by paste
+that has been badly prepared.</p>
+
+<p>Put some wheaten (not rice) starch into a vessel with a
+rounded bottom, pour on just enough water to dissolve the
+starch and stir it with a wooden spoon till it becomes perfectly
+smooth.</p>
+
+<p>In the meantime put about &frac14; of a pint of clean water on
+the fire to boil and when it boils add to it a little powdered
+pitch or carpenter's glue, in quantity about the size of a pea
+and pour in the starch, stirring it the whole time. When the
+mixture has boiled up several times take it off the fire and go
+on stirring it till it gets cold, otherwise lumps will form in it,
+which as we specially pointed out in the preceding chapter,
+must never be allowed to get in between the stuff and the paper.</p>
+
+<p>This kind of paste makes no spots and does not injure even
+the most delicate colours as it contains no acid. In winter it
+will keep for several days, but in hot weather it very soon
+begins to ferment and should then on no account be used.</p>
+
+<p>Gum arabic ought never to be used for appliqu&eacute; work, as
+it becomes so hard that it is impossible to get the needle
+through, whilst the saccharine it contains almost always causes
+ugly spots to appear in the stuff when it dries.</p><p><a name="Page_565" id="Page_565"></a></p>
+
+<p>When the work is finished it is a good plan to spread a very
+thin layer of paste over the entire back of it with a fine brush
+made of hog's bristles, and not to take it out of the frame
+until it is perfectly dry.</p>
+
+<p><b><a name="To_stiffen_new_needlework" id="To_stiffen_new_needlework"></a>To stiffen new needlework.</b>&mdash;In the chapter on Irish
+lace, page <a href="./chapter_13.html#Page_441">441</a>, we said that new needlework of that kind
+had to be ironed; this should be done in the following manner:
+when the lace has been taken off its foundation, lay it, face
+downwards, on a piece of fine white flannel; then dip a piece
+of very stiff new organdie muslin into water, take it out again
+almost immediately and wring it slightly, so that no drops
+may fall from it, and then dab the wrong side of the lace
+all over with this pad of damp muslin and iron it with a hot
+iron which should be moved slowly forwards so that the moisture
+which the organdie has imparted to the lace may evaporate
+slowly. Not until you are quite sure that the lace is dry
+should it be taken off the board.</p>
+
+<p>There is no better way than this of giving new lace that
+almost imperceptible degree of stiffness by which alone it is often
+to be distinguished from old. Water only does not stiffen
+the thread sufficiently and it is difficult with starch to hit upon
+exactly the right consistency, whereas the organdie muslin
+supplies just the needful quantity.</p>
+
+<p>Embroidered network can be stiffened in the same manner
+and should be damped in the frame on the wrong side and not
+taken off until it is quite dry.</p>
+
+<p>We even recommend embroidery on linen being treated in
+the same way but when the linen is very creased, cover it with
+a damp cloth and iron upon that first, then take the cloth
+away and iron the embroidery itself so as to dry it completely.</p>
+
+<p><b><a name="To_wash_ordinary_lace" id="To_wash_ordinary_lace"></a>To wash ordinary lace.</b>&mdash;Wind it round a bottle the
+same width top and bottom and cover it entirely with muslin,
+fastened to the lace by a few stitches. Fill the bottle half full
+of sand, so that it may not get knocked about too violently
+when the water boils.</p>
+
+<p>Immerse the bottle in a saucepan of cold water with a piece
+<a name="Page_566" id="Page_566"></a>of soap the size of a nut in it, and if the lace be very dirty, a small
+pinch of salt, and let it boil for about an hour pouring off the
+water as it gets dirty and adding clean.</p>
+
+<p>When all the dirt has been boiled out of the lace, which
+you will know to be the case when the water remains perfectly
+clear, rinse out the soap before you take the lace off the bottle,
+by plunging it into cold water.</p>
+
+<p><b><a name="To_wash_real_lace" id="To_wash_real_lace"></a>To wash real lace.</b>&mdash;The process is the same as the above,
+but as real lace is so seldom washed and is generally very
+yellow and fragile, particularly if it has been roughly used, it
+is rather difficult to clean.</p>
+
+<p>If stained or greasy, it should be left to soak for some
+hours or even days, in good olive oil. This restores to the
+thread that softness and smoothness which use and bad washing
+had impaired. After the oil bath it should be washed on
+a bottle in the manner already described.</p>
+
+<p><b><a name="To_stiffen_lace" id="To_stiffen_lace"></a>To stiffen lace.</b>&mdash;Dip the lace when perfectly dry in thin
+starch prepared as follows.</p>
+
+<p>Take as much fine wheaten starch, as you think you
+will require, divide it into two portions and dissolve both in
+cold water. Boil the one portion and when it has so far cooled
+as to have ceased to steam, stir the cold starch into it and
+dilute the whole with cold water to the consistency of thick
+cream. If the lace is to be slightly coloured, add a few drops
+of black coffee, or dilute the starch with weak tea or guimauve
+water; the coffee will give it a dark cream colour, either of
+the latter a pale greenish hue.</p>
+
+<p>Dip the lace in the mixture and squeeze it out gently without
+wringing it to get rid of all the superfluous liquid, then
+lay it flat on the left hand and beat it for a few minutes with
+the right to work the starch well in; repeat the whole process
+twice, then roll the lace in fine linen and leave it there till you
+are ready to iron or pin it out, as the case may be.</p>
+
+<p><b><a name="To_iron_lace" id="To_iron_lace"></a>To iron lace.</b>&mdash;After the lace has lain for an hour or two
+in the cloth, iron it if it be machine-made and if it be Irish
+Guipure or real point lace of any sort, pin it out.</p><p><a name="Page_567" id="Page_567"></a></p>
+
+<p>Before you begin to iron, hold the lace tight in your left
+hand by the footing and with the right hand pull out all the
+picots, along the edge of the lace, to an equal length, then lay
+it out flat upon a board covered with white flannel and iron
+it with a moderately hot iron, passing the iron backwards and
+forwards over it until it be quite dry.</p>
+
+<p>If creases should come in the ironing where they ought not
+to be, dab them over lightly with a sponge moistened with
+water and a few drops of starch and pass the iron over them
+again.</p>
+
+<p>After ironing the whole length of lace, pull it out crossways
+from left to right, and from right to left and iron it all over
+once more. This does away with the artificial stiffness and
+gives it the agreable softness and pliancy of new lace.</p>
+
+<p><b><a name="To_pin_out_lace" id="To_pin_out_lace"></a>To pin out lace.</b>&mdash;In order to pin out lace in a thoroughly
+satisfactory manner, you should provide yourself with a wooden
+drum, about 30 c/m. high and from 50 to 60 c/m. in diameter,
+large enough to rest upon the knees.</p>
+
+<p>The outside circumference of the wood should be padded
+and covered with grey or white ticking.</p>
+
+<p>The pins must be exactly the size of the picots they are
+to pin down; you will require extremely fine ones for Valenciennes
+and coarser for other kinds of lace: steel pins are of no
+use whatever, because of their liability to rust. Cover the cylinder
+with blue paper (less trying for the eyes than any other) and
+take only just as much lace out of the damp cloth as you are
+likely to be able to pin out before it gets dry, keeping the remainder
+covered up.</p>
+
+<p>Lay the lace upon the drum and pin the footing down first
+in a straight line, sticking the pins in pretty closely and at
+regular distances apart; then pin down each picot separately,
+taking care not to open them if they have kept their original
+shape and to shut them up by twisting them if they have got
+untwisted.</p>
+
+<p>If you find the pinning out troublesome and cannot get it all
+done before the lace dries, damp the picots with a sponge as
+you proceed.</p><p><a name="Page_568" id="Page_568"></a></p>
+
+<p>Lace should never be pinned out when it is dry as the
+threads of the picots are then very apt to break and torn picots
+destroy the value of even the choicest lace.</p>
+
+<p>Raised lace has to be stamped out from the wrong side
+with a lace awl or kind of pricker of bone made for the purpose.
+Some professional lace-cleaners use this implement even for
+Valenciennes lace but we cannot recommend it, seeing that it
+is a lace that is by nature perfectly flat.</p>
+
+<p>Let the length of lace you have pinned out remain on the
+drum till it be quite dry; if you have several yards to pin out,
+wind it round and round the cylinder. Cover up the lace as you
+proceed and put each length away as soon as it is ready in
+a blue paper bag, so as to keep the whole perfectly clean.</p>
+
+<p>In conclusion we may remark that the cleaning of lace
+should only be undertaken when you are fairly sure of not
+being interrupted, as more especially the pinning requires to
+be finished off as quickly as possible.</p>
+
+<p><b><a name="To_wash_coloured_cottons" id="To_wash_coloured_cottons"></a>To wash coloured cottons and work done with the
+same</b>.&mdash;In order to test the fastness of the dyes, untie the
+skeins and pour boiling water upon them, leave them to soak
+for about a quarter of an hour, soap and rub them lightly
+with the hand from end to end and rinse them out thoroughly
+in as many changes of cold water as may be found necessary,
+until the water remain perfectly colourless.</p>
+
+<p>Squeeze out all the water you can and let them dry quickly
+without exposing them to the sun.</p>
+
+<p>Coloured cottons are often washed in vinegar, because it is
+supposed to affect the colour less than water does. We
+have come to the conclusion after several trials that this is a
+delusion, for the good dyes keep their colour without the aid
+of vinegar and the bad ones wash out in spite of it.</p>
+
+<p>The fast colours lose none of their beauty in the process
+nor does it affect the quality of the cotton; any excess of colouring
+matter which the fibres of the cotton may have absorbed
+in the process of dyeing is got rid of by this means.</p>
+
+<p>If a piece of work has been done with unwashed cottons
+and the colours run in the first washing, you have only to rinse
+<a name="Page_569" id="Page_569"></a>it out in several changes of tepid water to restore it to its
+original freshness and if you want to give it a yellowish tinge,
+it should be dipped it in weak tea or coffee.</p>
+
+<p><b><a name="Materials" id="Materials"></a>Materials.</b>&mdash;It was stated in the preface that our readers
+would find the choice of colours and material rendered comparatively
+easy to them by the notes affixed to the illustrations,
+but these notes, in spite of all the care bestowed upon them
+must still have remained very incomplete had it not been for the
+following tables which we were fortunately enabled to append
+to our work and which will help every one to choose their own
+materials without having them actually before them. The
+strokes that are affixed to each number indicate the exact size
+of the thread, so that to find out the number you want to buy
+you have but to lay your pattern thread, stretching it slightly,
+on the strokes, in succession, till you come to the one that
+matches it in size.</p>
+
+<p>With regard to the colours, the names and shades of which
+have been classed in the second table with the greatest care, and
+of which our workers have no less than 460 to choose from <a name="FNanchor_3_158" id="FNanchor_3_158"></a><a href="#Footnote_3_158" class="fnanchor">[3]</a>,
+all those referred to in connection with our illustrations are
+quite fast dyes <a name="FNanchor_4_159" id="FNanchor_4_159"></a><a href="#Footnote_4_159" class="fnanchor">[4]</a>, save in a few instances in which we
+were forced to make an exception in favour of a doubtful colour
+to secure a harmonious effect.</p>
+
+<p>A complete table of colours must of necessity include certain
+more or less staring shades, which though they may not
+be to every one's taste cannot on that account be left out.</p>
+
+<p>We conclude our work with the well-meant and by no
+means useless recommendation to our readers, never to begin
+a piece of work of any considerable size without first making
+sure that the colours they intend to use are fast and providing
+themselves with a larger supply of materials than even on a close
+calculation they think they are likely to require, lest
+<a name="Page_570" id="Page_570"></a><a name="Page_571" id="Page_571"></a><a name="Page_572" id="Page_572"></a><a name="Page_573" id="Page_573"></a>they should find themselves under the disagreable necessity of
+having either to leave their work unfinished or finish it with
+materials that do not match. There is generally a slight difference
+in tone between cottons that have been bought at different times,
+and there is also a reasonable likelihood, considering their
+great variety, of some mistake being made in the number by
+either buyer or seller in ordering a fresh supply.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_905.jpg"><img src="images/905.jpg" style = "width: 600px; height: 462px;" alt="All of the above articles, excepting those marked with an asterisk,
+are made in all numbers in &eacute;cru, white, black and the 450 shades contained in the D.M.C colour card.--For the names of the colours, see next page." title="" /></a>
+<span class="caption">All of the above articles, excepting those marked with an asterisk,
+are made in all numbers in &eacute;cru, white, black and the 450 shades contained in the D.M.C colour card.--For the names of the colours, see next page.</span>
+</div>
+
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='center' colspan='6' class="bl bt br"> Alphabetical list of the names and the numbers of the 450 shades
+D.M.C Alsace Thread, Sewing and Embroidery Cottons,
+contained in the D.M.C colour-card, in any of which shades the
+knitting Cotton, Soutaches and Braids etc. are to be had.</td></tr>
+<tr><td align='center' class="br bl bt bb"><b>Couleurs</b><br />Colours</td><td align='center' class="br bb bt"> <b>Tr&egrave;s-fonc&eacute;</b><br />Very dark</td><td align='center' class="br bb bt"> <b>Fonc&eacute;</b><br />Dark</td><td align='center' class="br bb bt"> <b>Moyen</b><br />Medium</td><td align='center' class="br bb bt"> <b>Clair</b><br />Light</td><td align='center' class="br bb bt"> <b>Tr&egrave;s-clair</b><br />Very light</td></tr>
+<tr><td align='left' class="br bl">Bleu d'Azur</td><td align='center' class="br">...</td><td align='center' class="br"> 3325</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Bleu-Canard</td><td align='center' class="br"> 3395</td><td align='center' class="br"> 3306</td><td align='center' class="br"> 3307</td><td align='center' class="br"> 3308</td><td align='center' class="br"> 3309</td></tr>
+<tr><td align='left' class="br bl">Bleu cendr&eacute;</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 448</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Bleu de Ciel</td><td align='center' class="br"> 515</td><td align='center' class="br"> 516</td><td align='center' class="br"> 517</td><td align='center' class="br"> 518</td><td align='center' class="br"> 519</td></tr>
+<tr><td align='left' class="br bl">Bleu-Fayence</td><td align='center' class="br"> 481</td><td align='center' class="br"> 482</td><td align='center' class="br"> 483</td><td align='center' class="br"> 484</td><td align='center' class="br"> 485</td></tr>
+<tr><td align='left' class="br bl">Bleu de France</td><td align='center' class="br"> 337</td><td align='center' class="br"> 338</td><td align='center' class="br"> 339</td><td align='center' class="br"> 340</td><td align='center' class="br"> 341</td></tr>
+<tr><td align='left' class="br bl">Bleu-Gentiane</td><td align='center' class="br"> 476</td><td align='center' class="br"> 477</td><td align='center' class="br"> 478</td><td align='center' class="br"> 479</td><td align='center' class="br"> 480</td></tr>
+<tr><td align='left' class="br bl">Bleu-Gris</td><td align='center' class="br"> 3300</td><td align='center' class="br"> 3301</td><td align='center' class="br"> 3302</td><td align='center' class="br"> 3303</td><td align='center' class="br"> 3304</td></tr>
+<tr><td align='left' class="br bl">Bleu-Indigo</td><td align='center' class="br"> 336</td><td align='center' class="br"> 311</td><td align='center' class="br"> 312</td><td align='center' class="br"> 322</td><td align='center' class="br"> 334</td></tr>
+<tr><td align='left' class="br bl">Bleu-Lapis</td><td align='center' class="br"> 342</td><td align='center' class="br"> 333</td><td align='center' class="br"> 343</td><td align='center' class="br"> 344</td><td align='center' class="br"> 345</td></tr>
+<tr><td align='left' class="br bl">Bleu-Marin</td><td align='center' class="br"> 505</td><td align='center' class="br"> 506</td><td align='center' class="br"> 507</td><td align='center' class="br"> 508</td><td align='center' class="br"> 509</td></tr>
+<tr><td align='left' class="br bl">Bleu-Outremer</td><td align='center' class="br">...</td><td align='center' class="br"> 682</td><td align='center' class="br"> 683</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Bleu p&acirc;le</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 668</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Bleu-Prunelle</td><td align='center' class="br"> 486</td><td align='center' class="br"> 487</td><td align='center' class="br"> 488</td><td align='center' class="br"> 489</td><td align='center' class="br"> 490</td></tr>
+<tr><td align='left' class="br bl">Bleu tendre</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 709</td></tr>
+<tr><td align='left' class="br bl">Bleu vert</td><td align='center' class="br"> 525</td><td align='center' class="br"> 526</td><td align='center' class="br"> 527</td><td align='center' class="br"> 528</td><td align='center' class="br"> 529</td></tr>
+<tr><td align='left' class="br bl">Bleu violac&eacute;</td><td align='center' class="br">...</td><td align='center' class="br"> 674</td><td align='center' class="br"> 675</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='center' class="br bl">&mdash;&mdash;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td></tr>
+<tr><td align='left' class="br bl">Bronze dor&eacute;</td><td align='center' class="br"> 585</td><td align='center' class="br"> 586</td><td align='center' class="br"> 587</td><td align='center' class="br"> 588</td><td align='center' class="br"> 589</td></tr>
+<tr><td align='center' class="br bl">&mdash;&mdash;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td></tr>
+<tr><td align='left' class="br bl">Brun-Acajou</td><td align='center' class="br"> 300</td><td align='center' class="br"> 400</td><td align='center' class="br"> 301</td><td align='center' class="br"> 401</td><td align='center' class="br"> 402</td></tr>
+<tr><td align='left' class="br bl">Brun-Cachou</td><td align='center' class="br"> 433</td><td align='center' class="br"> 434</td><td align='center' class="br"> 435</td><td align='center' class="br"> 436</td><td align='center' class="br"> 437</td></tr>
+<tr><td align='left' class="br bl">Brun-Cannelle</td><td align='center' class="br"> 660</td><td align='center' class="br"> 661</td><td align='center' class="br"> 662</td><td align='center' class="br"> 663</td><td align='center' class="br"> 664</td></tr>
+<tr><td align='left' class="br bl">Brun-Caroubier</td><td align='center' class="br"> 354</td><td align='center' class="br"> 355</td><td align='center' class="br"> 303</td><td align='center' class="br"> 356</td><td align='center' class="br"> 357</td></tr>
+<tr><td align='left' class="br bl">Brun-Chamois</td><td align='center' class="br"> 416</td><td align='center' class="br"> 417</td><td align='center' class="br"> 324</td><td align='center' class="br"> 418</td><td align='center' class="br"> 419</td></tr>
+<tr><td align='left' class="br bl">Brun-Cuir</td><td align='center' class="br"> 430</td><td align='center' class="br"> 431</td><td align='center' class="br"> 302</td><td align='center' class="br"> 432</td><td align='center' class="br"> 325</td></tr>
+<tr><td align='left' class="br bl">Brun-Feuille-morte</td><td align='center' class="br"> 615</td><td align='center' class="br"> 616</td><td align='center' class="br"> 617</td><td align='center' class="br"> 618</td><td align='center' class="br"> 619</td></tr>
+<tr><td align='left' class="br bl">Brun-Havane</td><td align='center' class="br"> 454</td><td align='center' class="br"> 455</td><td align='center' class="br"> 456</td><td align='center' class="br"> 457</td><td align='center' class="br"> 458</td></tr>
+<tr><td align='left' class="br bl">Brun-Loutre</td><td align='center' class="br"> 438</td><td align='center' class="br"> 439</td><td align='center' class="br"> 440</td><td align='center' class="br"> 441</td><td align='center' class="br"> 442</td></tr>
+<tr><td align='left' class="br bl">Brun-Marron</td><td align='center' class="br"> 403</td><td align='center' class="br"> 404</td><td align='center' class="br"> 405</td><td align='center' class="br"> 406</td><td align='center' class="br"> 407</td></tr>
+<tr><td align='left' class="br bl">Brun-Myrthe</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 463</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Brun-Puce</td><td align='center' class="br"> 459</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Brun-Rouille</td><td align='center' class="br"> 3310</td><td align='center' class="br"> 3311</td><td align='center' class="br"> 3312</td><td align='center' class="br"> 3313</td><td align='center' class="br"> 3314</td></tr>
+<tr><td align='center' class="br bl">&mdash;&mdash;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td></tr>
+<tr><td align='left' class="br bl">Gris-Acier</td><td align='center' class="br"> 650</td><td align='center' class="br"> 651</td><td align='center' class="br"> 652</td><td align='center' class="br"> 653</td><td align='center' class="br"> 654</td></tr>
+<tr><td align='left' class="br bl">Gris-Amadou</td><td align='center' class="br"> 329</td><td align='center' class="br"> 383</td><td align='center' class="br"> 384</td><td align='center' class="br"> 385</td><td align='center' class="br"> 386</td></tr>
+<tr><td align='left' class="br bl">Gris d'Argent</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 719</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Gris-Bleu</td><td align='center' class="br"> 590</td><td align='center' class="br"> 591</td><td align='center' class="br"> 592</td><td align='center' class="br"> 593</td><td align='center' class="br"> 594</td></tr>
+<tr><td align='left' class="br bl">Gris-Bois</td><td align='center' class="br"> 610</td><td align='center' class="br"> 611</td><td align='center' class="br"> 612</td><td align='center' class="br"> 613</td><td align='center' class="br"> 614</td></tr>
+<tr><td align='left' class="br bl">Gris-Brun</td><td align='center' class="br"> 408</td><td align='center' class="br"> 409</td><td align='center' class="br"> 410</td><td align='center' class="br"> 411</td><td align='center' class="br"> 412</td></tr>
+<tr><td align='left' class="br bl">Gris-Castor</td><td align='center' class="br"> 645</td><td align='center' class="br"> 646</td><td align='center' class="br"> 647</td><td align='center' class="br"> 648</td><td align='center' class="br"> 649</td></tr>
+<tr><td align='left' class="br bl">Gris-Cendre</td><td align='center' class="br"> 413</td><td align='center' class="br"> 317</td><td align='center' class="br"> 414</td><td align='center' class="br"> 318</td><td align='center' class="br"> 415</td></tr>
+<tr><td align='left' class="br bl">Gris-Coutil</td><td align='center' class="br"> 387</td><td align='center' class="br"> 388</td><td align='center' class="br"> 323</td><td align='center' class="br"> 389</td><td align='center' class="br"> 390</td></tr>
+<tr><td align='left' class="br bl">Gris-Deuil</td><td align='center' class="br"> 655</td><td align='center' class="br"> 656</td><td align='center' class="br"> 657</td><td align='center' class="br"> 658</td><td align='center' class="br"> 659</td></tr>
+<tr><td align='left' class="br bl">Gris-&Eacute;cru</td><td align='center' class="br">...</td><td align='center' class="br"> 704</td><td align='center' class="br"> 705</td><td align='center' class="br"> 706</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Gris-Etoupe</td><td align='center' class="br">...</td><td align='center' class="br"> 707</td><td align='center' class="br"> 708</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Gris de Fer</td><td align='center' class="br"> 600</td><td align='center' class="br"> 601</td><td align='center' class="br"> 602</td><td align='center' class="br"> 603</td><td align='center' class="br"> 604</td></tr>
+<tr><td align='left' class="br bl">Gris-Feutre</td><td align='center' class="br"> 635</td><td align='center' class="br"> 636</td><td align='center' class="br"> 637</td><td align='center' class="br"> 638</td><td align='center' class="br"> 639</td></tr>
+<tr><td align='left' class="br bl">Gris-Ficelle</td><td align='center' class="br">...</td><td align='center' class="br"> 460</td><td align='center' class="br"> 461</td><td align='center' class="br"> 462</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Gris-Foin</td><td align='center' class="br"> 520</td><td align='center' class="br"> 521</td><td align='center' class="br"> 522</td><td align='center' class="br"> 523</td><td align='center' class="br"> 524</td></tr>
+<tr><td align='left' class="br bl">Gris-Fum&eacute;e</td><td align='center' class="br"> 640</td><td align='center' class="br"> 641</td><td align='center' class="br"> 642</td><td align='center' class="br"> 643</td><td align='center' class="br"> 644</td></tr>
+<tr><td align='left' class="br bl">Gris-Lin</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 716</td><td align='center' class="br"> 717</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Gris-Mastic</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 718</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Gris neutre</td><td align='center' class="br"> 620</td><td align='center' class="br"> 621</td><td align='center' class="br"> 622</td><td align='center' class="br"> 623</td><td align='center' class="br"> 624</td></tr>
+<tr><td align='left' class="br bl">Gris-Noisette</td><td align='center' class="br"> 420</td><td align='center' class="br"> 421</td><td align='center' class="br"> 422</td><td align='center' class="br"> 423</td><td align='center' class="br"> 424</td></tr>
+<tr><td align='left' class="br bl">Gris-Perle</td><td align='center' class="br"> 625</td><td align='center' class="br"> 626</td><td align='center' class="br"> 627</td><td align='center' class="br"> 628</td><td align='center' class="br"> 629</td></tr>
+<tr><td align='left' class="br bl">Gris de Plomb</td><td align='center' class="br"> 378</td><td align='center' class="br"> 379</td><td align='center' class="br"> 380</td><td align='center' class="br"> 381</td><td align='center' class="br"> 382</td></tr>
+<tr><td align='left' class="br bl">Gris-Poussi&egrave;re</td><td align='center' class="br"> 630</td><td align='center' class="br"> 631</td><td align='center' class="br"> 632</td><td align='center' class="br"> 633</td><td align='center' class="br"> 634</td></tr>
+<tr><td align='left' class="br bl">Gris-Souris</td><td align='center' class="br"> 425</td><td align='center' class="br"> 426</td><td align='center' class="br"> 427</td><td align='center' class="br"> 428</td><td align='center' class="br"> 429</td></tr>
+<tr><td align='left' class="br bl">Gris-Tilleul</td><td align='center' class="br"> 391</td><td align='center' class="br"> 392</td><td align='center' class="br"> 393</td><td align='center' class="br"> 330</td><td align='center' class="br"> 331</td></tr>
+<tr><td align='left' class="br bl">Gris verd&acirc;tre</td><td align='center' class="br"> 595</td><td align='center' class="br"> 596</td><td align='center' class="br"> 597</td><td align='center' class="br"> 598</td><td align='center' class="br"> 599</td></tr>
+<tr><td align='center' class="br bl">&mdash;&mdash;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td></tr>
+<tr><td align='left' class="br bl">Jaune-Citron</td><td align='center' class="br">...</td><td align='center' class="br"> 307</td><td align='center' class="br"> 445</td><td align='center' class="br"> 446</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Jaune-Cr&ecirc;me</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 711</td><td align='center' class="br"> 712</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Jaune-Ma&iuml;s</td><td align='center' class="br"> 575</td><td align='center' class="br"> 576</td><td align='center' class="br"> 577</td><td align='center' class="br"> 678</td><td align='center' class="br"> 579</td></tr> 
+<tr><td align='left' class="br bl">Jaune d'Ocre</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 676</td><td align='center' class="br"> 677</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Jaune-Orange</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 443</td><td align='center' class="br"> 444</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Jaune-Rouille</td><td align='center' class="br"> 363</td><td align='center' class="br"> 364</td><td align='center' class="br"> 308</td><td align='center' class="br"> 365</td><td align='center' class="br"> 366</td></tr>
+<tr><td align='left' class="br bl">Jaune d'Or</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 667</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Jaune-vieil-Or</td><td align='center' class="br"> 678</td><td align='center' class="br"> 679</td><td align='center' class="br"> 680</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='center' class="br bl">&mdash;&mdash;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td></tr>
+<tr><td align='left' class="br bl">Lilas gris</td><td align='center' class="br"> 313</td><td align='center' class="br"> 398</td><td align='center' class="br"> 314</td><td align='center' class="br"> 328</td><td align='center' class="br"> 399</td></tr>
+<tr><td align='center' class="br bl">&mdash;&mdash;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td></tr>
+<tr><td align='left' class="br bl">Noir grand-teint</td><td align='center' class="br"> 310</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Noir-Jais</td><td align='center' class="br"> 681</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Noir vert</td><td align='center' class="br"> 473</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='center' class="br bl">&mdash;&mdash;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td></tr>
+<tr><td align='left' class="br bl">Rose-Eglantine</td><td align='center' class="br"> 570</td><td align='center' class="br"> 571</td><td align='center' class="br"> 572</td><td align='center' class="br"> 573</td><td align='center' class="br"> 574</td></tr>
+<tr><td align='left' class="br bl">Rose tendre</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 3326</td></tr>
+<tr><td align='left' class="br bl">Rose vif</td><td align='center' class="br"> 565</td><td align='center' class="br"> 566</td><td align='center' class="br"> 567</td><td align='center' class="br"> 568</td><td align='center' class="br"> 569</td></tr>
+<tr><td align='center' class="br bl">&mdash;&mdash;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td></tr>
+<tr><td align='left' class="br bl">Rouge-Aurore</td><td align='center' class="br"> 360</td><td align='center' class="br"> 306</td><td align='center' class="br"> 361</td><td align='center' class="br"> 332</td><td align='center' class="br"> 362</td></tr>
+<tr><td align='left' class="br bl">Rouge-Bordeaux</td><td align='center' class="br"> 496</td><td align='center' class="br"> 497</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Rouge-Cardinal</td><td align='center' class="br"> 346</td><td align='center' class="br"> 347</td><td align='center' class="br"> 304</td><td align='center' class="br"> 305</td><td align='center' class="br"> 348</td></tr>
+<tr><td align='left' class="br bl">Rouge-Cerise</td><td align='center' class="br"> 3315</td><td align='center' class="br"> 3316</td><td align='center' class="br"> 3317</td><td align='center' class="br"> 3318</td><td align='center' class="br"> 3319</td></tr>
+<tr><td align='left' class="br bl">Rouge-Corinthe</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 447</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Rouge-Cornouille</td><td align='center' class="br">...</td><td align='center' class="br"> 449</td><td align='center' class="br"> 450</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Rouge-Ecarlate</td><td align='center' class="br">...</td><td align='center' class="br"> 498</td><td align='center' class="br"> 464</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Rouge-Framboise</td><td align='center' class="br"> 684</td><td align='center' class="br"> 685</td><td align='center' class="br"> 686</td><td align='center' class="br"> 687</td><td align='center' class="br"> 688</td></tr> 
+<tr><td align='left' class="br bl">Rouge-G&eacute;ranium</td><td align='center' class="br"> 349</td><td align='center' class="br"> 350</td><td align='center' class="br"> 351</td><td align='center' class="br"> 352</td><td align='center' class="br"> 353</td></tr>
+<tr><td align='left' class="br bl">Rouge-Grenat</td><td align='center' class="br"> 358</td><td align='center' class="br"> 359</td><td align='center' class="br"> 326</td><td align='center' class="br"> 309</td><td align='center' class="br"> 335</td></tr>
+<tr><td align='left' class="br bl">Rouge-Groseille</td><td align='center' class="br"> 605</td><td align='center' class="br"> 606</td><td align='center' class="br"> 607</td><td align='center' class="br"> 608</td><td align='center' class="br"> 609</td></tr> 
+<tr><td align='left' class="br bl">Rouge-Maroquin</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 3327</td><td align='center' class="br"> 3328</td><td align='center' class="br"> 3329</td></tr> 
+<tr><td align='left' class="br bl">Rouge-Turc</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 321</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Rouge-Vermillon</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 666</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='center' class="br bl">&mdash;&mdash;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td></tr>
+<tr><td align='left' class="br bl">Vert-Bouteille</td><td align='center' class="br"> 491</td><td align='center' class="br"> 492</td><td align='center' class="br"> 493</td><td align='center' class="br"> 494</td><td align='center' class="br"> 495</td></tr>
+<tr><td align='left' class="br bl">Vert-Bronze</td><td align='center' class="br"> 669</td><td align='center' class="br"> 670</td><td align='center' class="br"> 671</td><td align='center' class="br"> 672</td><td align='center' class="br"> 673</td></tr>
+<tr><td align='left' class="br bl">Vert-Canard</td><td align='center' class="br"> 545</td><td align='center' class="br"> 546</td><td align='center' class="br"> 547</td><td align='center' class="br"> 548</td><td align='center' class="br"> 549</td></tr>
+<tr><td align='left' class="br bl">Vert-Corbeau</td><td align='center' class="br"> 665</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Vert dor&eacute;</td><td align='center' class="br"> 580</td><td align='center' class="br"> 581</td><td align='center' class="br"> 582</td><td align='center' class="br"> 583</td><td align='center' class="br"> 584</td></tr>
+<tr><td align='left' class="br bl">Vert d'Eau</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 713</td><td align='center' class="br"> 714</td><td align='center' class="br"> 715</td></tr>
+<tr><td align='left' class="br bl">Vert-de-gris</td><td align='center' class="br">...</td><td align='center' class="br"> 474</td><td align='center' class="br"> 475</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Vert-Emeraude</td><td align='center' class="br"> 555</td><td align='center' class="br"> 556</td><td align='center' class="br"> 557</td><td align='center' class="br"> 558</td><td align='center' class="br"> 559</td></tr>
+<tr><td align='left' class="br bl">Vert-Fauve</td><td align='center' class="br"> 689</td><td align='center' class="br"> 690</td><td align='center' class="br"> 691</td><td align='center' class="br"> 692</td><td align='center' class="br"> 693</td></tr>
+<tr><td align='left' class="br bl">Vert-Lierre</td><td align='center' class="br"> 500</td><td align='center' class="br"> 501</td><td align='center' class="br"> 502</td><td align='center' class="br"> 503</td><td align='center' class="br"> 504</td></tr>
+<tr><td align='left' class="br bl">Vert-Madeira</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br"> 710</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Vert-Malachite</td><td align='center' class="br"> 560</td><td align='center' class="br"> 561</td><td align='center' class="br"> 562</td><td align='center' class="br"> 563</td><td align='center' class="br"> 564</td></tr>
+<tr><td align='left' class="br bl">Vert m&eacute;tallique</td><td align='center' class="br"> 465</td><td align='center' class="br"> 466</td><td align='center' class="br"> 467</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Vert-Mousse</td><td align='center' class="br"> 468</td><td align='center' class="br"> 469</td><td align='center' class="br"> 470</td><td align='center' class="br"> 471</td><td align='center' class="br"> 472</td></tr>
+<tr><td align='left' class="br bl">Vert-Myrthe</td><td align='center' class="br"> 535</td><td align='center' class="br"> 536</td><td align='center' class="br"> 537</td><td align='center' class="br"> 538</td><td align='center' class="br"> 539</td></tr>
+<tr><td align='left' class="br bl">Vert-Olive</td><td align='center' class="br"> 510</td><td align='center' class="br"> 511</td><td align='center' class="br"> 512</td><td align='center' class="br"> 513</td><td align='center' class="br"> 514</td></tr>
+<tr><td align='left' class="br bl">Vert-Perroquet</td><td align='center' class="br"> 694</td><td align='center' class="br"> 695</td><td align='center' class="br"> 696</td><td align='center' class="br"> 697</td><td align='center' class="br"> 698</td></tr>
+<tr><td align='left' class="br bl">Vert-Pistache</td><td align='center' class="br"> 319</td><td align='center' class="br"> 367</td><td align='center' class="br"> 320</td><td align='center' class="br"> 368</td><td align='center' class="br"> 369</td></tr>
+<tr><td align='left' class="br bl">Vert-Pr&eacute;</td><td align='center' class="br"> 699</td><td align='center' class="br"> 700</td><td align='center' class="br"> 701</td><td align='center' class="br"> 702</td><td align='center' class="br"> 703</td></tr> 
+<tr><td align='left' class="br bl">Vert russe</td><td align='center' class="br">...</td><td align='center' class="br"> 499</td><td align='center' class="br">...</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='center' class="br bl">&mdash;&mdash;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td><td align='center' class="br">&nbsp;</td></tr>
+<tr><td align='left' class="br bl">Violet-Am&eacute;thyste</td><td align='center' class="br"> 3320</td><td align='center' class="br"> 3321</td><td align='center' class="br"> 3322</td><td align='center' class="br"> 3323</td><td align='center' class="br"> 3324</td></tr>
+<tr><td align='left' class="br bl">Violet-Ev&ecirc;que</td><td align='center' class="br"> 451</td><td align='center' class="br"> 452</td><td align='center' class="br"> 453</td><td align='center' class="br">...</td><td align='center' class="br">...</td></tr>
+<tr><td align='left' class="br bl">Violet-Lie-de-vin</td><td align='center' class="br"> 370</td><td align='center' class="br"> 371</td><td align='center' class="br"> 372</td><td align='center' class="br"> 373</td><td align='center' class="br"> 374</td></tr>
+<tr><td align='left' class="br bl">Violet-Mauve</td><td align='center' class="br"> 375</td><td align='center' class="br"> 315</td><td align='center' class="br"> 376</td><td align='center' class="br"> 316</td><td align='center' class="br"> 377</td></tr>
+<tr><td align='left' class="br bl">Violet-de-Parme</td><td align='center' class="br"> 540</td><td align='center' class="br"> 541</td><td align='center' class="br"> 542</td><td align='center' class="br"> 543</td><td align='center' class="br"> 544</td></tr> 
+<tr><td align='left' class="br bl">Violet-Pens&eacute;e</td><td align='center' class="br"> 530</td><td align='center' class="br"> 531</td><td align='center' class="br"> 532</td><td align='center' class="br"> 533</td><td align='center' class="br"> 534</td></tr>
+<tr><td align='left' class="br bl">Violet-Prune</td><td align='center' class="br"> 550</td><td align='center' class="br"> 551</td><td align='center' class="br"> 552</td><td align='center' class="br"> 553</td><td align='center' class="br"> 554</td></tr>
+<tr><td align='left' class="br bl">Violet-Scabieuse</td><td align='center' class="br"> 394</td><td align='center' class="br"> 327</td><td align='center' class="br"> 395</td><td align='center' class="br"> 396</td><td align='center' class="br"> 397</td></tr>
+<tr><td align='left' class="br bl bt bb"><b>Couleurs</b><br />Colours</td><td align='center' class="br bt bb"> <b>Tr&egrave;s-fonc&eacute;</b><br />Very dark</td><td align='center' class="br bt bb"> <b>Fonc&eacute;</b><br />Dark</td><td align='center' class="br bt bb"> <b>Moyen</b><br />Medium</td><td align='center' class="br bt bb"> <b>Clair</b><br />Light</td><td align='center' class="br bt bb"> <b>Tr&egrave;s-clair</b><br />Very light</td></tr>
+</table></div>
+
+<p>To avoid mistakes the public is urgently requested to designate the colours by the number, never by name.</p>
+
+<p>The colours whose numbers begin with 3 or 4 are the fastest.</p>
+
+
+<hr style='width: 45%;' />
+
+
+<p class='center'>Further information respecting mode of execution, materials and so forth
+may be had by applying to the firm of</p>
+
+<p class='center smcap'>TH. de DILLMONT, DORNACH (Alsace).</p>
+
+<hr style="width: 65%;" />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_3_158" id="Footnote_3_158"></a><a href="#FNanchor_3_158"><span class="label">[3]</span></a> The D.M.C colour-card consists of 450 shades about half of which are
+fast dyes. See the list of names on pp. <a href="#Page_572">572</a> and <a href="#Page_573">573</a>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_159" id="Footnote_4_159"></a><a href="#FNanchor_4_159"><span class="label">[4]</span></a> By fast (bon-teint) colours are meant those which will bear ordinary
+and repeated washing. There are only very few which are really fast, or grand-teint,
+that is to say, which will resist the action of chemical agents, amongst
+of these, the black, Noir 310, is quite indestructible.</p></div>
+</div>
+</body>
+</html>
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+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
+    <style type="text/css">
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+<body>
+<p><a name="Page_15" id="Page_15"></a></p>
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 400px;">
+<img src="images/042.jpg"  alt="SPECIMENS OF PATTERN DARNS." title="" />
+<span class="caption">SPECIMENS OF PATTERN DARNS.</span>
+</div>
+
+<hr style="width: 65%;" />
+
+<h2><a name="Mending" id="Mending"></a>Mending.</h2>
+
+
+<p>The mending of wearing-apparel and house-linen, though
+often an ungrateful task, is yet a very necessary one, to which
+every female hand ought to be carefully trained. How best
+to disguise and repair the wear and tear of use or accident
+is quite as valuable an art, as that of making new things.</p>
+
+<p>Under the head of mending, we include the strengthening
+and replacing of the worn and broken threads of a fabric, and
+fitting in of new stuff in the place of that which is torn or
+damaged. The former is called darning, the latter, patching.</p>
+
+<p><b>Darning.</b>&mdash;When only a few of the warp or woof threads
+are torn or missing, a darn will repair the mischief, provided
+the surrounding parts be sound. When the damage is more
+extensive, the piece must be cut out.</p>
+
+<p>In some cases the warp of the stuff itself can be used for
+darning, otherwise thread as much like the stuff as possible
+should be chosen.</p>
+
+<p><b>Materials suitable for mending.</b>&mdash;Coton &agrave; repriser D.M.C
+is used for most kinds of darning. It can be had in 18 different
+sizes, from Nos. 8 to 100, white and unbleached, and in
+all the colours of the D.M.C colour-card in Nos. 12, 25 and 50.</p>
+
+<p>It is but very slightly twisted and can be split or used
+double, if necessary, according to the material. For all the
+coarser articles of house-linen, unbleached cotton is the best,
+<a name="Page_16" id="Page_16"></a>and for the finer white fabrics, Coton surfin D.M.C Nos. 110,
+120 and 150<a href="#Footnote_A" class="fnanchor">[A]</a>. This cotton, which is not the least twisted,
+and is to be had both white and unbleached, can be used, by
+subdividing it, for darning the finest cambric.</p>
+
+<p><b>Varieties of darning.</b>&mdash;These are four, (1) Linen darning,
+(2) Damask darning, (3) Satin or Twill darning, and (4) Invisible
+darning, called also, Fine-drawing.</p>
+
+<p><a name="linen_darning" id="linen_darning"></a>(1) <b>Linen Darning</b> (figs. <a href="#fig_40">40</a> and <a href="#fig_41">41</a>).&mdash;All darns should be
+made on the wrong side of the stuff, excepting fig. <a href="#fig_54">54</a>, which it
+is sometimes better to make on the right side. The longitudinal
+running, to form the warp, must be made first. The
+thread must not be drawn tightly in running your stitches
+backwards and forwards, and be careful to leave loops at each
+turning, to allow for the shrinking of the thread in the
+washing, without its pulling the darn together.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/043.jpg"  alt="FIG. 40.
+LINEN DARNING. DRAWING IN THE
+WARP THREADS." title="" />
+<a name="fig_40" id="fig_40"></a><span class="caption smcap">Fig. 40.
+Linen darning. Drawing in the
+warp threads.</span>
+</div>
+
+<p>Run your needle in, about one c/m. above the damaged
+part, take up one or two threads of the stuff and miss the same
+number, working straight to a thread; on reaching the hole,
+carry your cotton straight across it, take up alternate threads
+beyond, and proceed as before. Continue the rows backwards
+and forwards, taking up in each row, the threads left in the
+<a name="Page_17" id="Page_17"></a>preceding one. Turn the work round and do the same for the
+woof; alternately taking up and leaving the warp threads,
+where the cotton crosses the hole. The threads must lie so
+alone both ways, that the darn, when completed, replaces the
+original web. The threads are only drawn so far apart in the
+illustrations, for the sake of clearness.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/044.jpg"  alt="FIG. 41.
+LINEN DARNING. DRAWING IN THE
+WOOF THREADS." title="" />
+<a name="fig_41" id="fig_41"></a><span class="caption smcap">Fig. 41.
+Linen darning. Drawing in the
+woof threads.</span>
+</div>
+
+<p>When the material to be darned does not admit of a fleecy
+thread, such as Coton &agrave; repriser D.M.C, one that as nearly
+as possible matches the material, should be chosen from
+the D.M.C cottons.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+<p><b>Diagonal linen darning</b> (fig. <a href="#fig_42">42</a>).&mdash;Darns are sometimes
+begun from the corner, so as to form a diagonal web, but they
+are then much more visible than when they are worked
+straight to a thread, and therefore not advisable.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/045.jpg"  alt="FIG. 42.
+DIAGONAL LINEN DARNING." title="" />
+<a name="fig_42" id="fig_42"></a><span class="caption smcap">Fig. 42.
+Diagonal linen darning.</span>
+</div>
+
+<p><a name="satin_darning" id="satin_darning"></a>(2) <b>Satin or twill darning</b> (fig. <a href="#fig_43">43</a>).&mdash;By twill darning,
+the damaged web of any twilled or diagonal material can be
+restored. It would be impossible to enumerate all the varieties
+of twilled stuffs, but the illustrations and accompanying
+directions will enable the worker to imitate them all.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/046.jpg"  alt="FIG. 43.
+SATIN OR TWILL DARNING." title="" />
+<a name="fig_43" id="fig_43"></a><span class="caption smcap">Fig. 43.
+Satin or twill darning.</span>
+</div>
+
+<p>Begin, as in ordinary darning by running in the warp
+threads, then take up one thread, and miss three. In every
+succeeding row, advance one thread in the same direction. Or,
+miss one thread of the stuff and take up two, and as before,
+<a name="Page_18" id="Page_18"></a>advance, one thread in the same direction, every succeeding
+row. The order in which threads
+should be missed and taken up,
+must depend on the web which
+the darn is intended to imitate.</p>
+
+<p>When the original is a coloured
+stuff, it is advisable to make a
+specimen darn first, on a larger
+scale, so that you may be more
+sure of obtaining a correct copy of
+the original web.</p>
+
+<p><a name="damask_darning" id="damask_darning"></a>(3) <b>Damask darning</b> (figs. <a href="#fig_44">44</a>,
+<a href="#fig_45">45</a>, <a href="#fig_46">46</a>, <a href="#fig_47">47</a>, <a href="#fig_48">48</a>, <a href="#fig_49">49</a>).&mdash;A damask darn
+<a name="Page_19" id="Page_19"></a>is begun in the same way as all other darns are; the pattern is
+formed by the cross-runnings and will vary with the number
+of warp threads taken up and missed, in each successive
+running. The woven design which you are to copy with your
+needle must therefore be carefully examined first.</p>
+
+<p>Figs. <a href="#fig_44">44</a> and <a href="#fig_45">45</a> show the wrong and right sides of a
+damask darn, in process of being made.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_44" id="fig_44"></a>
+<div class="figleft" style="width: 200px;">
+<img src="images/047.jpg"  alt="FIG. 44.
+DAMASK DARNING. WRONG SIDE." title="" />
+<span class="caption smcap">Fig. 44.
+Damask darning. Wrong side.</span>
+</div>
+
+<a name="fig_45" id="fig_45"></a>
+<div class="figright" style="width: 200px;">
+<img src="images/048.jpg"  alt="FIG. 45.
+DAMASK DARNING. RIGHT SIDE." title="" />
+<span class="caption smcap">Fig. 45.
+Damask darning. Right side.</span>
+</div>
+</div>
+
+<p>Fig. <a href="#fig_46">46</a> represents a completed one. In the case of coloured
+webs, a light shade of cotton is generally used for the warp,
+one that matches the stuff, for the shot or woof.</p>
+
+<div class="figcenter" style="width: 200px;">
+<a name="fig_46" id="fig_46"></a>
+<img src="images/049.jpg"  alt="FIG. 46.
+DAMASK DARNING. COVERED
+GROUND." title="" />
+<span class="caption smcap">Fig. 46.
+Damask darning. Covered
+ground.</span>
+</div>
+
+<p>Figs. <a href="#fig_47">47</a> and <a href="#fig_48">48</a>, illustrate two specimens of darning,
+formerly done in the convents, from which it will be seen,
+that the warp and the woof were first drawn in with rather fine
+thread and the pattern then worked into this foundation with
+coarser, or else, coloured thread. When this kind of darn is
+in two colours, take, for the
+darker shade, Coton &agrave; broder
+D.M.C, or Coton &agrave; repriser D.M.C,
+which are both of them to be had
+in all the bright and faded shades,
+to match alike both old and new
+linen.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_47" id="fig_47"></a><a name="fig_48" id="fig_48"></a>
+<div class="figleft" style="width: 117px;">
+<img src="images/050.jpg"  alt="FIG. 47.
+DAMASK DARNING ON
+NEEDLE-MADE GROUND." title="" />
+<span class="caption smcap">Fig. 47.
+Damask darning on
+needle-made ground.</span>
+</div>
+
+<div class="figright" style="width: 112px;">
+<img src="images/051.jpg"  alt="FIG. 48.
+DAMASK DARNING ON
+NEEDLE-MADE GROUND." title="" />
+<span class="caption smcap">Fig. 48.
+Damask darning on
+needle-made ground.</span>
+</div>
+</div>
+
+<p>Fig. <a href="#fig_49">49</a>, which is executed in
+two colours, and is likewise copied
+from an old work on darning,
+shows you the manner in which a
+dice-pattern is to be reproduced.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/052.jpg"  alt="FIG. 49. DAMASK DARNING WITH
+COLOURED THREAD." title="" />
+<a name="fig_49" id="fig_49"></a>
+<span class="caption smcap">Fig. 49. Damask darning with coloured thread.</span>
+</div>
+
+<p>(4) <b>Darning, lost in the ground</b>
+(fig. <a href="#fig_50">50</a>).&mdash;A kind of darn used
+for repairing rents, the edges of
+which fit exactly into one another.
+Neither the torn threads of the
+material nor the rough edges
+must be cut off; the torn part is to
+be tacked upon a piece of oil-cloth, wrong side uppermost,
+and the edges, drawn together by a thread, run in backwards,
+and forwards, across them. The stitches must be set as closely
+together as possible, and regularly inverted, as in every other
+<a name="Page_20" id="Page_20"></a>darn. A much finer thread relatively than that of which the
+material is composed should, in all cases be used for darning.
+In this instance also, for the sake of greater distinctness, the
+size of the thread has been magnified in the illustration.
+Coton surfin D.M.C, will be found the best for darning both
+calico and linen.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/053.jpg"  alt="FIG. 50.
+DARNING LOST IN THE GROUND." title="" />
+<a name="fig_50" id="fig_50"></a><span class="caption smcap">Fig. 50.
+Darning lost in the ground.</span>
+</div>
+
+<p><a name="fine_drawing" id="fine_drawing"></a><b>Fine drawing</b> (fig. <a href="#fig_51">51</a>).&mdash;The art of making invisible darns
+in cloth, though such a useful one, is all but unknown. It is a
+tedious process and one which, though easy enough to understand,
+requires great care in the execution.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/054.jpg"  alt="FIG. 51. FINE DRAWING." title="" />
+<a name="fig_51" id="fig_51"></a><span class="caption smcap">Fig. 51. Fine drawing.</span></div>
+
+<p>Use as fine a needle as possible and thread it with hair,
+instead of silk, or any other kind of fibre. Red and white
+hair is the strongest, and stronger than the ravellings of the
+stuff. Of course the hair has first to be carefully cleansed from
+grease. Pare the edges of the rent, on the right sides, quite
+clean and even, with a razor, so that both rent and stitches
+may be lost in the hairy surface of the cloth. Scissors do not
+cut so closely, and are liable moreover, to disturb the nap,
+and render the darn more visible. When this is done, fit the
+edges exactly together, and overcast them. Then thread a
+needle with a hair by the root, and slip it in, 2 or 3 m/m.
+from the one edge and back again pointed towards you,
+through the other, so that, neither needle nor hair, are visible
+on either side. The stitches should be set slightly slanting and
+must be quite lost in the thickness of the cloth. The needle
+must always be put in, exactly at the place where it came
+out, and the hair not be too tightly drawn.</p>
+
+<p>When the darn is finished, lay the article on a bare table,
+or ironing-board, cover it with a damp cloth, and iron it. The
+sharpest eye will fail to detect a rent, when carefully darned
+in this manner.</p>
+
+<p><a name="patching" id="patching"></a><b>Patching</b>.&mdash;As we have already said, when the defective
+part is past darning, it must be cut out, and a new piece of
+stuff inserted in its place. If the garment be no longer new,
+it should be patched with a slighter material than that of
+which it was originally made. The patch should be of the same
+shape, and cut the same way of the stuff, as the piece it is to
+replace, it should also be, just so much larger, as to allow for
+<a name="Page_21" id="Page_21"></a>the turnings in, and can either be top-sewn, or else, run and
+felled in.</p>
+
+<p><b>Back-stitching and felling in a patch</b> (fig. <a href="#fig_52">52</a>).&mdash;Tack
+in the new piece, so that its
+edges over-lap the edges of the
+hole. The back-stitching must be
+done on the article itself, as this
+renders it easier to do the corners
+neatly. The hem is turned
+down on to the patch. Make
+a little snip at the corners with
+your scissors to prevent puckering.
+The back-stitching should
+form a right angle at each
+corner.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/055.jpg"  alt="FIG. 52.
+BACK-STITCHING AND FELLING IN A PATCH." title="" />
+<a name="fig_52" id="fig_52"></a><span class="caption smcap">Fig. 52.
+Back-stitching and felling in a patch.</span>
+</div>
+
+<p><b>Top-sewing in a patch</b> (fig.
+<a href="#fig_53">53</a>).&mdash;To do this, the edges of the
+hole and of the patch, must first
+be turned in, and either overcast
+or hemmed, to prevent their
+fraying, after which, sew the two
+edges together. The raw edges
+may also be turned in with herring-boning
+as in fig. <a href="chapter_1.html#fig_39">39</a>, putting
+the needle, only through one
+layer of stuff.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/056.jpg"  alt="FIG. 53.
+TOP-SEWING IN A PATCH." title="" />
+<a name="fig_53" id="fig_53"></a><span class="caption smcap">Fig. 53.
+Top-sewing in a patch.</span>
+</div>
+
+<p><b>Drawing in a patch</b> (fig.
+<a href="#fig_54">54</a>).&mdash;Take a square piece of the
+original stuff, 5 or 6 c/m. larger
+each way, than the hole it is to
+fill, draw out threads on all the
+four sides, till the piece exactly
+matches the hole, and tack it
+into its place. Thread a very fine
+needle with the two ends of a
+thread of silk or Fil d'Alsace
+D.M.C No. 700, run it in at the
+corner of the stuff, and draw it out, leaving a loop behind.<a name="Page_22" id="Page_22"></a>
+Into this loop, slip the first of the threads, which as it were,
+form a fringe to the patch, and tighten the loop round it, and
+so on with each thread, alternately taking up and leaving
+threads in the stuff, as in ordinary darning.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/057.jpg"  alt="FIG. 54.
+DRAWING IN A PATCH." title="" />
+<a name="fig_54" id="fig_54"></a><span class="caption smcap">Fig. 54.
+Drawing in a patch.</span>
+</div>
+
+<p>To put a patch into a thin material, in this manner, you
+must darn in the threads, a good long way, into the material,
+in order that the double layer of threads may be less visible.</p>
+
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_3.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
+    <style type="text/css">
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+
+<p><a name="Page_23" id="Page_23"></a></p>
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/058.jpg"  alt="STRIPE OF CUT OPEN-WORK ON WHITE LINEN." title="" />
+<span class="caption smcap">Stripe of cut open-work on white linen.</span>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Single_and_cut_Open-work" id="Single_and_cut_Open-work"></a>Single and cut Open-work.</h2>
+
+
+<p>The above heading comprises every sort of needle-work, to
+which the drawing out of threads is a preliminary. By sewing
+over the single threads that remain, and drawing them together
+in different ways, an infinite variety of patterns can be produced.
+Many pretty combinations also, can be made of open-work,
+cross-stitch, and other kinds of embroidery.</p>
+
+<p><b>Materials suitable for open-work.</b>&mdash;For all the coarser
+stuffs, such as Holbein-linen, Java and linen-canvas and the
+like, now in such favour for the imitation of old needlework,
+it will be best to use: Fil &agrave; pointer D.M.C, No. 30<a href="#Footnote_A" class="fnanchor">[A]</a>  and Cordonnet
+6 fils D.M.C, Nos. 10 to 20,<a href="#Footnote_A" class="fnanchor">[A]</a>  and for the finer stuffs,
+such as antique-linen and linen-gauze; Cordonnet 6 fils D.M.C
+Nos. 50 to 150,<a href="#Footnote_A" class="fnanchor">[A]</a>  Fil d'Alsace D.M.C, Nos. 20 to 100, and Fil &agrave;
+dentelle D.M.C, Nos. 25 to 80.</p>
+
+<p>Coloured patterns can also be executed in open-work, with
+Coton &agrave; broder D.M.C Nos. 16 to 35, and Coton &agrave; repriser
+D.M.C, Nos. 25 to 50<a href="#Footnote_A" class="fnanchor">[A]</a> .</p>
+
+<p><b>The two different kinds of open-work.</b>&mdash;The one is
+called, single open-work, the Italian Punto tirato, in which
+the first step is to draw out one layer of threads; the other,
+<a name="Page_24" id="Page_24"></a>cut open-work, the Italian Punto tagliato, for which, both
+the warp, and the woof threads, have to be drawn out.</p>
+
+<p><b>Single open-work (Punto tirato)</b>.&mdash;This, in its simplest
+form, is the ornamental latticed hem, in common use where
+something rather more decorative than an ordinary hem (fig.
+<a href="chapter_1.html#fig_8">8</a>) is required, and consists in drawing out one layer of threads,
+either the warp or the woof.</p>
+
+<p><a name="hem_stitching" id="hem_stitching"></a><b>Single hem-stitch</b> (fig. <a href="#fig_55">55</a>).&mdash;Draw out, according to
+the coarseness of the stuff, two or four threads, below the
+edge of the turning, and tack your hem down to the line thus
+drawn. Fasten your thread in
+to the left, and work your hem
+from right to left, taking up
+three or four cross-threads at a
+time, and inserting your needle,
+immediately above, into the
+folded hem, three or four threads from the edge, and then
+drawing it out.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/059.jpg"  alt="FIG. 55. SINGLE HEM-STITCH." title="" />
+<a name="fig_55" id="fig_55"></a><span class="caption smcap">Fig. 55. Single hem-stitch.</span>
+</div>
+
+<p>The same stitch is used for preventing the fringes, that
+serve as a finish to so many articles of house-linen, from
+ravelling.</p>
+
+<p><b>Second hem-stitch</b> (fig. <a href="#fig_56">56</a>).&mdash;Prepare your hem as for fig. <a href="#fig_55">55</a>, and work from left to right; with this difference, that after
+drawing two or three cross-threads
+together, from right to
+left, you skip the same number
+of perpendicular threads you
+took up below, and insert your
+needle downwards from above,
+bringing it out at the bottom edge of the hem.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/060.jpg"  alt="FIG. 56. SECOND HEM-STITCH." title="" />
+<a name="fig_56" id="fig_56"></a><span class="caption smcap">Fig. 56. Second hem-stitch.</span>
+</div>
+
+<p>These stitches, which can
+be used for the right side also,
+form a kind of little tress, along
+the edge of the hem.</p>
+
+<p><b>Ladder stitch hem</b> (fig. <a href="#fig_57">57</a>).
+Complete the hem, as already
+directed in fig. <a href="#fig_55">55</a>, then draw out three or five threads more,
+turn the work round, and repeat the process, taking up the
+<a name="Page_25" id="Page_25"></a>same clusters of threads which you took up in the first row of
+stitches, thus forming little perpendicular bars.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/061.jpg"  alt="FIG. 57. LADDER STITCH HEM." title="" />
+<a name="fig_57" id="fig_57"></a><span class="caption smcap">Fig. 57. Ladder stitch hem.</span>
+</div>
+
+<p><b>Double hem-stitch</b> (fig. <a href="#fig_58">58</a>).
+Begin as in fig. <a href="#fig_55">55</a>, forming your
+clusters of an even number of
+threads; and then, in making
+your second row of stitches,
+draw half the threads of one
+cluster, and half of the next
+together, thereby making them
+slant, first one way and then
+the other.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/062.jpg"  alt="FIG. 58. DOUBLE HEM-STITCH." title="" />
+<a name="fig_58" id="fig_58"></a><span class="caption smcap">Fig. 58. Double hem-stitch.</span>
+</div>
+
+<p><b>Antique hem-stitch</b> (figs. <a href="#fig_59">59</a>, <a href="#fig_60">60</a>, <a href="#fig_61">61</a> and <a href="#fig_62">62</a>).
+In the old, elaborate, linen needlework, we often meet
+two kinds of hem-stitching
+seldom found in modern
+books on needle-work. Figs. <a href="#fig_59">59</a>
+to <a href="#fig_62">62</a> are magnified representations
+of the same. At the
+necessary depth for forming a
+narrow hem, a thread is drawn,
+in the case of very fine
+textures where the edge is
+rolled, not laid; then fasten in
+the working thread at the left,
+and work the stitches from
+left to right. Passing your
+needle, from right to left, under
+three or four threads, draw the
+thread round the cluster and
+carry your needle on, through
+as many threads of the upper
+layer of stuff, as you took up
+below, so that the stitch may
+always emerge from the middle
+of the cluster.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/063.jpg"  alt="FIG. 59. ANTIQUE HEM-STITCH.
+WRONG SIDE." title="" />
+<a name="fig_59" id="fig_59"></a><span class="caption smcap">Fig. 59. Antique hem-stitch.
+Wrong side.</span>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/064.jpg"  alt="FIG. 60. ANTIQUE HEM-STITCH.
+RIGHT SIDE." title="" />
+<a name="fig_60" id="fig_60"></a><span class="caption smcap">Fig. 60. Antique hem-stitch.
+Right side.</span>
+</div>
+
+<p><b>Antique hem-stitch</b> (figs. <a href="#fig_61">61</a>
+and <a href="#fig_62">62</a>).&mdash;These show, the right
+<a name="Page_26" id="Page_26"></a>and wrong sides of the hem;
+here the rolled hem is prepared
+as above, but the stitches are
+worked from right to left, and
+the thread is carried round the
+little roll, so that, as shown in
+fig. <a href="#fig_62">62</a>, it is visible on both
+sides of the hem. The needle
+does not enter the stuff, but is
+carried back at once, from the
+outside, and put in again between
+two clusters of threads.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/065.jpg"  alt="FIG. 61. ANTIQUE HEM-STITCH.
+WRONG SIDE." title="" />
+<a name="fig_61" id="fig_61"></a><span class="caption smcap">Fig. 61. Antique hem-stitch.
+Wrong side.</span>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/066.jpg"  alt="FIG. 62. ANTIQUE HEM-STITCH.
+RIGHT SIDE." title="" />
+<a name="fig_62" id="fig_62"></a><span class="caption smcap">Fig. 62. Antique hem-stitch.
+Right side.</span>
+</div>
+
+<p><b>Slanting hem-stitch</b> (figs.
+<a href="#fig_63">63</a> and <a href="#fig_64">64</a>).&mdash;Bring out your
+needle and thread, two or three
+threads above the edge of the
+turning, between the first and
+second of the three cross-threads
+that compose the cluster, and
+then slip it under the cluster,
+from right to left. The loop
+must lie in front of the needle.
+When you have drawn up the
+stitch, put the needle in, one
+thread further on, and take up
+two threads. Fig. <a href="#fig_64">64</a> shows the
+stitch on the right side.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/067.jpg"  alt="FIG. 63.
+SLANTING HEM-STITCH.
+WRONG SIDE." title="" />
+<a name="fig_63" id="fig_63"></a><span class="caption smcap">Fig. 63.
+Slanting hem-stitch.
+Wrong side.</span>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/068.jpg"  alt="FIG. 64.
+SLANTING HEM-STITCH.
+RIGHT SIDE." title="" />
+<a name="fig_64" id="fig_64"></a><span class="caption smcap">Fig. 64.
+Slanting hem-stitch.
+Right side.</span>
+</div>
+
+<p><a name="open_work_patterns" id="open_work_patterns"></a><b>Double-rowed ornamental
+seam</b> (figs. <a href="#fig_65">65</a>, <a href="#fig_66">66</a>, <a href="#fig_67">67</a>).&mdash;Begin
+with any one of the
+hems already described, then
+counting as many threads
+downwards, as are clustered
+together in the first row, draw
+out a second thread, and cluster
+the perpendicular threads in
+this second line together, as shown in figs. <a href="#fig_65">65</a> and <a href="#fig_66">66</a>. On the
+right side the stitch is straight (fig. <a href="#fig_67">67</a>). Coloured cottons
+<a name="Page_27" id="Page_27"></a>should be used for all the above patterns of hem-stitch, when
+they are to be introduced into coloured embroideries.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/069.jpg"  alt="FIG. 65.
+DOUBLE-ROWED ORNAMENTAL SEAM.
+WRONG SIDE." title="" />
+<a name="fig_65" id="fig_65"></a><span class="caption smcap">Fig. 65.
+Double-rowed ornamental seam.
+Wrong side.</span>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/070.jpg"  alt="FIG. 66.
+DOUBLE-ROWED ORNAMENTAL SEAM.
+WRONG SIDE." title="" />
+<a name="fig_66" id="fig_66"></a><span class="caption smcap">Fig. 66.
+Double-rowed ornamental seam.
+Wrong side.</span>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/071.jpg"  alt="FIG. 67.
+DOUBLE-ROWED ORNAMENTAL SEAM.
+RIGHT SIDE." title="" />
+<a name="fig_67" id="fig_67"></a><span class="caption smcap">Fig. 67.
+Double-rowed ornamental seam.
+Right side.</span>
+</div>
+
+<p><b>Single three-rowed open-work</b> (fig. <a href="#fig_68">68</a>).&mdash;This, and
+the following patterns, are suitable for the headings of hems,
+and for connecting stripes of embroidery, and are also often
+used instead of lace, and lace insertion.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/072.jpg"  alt="FIG. 68. SINGLE THREE-ROWED OPEN-WORK." title="" />
+<a name="fig_68" id="fig_68"></a><span class="caption smcap">Fig. 68. Single three-rowed open-work.</span>
+</div>
+
+<p>Fig. <a href="#fig_68">68</a> will be found specially useful, in cases where
+the object is, to produce a good deal of effect, at the cost of
+as little labour as possible. Make six rows of hem-stitching, as
+in fig. <a href="#fig_55">55</a>; the first and sixth rows to serve as a finish, above
+and below.</p>
+
+<p>The second and third, after drawing out six threads, the third
+and fourth after drawing out eight. The clusters must all consist
+of an even number of threads. The upper and the lower
+band of open-work is to be copied from fig. <a href="#fig_58">58</a>, the centre
+one, from fig. <a href="#fig_57">57</a>. Divide the threads of the perpendicular
+clusters in two; insert the needle, from left to right, underneath
+half the second cluster, turn the needle's eye, by a
+second movement, from left to right, and take up the second
+part of the first cluster, drawing it under, and at the same
+time, in front of the first half of the second cluster. Be careful
+not to draw your thread too tightly.</p><p><a name="Page_28" id="Page_28"></a></p>
+
+<p><b>Open-work with two threads drawn through</b> (fig. <a href="#fig_69">69</a>).&mdash;One
+such wide lane of open-work, between two finishing rows
+of stitches, may have two threads drawn through it.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/073.jpg"  alt="FIG. 69. OPEN-WORK WITH TWO THREADS DRAWN THROUGH." title="" />
+<a name="fig_69" id="fig_69"></a><span class="caption smcap">Fig. 69. Open-work with two threads drawn through.</span>
+</div>
+
+<p><b>Open-work with three threads drawn through</b> (fig. <a href="#fig_70">70</a>).
+Overcast both edges with single stitches; draw the clusters
+together in the middle, as in fig. <a href="#fig_68">68</a>; then above and below
+the middle thread, draw in first one thread and then a second,
+straight above it, securing the latter with back-stitches to
+enclose the clusters between two threads.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/074.jpg"  alt="FIG. 70. OPEN-WORK WITH THREE THREADS DRAWN THROUGH." title="" />
+<a name="fig_70" id="fig_70"></a><span class="caption smcap">Fig. 70. Open-work with three threads drawn through.</span>
+</div>
+
+<p><b>Clustered open-work</b> (fig. <a href="#fig_71">71</a>).&mdash;Draw out from sixteen
+to eighteen threads, between two hem-stitched edges. Fasten
+your thread in, 3 m/m. above the seam-edge, and wind it three
+times round every two clusters, passing the needle, the third
+time, under the two first rounds, to fasten the thread. The
+thread, thus drawn through, must be left rather slack. A second
+row of stitches, similar to the first, and at the same
+distance from the bottom edge, completes this pattern. To
+<a name="Page_29" id="Page_29"></a>give it greater strength, you may if you like, work back over
+the first thread, with a second, taking care to pass it under
+the knot, which was formed by the first.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/075.jpg"  alt="FIG. 71. CLUSTERED OPEN-WORK." title="" />
+<a name="fig_71" id="fig_71"></a><span class="caption smcap">Fig. 71. Clustered open-work.</span>
+</div>
+
+<p><b>Double-rowed cluster-open-work</b> (fig. <a href="#fig_72">72</a>).&mdash;A very good
+effect can be obtained by making the above stitch in such a
+manner, as to form groups of three clusters each, between hem-stitched
+bands of the stuff.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/076.jpg"  alt="FIG. 72. DOUBLE-ROWED CLUSTER-OPEN-WORK." title="" />
+<a name="fig_72" id="fig_72"></a><span class="caption smcap">Fig. 72. Double-rowed cluster-open-work.</span>
+</div>
+
+<p><b>Turkish cluster open-work</b> (fig. <a href="#fig_73">73</a>).&mdash;After portioning
+off, and sewing up the clusters on one side, draw out twelve or
+fourteen threads, and make your connecting-stitch and hem, all
+in one, as follows: bring out the thread before the cluster, and
+pass it round it, then from right to left, over three horizontal
+and under four perpendicular threads, again from left to right,
+over the four threads just passed over, and out at the second
+cluster; laying it over this, you bring it out behind the first
+<a name="Page_30" id="Page_30"></a>cluster, wind it round the middle of them both, and pass it
+through, between the over-casting stitches back to the hem;
+encircle the second cluster with a loop-stitch, and carry your
+thread again over three horizontal and four perpendicular
+threads, and upwards, slanting underneath the stuff, out in
+front of the next cluster.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/077.jpg"  alt="FIG. 73. TURKISH CLUSTER OPEN-WORK." title="" />
+<a name="fig_73" id="fig_73"></a><span class="caption smcap">Fig. 73. Turkish cluster open-work.</span>
+</div>
+
+<p><b>Open-work with darning stitch</b> (fig. <a href="#fig_74">74</a>).&mdash;Draw out
+from eight to twelve threads, according to the quality of the
+stuff. Insert your needle and thread between two clusters, and
+pass it, as if you were darning, backwards and forwards
+over them, until they are encased half way down with
+stitches. In so doing, work with the eye of the needle forward,
+and the point towards your thimble. To pass to the
+next cluster, take one stitch back, under the one just darned,
+and bring your thread underneath the threads of the stuff, to
+the second cluster.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/078.jpg"  alt="FIG. 74. OPEN-WORK WITH DARNING STITCH." title="" />
+<a name="fig_74" id="fig_74"></a><span class="caption smcap">Fig. 74. Open-work with darning stitch.</span>
+</div>
+
+<p><b>Open-work in three colours</b> (fig. <a href="#fig_75">75</a>).&mdash;This pattern
+which is to be done in the same way as fig. <a href="#fig_74">74</a>, requires
+the drawing out of, at least, eighteen threads. Every cross-line
+of three clusters is to be worked in one colour. The
+<a name="Page_31" id="Page_31"></a>colours may all be different, or you may if you prefer, take
+shades of the same colour.</p>
+
+<div class="figcenter" style="width: 596px;">
+<img src="images/079.jpg"  alt="FIG. 75. OPEN-WORK IN THREE COLOURS." title="" />
+<a name="fig_75" id="fig_75"></a><span class="caption"><span class="smcap">Fig. 75. Open-work in three colours.<br />
+Colours:</span> Bleu-Indigo 311, 322, 334, Brun-Caroubier 354, 303, 357, or
+Rouge-G&eacute;ranium 349, 351, 352.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Open-work insertion</b> (figs. <a href="#fig_76">76</a> and <a href="#fig_77">77</a>).&mdash;For both these,
+<a name="Page_32" id="Page_32"></a>the edges are to be overcast, and the darning stitches packed
+sufficiently closely together, for the threads of the stuff to be
+entirely covered.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/080.jpg"  alt="FIG. 76. OPEN-WORK INSERTION." title="" />
+<a name="fig_76" id="fig_76"></a><span class="caption smcap">Fig. 76. Open-work insertion.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/081.jpg"  alt="FIG. 77. OPEN-WORK INSERTION." title="" />
+<a name="fig_77" id="fig_77"></a><span class="caption smcap">Fig. 77. Open-work insertion.</span>
+</div>
+
+<p>Fig. <a href="#fig_76">76</a> requires the drawing out of eighteen threads,
+fig. <a href="#fig_77">77</a>, of thirty. Both admit of several colours being used.</p>
+
+<p><b>Open-work insertion</b> (fig. <a href="#fig_78">78</a>).&mdash;After drawing out sixteen
+or eighteen threads, bind both sides with stitches made over
+four horizontal and four perpendicular threads, as follows;
+make one back-stitch over four disengaged threads, then
+bring up your thread from right to left, over four horizontal
+and under four perpendicular threads, back over the four last
+threads, and draw it out beside the next cluster. The clusters,
+as they now stand, are bound together in the middle, three
+by three, with darning-stitches. The thread must be fastened
+in and cut off, after each group is finished.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/082.jpg"  alt="FIG. 78. OPEN-WORK INSERTION." title="" />
+<a name="fig_78" id="fig_78"></a><span class="caption smcap">Fig. 78. Open-work insertion.</span>
+</div>
+
+<p><b>Open-work insertion</b> (fig. <a href="#fig_79">79</a>).&mdash;First bind the two edges
+with stitches, in the ordinary way. At the last stitch introduce<a name="Page_33" id="Page_33"></a>
+the thread slanting, according to the dotted line, pass it
+under four horizontal and three perpendicular threads of the
+stuff and draw it out; then over three threads from right to
+left, and back under the same, from left to right, and out
+again; over four horizontal threads, and, under and again
+over, three perpendicular ones; for the next stitch, you again
+follow the dotted slanting line.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/083.jpg"  alt="FIG. 79. OPEN-WORK INSERTION." title="" />
+<a name="fig_79" id="fig_79"></a><span class="caption smcap">Fig. 79. Open-work insertion.</span>
+</div>
+
+<p>Then make the darning stitch over nine threads, or three
+clusters. At half their length, you leave out three threads, first
+on the right, then on the left, whilst in the other half, you,
+in a similar manner, take in three; so that you have two
+darned and two undarned clusters, standing opposite each
+other. Finally, you overcast the single clusters, and connect
+every two with a lock-stitch, as shown in the accompanying
+illustration.</p>
+
+<p><b>Open-work insertion</b> (fig. <a href="#fig_80">80</a>).&mdash;Draw out twenty threads,
+overcast both edges with stitches, made over three threads.
+Then, make slanting stitches, proceeding out from these, over
+three, six and nine threads respectively, all three terminating
+in a perpendicular line, one below the other.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/084.jpg"  alt="FIG. 80. OPEN-WORK INSERTION." title="" />
+<a name="fig_80" id="fig_80"></a><span class="caption smcap">Fig. 80. Open-work insertion.</span>
+</div>
+
+<p>For the open-work, twist the thread five times, quite tightly
+round and round one cluster, bring it to the edge, between
+the second and third clusters, and connect these by means
+of six darning-stitches to and fro: join the first and second
+clusters in the same way by twelve stitches, and finish, by
+twisting the thread five times round the remaining length
+of the first cluster. The second half of the open-work figure is
+<a name="Page_34" id="Page_34"></a>carried out in a similar manner over the third and fourth
+clusters.</p>
+
+<p><b>Open-work insertion in four colours</b> (fig. <a href="#fig_81">81</a>).&mdash;Draw
+out, from twenty-five to thirty threads. The outside figures are
+executed over six clusters, of three threads each, in a dark
+and light shade alternately of the same colour. Each of the
+middle figures combines three clusters of the two figures above
+it, and may be executed, either in a different colour altogether,
+<a name="Page_35" id="Page_35"></a>or in a lighter shade of the one employed in the top row.
+The little star in the centre should be worked in dark red,
+or black.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/085.jpg"  alt="FIG. 81. OPEN-WORK INSERTION IN FOUR COLOURS." title="" />
+<a name="fig_81" id="fig_81"></a><span class="caption"><span class="smcap">Fig. 81. Open-work insertion in four colours.</span><br />
+<span class="smcap">Materials:</span> Coton &agrave; broder D.M.C No. 20, or Cordonnet 6 fils D.M.C Nos. 15 to 30.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Rouge-Turc 321, Bleu-Indigo 312, 334, Noir grand Teint 310.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Open-work insertions</b> (figs. <a href="#fig_82">82</a>, <a href="#fig_83">83</a>, <a href="#fig_84">84</a>).&mdash;For each of
+these draw out forty threads. Fig. <a href="#fig_82">82</a> worked in white, and
+Rouge-Grenat clair 309, comprises fourteen clusters, of four
+threads each. Begin at the top of the big pyramid, so that the
+threads which you run in, can be more closely crowded
+together.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/086.jpg"  alt="FIG. 82. OPEN-WORK INSERTION." title="" />
+<a name="fig_82" id="fig_82"></a><span class="caption smcap">Fig. 82. Open-work insertion.</span>
+</div>
+
+<p>In fig. <a href="#fig_83">83</a>, the two rows of short clusters are worked in<a name="Page_36" id="Page_36"></a>
+Gris-Tilleul moyen, and, Gris-Tilleul clair, 392 and 330; <a href="#Footnote_A" class="fnanchor">[A]</a>
+the pyramid of steps, in Brun-Chamois moyen, 324;<a href="#Footnote_A" class="fnanchor">[A]</a>  the
+three inner clusters in Brim-Chamois tr&egrave;s clair, 418. One figure
+consists of fourteen clusters, of three threads each.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/087.jpg"  alt="FIG. 83. OPEN-WORK INSERTION." title="" />
+<a name="fig_83" id="fig_83"></a><span class="caption smcap">Fig. 83. Open-work insertion.</span>
+</div>
+
+<p>Fig. <a href="#fig_84">84</a> also is to be worked in three colours; the light
+squares in unbleached cotton, the middle figure in Bleu-Indigo
+tr&egrave;s clair, 334, the large squares on either side in
+Brun-Cuir clair 432. Each figure contains eighteen clusters,
+of three threads each.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/088.jpg"  alt="FIG. 84. OPEN-WORK INSERTION." title="" />
+<a name="fig_84" id="fig_84"></a><span class="caption smcap">Fig. 84. Open-work insertion.</span>
+</div>
+
+<p><b>Open-work insertion with spiders</b> (fig. <a href="#fig_85">85</a>).&mdash;The edges
+are to be herring-boned, as described in fig. <a href="chapter_1.html#fig_39">39</a>. In the middle,
+the so-called spiders are made, over every group of four
+clusters. The thread that runs out from the spider, passes
+<a name="Page_37" id="Page_37"></a>over two clusters and under one, and then three or four
+times, over and under the clusters, as in darning, and so
+back, under the spider, at the place at which it was drawn in,
+and then on, to the next four strands of thread.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/089.jpg"  alt="FIG. 85. OPEN-WORK INSERTION WITH SPIDERS." title="" />
+<a name="fig_85" id="fig_85"></a><span class="caption smcap">Fig. 85. Open-work insertion with spiders.</span>
+</div>
+
+<p><b>Three-rowed open-work</b> (fig. <a href="#fig_86">86</a>).&mdash;Draw out five threads
+for the narrow stripe, and from fourteen to sixteen for
+the wide one. Each cluster should consist of four threads.
+The narrow bands between, are to be herring-boned on
+either side. The dotted line shows the course of the thread,
+on the wrong side. Then unite each separate cluster in the
+middle, with a back-stitch, as shown in the illustration, and
+finally, join every group of four clusters together, with three
+stitches, and make a spider in the middle of the open-work,
+at the point where the threads intersect each other.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_86" id="fig_86"></a>
+<img src="images/090.jpg"  alt="FIG. 86. THREE-ROWED OPEN-WORK." title="" />
+<span class="caption smcap">Fig. 86. Three-rowed open-work.</span>
+</div>
+
+<p><b>Open-work insertion with rings</b> (fig. <a href="#fig_87">87</a>).&mdash;Bind the
+edges on both sides, with straight, two-sided, stitches. Take,
+for this, Coton &agrave; broder D.M.C, No. 30, (embroidery cotton),
+using it double. Draw out, from twenty-four to thirty threads.
+Wind your thread six or seven times round the middle of each
+cluster of nine threads, and then make darning-stitches, above
+and below, to a length of 3 m/m. When you have completed
+two clusters, join them together, by four interlocked stitches;
+wind your thread three times round the single thread, and sew
+it over with close stitches.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/091.jpg"  alt="FIG. 87. OPEN-WORK INSERTION WITH RINGS." title="" />
+<a name="fig_87" id="fig_87"></a><span class="caption smcap">Fig. 87. Open-work insertion with rings.</span>
+</div>
+
+<p><b>Open-work insertion with spiders</b> (fig. <a href="#fig_88">88</a>).&mdash;Draw out
+twenty-four threads. Ornament the two edges with half-spiders.<a name="Page_38" id="Page_38"></a>
+You begin these over two threads, and go on taking in others,
+to the number of eight. The whole spider in the middle, is
+made as above described.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/092.jpg"  alt="FIG. 88. OPEN-WORK INSERTION WITH SPIDERS." title="" />
+<a name="fig_88" id="fig_88"></a><span class="caption smcap">Fig. 88. Open-work insertion with spiders.</span>
+</div>
+
+<p><b>Open-work insertion</b> (figs. <a href="#fig_89">89</a> and <a href="#fig_90">90</a>).&mdash;The beauty of this
+otherwise simple pattern, lies in the peculiar knot, with which
+the edges of the stuff are ornamented.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/093.jpg"  alt="FIG. 89. OPEN-WORK INSERTION." title="" />
+<a name="fig_89" id="fig_89"></a><span class="caption smcap">Fig. 89. Open-work insertion.</span>
+</div>
+
+<p>Carry the working thread, as shown in fig. <a href="#fig_90">90</a>, from right
+to left, (see the description of the right side) over and under
+four threads; then bring the needle back, under the thread
+which lies slanting, form a loop with the forefinger of the
+left hand, slip it on to the needle, and draw it up close to
+the first stitch; pull the needle through the knot, and proceed
+to the next stitch.</p>
+
+<p>The illustration explains how the open-work in the middle
+should be carried out.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/094.jpg"  alt="FIG. 90. EXPLANATION OF THE STITCH FOR FIG. 89." title="" />
+<a name="fig_90" id="fig_90"></a><span class="caption smcap">Fig. 90. Explanation of the stitch for fig. <a href="#fig_89">89</a>.</span>
+</div>
+
+<p><b>Open-work with winding stitch</b> (fig. <a href="#fig_91">91</a>).&mdash;For this
+pattern, which is a very laborious one to work, draw out
+twenty-eight threads. Bind the edges with two-sided stitches,
+<a name="Page_39" id="Page_39"></a>over two, three, four and five threads, respectively. For the
+middle figures, you must reckon four threads for the clusters,
+round which the working thread is tightly twisted, eight for
+the darned clusters, ornamented with picots (see fig. <a href="chapter_4.html#fig_165">165</a>), and
+sixteen for the rectangular rosettes, in two colours.</p>
+
+<p>Make a loose spider over the threads, as a background for
+the rosette. Work the picots in a different colour from the
+cluster, and the rosettes, likewise, in two colours. The connecting
+loops between the figures should be made as you go along,
+the thread being always carried back into the loop just made.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/095.jpg"  alt="FIG. 91. OPEN-WORK WITH WINDING STITCH." title="" />
+<a name="fig_91" id="fig_91"></a><span class="caption smcap">Fig. 91. Open-work with winding stitch.</span>
+</div>
+
+<p><a name="cutting_out_threads" id="cutting_out_threads"></a><b>Cutting out threads at the corners</b> (figs. <a href="#fig_92">92</a>, <a href="#fig_93">93</a>, <a href="#fig_94">94</a>, <a href="#fig_95">95</a>).
+If you want to carry a latticed-hem or a simple open-work
+pattern, round a corner, you must cut and loosen the threads,
+on both sides, about one c/m. from the edge of the hem, as
+seen in fig. <a href="#fig_92">92</a>. The loose threads can be pushed into the
+turning, and the edge button-holed, as in fig. <a href="#fig_93">93</a>.</p>
+
+<p>If however, on the other hand, the stitching be continued
+without interruption, as indicated in the upper part of fig. <a href="#fig_94">94</a>,
+the loose threads must be brought to the wrong side, and
+<a name="Page_40" id="Page_40"></a>as represented in the lower part of fig. <a href="#fig_94">94</a>, fastened down with
+a few stitches.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_92" id="fig_92"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/096.jpg"  alt="FIG. 92.
+THE CUTTING AND LOOSENING OF
+THE THREADS AT THE
+CORNERS." title="" />
+<span class="caption smcap">Fig. 92.
+The cutting and loosening of
+the threads at the
+corners.</span>
+</div>
+
+<a name="fig_93" id="fig_93"></a>
+<div class="figright" style="width: 300px;">
+<img src="images/097.jpg"  alt="FIG. 93.
+THE OVER CASTING OF THE DISENGAGED
+EDGE AT THE CORNER, THE THREADS BEING
+TURNED IN WITHIN THE HEM." title="" />
+<span class="caption smcap">Fig. 93.
+The over casting of the disengaged
+edge at the corner, the threads being
+turned in within the hem.</span>
+</div>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_94" id="fig_94"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/098.jpg"  alt="FIG. 94.
+BORDERING THE DISENGAGED EDGE WITH
+HEM-STITCHING, THE THREADS BEING
+TURNED OVER" title="" />
+<span class="caption smcap">Fig. 94.
+Bordering the disengaged edge with
+hem-stitching, the threads being
+turned over</span>
+</div>
+
+<a name="fig_95" id="fig_95"></a>
+<div class="figright" style="width: 300px;">
+<img src="images/099.jpg"  alt="FIG. 95.
+FILLING IN THE CORNER WITH A SPIDER,
+AND CONTINUATION OF THE LATTICE-WORK
+THENCE." title="" />
+<span class="caption smcap">Fig. 95.
+Filling in the corner with a spider,
+and continuation of the lattice-work
+thence.</span>
+</div>
+</div>
+
+
+<p><a name="cut_open_work" id="cut_open_work"></a><b>Cut open-work (Punto tagliato).</b>&mdash;For cut open-work,
+threads have to be drawn out both ways, the number of
+course to depend on the pattern. Threads, left between others
+that have been cut out, serve as a foundation on which a great
+variety of stitches can be worked. Stuffs, equally coarse in the
+warp and woof, should be chosen for all cut open-work, for
+<a name="Page_41" id="Page_41"></a>then the empty spaces that remain, where threads have been
+drawn out both ways, will be perfectly square.</p>
+
+<p><b>Drawing out threads both ways</b> (fig. <a href="#fig_96">96</a>).&mdash;The same
+number of threads must be drawn out each way; most patterns
+require the same number of threads to be left as are drawn out.
+In fig. <a href="#fig_96">96</a>, three threads have been drawn out and three left.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/100.jpg"  alt="FIG. 96. DRAWING OUT THREADS BOTH WAYS,
+WITHOUT REGARD TO THE EDGES." title="" />
+<a name="fig_96" id="fig_96"></a><span class="caption smcap">Fig. 96. Drawing out threads both ways,
+without regard to the edges.</span>
+</div>
+
+<p><b>Cutting out threads</b> (fig. <a href="#fig_97">97</a>).&mdash;We often meet with
+cut open-work patterns, set in another kind of embroidery.
+In such cases, the threads that are to be cut out, must be cut
+a few millimetres within the edge, and then drawn out, so
+that there may be a frame of the stuff left intact outside.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/101.jpg"  alt="FIG. 97. CUTTING OUT THREADS,
+IN THE MIDDLE OF THE STUFF." title="" />
+<a name="fig_97" id="fig_97"></a><span class="caption smcap">Fig. 97. Cutting out threads,
+in the middle of the stuff.</span>
+</div>
+
+<p><b>Button-holing the raw edges</b> (fig. <a href="#fig_98">98</a>).&mdash;In very fine
+<a name="Page_42" id="Page_42"></a>linen textures, the threads can simply be cut out, but in the
+case of coarser stuffs, and when a pattern ends in steps as in
+figs. <a href="#fig_103">103</a>, <a href="#fig_104">104</a>, <a href="#fig_105">105</a>, the raw edges must be button-holed as
+in fig. <a href="#fig_98">98</a>, or <a href="#fig_99">99</a>.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/102.jpg"  alt="FIG. 98. BUTTON-HOLING THE RAW EDGES
+OF CUT OPEN-WORK." title="" />
+<a name="fig_98" id="fig_98"></a><span class="caption smcap">Fig. 98. Button-holing the raw edges
+of cut open-work.</span>
+</div>
+
+<p><b>Overcasting the raw edges</b> (fig. <a href="#fig_99">99</a>).&mdash;Cording the raw
+edges, is even better than button-holing them. Count the
+number of threads carefully that have to be cut out, run in a
+thread to mark the pattern, and then only, cut the threads
+through, at least two threads within the line.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/103.jpg"  alt="FIG. 99. OVERCASTING THE RAW EDGES
+OF CUT OPEN-WORK." title="" />
+<a name="fig_99" id="fig_99"></a><span class="caption smcap">Fig. 99. Overcasting the raw edges
+of cut open-work.</span>
+</div>
+
+<p><b>Overcasting the trellised ground</b> (fig. <a href="#fig_100">100</a>).&mdash;If you
+only have a small surface to embroider, you can draw out all
+the threads at once. But in the case
+of a large piece of work it is better to
+begin by removing the threads in one
+direction only, and completing all the
+little bars, one way first; after which
+you draw out the threads the other
+way and embroider those you leave.
+In this way you will secure greater
+equality and finish in your work.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/104.jpg"  alt="FIG. 100. OVERCASTING THE TRELLISED
+GROUND." title="" />
+<a name="fig_100" id="fig_100"></a><span class="caption smcap">Fig. 100. Overcasting the trellised
+ground.</span>
+</div>
+
+<p><b>Ground for square, fig. <a href="#fig_105">105</a></b> (figs.
+<a href="#fig_101">101</a> and <a href="#fig_102">102</a>).&mdash;Finish the first row of
+bars along the edge completely, to
+begin with. In the second row, overcast
+the bar, down to half its length, then carry your thread
+over two empty spaces, see the letter <i>a</i>, come back to the bar,
+overcasting the thread which you threw across first, and passing
+the needle under the bars of the stuff. In the second rows
+that intersect the first, marked by letter <i>b</i>, the threads meet
+in the middle of the empty space.</p>
+
+<p>In fig. <a href="#fig_102">102</a>, finish the bars, overcast both ways first, and
+then fill in the ground with interlaced threads, worked row
+by row, throwing the thread from one square to the other as
+you go, and doubling it, as you return. For the bars, see the
+chapters on net embroidery, and Irish lace.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_101" id="fig_101"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/105.jpg"  alt="FIG. 101. LATTICE-GROUND FOR SQUARE
+IN FIG. 105, SHOWING THE COURSE
+OF THE STITCHES." title="" />
+<span class="caption smcap">Fig. 101. Lattice-ground for square
+in fig. <a href="#fig_105">105</a>, showing the course
+of the stitches.</span>
+</div>
+
+<a name="fig_102" id="fig_102"></a>
+<div class="figright" style="width: 240px;">
+<img src="images/106.jpg"  alt="FIG. 102. LATTICE-GROUND FOR SQUARE
+IN FIG. 105." title="" />
+<span class="caption smcap">Fig. 102. Lattice-ground for square
+in fig. <a href="#fig_105">105</a>.</span>
+</div>
+</div>
+
+
+<p><b>Lattice-ground and damask stitch for square, fig. <a href="#fig_105">105</a></b>
+(fig. <a href="#fig_103">103</a>).&mdash;Our illustration shows a third kind of open<a name="Page_43" id="Page_43"></a><a name="Page_44" id="Page_44"></a>work
+ground with one corner in damask stitch, of the square
+represented in fig. <a href="#fig_105">105</a>. The little bars which intersect each
+square crossways, are made in two divisions, by carrying the
+thread to the opposite
+bar and back. In the
+same way, the second
+thread is carried over
+the first. The damask
+stitches are described in
+the next chapter, in figs.
+<a href="chapter_4.html#fig_143">143</a> and <a href="chapter_4.html#fig_144">144</a>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/107.jpg"  alt="FIG. 103. LATTICE-GROUND WITH A PORTION OF SQUARE, FIG. 105." title="" />
+<a name="fig_103" id="fig_103"></a><span class="caption smcap">Fig. 103. Lattice-ground with a portion of square, fig. <a href="#fig_105">105</a>.</span>
+</div>
+
+<p><b>Lattice-ground and
+damask stitches for
+square, fig. <a href="#fig_105">105</a></b> (fig. <a href="#fig_104">104</a>).&mdash;Damask,
+or gobelin
+stitches, are given in figs.
+<a href="chapter_4.html#fig_152">152</a>, <a href="chapter_4.html#fig_153">153</a>, <a href="chapter_4.html#fig_154">154</a>. The ground
+of this part of the square
+(fig. <a href="#fig_104">104</a>) is adorned with
+narrow bars, worked in
+darning stitch. From the
+centre of one bar, proceed
+three bars made on
+three foundation-threads,
+and a fourth made on
+two, on account of the
+passage to the next bar.</p>
+
+<div class="figcenter" style="width: 417px;">
+<img src="images/108.jpg"  alt="FIG. 104.
+
+LATTICE-GROUND AND DAMASK STITCH FOR
+SQUARE, FIG. 105." title="" />
+<a name="fig_104" id="fig_104"></a><span class="caption smcap">Fig. 104.
+Lattice-ground and damask stitch for
+square, fig. <a href="#fig_105">105</a>.</span>
+</div>
+
+<p><b>Quarter of the square in single and cut open-work,
+and damask-stitch</b> (fig. <a href="#fig_105">105</a>).&mdash;Original size 48 c/m. square.
+This handsome square is worked in unbleached cotton on
+a white ground; it may also be worked in colours. A very
+good effect is produced by using Chin&eacute; d'or D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> red,
+blue, or green for the gobelin stitch, and a uniform pale tint
+for the cut open-work.</p>
+
+<p>Figs. <a href="#fig_101">101</a>, <a href="#fig_102">102</a>, <a href="#fig_103">103</a>, <a href="#fig_104">104</a> illustrate in detail, one quarter of
+the square, which is represented here one third of the original
+<a name="Page_45" id="Page_45"></a>size. The centre piece (fig. <a href="#fig_104">104</a>) is bordered by four stripes,
+two long and two short; the former containing two lozenge-<a name="Page_46" id="Page_46"></a>shaped
+open-work figures separated and finished off by damask
+stitches; the latter, only one such figure. For the insertion in
+single open-work, that recurs three times, you will find a
+variety of designs in figs. <a href="#fig_81">81</a>, <a href="#fig_82">82</a>, <a href="#fig_83">83</a>, <a href="#fig_84">84</a>, <a href="#fig_87">87</a>, <a href="#fig_88">88</a>.</p>
+
+<div class="figcenter" style="width: 570px;">
+<img src="images/109.jpg"  alt="FIG. 105. QUARTER OF THE SQUARE IN SINGLE AND CUT OPEN-WORK,
+AND DAMASK STITCH." title="" />
+<a name="fig_105" id="fig_105"></a><span class="caption"><span class="smcap">Fig. 105. Quarter of the square in single and cut open-work,
+and damask stitch.</span><br />
+<br />
+Original size 48 c/m. square.<br />
+<br />
+<span class="smcap">Materials</span> suitable for Holbein linen: Fil &agrave; pointer D.M.C No. 15 or 20, and Coton
+&agrave; repriser D.M.C No. 25. <a href="#Footnote_A" class="fnanchor">[A]</a> <br />
+<br />
+For antique linen: Fil &agrave; dentelle D.M.C No. 25 or 30, or Cordonnet 6 fils D.M.C
+No. 50, 60, or 70, and Coton &agrave; repriser D.M.C No. 50 or, in place of the latter,
+Coton &agrave; broder surfin D.M.C No. 190.<a href="#Footnote_A" class="fnanchor">[A]</a> </span>
+</div>
+
+
+<p><b>Drawing in the pattern</b> (fig. <a href="#fig_106">106</a>).&mdash;Darning in the threads,
+as you do into a net foundation is a slower process and one
+that requires greater skill than drawing them in.
+The illustration shows the proper order and
+direction of
+stitches for Fig.
+<a href="#fig_108">108</a>. In this case
+likewise, the little
+bars must be
+finished, before
+the actual pattern
+is filled in.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/110.jpg"  alt="FIG. 106. DRAWING IN THE PATTERN.
+(Explanation of fig. 108)" title="" />
+<a name="fig_106" id="fig_106"></a><span class="caption"><span class="smcap">Fig. 106. Drawing in the pattern.</span><br />
+(Explanation of fig. <a href="#fig_108">108</a>)</span>
+</div>
+
+<p><b>Darning in the threads</b> (fig. <a href="#fig_107">107</a>)&mdash;In
+old
+needle-work
+we often find the
+pattern reserved,
+that is, left blank
+and outlined by
+the grounding.
+As it is difficult,
+especially in executing
+minute,
+and delicate figures,
+to withdraw
+the threads partially,
+without injuring
+the linen
+foundation, they
+are withdrawn throughout, and new ones drawn in, to form
+the pattern. To explain this more clearly, the original threads
+of the material are represented in a lighter shade than the new
+<a name="Page_47" id="Page_47"></a><a name="Page_48" id="Page_48"></a>ones that are drawn in; the course of the stitches is indicated
+in a darker shade.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_107" id="fig_107"></a><img src="images/111.jpg"  alt="FIG. 107. DARNING IN THE THREADS.
+(Explanation of fig. 109)." title="" />
+<span class="caption"><span class="smcap">Fig. 107. Darning in the threads.</span><br />
+(Explanation of fig. <a href="#fig_109">109</a>).</span>
+</div>
+
+<p><b>Broad insertion in cut open-work, with the pattern
+drawn in</b> (fig. <a href="#fig_108">108</a>).&mdash;This insertion, suitable according to the
+foundation it is worked on, for the decoration either of curtains,
+table-covers, bed-linen or underclothing, is made as shown
+in fig. <a href="#fig_106">106</a>. If intended for the decoration of any article made
+of white linen, we recommend
+unbleached materials for the
+lattice-work, and bleached
+for the pattern, to bring it
+out in strong relief.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/112.jpg"  alt="FIG. 108. BROAD INSERTION IN CUT OPEN-WORK, WITH PATTERN DRAWN IN." title="" />
+<a name="fig_108" id="fig_108"></a><span class="caption smcap">Fig. 108. Broad insertion in cut open-work, with pattern drawn in.</span>
+</div>
+
+<p><b>Insertion in cut open-work,
+with pattern darned
+in</b> (fig. <a href="#fig_109">109</a>).&mdash;This insertion
+can be introduced into
+any kind of linen material,
+and used for ornamenting
+towels, aprons, bed-linen
+and table-linen. When it is
+used to connect bands of
+cross-stitch embroidery, the
+open-work should be of the
+same colour as the embroidery,
+and the pattern worked
+in white or unbleached cotton,
+to correspond with the
+foundation. In fig. <a href="#fig_109">109</a>, the
+pattern is half as large again
+as in the original.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/113.jpg"  alt="FIG. 109. INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED IN." title="" />
+<a name="fig_109" id="fig_109"></a><span class="caption"><span class="smcap">Fig. 109. Insertion in cut open-work, with pattern darned in.</span><br />
+<br />
+<span class="smcap">Materials</span>&mdash;For Holbein linen: Fil &agrave; pointer D.M.C No. 15 or 20, Cordonnet 6 fils
+D.M.C No. 8, 10 or 15 for the bars.&mdash;Coton &agrave; tricoter D.M.C No. 16 or Coton &agrave;
+repriser D.M.C No. 12 or 25 for darning or drawing in the pattern.<br />
+<br />
+For finer linens: Fil &agrave; dentelle D.M.C Nos. 25 to 30, or Cordonnet 6 fils D.M.C
+Nos. 25 to 40 for the bars and Coton &agrave; repriser D.M.C No. 50 for darning or
+drawing in the pattern.</span>
+</div>
+
+<p><a name="patterns_for_cut_open_work" id="patterns_for_cut_open_work"></a><b>Cut open-work pattern</b> (figs. <a href="#fig_110">110</a> and <a href="#fig_111">111</a>).&mdash;This pattern,
+more of the nature of lace than any of the former, is well
+adapted for trimming, not only household articles but also
+church furniture, altar-cloths and the like, which are required
+to wash, as it can be worked in any width.</p>
+
+<p>Fig. <a href="#fig_110">110</a>, a magnified representation of the work in process
+of execution, shows alternately, ten threads withdrawn each
+way and six left, with open spaces between. The arcs are
+<a name="Page_49" id="Page_49"></a><a name="Page_50" id="Page_50"></a>worked over three carefully laid threads, carried across from
+the middle of one bar to the middle of the bar at right angles
+to it, the wheels on the other hand are begun and finished at
+the same corner. Overcast the cut edges, and hem-stitch the
+outside layer of stuff (figs. <a href="#fig_61">61</a> and <a href="#fig_62">62</a>).</p>
+
+<div class="figcenter" style="width: 188px;">
+<img src="images/114.jpg"  alt="FIG. 110.
+CUT OPEN-WORK PATTERN." title="" />
+<a name="fig_110" id="fig_110"></a><span class="caption"><span class="smcap">Fig. 110.
+Cut open-work pattern.</span><br />
+Fig. <a href="#fig_111">111</a> in process of execution.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/115.jpg"  alt="FIG. 111. CUT OPEN-WORK PATTERN." title="" />
+<a name="fig_111" id="fig_111"></a><span class="caption"><span class="smcap">Fig. 111. Cut open-work pattern.<br />
+Materials:</span> Fil &agrave; pointer D.M.C No. 20 or 30, Cordonnet 6 fils D.M.C Nos. 15 to
+50 or Fil &agrave; dentelle D.M.C Nos. 25 to 50.</span>
+</div>
+
+<p><b>Greek cut open-work pattern</b> (fig. <a href="#fig_112">112</a>).&mdash;After the foregoing
+explanations, no difficulty will be found in copying the
+beautiful Greek cut open-work pattern, illustrated in fig. <a href="#fig_112">112</a>.
+Here, we have in the original, 48 threads drawn out in the
+middle, both ways, from one straight bar to another,
+(these bars being darned) with open spaces between; and
+in the lower and narrower division, 21 threads drawn out
+each way. The cut edges, from bar to bar, are hem-stitched
+on both sides, leaving four threads of the stuff between.</p>
+
+<p>The long bars, in the second figure, are button holed on
+both sides, those with the picots, on one side only.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/116.jpg"  alt="FIG. 112. GREEK CUT OPEN-WORK PATTERN." title="" />
+<a name="fig_112" id="fig_112"></a><span class="caption"><span class="smcap">Fig. 112. Greek cut open-work pattern.<br />
+Materials:</span> Cordonnet 6 fils D.M.C Nos. 25 to 50, Fil d&#39;Alsace D.M.C Nos. 20 to
+100 or Fil &agrave; dentelle D.M.C Nos. 25 to 50.</span>
+</div>
+
+
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_4.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See, at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
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+<p><a name="Page_51" id="Page_51"></a></p>
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/117.jpg"  alt="NET STRIPE, IN IMITATION OF BRUSSELS LACE." title="" />
+<span class="caption smcap">Net stripe, in imitation of brussels lace.</span>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Net_and_damask_stitches" id="Net_and_damask_stitches"></a>Net and damask stitches.</h2>
+
+
+<p>Many net embroidery patterns and damask stitches consist
+of a combination of ordinary running and darning, others of
+chain, stem and cross stitch.</p>
+
+<p><b><a name="Net_embroidery" id="Net_embroidery"></a>Net embroidery.</b>&mdash;All these kinds of stitches can be
+worked on the coarse Greek net, as it is called, as well as on
+the finest quality of real Brussels net.</p>
+
+<p>Stripes of net, finished off with button-hole edging, and
+ornamented with one or other of the following patterns, make
+very pretty washing laces and the like; net laid upon Irish
+point and converted by needlework into a lace ground, makes
+an excellent substitute for a hand-made ground, which demands
+much labour and time.</p>
+
+<p><b>Materials suitable for net embroidery.</b>&mdash;The choice of
+material must be determined by the quality of the net and the
+effect to be produced. For a coarse make of net and a very
+marked pattern, the lowest numbers of D.M.C cottons, or the
+narrowest braids, such as Soutache D.M.C Nos. 1, 2, 3 should
+be used; if the net be fine and the pattern a delicate one,
+then the higher numbers of the following are preferable: Coton
+&agrave; tricoter D.M.C Nos. 8 to 20, Coton &agrave; repriser D.M.C Nos. 25
+to 70, Coton &agrave; broder D.M.C Nos. 16 to 50, Fil &agrave; dentelle
+D.M.C Nos. 25 to 50, Coton &agrave; broder surfin D.M.C Nos. 100,
+120, 150. The latter must be adjusted to the required size
+<a name="Page_52" id="Page_52"></a>before being used, that is to say as many strands of it
+removed, as is necessary in order to reduce it to the proper
+thickness.</p>
+
+<p><b>Tracing with running stitches</b> (fig. <a href="#fig_113">113</a>).&mdash;Have your
+pattern traced on linen or paper; tack the net upon it, and copy
+it carefully on the net with running stitches. As in darning,
+the stitches must run first above and then beneath, alternating
+in each succeeding row. At the turn of the lines, the stitches
+cross each other, as shown in
+the illustration.</p>
+
+<p><a name="fig_113" id="fig_113"></a></p>
+<div class="figcenter" style="width: 600px;">
+<img src="images/118.jpg"  alt="FIG. 113. TRACING WITH RUNNING STITCHES." title="" />
+<span class="caption smcap">Fig. 113. Tracing with running stitches.</span>
+</div>
+
+<p><b><a name="Net_pattern" id="Net_pattern"></a>Net pattern</b> (fig. <a href="#fig_114">114</a>).&mdash;Here
+too the pattern is traced
+with running stitches, which
+are run in on both sides of
+each row of meshes. The
+thread is carried first to the
+right, and then to the left,
+under every alternate bar of
+the net and out again. Between
+the first and second rows, one
+thread of the foundation must
+be left uncovered. In the next
+row, the thread is carried back again, so that it encircles each
+mesh. In the third row, the thread passes under the same bar
+<a name="Page_53" id="Page_53"></a>of net as in the second, the threads touching each other. The
+fourth row is a repetition of the first.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/119.jpg"  alt="FIG. 114. NET PATTERN." title="" />
+<a name="fig_114" id="fig_114"></a><span class="caption smcap">Fig. 114. Net pattern.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_115">115</a>).&mdash;This consists of two rows of
+stitches. In the first, the single stitches run diagonally from
+left to right, over and under a mesh; in the second row the
+triple stitches, also carried diagonally across a mesh, lie from
+right to left.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/120.jpg"  alt="FIG. 115. NET PATTERN." title="" />
+<a name="fig_115" id="fig_115"></a><span class="caption smcap">Fig. 115. Net pattern.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_116">116</a>).&mdash;Begin with a double row, as in
+fig. <a href="#fig_114">114</a>; this is followed by a row of cross-stitch, touching
+the others, for which the thread has to be carried, first under
+one of the straight bars of the
+mesh and then diagonally,
+across it. A second, similar row
+of stitches backwards, completes
+the crosses. This can be
+further varied by the introduction
+of a row of triple stitches,
+after the double row, as in fig. <a href="#fig_115">115</a>, and the repetition of the
+two first only.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/121.jpg"  alt="FIG. 116. NET PATTERN." title="" />
+<a name="fig_116" id="fig_116"></a><span class="caption smcap">Fig. 116. Net pattern.</span>
+</div>
+
+<p>These rows can also be
+worked in two colours, or in
+white thread and washing gold.</p>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_117">117</a>).&mdash;Begin at the top, carrying the
+<a name="Page_54" id="Page_54"></a>thread, first under and then over two bars and a mesh, and
+then underneath as before. In the second as in the first row,
+the threads must be drawn in, so that 4 threads always meet
+in one mesh, and two run parallel to each other through the
+same mesh.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/122.jpg"  alt="FIG. 117. NET PATTERN." title="" />
+<a name="fig_117" id="fig_117"></a><span class="caption smcap">Fig. 117. Net pattern.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_118">118</a>).&mdash;This pattern, which resembles
+fig. <a href="#fig_117">117</a> in the execution, is thickened by triple stitches. Above,
+where in the preceding row three threads were laid, the thread
+should be single.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/123.jpg"  alt="FIG. 118. NET PATTERN." title="" />
+<a name="fig_118" id="fig_118"></a><span class="caption smcap">Fig. 118. Net pattern.</span>
+</div>
+
+<p>Very pretty varieties are to be obtained by the introduction
+of several colours. Take white, for instance, for the first row,
+and different shades of the same colour for the second, third,
+fourth and fifth rows; such as, Bleu-Lapis 345, 344, 343, 333,
+342,<a href="#Footnote_A" class="fnanchor">[A]</a> or Rouge-Cardinal 348, 305, 304, 347, 346,<a href="#Footnote_A" class="fnanchor">[A]</a> or
+Rouge-G&eacute;ranium, Brun-Caroubier or any other colour that is
+absolutely fast.</p>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_119">119</a>).&mdash;After one row of cross-stitch, such
+as was described in fig. <a href="#fig_116">116</a>, add a second, carrying the thread
+under the bar that lies between the first stitches, so that the
+two rows only cover three threads of the net. The close bands
+of cross-stitch must be divided from each other by one row of
+net bars.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/124.jpg"  alt="FIG. 119. NET PATTERN." title="" />
+<a name="fig_119" id="fig_119"></a><span class="caption smcap">Fig. 119. Net pattern.</span>
+</div>
+<p><a name="Page_55" id="Page_55"></a></p>
+<p><b>Net pattern</b> (fig. <a href="#fig_120">120</a>).&mdash;Draw the thread twice backwards
+and forwards, as in darning, through one row of meshes. In
+the next, make four stitches over one mesh and two bars.
+After the fourth stitch, the thread is carried forward under
+two bars to the next group. The meshes filled in thus are
+divided from each other by two double rows of darning
+stitches. Here you may introduce a variety in the colour, using
+either white and unbleached, or unbleached and pale blue, or
+some other combination of the kind.</p>
+
+<div class="figcenter" style="width: 293px;">
+<img src="images/125.jpg"  alt="FIG. 120. NET PATTERN." title="" />
+<a name="fig_120" id="fig_120"></a><span class="caption smcap">Fig. 120. Net pattern.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_121">121</a>).&mdash;Make
+three diagonal stitches
+over three bars and two meshes,
+then returning to the mesh
+out of which the first stitches
+come, make three more in the
+opposite direction. In the second
+row, the stitches meet in
+the same mesh as those of
+the first.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/126.jpg"  alt="FIG. 121. NET PATTERN." title="" />
+<a name="fig_121" id="fig_121"></a><span class="caption smcap">Fig. 121. Net pattern.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_122">122</a>).&mdash;Carry
+the thread upwards from
+below, over a bar of the net, then pass it horizontally under
+another bar and carrying it downwards, pass it under a diagonal
+bar and cover the other three. In the second row, your
+<a name="Page_56" id="Page_56"></a>loops must be turned the opposite way. When the whole
+foundation is finished, run a thread over the whole surface
+and overcast it. A good effect is produced by using white and
+unbleached cottons, in alternate rows.</p>
+
+<div class="figcenter" style="width: 279px;">
+<img src="images/127.jpg"  alt="FIG. 122. NET PATTERN." title="" />
+<a name="fig_122" id="fig_122"></a><span class="caption smcap">Fig. 122. Net pattern.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_123">123</a>).&mdash;This pattern consists of one row
+of overcasting, one of stitches like those described in fig. <a href="#fig_114">114</a>,
+and one of cross-stitch, as in fig. <a href="chapter_1.html#fig_39">39</a>, running diagonally across
+the stuff. Besides the cottons already mentioned, washing gold
+thread (Or fin D.M.C pour la broderie), may be used for the
+overcasting. Dead gold introduced into simple needlework of
+this kind enlivens it extremely.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/128.jpg"  alt="FIG. 123. NET PATTERN." title="" />
+<a name="fig_123" id="fig_123"></a><span class="caption smcap">Fig. 123. Net pattern.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_124">124</a>).&mdash;Three kinds of stitches are required
+for this pattern. In the first row the stitch lies crossed
+underneath the net; in the second, 3 stitches are made
+over one mesh, the first and the last of which are carried
+across three meshes. In the third row, button-hole stitches
+are carried from right to left over two diagonal bars, in such
+a manner that the thread is drawn through the mesh facing
+the loops, and the next stitch comes out under the loop of
+the preceding one.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/129.jpg"  alt="FIG. 124. NET PATTERN." title="" />
+<a name="fig_124" id="fig_124"></a><span class="caption smcap">Fig. 124. Net pattern.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_125">125</a>).&mdash;Fill in every other diagonal row
+of meshes with chain stitch, inserting the needle into the same
+mesh it came out of, so that the thread lies in front of the needle,
+in a loop. The rows of chain stitch may be made with two or
+<a name="Page_57" id="Page_57"></a>three rows of meshes between them. Even the diagonal lines
+by themselves, make a very pretty foundation for other stitches.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/130.jpg"  alt="FIG. 125. NET PATTERN." title="" />
+<a name="fig_125" id="fig_125"></a><span class="caption smcap">Fig. 125. Net pattern.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_126">126</a>).&mdash;The first row worked from left
+to right, consists of three loop stitches upwards and three
+downwards, each over one bar. In the second row, divided
+from the first by one row of stitches, the inner loops must be
+turned towards each other; in the third, the outer ones. Any of
+the stitches, already described, can be introduced into this
+pattern to enliven it.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/131.jpg"  alt="FIG. 126. NET PATTERN." title="" />
+<a name="fig_126" id="fig_126"></a><span class="caption smcap">Fig. 126. Net pattern.</span>
+</div>
+
+<p><b>Net insertions</b> (figs. <a href="#fig_127">127</a> and <a href="#fig_128">128</a>).&mdash;These two, as well as
+the subsequent patterns, are most of them worked in darning
+stitch and simple overcasting.</p>
+
+<p>The scallops in fig. <a href="#fig_127">127</a> are formed of darning stitches,
+<a name="Page_58" id="Page_58"></a>over 4, 3, 2 and 1 mesh, respectively. In the intervening space,
+which is five meshes wide, the stitch shown in fig. <a href="#fig_118">118</a>, may
+be introduced.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/132.jpg"  alt="FIG. 127. NET INSERTION." title="" />
+<a name="fig_127" id="fig_127"></a><span class="caption smcap">Fig. 127. Net insertion.</span>
+</div>
+
+<p>In repeating the pattern, the stitches forming the scallops,
+must be made to run in the opposite direction. Instead of the
+thread, simply drawn through the middle, little stars like
+those described in fig. <a href="#fig_134">134</a>, have a very pretty effect.</p>
+
+<p>In fig. <a href="#fig_128">128</a>, the thread is first carried round one mesh and
+then on to the next scallop. In the second scallop, which turns
+the opposite way, the thread is carried once more round
+the last mesh after the
+pyramid is completed, and
+then on, to the next figure.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/133.jpg"  alt="FIG. 128. NET INSERTION." title="" />
+<a name="fig_128" id="fig_128"></a><span class="caption smcap">Fig. 128. Net insertion.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_129">129</a>).&mdash;This
+checked pattern is
+also worked in darning
+stitch. Carry the thread, as
+in fig. <a href="#fig_125">125</a>, through every
+second row of meshes. When
+the bottom rows are all
+finished, the upper ones are
+worked across them in the
+same way. Here the stitches
+may, if preferred, be distributed
+more sparingly. But
+if they are set wider apart,
+the spaces between should be
+filled up in some way. Little
+dots, made of Coton &agrave; repriser
+D.M.C, will answer the purpose best.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/134.jpg"  alt="FIG. 129. NET PATTERN." title="" />
+<a name="fig_129" id="fig_129"></a><span class="caption smcap">Fig. 129. Net pattern.</span>
+</div>
+
+<p><b>Net insertions</b> (figs. <a href="#fig_130">130</a>, <a href="#fig_131">131</a>,
+<a href="#fig_132">132</a>).&mdash;These three patterns are
+specially suitable, for insertions,
+neck-tie lappets and the
+like, in the place of crochet,
+pillow, and other kinds of lace.
+Both design and stitch are clearly
+enough represented in the sub<a name="Page_59" id="Page_59"></a>joined
+figure for further explanation to be unnecessary. All
+three should be worked with rather coarse cotton, and Soutache
+D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> (braid) drawn in, produces an excellent effect.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/135.jpg"  alt="FIG. 130. NET INSERTION." title="" />
+<a name="fig_130" id="fig_130"></a><span class="caption smcap">Fig. 130. Net insertion.</span>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/136.jpg"  alt="FIG. 131. NET INSERTION." title="" />
+<a name="fig_131" id="fig_131"></a><span class="caption smcap">Fig. 131. Net insertion.</span>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/137.jpg"  alt="FIG. 132. NET INSERTION." title="" />
+<a name="fig_132" id="fig_132"></a><span class="caption smcap">Fig. 132. Net insertion.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_133">133</a>).&mdash;These delicate little figures can
+be worked into a close pattern, or can be strewn singly over
+the surface. The closer you set the stitches, the more clear and
+distinct the stars will be. The thread must be drawn in to the
+centre mesh from without, so as to be invisible if possible, and
+then back again to the outside when the stitches are finished.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/138.jpg"  alt="FIG. 133. NET PATTERN." title="" />
+<a name="fig_133" id="fig_133"></a><span class="caption smcap">Fig. 133. Net pattern.</span>
+</div>
+
+<p><b>Net pattern</b> (fig. <a href="#fig_134">134</a>).&mdash;These flowerets have a very pretty
+effect, set either singly, or in double or triple rows, and are
+very useful for filling up gaps or supplementing rows.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/139.jpg"  alt="FIG. 134. NET PATTERN." title="" />
+<a name="fig_134" id="fig_134"></a><span class="caption smcap">Fig. 134. Net pattern.</span>
+</div>
+<p><a name="Page_60" id="Page_60"></a></p>
+<p><b>Net pattern</b> (fig. <a href="#fig_135">135</a>).&mdash;These star-shaped figures, their
+longest stitch covering three straight bars and two meshes,
+the shortest, three diagonal bars and two meshes, may like
+the above flowerets, be ranged closely together in rows, so that
+four stitches, two horizontal and two vertical ones, meet in
+one mesh. Cotton of two
+colours should be used, in
+order that the figures may
+be distinct from each other:
+white and unbleached are the
+best, in cases where bright
+colours would be unsuitable.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/140.jpg"  alt="FIG. 135. NET PATTERN." title="" />
+<a name="fig_135" id="fig_135"></a><span class="caption smcap">Fig. 135. Net pattern.</span>
+</div>
+
+<p><b>Net insertion</b> (fig. <a href="#fig_136">136</a>).&mdash;These
+diamonds make a very
+pretty grounding either set separately,
+or in a continuous
+pattern. The design is slight,
+nevertheless, when it is worked
+in coarse cotton, the effect is exceedingly
+handsome, especially if the inside, in addition
+to the star here given,
+be enriched with ordinary
+darning-stitches,
+worked in fine gold
+thread, as we have
+already mentioned.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/141.jpg"  alt="FIG. 136. NET INSERTION." title="" />
+<a name="fig_136" id="fig_136"></a><span class="caption smcap">Fig. 136. Net insertion.</span>
+</div>
+
+<p><b>Net tracery with border</b> (fig. <a href="#fig_137">137</a>).&mdash;In
+order to bring out
+the pattern and the
+colours, use instead
+of cotton, Soutache
+D.M.C, or Lacets
+surfins D.M.C. Both
+are to be had in all the colours, given in the list of colours of
+the D.M.C threads and cottons. The little border can be used in
+conjunction with any of the preceding patterns, but care must
+<a name="Page_61" id="Page_61"></a><a name="Page_62" id="Page_62"></a>be taken not to let it get twisted in the working. To prevent
+this, slip a coarse needle under the last stitch, and draw the
+braid flat over it.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/142.jpg"  alt="FIG. 137. NET TRACERY WITH BRAIDS." title="" />
+<a name="fig_137" id="fig_137"></a><span class="caption"><span class="smcap">Fig. 137. Net tracery with braids.<br />
+Materials:</span> Soutache D.M.C No. 2 in Bleu-Indigo 334 and Rouge-Turc 321.</span>
+</div>
+
+<p><b>Broad net lace tracery</b> (fig. <a href="#fig_138">138</a>).&mdash;The pattern of this
+pretty lace must first be transferred to stout paper, or oil-cloth.
+All the leaves and stalks, and the buttonholing round the
+open centres of the flowers, are worked in a pale green, the
+two bottom flowers in Turkey red, the star-shaped one in
+blue, the calyx in which the stalks unite, in dark red, and the
+little bells, in the lightest green.</p>
+
+<div class="figcenter" style="width: 594px;">
+<img src="images/143.jpg"  alt="FIG. 138. BROAD NET LACE TRACERY." title="" />
+<a name="fig_138" id="fig_138"></a><span class="caption"><span class="smcap">Fig. 138. Broad net lace tracery.<br />
+Materials:</span> Coton &agrave; broder D.M.C No. 30, 35 or 40.&mdash;<span class="smcap">Colours:</span> Rouge-Turc 321,
+Rouge-Cardinal 346, Bleu-Indigo 322, Gris-Tilleul 393 and Vert-Pistache 369.</span>
+</div>
+
+<p><b><a name="Net_darning" id="Net_darning"></a>Net darning</b>.&mdash;We conclude with some directions for
+darning net, a valuable art, by means of which many a curious
+piece of old needlework is preserved. Coarse and fine net are
+all darned in the same way.</p>
+
+<p><b>Laying the first thread</b> (fig. <a href="#fig_139">139</a>).&mdash;Tack the net which
+is to be darned, closely to the defective part, upon either
+oil-cloth or coloured paper and cut the edges straight to the
+thread; Your thread must be of exactly the same size, as that
+of which the net is made. It takes three rows of stitches to
+imitate the net ground; in the first place, as shown in fig. <a href="#fig_139">139</a>, cross-threads must be laid from side to side, carried as
+in darning, a little beyond the edges of the hole and so as to
+surround each mesh with a slanting stitch.</p><p><a name="Page_63" id="Page_63"></a></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/144.jpg"  alt="FIG. 139. NET DARNING.
+LAYING THE FIRST THREAD." title="" />
+<a name="fig_139" id="fig_139"></a><span class="caption smcap">Fig. 139. Net darning.
+Laying the first thread.</span>
+</div>
+
+<p><b>Laying the second thread</b> (fig. <a href="#fig_140">140</a>).&mdash;Secondly, beginning
+from one corner, threads are laid diagonally across the first
+layer. The cross-threads of the foundation are encircled by a
+stitch, made from right to left, the needle is then carried
+under the next horizontal bar, and the first layer of threads
+is overcast with similar stitches.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/145.jpg"  alt="FIG. 140. NET DARNING.
+LAYING THE SECOND THREAD." title="" />
+<a name="fig_140" id="fig_140"></a><span class="caption smcap">Fig. 140. Net darning.
+Laying the second thread.</span>
+</div>
+
+<p><b>Laying the third thread</b> (fig. <a href="#fig_141">141</a>).&mdash;Thirdly, threads
+are carried across the second
+and first layers. They must
+start, far enough from the edge,
+for the second layer of threads
+to be overcast at the same time,
+so that there may be no loose
+threads left on the wrong side.
+In this third journey, every
+diagonal thread of the foundation
+is to be encircled with a
+stitch, taken upwards from
+below, the cut edges being
+strengthened in the same way.
+Then, to form the little cross in
+the fabric, the thread must be
+conducted by means of a second stitch, under the single horizontal
+thread, outwards, to the next-diagonal thread.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/146.jpg"  alt="FIG. 141. NET DARNING. LAYING THE THIRD THREAD." title="" />
+<a name="fig_141" id="fig_141"></a><span class="caption smcap">Fig. 141. Net darning. Laying the third thread.</span>
+</div>
+
+<p>In places where the net is worn, it can be strengthened in the
+same manner, the stitches being made the way of the stuff.</p>
+
+<p><b><a name="Damask_stitches" id="Damask_stitches"></a>Damask stitches</b>.&mdash;As a rule the pattern is simply outlined
+with stem and cord stitch, and the inside spaces are left
+plain. In spite of the time this simple tracing takes to do, the
+effect is rather poor and scanty. If however, the inside of the
+leaves and flowers, be filled in with damask stitch, the result
+is very handsome.</p>
+
+<p>Not only can the following stitches, which are suitable for any
+linen coarse or fine, be used for this kind of embroidery, but
+most of the net and lace patterns too, and these combined
+with buttonholing and flat stitch produce charming effects.</p>
+
+<p><b>Materials suitable for damask stitches.</b>&mdash;All the threads
+and cottons used for net work can also be used for damask
+<a name="Page_64" id="Page_64"></a>stitches, according to the material and the kind of work. We will
+enumerate them once more: Coton &agrave; tricoter D.M.C Nos. 8
+to 20, Coton &agrave; repriser D.M.C Nos. 25 to 70, Coton &agrave; broder
+D.M.C Nos. 16 to 50, Fil &agrave; dentelle D.M.C Nos. 25 to 50,
+Coton &agrave; broder surfin D.M.C Nos. 100, 120, 150.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+<p>This kind of embroidery is generally done with a very
+coarse needle, to press the threads of the stuff closely together
+and make the light spaces between, which appear in many of
+the following illustrations.</p>
+
+<p><b>First pattern</b> (fig. <a href="#fig_142">142</a>).&mdash;Carry
+the needle in a
+slanting direction over three
+threads and bring it out,
+from right to left, under
+three perpendicular ones,
+then again slanting, over
+three threads, from left to
+right, and out again underneath
+three horizontal ones,
+downwards from above.
+Thus the first stitch lies
+across, from right to left,
+the second, lengthways. On
+the wrong side, the stitch forms
+a regular succession of steps.</p>
+
+<div class="figcenter" style="width: 327px;">
+<a name="fig_142" id="fig_142"></a>
+<img src="images/147.jpg"  alt="FIG. 142. FIRST PATTERN" title="" />
+<span class="caption smcap">Fig. 142. First pattern</span>
+</div>
+
+<p><b>Second pattern</b> (fig. <a href="#fig_143">143</a>).&mdash;This
+is worked exactly in the
+same manner as fig. <a href="#fig_142">142</a>, only
+that the second row of stitches
+touches the first, so that two
+threads enter and issue from
+the same hole.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/148.jpg"  alt="FIG. 143. SECOND PATTERN" title="" />
+<a name="fig_143" id="fig_143"></a><span class="caption smcap">Fig. 143. Second pattern</span>
+</div>
+
+<p><b>Third pattern</b> (fig. <a href="#fig_144">144</a>).&mdash;Though
+at first sight, this
+stitch is very like the Holbein
+<a name="Page_65" id="Page_65"></a>or stroke stitch, it is very different in the execution. It is
+worked in two rows, to and fro; in the first, you make all
+the vertical stitches side by side in the width of the stuff,
+drawing your thread very tightly, in the second, coming
+back, you make the horizontal
+stitches in a straight
+line, at right angles to the
+first stitches. On the wrong
+side the stitches are crossed;
+they in thin stuffs,
+show through, and quite
+alter the appearance of the
+right side.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/149.jpg"  alt="FIG. 144. THIRD PATTERN." title="" />
+<a name="fig_144" id="fig_144"></a><span class="caption smcap">Fig. 144. Third pattern.</span>
+</div>
+
+<p><b>Fourth, pattern</b> (fig. <a href="#fig_145">145</a>).&mdash;In the first row, the
+thread is carried slanting
+upwards from right to left,
+over two threads, then
+downwards under two.
+Coming back, the stitches must be set the opposite way, so
+that four threads meet in one hole.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/150.jpg"  alt="FIG. 145. FOURTH PATTERN." title="" />
+<a name="fig_145" id="fig_145"></a><span class="caption smcap">Fig. 145. Fourth pattern.</span>
+</div>
+
+<p><b>Fifth pattern</b> (fig. <a href="#fig_146">146</a>).&mdash;This is worked like fig. <a href="#fig_145">145</a>,
+only that the stitches must cover three threads each way. In
+the second row, you take up one thread on the right and two
+on the left, to form your stitches.</p><p><a name="Page_66" id="Page_66"></a></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/151.jpg"  alt="FIG. 146. FIFTH PATTERN." title="" />
+<a name="fig_146" id="fig_146"></a><span class="caption smcap">Fig. 146. Fifth pattern.</span>
+</div>
+
+<p><b>Sixth pattern</b> (fig. <a href="#fig_147">147</a>).&mdash;Here, the stitches form a
+chess-board pattern. You begin with a diagonal stitch over
+two threads and bring your needle up again into the same line
+it started from. The second stitch covers three threads, the
+third six, the fourth eight; the next three decrease, successively
+in length, in the same proportion.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/152.jpg"  alt="FIG. 147. SIXTH PATTERN." title="" />
+<a name="fig_147" id="fig_147"></a><span class="caption smcap">Fig. 147. Sixth pattern.</span>
+</div>
+
+<p><b>Seventh pattern</b> (fig. <a href="#fig_148">148</a>).&mdash;Two kinds of cotton have
+to be used for this pattern, one of them soft and flat, like
+Colon &agrave; repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> (darning cotton) or Coton &agrave; tricoter
+D.M.C (knitting cotton)<a href="#Footnote_A" class="fnanchor">[A]</a> for
+the flat stitches, and the other
+strongly twisted, like Cordonnet
+6 fils D.M.C No. 8, 10, 12 or
+15,<a href="#Footnote_A" class="fnanchor">[A]</a> for the cross stitches.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/153.jpg"  alt="FIG. 148. SEVENTH PATTERN." title="" />
+<a name="fig_148" id="fig_148"></a><span class="caption smcap">Fig. 148. Seventh pattern.</span>
+</div>
+
+<p>The five flat stitches cover
+three threads in width and six
+in height, and lie from right to
+left and from left to right. In
+the second row, which must be
+two threads distant from the
+first, the stitches must lie in
+the contrary direction. In the
+<a name="Page_67" id="Page_67"></a>lozenge-shaped space between, make four cross stitches,
+over four threads in height and two in
+width.</p>
+
+<p><b>Eighth pattern</b> (figs. <a href="#fig_149">149</a> and <a href="#fig_150">150</a>).&mdash;Make
+five stitches over 8 horizontal threads,
+miss 6 threads and make another 5 stitches.
+The groups of long stitches above and
+beneath the first row, encroach over two
+threads of the first group, so that a space
+of only four threads remains between two
+groups. The stitch between these groups
+is generally known as the rococo
+stitch.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/154.jpg"  alt="FIG. 149. EIGHTH PATTERN." title="" />
+<a name="fig_149" id="fig_149"></a><span class="caption smcap">Fig. 149. Eighth pattern.</span>
+</div>
+
+<p>Bring out your needle between
+the third and fourth of
+these threads, and insert it
+again above, drawing it out
+afterwards between the second
+and third horizontal thread,
+and securing the first stitch
+with a back stitch. Make the
+three remaining stitches, as
+explained in fig. <a href="#fig_150">150</a>.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/155.jpg"  alt="FIG. 150. EXPLANATION OF THE ROCOCO STITCH IN FIG. 149." title="" />
+<a name="fig_150" id="fig_150"></a><span class="caption smcap">Fig. 150. Explanation of the rococo stitch in fig. <a href="#fig_149">149</a>.</span></div>
+
+<p><b>Ninth pattern</b> (fig. <a href="#fig_151">151</a>).&mdash;This
+consists of straight bands
+of flat stitches, covering three
+threads each way, with spaces
+8 threads wide between, ornamented
+with a small pattern in
+stroke stitch, (see chapter on
+<a href="./chapter_7.html">Tapestry and Linen embroidery</a>).</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_151" id="fig_151"></a>
+<img src="images/156.jpg"  alt="FIG. 151. NINTH PATTERN." title="" />
+<span class="caption smcap">Fig. 151. Ninth pattern.</span>
+</div>
+
+<p><b>Damask stitch for figs. <a href="chapter_3.html#fig_103">103</a>
+and <a href="chapter_3.html#fig_105">105</a></b> (fig. <a href="#fig_152">152</a>).&mdash;The stitches,
+here represented on a large scale,
+form the border to the square in
+cut open-work in fig. <a href="chapter_3.html#fig_105">105</a>. The long diagonal stitches, on
+either side, can be made to look fuller and more distinct, by
+using a soft, coarse cotton.</p><p><a name="Page_68" id="Page_68"></a></p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/157.jpg"  alt="FIG. 152. DAMASK STITCH FOR FIGS. 103 AND 105." title="" />
+<a name="fig_152" id="fig_152"></a><span class="caption smcap">Fig. 152. Damask stitch for figs. <a href="chapter_3.html#fig_103">103</a> and <a href="chapter_3.html#fig_105">105</a>.</span></div>
+
+<p><b>Tenth and eleventh patterns</b> (figs. <a href="#fig_153">153</a> and <a href="#fig_154">154</a>).&mdash;The
+former of these is used for filling in the short stripe in fig. <a href="chapter_3.html#fig_105">105</a>, the second for the long inside one. Fig. <a href="#fig_153">153</a> is clear
+enough to need no explanation;
+with reference to fig. <a href="#fig_154">154</a>, it is
+however as well to point out that
+the shortest stitch should cover
+4 threads and the longest 12,
+the rest is easily learnt from the
+illustration. This is a very suitable
+design for the decoration of large
+surfaces and combines well with
+any running diagonal pattern,
+when it can be made to form a
+large star which can be worked
+as a separate figure.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/158.jpg"  alt="FIG. 153.
+TENTH PATTERN. DAMASK STITCH FOR
+FIGS. 104 AND 105." title="" />
+<a name="fig_153" id="fig_153"></a><span class="caption smcap">Fig. 153.
+Tenth pattern. Damask stitch for
+figs. <a href="chapter_3.html#fig_104">104</a> and <a href="chapter_3.html#fig_105">105</a>.</span>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/159.jpg"  alt="FIG. 154.
+ELEVENTH PATTERN. DAMASK STITCH
+FOR FIG. 105." title="" />
+<a name="fig_154" id="fig_154"></a><span class="caption smcap">Fig. 154.
+Eleventh pattern. Damask stitch
+for fig. <a href="chapter_3.html#fig_105">105</a>.</span>
+</div>
+
+<p><b>Twelfth pattern</b> (fig. <a href="#fig_155">155</a>).&mdash;In
+cases where this and the
+following stitches are to be
+executed on a light, transparent
+stuff, it is best to use a very
+strongly twisted thread, such
+as Fil d'Alsace D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> or, Fil
+&agrave; dentelle D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> instead of
+a softer and looser material. A
+stiff thread compresses the
+threads of the stuff better and
+the open spaces, thus made in
+it, are rendered more visible.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/160.jpg"  alt="FIG. 155. TWELFTH PATTERN." title="" />
+<a name="fig_155" id="fig_155"></a><span class="caption smcap">Fig. 155. Twelfth pattern.</span>
+</div>
+
+<p>Count 6 threads vertically,
+put in the needle and draw
+it through from right to left,
+underneath 3 diagonal threads. For the next stitch, carry it
+upwards over 6 threads, and back under 3. The second row is
+worked back over the first in the same way. Leave 6 threads
+between each row.</p>
+<p><a name="Page_69" id="Page_69"></a></p>
+<p><b>Thirteenth pattern</b> (fig. <a href="#fig_156">156</a>).&mdash;Carry the thread, from
+right to left over four vertical threads, and under the same
+number of horizontal ones. The second row of stitches touches
+the first, so that the thread it is worked with seems to be
+drawn through under the same threads of the stuff, as the one
+the first row was worked with.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/161.jpg"  alt="FIG. 156. THIRTEENTH PATTERN." title="" />
+<a name="fig_156" id="fig_156"></a><span class="caption smcap">Fig. 156. Thirteenth pattern.</span>
+</div>
+
+<p><b>Fourteenth pattern</b> (fig. <a href="#fig_157">157</a>).&mdash;Here, the stitches, contrary
+to those in fig. <a href="#fig_147">147</a>, are set vertically. The first stitch
+covers 2 threads, the second 6, the third 10, the fourth 14, the
+fifth 18. The longest stitches of two checks always meet in the
+same hole.</p><p><a name="Page_70" id="Page_70"></a></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/162.jpg"  alt="FIG. 157. FOURTEENTH PATTERN." title="" />
+<a name="fig_157" id="fig_157"></a><span class="caption smcap">Fig. 157. Fourteenth pattern.</span>
+</div>
+
+<p><b>Fifteenth pattern</b> (fig. <a href="#fig_158">158</a>).&mdash;Cover the whole expanse
+with rows of stitches, such as are described in fig. <a href="#fig_155">155</a>, with
+intervals of 12 threads between them.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/163.jpg"  alt="FIG. 158. FIFTEENTH PATTERN." title="" />
+<a name="fig_158" id="fig_158"></a><span class="caption smcap">Fig. 158. Fifteenth pattern.</span>
+</div>
+
+<p>These rows are intersected by others, to which the thread
+is passed, from between the sixth and seventh of the 12 threads
+between the first rows. Where the stitches of the two rows
+meet, the working thread of the second row must be drawn
+through, under that of the first.</p>
+
+<p><b>Sixteenth pattern</b> (fig. <a href="#fig_159">159</a>).&mdash;Between every two rows of
+cross-stitch, leave an interval of 6 threads, counting those on
+each side of the rows. Over these 6 threads work 2 rows, as
+shown in fig. <a href="#fig_148">148</a>, but so, that in the second, the lower
+stitch of the first row and the upper one of the second, cover
+the same threads.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/164.jpg"  alt="FIG. 159. SIXTEENTH PATTERN." title="" />
+<a name="fig_159" id="fig_159"></a><span class="caption smcap">Fig. 159. Sixteenth pattern.</span>
+</div>
+
+<p><b>Seventeenth pattern</b> (fig. <a href="#fig_160">160</a>).&mdash;This consists of stripes,
+4 stitches wide, like those of fig. <a href="#fig_155">155</a>, with 3 threads between,
+which are overcast in the ordinary manner.</p>
+
+<div class="figcenter" style="width: 283px;">
+<img src="images/165.jpg"  alt="FIG. 160. SEVENTEENTH PATTERN." title="" />
+<a name="fig_160" id="fig_160"></a><span class="caption smcap">Fig. 160. Seventeenth pattern.</span>
+</div>
+
+<p><b>Eighteenth pattern</b> (fig. <a href="#fig_161">161</a>).&mdash;Small squares of 7
+stitches, inclined alternately, to the right and left, and so
+formed, that the longest stitch of one square is crossed by the
+first short stitch of the next, so that a space only 6 threads
+wide and 4 long, remains uncovered. The intervening stripes
+are filled with 3 rows of overcasting stitches, covering 2
+threads each way.</p><p><a name="Page_71" id="Page_71"></a></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/166.jpg"  alt="FIG. 161. EIGHTEENTH PATTERN." title="" />
+<a name="fig_161" id="fig_161"></a><span class="caption smcap">Fig. 161. Eighteenth pattern.</span>
+</div>
+
+<p><b>Nineteenth pattern</b> (fig. <a href="#fig_162">162</a>).&mdash;The steps formed by
+this pattern are 11 stitches high, and 11 wide, and each stitch
+covers 4 threads.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/167.jpg"  alt="FIG. 162. NINETEENTH PATTERN." title="" />
+<a name="fig_162" id="fig_162"></a><span class="caption smcap">Fig. 162. Nineteenth pattern.</span>
+</div>
+
+<p>Eight threads intervene between each row of steps, which
+are covered at the bend, by a square of stitches, from the last
+of which, the thread is carried on at once, to the four single
+stitches.</p>
+
+<p><b>Twentieth pattern</b> (fig. <a href="#fig_163">163</a>).&mdash;The 4 squares set opposite
+to each other, with 2 threads between, are edged all round by
+3 rows of overcasting.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/168.jpg"  alt="FIG. 163. TWENTIETH PATTERN." title="" />
+<a name="fig_163" id="fig_163"></a><span class="caption smcap">Fig. 163. Twentieth pattern.</span>
+</div>
+
+<p><b>Twenty-first pattern</b> (fig. <a href="#fig_164">164</a>).&mdash;Begin by rows of stitches,
+<a name="Page_72" id="Page_72"></a>like those described in fig. <a href="#fig_155">155</a>, over 4 and 2 threads, with
+4 threads between, not counting those covered with cross-stitch.
+Between the two rows of cross-stitch, join 6 threads
+together by a back-stitch, and carry your thread over the two
+last of the 6, to the 2 first of the next cluster. The narrow
+diagonal stripes are separated by 24 threads, exclusive of those
+covered by the cross-stitches. These spaces are filled in with
+squares, 10 threads wide and 10 long, formed by back-stitches
+crossed on the wrong side.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/169.jpg"  alt="FIG. 164. TWENTY-FIRST PATTERN." title="" />
+<a name="fig_164" id="fig_164"></a><span class="caption smcap">Fig. 164. Twenty-first pattern.</span>
+</div>
+
+<p><b>Twenty-second pattern</b> (fig. <a href="#fig_165">165</a>).&mdash;In the closer stuffs,
+of a coarse texture, the threads of which do not admit of being
+drawn together, as you can those, of a loose thin stuff, where,
+<a name="Page_73" id="Page_73"></a>by simply pulling your thread a little tighter you get open
+spaces, you must begin by cutting out every fourth or fifth
+thread. After which, you overcast all the rows, first one way,
+and then the other, with stitches
+covering 4 threads, each way.
+On this foundation with strong,
+loosely-twisted cotton, Coton
+&agrave; broder D.M.C or Coton &agrave;
+tricoter D.M.C No. 25, 30, 35,
+or 40, make long stitches, as
+indicated in the illustration.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/170.jpg"  alt="FIG. 165. TWENTY-SECOND PATTERN." title="" />
+<a name="fig_165" id="fig_165"></a><span class="caption smcap">Fig. 165. Twenty-second pattern.</span>
+</div>
+
+<p><b>Twenty-third pattern</b> (fig. <a href="#fig_166">166</a>.)&mdash;From the point where
+the thread comes out of the
+stuff, make 16 stitches, four
+times over, all coming out of
+the same hole, over 8, 6, 4 and 6 threads, thus forming a
+star. Leave an interval of four threads between the stars, and
+unite the intervening threads by cross-stitches one way, and
+whip-stitches, the other.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/171.jpg"  alt="FIG. 166. TWENTY-THIRD PATTERN." title="" />
+<a name="fig_166" id="fig_166"></a><span class="caption smcap">Fig. 166. Twenty-third pattern.</span>
+</div>
+<p><a name="Page_74" id="Page_74"></a></p>
+<p><b>Twenty-fourth pattern</b> (fig. <a href="#fig_167">167</a>).&mdash;Make a succession
+of diagonal stitches, increasing in length, and advancing one
+thread at a time, until the seventh stitch covers seven threads,
+and completes the triangle. Then begin a second triangle on
+the nearest, adjacent thread.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/172.jpg"  alt="FIG. 167. TWENTY-FOURTH PATTERN." title="" />
+<a name="fig_167" id="fig_167"></a><span class="caption smcap">Fig. 167. Twenty-fourth pattern.</span>
+</div>
+
+<p><b>Twenty-fifth pattern</b> (fig. <a href="#fig_168">168</a>).&mdash;Cover your whole surface
+with squares of 16 stitches, as in fig. <a href="#fig_147">147</a>, and fill in the
+intervening squares with 23 stitches, all radiating from one
+centre.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/173.jpg"  alt="FIG. 168. TWENTY-FIFTH PATTERN." title="" />
+<a name="fig_168" id="fig_168"></a><span class="caption smcap">Fig. 168. Twenty-fifth pattern.</span>
+</div>
+
+<p><b>Twenty-sixth pattern</b> (fig. <a href="#fig_169">169</a>).&mdash;Diagonal trellised
+stripes, made as indicated in fig. <a href="#fig_165">165</a>, and overcast, form the
+ground. Twelve threads are to be left between the stripes, upon
+which, work six-cornered, lozenge-shaped groups of stitches,
+set at right angles to each other, in diagonal rows.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_169" id="fig_169"></a>
+<img src="images/174.jpg"  alt="FIG. 169. TWENTY-SIXTH PATTERN." title="" />
+<span class="caption smcap">Fig. 169. Twenty-sixth pattern.</span>
+</div>
+
+<p><b>Twenty-seventh pattern</b> (fig. <a href="#fig_170">170</a>).&mdash;We conclude our
+chapter with a circular design, which combines a variety of
+stitches, and introduces our workers to two new patterns, as
+well as to an advantageous way of hiding the junction of
+several kinds of stitches by semicircles of button-hole stitching.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/175.jpg"  alt="FIG. 170. TWENTY-SEVENTH PATTERN." title="" />
+<a name="fig_170" id="fig_170"></a><span class="caption smcap">Fig. 170. Twenty-seventh pattern.</span>
+</div>
+
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_5.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
+    <style type="text/css">
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+<p><a name="Page_75" id="Page_75"></a></p>
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/176.jpg"  alt="STRIPE IN FLAT AND RAISED SATIN STITCH, AND MADEIRA EMBROIDERY." title="" />
+<span class="caption smcap">Stripe in flat and raised satin stitch, and madeira embroidery.</span>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="White_Embroidery" id="White_Embroidery"></a>White Embroidery.</h2>
+
+
+<p>We have retained the familiar term, white embroidery,
+for this kind of needlework, for convenience sake, in spite of
+its inaccuracy, now that coloured materials are quite as much
+used for it as white.</p>
+
+<p>It is executed, either on a backing of oil-cloth, or in an
+embroidery frame, called &laquo;tambour-frame&raquo;. Only skilful
+workers can dispense with these, for an untrained hand can
+hardly avoid puckering. If you work without a foundation, the
+material must be held, quite smoothly over the forefinger, so
+that the threads lie perfectly straight, otherwise, the pattern
+is very apt to get pulled out of shape in the working. With
+your three other fingers you hold the material fast, the thumb
+resting on the work itself, beyond the outline of the pattern,
+which must be turned towards the worker. It is always the
+outside line of a pattern that is drawn in double lines, that
+should be turned towards the palm of the hand.</p>
+
+<p><b>Tracing patterns.</b>&mdash;Patterns are generally to be had ready
+traced, but as it is often necessary to repeat, enlarge, or
+reduce them, descriptions of several modes of doing so, will
+be found at the end of the concluding chapter.</p>
+
+<p><b>Materials.</b>&mdash;A loose, soft make of cotton, the looser the
+better, and very little twisted, is the best material for embroidery.
+We recommend for white embroidery in general, Coton
+<a name="Page_76" id="Page_76"></a>&agrave; broder D.M.C Nos. 16 to 150; for monograms on cambric,
+Coton &agrave; broder surfin D.M.C Nos. 100, 120, 150;<a href="#Footnote_A" class="fnanchor">[A]</a> and
+for English or Madeira embroidery, Coton Madeira D.M.C
+Nos. 40, 50, 60;<a href="#Footnote_A" class="fnanchor">[A]</a> for padding, or raising the embroidery,
+all the different kinds of Coton &agrave; repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> can be used.</p>
+
+<p><b>Outlining and padding.</b>&mdash;The outlining of a pattern is
+a very important preliminary. A want of precision in the ultimate
+effect is often due, merely to careless outlining. This
+part of the work should be done with rather a coarser cotton
+than the embroidery itself. Fasten in the thread by a few
+running stitches, never with a knot, a rule to be observed also
+in embroidering, except in very rare cases. Finish off your
+thread by drawing it through the tracing stitches, or through
+some part of the pattern that is already finished. Fill in the
+spaces between the lines with a padding of run threads, run
+loosely, and so that they lie thickly and solidly in the centre,
+and shade off on both sides. The fullness,
+and roundness of embroidery,
+depends on the firmness of this sub-stratum
+of threads. The outlining and
+the padding of the different rounded
+and pointed scallops, as well as of other
+figures that occur in white embroidery,
+are illustrated in figs. <a href="#fig_181">181</a>, <a href="#fig_182">182</a>, <a href="#fig_183">183</a>,
+<a href="#fig_184">184</a>, <a href="#fig_185">185</a>, <a href="#fig_187">187</a>, <a href="#fig_189">189</a>, <a href="#fig_190">190</a> and <a href="#fig_191">191</a>.</p>
+
+<p><a name="stitches" id="stitches"></a><b>Blanket, or button-hole stitch</b>
+(fig. <a href="#fig_171">171</a>).&mdash;Work from left to right;
+run in a foundation line, hold down the
+working thread below the run line
+with the right thumb; insert the needle
+above and bring it out below the run
+line but above the working thread;
+tighten the loop thus formed, without
+drawing up the stuff, and continue in
+this manner, setting your stitches closely and regularly, side
+by side.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/177.jpg"  alt="FIG. 171. BLANKET, OR
+BUTTON-HOLE STITCH." title="" />
+<a name="fig_171" id="fig_171"></a><span class="caption smcap">Fig. 171. Blanket, or
+button-hole stitch.</span>
+</div>
+<p><a name="Page_77" id="Page_77"></a></p>
+<p><b>Straight stem stitch</b> (fig. <a href="#fig_172">172</a>).&mdash;Work from left to right.
+The needle must always be inserted above the run thread,
+and brought out underneath it. In the case of a very delicate
+pattern, take up only just as much stuff as the run thread
+covers.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/178.jpg"  alt="FIG. 172. STRAIGHT STEM STITCH." title="" />
+<a name="fig_172" id="fig_172"></a><span class="caption smcap">Fig. 172. Straight stem stitch.</span></div>
+
+<p><b>Sloping stem stitch</b> (fig. <a href="#fig_173">173</a>).&mdash;Work without a run
+thread; insert the needle from right
+to left in a slanting direction,
+under 1 or 2 horizontal threads,
+and 5 or 6 perpendicular ones;
+so that each stitch reaches halfway
+back to the last.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/179.jpg"  alt="FIG. 173. SLOPING STEM STITCH." title="" />
+<a name="fig_173" id="fig_173"></a><span class="caption smcap">Fig. 173. Sloping stem stitch.</span></div>
+
+<p>This kind of stem stitch is chiefly
+used for the fine upstrokes of
+letters and numbers, and for linen
+embroidery.</p>
+
+<p><b>Back-stitching</b> (fig. <a href="#fig_174">174</a>).&mdash;Back-stitching,
+that is small, even
+stitches set closely together, is done
+from right to left, along a straight
+line, and is chiefly used for filling
+in the centres of letters, leaves and
+flowers.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/180.jpg"  alt="FIG. 174. BACK-STITCHING." title="" />
+<a name="fig_174" id="fig_174"></a><span class="caption smcap">Fig. 174. Back-stitching.</span></div>
+
+<p><b>Crossed back-stitch</b> (figs. <a href="#fig_175">175</a>
+and <a href="#fig_176">176</a>).&mdash;Used, generally speaking,
+only for very transparent materials;
+it forms a close seam of cross-stitch,
+on the wrong side, and two
+straight rows of back-stitching on
+the right. To work, insert the
+needle as if for an ordinary back-stitch,
+pass it under the stuff,
+sloping it a little towards the second
+outline of the pattern, and
+draw it out almost in front of the
+first stitch. After making a back-stitch, pass the needle up
+again under the stuff and bring it out at the spot where the
+next stitch is to be.</p><p><a name="Page_78" id="Page_78"></a></p>
+
+<div class="figcenter" style="width: 175px;">
+<img src="images/181.jpg"  alt="FIG. 175. CROSSED BACK-STITCH.
+RIGHT SIDE." title="" />
+<a name="fig_175" id="fig_175"></a><span class="caption smcap">Fig. 175. Crossed back-stitch.
+Right side.</span>
+</div>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/182.jpg"  alt="FIG. 176. CROSSED BACK-STITCH.
+WRONG SIDE." title="" />
+<a name="fig_176" id="fig_176"></a><span class="caption smcap">Fig. 176. Crossed back-stitch.
+Wrong side.</span>
+</div>
+
+<p>Fig. <a href="#fig_176">176</a> shows the interlacing of the stitches on the wrong
+side, and the way in which this stitch, when it is used for
+filling in centres, can be worked on
+the right side.</p>
+
+<p><b>Simple knot stitch</b> (fig. <a href="#fig_177">177</a>).
+This consists of two back-stitches,
+side by side, covering the same
+threads; it is chiefly used for
+filling in leaves, embroidered on
+very thin materials, or in conjunction
+with flat stitch.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/183.jpg"  alt="FIG. 177. SIMPLE KNOT STITCH." title="" />
+<a name="fig_177" id="fig_177"></a><span class="caption smcap">Fig. 177. Simple knot stitch.</span></div>
+
+<p><b>Twisted knot stitch</b> (fig. <a href="#fig_178">178</a>).
+To work hold the working thread
+down with the thumb close to the
+spot where you first brought it out,
+twist it twice round the needle,
+turn the needle round from left to
+right, following the direction indicated
+by the arrow, pass it through
+the fabric at the place which is
+marked by a dot, and draw it out
+at the place where the next stitch
+is to be.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/184.jpg"  alt="FIG. 178. TWISTED KNOT STITCH." title="" />
+<a name="fig_178" id="fig_178"></a><span class="caption smcap">Fig. 178. Twisted knot stitch.</span></div>
+
+<p><b>Post stitch</b> (fig. <a href="#fig_179">179</a>).&mdash;Something
+like knot stitch and much used
+for patterns, composed of small
+flowers and leaves, where it often
+takes the place of raised satin stitch.
+The illustration represents five
+leaves finished, and the sixth in
+process of being worked.</p>
+
+<div class="figcenter" style="width: 175px;">
+<img src="images/185.jpg"  alt="FIG. 179. POST STITCH." title="" />
+<a name="fig_179" id="fig_179"></a><span class="caption smcap">Fig. 179. Post stitch.</span></div>
+
+<p>To work, bring the needle up from the back and twist
+the thread round it as many times as the length of the stitch
+requires, hold the left thumb on the species of curl thus
+formed, and passing the needle and thread through it, insert
+it at the end of the leaf where it first came out, and draw
+it out at the right place for the next stitch.</p>
+
+<p><b>Button-hole bars</b> (fig. <a href="#fig_180">180</a>).&mdash;When a pattern is orna<a name="Page_79" id="Page_79"></a>mented
+with open-work bars, begin by tracing the outside
+parallel lines. Then button-hole the whole lower line and
+the upper one, till you come to the place where the first bar
+is to be; then you carry your thread across and bring up
+the needle from below through one of the loops, as, shown
+in the figure; lay three threads in this manner, inserting your
+needle the third time one loop further on. Then cover the
+three threads thickly with button-holing.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/186.jpg"  alt="FIG. 180. BUTTON-HOLE BARS." title="" />
+<a name="fig_180" id="fig_180"></a><span class="caption smcap">Fig. 180. Button-hole bars.</span></div>
+
+<p><b><a name="Different_kinds_of_scallops" id="Different_kinds_of_scallops"></a>Different kinds of scallops</b> (figs. <a href="#fig_181">181</a>, <a href="#fig_182">182</a>, <a href="#fig_183">183</a>).&mdash;The
+outlining, padding and button-holing of these scallops is executed
+in the manner already described. Be careful to adapt the
+length of the stitches to the shape and size of the scallops. If
+they are pointed (figs.
+<a href="#fig_182">182</a>, <a href="#fig_183">183</a>), the stitches
+will have to be set
+very closely together
+on the inner line, and
+a little play allowed
+them on the outer, to
+come exactly to the
+point, which should
+be very sharply defined.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/187.jpg"  alt="FIG. 181. ROUND, BUTTON-HOLED SCALLOPS." title="" />
+<a name="fig_181" id="fig_181"></a><span class="caption smcap">Fig. 181. Round, button-holed scallops.</span></div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/188.jpg"  alt="FIG. 182. LARGE, POINTED, BUTTON-HOLED SCALLOPS." title="" />
+<a name="fig_182" id="fig_182"></a><span class="caption smcap">Fig. 182. Large, pointed, button-holed scallops.</span></div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/189.jpg"  alt="FIG. 183. SMALL, POINTED, BUTTON-HOLED SCALLOPS." title="" />
+<a name="fig_183" id="fig_183"></a><span class="caption smcap">Fig. 183. Small, pointed, button-holed scallops.</span></div>
+
+<p><b>Rose scallops</b> (figs.
+<a href="#fig_184">184</a> and <a href="#fig_185">185</a>).&mdash;These
+are, large button-holed
+scallops with indented
+edges, in the one case, rounded at the top and sharply pointed
+at the join; in the other, pointed at the top, and joined at
+the bottom by a straight bar of button-holing.</p><p><a name="Page_80" id="Page_80"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/190.jpg"  alt="FIG. 184. ROUNDED ROSE SCALLOPS." title="" />
+<a name="fig_184" id="fig_184"></a><span class="caption smcap">Fig. 184. Rounded rose scallops.</span></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/191.jpg"  alt="FIG. 185. POINTED ROSE SCALLOPS." title="" />
+<a name="fig_185" id="fig_185"></a><span class="caption smcap">Fig. 185. Pointed rose scallops.</span></div>
+
+<p><b><a name="Eyelet_holes" id="Eyelet_holes"></a>Eyelet holes</b> (figs. <a href="#fig_186">186</a>, <a href="#fig_187">187</a>, <a href="#fig_188">188</a>).&mdash;Outline the eyelet holes
+very carefully first by running a thread round them, then
+cut out the enclosed stuff with a sharp pair of finely pointed
+scissors, and edge the hole with plain overcasting stitches,
+worked from left to right.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/192.jpg"  alt="FIG. 186. OVERCAST EYELET HOLES." title="" />
+<a name="fig_186" id="fig_186"></a><span class="caption smcap">Fig. 186. Overcast eyelet holes.</span></div>
+
+<p>When you have a long row of eyelet holes to make, outline
+the upper and lower halves alternately, first on one side and
+then on the other, using two threads, and then overcast them
+in the same way. The double crossing of the working threads
+between the eyelet holes makes them much stronger, than if
+each hole were finished off separately, and the thread passed
+underneath from one to
+the other.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/193.jpg"  alt="FIG. 187. BUTTON-HOLED SHADED EYELET HOLES." title="" />
+<a name="fig_187" id="fig_187"></a><span class="caption smcap">Fig. 187. Button-holed shaded eyelet holes.</span></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/194.jpg"  alt="FIG. 188. SHADED EYELET HOLES HALF OVERCAST, HALF BUTTON-HOLED." title="" />
+<a name="fig_188" id="fig_188"></a><span class="caption smcap">Fig. 188. Shaded eyelet holes half overcast, half button-holed.</span></div>
+
+<p>The lower halves of
+shaded eyelet holes, (see
+figs. <a href="#fig_187">187</a> and <a href="#fig_188">188</a>), are
+worked with very short
+stitches, and the upper
+halves with long ones; they
+may be edged entirely, either with button-holing or overcasting,
+or half with one and half with the other.</p>
+
+<p><b>Six leaves in raised satin stitch</b> (fig. <a href="#fig_189">189</a>).&mdash;Raised satin
+stitch is chiefly used for working flowers, leaves, petals, dots,
+<a name="Page_81" id="Page_81"></a>initials and monograms. After tracing the outline of the design,
+fill in the centres with a padding of long, close stitches
+for which you can again take Coton &agrave; repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a>
+and then, beginning always at the point of the leaf, see letter A,
+cover it with flat, perfectly even stitches, worked from right-to-left.
+B illustrates a leaf, divided through the middle by a line of
+overcasting; C, one with a corded vein; D, a divided leaf
+worked in sloping satin stitch; E, a leaf, with a corded vein
+and framed in sloping satin stitch; F, a leaf worked half in
+satin stitch, half in back-stitch and straight stem stitch.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/195.jpg"  alt="FIG. 189. SIX LEAVES IN RAISED SATIN STITCH." title="" />
+<a name="fig_189" id="fig_189"></a><span class="caption smcap">Fig. 189. Six leaves in raised satin stitch.</span></div>
+
+<p>Leaves and flowers of all descriptions, can be executed in
+any of these stitches, and in different combinations of the same.</p>
+
+<p><b><a name="Six_ways_of_making_dots" id="Six_ways_of_making_dots"></a>Six ways of making dots</b> (fig. <a href="#fig_190">190</a>).&mdash;Dots, when they
+are well made, are exceedingly effective in white embroidery,
+particularly if they are worked in a variety of stitches.
+Dot A is worked in raised satin stitch; B, in raised satin
+stitch, framed in back stitch; C, in raised satin stitch, framed
+in twisted knot stitch; D is composed of several post stitches
+of different lengths, set in a frame of stem stitches; E is wor<a name="Page_82" id="Page_82"></a>ked
+in back-stitch, and F consists of a small eyelet hole, with
+a corded setting, which forms the centre.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/196.jpg"  alt="FIG. 190. SIX WAYS OF MAKING DOTS." title="" />
+<a name="fig_190" id="fig_190"></a><span class="caption smcap">Fig. 190. Six ways of making dots.</span></div>
+
+<p><b><a name="Venetian_embroidery" id="Venetian_embroidery"></a>Venetian embroidery</b> (fig. <a href="#fig_191">191</a>).&mdash;Scallops, worked in
+very high relief, called Venetian embroidery, are an imitation
+on stuff of Venetian lace.</p>
+
+<p>Real Venetian point is entirely needle-made; in the embroidered
+imitations of it, the stuff takes the place of the
+needle-made lace foundation. To make it more like the original
+however, the ground is seldom left plain, but is covered with
+fancy stitches, such as are represented in the illustration, or
+with one or other of the damask stitches in figs. <a href="chapter_4.html#fig_146">146</a> to <a href="chapter_4.html#fig_170">170</a>.
+The button-hole bars may be made with or without picots.
+A full description of the latter will be found in the chapters
+on <a href="./chapter_4.html">net embroidery</a>, and <a href="./chapter_13.html">Irish lace</a>. The space to be buttonholed,
+must be well padded, for thereon depends the roundness
+of the embroidery. For this purpose take 6 or 8 threads of
+Coton &agrave; repriser D.M.C No. 25,<a href="#Footnote_A" class="fnanchor">[A]</a> and fasten them down on to
+the pattern with loose stitches, laying on extra threads, and
+cutting them gradually away, according to the width the line
+<a name="Page_83" id="Page_83"></a><a name="Page_84" id="Page_84"></a>is to be. The stuff underneath the bars should only be cut
+away when the embroidery is quite finished.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/197.jpg"  alt="FIG. 191. VENETIAN EMBROIDERY." title="" />
+<a name="fig_191" id="fig_191"></a><span class="caption smcap">Fig. 191. Venetian embroidery.</span></div>
+
+<p><a name="patterns" id="patterns"></a><b>Renaissance embroidery</b> (figs. <a href="#fig_192">192</a> and <a href="#fig_193">193</a>).&mdash;This is the
+term applied, more especially in France, to embroidery
+patterns, which are worked entirely in button-holing, and
+connected by button-hole bars without picots, as shewn in the
+two accompanying figures. The outside edge in fig. <a href="#fig_193">193</a>, is embellished
+with picots, described in the chapters just referred to.</p><p><a name="Page_85" id="Page_85"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/198.jpg"  alt="FIG. 192. RENAISSANCE EMBROIDERY." title="" />
+<a name="fig_192" id="fig_192"></a><span class="caption smcap">Fig. 192. Renaissance embroidery.</span></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/199.jpg"  alt="FIG. 193. RENAISSANCE EMBROIDERY." title="" />
+<a name="fig_193" id="fig_193"></a><span class="caption smcap">Fig. 193. Renaissance embroidery.</span></div>
+
+<p><b>Richelieu embroidery</b> (fig. <a href="#fig_194">194</a>).&mdash;The name given to
+embroidery of a similar kind to the former, but in which the
+connecting bars, instead of being left plain as they are in the
+Renaissance embroidery, are ornamented with picots.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/200.jpg"  alt="FIG. 194. RICHELIEU EMBROIDERY." title="" />
+<a name="fig_194" id="fig_194"></a><span class="caption smcap">Fig. 194. Richelieu embroidery.</span></div>
+
+<p><b>Madeira work</b> (figs. <a href="#fig_195">195</a>, <a href="#fig_196">196</a>, <a href="#fig_197">197</a>).&mdash;This kind of embroidery,
+which consists chiefly of eyelet holes, and is distin<a name="Page_86" id="Page_86"></a>guished
+for the excellence of its workmanship used to be
+known as English, but is now generally called Madeira work,
+from the island where it originated. The scallops in figs. <a href="#fig_195">195</a>
+and <a href="#fig_197">197</a>, are bordered with shaded eyelet holes, worked half
+in button-hole stitch, half in overcasting; the finely scalloped
+edge, in fig. <a href="#fig_196">196</a>, is entirely button-holed. In working eyelet
+holes, the material must always be turned in, up to the
+inside line, and completely worked in, underneath the
+in order that no loose threads may be visible on the wrong side.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/201.jpg"  alt="FIG. 195. MADEIRA WORK." title="" />
+<a name="fig_195" id="fig_195"></a><span class="caption smcap">Fig. 195. Madeira work.</span></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/202.jpg"  alt="FIG. 196. MADEIRA WORK." title="" />
+<a name="fig_196" id="fig_196"></a><span class="caption"><span class="smcap">Fig. 196. Madeira work.<br />
+Materials:</span> Coton Madeira D.M.C No. 40, 50 or 60. (Special cotton
+for Madeira work)<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/203.jpg"  alt="FIG. 197. MADEIRA-WORK." title="" />
+<a name="fig_197" id="fig_197"></a><span class="caption"><span class="smcap">Fig. 197. Madeira-work.<br />
+Materials:</span> Coton Madeira D.M.C No. 40, 50 or 60. (Special cotton for
+Madeira-work).</span>
+</div>
+
+<p><b>Swiss embroidery frame</b> (fig. <a href="#fig_198">198</a>).&mdash;Letters, monograms,
+coronets and the like, require extreme care in the
+working, and can only be really well done in a frame. The
+round Swiss frame, or tambour frame, is the one most
+commonly used. It consists of two wooden hoops, fitting
+loosely into each other; the inner one, fastened to a support
+with a wooden screw let into the lower part of it, with which
+to fasten the frame to the table. The outside hoop is loose.</p>
+
+<p>Place the fabric to be embroidered over the smaller hoop,
+the pattern in the middle, and press the other down over it so
+that it is tightly stretched and fixed between the two hoops.</p>
+
+<p>A leathern strap with holes and a buckle, sometimes takes
+the place of the second hoop.</p>
+
+<p><a name="Page_87" id="Page_87"></a></p><div class="figcenter" style="width: 400px;">
+<img src="images/204.jpg"  alt="FIG. 198. SWISS EMBROIDERY FRAME." title="" />
+<a name="fig_198" id="fig_198"></a><span class="caption smcap">Fig. 198. Swiss embroidery frame.</span></div>
+
+<p><b>Ordinary embroidery frame</b> (fig. <a href="#fig_199">199</a>).&mdash;Tambour frames
+can only be used for embroidering pocket-handkerchiefs
+and other small articles; all larger work has to be done in
+an ordinary frame. Sew a piece of strong stuff into the
+frame, stretch it as tightly and evenly as possible, and cut
+out a square in the middle to the size of the pattern. Then
+tack your work in underneath, straight to the thread, dividing
+it out carefully with pins first, to ensure its being set in
+perfectly evenly. Roll or fold up the rest of the stuff over the
+<a name="Page_88" id="Page_88"></a><a name="Page_89" id="Page_89"></a><a name="Page_90" id="Page_90"></a><a name="Page_91" id="Page_91"></a><a name="Page_92" id="Page_92"></a><a name="Page_93" id="Page_93"></a>edges of the frame, and secure it with a few stitches or pins,
+to keep it out of the way of your hand as you work.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/205.jpg"  alt="FIG. 199. ORDINARY EMBROIDERY FRAME." title="" />
+<a name="fig_199" id="fig_199"></a><span class="caption smcap">Fig. 199. Ordinary embroidery frame.</span></div>
+
+<p><b>Alphabets for monograms</b> (figs. <a href="#fig_200">200</a> to <a href="#fig_205">205</a>).&mdash;On account
+of the difficulty of devising a good monogram for marking under-linen,
+we subjoin two alphabets, by the aid of which our
+workers will be able to compose their own.</p>
+
+<p>The letters are of a good medium size, which can be magnified
+or reduced according to the worker's own taste.</p>
+
+<p>For any such modifications, we would again draw our
+reader's attention to the directions given in the concluding
+chapter. The three first plates represent large wide letters,
+intended to contain or encompass the more elongated ones,
+represented in the fourth and fifth plates, figs. <a href="#fig_203">203</a> and <a href="#fig_204">204</a>.</p>
+
+<p>The interlacing of the letters requires to be carefully done,
+and our workers should study the following specimens, so
+as to learn the stitches also, which are most suitable for this
+branch of embroidery.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/206.jpg"  alt="FIG. 200. ALPHABETS FOR MONOGRAMS. Outside letters A to H." title="" />
+<a name="fig_200" id="fig_200"></a><span class="caption smcap">Fig. 200. Alphabets for monograms. Outside letters A to H.</span></div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/207.jpg"  alt="FIG. 201. ALPHABETS FOR MONOGRAMS. Outside letters J to Q." title="" />
+<a name="fig_201" id="fig_201"></a><span class="caption smcap">Fig. 201. Alphabets for monograms. Outside letters J to Q.</span></div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/208.jpg"  alt="FIG. 202. ALPHABETS FOR MONOGRAMS. Outside letters R to Y." title="" />
+<a name="fig_202" id="fig_202"></a><span class="caption smcap">Fig. 202. Alphabets for monograms. Outside letters R to Y.</span></div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/209.jpg"  alt="FIG. 203. ALPHABETS FOR MONOGRAMS. Inside letters A to L." title="" />
+<a name="fig_203" id="fig_203"></a><span class="caption smcap">Fig. 203. Alphabets for monograms. Inside letters A to L.</span></div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/210.jpg"  alt="FIG. 204. ALPHABETS FOR MONOGRAMS. Inside letters M to X." title="" />
+<a name="fig_204" id="fig_204"></a><span class="caption smcap">Fig. 204. Alphabets for monograms. Inside letters M to X.</span></div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/211.jpg"  alt="FIG. 205. ALPHABETS FOR MONOGRAMS. Last inside and outside letters." title="" />
+<a name="fig_205" id="fig_205"></a><span class="caption smcap">Fig. 205. Alphabets for monograms. Last inside and outside letters.</span></div>
+
+<p><b>Monogram composed of letters A and D</b> (fig. <a href="#fig_206">206</a>).&mdash;Here,
+letter A is worked in flat satin stitch, in Bleu-Indigo 312,
+and set in stem stitch, worked in Rouge-Turc 321. D as a contrast
+to A, is embroidered in transverse bars, the left part in
+pale blue and white, the right in pale blue and dark blue. The
+<a name="Page_94" id="Page_94"></a>little ornaments may be worked according to fancy, either in
+white, or in one of the given colours.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/212.jpg"  alt="FIG. 206. MONOGRAM COMPOSED OF LETTERS A AND
+D DRAWN FROM THE ALPHABETS OF
+MONOGRAMS." title="" />
+<a name="fig_206" id="fig_206"></a><span class="caption"><span class="smcap">Fig. 206. Monogram composed of letters A and
+D drawn from the alphabets of
+monograms.<br />
+Materials:</span> Coton &agrave; broder D.M.C
+Nos. 100 to 150.<br />
+<span class="smcap">Colours:</span> Bleu-Indigo 334, Rouge-Turc
+321 and white.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+<p><a name="Page_95" id="Page_95"></a></p>
+<p><b>Monogram composed of letters V and S</b> (fig. <a href="#fig_207">207</a>).&mdash;The
+flat satin stitch in both letters is worked in white; the
+setting, is in red, in short stem stitch, or if preferred, in
+knotted back stitch.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/213.jpg"  alt="FIG. 207.
+MONOGRAM COMPOSED OF LETTERS V AND
+S DRAWN FROM THE ALPHABETS OF
+MONOGRAMS." title="" />
+<a name="fig_207" id="fig_207"></a><span class="caption"><span class="smcap">Fig. 207.
+Monogram composed of letters V and
+S drawn from the alphabets of
+monograms.<br />
+Materials:</span> Coton &agrave; broder D.M.C
+No. 120.<br />
+<span class="smcap">Colours:</span> White and Rouge-Cardinal
+305.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Monogram composed of letters R and C</b> (fig. <a href="#fig_208">208</a>).&mdash;These
+are worked in black and grey, for mourning; the
+way C is divided, admits of a variety in the stitch; for instance,
+the back-stitches, in the illustration, may be replaced
+by very small eyelet holes.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/214.jpg"  alt="FIG. 208.
+MONOGRAM COMPOSED OF LETTERS R AND
+C DRAWN FROM THE ALPHABETS OF
+MONOGRAMS." title="" />
+<a name="fig_208" id="fig_208"></a><span class="caption"><span class="smcap">Fig. 208.
+Monogram composed of letters R and
+C drawn from the alphabets of
+monograms.<br />
+Materials:</span> Fil &agrave; dentelle D.M.C
+No. 150.<br />
+<span class="smcap">Colours:</span> Gris-Cendre 318 and Noir
+grand Teint 310.</span>
+</div>
+
+<p><b>Monogram composed of letters G and E</b> (fig. <a href="#fig_209">209</a>).&mdash;The
+flat satin stitching and back-stitching in E, and the stem-stitched
+edges of G are worked in white Coton &agrave; broder
+D.M.C; the inside of G in ivory white Coton surfin D.M.C.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/215.jpg"  alt="FIG. 209.
+MONOGRAM COMPOSED OF LETTERS G AND
+E DRAWN FROM THE ALPHABETS OF
+MONOGRAMS.
+MATERIALS: Coton &agrave; broder D.M.C
+No. 120 white
+and Coton surfin D.M.C No. 120,
+unbleached." title="" />
+<a name="fig_209" id="fig_209"></a><span class="caption"><span class="smcap">Fig. 209.
+Monogram composed of letters G and
+E drawn from the alphabets of
+monograms.
+Materials:</span> Coton &agrave; broder D.M.C
+No. 120 white
+and Coton surfin D.M.C No. 120,
+unbleached.</span>
+</div>
+
+<p><b>Border in Gobelin stitch</b> (fig. <a href="#fig_210">210</a>).&mdash;Gobelin embroidery
+is merely raised satin stitch, worked directly upon the pattern,
+without any foundation, or padding. The effectiveness of this
+kind of embroidery, which appears so complicated and is
+really so easy, and the many ways in which it can be utilised,
+soon brought it into favour. It can be worked on the article
+itself, or on stripes, laid on afterwards, with a hem-stitch
+bordering. The original of fig. <a href="#fig_210">210</a> was in blue and red; Bleu<a name="Page_96" id="Page_96"></a>
+Indigo 312 for the grounding, Rouge-Turc 321, for the setting
+in stem-stitch. The herringboning along the edges of the
+pattern, top and bottom, is also in red.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/216.jpg"  alt="FIG. 210. BORDER IN GOBELIN STITCH.
+MATERIALS: Coton &agrave; broder D.M.C No. 35 in two different colours such as:
+Bleu-Indigo 312 and Rouge-Cardinal 304, Rouge-Grenat 358 and 309 or,
+Gris-Tilleul 393 and Rouge-Cardinal 305.[A" title="" />
+<a name="fig_210" id="fig_210"></a><span class="caption"><span class="smcap">Fig. 210. Border in gobelin stitch.<br />
+Materials:</span> Coton &agrave; broder D.M.C No. 35 in two different colours such as:
+Bleu-Indigo 312 and Rouge-Cardinal 304, Rouge-Grenat 358 and 309 or,
+Gris-Tilleul 393 and Rouge-Cardinal 305.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Should a different selection of colours be made, it is im<a name="Page_97" id="Page_97"></a>portant
+to remember that in all cases a sharp contrast is
+desirable.</p>
+
+<p><b>Alphabet and numerals, left blank, and outlined by
+the grounding, worked in Gobelin stitch</b> (figs. <a href="#fig_211">211</a> to <a href="#fig_215">215</a>).</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/217.jpg"  alt="FIG. 211. ALPHABET LEFT BLANK AND OUTLINED BY THE GROUNDING. Letters A to N." title="" />
+<a name="fig_211" id="fig_211"></a><span class="caption smcap">Fig. 211. Alphabet left blank and outlined by the grounding. Letters A to N.</span></div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/218.jpg"  alt="FIG. 212. ALPHABET LEFT BLANK AND OUTLINED BY THE GROUNDING. Letters O to Z." title="" />
+<a name="fig_212" id="fig_212"></a><span class="caption smcap">Fig. 212. Alphabet left blank and outlined by the grounding. Letters O to Z.</span></div>
+
+<p><a name="Page_98" id="Page_98"></a></p><div class="figcenter" style="width: 200px;">
+<img src="images/219.jpg"  alt="FIG. 213. LETTER O, FROM THE ALPHABET
+GIVEN IN FIGS. 211 AND 212." title="" />
+<a name="fig_213" id="fig_213"></a><span class="caption smcap">Fig. 213. Letter O, from the alphabet
+given in figs. <a href="#fig_211">211</a> and <a href="#fig_212">212</a>.</span>
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/220.jpg"  alt="FIG. 214. NUMERALS LEFT BLANK AND OUTLINED BY THE GROUNDING." title="" />
+<a name="fig_214" id="fig_214"></a><span class="caption smcap">Fig. 214. Numerals left blank and outlined by the grounding.</span></div>
+
+<p>The border worked in Gobelin
+stitch, illustrated in
+fig. <a href="#fig_210">210</a>, suggested to us the
+idea of an alphabet and
+numerals, to be executed
+in a similar style, left blank,
+that is to say, and outlined
+by a grounding in Gobelin
+stitch, which are better suited
+to embroideries of the
+kind than those generally
+used. Our limited space prevents
+us from giving all the
+letters in the diagonal position
+they are intended to
+occupy on the article itself.
+O and W only, are represented
+in the right position.
+No difficulty will be found
+in copying the other letters,
+in giving them the proper
+direction.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/221.jpg"  alt="FIG. 215. LETTER W, FROM THE ALPHABET
+GIVEN IN FIG. 211 AND 212." title="" />
+<a name="fig_215" id="fig_215"></a><span class="caption smcap">Fig. 215. Letter W, from the alphabet
+given in fig. <a href="#fig_211">211</a> and <a href="#fig_212">212</a>.</span>
+</div>
+
+<p>In order to economize
+room, J and H are represented
+in one square, but they
+are easily distinguishable
+from each other.</p>
+
+<p>Fig. <a href="#fig_214">214</a> represents the
+numerals, executed in the
+<a name="Page_99" id="Page_99"></a><a name="Page_100" id="Page_100"></a><a name="Page_101" id="Page_101"></a>same way. We should like to draw our readers attention to
+a few other ways in which letters and numerals may be
+outlined by the back-ground; for example, the solid parts
+can be worked either in plain or twisted knot stitch (figs. <a href="#fig_177">177</a>
+and <a href="#fig_178">178</a>); in very fine chain stitch; in old German knot or bead
+stitch (fig. <a href="./chapter_15.html#fig_873">873</a>), or even in piqu&eacute; embroidery (fig. <a href="./chapter_15.html#fig_877">877</a>).</p>
+
+<p><b>Border outlined by grounding, worked in Gobelin and
+stem stitch</b> (fig. <a href="#fig_216">216</a>). The grounding of this
+pattern is worked on stiff white linen, and entirely in Rouge-Turc
+321, and the outlining in Noir grand Teint 310. The same
+<a name="Page_102" id="Page_102"></a>pattern can equally well be worked on gauzes and other transparent
+stuffs, but with Coton &agrave; repriser, instead of Coton &agrave;
+broder D.M.C, for the solid parts. Two shades of Rouge-Grenat,
+one dark and one very light, may be taken instead, or two of
+Jaune-Rouille, or of Violet-Mauve, employing always the lighter
+shade for the grounding and the darker for the setting.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/222.jpg"  alt="FIG. 216. BORDER, OUTLINED BY THE GROUNDING WORKED IN GOBELIN
+AND STEM STITCH. First part." title="" />
+<a name="fig_216" id="fig_216"></a><span class="caption"><span class="smcap">Fig. 216. Border, outlined by the grounding worked in gobelin
+and stem stitch.</span><br /> First part.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/223.jpg"  alt="FIG. 216. Second part." title="" />
+<span class="caption"><span class="smcap">Fig. 216.</span> Second part.<br />
+<span class="smcap">Materials:</span> Coton &agrave; broder D.M.C No. 50.&mdash;<span class="smcap">Colours:</span> Rouge-Turc 321 and Noir
+grand Teint 310.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Be careful, in the grounding, not to make the red stitches
+near the edge, longer than they are represented in the illustration
+and to set the black stem stitches as close as possible to
+the grounding.</p>
+
+<p>The pattern, which could only be reproduced in the original
+size, had to be divided in two, to fit the page. In copying
+it, join the A and B of the first part to the A and B of the
+second; the same in fig. <a href="#fig_217">217</a>, each time the pattern is repeated,
+the flowers are to droop from the + as seen from the position
+of the buds in the first part, at the beginning of the
+drawing.</p>
+
+<p><b>Flower garland in different kinds of stitches</b> (figs. <a href="#fig_217">217</a>
+and <a href="#fig_218">218</a>).&mdash;Most of the stitches, described at the beginning of
+this chapter, will be found in this graceful garland, in the execution
+of which a considerable variety of colours can be introduced.
+The rose-buds may be worked in two shades of Vert-Pistache
+and of Rouge-Grenat, in the stitches described in
+figs. <a href="#fig_173">173</a>, <a href="#fig_177">177</a>, <a href="#fig_189">189</a> A; the forget-me-nots, in two or even
+three shades of Bleu-Indigo, in raised satin stitch and knotted
+stitch; the slender green leaves in Vert-de-gris, or Gris-Tilleul,
+the stamens in Jaune-Citron, and the stalks of the roses in
+Brun-Acajou.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/224.jpg"  alt="FIG. 217. FLOWER-GARLAND IN DIFFERENT KINDS OF STITCHES. First part." title="" />
+<a name="fig_217" id="fig_217"></a><span class="caption"><span class="smcap">Fig. 217. Flower-garland in different kinds of stitches.</span><br />First part.</span></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/225.jpg"  alt="FIG. 217. Second part." title="" />
+<span class="caption"><span class="smcap">Fig. 217.</span> Second part.<br />
+<span class="smcap">Materials:</span> Coton &agrave; broder D.M.C No. 40.<br />
+<span class="smcap">Colours:</span> Rouge-Grenat 326 and 335, Bleu-Indigo 312 and 334, Vert-Pistache
+319 and 320, Vert-de-gris 474 and 475, Brun-Acajou 301, Jaune-citron 446.</span>
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/226.jpg"  alt="FIG. 218. SHOWING THE WORKING OF THE OUTSIDE
+STITCHES IN FIG. 217." title="" />
+<a name="fig_218" id="fig_218"></a><span class="caption smcap">Fig. 218. Showing the working of the outside
+stitches in fig. <a href="#fig_217">217</a>.</span>
+</div>
+
+<p>The border that completes this charming pattern, consists
+of four rows of button holing, worked in four colours. The
+first row in our illustration is worked in pale pink, followed
+by three shades of green, the palest of which is used for the
+second row of stitches.</p>
+
+<p>When these rows are worked upon a satine or cambric foundation,
+it is advisable to begin by making a small drawing, in
+which the height of the stitches and the distance between them
+is accurately marked out, then prick the pattern through and
+pounce it upon the material beneath.</p><p><a name="Page_103" id="Page_103"></a></p>
+
+<p>When they are worked on a material, the threads of which
+can be counted no such precaution is necessary.</p>
+
+<p><b>Insertion in Gobelin and stem stitch</b> (fig. <a href="#fig_219">219</a>).&mdash;Owing
+to the shortness of the stitches, this pattern is easier to work
+than the foregoing ones. The little flowers are embroidered
+alternately in dark and light red; the setting varies to correspond,
+the light red flower being set in dark red, and vice versa.
+The interior of the leaves is in light green and the setting,
+as well as the connecting bars, in dark green.</p><p><a name="Page_104" id="Page_104"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/227.jpg"  alt="FIG. 219. INSERTION IN GOBELIN AND STEM STITCH." title="" />
+<a name="fig_219" id="fig_219"></a><span class="caption"><span class="smcap">Fig. 219. Insertion in gobelin and stem stitch.<br />
+Materials:</span> Coton &agrave; broder D.M.C No. 35&mdash;<span class="smcap">Colours:</span> Rouge-Cardinal 347 and
+Rouge-G&eacute;ranium 352 with Gris-Tilleul 392 and 331, or Bleu-Indigo 312 and
+334 with Vert-Mousse 469 and 471, or Violet-Mauve 375 and 376 with
+Jaune-Rouille 364 365.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Stripes of embroidery with lace insertion between</b> (fig. <a href="#fig_220">220</a>).&mdash;We conclude this chapter, by showing how stripes of
+embroidery can be used alone, or in conjunction, either with
+bands of open-work, or lace, crochet, or net insertion. Such
+combinations are useful for ornamenting aprons, table-cloths,
+curtains etc., every description in short of household linen
+and of children's garments. One great advantage, moreover,
+which stripes of this kind, have over larger pieces of embroidery
+is that they require neither frame nor pillow, nor wearisome
+counting of stitches, but can be worked in the hand, at
+all times and places.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/228.jpg"  alt="FIG. 220. STRIPES OF EMBROIDERY WITH INSERTION BETWEEN." title="" />
+<a name="fig_220" id="fig_220"></a><span class="caption smcap">Fig. 220. Stripes of embroidery with insertion between.</span></div>
+
+
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_6.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+
+</body>
+</html>
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+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
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+<p><a name="Page_105" id="Page_105"></a></p>
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/229.jpg"  alt="STRIPE OF GOLD EMBROIDERY IN GOLD THREAD, PURL, AND FLATTENED GOLD WIRE." title="" />
+<span class="caption smcap">Stripe of gold embroidery in gold thread, purl, and flattened gold wire.</span>
+</div>
+
+<hr style="width: 65%;" />
+<h2><a name="Flat_stitch_and_Gold_embroidery" id="Flat_stitch_and_Gold_embroidery"></a>Flat stitch and Gold embroidery.</h2>
+
+
+<p>The terms, flat stitch and gold embroidery, suggest as a
+rule, needle-work upon rich materials, such as velvet, brocade,
+plush and the like.</p>
+
+<p>Nevertheless, a great deal of beautiful embroidery is to be
+met with, in silk and gold thread upon quite common stuffs;
+Persian and Moorish embroidery for instance, both remarkable
+for their delicacy and minuteness, and executed upon ordinary
+linen, or cotton fabrics.</p>
+
+<p>As a fact, the material is quite a secondary matter; almost
+any will do equally well as a foundation, for the stitches
+described in these pages. Flat stitch, and some of the other
+stitches used in gold embroidery, can be worked with any kind
+of thread, but best of all with the D.M.C cottons.</p>
+
+<p><b>Flat stitch embroidery</b>.&mdash;Decorative designs, and conventional
+flowers, are the most suitable for flat stitch
+embroidery; a faithful representation of natural flowers should
+not be attempted, unless it be so well executed, as to produce
+the effect of a painting and thus possess real artistic merit.</p>
+
+<p><b><a name="Encroaching_flat_stitch" id="Encroaching_flat_stitch"></a>Encroaching flat stitch</b> (fig. <a href="#fig_221">221</a>).&mdash;Small delicate flowers,
+leaves, and arabesques, should in preference, be worked either
+in straight flat stitch (figs. <a href="./chapter_5.html#fig_189">189</a> and <a href="./chapter_5.html#fig_190">190</a>) or in encroaching flat
+stitch. The stitches should all be of equal length, the length
+<a name="Page_106" id="Page_106"></a>to be determined by the quality of the thread; a fine thread
+necessitating short, and a coarse one, long stitches. The
+stitches should run, one into the other, as shown in the illustration.
+They are worked in
+rows, those of the second
+row encroaching on those of
+the first, and fitting into
+one another.</p>
+
+<div class="figcenter" style="width: 200px;">
+<a name="fig_221" id="fig_221"></a>
+<img src="images/230.jpg"  alt="FIG. 221.
+ENCROACHING SATIN STITCH." title="" />
+<span class="caption smcap">Fig. 221.
+Encroaching satin stitch.</span>
+</div>
+
+<p>Work your flowers and
+leaves from the point, never
+from the calyx or stalk. If
+they are to be shaded, begin
+by choosing the right shade
+for the outside edge, varying
+the depth according to the
+light in which the object is supposed to be placed. The stitches
+should always follow the direction of the drawing.</p>
+
+<p><b><a name="Oriental_stitch" id="Oriental_stitch"></a>Oriental stitch</b> (figs. <a href="#fig_222">222</a>, <a href="#fig_223">223</a>, <a href="#fig_224">224</a>).&mdash;The three following
+stitches, which we have grouped under one heading, are known
+also, under the name of Renaissance or Arabic stitches. We
+have used the term Oriental, because they are to be met with
+in almost all Oriental needlework and probably derive their
+origin from Asia, whose inhabitants have, at all times, been
+renowned for the beauty of their embroideries.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/231.jpg"  alt="FIG. 222. ORIENTAL STITCH." title="" />
+<a name="fig_222" id="fig_222"></a><span class="caption smcap">Fig. 222. Oriental stitch.</span>
+</div>
+
+<p>These kind of stitches are only suitable for large, bold
+designs. Draw in the vertical threads first; in working with a
+<a name="Page_107" id="Page_107"></a>soft, silky material, to economise thread, and prevent the embroidery
+from becoming too heavy, you can begin your second
+stitch close to where the first ended.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/232.jpg"  alt="FIG. 223. ORIENTAL STITCH." title="" />
+<a name="fig_223" id="fig_223"></a><span class="caption smcap">Fig. 223. Oriental stitch.</span>
+</div>
+
+<p>But if the thread be one that is liable to twist, take it back
+underneath the stuff and begin your next stitch in a line
+with the first, so that all the stitches of the first layer, which
+form the grounding, are carried from the top to the bottom.
+The same directions apply to figs. <a href="#fig_223">223</a>, <a href="#fig_224">224</a> and <a href="#fig_226">226</a>.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/233.jpg"  alt="FIG. 224. ORIENTAL STITCH." title="" />
+<a name="fig_224" id="fig_224"></a><span class="caption smcap">Fig. 224. Oriental stitch.</span>
+</div>
+
+<p>When you have laid your vertical
+threads, stretch threads
+horizontally across, and fasten
+them down with isolated stitches,
+set six vertical threads apart.
+The position of these fastening
+stitches on the transverse threads
+must alternate in each row, as
+indicated in fig. <a href="#fig_222">222</a>.</p>
+
+<p>For fig. <a href="#fig_223">223</a>, make a similar
+grounding to the one above described,
+laying the horizontal threads a little closer together,
+and making the fastening stitches over two threads.</p>
+
+<p>In fig. <a href="#fig_224">224</a>, the second threads are carried diagonally across
+the foundation-threads, and the fastening stitches are given a
+similar direction.</p>
+
+<p>For these stitches, use either one material only, a fleecy
+thread like Coton &agrave; repriser D.M.C for instance, or else two,
+<a name="Page_108" id="Page_108"></a>such as Coton &agrave; repriser D.M.C for
+the grounding, and a material with a
+strong twist like Cordonnet 6 fils
+D.M.C or Fil &agrave; pointer D.M.C for
+the stem stitch.</p>
+
+<p><b><a name="Plaited_stitch" id="Plaited_stitch"></a>Plaited stitch</b> (fig. <a href="#fig_225">225</a>).&mdash;When
+the vertical stitches are laid, a kind
+of plait is formed in the following
+way. Pass the thread three times,
+alternately under and over three foundation
+threads. To do this very
+accurately, you must take the thread
+back, underneath, to its starting-point;
+and consequently, always make your
+stitch from right to left.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/234.jpg"  alt="FIG. 225. PLAITED STITCH." title="" />
+<a name="fig_225" id="fig_225"></a><span class="caption smcap">Fig. 225. Plaited stitch.</span>
+</div>
+
+<p>If you have chosen a washing
+material, and D.M.C cottons to work
+with, use one colour of cotton for the
+foundation, and Chin&eacute; d'or D.M.C
+No. 30, for the plaited stitch.</p>
+
+<p><b>Mosaic stitch</b> (fig. <a href="#fig_226">226</a>).&mdash;In old
+embroideries we often find this stitch,
+employed as a substitute for plush or
+other costly stuffs, appliqu&eacute;d on to
+the foundation. It is executed in the
+same manner as the four preceding
+stitches, but can only be done in thick
+twist, such as Cordonnet 6 fils D.M.C
+or Ganse turque D.M.C.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/235.jpg"  alt="FIG. 226. MOSAIC STITCH." title="" />
+<a name="fig_226" id="fig_226"></a><span class="caption smcap">Fig. 226. Mosaic stitch.</span>
+</div>
+
+<p>Each stitch should be made separately,
+and must pass underneath
+the foundation, so that the threads
+which form the pattern are not flat,
+as they are in the preceding examples,
+but slightly rounded.</p>
+<p><a name="Page_109" id="Page_109"></a></p>
+<p><b>Border in <a name="Persian_stitch" id="Persian_stitch"></a>Persian stitch</b> (fig. <a href="#fig_227">227</a>).&mdash;This stitch, of
+Persian origin, resembles the one represented in fig. <a href="./chapter_5.html#fig_175">175</a>.
+Instead of bringing the needle out, however, as indicated in
+fig. <a href="./chapter_5.html#fig_176">176</a>, take it back as you see in the illustration, to the
+space between the outlines of the drawing, and behind the
+thread that forms the next stitch. Before filling in the pattern,
+outline it with short stem stitches, or a fine cord, laid on,
+and secured with invisible stitches.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/236.jpg"  alt="FIG. 227. BORDER IN PERSIAN STITCH" title="" />
+<a name="fig_227" id="fig_227"></a><span class="caption"><span class="smcap">Fig. 227. Border in persian stitch.<br />
+Materials:</span> Cordonnet 6 fils D.M.C No. 14, 15, 20 or 25.<br />
+<span class="smcap">Colours:</span> Noir grand Teint 310, Vert-Mousse 469 and 471, Rouge-Cardinal 346,
+Jaune-vieil-Or 680, Violet-Mauve 315 and 316.</span>
+</div>
+
+<p>This graceful design which can be utilised in various ways
+is formed of leaves of 7 lobes, worked alternately in dark and
+light green; of flowers of 3 petals, worked in red and the
+centres in yellow, and of small leaves in violet. The setting,
+throughout, is worked either in black or in dark brown.</p>
+
+<p><b>Stripe worked in flat stitch</b> (fig. <a href="#fig_228">228</a>).&mdash;This pattern,
+simple as it is, will be found both useful and effective for the
+trimming of all kinds of articles of dress. The bottom edge
+should be finished off with rounded scallops or toothed vandykes
+worked in button-hole stitch. The flowers in flat stitch,
+<a name="Page_110" id="Page_110"></a>are worked alternately, in Rouge-G&eacute;ranium 351 and 352, and
+the leaves alternately, in Vert-de-gris 474 and 475; the centres
+of the flowers are worked in knot stitch, in Jaune-Rouille 308.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/237.jpg"  alt="FIG. 228. STRIPE WORKED IN FLAT STITCH." title="" />
+<a name="fig_228" id="fig_228"></a><span class="caption"><span class="smcap">Fig. 228. Stripe worked in flat stitch.<br />
+Materials</span>&mdash;According to the stuff: Fil &agrave; dentelle D.M.C, Cordonnet 6 fils
+D.M.C or Coton &agrave; repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>&mdash;For the flowers: Rouge-G&eacute;ranium 351 and 352.&mdash;For the knot stitch:
+Jaune-Rouille 308.&mdash;For the foliage: Vert-de-gris 474 and 475.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Bouquet in <a name="straight_and_encroaching_flat_stitch" id="straight_and_encroaching_flat_stitch"></a>straight and encroaching flat stitch</b> (fig. <a href="#fig_229">229</a>).
+As we have already observed, it is by no means easy to
+arrange the colours in an embroidery of this kind, so as to
+obtain a really artistic effect. Whether the design be a conventional
+one or not, the great point is to put in the lights and
+shadows at the right place. If you want to make a faithful
+copy of a natural flower, take the flower itself, or a coloured
+botanical drawing of it, and if possible, a good black and white
+drawing of the same, match the colours in 6 or 7 shades, by the
+<a name="Page_111" id="Page_111"></a>flower itself, keeping them all rather paler in tone, and take
+the black and white drawing as a guide for the lights and
+shadows. The colours for the leaves and petals, which should
+always be worked from the outside, should be chosen with
+a view to their blending well together. The stamens and
+the centres of the flowers should be left to the last, but the
+veins and ribs of the leaves, should always be put in before
+the grounding.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/238.jpg"  alt="FIG. 229. BOUQUET IN STRAIGHT AND ENCROACHING FLAT STITCH" title="" />
+<a name="fig_229" id="fig_229"></a><span class="caption"><span class="smcap">Fig. 229. Bouquet in straight and encroaching flat stitch.<br />
+Materials:</span> Coton &agrave; repriser D.M.C No. 50.<br />
+<span class="smcap">Colours</span>&mdash;For the forget-me-nots: Bleu-Indigo 312, 322 and 334.&mdash;For the
+other flowers: Jaune-Rouille 365 and 366, Violet-Mauve 376, 316 and 377, Vert-Pistache
+369.&mdash;For the foliage: Vert-de-Gris 474, Vert-Mousse 468, 469, 471
+and 472.&mdash;For the stalks: Brun-Havane 455 and 457.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>For embroideries of this kind, suitable materials must be
+selected; the more delicate and minute the design, and the
+more varied the colouring, the softer and finer should be the
+quality of the material employed. Specially to be recommended,
+as adapted to every form of stitch and as being each of them
+capable of being subdivided,
+are Filoselle, Marseille, open
+Chinese silk and Coton &agrave;
+repriser D.M.C.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+<p><b>Flowers embroidered in
+the <a name="Chinese_manner" id="Chinese_manner"></a>Chinese manner</b> (fig. <a href="#fig_230">230</a>).&mdash;All Chinese embroidery
+displays undoubted originality
+and wonderful skill
+and judgment in the choice of
+material and colour. It excels
+particularly, in the representation
+of figures, flowers, and
+animals, but differs from European
+work in this, that instead of using flat stitch and
+making the colours blend together as we do, the Chinese put
+them, side by side, without intermediate tones, or they sometimes
+work the whole pattern in knot stitch. The little knots,
+formed by this stitch are generally set in gold thread.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/239.jpg"  alt="FIG. 230.
+FLOWERS EMBROIDERED IN THE CHINESE
+MANNER." title="" />
+<a name="fig_230" id="fig_230"></a><span class="caption smcap">Fig. 230.
+Flowers embroidered in the chinese
+manner.</span>
+</div>
+
+<p>Often too, instead of combining a number of colours, as
+we do, the Chinese fill in the whole leaf with long stitches and
+upon this foundation, draw the veins in a different stitch and
+colour. Even the flowers, they embroider in the same way, in
+<a name="Page_112" id="Page_112"></a>very fine thread, filling in the whole ground first, with stitches
+set very closely together and marking in the seed vessels afterwards,
+by very diminutive knots, wide apart.</p>
+
+<p><b>Chinese encroaching flat stitch</b> (fig. <a href="#fig_231">231</a>).&mdash;Another easy
+kind of embroidery, common in China, is done in encroaching
+flat stitch. The branch represented in our drawing, taken from
+a large design, is executed in three shades of yellow, resembling
+those of the Jaune-Rouille series on the D.M.C colour card.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="fig_231" id="fig_231"></a>
+<img src="images/239a.jpg"  alt="FIG. 231 CHINESE ENCROACHING FLAT STITCH" title="" />
+<span class="caption"><span class="smcap">Fig. 231. Chinese encroaching flat stitch.<br />
+Materials:</span> Cordonnet 6 fils D.M.C Nos. 20 to 50 or Chin&eacute; d&#39;or D.M.C.<br />
+<span class="smcap">Colours</span>&mdash;For the cotton: Jaune-Rouille 363, 308, 366.&mdash;For Chin&eacute; d&#39;or:
+Red and gold, blue and gold, green and gold.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The stitches of the different rows encroach upon one another,
+as the working detail shows, and the three shades
+alternate in regular succession. Flowers, butterflies and birds
+<a name="Page_113" id="Page_113"></a>are represented in Chinese embroidery, executed in this manner.
+It is a style, that is adapted to stuffs of all kinds, washing
+materials as well as others, and can be worked in the hand
+and with any of the D.M.C threads and cottons.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+<p><b><a name="Raised_embroidery" id="Raised_embroidery"></a>Raised embroidery</b> (figs. <a href="#fig_232">232</a> and <a href="#fig_233">233</a>).&mdash;Raised embroidery
+worked in colours, must be stuffed or padded first, like the
+white embroidery in fig. <a href="./chapter_5.html#fig_191">191</a>. If you outline your design with
+a cord, secure it on the right side with invisible stitches, untwisting
+the cord slightly as you insert your needle and thread,
+that the stitch may be hidden between the strands. Use Coton
+&agrave; repriser D.M.C No. 25, for the padding. These cottons are
+to be had in all the colours,
+indicated in the D.M.C
+colour card, and are the
+most suitable for the kind
+of work.</p>
+
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_232" id="fig_232"></a><a name="fig_233" id="fig_233"></a>
+<div class="figleft" style="width: 200px;">
+<img src="images/239b.jpg"  alt="FIG. 232. RAISED EMBROIDERY.
+PREPARATORY WORK." title="" />
+<span class="caption smcap">Fig. 232. Raised embroidery.
+Preparatory work.</span>
+</div>
+
+<div class="figright" style="width: 200px;">
+<img src="images/239c.jpg"  alt="FIG. 233. RAISED EMBROIDERY.
+WORK COMPLETED." title="" />
+<span class="caption smcap">Fig. 233. Raised embroidery.
+Work completed.</span>
+</div>
+</div>
+
+<p>Use Coton &agrave; broder
+D.M.C for the transverse
+stitches and over the smooth
+surface which is thus formed,
+work close lines of
+satin stitch in silk or cotton;
+the effect produced, will
+bear more resemblance to
+appliqu&eacute; work than to embroidery.
+The centres of
+the flowers are filled in with
+knot stitches, which are
+either set directly on the
+stuff or on an embroidered
+ground.</p>
+
+<p><b>Embroidery in the
+<a name="Turkish_style" id="Turkish_style"></a>Turkish style</b> (figs. <a href="#fig_234">234</a>
+and <a href="#fig_235">235</a>).&mdash;This again is a
+style of embroidery different
+from any we are accustomed to. The solid raised parts are
+<a name="Page_114" id="Page_114"></a>first padded with common coarse cotton and then worked over
+with gold, silver, or silk thread.</p>
+
+<p>Contrary to what is noticeable in the real Turkish embroidery,
+the preparatory work here is very carefully done, with
+several threads of Coton &agrave; repriser D.M.C used as one. A
+rope of five threads is laid down, and carried from right to
+left and from left to right, across the width of the pattern.
+After laying it across to the right, as explained in fig. <a href="#fig_234">234</a>,
+bring the needle out a little beyond the space occupied by
+the threads, insert it behind them and passing it under the
+stuff, draw it out at the
+spot indicated by the arrow.
+The stitch that secures the
+threads, should be sufficiently
+long to give them a
+little play, so that they
+may lie perfectly parallel,
+side by side, over the whole
+width of the pattern.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/240.jpg"  alt="FIG. 234. EMBROIDERY IN THE TURKISH STYLE.
+PREPARATORY WORK." title="" />
+<a name="fig_234" id="fig_234"></a><span class="caption smcap">Fig. 234. Embroidery in the turkish style.
+Preparatory work.</span>
+</div>
+
+<p>This kind of work can
+be done on wollen or cotton
+materials, and generally
+speaking, with D.M.C cottons,
+and gold thread shot
+with colour (Chin&eacute; d'or
+D.M.C.)</p>
+
+<p>Very pretty effects can
+be obtained, by a combination
+of three shades of
+Rouge-Cardinal 347, 346
+and 304, with Chin&eacute; d'or
+gold and dark blue or with
+Chin&eacute; d'or, gold and light
+blue.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+<p>This kind of embroidery may be regarded as the transition
+from satin stitch to gold embroidery.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/241.jpg"  alt="FIG. 235. EMBROIDERY IN THE TURKISH STYLE
+WORK COMPLETED." title="" />
+<a name="fig_235" id="fig_235"></a><span class="caption smcap">Fig. 235. Embroidery in the turkish style.
+Work completed.</span>
+</div>
+<p><a name="Page_115" id="Page_115"></a></p>
+<p><b><a name="Gold_embroidery" id="Gold_embroidery"></a>Gold embroidery</b>.&mdash;Up to the present time, dating from
+the end of the eighteenth century, gold embroidery has been
+almost exclusively confined to those who made it a profession;
+amateurs have seldom attempted what, it was commonly supposed,
+required an apprenticeship of nine years to attain any
+proficiency in.</p>
+
+<p>But now, when it is the fashion to decorate every kind of
+fancy article, whether of leather, plush, or velvet, with monograms
+and ingenious devices of all descriptions, the art of
+gold embroidery has revived and is being taken up and practised
+with success, even by those to whom needlework is
+nothing more than an agreeable recreation.</p>
+
+<p>We trust that the following directions and illustrations
+will enable our readers to dispense with the five years training,
+which even now, experts in the art consider necessary.</p>
+
+<p><b>Implements and materials</b>.&mdash;The first and needful requisites
+for gold embroidery, are a strong frame, a spindle,
+two pressers, one flat and the other convex, a curved knife, a
+pricker or stiletto, and a tray, to contain the materials.</p><p><a name="Page_116" id="Page_116"></a></p>
+
+<p><b>Embroidery frame</b> (fig. <a href="#fig_236">236</a>).&mdash;The frame, represented
+here, is only suitable for small pieces of embroidery, for larger
+ones, which have to be done piece by piece, round bars on
+which to roll up the stuff, are desirable, as sharp wooden
+edges are so apt to mark the stuff.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/242.jpg"  alt="FIG. 236. EMBROIDERY FRAME FOR GOLD EMBROIDERY." title="" />
+<a name="fig_236" id="fig_236"></a><span class="caption smcap">Fig. 236. Embroidery frame for gold embroidery.</span>
+</div>
+
+<p>Every gold embroidery, on whatever material it may be
+executed, requires a stout foundation, which has to be sewn
+into the frame, in doing which, hold the webbing loosely,
+almost in folds, and stretch the stuff very tightly. Sew on a
+stout cord to the edges of the foundation, which are nearest
+the stretchers, setting the stitches, 3 or 4 c/m. apart. Then
+put the frame together and stretch the material laterally to its
+fullest extent, by passing a piece of
+twine, in and out through the cord
+at the edge and over the stretchers.
+Draw up the bracing until the foundation
+is strained evenly and tightly.
+Upon this firm foundation lay the
+stuff which you are going to embroider,
+and hem or herring-bone
+it down, taking care
+to keep it perfectly even
+with the thread of the
+foundation and, if possible,
+more tightly stretched
+to prevent it from
+being wrinkled or puckered
+when you come to take it off the backing. For directions how to
+transfer the pattern to your stuff, and prepare the paste with
+which the embroidery has to be stiffened before it is taken out
+of the frame, see the concluding chapter in the book.</p>
+
+<p><b>The spindle</b> (fig. <a href="#fig_237">237</a>).&mdash;The spindle to wind the gold
+thread upon, should be 20 c/m. long and made of hard wood.
+Cover the round stalk and part of the prongs with a double
+<a name="Page_117" id="Page_117"></a>thread of Coton &agrave; broder D.M.C No. 16, or pale yellow Cordonnet
+D.M.C No. 25, and terminate this covering with a
+loop, to which you fasten the gold thread that you wind
+round the stalk.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/243.jpg" alt="FIG. 237. THE SPINDLE." title="" />
+<a name="fig_237" id="fig_237"></a><span class="caption smcap">Fig. 237. The spindle.</span>
+</div>
+
+<p><b>The pressers</b> (figs. <a href="#fig_238">238</a> and <a href="#fig_239">239</a>).&mdash;These, so called 'pressers',
+are small rectangular boards with a handle in the middle.
+The convex one, fig. <a href="#fig_238">238</a>, should be 15 c/m. long by 9 broad;
+the other, fig. <a href="#fig_239">239</a>, which is quite flat, should be 32 c/m. by 20.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="fig_238" id="fig_238"></a><a name="fig_239" id="fig_239"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/244.jpg" alt="FIG. 238.
+CONVEX PRESSER, FOR PRESSING
+THE STUFF ON THE WRONG SIDE." title="" />
+<span class="caption smcap">Fig. 238.
+Convex presser, for pressing
+the stuff on the wrong side.</span>
+</div>
+
+<div class="figright" style="width: 200px;">
+<img src="images/245.jpg"  alt="FIG. 239.
+FLAT PRESSER FOR LAYING ON THE PATTERN." title="" />
+<span class="caption smcap">Fig. 239.
+Flat presser for laying on the pattern.</span>
+</div>
+</div>
+
+<p>Having cut out your
+pattern in cartridge paper,
+lay it down, on the wrong
+side, upon a board thinly
+spread with embroidery
+paste. Let it get thoroughly
+impregnated with the paste
+and then transfer it carefully
+to its proper place on the stuff; press it closely down with
+the large presser, and with the little convex one rub the stuff
+firmly, from beneath,
+to make
+it adhere closely
+to the pasted
+pattern; small,
+pointed leaves and
+flowers will be
+found to need sewing
+down besides,
+as you will
+observe in fig. <a href="#fig_242">242</a>, where each
+point is secured
+by stitches. The
+embroidery should not be begun until the paste is perfectly
+dry, and the pattern adheres firmly to the stuff.</p>
+
+<p><b>The knife</b> (fig. <a href="#fig_240">240</a>).&mdash;Most gold embroideries require a
+foundation of stout cartridge paper, and, in the case of very
+delicate designs, the paper should further be covered with kid,
+pasted upon it.</p><p><a name="Page_118" id="Page_118"></a></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/246.jpg"  alt="FIG. 240. THE KNIFE. REDUCED SCALE." title="" />
+<a name="fig_240" id="fig_240"></a><span class="caption smcap">Fig. 240. The knife. Reduced scale.</span>
+</div>
+
+<p>Transfer the design on to the paper or kid, in the
+manner described in the concluding chapter, and cut it out
+with the knife.
+You can only
+make very
+short incisions
+with this tool,
+which should
+be kept extremely
+sharp
+and held, in
+cutting, with
+the point outwards,
+and the
+rounded part
+towards you,
+as shown in
+the drawing.</p>
+
+<p><b>Tray to
+contain the
+materials</b> (fig. <a href="#fig_241">241</a>).&mdash;Cut out as many divisions in a thin board, or
+sheet of stout cardboard, as you will require materials for
+your embroidery; these include not only gold thread
+of all kinds,
+but likewise
+beads and
+spangles of all
+sorts and sizes
+as well as
+bright and
+dead gold and
+silver purl, or
+bullion, as it
+is also called.
+For the pieces of purl alone, which should be cut ready to
+hand, you should have several divisions, in order that the
+different lengths may be kept separate.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/247.jpg"  alt="FIG. 241. TRAY TO CONTAIN THE MATERIALS." title="" />
+<a name="fig_241" id="fig_241"></a><span class="caption smcap">Fig. 241. Tray to contain the materials.</span>
+</div>
+<p><a name="Page_119" id="Page_119"></a></p>
+<p><b>Use of the spindle</b> (fig. <a href="#fig_242">242</a>).&mdash;Gold embroidery thread
+should be wound double upon the spindle. It is laid backwards
+and forwards and secured with two stitches at each
+turn, as described in fig. <a href="#fig_234">234</a>. Small holes where the stitches
+are to come, have first to be pierced in the material with the
+pricker, from the right side, for the needle to pass through.
+In soft stuffs, this is unnecessary, but in brocaded materials,
+and in plush and leather, where every prick shows and would
+often spoil the whole effect, it is indispensable.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/248.jpg"  alt="FIG. 242. USE OF THE SPINDLE" title="" />
+<a name="fig_242" id="fig_242"></a><span class="caption smcap">Fig. 242. Use of the spindle</span>
+</div>
+
+<p>Gold thread which is stiff and difficult to work with, can
+be rendered soft and pliable by putting it into the oven, or
+any other warm place, for a short time.</p>
+
+<p><b><a name="Embroidery_with_gold_purl" id="Embroidery_with_gold_purl"></a>Embroidery with gold purl</b> (fig. <a href="#fig_243">243</a>).&mdash;Embroidery
+is the easiest kind of gold embroidery; you
+have only to thread the little pieces of purl, cut into the
+required lengths beforehand, like beads on your needle, and
+fasten them down upon the foundation like the beads in bead-work.
+Smooth and crimped gold purl, or silver and gold purl
+used together, look exceedingly well, particularly where the
+pattern requires effects of light and shade to be reproduced.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/249.jpg"  alt="FIG. 243. EMBROIDERY WITH GOLD PURL." title="" />
+<a name="fig_243" id="fig_243"></a><span class="caption smcap">Fig. 243. Embroidery with gold purl.</span>
+</div>
+
+<p><b>Embroidery in diamond stitch</b> (fig. <a href="#fig_244">244</a>).&mdash;The diamond
+stitch is a charming novelty in gold embroidery.
+Short lengths of purl, not more than
+1-1/2 m/m. long, are threaded on the
+needle, and the needle is put in and drawn
+out at the same hole. These stitches which
+resemble knot stitches, form so many little
+glittering knots, turned alternately to the
+right and left, and look like seed-diamonds
+in appearance, more especially, when they
+are made in silver purl. The shorter the
+pieces are, and the more closely you set the
+knots together, the handsomer and richer
+the effect will be.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/250.jpg"  alt="FIG. 244. DIAMOND STITCH." title="" />
+<a name="fig_244" id="fig_244"></a><span class="caption smcap">Fig. 244. Diamond stitch.</span>
+</div>
+
+<p><b><a name="Chinese_gold_embroidery" id="Chinese_gold_embroidery"></a>Chinese gold embroidery</b> (figs. <a href="#fig_245">245</a>
+and <a href="#fig_246">246</a>).&mdash;We recommend the imitation of Chinese gold
+embroidery to our readers as an easy and grateful recreation.
+It consists simply in laying down a gold thread, on a deli<a name="Page_120" id="Page_120"></a><a name="Page_121" id="Page_121"></a><a name="Page_122" id="Page_122"></a>cately
+outlined pattern and securing it by stitches. It can be done
+on any material, washing or other, the costliest as well as the
+most ordinary.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/251.jpg"  alt="FIG. 245. CHINESE GOLD EMBROIDERY. First part." title="" />
+<a name="fig_245" id="fig_245"></a><span class="caption"><span class="smcap">Fig. 245. Chinese gold embroidery.</span> First part.</span>
+</div>
+
+<p>For a washing material use, Or fin D.M.C pour la broderie,
+No. 20, 30 or 40,<a href="#Footnote_A" class="fnanchor">[A]</a>
+which, as it washes
+perfectly, is well adapted
+for the embroidery
+of wearing apparel,
+and household linen.
+Plain gold thread and
+gold thread with a
+thread of coloured silk
+twisted round it, are
+very effective used together.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/252.jpg"  alt="FIG. 245. Second part" title="" />
+<span class="caption"><span class="smcap">Fig. 245.</span> Second part</span>
+</div>
+
+<p>Thus in fig. <a href="#fig_245">245</a>,
+the trees, foliage and
+flowers, are worked in
+plain gold, the grasses,
+in gold shot with green,
+the butterflies in gold
+with red, the two birds
+in gold with dark blue,
+and gold with light blue.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/253.jpg"  alt="FIG. 246. CHINESE GOLD EMBROIDERY. First part." title="" />
+<a name="fig_246" id="fig_246"></a><span class="caption"><span class="smcap">Fig. 246. Chinese gold embroidery.</span> First part.</span>
+</div>
+
+<p>Two threads of gold
+should be laid down
+side by side and secured
+by small catching
+stitches, set at regular
+intervals from one another,
+and worked in
+Fil d'Alsace D.M.C No. 200,<a href="#Footnote_A" class="fnanchor">[A]</a> of the same colour. Where the
+design requires it, you may separate the gold threads, and
+work with one alone.</p>
+
+<p>The second specimen of Chinese embroidery, fig. <a href="#fig_246">246</a>,
+<a name="Page_123" id="Page_123"></a>resembles the first, as far as materials and execution are concerned,
+but the design is different. The grotesque animals,
+flowers and shells it represents, can be worked separately, or
+connected together so as to form a running pattern.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/254.jpg"  alt="FIG. 246. Second part." title="" />
+<span class="caption"><span class="smcap">Fig. 246.</span> Second part.</span>
+</div>
+
+<p><b>Stripe worked in various stitches</b> (fig. <a href="#fig_247">247</a>).&mdash;All the
+designs described thus far, are worked in the same way, but
+the stripe now presented to our readers introduces them to
+several kinds of gold thread, and a variety of stitches. The
+small, turned-back petals of the flowers are worked in plain
+gold thread, and outlined with crimped; the rest of the petals
+are worked in darning stitch, with plain gold thread. The
+latticed leaves are edged with picots, worked with bright
+purl. The other parts of the design are all worked with a
+double gold thread, the stalks in dead gold, the leaves in
+crimped. The gold thread is secured by overcasting stitches
+in gold-coloured thread, Jaune d'or 667, but it looks very well
+if you use black or red thread for fastening the crimped gold
+and dark or light green for the leaves and tendrils.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/255.jpg"  alt="FIG. 247. STRIPE WORKED IN VARIOUS STITCHES." title="" />
+<a name="fig_247" id="fig_247"></a><span class="caption smcap">Fig. 247. Stripe worked in various stitches.</span>
+</div>
+
+<p><b>Gold embroidery on a foundation of cords</b> (fig. <a href="#fig_248">248</a>).&mdash;In
+the old ecclesiastical embroideries, especially those representing
+the figures of saints, we often find thick whip cords
+used as a foundation, instead of cardboard, for the good reason
+that the stiff cardboard does not give such soft and rounded contours
+as a cord foundation, which will readily take every bend
+and turn that you give to it. In the following illustrations, we
+have adhered strictly to the originals, as far as the manner of
+working the surface is concerned, but have substituted for
+the cord, which in their case has been used for the foundation,
+Cordonnet 6 fils D.M.C No. 1, which is better for
+padding than the grey whip cord, as it can be had in white or
+yellow, according to whether it is intended to serve as a
+foundation to silver or gold work.</p>
+
+<div class="figcenter" style="width: 200px;">
+<a name="fig_248" id="fig_248"></a>
+<img src="images/256.jpg"  alt="FIG. 248
+EMBROIDERY IN FLATTENED GOLD
+WIRE AND PURL." title="" />
+<span class="caption smcap">Fig. 248.
+Embroidery in flattened gold
+wire and purl.</span>
+</div>
+
+<p>Lay down as many cords as are necessary to give the design
+the requisite thickness, in many cases up to 8 or 10 m/m. in
+height, taking care to lay them closely and solidly in the centre,
+and graduate them down at the sides and ends. When you
+have finished the foundation, edge it with a thick gold cord,
+such as Cordonnet d'or D.M.C No. 6 and then only begin the
+<a name="Page_124" id="Page_124"></a>actual embroidery, all the directions just given, applying merely
+to the preparatory work.</p>
+
+<p>Only four of the many stitches that are already in use and
+might be devised are described here. For the pattern, represented
+in fig. <a href="#fig_248">248</a>, flattened gold or silver wire is necessary,
+which should be cut into pieces, long enough to be turned in
+at the ends so as to form a little
+loop through which the thread
+that fastens them down is passed.
+Over each length of gold or silver
+wire small lengths of purl are
+laid at regular intervals, close
+enough just to leave room for the
+next stitch, the pieces of one row,
+alternating in position with those
+of the preceding one.</p>
+
+<p><b>Plaited stitch in gold purl
+on a cord foundation</b> (fig. <a href="#fig_249">249</a>).
+&mdash;Distribute the stitches as in
+the previous figure, substituting
+purl, for the flattened gold wire,
+and covering the purl with short lengths of gold thread of
+the same kind. All these stitches may be worked in gold and
+silver thread, mixed or in the one, or the other alone.</p><p><a name="Page_125" id="Page_125"></a></p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/257.jpg"  alt="FIG. 249.
+PLAITED STITCH IN GOLD
+PURL ON A CORD FOUNDATION." title="" />
+<a name="fig_249" id="fig_249"></a><span class="caption smcap">Fig. 249.
+Plaited stitch in gold
+purl on a cord foundation.</span>
+</div>
+
+<p><b>Scale stitch worked in gold thread and purl on a cord
+foundation</b> (fig. <a href="#fig_250">250</a>).&mdash;Begin by covering the whole padded
+surface with gold or silver thread, then sew on short lengths
+of purl, long enough to cover six or eight threads, 2 or 3 m/m.
+apart, as shown in the engraving. These stitches in dead gold
+purl are then surrounded by shining or crimped purl.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/258.jpg"  alt="FIG. 250.
+SCALE STITCH IN GOLD THREAD
+AND PURL ON A CORD FOUNDATION." title="" />
+<a name="fig_250" id="fig_250"></a><span class="caption smcap">Fig. 250.
+Scale stitch in gold thread
+and purl on a cord foundation.</span>
+</div>
+
+<p>You bring out the working thread to the left of the purl
+stitch, which you take on your needle, put the needle in on the
+other side, draw it out above the little stroke, and secure
+the crimped purl with an invisible stitch.</p>
+
+<p><b>Conventional flower worked on a cord foundation</b>
+(fig. <a href="#fig_251">251</a>).&mdash;The half finished flower, represented here, was
+<a name="Page_126" id="Page_126"></a>copied from a handsome piece of ecclesiastical embroidery
+enriched with ornament of this kind. The three foregoing
+stitches and a fourth, are employed in its composition. The
+finished portions on the left hand side, are executed in silver
+and gold purl, whilst the egg-shaped heart of the flower is
+formed of transverse threads, carried over the first padding,
+and secured by a stitch between the two cords. In the subsequent
+row, the catching stitch is set between the cords, over
+which the first gold threads were carried.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/259.jpg"  alt="FIG. 251. CONVENTIONAL FLOWER WORKED ON A CORD FOUNDATION." title="" />
+<a name="fig_251" id="fig_251"></a><span class="caption"><span class="smcap">Fig. 251. Conventional flower worked on a cord foundation.<br />
+Materials.</span>&mdash;For padding: Cordonnet 6 fils D.M.C Nos. 1 to 5 or
+Fil &agrave; pointer D.M.C No. 10.&mdash;For sewing on the gold thread and purl:
+Soie de coton D.M.C No. 50 or 70, Fil &agrave; dentelle D.M.C on reels Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The heavier the design is, the thicker your padding should
+be, and cords a good deal thicker than those which are represented
+in the drawing should be used, as the more light and
+shade you can introduce into embroidery of this kind, the
+greater will be its beauty and value.</p>
+
+
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_7.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents.</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
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+
+<p><a name="Page_127" id="Page_127"></a></p>
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/260.jpg"  alt="INSERTION IN CROSS STITCH, ALIKE ON BOTH SIDES, THE PATTERN LEFT BLANK." title="" />
+<span class="caption smcap">Insertion in cross stitch, alike on both sides, the pattern left blank.</span>
+</div>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Tapestry_and_Linen_Embroidery" id="Tapestry_and_Linen_Embroidery"></a>Tapestry and Linen Embroidery.</h2>
+
+
+<p>Tapestry is one of the oldest kinds of needlework and
+one which has always been popular every where.</p>
+
+<p>There are two distinct sorts of canvas in use for tapestry,
+called respectively, 'plain (single thread) canvas', and
+'Penelope (double thread) canvas'. The latter is generally preferred,
+because it is easier to count the stitches upon it, but
+both make an equally good foundation for the embroidery, as
+the following examples will show.</p>
+
+<p>Besides canvas, other fabrics bearing a close resemblance
+to it, are often used, especially Java linen, the close texture of
+which renders grounding unnecessary.</p>
+
+<p>Cloth, velvet or plush can also be overlaid with canvas,
+the threads of which are pulled away after the pattern is
+finished. For work of this kind, we however prefer a material
+with less dressing, such as a twisted tammy, or Colbert linen,
+because the pulling out of the harsh rough threads of the canvas
+is very apt to injure the material beneath.</p>
+
+<p>Stitches, worked upon two stuffs, must be drawn very tight,
+or they will look loose and untidy when the auxiliary fabric
+is taken away.</p>
+
+<p>Tapestry can be done either in a frame, or in the hand; in
+the latter case, the ends of the piece of canvas should be
+weighted with stones or lead, to prevent its puckering.</p><p><a name="Page_128" id="Page_128"></a></p>
+
+<p>The stitches, which ought completely to hide the canvas,
+should all lean one way and the underneath ones always from
+left to right, as the letters in writing.</p>
+
+<p><b><a name="Marking_out_the_embroidery_ground" id="Marking_out_the_embroidery_ground"></a>Marking out the embroidery ground</b> (fig. <a href="#fig_252">252</a>).&mdash;Before
+beginning a piece of canvas work and tacking on the auxiliary
+fabric, count how many stitches it will contain, and mark them
+out in tens, with a coloured thread, as shown in fig. <a href="#fig_252">252</a>, along
+two sides at least, in the length and breadth. Having ascertained
+the number of stitches both ways, divide them in two, and
+starting each time
+from the middle
+stitch, trace two
+lines, one horizontal,
+the other vertical,
+right across the canvas.
+The point of
+intersection will be
+the centre. This
+sort of ground-plan
+will be found most
+useful, and should
+not be pulled out
+until, at least, half
+the work be finished.
+If moreover,
+you have corners
+to work, or a pattern
+to reverse, in the angle of a piece of embroidery, trace a
+diagonal line besides, from the corner to the centre.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/261.jpg"  alt="FIG. 252. MARKING OUT THE EMBROIDERY GROUND." title="" />
+<a name="fig_252" id="fig_252"></a><span class="caption smcap">Fig. 252. Marking out the embroidery ground.</span>
+</div>
+
+<p><b>Materials suitable for tapestry</b>.&mdash;Hitherto, wool and silk,
+were the materials chiefly used for canvas work; a very thick
+wool for carpets, as being warmer and more durable. Silk is
+too delicate a fibre to resist much wear and tear, and cannot
+therefore be recommended for articles that are intended for
+constant use, and wool, though stronger, is subject to the
+destructive agency of moths; whereas cotton, which is cheaper
+than both, and quite as brilliant, is free from all these disadvantages
+and is extremely easy to clean.</p><p><a name="Page_129" id="Page_129"></a></p>
+
+<p>For most kinds of tapestry we can therefore with perfect
+confidence, recommend the use of Coton &agrave; tricoter D.M.C
+Nos. 6 to 20, Cordonnet 6 fils D.M.C Nos. 3 to 15, and even
+Coton &agrave; repriser D.M.C No. 25.<a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+<p><b><a name="Cross_stitch" id="Cross_stitch"></a>Cross stitch</b> (fig. <a href="#fig_253">253</a>).&mdash;Cross stitch is the foundation of
+every other stitch, and the one in most common use. It is also
+called marking-stitch, being used for marking linen. It is
+worked in two lines. In the first, the thread is carried diagonally
+from left to right across a square of threads, and then,
+downwards, underneath the two horizontal threads; in the
+second, the stitches are carried from the right-hand lower
+corner of the square to the upper left-hand corner, so that
+the four points of the two stitches form a perfect square.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/262.jpg"  alt="FIG. 253. CROSS STITCH." title="" />
+<a name="fig_253" id="fig_253"></a><span class="caption smcap">Fig. 253. Cross stitch.</span>
+</div>
+
+<p><b>Half cross stitch</b> (fig. <a href="#fig_254">254</a>).&mdash;If the cotton is too coarse,
+or the canvas too fine, to make the double stitch, carry the
+thread back along the whole line and make the half-stitches
+<a name="Page_130" id="Page_130"></a>across it, from left to right; the same in the case of a piece of
+work, which you buy with</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/263.jpg"  alt="FIG. 254. HALF CROSS STITCH." title="" />
+<a name="fig_254" id="fig_254"></a><span class="caption smcap">Fig. 254. Half cross stitch.</span>
+</div>
+
+<p><b>Gobelin stitch on plain canvas</b> (fig. <a href="#fig_255">255</a>).&mdash;This is
+worked over two horizontal threads and one perpendicular. In
+a frame, you can work the second row, from right to left,
+otherwise, you must turn the work round, and bring out your
+needle behind the last-made stitch.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/264.jpg"  alt="FIG. 255. GOBELIN STITCH." title="" />
+<a name="fig_255" id="fig_255"></a><span class="caption smcap">Fig. 255. Gobelin stitch.</span>
+</div>
+
+<p><b>Gobelin stitch on Penelope canvas</b> (fig. <a href="#fig_256">256</a>).&mdash;For the
+same stitch on Penelope canvas, you need rather a coarse
+needle, which will make its way easily between the threads of
+the canvas.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/265.jpg"  alt="FIG. 256. GOBELIN STITCH ON PENELOPE
+CANVAS." title="" />
+<a name="fig_256" id="fig_256"></a><span class="caption smcap">Fig. 256. Gobelin stitch on penelope
+canvas.</span>
+</div>
+
+<p><b>Reps stitch</b> (fig. <a href="#fig_257">257</a>).&mdash;Contrary to Gobelin stitch, this
+stitch which is an imitation of reps, is worked in vertical lines,
+over two vertical threads and one horizontal one.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/266.jpg"  alt="FIG. 257. REPS STITCH." title="" />
+<a name="fig_257" id="fig_257"></a><span class="caption smcap">Fig. 257. Reps stitch.</span>
+</div>
+
+<p><b>Tent stitch</b> (fig. <a href="#fig_258">258</a>).&mdash;This stitch is simply the first half
+of a cross or marking stitch, worked over a single thread each
+way. The illustration shows the working of a row, from right
+to left, the thread being carried forward, underneath the vertical
+threads. Tent stitch is used for the most part, in con<a name="Page_131" id="Page_131"></a>junction
+with cross stitch, for the more delicate lines and the
+shaded parts of flowers and figures.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/267.jpg"  alt="FIG. 258. TENT STITCH." title="" />
+<a name="fig_258" id="fig_258"></a><span class="caption smcap">Fig. 258. Tent stitch.</span>
+</div>
+
+<p><b>Wide Gobelin stitch</b> (fig. <a href="#fig_259">259</a>).&mdash;This stitch covers two
+vertical and two horizontal threads, and advances one thread at
+a time.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/268.jpg"  alt="FIG. 259. WIDE GOBELIN STITCH." title="" />
+<a name="fig_259" id="fig_259"></a><span class="caption smcap">Fig. 259. Wide gobelin stitch.</span>
+</div>
+
+<p><b>Broad cross stitch</b> (fig. <a href="#fig_260">260</a>).&mdash;Worked over two vertical
+and four horizontal threads, and very useful for filling in large
+surfaces as it can be done twice as quickly as the ordinary
+cross stitch. It may be varied by turning the crosses first one
+way and then the other.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/269.jpg"  alt="FIG. 260. BROAD CROSS STITCH." title="" />
+<a name="fig_260" id="fig_260"></a><span class="caption smcap">Fig. 260. Broad cross stitch.</span>
+</div>
+
+<p><b>Double stitch</b> (fig. <a href="#fig_261">261</a>).&mdash;Begin with a simple cross stitch
+over every alternate intersection of the threads then make a
+second row of stitches between those of the first, but in this
+case, over two and six threads, so that they extend beyond the
+first each way. In the subsequent rows, a square stitch should
+be opposed to a long one and a long stitch to a square one.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/270.jpg"  alt="FIG. 261. DOUBLE STITCH." title="" />
+<a name="fig_261" id="fig_261"></a><span class="caption smcap">Fig. 261. Double stitch.</span>
+</div>
+
+<p><b>Rice stitch</b> (fig. <a href="#fig_262">262</a>).&mdash;Fill in the whole ground first, with
+large cross stitches, over four threads each way, then upon
+these, make the so-called rice stitches. These cross the four
+points of the large cross stitches, and meet in the space between,
+where they form another cross. The large cross stitches
+should be worked in rather coarse cotton, the rice stitches in
+one of a finer quality.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/271.jpg"  alt="FIG. 262. RICE STITCH." title="" />
+<a name="fig_262" id="fig_262"></a><span class="caption smcap">Fig. 262. Rice stitch.</span>
+</div>
+
+<p><b>Double stitch, set two ways</b> (fig. <a href="#fig_263">263</a>).&mdash;This consists of
+diagonal and upright cross stitches, alternately. Work from left
+to right, and carry the thread over four vertical threads and
+downwards, under two horizontal ones, then diagonally upwards,
+over four threads and downwards under two, then again
+over four vertical threads, and so on. Coming back, you cross
+the first threads, and pass the working thread each time in a
+straight line, underneath the two threads of the canvas. The
+stitches of the third and fourth rows are set, as the illustration
+shows, the opposite way to those of the two first, the thread
+being laid the contrary way. Gold thread is generally used for
+this second set of stitches; Or fin D.M.C pour la broderie, or
+Chin&eacute; d'or D.M.C will be found to be the most suitable for the
+purpose.<a href="#Footnote_A" class="fnanchor">[A]</a></p><p><a name="Page_132" id="Page_132"></a></p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/272.jpg"  alt="FIG. 263. DOUBLE STITCH SET TWO WAYS." title="" />
+<a name="fig_263" id="fig_263"></a><span class="caption smcap">Fig. 263. Double stitch set two ways.</span>
+</div>
+
+<p><b>Plait stitch</b> (fig. <a href="#fig_264">264</a>).&mdash;It requires great attention to work
+this stitch, to and fro; the easier way is to carry the thread
+back each time, to the starting point.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/273.jpg"  alt="FIG. 264. PLAIT STITCH." title="" />
+<a name="fig_264" id="fig_264"></a><span class="caption smcap">Fig. 264. Plait stitch.</span>
+</div>
+
+<p>Carry the thread from left to right, over two horizontal
+threads, and downwards under four perpendicular ones, then
+under two threads, from right to left, as the figure indicates.</p>
+
+<p><b>Stem stitch</b> (fig. <a href="#fig_265">265</a>).&mdash;Here, the stitches are worked in
+separate rows, over four threads each way. The working
+thread passes first under the two middle threads, from right to
+left, and then under the two upper ones.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/274.jpg"  alt="FIG. 265. STEM STITCH." title="" />
+<a name="fig_265" id="fig_265"></a><span class="caption smcap">Fig. 265. Stem stitch.</span>
+</div>
+
+<p><b>Leaf stitch</b> (fig. <a href="#fig_266">266</a>).&mdash;Carry the thread diagonally over
+two double threads each way, and back under one double
+thread, to the row whence the stitch started. Make rows of
+back-stitches in a different colour between the rows of long ones.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/275.jpg"  alt="FIG. 266. LEAF STITCH." title="" />
+<a name="fig_266" id="fig_266"></a><span class="caption smcap">Fig. 266. Leaf stitch.</span>
+</div>
+
+<p><b>Fish-bone stitch</b> (fig. <a href="#fig_267">267</a>).&mdash;The difference between this
+and the preceding stitch is, that the working thread after
+<a name="Page_133" id="Page_133"></a>passing over three perpendicular and three horizontal threads,
+is secured by a back-stitch over the last intersection of the
+canvas threads. These back-stitches lean to the right or left,
+according to the direction of the long stitches.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/276.jpg"  alt="FIG. 267. FISH-BONE STITCH." title="" />
+<a name="fig_267" id="fig_267"></a><span class="caption smcap">Fig. 267. Fish-bone stitch.</span>
+</div>
+
+<p><b>Diagonal web stitch</b> (fig. <a href="#fig_268">268</a>).&mdash;Stretch diagonal threads
+across the whole surface you are going to embroider, and secure
+them with rows of overcasting stitches, set, if you are working
+on Penelope canvas, between the double threads of the canvas.
+In the next rows the stitches must be set the opposite way,
+which produces the effect of diagonal or twilled cloth.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/277.jpg"  alt="FIG. 268. DIAGONAL WEB STITCH." title="" />
+<a name="fig_268" id="fig_268"></a><span class="caption smcap">Fig. 268. Diagonal web stitch.</span>
+</div>
+
+<p><b>Cashmere stitch</b> (fig. <a href="#fig_269">269</a>).&mdash;To imitate this texture in
+needlework first make one stitch over one crossing of the
+canvas threads, and then two stitches over two crossings.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/278.jpg"  alt="FIG. 269. CASHMERE STITCH." title="" />
+<a name="fig_269" id="fig_269"></a><span class="caption smcap">Fig. 269. Cashmere stitch.</span>
+</div>
+
+<p><b>Florentine stitch</b> (fig. <a href="#fig_270">270</a>).&mdash;Florentine stitch is worked
+in slanting lines, the thread being carried, diagonally first over
+one and then over two double threads of the canvas.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/279.jpg"  alt="FIG. 270. FLORENTINE STITCH." title="" />
+<a name="fig_270" id="fig_270"></a><span class="caption smcap">Fig. 270. Florentine stitch.</span>
+</div>
+
+<p><b>Mosaic stitch</b> (fig. <a href="#fig_271">271</a>).&mdash;The first row consists of one short
+and one long stitch, alternately; the second, of short stitches
+only, set between the long stitches of the first row; the third
+row is a repetition of the first, and so on.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/280.jpg"  alt="FIG. 271. MOSAIC STITCH." title="" />
+<a name="fig_271" id="fig_271"></a><span class="caption smcap">Fig. 271. Mosaic stitch.</span>
+</div>
+
+<p><b>Knotted stitch</b> (fig. <a href="#fig_272">272</a>).&mdash;Carry the working thread over
+two threads in width and six in height, bring the needle back,
+four threads lower down, in front of the double threads, and
+insert it behind the preceding stitch, and over the middle
+threads, and then carry it down to the line of the stitches. In
+the subsequent rows, the stitches extend over four threads
+and encroach on two of the previous row, so that the stitches
+of the second row lie between those of the first.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/281.jpg"  alt="FIG. 272. KNOTTED STITCH." title="" />
+<a name="fig_272" id="fig_272"></a><span class="caption smcap">Fig. 272. Knotted stitch.</span>
+</div>
+
+<p><b>Star, or Smyrna stitch</b> (fig. <a href="#fig_273">273</a>).&mdash;- Make a plain cross
+stitch over four threads, each way, and then over that, another
+cross stitch, standing upright. The same stitch can be made
+over six or seven threads; if you work over more than four
+threads, it follows that you increase the number of stitches
+accordingly.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/282.jpg"  alt="FIG. 273. STAR, OR SMYRNA STITCH." title="" />
+<a name="fig_273" id="fig_273"></a><span class="caption smcap">Fig. 273. Star, or smyrna stitch.</span>
+</div>
+
+<p><b>Rococo stitch</b> (figs. <a href="#fig_274">274</a>, <a href="#fig_275">275</a>, <a href="#fig_276">276</a>).&mdash;After fastening in your
+thread, lay it over four single or two double threads, as the
+case may be, and carry the needle through to the left, under one
+double thread; then, as fig. <a href="#fig_274">274</a> shows, bring it back over the
+<a name="Page_134" id="Page_134"></a>first stitch, put it in by the side of it, and bring it out below,
+under half the horizontal threads covered by the first stitch.
+Then make a stitch to the right, similar to the one just made
+to the left.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/283.jpg"  alt="FIG. 274. ROCOCO STITCH.
+FIRST STITCHES ON THE WRONG SIDE." title="" />
+<a name="fig_274" id="fig_274"></a><span class="caption smcap">Fig. 274. Rococo stitch.
+First stitches on the wrong side.</span>
+</div>
+
+<p>When you have finished one stitch, carry the needle under
+one thread, in an oblique line, to the next stitch, see fig. <a href="#fig_273">273</a>.
+The whole pattern is worked in diagonal lines.</p>
+<div class="figcenter" style="width: 350px;">
+<a name="fig_275" id="fig_275"></a><a name="fig_276" id="fig_276"></a>
+<div class="figleft" style="width: 150px;">
+<img src="images/284.jpg"  alt="FIG. 275. ROCOCO STITCH.
+STITCHES ON THE RIGHT SIDE." title="" />
+<span class="caption smcap">Fig. 275. Rococo stitch.
+Stitches on the right side.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/285.jpg"  alt="FIG. 276. ROCOCO STITCH. COMPLETED." title="" />
+<span class="caption smcap">Fig. 276. Rococo stitch. Completed.</span>
+</div></div>
+
+<p><b>Parisian stitch</b> (fig. <a href="#fig_277">277</a>).&mdash;This stitch, though it is generally
+worked on silk canvas, can also be worked on the different
+cotton and linen materials already referred to more than once in
+this Encyclopedia. It makes a very good grounding in cases
+where the material is not intended to be completely hidden.
+It consists of a long stitch over three threads, and a short
+stitch over one thread, alternately.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/286.jpg"  alt="FIG. 277. PARISIAN STITCH." title="" />
+<a name="fig_277" id="fig_277"></a><span class="caption smcap">Fig. 277. Parisian stitch.</span>
+</div>
+
+<p><b>Greek stitch</b> (fig. <a href="#fig_278">278</a>).&mdash;This differs from the ordinary
+cross stitch, in the oblique inclination given to the threads, and
+the manner in which it is begun. Instead of taking up the two
+threads that follow the first stitch, you bring your needle back
+from right to left, under the vertical threads of the first stitch,
+<a name="Page_135" id="Page_135"></a>carry it downwards, and then from right to left, to a distance of
+four threads beyond the first stitch. The next stitch is made like
+the first. The rows may be joined together, either by the short
+or the long stitches, but you must follow one rule throughout.
+This stitch is much used in Slavonic countries, for the adornment
+of linen garments, and there we have observed that the
+short stitches are generally made to encounter the long ones. A
+coarse material that covers the ground well, such as, Coton &agrave;
+tricoter D.M.C Nos. 6 to 12, is the best one to use for this stitch.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/287.jpg"  alt="FIG. 278. GREEK STITCH." title="" />
+<a name="fig_278" id="fig_278"></a><span class="caption smcap">Fig. 278. Greek stitch.</span>
+</div>
+
+<p><b>Scotch stitch</b> (fig. <a href="#fig_279">279</a>).&mdash;Squares, composed of slanting
+stitches, made over one, three, five, three threads respectively,
+and then again over one thread, and separated from each
+other by rows of Gobelin stitches, constitute what is ordinarily
+known by the name of Scotch stitch.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/288.jpg"  alt="FIG. 279. SCOTCH STITCH." title="" />
+<a name="fig_279" id="fig_279"></a><span class="caption smcap">Fig. 279. Scotch stitch.</span>
+</div>
+
+<p><b>Moorish stitch</b> (fig. <a href="#fig_280">280</a>).&mdash;For this stitch, instead of surrounding
+squares of stitches, made in the way we have just
+described, with Gobelin stitch, the squares are made to touch,
+rising like steps one above the other, and bordered only at the
+sides by Gobelin stitch.</p><p><a name="Page_136" id="Page_136"></a></p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/288.jpg"  alt="FIG. 280. MOORISH STITCH." title="" />
+<a name="fig_280" id="fig_280"></a><span class="caption smcap">Fig. 280. Moorish stitch.</span>
+</div>
+
+<p><b>Oriental stitch</b> (fig. <a href="#fig_281">281</a>).&mdash;Here, you make four diagonal
+stitches over one, two, three and four double threads respectively;
+which four stitches form so many triangles, one above
+the other. The empty spaces between are filled up with Gobelin
+stitches covering two threads.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/290.jpg"  alt="FIG. 281. ORIENTAL STITCH." title="" />
+<a name="fig_281" id="fig_281"></a><span class="caption smcap">Fig. 281. Oriental stitch.</span>
+</div>
+
+<p><b>Shell stitch</b> (fig. <a href="#fig_282">282</a>).&mdash;Carry your thread upwards over
+six horizontal threads, then from right to left, under one vertical
+thread and downwards over six horizontal ones. When you
+have made four vertical stitches in this way, bring the needle
+out behind the third double thread, counted lengthways, and
+between the third and fourth, counted across, and fasten the
+four long stitches together with a back-stitch, to the middle
+thread of the canvas. Draw a thread of a different colour twice
+through these back-stitches, so as to form small knots like
+shells, and then fill in the ground between the rows of long
+stitches, with back-stitches.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/291.jpg"  alt="FIG. 282. SHELL STITCH." title="" />
+<a name="fig_282" id="fig_282"></a><span class="caption smcap">Fig. 282. Shell stitch.</span>
+</div>
+
+<p><b>Jacquard stitch</b> (fig. <a href="#fig_283">283</a>).&mdash;If you have a large plain surface
+to cover, you should choose a stitch that forms a pattern
+in itself. Jacquard stitch and others which we shall describe
+later on, will be found to produce the effect of brocaded stuff. To
+work Jacquard stitch, make six stitches underneath one another,
+over two double threads, and six by the side of one another,
+from left to right, over two double threads. The second row
+consists of the same number of stitches, similarly worked
+downwards and to the side, but over one double thread only.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/292.jpg"  alt="FIG. 283. JACQUARD STITCH." title="" />
+<a name="fig_283" id="fig_283"></a><span class="caption smcap">Fig. 283. Jacquard stitch.</span>
+</div>
+
+<p><b>Byzantine stitch</b> (fig. <a href="#fig_284">284</a>).&mdash;Here, you make the same
+number of stitches as in the preceding figure but with this
+difference, that the two rows of stitches are made either over
+two, or four threads.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/293.jpg"  alt="FIG. 284. BYZANTINE STITCH." title="" />
+<a name="fig_284" id="fig_284"></a><span class="caption smcap">Fig. 284. Byzantine stitch.</span>
+</div>
+
+<p><b>Milanese stitch</b> (fig. <a href="#fig_285">285</a>).&mdash;In the first row, the back-stitch
+is made alternately, first over four diagonal crosses and then
+over one; in the second row, over three and two; in the third,
+over two and three, in the fourth, over one and four. The last
+long stitches should come under the last short ones and the
+short ones, in the middle of the last long ones.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/294.jpg"  alt="FIG. 285. MILANESE STITCH." title="" />
+<a name="fig_285" id="fig_285"></a><span class="caption smcap">Fig. 285. Milanese stitch.</span>
+</div>
+
+<p><b>Plush stitch</b> (fig. <a href="#fig_286">286</a>).&mdash;This stitch, also called Astrachan
+stitch, by means of which a very good imitation of an Oriental
+<a name="Page_137" id="Page_137"></a>rug can be produced, consists of loops, each secured by a cross
+stitch; the best way to ensure these loops being even and
+regular is to make them over a narrow wooden ruler, or a piece
+of whalebone.</p>
+
+<p>The effect can be varied by cutting the loops, which gives
+the surface the appearance of velvet.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/295.jpg"  alt="FIG. 286. PLUSH STITCH." title="" />
+<a name="fig_286" id="fig_286"></a><span class="caption smcap">Fig. 286. Plush stitch.</span>
+</div>
+
+<p>The illustration represents the middle loops only, as cut, for
+the cut and the uncut stitch can both be introduced into the
+same piece of embroidery. For example, the borders in
+figs. <a href="#fig_290">290</a>, and <a href="#fig_291">291</a>, are worked in open or cut plush stitch,
+whilst in the centres, the stitch is left uncut. Two stitches
+of a similar kind, called Smyrna and Malta stitch, suitable for
+making rugs or carpets, are described in the last chapter but
+one in the book.</p><p><a name="Page_138" id="Page_138"></a></p>
+
+<p><b>Chain stitch</b> (fig. <a href="#fig_287">287</a>).&mdash;Generally speaking, this stitch is
+only used for the adornment of under-linen or small articles of
+fancy-work but it can also be employed in copying cross stitch
+patterns. In old collections we often meet with very interesting
+pieces of needlework, which were used for hangings or screens,
+where the figure-subjects, are executed in chain stitch. Patterns
+in many colours, gain immensely
+by being worked
+in this stitch, the
+colours blend together
+better than in any other,
+and even the shape of
+the stitch contributes to
+soften the contrasts of
+colour.</p>
+
+<p>Chain stitch cannot,
+like other stitches, be
+worked to and fro, nor
+can all the stitches of
+one row be finished first,
+as is generally possible
+in cross stitch work, each
+row must be begun separately, and always from the same
+side, and a different needle should be used for each colour,
+as the material has often to be changed.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/296.jpg"  alt="FIG. 287. CHAIN STITCH." title="" />
+<a name="fig_287" id="fig_287"></a><span class="caption smcap">Fig. 287. Chain stitch.</span>
+</div>
+
+<p>The stitch is worked as follows; after fastening in your
+thread, insert the needle at the same hole it came out of,
+and bring it out two threads lower down. Keep the loop,
+formed by the working thread, under the point of the needle.
+The thread should not be drawn up tightly but left to
+form a rather loose, round loop. For the next stitches, insert
+the needle close to the thread that issues from the last loop.</p>
+
+<p><b><a name="Pattern_for_borders" id="Pattern_for_borders"></a>Pattern for borders or grounding</b> (fig. <a href="#fig_288">288</a>).&mdash;This simple
+but most effective design, copied from one of the most beautiful
+of Oriental carpets, can be executed in, either cross stitch,
+plush stitch, or chain stitch. To make a wider border still, the
+diagonal lines that divide the figures shaped like an S, have
+only to be prolonged, and the figures repeated.</p><p><a name="Page_139" id="Page_139"></a></p>
+
+<p>The colours have been chosen with the view of reproducing
+as nearly as possible the subdued and faded tones, which time
+has imparted to the original.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_297.jpg"><img src="images/297.jpg"  alt="FIG. 288. PATTERN FOR BORDERS OR GROUNDINGS." title="" /></a>
+<a name="fig_288" id="fig_288"></a><span class="caption"><span class="smcap">Fig. 288. Pattern for borders or groundings.<br />
+Materials:</span> Coton &agrave; broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos.
+3 to 15, Fil &agrave; pointer D.M.C Nos. 10 to 30, or Coton &agrave; repriser D.M.C No. 25.<br />
+<span class="smcap">Explanation of the signs prefixed to the colours: </span>(<img src="images/297a.jpg" alt="" title="" />) Rouge-Cardinal 346,
+(<img src="images/297b.jpg"  alt="" title="" />) Rouge-Cornouille 449, (<img src="images/297c.jpg"  alt="" title="" />) Bleu-Indigo 311, and (<img src="images/297d.jpg"  alt="" title="" />) Bleu-Indigo 322,
+(<img src="images/297e.jpg"  alt="" title="" />) Gris-Cendre 414, (<img src="images/297f.jpg"  alt="" title="" />) Bronze dor&eacute; 585 and (<img src="images/297g.jpg"  alt="" title="" />) Vert-Mousse 470.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+
+<p><b>Pattern for grounding</b> (fig. <a href="#fig_289">289</a>).&mdash;Diagonal lines, intersected
+by balls, serve here as a setting for quaintly shaped
+flowers and leaves. The outlines are all worked in cross stitch,
+and the solid parts, in either tent stitch or Gobelin stitch.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_298.jpg"><img src="images/298.jpg"  alt="FIG. 289. PATTERN FOR GROUNDING" title="" /></a>
+<a name="fig_289" id="fig_289"></a><span class="caption"><span class="smcap">Fig. 289. Pattern for grounding.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C
+Nos. 5 to 15 or Coton &agrave; broder D.M.C No. 16. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Explanation of the signs prefixed to the colours:</span> (<img src="images/298a.jpg"  alt="" title="" />) Noir grand Teint 310, (<img src="images/297f.jpg"  alt="" title="" />) Jaune
+d'Ocre 676, (<img src="images/298b.jpg"  alt="" title="" />) Violet-Mauve 315, (<img src="images/298c.jpg"  alt="" title="" />) Rouge-G&eacute;ranium 349, (<img src="images/298d.jpg"  alt="" title="" />) Rouge-Aurore 360,
+(<img src="images/297b.jpg"  alt="" title="" />) Bleu-Indigo 312, (<img src="images/297e.jpg"  alt="" title="" />) Bleu p&acirc;le 668, (<img src="images/297g.jpg"  alt="" title="" />) Rouge-Cornouille 449, (<img src="images/297c.jpg"  alt="" title="" />) Vert-de-gris 474,
+(<img src="images/297a.jpg"  alt="" title="" />) Vert-de-gris 475, (<img src="images/297d.jpg"  alt="" title="" />) Grounding.<a href="#Footnote_A" class="fnanchor">[A]</a></span></div>
+
+<p><b>Part of a design, suitable for carpets</b> (figs. <a href="#fig_290">290</a> and <a href="#fig_291">291</a>).
+Our space will not admit of our reproducing more than a
+quarter of this design. Colours of the softest shades should
+be selected for it. A black line divides the pattern into four
+quarters. The upper quarter on the right, and the lower one,
+on the left, should be worked in blue, and the upper one
+on the left, copied from fig. <a href="#fig_290">290</a>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_290" id="fig_290"></a>
+<a href="images/full_299.jpg"><img src="images/299.jpg"  alt="FIG. 290. PART OF A DESIGN SUITABLE FOR CARPETS." title="" /></a>
+<span class="caption"><span class="smcap">Fig. 290. Part of a design suitable for carpets.<br />
+
+Materials:</span> Fil &agrave; pointer D.M.C Nos. 10 to 30, Coton &agrave; tricoter D.M.C Nos. 6
+to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton &agrave; repriser D.M.C No. 12.<br />
+
+<span class="smcap">Explanation of the signs prefixed to the colours:</span> (<img src="images/298a.jpg"  alt="" title="" />) Noir grand Teint 310,
+(<img src="images/297b.jpg"  alt="" title="" />) Rouge-Grenat 358, (<img src="images/298b.jpg"  alt="" title="" />) Rouge-Cornouille 450,
+(<img src="images/297c.jpg"  alt="" title="" />) Bleu-Indigo 311, (<img src="images/297f.jpg"  alt="" title="" />) Bleu-Indigo 322,
+(<img src="images/297g.jpg"  alt="" title="" />) Vert m&eacute;tallique 465, (<img src="images/297e.jpg"  alt="" title="" />) Gris-Noisette 424.<a href="#Footnote_A" class="fnanchor">[A]</a></span></div>
+
+<p>The narrow border, in red, blue and green, is to be repeated
+<a name="Page_140" id="Page_140"></a>after the broad band, which is represented in fig. <a href="#fig_291">291</a>, has been
+added to the grounding. A very good effect is obtained, if in the
+broad border, fig. <a href="#fig_291">291</a>, you vary the background of the different
+subjects.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_300.jpg"><img src="images/300.jpg"  alt="FIG. 291. OUTER BORDER OF THE DESIGN FOR CARPETS FIG. 290" title="" /></a>
+<a name="fig_291" id="fig_291"></a><span class="caption"><span class="smcap">Fig. 291. Outer border of the design for carpets fig. <a href="#fig_290">290</a>.<br />
+Materials:</span> Fil &agrave; pointer D.M.C Nos. 10 to 30, Coton &agrave; tricoter D.M.C Nos.
+6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15, or Coton &agrave; repriser D.M.C No. 12. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Explanation of the signs prefixed to the colours:</span> (<img src="images/298a.jpg"  alt="" title="" />) Noir grand Teint 310,
+(<img src="images/297b.jpg"  alt="" title="" />) Rouge-Grenat 358, (<img src="images/297c.jpg"  alt="" title="" />) Bleu-Indigo 311,
+(<img src="images/297a.jpg"  alt="" title="" />) Vert m&eacute;tallique 465, (<img src="images/298d.jpg"  alt="" title="" />) Jaune-vieil-Or
+679, (<img src="images/297e.jpg"  alt="" title="" />) Gris-Noisette 424, (<img src="images/298b.jpg"  alt="" title="" />) Rouge-Cornouille 450.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Linen embroidery.</b>&mdash;The stitches used in linen embroidery
+are very similar to those used in canvas work. The ordinary
+cross stitch, as represented in fig. <a href="#fig_253">253</a>, is the one most
+commonly used, but it is not so effective as the two-sided
+stitches, which in the beautiful old needlework of the 15th,
+16th and 17th centuries, have always excited our wonder and
+admiration.</p>
+<p><a name="Page_141" id="Page_141"></a></p><p><a name="Page_142" id="Page_142"></a></p>
+<p><b>Stuffs suitable for linen embroidery.</b>&mdash;Most embroidery
+of this kind, and more especially the Italian, is done on very
+fine linen. Such fine work however, requires more time and
+patience than people, in these days, are as a rule disposed to
+bestow on work intended merely for pleasure and recreation.
+To meet the requirements of the day, therefore, in addition
+to the finer kinds of linen, a great variety of textures, are
+now manufactured, the threads of which, being thick and
+round, can be easily counted. The cross stitches that are worked
+on Cuba, Ceylon or Batavia linen, are large and coarse, those
+on linen-canvas, Russian linen, twisted tammy, and Rhodes
+linen, small and fine.</p>
+
+<p>Linen fabrics are either white, unbleached or cream-coloured.
+All three are used for embroidery, but the coloured cottons
+show up best on the cream ground; on the white, they look
+hard and crude, and on the unbleached, dull and faded.</p>
+<p><a name="Page_143" id="Page_143"></a></p>
+<p><b>Materials suitable for linen embroidery</b>&mdash;As most linen
+embroidery is executed on articles that are subjected to frequent
+washing, the D.M.C cottons, which are to be had in
+every shade and colour, are the best for the purpose. For
+coarse stuffs, coarse cotton should be used, such as knitting
+cotton, Coton &agrave; tricoter D.M.C Nos. 6, 8, 10, 12 and 14,<a href="#Footnote_A" class="fnanchor">[A]</a>
+which will be found a very good substitute for wool; or six-cord
+crochet cotton (Cordonnet 6 fils D.M.C) Nos. 3, 4, 5, 10
+and 15,<a href="#Footnote_A" class="fnanchor">[A]</a> which gives quite as full and brilliant a stitch, as
+silk-twist. Finer cottons should be used
+for the finer stuffs, such as embroidery cotton
+(Coton &agrave; broder D.M.C) Nos. 6 to 200,<a href="#Footnote_A" class="fnanchor">[A]</a>
+and lace thread (Fil &agrave; dentelle D.M.C) Nos.
+30 to 150.<a href="#Footnote_A" class="fnanchor">[A]</a> In many cases, even darning
+cotton (Coton &agrave; repriser D.M.C) can be
+used, as like Algerian silk, it can be
+split or taken double, to suit the stuff.</p>
+
+<p><b><a name="Plain_cross_stitch" id="Plain_cross_stitch"></a>Plain cross stitch on auxiliary canvas</b>
+(fig. <a href="#fig_292">292</a>).&mdash;Plain cross stitch, commonly
+called marking stitch, has already been described in fig. <a href="#fig_253">253</a>. But it may be well to observe, that when an auxiliary
+material is used, it should be most carefully tacked upon the
+stuff following the thread of the same, and a sufficient margin
+left to allow of the drawing out of the canvas threads, when
+the work is finished.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/301.jpg"  alt="FIG. 292.
+PLAIN CROSS STITCH ON
+AUXILIARY CANVAS." title="" />
+<a name="fig_292" id="fig_292"></a><span class="caption smcap">Fig. 292.
+Plain cross stitch on
+auxiliary canvas.</span>
+</div>
+
+<p><b>Two-sided cross stitch, worked in four rows of
+stitches</b> (figs. <a href="#fig_293">293</a>, <a href="#fig_294">294</a>, <a href="#fig_295">295</a>).&mdash;Straight lines of cross stitch,
+alike on both sides, can be worked in two journeys to and fro.
+Working from left to right, begin by fastening in your thread,
+never with a knot, but by two or three little running stitches,
+which are hidden afterwards by your first cross stitch. Directing
+your needle to the right, pass it diagonally over a double
+cross of the warp and woof of the canvas, and so on to the
+end of the line.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/302.jpg"  alt="FIG. 293.
+FIRST HALF OF THE FIRST JOURNEY AND AUXILIARY STITCH
+FOR RETURNING." title="" />
+<a name="fig_293" id="fig_293"></a><span class="caption smcap">Fig. 293.
+First half of the first journey and auxiliary stitch
+for returning.</span>
+</div>
+
+<p>Having reached the last stitch, draw out your thread in
+the middle of it, make an auxiliary diagonal stitch downwards
+<a name="Page_144" id="Page_144"></a>to the right, bring the needle up in the middle of the last
+stitch, take it thence, upwards to the left, across two threads,
+and begin the return journey, from right to left, crossing and
+thus completing the first row of stitches. In the auxiliary
+stitch with which you begin the backward journey, the thread
+lies double on
+both sides. Fig.
+<a href="#fig_295">295</a> shows how to
+pass down to the
+next row.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/303.jpg"  alt="FIG. 294.
+ONE JOURNEY AND FIRST HALF OF THE SECOND FINISHED,
+AND AUXILIARY STITCH LEADING TO THE SECOND RETURN." title="" />
+<a name="fig_294" id="fig_294"></a><span class="caption smcap">Fig. 294.
+One journey and first half of the second finished,
+and auxiliary stitch leading to the second return.</span>
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/304.jpg"  alt="FIG. 295.
+THE TWO JOURNEYS TO AND FRO, COMPLETING ONE ROW
+OF CROSS STITCH, BOTH SIDES ALIKE." title="" />
+<a name="fig_295" id="fig_295"></a><span class="caption smcap">Fig. 295.
+The two journeys to and fro, completing one row
+of cross stitch, both sides alike.</span>
+</div>
+
+<p><b>Two-sided
+marking stitch</b>
+(figs. <a href="#fig_296">296</a> and <a href="#fig_297">297</a>).
+The above mode
+of working two-sided
+cross stitch
+cannot be applied
+to letters, or patterns
+in broken
+lines, which both
+consist chiefly of
+isolated stitches.
+Figs. <a href="#fig_296">296</a> and <a href="#fig_297">297</a>
+explain the course
+of the stitches in
+embroidery of this
+kind.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_296" id="fig_296"></a>
+<img src="images/305.jpg"  alt="FIG. 296. TWO-SIDED MARKING STITCH. DIFFERENT POSITIONS OF THE NEEDLE." title="" />
+<span class="caption smcap">Fig. 296. Two-sided marking stitch. Different positions of the needle.</span>
+</div>
+
+<p>The working
+detail A, Fig.
+<a href="#fig_296">296</a>, indicates the
+spot for the thread
+to enter the stuff, and the position of the needle for the
+first and second stitches; B, the first two stitches completed,
+with an auxiliary stitch to the right, the thread drawn out on
+the right, and the position of the needle for the fifth stitch
+that completes the cross; G shows the completion of the stitch
+begun at B and the position of the needle for a second stitch
+to the right; D, one cross stitch completed and another begun,
+<a name="Page_145" id="Page_145"></a>immediately beneath A. In fig. <a href="#fig_297">297</a>, E shows how to work
+stitches to the left; F, an auxiliary stitch to reach an isolated
+cross stitch on the right, G, auxiliary stitches between two
+isolated cross stitches, and H, a second and last auxiliary
+stitch to complete the cross.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_297" id="fig_297"></a>
+<img src="images/306.jpg"  alt="FIG. 297. TWO-SIDED MARKING STITCH. DIFFERENT POSITIONS OF THE NEEDLE." title="" />
+<span class="caption smcap">Fig. 297. Two-sided marking stitch. Different positions of the needle.</span>
+</div>
+
+<p>It requires both practice and care to do this two-sided
+marking stitch, so as not to disfigure the stuff by superfluous
+stitches.</p>
+
+<p><b>Cross stitch forming a square at the back</b> (figs. <a href="#fig_298">298</a> and
+<a href="#fig_299">299</a>).&mdash;Many of the alphabets we so admire in old samplers
+are worked in cross stitch, that forms a square at the back.
+Each stitch has to be finished off before another is begun;
+if you carefully examine figs. <a href="#fig_298">298</a> and <a href="#fig_299">299</a>, which show
+severally the right and the wrong sides of the stitch, you will
+find no difficulty in mastering it. Letter A, fig. <a href="#fig_296">296</a>, shows the
+entrance of the thread, the position of the needle for half the
+cross stitch on the right side, and the second side of the
+square at the back, as shown in fig. <a href="#fig_299">299</a>, A. Letter B, fig. <a href="#fig_298">298</a>,
+shows the cross stitch finished, and the position of the needle
+for the third side of the square on the wrong side, indicated
+by the same letter in fig. <a href="#fig_299">299</a>. C, in both figures, indicates a stitch
+<a name="Page_146" id="Page_146"></a>which is double on the right side, and on the wrong side
+forms the fourth side of the square, whilst letter D, explains
+how to continue the stitches.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_298" id="fig_298"></a>
+<img src="images/307.jpg"  alt="FIG. 298. RIGHT SIDE OF THE CROSS STITCH, FORMING A SQUARE AT THE BACK." title="" />
+<span class="caption smcap">Fig. 298. Right side of the cross stitch, forming a square at the back.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="fig_299" id="fig_299"></a>
+<img src="images/308.jpg"  alt="FIG. 299. SQUARE STITCH FORMING THE BACK OF THE CROSS STITCH." title="" />
+<span class="caption smcap">Fig. 299. Square stitch forming the back of the cross stitch.</span>
+</div>
+
+<p><b>Two-sided Italian stitch</b> (figs. <a href="#fig_300">300</a>, <a href="#fig_301">301</a>, <a href="#fig_302">302</a>, <a href="#fig_303">303</a>).&mdash;Two-sided
+Italian stitch consists of cross stitches, alike on both sides,
+divided from each other by horizontal and vertical stitches.
+The upper and lower stitches should all slope one way, as
+in plain cross stitch.</p>
+
+<p>Italian stitch is worked in one journey, to and fro. Fig. <a href="#fig_300">300</a>
+shows how to fasten in the thread, and place the needle for
+the first stitch, from right to left; fig. <a href="#fig_301">301</a>, the position of the
+needle from left to right, to form the cross at the back, and
+the vertical stitch to the left, on the right side; fig. <a href="#fig_302">302</a>, the
+position of the needle, for a two-sided horizontal stitch at the
+bottom of the cross, where upon you proceed as in fig. <a href="#fig_300">300</a>.
+Fig. <a href="#fig_303">303</a> explains the return of the thread, which completes
+the double crosses and the lines between.</p>
+
+<div class="center">
+<a name="fig_300" id="fig_300"></a><a name="fig_301" id="fig_301"></a>
+<div class="figcenter" style="width: 300px;">
+<div class="figleft" style="width: 150px;">
+<img src="images/309.jpg"  alt="FIG. 300. TWO-SIDED ITALIAN STITCH. INTRODUCTION OF THE
+THREAD AND POSITION OF THE NEEDLE FOR THE FIRST STITCH." title="" />
+<span class="caption smcap">Fig. 300. Two-sided italian stitch. Introduction of the
+thread and position of the needle for the first stitch.</span>
+</div>
+
+<div class="figright" style="width: 100px;">
+<img src="images/310.jpg"  alt="FIG. 301. TWO-SIDED ITALIAN STITCH. POSITION OF THE NEEDLE
+FOR THE 2ND AND 3RD STITCHES." title="" />
+<span class="caption smcap">Fig. 301. Two-sided italian stitch. Position of the needle
+for the 2nd and 3rd stitches.</span>
+</div></div></div>
+
+<p style="clear:both">The horizontal lines, not made on the first journey, are
+added on the way back. In conclusion, pass the needle back,
+<a name="Page_147" id="Page_147"></a>horizontally, from left to right, to make the final stitch over
+the cross, and then make the stitch between,
+as shown in fig. <a href="#fig_303">303</a>. On a thin
+stuff, this stitch produces an extremely
+pretty effect, resembling lattice-work, provided
+the thread be tightly drawn in the
+working.</p>
+
+<div class="center">
+<a name="fig_302" id="fig_302"></a><a name="fig_303" id="fig_303"></a>
+<div class="figcenter" style="width: 400px;">
+<div class="figleft" style="width: 150px;">
+<img src="images/311.jpg"  alt="FIG. 302. TWO-SIDED ITALIAN STITCH. POSITION OF THE NEEDLE
+FOR THE 4TH AND 5TH STITCHES." title="" />
+<span class="caption smcap">Fig. 302. Two-sided italian stitch. Position of the needle
+for the 4th and 5th stitches.</span>
+</div>
+
+<div class="figright" style="width: 200px;">
+<img src="images/312.jpg"  alt="FIG. 303. TWO-SIDED ITALIAN STITCH. RETURN JOURNEY, WHICH
+COMPLETES THE CROSS STITCH." title="" />
+<span class="caption smcap">Fig. 303. Two-sided italian stitch. Return journey, which
+completes the cross stitch.</span>
+</div></div></div>
+
+<p style="clear:both"><b>Montenegrin cross stitch</b> (figs. <a href="#fig_304">304</a>,
+<a href="#fig_305">305</a>, <a href="#fig_306">306</a>).&mdash;The Slavonic tribes of the
+southern districts of E. Europe, especially
+the Montenegrins, have a great partiality
+for this stitch, which has been rarely
+noticed, hitherto, in books on needlework.
+The right side shows cross
+stitches with a double
+thread underneath, and
+divided by vertical stitches;
+the wrong side, regular
+cross stitches, also divided
+by vertical stitches. Coarse
+cotton should be used for
+this stitch; it produces a
+richer effect and not only
+covers the stuff better, but
+also the underneath stitch
+which in the Slavonic
+work, is entirely hidden
+by the cross stitches.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_304" id="fig_304"></a>
+<img src="images/313.jpg"  alt="FIG. 304.
+MONTENEGRIN CROSS STITCH.
+1ST, 2ND, 3RD, 4TH AND 5TH STITCH AND TRANSVERSAL STITCH" title="" />
+<span class="caption smcap">Fig. 304.
+Montenegrin cross stitch.<br />
+1st, 2nd, 3rd, 4th and 5th stitch and transversal stitch</span>
+</div>
+
+<p>Begin, as letter A indicates,
+with a long, slanting stitch, across
+4 and 8 threads, then, bringing
+your needle back from right to
+left, under four threads, draw it
+out, carry it over the first long
+stitch, and insert it again from
+left to right, under the first four
+threads of the canvas. These four
+stitches finished, proceed to the
+<a name="Page_148" id="Page_148"></a>fifth and sixth, which as B shows, cross the first four, then
+repeat the first stitch.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_305" id="fig_305"></a>
+<img src="images/314.jpg"  alt="FIG. 305.
+MONTENEGRIN CROSS STITCH.
+POSITION OF THE STITCHES ON THE WRONG SIDE." title="" />
+<span class="caption smcap">Fig. 305.
+Montenegrin cross stitch.<br />
+Position of the stitches on the wrong side.</span>
+</div>
+
+<p>The threads that form the stitches on the wrong side,
+should always be opposed to
+each other, that is, one cross
+should lean to the right, the
+other to the left, as shown in
+fig. <a href="#fig_305">305</a>. This variation in
+the inclination of the stitches,
+which is regarded as a fault in
+plain cross stitch, is indispensable
+here, and produces
+a charming effect on the wrong
+side.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/315.jpg"  alt="FIG. 306.
+MONTENEGRIN CROSS STITCH.
+A ROW OF STITCHES FINISHED." title="" />
+<a name="fig_306" id="fig_306"></a><span class="caption smcap">Fig. 306.
+Montenegrin cross stitch.<br />
+A row of stitches finished.</span>
+</div>
+
+<p><b>Plaited Algerian stitch</b> (fig. <a href="#fig_307">307</a>).&mdash;The distinguishing
+feature of this stitch is, that it
+only advances one thread at
+a time. It should be begun
+on an uneven number of
+threads, and like the Montenegrin stitch, should be worked
+with coarse cotton. The rows may touch, either at the top
+or at the bottom of the stitch, so long as you keep to one plan
+throughout.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/316.jpg"  alt="FIG. 307.
+PLAITED ALGERIAN STITCH." title="" />
+<a name="fig_307" id="fig_307"></a><span class="caption smcap">Fig. 307.
+Plaited algerian stitch.</span>
+</div><p><a name="Page_149" id="Page_149"></a></p>
+
+<p><b>Two-sided Spanish plaited stitch</b> (figs. <a href="#fig_308">308</a> and <a href="#fig_309">309</a>).&mdash;This
+stitch has the advantage of being, not only very effective, but
+also very quickly executed. It is worked in two rows, forwards
+and backwards. All cross stitch patterns can be worked
+in Spanish stitch. The gaps, which are occasioned by the long
+stitches, have to be filled in with short ones. In itself, the
+stitch consists of slanting stitches, three threads a part, alike
+on both sides, and advances three threads at a time, as shown
+in figs. <a href="#fig_308">308</a> and <a href="#fig_309">309</a>.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_308" id="fig_308"></a><a name="fig_309" id="fig_309"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/317.jpg"  alt="FIG. 308. TWO-SIDED PLAITED SPANISH STITCH." title="" />
+<span class="caption smcap">Fig. 308. Two-sided plaited spanish stitch.</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/318.jpg"  alt="FIG. 309. TWO-SIDED PLAITED SPANISH STITCH." title="" />
+<span class="caption smcap">Fig. 309. Two-sided plaited spanish stitch.</span>
+</div></div>
+
+<p><b>Two-sided line stitch</b> (figs. <a href="#fig_310">310</a> and <a href="#fig_311">311</a>).&mdash;Square stitch,
+Holbein stitch, line, or stroke stitch, as it is sometimes called,
+and setting stitch, are all worked on one principle. Though
+all these two-sided stitches are related to each other, and by
+no means difficult of execution, those new to the work will
+find a little practice necessary, to make the stitches follow in
+their proper order. Fig. <a href="#fig_310">310</a> explains how the needle has to
+pass, alternately, step by step, over and under the threads of
+<a name="Page_150" id="Page_150"></a>the stuff, and fig. <a href="#fig_311">311</a>, how the threads, left blank the first
+time, are covered on the way back. The great difficulty is how
+to place your first row of stitches so as to
+ensure an unbroken course back. It is as
+well before setting out, to ascertain
+clearly the most direct course back, so
+that you may not come to a stand-still,
+or be obliged to make unnecessary
+stitches on the wrong side. If you have
+to pass obliquely across the stuff, as in
+patterns figs. <a href="#fig_326">326</a>, <a href="#fig_327">327</a>, <a href="#fig_328">328</a>, <a href="#fig_329">329</a>, <a href="#fig_331">331</a> and
+<a href="#fig_333">333</a>, proceed in the same way as though
+you were covering the straight threads
+of a fabric.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_310" id="fig_310"></a><a name="fig_311" id="fig_311"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/319.jpg"  alt="FIG. 310. TWO-SIDED LINE STITCH. FORWARD ROW." title="" />
+<span class="caption smcap">Fig. 310. Two-sided line stitch. Forward row.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/320.jpg"  alt="FIG. 311. TWO-SIDED LINE STITCH. BACKWARD ROW." title="" />
+<span class="caption smcap">Fig. 311. Two-sided line stitch. Backward row.</span>
+</div></div>
+
+<p><b>Two-sided insertion</b> (figs. <a href="#fig_312">312</a>, <a href="#fig_313">313</a>,
+<a href="#fig_314">314</a>, <a href="#fig_315">315</a>, <a href="#fig_316">316</a>, <a href="#fig_317">317</a>, <a href="#fig_318">318</a>).&mdash;We conclude
+this series of stitches with a description
+of a pretty, two-sided insertion, suitable
+for joining stripes of work of different
+widths together. In pieces of old needlework,
+we often find handsome, coloured
+patterns, joined together by a piece of lace or some quite different
+kind of work. The insertion represented in fig. <a href="#fig_317">317</a>, is a
+very good substitute for either. Fig. <a href="#fig_312">312</a> explains the first stitch
+and the course of the second, from left to right, under 3 vertical
+and 3 horizontal threads; the 3rd stitch to the left, over
+6 vertical threads, and the beginning of the 4th stitch.
+Fig. <a href="#fig_313">313</a> shows the 4th stitch completed, and the direc<a name="Page_151" id="Page_151"></a>tion
+the 5th and 6th stitches have to take; fig. <a href="#fig_314">314</a>, the 6th
+completed, and the position of the needle for the 7th and 8th;
+fig. <a href="#fig_315">315</a>, the 9th lower, horizontal stitch, over 6 vertical threads,
+the 10th backward stitch, and the position of the needle for
+the 11th and last stitch. Fig. <a href="#fig_317">317</a> represents a whole series
+of stitches, and fig. <a href="#fig_318">318</a>, the back of the work, which though
+quite a different pattern, will combine very well with any two-sided
+embroidery.</p>
+
+<div class="center">
+<div class="figcenter" style="width: 400px;">
+<div class="figleft" style="width: 200px;">
+<img src="images/321.jpg"  alt="FIG. 312. TWO-SIDED INSERTION.
+FIRST DETAIL." title="" />
+<a name="fig_312" id="fig_312"></a><span class="caption smcap">Fig. 312. Two-sided insertion.<br />
+First detail.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/322.jpg"  alt="FIG. 313. TWO-SIDED INSERTION.
+SECOND DETAIL." title="" />
+<a name="fig_313" id="fig_313"></a><span class="caption smcap">Fig. 313. Two-sided insertion.<br />
+Second detail.</span>
+</div></div>
+
+<div class="figcenter" style="width: 350px;">
+<div class="figleft" style="width: 150px;">
+<img src="images/323.jpg"  alt="FIG. 314. TWO-SIDED INSERTION.
+THIRD DETAIL." title="" />
+<a name="fig_314" id="fig_314"></a><span class="caption smcap">Fig. 314. Two-sided insertion.<br />
+Third detail.</span>
+</div>
+
+<div class="figright" style="width: 150px;">
+<img src="images/324.jpg"  alt="FIG. 315. TWO-SIDED INSERTION.
+FOURTH DETAIL." title="" />
+<a name="fig_315" id="fig_315"></a><span class="caption smcap">Fig. 315. Two-sided insertion.<br />
+Fourth detail.</span>
+</div></div>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/325.jpg"  alt="FIG. 316. TWO-SIDED INSERTION.
+FIFTH DETAIL." title="" />
+<a name="fig_316" id="fig_316"></a><span class="caption smcap">Fig. 316. Two-sided insertion.<br />
+Fifth detail.</span>
+</div>
+</div>
+
+<p>These insertions can be worked on any stuff, but the stitches,
+must be done, both ways, on a number of threads, divisible by
+3. Thus, the first stitch may cover 6, 9, or 12 threads, but
+never 8, 10, 12 or 14. [Transcriber's note: 12, here, appears to be an error in the original.]</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/326.jpg"  alt="FIG. 317. TWO-SIDED INSERTION. ROW OF STITCHES FINISHED." title="" />
+<a name="fig_317" id="fig_317"></a><span class="caption smcap">Fig. 317. Two-sided insertion. Row of stitches finished.</span>
+</div>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/327.jpg"  alt="FIG. 318. TWO-SIDED INSERTION, SHOWING THE BACK OF FIG. 317." title="" />
+<a name="fig_318" id="fig_318"></a><span class="caption smcap">Fig. 318. Two-sided insertion, showing the back of fig. <a href="#fig_317">317</a>.</span>
+</div>
+
+<p><b><a name="Gothic_borders" id="Gothic_borders"></a>Gothic borders in Gobelin and cross stitch</b> (figs. <a href="#fig_319">319</a> and
+<a href="#fig_320">320</a>).&mdash;We are indebted for both these pretty patterns, which
+are quite Gothic in their character, to a visit we paid to the
+national museum at Munich, where we discovered them
+amongst a heap of other old valuables, lying un-heeded in a
+remote corner. Their simple graceful outlines render them
+peculiarly suitable for the decoration of table-cloths, counterpanes,
+curtains, etc. All embroideries of this kind should be
+finished off with a deep fringe, made in the stuff itself, or
+knotted on to it or may be trimmed with a heavy thread lace,
+of a wide width, corresponding with the work in character.</p><p><a name="Page_152" id="Page_152"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_328.jpg"><img src="images/328.jpg"  alt="FIG. 319. GOTHIC BORDER IN CROSS STITCH." title="" /></a>
+<a name="fig_319" id="fig_319"></a><span class="caption"><span class="smcap">Fig. 319. Gothic border in cross stitch.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 6 to 12, Coton &agrave; broder D.M.C Nos.
+16 to 35, or Cordonnet 6 fils D.M.C Nos. 3 to 15.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Rouge-Turc 321, or two shades of Bleu-Indigo, 311 and 334, or
+two shades of Rouge-Grenat, 358 and 359 or two shades of Brun-Acajou,
+300 and 402.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The design may be worked either in one shade, as in fig. <a href="#fig_319">319</a>, or in two, as in fig. <a href="#fig_320">320</a>, where all the outside stitches
+are worked in the darker shade of the given colours.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_329.jpg"><img src="images/329.jpg"  alt="FIG. 320. GOTHIC BORDER IN CROSS STITCH." title="" /></a>
+<a name="fig_320" id="fig_320"></a><span class="caption"><span class="smcap">Fig. 320. Gothic border in cross stitch.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 16 to 35.<br />
+<span class="smcap">Colours:</span> Bleu-Indigo 311 and 344, or Rouge-Cardinal 346 and Rouge-G&eacute;ranium
+335, or Gris-Tilleul 391 and 331.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Powdering and border. Albanian subjects</b> (figs. <a href="#fig_321">321</a> and
+<a href="#fig_322">322</a>).&mdash;The arrangement of colours for these charming patterns,
+of Albanian origin, should be as follows; the dark-coloured
+crosses, red, the lighter ones, alternately blue and green, the
+lightest, yellow.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_330.jpg"><img src="images/330.jpg"  alt="FIG. 321. POWDERING. ALBANIAN SUBJECT." title="" /></a>
+<a name="fig_321" id="fig_321"></a><span class="caption"><span class="smcap">Fig. 321. Powdering. Albanian subject.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or Coton &agrave; repriser D.M.C No. 12, 25 or 50. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Rouge-Cardinal 347, Bleu-Indigo 322, Vert m&eacute;tallique 465,
+Jaune-Orange 444, Gris-Brun 409.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>In fig. <a href="#fig_321">321</a>, most of the stitches in every other diagonal
+row, are worked in red, the others in green or blue; in the
+intermediate rows the flowers are worked alternately, in green
+and red, or blue and red, and throughout, the centre of each
+figure should consist of 4 stitches in yellow.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_331.jpg"><img src="images/331.jpg"  alt="FIG. 322. ALBANIAN SUBJECT." title="" /></a>
+<a name="fig_322" id="fig_322"></a><span class="caption"><span class="smcap">Fig. 322. Albanian subject.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 6 to 12, Coton &agrave; broder D.M.C Nos. 16 to 35 or Cordonnet 6 fils D.M.C Nos. 3 to 25. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Rouge-Cardinal 347, Bleu-Indigo 312, Jaune-Orange 444, Vert
+m&eacute;tallique 465, Gris-Brun 409.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+<p><a name="Page_153" id="Page_153"></a></p>
+<p>In fig. <a href="#fig_321">321</a>, which serves as a border to the above, only the
+stalks of the 4 conventional pinks, which, with the cross in
+their middle, form a square, are in brown.</p>
+
+<p>These squares are separated from the bottom border by an
+insertion, in Gobelin stitch, worked over 6 threads, in red,
+blue, green and yellow, from 20 to 25 stitches of each. This
+band is edged on both sides with a row of stem stitches,
+worked in yellow over 4 threads. The Holbein stitches that
+border the band, can be made in whichever colour the worker
+prefers, or else in red and gold thread.</p>
+
+<p><b>Borders in stroke stitch</b> (figs. <a href="#fig_323">323</a>, <a href="#fig_324">324</a>, <a href="#fig_325">325</a>).&mdash;These three
+patterns will give our readers an opportunity of perfecting
+<a name="Page_154" id="Page_154"></a>themselves in two-sided, square stitch (see figs. <a href="#fig_310">310</a> and <a href="#fig_311">311</a>),
+also called stroke, or line stitch, according as it is worked, in
+oblique, or straight rows.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/332.jpg"  alt="FIG. 323. BORDER IN STROKE STITCH." title="" />
+<a name="fig_323" id="fig_323"></a><span class="caption"><span class="smcap">Fig. 323. Border in stroke stitch.<br />
+Materials:</span> Coton &agrave; marquer D.M.C Nos. 5 to 200. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Rouge-Turc 321 or Bleu-Indigo 312. <a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/333.jpg"  alt="FIG. 324. BORDER IN STROKE STITCH." title="" />
+<a name="fig_324" id="fig_324"></a><span class="caption"><span class="smcap">Fig. 324. Border in stroke stitch.<br />
+Materials:</span> Coton &agrave; repriser D.M.C No. 50. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Vert-Pistache 319, or Vert-Mousse 470. <a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/334.jpg"  alt="FIG. 325. INSERTION IN STROKE STITCH." title="" />
+<a name="fig_325" id="fig_325"></a><span class="caption"><span class="smcap">Fig. 325. Insertion in stroke stitch.<br />
+Materials:</span> Coton &agrave; broder D.M.C Nos. 16 to 60. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Rouge-Turc 321, or Rouge-Grenat 309, or Bleu-Indigo 311.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>We again recommend our readers, to begin by ascertaining
+the course the stitches should take, in order to avoid all unnecessary
+stitches and be sure of finding their way back according
+to the prescribed rule.</p>
+<p><a name="Page_155" id="Page_155"></a></p>
+<p><b>Corners in stroke stitch</b> (figs. <a href="#fig_326">326</a> and <a href="#fig_327">327</a>).&mdash;These pretty
+little patterns are suitable for the decoration of ladies' and
+children's collars, fine pocket-handkerchiefs and finger napkins,
+and can be worked in one or two colours, as preferred. If two
+colours be used, the darker should be taken for the interior, the
+lighter for the narrow outside edge.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="fig_326" id="fig_326"></a><a name="fig_327" id="fig_327"></a>
+<div class="figleft" style="width: 300px;">
+<img src="images/335.jpg"  alt="FIG. 326. CORNERS IN LINE STITCH." title="" />
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/336.jpg"  alt="FIG. 327. CORNERS IN LINE STITCH." title="" />
+</div>
+<span class="caption"><span class="smcap">Fig. 326. &amp; fig. 327.
+Corners in line stitch.<br />
+Materials:</span> Coton &agrave; broder D.M.C
+Nos 35 to 200 or Fil &agrave; dentelle D.M.C
+Nos. 25 to 70. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Bleu-Indigo, or Rouge-Cardinal,
+or Brun-Caroubier, or Violet-Lie-de-vin. <a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+
+<p><b>Stripe in stroke stitch</b> (fig. <a href="#fig_328">328</a>).&mdash;This is copied from a
+piece of Italian work, though from a resemblance in the different
+subjects to the rose, thistle and shamrock, if might have
+been supposed to be of English origin. The original work was
+<a name="Page_156" id="Page_156"></a>executed in a most brilliant purple red which time has toned
+down to the colour of Jaune-Rouille 308, or Brun-Cuir 432,
+one or other of which we recommend, as being the only colours
+<a name="Page_157" id="Page_157"></a>with which any thing approaching the refined distinguished
+look of the old embroidery, can be given to the new.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/337.jpg"  alt="FIG. 328. STRIPE IN STROKE STITCH." title="" />
+<a name="fig_328" id="fig_328"></a><span class="caption"><span class="smcap">Fig. 328. Stripe in stroke stitch.<br />
+Materials:</span> Cordonnet 6 fils D.M.C Nos. 15 to 50, Coton &agrave; broder D.M.C
+Nos. 16 to 35, or Coton &agrave; repriser D.M.C No. 12, 25 or 50. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Jaune-Rouille 308, or Jaune-vieil-Or 680.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Grounding in diagonal lines</b> (fig. <a href="#fig_329">329</a>).&mdash;This pattern
+can be worked, in any of the previous stitches, or in back-<a name="Page_158" id="Page_158"></a>stitch.
+It is only suitable for large surfaces, on account of the
+diagonal lines, and should be worked, all in one colour. It can
+be varied by adding sprays to the upper sides of the slanting
+stalks, like those on the lower sides, turned either the same
+way, or upwards. Skilled workers will readily contrive the
+middles for themselves, by combining the different subjects
+and putting them together in various positions, either diagonally
+or at right angles to each other, with the help of the Penelope
+mirror.<a name="FNanchor_2_45" id="FNanchor_2_45"></a><a href="#Footnote_2_45" class="fnanchor">[1]</a></p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_338.jpg"><img src="images/338.jpg"  alt="FIG. 329. GROUNDING IN DIAGONAL LINES." title="" /></a>
+<a name="fig_329" id="fig_329"></a><span class="caption"><span class="smcap">Fig. 329. Grounding in diagonal lines.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 6 to 16, or Coton &agrave; broder D.M.C
+Nos. 16 to 100.<br />
+<span class="smcap">Colours:</span> Bleu-Indigo 322, or Rouge-Cardinal 347.</span>
+</div>
+
+<p><a name="Page_159" id="Page_159"></a></p>
+<p><b>Powdering in cross, stroke and star stitch</b> (fig. <a href="#fig_330">330</a>).&mdash;This
+charming combination of cross, stroke and star stitches,
+can be made use of wherever embroidery is available as a
+means of decoration.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_339.jpg"><img src="images/339.jpg"  alt="FIG. 330. POWDERING IN CROSS, STROKE AND STAR STITCH." title="" /></a>
+<a name="fig_330" id="fig_330"></a><span class="caption"><span class="smcap">Fig. 330. Powdering in cross, stroke and star stitch.<br />
+Materials:</span> Coton &agrave; repriser D.M.C No. 50 and Chin&eacute; d&#39;or D.M.C. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>&mdash;For the Cotton: Rouge-Grenat 326.&mdash;For the Chin&eacute;:
+Bleu-Indigo and gold.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The cross stitches, in which the solid parts of the pattern
+are worked, should be in one colour only, the stroke and star
+stitches, in Chin&eacute; d'or D.M.C. <a href="#Footnote_A" class="fnanchor">[A]</a></p>
+
+
+<p><b>Border in Greek stitch</b> (fig. <a href="#fig_331">331</a>).&mdash;All the darker lines
+here, should be worked in black, colour 473, the leaves in the
+<a name="Page_160" id="Page_160"></a>form of steps, alternately in light and dark red up to the stalks,
+the line of demarcation being indicated by the different direction
+of the stitches, so that two light leaves, and two dark leaves,
+should always face each other.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_340.jpg"><img src="images/340.jpg"  alt="FIG. 331. BORDER IN GREEK STITCH." title="" /></a>
+<a name="fig_331" id="fig_331"></a><span class="caption"><span class="smcap">Fig. 331. Border in greek stitch.<br />
+Materials:</span> Coton &agrave; broder D.M.C Nos. 16 to 25, or Coton &agrave; repriser D.M.C
+Nos. 12 to 50.<br />
+<span class="smcap">Colours:</span> Rouge-G&eacute;ranium 349 and 351, Jaune-Rouille 364, Bleu de France 341,
+Bleu p&acirc;le 668, Noir-Vert 473, Or fin D.M.C pour la broderie No. 30 and
+Chin&eacute; d&#39;or D.M.C No. 30.</span>
+</div>
+
+<p>In the original, the cross bars that unite the leaves, are in
+yellow, whilst the detached figures that separate them, are
+worked, those that come between the light red leaves, in pale
+blue, and those between the dark red ones, in gold thread.
+The exterior part of the figure is filled in with the different
+colours, indicated above; with the exception of the small squares
+in Gobelin stitch, which should all be worked in plain gold,
+or Chin&eacute; d'or D.M.C, green and gold. The SS in the narrow
+outside border, should be worked in two shades of blue;
+the outside stitches in colour 341 and the solid parts in colour
+668. The little figures with the transverse bars that unite the
+SS, should be set in black, and filled in, alternately, in light
+and dark red, and in yellow.</p><p><a name="Page_161" id="Page_161"></a></p>
+
+<p><b>Grounding</b> (fig. <a href="#fig_332">332</a>).&mdash;This grounding was copied from
+a beautiful old cushion-cover
+and will be found
+particularly useful in the
+confection of small embroidered
+articles, because the
+pattern will always form a
+centre point in itself. A
+light, brilliant red, such as
+either of the two colours
+indicated beneath the
+figure, will best reproduce
+the tone of the original.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/341.jpg"  alt="FIG. 332. GROUNDING." title="" />
+<a name="fig_332" id="fig_332"></a><span class="caption"><span class="smcap">Fig. 332. Grounding.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 6 to
+10, or Coton &agrave; broder D.M.C Nos. 16 to 100.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Rouge-Cardinal 804, or Rouge-Cornouille 450.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>In making the little
+stars that connect the different
+squares, the mode
+we recommended for working
+stroke stitch should be
+adopted, that is, beginning,
+by bringing the needle out in the middle, making 7
+stitches, and at the eighth, carrying the needle back under
+the first, to the spot whence you started. The stitches will
+then be alike on both sides.</p>
+
+<p><b>Wallachian border</b> (fig. <a href="#fig_333">333</a>).&mdash;A piece of Wallachian
+needlework, executed on rough linen, and uncommon, both in
+colour and design, suggested the charming embroidery, here represented.
+In place of the somewhat violent colours, which indicate
+an undeveloped taste, we have substituted softer and more
+refined ones. All the stroke stitches of the middle stripe and
+of the two border stripes, top and bottom, as well as the
+darker portions of the small dice, subdivided into eight, in
+the bottom border, and of the small diagonal squares in the
+top border, worked in Gobelin stitch, are in red, colour 346.
+The setting of upright stroke stitches round the large centre
+figures, as well as the straight lines that divide these same
+<a name="Page_162" id="Page_162"></a><a name="Page_163" id="Page_163"></a>figures into four, are
+worked in yellow, colour
+680.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_342.jpg"><img src="images/342.jpg"  alt="FIG. 333. WALLACHIAN BORDER." title="" /></a>
+<a name="fig_333" id="fig_333"></a><span class="caption"><span class="smcap">Fig. 333. Wallachian border.<br />
+Gobelin stitch, stroke stitch and spanish half-stitch.<br />
+Materials.</span>&mdash;For Rhodes linen No. 1: Cordonnet 6 fils D.M.C No. 15, and Or fin
+D.M.C pour la broderie No. 30.&mdash;For other stuffs: Coton &agrave; tricoter D.M.C Nos.
+6 to 16, or Coton &agrave; repriser D.M.C No. 12, 25 or 50 and Or fin D.M.C. <a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Rouge-Cardinal 346, Rouge-G&eacute;ranium 326, Vert-Pistache 319 and
+Jaune-vieil-Or 680.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The squares and the
+half-squares are worked in
+colour 326, green 319, and
+gold thread; colour 326
+is indicated in the illustration
+by the darkest
+shade, green 319, by the
+medium shade, and the
+gold thread by the lightest
+shade.</p>
+
+<p>The stitches in the
+right bottom quarter and
+top left one, incline upwards
+from left to right,
+in the two other quarters
+they incline the contrary
+way. The Spanish half-stitch
+as shown in fig. <a href="#fig_309">309</a>,
+can only be done over 4
+and 2 threads and worked
+one way, not to and fro.</p>
+
+<p>The general effect is
+very much heightened by
+the introduction of one
+or two rows of stitches,
+worked in gold thread,
+into the straight lines on
+either side of the stripes;
+all the light parts of the
+design moreover, should
+be worked in gold thread.</p>
+<p><a name="Page_164" id="Page_164"></a></p><p><a name="Page_165" id="Page_165"></a></p><p><a name="Page_166" id="Page_166"></a></p>
+
+<p><b>Borders in several shades of one colour</b> (figs. <a href="#fig_334">334</a> and
+<a href="#fig_335">335</a>). In some beautifully embroidered Chinese hangings, that
+latterly came under our notice, the principal subject was the
+figure of a mandarin, in a very richly decorated dress. The
+pretty pattern, given in fig. <a href="#fig_334">334</a>, was
+copied from the collar and cuffs of
+this dress. We should advise working
+it in several shades of pink or red,
+or in a single one of the colours indicated
+above.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a href="images/full_343.jpg"><img src="images/343.jpg"  alt="FIG. 334. BORDER IN SEVERAL SHADES OF ONE COLOUR." title="" /></a>
+<a name="fig_334" id="fig_334"></a><span class="caption"><span class="smcap">Fig. 334. Border in several shades of one colour.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 12 to 20, Coton &agrave; broder D.M.C Nos.
+16 to 35 or Coton &agrave; repriser No. 12, 25 or 50.<br />
+<span class="smcap">Colours:</span> Three shades of either Bleu-Indigo, Rouge-Grenat,
+or Violet-Mauve etc. etc.</span>
+</div>
+
+<p>The border of these hangings
+furnished us with pattern <a href="#fig_335">335</a>, which
+will be found to look best, worked
+in three very distinct shades of
+blue.</p>
+
+<div class="figcenter" style="width: 1200px;">
+<a href="images/full_344.jpg"><img src="images/344.jpg" alt="FIG. 335. BORDER IN SEVERAL SHADES OF ONE COLOUR." title="" /></a>
+<a name="fig_335" id="fig_335"></a><span class="caption smcap">Fig. 335. Border in several shades of one colour.</span>
+</div>
+
+<p>The grotesque heads of animals,
+and the flowers and branches which
+break the running pattern, and are a Chinese speciality,
+distinguish this design from the more conventional patterns
+of the present day.</p>
+
+<p>We recommend these two pretty patterns, to our readers
+notice, as likewise adaptable by transposition, to centres, or by
+repetition, to broad stripes. With very little trouble they
+can be converted, into a variety of subjects, such as it is
+often difficult to find ready made, and exactly suited to the
+purpose in hand.</p>
+
+<p><b>Border in Greek stitch with a footing, composed of
+branches</b> (fig. <a href="#fig_336">336</a>).&mdash;This design can be worked in Greek,
+Slavonic, Montenegrin, or plaited Algerian stitch. Our illustration
+worked in Greek stitch, shows how one stitch encroaches
+upon another, and how the thread is carried from one
+isolated stitch, to another.</p>
+
+<div class="figcenter" style="width: 1200px;">
+<a href="images/full_345.jpg"><img src="images/345.jpg" alt="FIG. 336. BORDER IN GREEK STITCH WITH A
+FOOTING, COMPOSED OF BRANCHES." title="" /></a>
+<a name="fig_336" id="fig_336"></a><span class="caption smcap">Fig. 336. Border in greek stitch with a
+footing, composed of branches.</span>
+</div>
+
+<p>It will be found to be an improvement if the stitches are so
+made as to follow the direction of the lines. The central subject
+may be repeated two or three times, according to the width of
+border required. The edging is the same throughout. The use
+of the 'Penelope mirror' for repeating patterns is described
+in the concluding chapter of the book.</p><p><a name="Page_167" id="Page_167"></a></p>
+
+<p><b>Table-cover in Gobelin and stroke stitch</b> (figs. <a href="#fig_337">337</a>, <a href="#fig_338">338</a>,
+<a href="#fig_339">339</a>, <a href="#fig_340">340</a>).&mdash;This tasteful little table-cover provides excellent
+practice in working two sided, square stitch. The square
+represented in fig. <a href="#fig_339">339</a>, forms the middle of the cloth. The
+Gobelin stitches, set very closely, unite and form a star in the
+centre of the principal subject. They begin in the corners, in
+red and continue in green, violet and blue, successively; the
+little branches in stroke stitch, on each side of the Gobelin
+stitches, correspond with them in colour, and the small figures,
+that form the border of the square, may be worked, indiscriminately,
+in any of the colours used for the Gobelin stitches of
+the centre. Four branches run inwards from the corners of the
+square, and four more advance to meet, and pass them, from
+the inner angles of the wide border. Four figures, copied from
+the outside border, fig. <a href="#fig_339">339</a>, and worked in yellow, and the
+little star, fig. <a href="#fig_337">337</a>, besides the little subjects, borrowed from
+the outside border, fig. <a href="#fig_338">338</a>, are strewn lightly over the foundation,
+interspersed between the branches. In fig. <a href="#fig_340">340</a>, nevertheless,
+which represents the whole table-cover, the edge is
+formed of the small subjects contained in the wide border and
+<a name="Page_168" id="Page_168"></a>not of the little stars. The Gobelin stitches in the centre of
+fig. <a href="#fig_337">337</a>, are in dark green, the star stitches and the stroke
+stitches on the outside in red. The wide border consists of
+stars, every other row of which, is worked in red; the intermediate
+rows, successively, in blue, green, and yellow. The
+corners are composed of four detached stars, framed by a row
+of stroke stitches, one red and one blue, alternately. This line
+skirts both sides of the border, and forms the base to the
+quaint figures, that terminate the design and which can be
+worked in all the colours used for the inside.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/346.jpg"  alt="FIG. 337. SMALL DETACHED SUBJECT OF FIG. 340." title="" />
+<a name="fig_337" id="fig_337"></a><span class="caption smcap">Fig. 337. Small detached subject of fig. <a href="#fig_340">340</a>.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_347.jpg"><img src="images/347.jpg"  alt="FIG. 338. OUTER BORDER OF FIG. 340." title="" /></a>
+<a name="fig_338" id="fig_338"></a><span class="caption smcap">Fig. 338. Outer border of fig. <a href="#fig_340">340</a>.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_348.jpg"><img src="images/348.jpg"  alt="FIG. 339. MIDDLE OF FIG. 340." title="" /></a>
+<a name="fig_339" id="fig_339"></a><span class="caption smcap">Fig. 339. Middle of fig. <a href="#fig_340">340</a>.</span>
+</div>
+
+<p>The original of our illustration, which is on fine Rhodes
+linen, in Coton &agrave; broder D.M.C No. 25, is only a small table-<a name="Page_169" id="Page_169"></a><a name="Page_170" id="Page_170"></a>cover;
+for a larger one, if you wish strictly to adhere to the
+pattern, Java or Ceylon linen will be the best material to
+select, with Coton &agrave; tricoter D.M.C No. 12, for the stroke
+stitches and Coton &agrave; repriser No. 25 for the Gobelin stitches.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_349.jpg"><img src="images/349.jpg"  alt="FIG. 340. TABLE-COVER IN GOBELIN AND STROKE STITCH." title="" /></a>
+<a name="fig_340" id="fig_340"></a><span class="caption"><span class="smcap">Fig. 340. Table-cover in gobelin and stroke stitch.<br />
+Materials.</span>&mdash;According to the stuff: Coton &agrave; tricoter D.M.C Nos. 6 to 16, Coton
+&agrave; broder D.M.C Nos. 16 to 35, Coton &agrave; repriser D.M.C Nos. 12, 25, 50, Fil &agrave;
+pointer D.M.C Nos. 10 to 30, or Cordonnet 6 fils D.M.C Nos. 3 to 20.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> Rouge-Cornouille 450, Vert-Pistache 319, Violet-Lie-de-vin 372,
+Jaune-Rouille 364, Bleu-Indigo 322.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_8.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents.</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+<div class="footnote"><p><a name="Footnote_2_45" id="Footnote_2_45"></a><a href="#FNanchor_2_45"><span class="label">[1]</span></a> See, the directions for its use, given in the concluding chapter.</p></div>
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
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+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/350.jpg"  alt="INSERTION&mdash;PLAIN STITCHES AND OVERS" title="" />
+<span class="caption smcap">Insertion&mdash;Plain stitches and overs</span>
+</div>
+
+
+<p><a name="Page_171" id="Page_171"></a></p>
+
+<hr style="width: 15%;" />
+<h2><a name="Knitting" id="Knitting"></a>Knitting.</h2>
+<hr style="width: 15%;" />
+
+
+<p>Knitting is one of the earliest forms of needlework, and
+one, which has been carried to the highest perfection. It would
+be difficult to invent new stitches or patterns and, we shall
+therefore confine ourselves to describing the stitches in general
+use, and reproducing those of the old patterns we consider
+the most useful, that our readers may make their own selection.</p>
+
+<p>In former days, knitting served mainly for the manufacture
+of stockings, and even now, in spite of machines, handknit
+stockings, and numberless other useful and ornamental articles,
+such as shawls, counterpanes, cradle-coverings, gloves, laces
+etc. are in great request.</p>
+
+<p>Besides its practical use, knitting is an easy and pleasant
+pastime that can be taken up at odd minutes and even carried
+on, whilst talking, or reading.</p>
+
+<p>Knitting consists of loops, or stitches, as they are generally
+called, formed by means of a thread and two needles.</p>
+
+<p>In round knitting, four, or five needles are necessary for
+the better handling of the work.</p>
+
+<p>Through the loops formed in knitting, being connected
+together in unbroken continuity, a very elastic fabric is produced,
+which is specially suitable for making warm, and
+closely-fitting wearing-apparel.</p><p><a name="Page_172" id="Page_172"></a></p>
+
+<p><b>Materials</b>.&mdash;Threads with a slight twist, such as Coton &agrave;
+tricoter D.M.C, are the best. With regard to the thickness of
+the needles, whether they be of steel, wood, or bone, your
+choice must be determined by the quality of the thread used.</p>
+
+<p>The accompanying table is intended to help inexperienced
+knitters to match their needles and thread, we advisedly say,
+help, as it is impossible exactly to determine the numbers that
+will correspond, because every hand knits differently, and a
+loose knitter has to use finer needles than a tight knitter.</p>
+
+<p>Other materials are enumerated here, besides, what is
+properly speaking, called knitting-cotton, as for caps, lace
+edgings, insertions and so forth, finer kinds of thread and
+threads with a stronger twist which show up the pattern better,
+should be used.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/351.jpg"  alt="Table of the approximate relation of the D.M.C threads
+and cottons to the numbers of the knitting needles" title="" />
+<span class="caption">Table of the approximate relation of the D.M.C threads
+and cottons to the numbers of the knitting needles.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b><a name="Position_of_the_hands" id="Position_of_the_hands"></a>Position of the hands in knitting</b> (fig. <a href="#fig_341">341</a>.)&mdash;Lay the
+thread over the fifth finger of the right hand, and twist it
+round it, then carry it over the forefinger, which should be
+kept close to the work, the work being held between the third
+finger and the thumb. The left hand remains more or less
+<a name="Page_173" id="Page_173"></a>inactive, having merely, by a slight movement of the forefinger
+to pass the loops, in succession, on to the needle in the right
+hand, which forms the stitches. This position of the hands,
+which is the one usually adopted in England and France, is
+the one represented in our illustration. The Germans on the
+contrary, lay the thread over the left hand, and can move the
+hands much more quickly, in consequence. There are some
+ways of casting on, which can only be done in the German
+fashion.</p>
+
+<p>To prevent the irregularity in stitches, the needles should
+never be allowed to protrude more than 1 or 1&frac12; c/m, from
+the work. All exaggerated movement of the arms, which renders
+knitting a very tiring occupation, should be avoided.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/352.jpg"  alt="FIG. 341. POSITION OF THE HANDS IN KNITTING." title="" />
+<a name="fig_341" id="fig_341"></a><span class="caption smcap">Fig. 341. Position of the hands in knitting.</span>
+</div>
+
+<p><b><a name="Casting_on" id="Casting_on"></a>Casting on.</b>&mdash;Casting, or, setting on, as it is sometimes
+called, is the formation of the first row of stitches which are
+to constitute the foundation of the work.</p>
+
+<p>There are four methods of casting on: (1) crossed casting
+on, done in four different ways; (2) knitting on; (3) slipping
+on, also done in two ways; (4) casting on with picots.</p>
+
+<p>(1) <b>Crossed casting on with a single thread</b> (fig. <a href="#fig_342">342</a>).
+Lay the thread over your fingers as though you were beginning
+a chain of plain stitches, fig. <a href="./chapter_9.html#fig_403">403</a>, leaving a long end, sufficient
+to make the number of stitches required, lying within the palm
+of the hand. Put the needle in from below, into the loop on
+<a name="Page_174" id="Page_174"></a>the thumb, and pass it from right to left under that part of
+the thread which lies between the forefinger and the thumb.
+Then bring the thread through the loop on the thumb, draw
+the thumb out, and lay the loop on the needle. In making the
+next stitches, lay the thread over the thumb, so that the end
+lies outside. Put in the needle under the front thread and
+complete the stitch as before. This method of casting on is
+generally done over two needles, one of them being drawn out
+before the knitting-off is begun, to ensure a loose edge.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/353.jpg"  alt="FIG. 342. CROSSED CASTING ON WITH A SINGLE THREAD." title="" />
+<a name="fig_342" id="fig_342"></a><span class="caption smcap">Fig. 342. Crossed casting on with a single thread.</span>
+</div>
+
+<p><b>Crossed casting on with a threefold thread.</b>&mdash;This method
+is similar to the last, only that the thread is taken threefold
+and is drawn by the needle through the loop, which is formed
+at the bend of the thread. Then you pass the single thread
+over the left hand, and the triple one over the thumb, as shown
+<a name="Page_175" id="Page_175"></a>in fig. <a href="#fig_342">342</a>, and make the same stitches, as above. The threefold
+thread makes a broad chain at the bottom of the loops.</p>
+
+<p><b>Double crossed casting on</b> (fig. <a href="#fig_343">343</a>).&mdash;This can be done
+either with a single or a threefold thread. In our drawing it is
+done with the latter. The first stitch is made as we have already
+described, only that you have to keep the loop on your thumb,
+put the needle into it a second time, lay hold of the thread behind,
+cast on a second stitch, and then only, withdraw your thumb.
+In this manner two loops are made at once, close together.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/354.jpg"  alt="FIG. 343. DOUBLE CROSSED CASTING ON." title="" />
+<a name="fig_343" id="fig_343"></a><span class="caption smcap">Fig. 343. Double crossed casting on.</span>
+</div>
+
+<p><b>Crossed casting on, forming a chain</b> (fig. <a href="#fig_344">344</a>.)&mdash;Begin by
+making one such stitch, as we have described in fig. <a href="#fig_341">341</a>; for
+the second and following stitches, bring the end of the thread
+to the inside of the palm of the hand, so that it lies between
+the thumb and the forefinger.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/355.jpg"  alt="FIG. 344. CROSSED CASTING ON, FORMING A CHAIN." title="" />
+<a name="fig_344" id="fig_344"></a><span class="caption smcap">Fig. 344. Crossed casting on, forming a chain.</span>
+</div>
+
+<p>(2) <b>Knitting on stitches</b> (fig. <a href="#fig_345">345</a>).&mdash;Begin with a plain
+crossed stitch; then take the thread and the needle in the left
+hand, a second needle in the right, and catch it into the stitch
+on the left needle, lay the thread under the right needle and
+draw it through in a loop, through the loop on the left needle.
+Then transfer it as a fresh stitch to the left needle; catch the
+needle into this second stitch, and draw the thread through
+it, to form the third, and so on.</p>
+
+<p>This method of casting on is used for articles, that are
+to have a double edge, (see figs. <a href="#fig_355">355</a>, <a href="#fig_356">356</a>), because stitches,
+made in this way, are easier to pick up than the tighter ones;
+<a name="Page_176" id="Page_176"></a>but it should not be used, where it will form the actual edge,
+as the loops are always too open.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/356.jpg"  alt="FIG. 345. KNITTING ON STITCHES." title="" />
+<a name="fig_345" id="fig_345"></a><span class="caption smcap">Fig. 345. Knitting on stitches.</span>
+</div>
+
+<p>(3) <b>Casting on with slip loops</b> (fig. <a href="#fig_346">346</a>).&mdash;Begin by casting
+on one loop in the ordinary way, next, lay the thread, as in
+German knitting, over the left hand, twisting it once only
+round the forefinger, then put the needle in, upwards from
+below, under the thread that lies on the outside of the forefinger;
+draw out the finger from the loop, put the loop on the
+needle to the right, take the thread on the forefinger again,
+and so on.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/357.jpg"  alt="FIG. 346. CASTING ON WITH SLIP LOOPS." title="" />
+<a name="fig_346" id="fig_346"></a><span class="caption smcap">Fig. 346. Casting on with slip loops.</span>
+</div><p><a name="Page_177" id="Page_177"></a></p>
+
+<p><b>Casting on with double slip loops</b> (fig. <a href="#fig_347">347</a>).&mdash;Begin by
+casting on a stitch in the ordinary way, then lay the thread
+over the forefinger, the reverse way, so that it crosses between,
+not outside the hand and the body of the knitter. Pass the
+needle upwards from below, under the inside thread, and slip
+this thread as a loop on to the needle. Continue to cast on,
+inserting the needle under the front and back threads alternately.
+This method is specially suitable for open patterns, where
+you have to increase several times, in succession.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/358.jpg"  alt="FIG. 347. CASTING ON WITH DOUBLE SLIP LOOPS." title="" />
+<a name="fig_347" id="fig_347"></a><span class="caption smcap">Fig. 347. Casting on with double slip loops.</span>
+</div>
+
+<p>(4) <b>Casting on with picots</b> (fig. <a href="#fig_348">348</a>).&mdash;Cast on two stitches
+in the ordinary way and turn the work. Lay the thread
+<a name="Page_178" id="Page_178"></a>over the needle, put the needle into the first stitch, from right
+to left, and slip it on to the right needle, knit off the second
+stitch plain, and draw the slipped one over it.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/359.jpg"  alt="FIG. 348. CASTING ON WITH PICOTS." title="" />
+<a name="fig_348" id="fig_348"></a><span class="caption smcap">Fig. 348. Casting on with picots.</span>
+</div>
+
+<p>Cast on as many stitches as you want in this manner and
+then pick up the picots thus formed, with an auxiliary needle,
+and knit them off like ordinary stitches.</p>
+
+<p>This method of casting on may be varied thus in the following
+manner: having cast on the stitches as in fig. <a href="#fig_348">348</a>, throw
+the thread over the needle and knit two stitches together.</p>
+
+<p><b><a name="Plain_stitch" id="Plain_stitch"></a>Plain stitch</b> (fig. <a href="#fig_349">349</a>).&mdash;This is the easiest stitch and the
+first which a knitter has to learn. It is executed as follows:
+Put the right-hand needle in, upwards from below, under
+the front part of the first stitch on the left-hand needle, lay
+<a name="Page_179" id="Page_179"></a>the thread from right to left under the needle, draw it through
+the loop, and drop the loop off the left needle.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/360.jpg"  alt="FIG. 349. PLAIN STITCH." title="" />
+<a name="fig_349" id="fig_349"></a><span class="caption smcap">Fig. 349. Plain stitch.</span>
+</div>
+
+<p>Plain knitting is employed wherever a perfectly smooth,
+even surface is required. It looks quite differently on the
+wrong side from what it does on the right where it presents
+the appearance of vertical rows of plaiting.</p>
+
+<p><b>Back, or seam-stitch</b> (fig. <a href="#fig_350">350</a>).&mdash;You may intentionally
+knit the wrong side of plain knitting. This is called purling and
+is done, in the following way: lay the thread over the left
+needle, and put the right one, downwards from above, behind
+the thread, into the loop on the left needle, lay the thread
+upwards from below, over the right needle, draw it through
+the loop, and drop the loop off the left needle. This stitch is
+<a name="Page_180" id="Page_180"></a>used in knitting patterns, and for marking horizontal lines in
+smooth surfaces, such as the seam of a stocking, for instance.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/361.jpg"  alt="FIG. 350. BACK OR SEAM-STITCH." title="" />
+<a name="fig_350" id="fig_350"></a><span class="caption smcap">Fig. 350. Back or seam-stitch.</span>
+</div>
+
+<p><b>Plain stitch taken from behind</b> (fig. <a href="#fig_351">351</a>).&mdash;Put the
+needle in from right to left, under the back part of the stitch;
+leave the thread behind the needle, then pass it from right to
+left over the needle and draw it through the stitch.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/362.jpg"  alt="FIG. 351. PLAIN STITCH TAKEN FROM BEHIND." title="" />
+<a name="fig_351" id="fig_351"></a><span class="caption smcap">Fig. 351. Plain stitch taken from behind.</span>
+</div>
+
+<p><b>Back, or seam-stitch taken from behind</b> (fig. <a href="#fig_352">352</a>).&mdash;Put
+the needle into the second part of the stitch, upwards from
+below, and knit it as a back or seam-stitch.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/363.jpg"  alt="FIG. 352. BACK OR SEAM-STITCH TAKEN FROM BEHIND." title="" />
+<a name="fig_352" id="fig_352"></a><span class="caption smcap">Fig. 352. Back or seam-stitch taken from behind.</span>
+</div>
+
+<p>In plain stitch, taken from behind, the two threads of the
+loop are crossed, instead of lying side by side, as they do in
+plain knitting.</p>
+
+<p>Back-stitch taken from behind, is only used for certain
+open-work patterns.</p>
+
+<p><b>Overs</b> (fig. <a href="#fig_353">353</a>).&mdash;These form holes in plain knitting, and
+are used for open-work patterns and for increasing.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/364.jpg"  alt="FIG. 353. OVERS." title="" />
+<a name="fig_353" id="fig_353"></a><span class="caption smcap">Fig. 353. Overs.</span>
+</div>
+
+<p>To make an over, lay the thread over the needle, and in
+the next row, knit this loop like any other stitch.</p>
+
+<p>Each over adds one to the existing number of stitches. In
+cases, therefore, where the number is to remain the same, you
+have to make as many intakes as overs. Overs can only be
+used in conjunction with other stitches.</p>
+
+<p><b>Knot stitch</b> (fig. <a href="#fig_354">354</a>).&mdash;This forms a raised spot in plain
+knitting and is executed as follows: knit 1, and leave it on the
+left-hand needle; put the stitch you have made with the right
+needle back on the left, and knit it off. Make 4 or 5 similar
+stitches, all issuing from the same stitch on the left needle, so
+that you have 4 or 5 loops on the right needle; then drop the
+stitch off the left needle, and pull the 4 first loops over the last one.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/365.jpg"  alt="FIG. 354. KNOT STITCH." title="" />
+<a name="fig_354" id="fig_354"></a><span class="caption smcap">Fig. 354. Knot stitch.</span>
+</div>
+
+<p><b>Cable or chain stitch</b>.&mdash;Chain stitches are used for strengthening
+and equalizing the edges of articles that are made in
+stripes. They can be made in two ways; either, you knit off all
+the stitches on one needle, turn the work, put the needle into
+the first stitch, as if you were going to knit it from the back,
+and take it off the left needle without knitting it, the thread
+to lie behind the needle; or, you knit off all the stitches on
+one needle, turn the work, and knit off the first stitch.</p><p><a name="Page_181" id="Page_181"></a></p>
+
+<p><b>The names of the stitches</b>.&mdash;Out of the stitches that have
+been already described, other stitches are formed, which, as
+they are frequently alluded to in knitting directions, we shall
+here enumerate, explaining all the terms, usually employed
+in such directions.</p>
+
+<p><b>Over, or increase.</b>&mdash;Explained in fig. <a href="#fig_353">353</a>.
+Throwing the thread once over the right needle.</p>
+
+<p><b>Double over, or two increases.</b>&mdash;Throwing the thread
+twice over the needle.</p>
+
+<p><b>Plain intake.</b>&mdash;Knitting two stitches together plain. This
+is done when the intake is to lie from left to right.</p>
+
+<p><b>Purled intake.</b>&mdash;Purling two stitches together. This is
+done to make the stitches, that are knitted together, visible; or
+in the case of a piece of work composed of stripes, on the
+wrong side, when the intake is to lean to the right, on the
+right side.</p>
+
+<p><b>Plain decrease, taken from behind.</b>&mdash;Knitting off two
+stitches together, plain from behind. This is done when the
+intake is to lie to the left.</p>
+
+<p><b>Purled decrease, taken from behind.</b>&mdash;Purling two
+stitches together, from behind. This is done when, in articles
+composed of stripes, the decrease has to be made on the wrong
+side, and is to lie to the left on the right side.</p>
+
+<p><b>Pulling over.</b>&mdash;Slipping a stitch from the left needle to
+the right without knitting it, knitting the next plain, and
+pulling the slipped stitch over the knitted one. In this manner
+two or three stitches can be pulled over the knitted one.</p>
+
+<p><b>Casting off.</b>&mdash;To prevent the stitches from unravelling
+they are finished off in the following manner. Knit off two
+plain, pull the first over the second and drop it, so that
+only one remains on the needle. Knit the next stitch, and pull
+the one behind over it, and so on. This chain of stitches, must
+neither be too tight, nor too loose, but just as elastic as the
+rest of the work.</p>
+
+<p><b>Materials for stockings.</b>&mdash;Stockings can be made of silk,
+wool or cotton, entirely according to fancy, but for coloured
+stockings, we cannot too highly recommend the D.M.C knit<a name="Page_182" id="Page_182"></a>ting
+cottons, as more durable, in all respects, than either silk
+or wool. They are manufactured in 360 different shades,
+whereas, wool and silk are only to be had in a very limited
+assortment of colours. For hand-knit stockings, Nos. 25, 30,
+35<a href="#Footnote_A" class="fnanchor">[A]</a> are the best, for machine-knit, Nos. 40 and 50.</p>
+
+<p><b><a name="Stocking_knitting" id="Stocking_knitting"></a>Stocking knitting.</b>&mdash;A stocking consists of five parts:
+(1) the top, (2) the knee, (3) the leg, (4) the heel, (5) the foot.</p>
+
+<p>(1). The top may be either ribbed, or knitted in an openwork
+stitch of same kind or with a double-toothed edge,
+fig. <a href="#fig_356">356</a>.</p>
+
+<p>(2) and (3). The knee, and the leg down to the heel, are
+generally plain knitted; it is only children's stockings that are
+fancy knitted.</p>
+
+<p>(4). The heel, is worked as straight knitting backwards
+and forwards; by knitting first one row plain and then turning
+back and knitting it purl. It is shaped to the foot by the intakes
+at the top.</p>
+
+<p>(5). The foot is knitted plain, with intakes from the heel
+onwards, to get rid of the superfluous stitches. Then knit a
+plain piece, without a seam-stitch, till you begin to decrease
+for the toe, which can be worked in several different ways.</p>
+
+<p>To ensure the right proportions between the several parts
+of a stocking, the following directions should be attended to.
+An ornamental top must never be taken into account, in measuring
+the length of the leg. When the top part is finished,
+you make the seam, at the beginning of the first needle of the
+round, of one, or two purled stitches, or sometimes, a narrow
+pattern of purled stitches. This marks the middle of the
+stocking. For ordinary-sized stockings, knit plain from the top-band,
+till the knitted piece, forms a square.</p>
+
+<p>For stockings that are to cover the knee, knit half as much
+again, that is one and a half times the width of the stocking.
+This brings you to the calf of the leg. Pull the third stitch
+after the seam, over the second, and knit together the two last
+but one before the seam. There should be 12 rounds between
+each of the first 3 or 4 intakes, and after that 8, until this part
+<a name="Page_183" id="Page_183"></a>is one and a half times the width of the knee in length, and a
+quarter narrower.</p>
+
+<p>For the ankle, knit a plain piece, half the width of the knee
+in length, without intakes.</p>
+
+<p>For the heel, count the stitches on the four needles, exclusive
+of the seam, and put two stitches more than the quarter
+of the whole number on to the needles, to the right and left
+of the seam.</p>
+
+<p>For a heel to fit well, it should be as long as it is wide. In
+order that they should wear better, the heel and the toe are
+often knitted with double thread. Coton &agrave; feutrer D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> is
+made expressly for that purpose, and should be wound round
+the thread of which the whole stocking is made. For the
+instep, the part between the heel and toe, you must go on
+decreasing from the heel, until you have 2 stitches less on
+each needle, than you had at the ankle. Then knit the plain
+part of the foot, which should be as wide as the ankle, after
+which proceed to decrease for the toe, which should be a
+quarter the length of the whole foot. In spite of this careful
+subdivision, it is always well to count the stitches, to ensure
+perfect regularity. The number of stitches cast on, at the
+outset, for the same-sized stockings, must depend upon the size
+of the wool or cotton; we can only give the numbers approximately.
+Our calculation is based on the use of 5 needles; the
+given number has therefore to be cast on four times.</p>
+
+
+<div class='center'>
+<table border="1" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='center'>Coton &agrave; tricoter D.M.C
+Numbers to be used</td>
+<td align='center'>Number of stitches to be cast on one needle for stocking ordinary-sized</td>
+<td align='center'>Number of stitches to be cast on one needle for stockings that are to reach above the knee</td></tr>
+<tr><td align='center'>25</td><td align='center'>32</td><td align='center'>36</td></tr>
+<tr><td align='center'>30</td><td align='center'>34</td><td align='center'>38</td></tr>
+<tr><td align='center'>35</td><td align='center'>36</td><td align='center'>42</td></tr>
+<tr><td align='center'>40</td><td align='center'>40</td><td align='center'>46</td></tr>
+<tr><td align='center'>50</td><td align='center'>42</td><td align='center'>50</td></tr>
+</table></div>
+
+
+
+<p><b><a name="Scalloped_edge" id="Scalloped_edge"></a>Scalloped edge</b> (figs. <a href="#fig_355">355</a> and <a href="#fig_356">356</a>).&mdash;This is the simplest
+<a name="Page_184" id="Page_184"></a>and strongest edge you can have for a stocking, and is called
+the cat's-teeth edge.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_355" id="fig_355"></a><a name="fig_356" id="fig_356"></a>
+<div class="figleft" style="width: 200px;">
+<img src="images/366.jpg"  alt="FIG. 355.
+SCALLOPED STOCKING EDGE.
+EDGE OPEN." title="" />
+<span class="caption smcap">Fig. 355.
+Scalloped stocking edge.
+Edge open.</span>
+</div>
+
+<div class="figright" style="width: 200px;">
+<img src="images/367.jpg"  alt="FIG. 356.
+SCALLOPED STOCKING EDGE.
+EDGE FOLDED TOGETHER." title="" />
+<span class="caption smcap">Fig. 356.
+Scalloped stocking edge.
+Edge folded together.</span>
+</div>
+</div>
+
+<p>Having cast on the stitches, knit 6 to 10 rounds plain,
+according to the size of the cotton, then one round of alternate
+intakes and overs. Knit as many plain rounds as before, and
+with a sixth needle take up as many of the cast on stitches,
+as you have stitches on one of the upper needles. Turn this
+needle inwards, and
+place it against the outside
+needle and knit off
+both needles together.
+See that you knit the
+corresponding stitches
+off together, otherwise
+the scallops that form
+the edge will be crooked.</p>
+
+<p><b><a name="Common_heel" id="Common_heel"></a>Common heel</b> (fig. <a href="#fig_357">357</a>).&mdash;This is the
+simplest form of heel,
+and can be knitted
+either with or without
+an outside seam. Divide
+the stitches into four,
+and put two more on
+each of the heel needles than on the others, then make, according
+to the size of the cotton, from 15 to 20 seams; knit
+<a name="Page_185" id="Page_185"></a>off all the stitches on the right needle and a third of those on
+the left. Supposing that you have 24 stitches, knit off 8, then
+slip 1, knit 1, and pull the slipped stitch over, knit 2 plain,
+turn the work, slip the first, and purl the next 8 stitches of the
+second needle; purl the 9th and 10th together, purl 2, turn
+the work to the right side, and slip the first stitch on to the
+right needle. By means of these successive intakes after the 8
+stitches, the knitting forms a plait on both sides of the heel.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/368.jpg"  alt="FIG. 357. COMMON HEEL." title="" />
+<a name="fig_357" id="fig_357"></a><span class="caption smcap">Fig. 357. Common heel.</span>
+</div>
+
+<p>In all heels that are made after this pattern, the intakes
+must begin on the right side and the last one must be made
+on the wrong, so that once the heel is finished and the work
+turned, you can go on knitting plain.</p>
+
+<p>When you have finished the stitches of the two heel needles
+up to the outside seams, take up the stitches on the sides of
+the heel with a spare needle and knit them on to the left heel
+needle, then knit the stitches reserved for the instep, take up
+the stitches on the right side of the heel again and knit them
+on to the fourth needle.</p>
+
+<p>In the next round, knit all the stitches of the first needle plain,
+excepting the 4 last;
+knit the first and second
+of these together and
+the two last plain. Knit
+the two first stitches of
+the fourth needle plain,
+slip the third, knit the
+fourth and pull the
+slipped stitch over.</p>
+
+<p><b>Heel in steps</b> (fig. <a href="#fig_358">358</a>).&mdash;After dividing
+the stitches, make from
+12 to 14 seams. Then
+knit as many stitches
+of the first needle as
+you have seams at the
+side; turn the work,
+and begin the needle with the seam you made first. Knit off
+as many stitches from the second needle as from the first.<a name="Page_186" id="Page_186"></a>
+Make the same number of seams, as for the first part of the
+heel. When the seams are finished, take up the chain stitches,
+on both sides, make a decrease by knitting the last stitch of
+the small part and the first of the large, together; knit two;
+turn the work; slip the first stitch, knit to the second side,
+and decrease as in the
+first part.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/369.jpg"  alt="FIG. 358. HEEL IN STEPS." title="" />
+<a name="fig_358" id="fig_358"></a><span class="caption smcap">Fig. 358. Heel in steps.</span>
+</div>
+
+<p>When you have decreased
+all the stitches
+up to the last, take up
+the slipped stitches of
+the first part, and begin
+the intakes for the instep
+in the ordinary way.</p>
+
+<p>There is not more
+work in this pattern of
+heel than in any other;
+it fits closely and consequently
+wears well.</p>
+
+<p><b>Plain heel</b> (figs. <a href="#fig_359">359</a>
+and <a href="#fig_360">360</a>).&mdash;Those who
+are not fond of purling
+will appreciate this and
+the following pattern for
+a plain heel.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/370.jpg"  alt="FIG. 359. PLAIN HEEL." title="" />
+<a name="fig_359" id="fig_359"></a><span class="caption smcap">Fig. 359. Plain heel.</span>
+</div>
+
+<p>Knit off the stitches
+of the first needle
+after the seam; then
+on to two spare needles,
+cast on, 8 more stitches
+than you had on one
+needle after dividing
+the stitches; put the
+stitches of the third and
+fourth needles together
+and knit the first round
+plain.</p>
+
+<p>2nd round&mdash;knit together the 1st and 2nd, and the 9th
+<a name="Page_187" id="Page_187"></a>and 10th of the first auxiliary needle; and the 10th and 9th
+and 2nd and 1st of the second.</p>
+
+<p>3rd round&mdash;plain.</p>
+
+<p>4th round&mdash;knit together the 1st and 2nd and the 7th
+and 8th of the first needle.</p>
+
+<p>5th round&mdash;plain.</p>
+
+<p>6th round&mdash;knit together the 1st and 2nd and the 5th
+and 6th of the first auxiliary needle; and the 6th and 7th
+and the last but one and the last, of the second.</p>
+
+<p>7th, 10th, 11th, 13th, 14th, 16th, 17th, 19th, 20th
+rounds all plain.</p>
+
+<p>8th round&mdash;knit together the 1st and 2nd, and the 3rd
+and 4th of the first auxiliary needle, and the 4th and 3rd,
+and the last stitch but one and the last, of the second.</p>
+
+<p>9th round&mdash;After the two last intakes, purl together the
+4th and 3rd stitches before the end of the 1st and 3rd needle,
+and the 3rd and 4th at the beginning of the 2nd and 4th
+needles.</p>
+
+<p>12th, 15th, and 18th rounds&mdash;Decrease, the same as in the
+9th round.</p>
+
+<p>21st round&mdash;knit 2 plain, at the beginning of the 1st and
+3rd needles; knit the next 2 together; knit together the 4th
+and 3rd, before the end of the 2nd and 4th needles; knit the
+last stitches plain; go on decreasing in this way until the
+purled stitches meet. After the plain round over the intakes,
+add four plain rounds, divide the stitches that remain for the
+sole, on two needles and cast off on the wrong side.</p>
+
+<p>Now take up the auxiliary stitches, and in the first 3 plain
+rounds, knit together the last and the first of the 1st and 2nd
+needles, and the last and the first of the 3rd and 4th.</p>
+
+<p>With the rest of the extra stitches make purled intakes,
+knitting two plain rounds after each round with an intake.</p>
+
+<p>For the other kind of plain heel also (fig. <a href="#fig_360">360</a>), auxiliary
+stitches are required. Supposing that you have 20 stitches on
+each needle, you must cast on 28 stitches on to each auxiliary
+needle; knit together the 4th and 3rd stitches at the end of
+the 1st and 3rd needles, and the 3rd and 4th of the 2nd and
+3rd needles, so that you may have 4 plain stitches between
+<a name="Page_188" id="Page_188"></a>both intakes. Go on decreasing, knitting 2 plain rounds after
+each round with an intake, until you have 6 stitches left on
+each needle. Then knit together the first and last stitches of
+each needle, one plain round over it, and finish with a chain
+on the wrong side of the heel. Then take up the auxiliary
+stitches and knit the instep.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/371.jpg"  alt="FIG. 360. HEEL KNITTED ON THE RIGHT SIDE." title="" />
+<a name="fig_360" id="fig_360"></a><span class="caption smcap">Fig. 360. Heel knitted on the right side.</span>
+</div>
+
+<p><b>Italian stocking</b> (fig. <a href="#fig_361">361</a>).&mdash;The heel, sole and toe of a
+stocking always wear out before the instep. The Italians and
+Greeks economise time and material and facilitate the renewal
+of those parts that wear out, by knitting the upper part of the
+foot in two pieces. After knitting the heel in on or other of
+the above ways, work the foot as straight knitting with the
+two upper needles only, until you have the necessary length.
+Then knit the underneath part separately, in the same way.
+You must keep a chain along all edges and a narrow seam
+of one or two stitches. In the sole, which you make after finishing
+the upper part, your intakes must come directly after and
+before the seam. When you have got the same number of
+rounds in each piece, join them together and begin the toe.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/372.jpg"  alt="FIG. 361. ITALIAN STOCKING." title="" />
+<a name="fig_361" id="fig_361"></a><span class="caption smcap">Fig. 361. Italian stocking.</span>
+</div>
+
+<p>Sew up the slits left open on either side, with a needle and
+thread taking care to fit the corresponding stitches together.</p>
+
+<p>In this manner, when one part wears out, you have only to
+<a name="Page_189" id="Page_189"></a>unpick these side-seams and re-sole or re-heel the stocking as
+the case may be.</p>
+
+<p><b><a name="Toe" id="Toe"></a>Toe</b> (fig. <a href="#fig_362">362</a>).&mdash;To begin as before, with the simplest and
+most ordinary way of making this part of the stocking, divide
+the stitches equally on to the 4 needles; knit together the 4th
+and 3rd stitches before the end of the 1st and 3rd needles,
+knit the 2 last and 2 first stitches of the 2nd and 4th needles
+plain, and make an intake by
+slipping the 3rd stitch, knitting
+the 4th, and pulling the
+slipped stitch over. Begin by
+knitting 2 plain rounds after
+each of the first 4 rounds with
+an intake, and afterwards only
+one. When you have only 4
+stitches left on each needle,
+collect them on two, and knit
+them together, two and two,
+on the wrong side of the
+stocking.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/373.jpg"  alt="FIG. 362. TOE." title="" />
+<a name="fig_362" id="fig_362"></a><span class="caption smcap">Fig. 362. Toe.</span>
+</div>
+
+<p><b>Toe</b> (fig. <a href="#fig_363">363</a>).&mdash;Here, before
+beginning to decrease,
+divide the stitches by 8, 10, or
+12. Supposing that they have
+been divided by 10, knit 8
+plain; knit the 9th and 10th
+together, 8 plain, knit two
+together, and so on, the whole
+way round. Then knit as
+many plain rounds as there
+are plain stitches between
+2 intakes. In the next rounds
+with intakes, you will have
+one stitch less between each
+intake, in the second therefore, there should be 7 plain stitches
+between each intake, and you knit 7 plain rounds; and so
+on to the 7th round, when 2 stitches will remain, followed
+by 2 plain rounds; when there are only 4 stitches left on
+<a name="Page_190" id="Page_190"></a>the needles, turn them in to the wrong side of the stocking,
+and finish off with a chain.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/374.jpg"  alt="FIG. 363. TOE." title="" />
+<a name="fig_363" id="fig_363"></a><span class="caption smcap">Fig. 363. Toe.</span>
+</div>
+
+<p><b>Toe</b> (fig. <a href="#fig_364">364</a>).&mdash;Begin the intakes with the two first stitches
+of each needle, by the slip and pull over process, knit one
+plain round after each round with an intake. In the following
+rounds, make the intake in the 2nd round with the 3rd and
+4th stitches, in the 3rd, with the 5th and 6th stitches, in the 4th,
+with the 7th and 8th stitches,
+so that when finished the
+intakes form a kind of spiral.
+Finish off in the ordinary way.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/375.jpg"  alt="FIG. 364. TOE." title="" />
+<a name="fig_364" id="fig_364"></a><span class="caption smcap">Fig. 364. Toe.</span>
+</div>
+
+<p><b>Toe</b> (fig. <a href="#fig_365">365</a>).&mdash;We will
+describe one other kind of toe,
+quite as shapely and easy to
+make as the others.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/376.jpg"  alt="FIG. 365. TOE." title="" />
+<a name="fig_365" id="fig_365"></a><span class="caption smcap">Fig. 365. Toe.</span>
+</div>
+
+<p>1st round&mdash;purl the first
+2 stitches on each needle together.</p>
+
+<p>2nd and 3rd, 5th and 6th,
+8th and 9th, 11th and 12th,
+14th and 15th, 17th and 18th
+rounds&mdash;plain.</p>
+
+<p>4th round&mdash;1 plain, 1
+intake with the 2nd and 3rd
+stitches, and with the last 2
+on each needle.</p>
+
+<p>7th round&mdash;knit the 2 first
+plain, make 1 intake with the
+3rd and 4th stitches, and 1
+with the 2 last.</p>
+
+<p>In each of the next rounds
+with intakes, knit 1 plain stitch
+more.</p>
+
+<p>When the two seams meet,
+pull the last stitch on each needle over the first of the next;
+knit the stitches between the intakes plain. Continue to decrease
+in this manner until the last stitches are reached.</p>
+
+<p><b><a name="Mending_knitting" id="Mending_knitting"></a>Mending knitting</b>.&mdash;Knitted articles are repaired by
+<a name="Page_191" id="Page_191"></a>reconstructing the web with a needle and thread. When
+the stitches are not actually broken, they can be strengthened
+by new ones made over them, by means of a needle
+and thread.</p>
+
+<p><b>Materials for darning stockings.</b>&mdash;The thread used for
+darning a stocking should be a little finer than that of which it
+is made. Coton &agrave; repriser D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a> is the best, for as it consists
+of several strands it can be subdivided as occasion requires.</p>
+
+<p><b>Strengthening the stitches</b> (figs. <a href="#fig_366">366</a> and <a href="#fig_367">367</a>).&mdash;This
+can be done in two ways. In fig. <a href="#fig_366">366</a>, the thread is brought
+out between two horizontal bars, passed upwards over a perpendicular
+bar, put in by the side of the same and brought
+out between the next horizontal bars.</p>
+
+<p>Work the second row of stitches backwards; take up two
+threads on the left, pass downwards to the right, over one
+thread, take up the thread you passed over, and so on.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/377.jpg"  alt="FIG. 366.
+STRENGTHENING THE LOOPS.
+FIRST WAY." title="" />
+<a name="fig_366" id="fig_366"></a><span class="caption smcap">Fig. 366.
+Strengthening the loops.
+First way.</span>
+</div>
+
+<p>The other way, fig. <a href="#fig_367">367</a>, is, when you have brought out
+your needle, to carry it over one thread to the right and
+upwards over two, take up the next two threads on the
+left, pass downwards over two horizontal threads, and over one
+thread to the right, and put in the needle where it first came
+out; then working from right to left, take up two threads, pass
+over one to the right, and downwards over two horizontal ones,
+<a name="Page_192" id="Page_192"></a>and so on. In the next row, hold your work, the finished part
+uppermost, carry the needle downwards over one horizontal
+thread, bring it out between two threads that lie separately
+and take it downwards again over two horizontal threads, pick
+up two threads, working from right to left, pass upwards over
+two threads and over one to the right, take up two to the left,
+and so on.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/378.jpg"  alt="FIG. 367.
+STRENGTHENING THE LOOPS.
+SECOND WAY." title="" />
+<a name="fig_367" id="fig_367"></a><span class="caption smcap">Fig. 367.
+Strengthening the loops.
+Second way.</span>
+</div>
+
+
+<p><b>Repairing plain knitting</b> (fig. <a href="#fig_368">368</a>).&mdash;When a broken
+piece of stocking web requires to be replaced by new, draw
+the new and the old pieces together with a needle and thread,
+using the same thread the stocking is made of.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/379.jpg"  alt="FIG. 368. REPAIRING PLAIN KNITTING." title="" />
+<a name="fig_368" id="fig_368"></a><span class="caption smcap">Fig. 368. Repairing plain knitting.</span>
+</div>
+
+<p>For this purpose, you must clear the loops, by ravelling
+them out top and bottom, and slip them on to knitting needles.
+The loops that are to be connected must lie exactly opposite
+to each other. Enter your threaded needle upwards from below
+through the first disengaged upper loop, and slip it off the
+knitting needle, then enter the needle, downwards from above
+through the first lower loop, and upwards from below through
+the next, and draw out just enough thread to make the new
+loop the same size as the old ones. Then enter the needle,
+downwards from above, through the same upper loop you
+took up before, taking up also the one next to it, and passing
+your needle through it from underneath; draw out the thread
+to form the new loop and descend again to the next, and so on.</p>
+
+<p><b>Repairing purled knitting</b> (fig. <a href="#fig_369">369</a>).&mdash;To repair ribbed
+surfaces consisting of alternate rows of plain and purl, proceed
+as follows: hold the article so that the row of purled stitches
+is exactly opposite the upper part. Enter your needle upwards
+<a name="Page_193" id="Page_193"></a>from below, through the first loop of the upper part; join the
+two lower loops together as in fig. <a href="#fig_368">368</a>; carry the needle
+upwards again, and enter it upwards from below through the
+first loop of the upper part and downwards from above,
+through the loop next it. Join the lower loops again, as in plain
+knitting.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/380.jpg"  alt="FIG. 369. REPAIRING PURLED KNITTING." title="" />
+<a name="fig_369" id="fig_369"></a><span class="caption smcap">Fig. 369. Repairing purled knitting.</span>
+</div>
+
+<p><b>Disengaging the loops for darning</b> (fig. <a href="#fig_370">370</a>).&mdash;Where
+the threads are broken, new loops
+have to be made, and the broken
+ones ravelled out and cut, so that
+the horizontal loops may stand out
+clear and distinct. Cut the threads
+on the vertical sides so that the
+loops form an edge and the hole is
+square, clear two or four loops in
+the corners of the hole, fold them
+in and fasten them off at the back
+by a stitch or two. The darns we
+are next going to describe should be
+made upon a ball to prevent drawing the threads too tightly.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/381.jpg"  alt="FIG. 370. DISENGAGING THE LOOPS
+FOR DARNING." title="" />
+<a name="fig_370" id="fig_370"></a><span class="caption smcap">Fig. 370. Disengaging the loops
+for darning.</span>
+</div>
+
+<p><b>Darning on threads stretched horizontally</b> (figs. <a href="#fig_371">371</a> and
+<a href="#fig_372">372</a>).&mdash;Carry a horizontal thread across on the wrong side, in
+the place of each broken thread, securing it in the sound part
+of the stocking, about two threads from the edge of the hole.<a name="Page_194" id="Page_194"></a>
+When you have made this foundation, put the needle in on
+the right side near the stitch that is nearest to the sound part
+on the left, fig. <a href="#fig_371">371</a>.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_371" id="fig_371"></a><a name="fig_372" id="fig_372"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/382.jpg"  alt="FIG. 371.
+DARNING ON THREADS STRETCHED
+HORIZONTALLY.
+POSITION OF THE HORIZONTAL THREADS." title="" />
+<span class="caption smcap">Fig. 371.
+Darning on threads stretched
+horizontally.
+Position of the horizontal threads.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/383.jpg"  alt="FIG. 372.
+DARNING ON THREADS STRETCHED
+HORIZONTALLY.
+HOW TO COVER THE HORIZONTAL THREADS." title="" />
+<span class="caption smcap">Fig. 372.
+Darning on threads stretched
+horizontally.
+How to cover the horizontal threads.</span>
+</div>
+</div>
+
+<p>Then descending, pick up the nearest horizontal thread
+from below, so that the working thread lies to the right of the
+needle, and cover all the horizontal threads you have laid in
+this manner.</p>
+
+<p>When you have taken up the last thread, pass the needle
+downwards from above, through the nearest loop, and bring
+it back through the one at which you entered it.</p>
+
+<p>To make, in reascending, the second half of the loop, you
+must lay your thread to the right of the needle, fig. <a href="#fig_372">372</a>.</p>
+
+<p>When you have reached the last thread, enter the needle
+at the loop, opposite the one it came out of.</p>
+
+<p><b>Darning on threads stretched obliquely across</b> (figs. <a href="#fig_373">373</a>
+and <a href="#fig_374">374</a>).&mdash;As the illustration shows, you have to pick up all the
+cleared loops, besides two or three on either side of the empty
+space. The number and length of the threads which you carry
+across, must correspond with those of the threads you have to
+replace.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="fig_373" id="fig_373"></a><a name="fig_374" id="fig_374"></a>
+<div class="figleft" style="width: 250px;">
+<img src="images/384.jpg"  alt="FIG. 373. DARNING ON THREADS STRETCHED
+OBLIQUELY ACROSS.
+POSITION OF THE THREADS." title="" />
+<span class="caption smcap">Fig. 373. Darning on threads stretched
+obliquely across.
+Position of the threads.</span>
+</div>
+
+<div class="figright" style="width: 250px;">
+<img src="images/385.jpg"  alt="FIG. 374. DARNING ON THREADS STRETCHED
+OBLIQUELY ACROSS.
+HOW TO COVER THE OBLIQUE THREADS." title="" />
+<span class="caption smcap">Fig. 374. Darning on threads stretched
+obliquely across.
+How to cover the oblique threads.</span>
+</div>
+</div>
+
+<p>Fasten in, from the right side, a rather finer thread than the
+one the original web is made of, and make a few stitches over
+the existing ones, in the row you are about to complete.</p>
+
+<p>Enter the needle upwards from below, through the first
+<a name="Page_195" id="Page_195"></a>disengaged loop, pass it under two threads issuing from one loop,
+and then bring it
+back again into
+the same loop between
+the two
+slanting threads,
+drawing it out
+again upwards
+from below,
+through the next
+loop, and so on.
+The new loop
+must be just equal
+to the old ones in
+size. Make in the
+same manner as
+at the beginning,
+two or three stitches
+at the end of
+the row, within
+the edge of the
+hole. Work back
+in a similar way,
+with this difference
+only, that
+you turn your
+work round.</p>
+
+<p><b><a name="Piqueacute_pattern" id="Piqueacute_pattern"></a>Piqu&eacute; pattern</b>
+(fig. <a href="#fig_375">375</a>).&mdash;The
+following patterns
+are suitable for
+making counterpanes,
+petticoats,
+vests and other articles
+of clothing.
+Select a suitable
+<a name="Page_196" id="Page_196"></a>number of Coton &agrave; tricoter D.M.C. Cast on a number of
+stitches divisible by 7, and begin by 6 rows of 5 plain stitches
+and 1 purled, taken from behind.</p>
+
+<p>7th row&mdash;purl from behind the 3rd of the 5 plain, and
+knit 5 plain more and so on.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/386.jpg"  alt="FIG. 375. PIQU&Eacute; PATTERN." title="" />
+<a name="fig_375" id="fig_375"></a><span class="caption"><span class="smcap">Fig. 375. Piqu&eacute; pattern.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 6 to 30.</span>
+</div>
+
+<p><b>Piqu&eacute; pattern</b> (fig. <a href="#fig_376">376</a>).&mdash;Cast on a number of stitches
+divisible by 14.</p>
+
+<p>1st and 2nd row&mdash;* purl 7, knit 1, purl 1, knit 1, purl 1,
+knit 1, purl 1, knit 1; repeat from *.</p>
+
+<p>3rd and 4th row&mdash;* knit 7, purl 1, knit 1, purl 1, knit 1,
+purl 1, knit 1, purl 1; repeat from *.</p>
+
+<p>Repeat the whole from the 1st row.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/387.jpg"  alt="FIG. 376. PIQU&Eacute; PATTERN." title="" />
+<a name="fig_376" id="fig_376"></a><span class="caption"><span class="smcap">Fig. 376. Piqu&eacute; pattern.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 6 to 30,
+or Coton pour crochet 4 fils D.M.C Nos. 4 to 20.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Piqu&eacute; pattern</b> (fig. <a href="#fig_377">377</a>).&mdash;Cast on a number of stitches
+divisible by 4.</p>
+
+<p>The 8 first
+rows&mdash;knit 2,
+purl 2.</p>
+
+<p>9th and 10th
+row&mdash;knit 2 over
+the 2 purled, purl
+2 over the 2 knitted
+of the 8th row.</p>
+
+<p>11th and 12th
+rows&mdash;the same
+as the first 8
+rows.</p>
+
+<p>13th and 14th
+row&mdash;the same
+as the 9th and
+10th row.</p>
+
+<p>15th to the 23rd&mdash;the same as the first 8 rows.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/388.jpg"  alt="FIG. 377. PIQU&Eacute; PATTERN." title="" />
+<a name="fig_377" id="fig_377"></a><span class="caption"><span class="smcap">Fig. 377. Piqu&eacute; pattern.<br />
+Materials:</span> The same as for fig. <a href="#fig_371">371</a>.</span>
+</div>
+
+<p><b>Stripes for counterpanes</b> (fig. <a href="#fig_378">378</a>).&mdash;This pattern is to be
+worked in stripes, of two colours; we may here take occasion
+to mention that in choosing two colours, one dark and one
+light, for a piece of work, the dark cotton should always be
+one or two numbers finer than the light, because the dark dyes
+thicken the cotton more than the light ones do. The blue, red
+<a name="Page_197" id="Page_197"></a>and dark brown dyes sink into the cotton more and cause it
+to swell, whereas the lighter dyes do not affect its thickness.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_389.jpg"><img src="images/389.jpg"  alt="FIG. 378. STRIPES FOR COUNTERPANES." title="" /></a>
+<a name="fig_378" id="fig_378"></a><span class="caption"><span class="smcap">Fig. 378. Stripes for counterpanes.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C No. 6, 8, 10 or 12.<br />
+<span class="smcap">Colours:</span> Rouge-Turc 321 and Gris-Tilleul 391.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Hence it comes, that for the stripes, here described, we
+were obliged to take No. 8 of the red cotton and No. 6 of the
+green, in order that the same number of stitches should make
+the same length of stripe.</p>
+
+<p>Cast on 28 stitches:</p>
+
+<p>1st needle&mdash;slip 1, knit 2, over, knit 1, knit 1 from behind,
+purl 1 from behind, knit 1 from behind, purl 2, knit 5, purl 2,
+knit 1 from behind, purl 1 from behind, knit 1 from behind,
+purl 1 from behind, knit 1 from behind, purl 1 from behind,
+knit 1 from behind, purl 1 from behind, knit 1, over, knit 3,
+1 chain stitch.</p>
+
+<p>2nd needle&mdash;wrong side: slip 1, purl 2, purl 2 together,
+purl 1 from behind, knit 1 from behind, purl 1 from behind,
+knit 1 from behind, purl 1 from behind, knit 1 from behind,
+purl 1 from behind, knit 2, purl 5, knit 2, purl 1 from behind,
+knit 1 from behind, knit 2 together, purl 2, 1 chain stitch.</p>
+
+<p>3rd needle&mdash;right side: slip 1, knit 2, over, knit 1, knit 1
+from behind, purl 1 from behind, knit 1 from behind, purl 1
+from behind, knit 1 from behind, purl 2, knit 5, purl 2, knit<a name="Page_198" id="Page_198"></a>
+1 from behind, purl 1 from behind, knit 1 from behind, purl
+1 from behind, knit 1 from behind, purl 1 from behind, knit
+1, over, knit 2, 1 chain stitch.</p>
+
+<p>4th needle&mdash;wrong side: slip 1, purl 2, purl 2 together,
+purl 1 from behind, knit 1 from behind, purl 1 from behind,
+knit 1 from behind, purl 1 from behind, knit 2, purl 5, knit 2,
+purl 1 from behind, knit 1 from behind, purl 1 from behind,
+knit 1 from behind, purl 1 from behind, knit 1 from behind,
+purl 2 together, purl 2, 1 chain stitch.</p>
+
+<p>5th needle&mdash;on the right side: slip 1, knit 2, over, knit 1,
+knit 1 from behind, purl 1 from behind, knit 1 from behind,
+purl 1 from behind, knit 1 from behind, purl 1 from behind,
+knit 1 from behind, purl 2, knit 5, purl 2, knit 1 from behind,
+purl 1 from behind, knit 1 from behind, purl 1 from behind,
+knit 1, over, knit 2, 1 chain stitch.</p>
+
+<p>6th needle&mdash;on the wrong side: slip 1, purl 2, purl 2
+together, purl 1 from behind, knit 1 from behind, purl 1 from
+behind, knit 2, purl 5, knit 2, purl 1 from behind, knit 1 from
+behind, purl 1 from behind, knit 1 from behind, purl 1 from
+behind, knit 1 from behind, purl 1 from behind, knit 1 from
+behind, purl 2 together, purl 2, 1 chain stitch.</p>
+
+<p>7th needle like the 5th, 8th needle like the 4th, 9th needle
+like the 3rd, 10th needle like the 2nd, 11th needle like the 1st.
+Five plain stitches form a zigzag in the middle of the stripe.</p>
+
+<p>Join the stripes with crochet stitches; of which several
+kinds are described in the next chapter.</p>
+
+<p><b>Knitted square</b> (fig. <a href="#fig_379">379</a>).&mdash;Cast on 2 stitches on to each
+of the 4 needles. Repeat always 3 times after the asterisk.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/390.jpg"  alt="FIG. 379. KNITTED SQUARE." title="" />
+<a name="fig_379" id="fig_379"></a><span class="caption"><span class="smcap">Fig. 379. Knitted square.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C No. 8 or Fil &agrave; pointer D.M.C No. 20.</span>
+</div>
+
+<p>1st row&mdash;over, knit 1, over, knit 1 *.</p>
+
+<p>2nd row&mdash;knit 1, over, knit 1, over, knit 2 *.</p>
+
+<p>3rd row&mdash;knit 1, purl 1, over, knit 1, over, purl 2, knit 2 *.</p>
+
+<p>4th row&mdash;knit 1, purl 2, over, knit 1, over, purl 2, knit 2 *.</p>
+
+<p>5th row&mdash;knit 1, purl 3, over, knit 1, over, purl 3, knit 2 *.</p>
+
+<p>6th row&mdash;knit 1, purl 4, over, knit 1, over, purl 4, knit 2 *.</p>
+
+<p>7th row&mdash;knit 1, purl 5, over, knit 1, over, purl 5, knit 2 *.</p>
+
+<p>8th row&mdash;knit 1, purl 4, knit 2, over, knit 2, over, knit 1,
+purl 4, knit 2 *.</p>
+
+<p>9th row&mdash;knit 1, purl 3, knit 4, over, knit 1, over, knit 4,
+purl 3, knit 2 *.</p><p><a name="Page_199" id="Page_199"></a></p>
+
+<p>10th row&mdash;knit 1, purl 2, knit 6, over, knit 1, over, knit
+6, purl 2, knit 2 *.</p>
+
+<p>11th row&mdash;knit 1, purl 1, knit 8, over, knit 1, over, knit
+8, purl 1, knit 2 *.</p>
+
+<p>12th row&mdash;knit 1, purl 2, knit 5, cross 2 stitches (that is,
+first knit off the second stitch plain and then the first), knit 1,
+over, knit 1, over, knit 1, cross 2, knit 5, purl 2, knit 2 *.</p>
+
+<p>13th row&mdash;knit 1, purl 3, knit 8, purl 1, over, knit 1, over,
+purl 1, knit 8, purl 3, knit 2 *.</p>
+
+<p>14th row&mdash;knit 1, purl 4, knit 4, cross 2, knit 1, purl 2,
+over, knit 1, over, purl 2, knit 1, cross 2, knit 4, purl 4, knit 2 *.</p><p><a name="Page_200" id="Page_200"></a></p>
+
+<p>15th row&mdash;knit 1, purl 5, knit 6, purl 3, over, knit 1, over,
+purl 3, knit 6, purl 5, knit 2 *.</p>
+
+<p>16th row&mdash;knit 1, purl 4, knit 3, cross 2, knit 1, purl 4,
+over, knit 1, over, purl 4, knit 1, cross 2, knit 3, purl 4,
+knit 2 *.</p>
+
+<p>17th row&mdash;knit 1, purl 3, knit 7, purl 5, over, knit 1,
+over, purl 5, knit 7, purl 3, knit 2 *.</p>
+
+<p>18th row&mdash;knit 1, purl 2, knit 5, cross 2, knit 1, purl 4,
+knit 2, over, knit 1, over, knit 2, purl 4, knit 1, cross 2, knit
+5, purl 2, knit 2 *.</p>
+
+<p>19th row&mdash;knit 1, purl 1, knit 9, purl 3, knit 4, over, knit
+1, over, knit 4, purl 3, knit 9, purl 1, knit 2 *.</p>
+
+<p>20th row&mdash;knit 1, purl 2, knit 5, cross 2, knit 1, purl 2,
+knit 6, over, knit 1, over, knit 6, purl 2, knit 1, cross 2, knit
+5, purl 2, knit 2 *.</p>
+
+<p>21st row&mdash;knit 1, purl 3, knit 7, purl 1, knit 8, over,
+knit 1, over, knit 8, purl 1, knit 7, purl 3, knit 2 *.</p>
+
+<p>22nd row&mdash;knit 1, purl 4, knit 3, cross 2, knit 1, purl 2,
+knit 6, cross 2, knit 1, purl 2, knit 5, cross 2, knit 1, over,
+knit 1, cross 2, knit 5, purl 2, knit 1, cross 2, knit 3, purl 4,
+knit 2 *.</p>
+
+<p>23rd row&mdash;knit 1, purl 5, knit 3, purl 3, knit 7, purl 1,
+over, knit 1, over, purl 1, knit 7, purl 3, knit 5, purl 5, knit 2 *.</p>
+
+<p>24th row&mdash;knit 1, purl 4, knit 3, cross 2, knit 1, purl 4,
+knit 3, cross 2, knit 1, purl 2, over, knit 1, over, purl 2, knit
+1, cross 2, knit 3, purl 4, knit 1, cross 2, knit 3, purl 4,
+knit 2 *.</p>
+
+<p>25th row&mdash;knit 1, purl 3, knit 8, purl 5, knit 5, purl 3,
+over, knit 1, over, purl 3, knit 5, purl 5, knit 5, purl 3,
+knit 2 *.</p>
+
+<p>26th row&mdash;knit 1, purl 2, knit 5, cross 2, knit 1, purl 4,
+knit 3, cross 2, knit 1, purl 4, over, knit 1, over, purl 4,
+knit 1, cross 2, knit 3, purl 4, knit 1, cross 2, knit 5, purl
+2, knit 2 *.</p>
+
+<p>27th round&mdash;knit 1, purl 1, knit 9, purl 3, knit 7, purl 5,
+over, knit 1, over, purl 5, knit 7, purl 3, knit 9, purl 1,
+knit 2 *.</p>
+
+<p>Finish the square with several rows of purl and a chain.</p><p><a name="Page_201" id="Page_201"></a></p>
+
+<p><b><a name="Plain_patent_knitting" id="Plain_patent_knitting"></a>Plain patent knitting, or brioche pattern</b> (fig. <a href="#fig_380">380</a>).&mdash;This
+easy and extremely elastic stitch is used for all sorts of
+articles of clothing, and is worked in two rows.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/391.jpg"  alt="FIG. 380. PLAIN PATENT KNITTING, OR BRIOCHE PATTERN." title="" />
+<a name="fig_380" id="fig_380"></a><span class="caption smcap">Fig. 380. Plain patent knitting, or brioche pattern.</span>
+</div>
+
+<p>Cast on a number of stitches that divides by 3, with 4 extra
+for the edge.</p>
+
+<p>1st row&mdash;slip 1, knit 1, * over, put the needle into the
+next stitch, as if to purl it,
+slip the stitch from the left
+needle to the right, knit 1,
+repeat from *, and finish
+with 2 plain.</p>
+
+<p>2nd row&mdash;begin with 1
+chain, knit 1, knit the slipped
+stitch and the over together,
+over, slip the single
+stitch that remains, from
+the left needle to the right.
+When the knitting is round, you purl and knit the intake
+alternately.</p>
+
+<p><b>Double patent knitting</b> (fig. <a href="#fig_381">381</a>).&mdash;Begin on the wrong side.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/392.jpg"  alt="FIG. 381. DOUBLE PATENT KNITTING." title="" />
+<a name="fig_381" id="fig_381"></a><span class="caption smcap">Fig. 381. Double patent knitting.</span>
+</div>
+
+<p>1st row&mdash;like the 1st row of fig. <a href="#fig_380">380</a>.</p>
+
+<p>2nd row&mdash;knit all the stitches, pass the over by putting
+the needle into it from right to left.</p>
+
+<p>3rd row&mdash;like the second row of fig. <a href="#fig_380">380</a>. Now, it is only
+the second and third row
+that should alternate.</p>
+
+<p>Patent knitting has a
+charming effect, done in
+two colours, by working
+them alternately backwards
+and forwards.</p>
+
+<p><b>Plaited stitch</b> (fig. <a href="#fig_382">382</a>).&mdash;This
+kind of stitch is
+worked in stripes, which,
+for scarves, counterpanes, etc., are generally joined together
+with stripes of plain knitting. For counterpanes, the lower
+numbers of D.M.C cottons are most suitable, for smaller
+articles the higher numbers. Plaited stitch is formed by cross<a name="Page_202" id="Page_202"></a>ing
+the stitches, that is, by knitting the second stitch on the
+left needle to begin with, and then the first stitch.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/393.jpg"  alt="FIG. 382. PLAITED STITCH." title="" />
+<a name="fig_382" id="fig_382"></a><span class="caption"><span class="smcap">Fig. 382. Plaited stitch.<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 8 to 20, or
+Cordonnet 6 fils D.M.C Nos. 10 to 30.</span>
+</div>
+
+<p>If you cross two or more stitches in a few successive rows
+without slipping them, the stitches will be seen by degrees, to
+form a plait, as
+shown in fig. <a href="#fig_382">382</a>.</p>
+
+<p>1st row&mdash;purl
+4, cast on 3 stitches
+on to an auxiliary
+needle, and
+leave it hanging
+on the inside of the
+work; knit 3 and
+then knit the 3
+stitches on the
+extra needle, purl
+4.</p>
+
+<p>Then follow 5
+rows, in which
+you purl all the purled stitches and knit all the plain ones.
+After which 5 rows you repeat from the beginning.</p>
+
+<p><b><a name="Turkish_stitch" id="Turkish_stitch"></a>Turkish stitch</b> (fig. <a href="#fig_383">383</a>).&mdash;1st row&mdash;slip 1, knit 1, over,
+knit 2 together, over,
+knit 2 together, and so
+on to the 2 last stitches,
+which you knit plain.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/394.jpg"  alt="FIG. 383. TURKISH STITCH." title="" />
+<a name="fig_383" id="fig_383"></a><span class="caption smcap">Fig. 383. Turkish stitch.</span>
+</div>
+
+<p>2nd row&mdash;slip the
+1st, knit the 2nd and
+the 3rd plain, the latter
+having been formed
+by the last over
+on the 1st needle; 1
+over, 1 intake with the stitch and the over, 1 over, 1 intake
+and so on.</p>
+
+<p><b>Turkish stitch with beads</b> (fig. <a href="#fig_384">384</a>).&mdash;String the beads
+on the thread before you begin to knit. When you only use
+one kind of bead, thread a needle with your knitting cotton
+and run it through the thread on which the beads are strung.</p><p><a name="Page_203" id="Page_203"></a></p>
+
+<p>When you use several kinds, you must count and thread
+them on in the required order. Beaded knitting is little in
+request now, excepting for tobacco pouches and purses; for
+which you should use Cordonnet 6 fils D.M.C Nos. 35, in any
+colour, and small beads.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/395.jpg"  alt="FIG. 384. TURKISH STITCH WITH BEADS." title="" />
+<a name="fig_384" id="fig_384"></a><span class="caption smcap">Fig. 384. Turkish stitch with beads.</span>
+</div>
+
+<p>For close beaded knitting,
+plain stitch is the best.
+Run the beads down singly
+at each stitch. The beads
+will fall on the reverse side
+of the work so that in knitting
+with beads, remember
+that the reverse side will be
+the right side.</p>
+
+<p>To work fig. <a href="#fig_384">384</a>, which represents the same stitch as
+fig. <a href="#fig_383">383</a>, you run
+down 2 or sometimes
+3 beads before
+knitting each
+stitch.</p>
+
+<p><b>Knitting pattern
+with two kinds of cotton</b>
+(fig. <a href="#fig_385">385</a>).&mdash;A variety
+of pretty
+things, such as
+open-work stockings,
+shawls, curtains
+etc. can be
+made in this pattern,
+worked with
+two sizes of
+thread. To give
+it its full effect it
+ought to be knitted with coarse needles, Nos. 10, 11, or 12.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/396.jpg"  alt="FIG. 385.
+KNITTING PATTERN WITH TWO KINDS OF COTTON." title="" />
+<a name="fig_385" id="fig_385"></a><span class="caption"><span class="smcap">Fig. 385.
+Knitting pattern with two kinds of cotton.<br />
+
+Materials:</span> Fil &agrave; pointer D.M.C No. 20 or 30, and Cordonnet
+6 fils D.M.C No. 60 or 80, &eacute;cru.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+<p><a name="Page_204" id="Page_204"></a></p>
+<p>Cast on a number of stitches that divides by 8. Take the
+coarse thread to begin with.</p>
+
+<p>1st and 2nd row&mdash;purl.</p>
+
+<p>3rd row&mdash;purl 5, 2 overs, purl 5.</p>
+
+<p>4th row&mdash;with the fine thread: over, knit 2 together, slip
+the next stitch of the previous row, drop the double over, slip
+the next stitch, 1 over, knit 2 together.</p>
+
+<p>5th row&mdash;over, knit 2 together, over, knit 2 together, and
+so on.</p>
+
+<p>6th row&mdash;like the last. See that the 2 slipped stitches, in
+the coarse thread, always come on the right side of the work.</p>
+
+<p>7th row&mdash;with
+the coarse thread:
+purl 4, purl the 2
+slipped stitches of
+the 3rd row together,
+then repeat
+from the 1st row.</p>
+
+<p>See that in the
+3rd row the 2
+overs come between
+the stitches
+formed by the 2
+stitches that were
+formed by the 1st
+over, and the 2
+stitches of the 6th
+row, that were
+knitted together.</p>
+
+<p><b><a name="Knitting_pattern" id="Knitting_pattern"></a>Knitting pattern with two kinds of thread</b> (fig. <a href="#fig_386">386</a>).&mdash;Cast
+on a number of stitches that divides by 4.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/397.jpg"  alt="FIG. 386.
+KNITTING PATTERN WITH TWO KINDS OF THREAD." title="" />
+<a name="fig_386" id="fig_386"></a><span class="caption"><span class="smcap">Fig. 386.
+Knitting pattern with two kinds of thread.<br />
+Materials:</span> Fil &agrave; pointer D.M.C Nos. 25 to 30 and
+Cordonnet 6 fils D.M.C No. 60 or 80.</span>
+</div>
+
+<p>1st row&mdash;with coarse thread: purl.</p>
+
+<p>2nd row&mdash;plain.</p>
+
+<p>3rd row&mdash;with fine thread: over, 1 intake, knit 2.</p>
+
+<p>4th row&mdash;plain.</p>
+
+<p>5th row&mdash;knit 1, over, 1 intake, knit 1.</p>
+
+<p>6th row&mdash;plain.</p>
+
+<p>7th row&mdash;knit 2, over, 1 intake.</p><p><a name="Page_205" id="Page_205"></a></p>
+
+<p>8th row&mdash;plain.</p>
+
+<p>9th and 10th row&mdash;with the coarse thread: purl.</p>
+
+<p>11th row&mdash;plain.</p>
+
+<p>12th row&mdash;with the fine thread: over, knit 2 together.</p>
+
+<p>13th row&mdash;plain.</p>
+
+<p>14th row&mdash;purl. Then repeat from the 1st row.</p>
+
+<p><b>Knitting pattern with dropped stitches</b> (fig. <a href="#fig_387">387</a>).&mdash;Cast
+on a number of
+stitches that divides
+by 9.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/398.jpg"  alt="FIG. 387. KNITTING PATTERN WITH DROPPED STITCHES." title="" />
+<a name="fig_387" id="fig_387"></a><span class="caption"><span class="smcap">Fig. 387. Knitting pattern with dropped stitches.
+<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 16 to 30,
+Coton pour crochet D.M.C Nos. 6 to 30, or Fil &agrave; pointer
+D.M.C Nos. 10 to 30.</span>
+</div>
+
+<p>1st row&mdash;over,
+slip 3, knit
+1, 2 overs, knit
+3, 2 overs, knit 1.</p>
+
+<p>2nd row&mdash;knit
+3, slip the
+next, drop the
+2 overs, knit 4,
+turn the work,
+purl 4, turn the
+work, knit 4,
+drop the 2 overs,
+slip the next
+stitch.</p>
+
+<p>3rd row&mdash;over,
+slip 2, knit
+1, pull slipped stitches over, drop the first of the 4 stitches,
+knit first the stitch that follows the second double over, then
+the 4 others plain, and lastly, take up the dropped stitch and
+knit it plain on the right side of the work.</p>
+
+<p>4th row&mdash;knit plain.</p>
+
+<p>5th row&mdash;over, slip 3, over, knit 6.</p>
+
+<p>6th row&mdash;knit plain, and repeat from the 1st row.</p>
+
+<p><b>Knitting pattern</b> (fig. <a href="#fig_388">388</a>).&mdash;This pattern may be worked
+with any one of the D.M.C cottons recommended for fig. <a href="#fig_387">387</a>,
+but in the case of anything that is not wearing apparel, Fil &agrave;
+pointer D.M.C will be found more suitable. Cast on a number
+of stitches that divides by 18.</p><p><a name="Page_206" id="Page_206"></a></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/399.jpg"  alt="FIG. 388. KNITTING PATTERN." title="" />
+<a name="fig_388" id="fig_388"></a><span class="caption smcap">Fig. 388. Knitting pattern.</span>
+</div>
+
+<p>1st row&mdash;over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, knit 4, knit 2 together, over, slip 2, knit
+1, pull slipped stitches over, over, knit 3.</p>
+
+<p>Each row marked by an even number is to be knitted plain
+throughout.</p>
+
+<p>3rd row&mdash;knit 1, over, knit 2 together, over, knit 2 together,
+over, knit 2 together, over, slip 1, knit 1, pull slipped
+stitch over, knit 2, knit 2 together, over, knit 3, over, slip 1,
+knit 1, pull slipped stitch over, knit 1.</p>
+
+<p>5th row&mdash;knit 2, over, knit 2 together, over, knit 2 together,
+over, knit 2 together, over, slip 1, knit 1, pull slipped
+stitch over, knit 2 together, over, knit 5, over, knit 2 together.</p>
+
+<p>7th row&mdash;knit
+3, over, knit 2 together,
+over, knit 2
+together, over, knit
+2 together, over,
+slip 1, knit 1, pull
+slipped stitch over,
+knit 1, over, slip 1,
+knit 1, pull slipped
+stitch over, knit
+1, knit 2 together,
+over, knit 2.</p>
+
+<p>9th row&mdash;knit
+4, over, knit 2 together,
+over, knit 2
+together, over, knit
+2 together, over, slip 1, knit 1, pull slipped stitch over, knit 1,
+over, slip 2, knit 1, pull slipped stitches over, over, knit 2.</p>
+
+<p>11th row&mdash;knit 5, over, knit 2 together, over, knit 2 together,
+over, knit 2 together, over, knit 2 together, over, slip 1,
+knit 1, pull slipped stitch over, knit 6.</p>
+
+<p>13th row&mdash;knit 7, over, knit 2 together, over, purl 2 together,
+over, slip 1, knit 1, pull slipped stitch over, knit 5.</p>
+
+<p>Repeat from the beginning.</p>
+
+<p><b>Knitting pattern</b> (fig. <a href="#fig_389">389</a>).&mdash;Cast on a number of stitches
+that divides by 9.</p><p><a name="Page_207" id="Page_207"></a></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/400.jpg"  alt="FIG. 389. KNITTING PATTERN." title="" />
+<a name="fig_389" id="fig_389"></a><span class="caption"><span class="smcap">Fig. 389. Knitting pattern.
+<br />
+Materials:</span> Cordonnet 6 fils D.M.C, or Fil &agrave; pointer D.M.C</span>
+</div>
+
+<p>1st row&mdash;2 overs, slip 1, knit 1, pull slipped stitch over,
+knit 5, knit 2 together.</p>
+
+<p>2nd row&mdash;2 overs, slip the first over on to the right needle,
+knit the second over, slip 1, knit 1, pull slipped stitch over,
+knit 3, knit 2 together.</p>
+
+<p>3rd row&mdash;2 overs, slip the overs of the two first rows on
+to the right needle,
+slip 1, knit 1,
+pull slipped stitch
+over, knit 1, knit
+2 together.</p>
+
+<p>4th row&mdash;drop
+the overs of
+the 3 first rows
+and knit 8 double
+stitches, that is,
+knit 1 stitch on the
+over, slip it on to
+the left needle
+and knit it again.</p>
+
+<p>These 8 stitches
+finished, make
+2 overs, and slip
+3, knit 1, pull slipped stitches over. Repeat from the beginning.</p>
+
+<p>Each time you repeat the 4th row, make double stitches on
+4 overs, that is, on 4 threads.</p>
+
+<p><b>Knitting pattern</b> (fig. <a href="#fig_390">390</a>).&mdash;This pattern is suitable for
+children's braces. For Coton &agrave; repriser D.M.C Nos. 6 to 20,
+which is the best for the purpose, you will require fine bone
+needles.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/401.jpg"  alt="FIG. 390. KNITTING PATTERN." title="" />
+<a name="fig_390" id="fig_390"></a><span class="caption"><span class="smcap">Fig. 390. Knitting pattern.<br />
+Materials:</span> Coton &agrave; repriser D.M.C Nos. 5 to 20.</span>
+</div>
+
+<p>Cast on a number of stitches that divides by 4.</p>
+
+<p>1st row&mdash;over, slip 1, knit 1, pull slipped stitch over, knit 2.</p>
+
+<p>2nd row&mdash;knit 1, over, slip 1, knit 1, pull slipped stitch
+over, knit 1.</p>
+
+<p>3rd row&mdash;knit 2, over, slip 1, knit 1, pull slipped stitch over.</p>
+
+<p>4th row&mdash;slip 1, knit 1, pull slipped stitch over, knit 2,
+over.</p><p><a name="Page_208" id="Page_208"></a></p>
+
+<p>5th row&mdash;knit
+2 together,
+over, knit 2.</p>
+
+<p>6th row&mdash;knit
+1, knit 2
+together, over,
+knit 1.</p>
+
+<p>7th row&mdash;knit
+2 together,
+over, knit 2.</p>
+
+<p>8th row&mdash;knit
+2, knit 2
+together, over.</p>
+
+<p>Repeat from
+the beginning.</p>
+
+<p><b>Knitting pattern</b>
+(fig. <a href="#fig_391">391</a>).&mdash;The patterns
+shown in figs.
+<a href="#fig_391">391</a> and <a href="#fig_392">392</a>,
+are more particularly
+useful
+for comforters,
+shawls, hoods
+and the like. The
+needles, which
+may be either of
+bone or steel
+must match the
+cotton in size;
+steel needles are
+the best for any
+thing finer than
+No. 16, of D.M.C
+Coton &agrave; tricoter.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/402.jpg"  alt="FIG. 391. KNITTING PATTERN." title="" />
+<a name="fig_391" id="fig_391"></a><span class="caption smcap">Fig. 391. Knitting pattern.</span>
+</div>
+
+<p>Cast on a number of stitches that divides by 3.</p>
+
+<p>1st row&mdash;over, slip 1 stitch on to the right needle, knit
+the 2 next stitches, and draw the first stitch over them.</p>
+
+<p>2nd row and 4th row&mdash;knit plain.</p><p><a name="Page_209" id="Page_209"></a></p>
+
+<p>3rd row&mdash;like the first, but note, that the stitch that was
+the third in the first row, will be the first here.</p>
+
+<p>Repeat from the beginning.</p>
+
+<p><b>Knitting pattern</b> (fig. <a href="#fig_392">392</a>).&mdash;Cast on a number of stitches
+that divides by 3.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/403.jpg"  alt="FIG. 392. KNITTING PATTERN." title="" />
+<a name="fig_392" id="fig_392"></a><span class="caption smcap">Fig. 392. Knitting pattern.</span>
+</div>
+
+<p>1st row&mdash;over,
+knit the 2 first together,
+draw the
+3rd stitch through
+the stitch formed
+by the intake and
+knit it off plain,
+then knit the
+stitch that was
+pulled over it.</p>
+
+<p>2nd and 4th
+row&mdash;knit plain.</p>
+
+<p>3rd row&mdash;like
+the first; the third
+stitch here is the
+same that was
+drawn through
+the third stitch in
+the first row.</p>
+
+<p><b>Knitting pattern</b>
+(fig. <a href="#fig_393">393</a>).&mdash;Cast
+on a number
+of stitches that
+divides by 14.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/404.jpg"  alt="FIG. 393. KNITTING PATTERN." title="" />
+<a name="fig_393" id="fig_393"></a><span class="caption smcap">Fig. 393. Knitting pattern.</span>
+</div>
+
+<p>1st row&mdash;over,
+knit 1, over, knit
+2, purl 3, knit 3
+together, purl 3,
+knit 2.</p>
+
+<p>2nd row&mdash;knit
+5, purl 7, knit 2.</p>
+
+<p>3rd row&mdash;over,
+knit 3, over, knit 2, purl 2, knit 3 together, purl 2, knit 2.</p><p><a name="Page_210" id="Page_210"></a></p>
+
+<p>4th row&mdash;knit 7, purl 5, knit 2.</p>
+
+<p>5th row&mdash;over, knit 5, over, knit 2, purl 1, knit 3 together,
+purl 1, knit 2.</p>
+
+<p>6th row&mdash;knit 9, purl 3, knit 2.</p>
+
+<p>7th row&mdash;over, knit 7, over, knit 2, knit 3 together, knit 2.</p>
+
+<p>8th row&mdash;knit 11, purl 1, knit 1.</p>
+
+<p>Repeat from the beginning but in the reverse order, that is,
+purling the knitted stitches and knitting the purled.</p>
+
+<p><b>Knitted lace</b> (fig. <a href="#fig_394">394</a>).&mdash;Knitted lace looks best, made
+of a smooth, silky thread which shows up the pattern better
+than any other material. As a knitted edging makes a very
+pretty finish to almost any kind of knitted article, we give a
+selection of some of the easiest and most effective patterns that
+we consider suitable for the purpose.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/405.jpg"  alt="FIG. 394. KNITTED LACE." title="" />
+<a name="fig_394" id="fig_394"></a><span class="caption"><span class="smcap">Fig. 394. Knitted lace.
+<br />
+Materials:</span> Cordonnet 6 fils D.M.C Nos. 25 to 60, Fil &agrave; dentelle D.M.C
+Nos. 25 to 70.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+<p><a name="Page_211" id="Page_211"></a></p>
+<p>Cast on 8 stitches.</p>
+
+<p>1st needle&mdash;1 chain, knit 2, over, knit 2 together, knit 2,
+2 overs, knit 2.</p>
+
+<p>2nd needle&mdash;knit 3, purl 1, knit 4, over, knit 2 together,
+1 chain.</p>
+
+<p>3rd needle&mdash;1 chain, knit 2, over, knit 2 together, knit 6.</p>
+
+<p>4th needle&mdash;2 chain, knit 5, over, knit 2 together, 1 chain.</p>
+
+<p>Repeat from the first needle.</p>
+
+<p><b>Knitted lace</b> (fig. <a href="#fig_395">395</a>).&mdash;Cast on 10 stitches.</p>
+
+<div class="figcenter" style="width: 450px;"><a name="fig_395" id="fig_395"></a>
+<img src="images/406.jpg"  alt="FIG. 395. KNITTED LACE." title="" />
+<span class="caption"><span class="smcap">Fig. 395. Knitted lace.<br />
+
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 25 to 50, Fil &agrave; pointer D.M.C Nos. 10 to 30, Cordonnet 6 fils D.M.C Nos. 10 to 30.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st needle&mdash;knit 2 together, 2 overs, knit 2 together, 2
+overs, knit 3, over, knit 2 together, 1 chain.</p>
+
+<p>2nd needle&mdash;1 chain, knit 2, knit 2 together, knit 2, purl
+1, knit 2, purl 1, knit 1.</p>
+
+<p>3rd needle&mdash;knit 2 together, 2 overs, knit 2 together, 2
+overs, knit 4, over, knit 2 together, 1 chain.</p>
+
+<p>4th needle&mdash;1 chain, knit 2, knit 2 together, knit 3, purl 1,
+knit 2, purl 1, knit 1.</p>
+
+<p>5th needle&mdash;knit 2 together, 2 overs, knit 2 together, 2
+overs, knit 5, over, knit 2 together, 1 chain.</p>
+
+<p>6th needle&mdash;1 chain, knit 2, knit 2 together, knit 4, purl
+1, knit 2, purl 1, knit 1.</p>
+
+<p>7th needle&mdash;knit 10, over, knit 2 together, 1 chain.</p>
+
+<p>8th needle&mdash;1 chain, knit 2, knit 2 together, knit 8.</p>
+
+<p>9th needle&mdash;4 chain, 2 overs, knit 2 together, 2 overs,
+knit 3, over, knit 2 together, 1 chain.</p>
+
+<p>Repeat from the second needle.</p>
+
+<p><b>Knitted lace</b> (fig. <a href="#fig_396">396</a>).&mdash;Cast on 13 stitches.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="fig_396" id="fig_396"></a>
+<img src="images/407.jpg"  alt="FIG. 396. KNITTED LACE." title="" />
+<span class="caption"><span class="smcap">Fig. 396. Knitted lace.<br />
+Materials:</span> Fil d&#39;Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos. 20
+to 80, or Fil &agrave; dentelle D.M.C Nos. 25 to 60.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st needle&mdash;1 chain, purl 1, purl 2 together, over, knit 8,
+1 chain.</p>
+
+<p>2nd needle&mdash;1 chain, knit 8, over, knit 2, knit 1 from
+behind, 1 chain.</p>
+
+<p>3rd needle&mdash;1 chain, purl 2, over, purl 2 together, over,
+knit 8, 1 chain.</p>
+
+<p>4th needle&mdash;1 chain, knit 8, over, knit 2 together, over,
+knit 2, knit 1 from behind, 1 chain.</p>
+
+<p>5th needle&mdash;1 chain, purl 2, over, purl 2 together, over,
+purl 2 together, over, knit 8, 1 chain.</p><p><a name="Page_212" id="Page_212"></a></p>
+
+<p>6th needle&mdash;1 chain, knit 8, over, knit 2 together, over,
+knit 2 together, over, knit 2, knit 1 from behind, 1 chain.</p>
+
+<p>7th needle&mdash;1 chain, purl 2, over, purl 2 together, over,
+purl 2 together, over, purl 2 together, over, knit 8, 1 chain.</p>
+
+<p>8th needle&mdash;1 chain, knit 8, over, knit 2 together, over,
+knit 2 together, over, knit 2 together, over, knit 2, knit 1 from
+behind, 1 chain.</p>
+
+<p>9th needle&mdash;1 chain, purl 2, over, purl 2 together, over,
+purl 2 together, over, purl 2 together, over, purl 2 together,
+over, knit 8, 1 chain.</p>
+
+<p>10th needle&mdash;8 chain, knit 10, knit 1 from behind, 1 chain.</p>
+
+<p>Repeat from the first needle.</p>
+
+<p><b>Knitted lace</b> (fig. <a href="#fig_397">397</a>).&mdash;Cast on 11 stitches.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/408.jpg"  alt="FIG. 397. KNITTED LACE." title="" />
+<a name="fig_397" id="fig_397"></a><span class="caption"><span class="smcap">Fig. 397. Knitted lace.
+<br />
+Materials:</span> Fil d&#39;Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos. 25
+to 70, Fil &agrave; dentelle D.M.C Nos. 25 to 80.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st needle&mdash;1 chain, knit 1 from behind, over, knit 1, over,
+slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1, pull
+<a name="Page_213" id="Page_213"></a>slipped stitch over, over, slip 1, knit 1, pull slipped stitch over,
+knit 1, 1 chain.</p>
+
+<p>The 2nd, 4th, 6th, 8th, 10th, 12th, 14th, and 16th needle,
+purled.</p>
+
+<p>3rd needle&mdash;1 chain, knit 1 from behind, over, knit 3,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
+pull slipped stitch over, over, slip 1, knit 1, pull slipped stitch
+over, 1 chain.</p>
+
+<p>5th needle&mdash;1 chain, knit 1 from behind, over, knit 5, over,
+slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1, pull
+slipped stitch over, knit 1, 1 chain.</p>
+
+<p>7th needle&mdash;1 chain, knit 1 from behind, over, knit 7, over,
+slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1, pull
+slipped stitch over, 1 chain.</p>
+
+<p>9th needle&mdash;1 chain, slip 1, knit 1, pull slipped stitch over,
+over, slip 1, knit 1, pull slipped stitch over, knit 3, knit 2 together,
+over, knit 2 together, over, knit 2, 1 chain.</p>
+
+<p>11th needle&mdash;1 chain, slip 1, knit 1, pull slipped stitch over,
+over, slip 1, knit 1, pull slipped stitch over, knit 1, knit 2
+together, over, knit 2 together, over, knit 2 together, over,
+knit 1, 1 chain.</p>
+
+<p>13th needle&mdash;1 chain, slip 1, knit 1, pull slipped stitch over,
+over, knit 3 together, over, knit 2 together, over, knit 2 together,
+over, knit 2, 1 chain.</p>
+
+<p>15th needle&mdash;1 chain, slip 1, knit 1, pull slipped stitch over,
+knit 1, knit 2 together, over, knit 2 together, over, knit 1, 1
+chain.</p>
+
+<p>Repeat from the first needle.</p>
+
+<p><b>Rose for knitting</b> (fig. <a href="#fig_398">398</a>).&mdash;Repeat all the directions,
+8 ending with the sign *, 7 times.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/409.jpg"  alt="FIG. 398. ROSE FOR KNITTING" title="" />
+<a name="fig_398" id="fig_398"></a><span class="caption"><span class="smcap">Fig. 398. Rose for knitting.
+<br />
+Materials:</span> Fil d&#39;Alsace D.M.C in balls, No. 60 or 70, Fil &agrave; dentelle D.M.C
+No. 40, 50 or 60.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Cast on 8 stitches, on to 4 needles, two on each; close the
+ring.</p>
+
+<p>2nd round&mdash;8 times: over, knit 1.</p>
+
+<p>The 3rd, 5th, 7th, 9th, 11th, 13th, 15th, 17th, 19th, 21st,
+23rd, and 25th round, knit plain.</p>
+
+<p>4th round&mdash;over, knit 3, over, knit 1 from behind *.</p>
+
+<p>6th round&mdash;over, knit 4, over, knit 1 from behind *.</p>
+
+<p>8th round&mdash;over, knit 7, over, knit 1 from behind *.</p><p><a name="Page_214" id="Page_214"></a></p>
+
+<p>10th round&mdash;over, slip 1, knit 1, pull slipped stitch over,
+knit 2 together, over, knit 1 *.</p>
+
+<p>12th round&mdash;over, knit 2 together, over, knit 3 *.</p>
+
+<p>14th round&mdash;over, knit 1 from behind, over, knit 5 *.</p>
+
+<p>16th round&mdash;over, knit 1 from behind, over, knit 7 *.</p>
+
+<p>18th round&mdash;over, knit 1 from behind, over, knit 9 *.</p>
+
+<p>20th round&mdash;over, knit 1 from behind, over, knit 11 *.</p>
+
+<p>22nd round&mdash;over, knit 1 from behind, over, knit 13 *.</p>
+
+<p>24th round&mdash;over, knit 1 from behind, over, knit 15 *.</p>
+
+<p>26th round&mdash;over, knit 3, over, knit 5, knit 2 together,
+purl 1, slip 1, knit 1, pull slipped stitch over, knit 5 *.</p>
+
+<p>27th round&mdash;knit 11, purl 1, knit 6 *.</p>
+
+<p>28th round&mdash;over, knit 5, over, knit 4, knit 2 together,
+purl 1, slip 1, knit 1, pull slipped stitch over, knit 4 *.</p>
+<p><a name="Page_215" id="Page_215"></a></p>
+<p>29th round&mdash;knit 12, purl 1, knit 5 *.</p>
+
+<p>30th round&mdash;over, knit 1, over, slip 1, knit 1, pull slipped
+stitch over, knit 1, knit 2 together, over, knit 1, over, knit 3,
+knit 2 together, purl 1, slip 1, knit 1, pull slipped stitch over,
+knit 3 *.</p>
+
+<p>31st round&mdash;knit 13, purl 1, knit 4 *.</p>
+
+<p>32nd round&mdash;over, knit 3, over, slip 2, knit 1, pull slipped
+stitches over, over, knit 3, over, knit 2, knit 2 together, purl
+1, slip 1, knit 1, pull slipped stitch over, knit 2 *.</p>
+
+<p>33rd round&mdash;knit 14, purl 1, knit 3.</p>
+
+<p>34th round&mdash;over, knit 11, over, knit 1, knit 2 together,
+purl 1, slip 1, knit 1, pull slipped stitch over, knit 1 *.</p>
+
+<p>35th round&mdash;knit 15, purl 1, knit 2.</p>
+
+<p>36th round&mdash;over, knit 1, over, slip 1, knit 1, pull slipped
+stitch over, knit 1, knit 2 together, over, knit 1, over, slip 1,
+knit 1, pull slipped stitch over, knit 1, knit 2 together, over,
+knit 1, over, knit 2 together, purl 1, slip 1, knit 1, pull slipped
+stitch over *.</p>
+
+<p>37th round&mdash;knit 16, purl 1, knit 1.</p>
+
+<p>38th round&mdash;over, knit 3, over, slip 2, knit 1, pull slipped
+stitches over, over, knit 3, over, slip 2, knit 1, pull slipped
+stitches over, over, knit 3, over, knit 2, over, slip 2, knit 1,
+pull slipped stitches over *.</p>
+
+<p>39th, 41st and 43rd round&mdash;knit plain.</p>
+
+<p>40th round&mdash;over, knit 4, knit 2 together, over, knit 5, over,
+slip 1, knit 1, pull slipped stitch over, knit 4, over, knit 1.</p>
+
+<p>42nd round&mdash;knit 1, over, slip 1, knit 1, pull slipped stitch
+over, knit 1, knit 2 together, over, knit 1, over, slip 1, knit 1,
+pull slipped stitch over, knit 1, knit 2 together, over, knit 1,
+over, slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together,
+over, knit 2 *.</p>
+
+<p>44th round&mdash;knit 2, over, slip 2, knit 1, pull slipped stitches
+over, over, knit 3, over, slip 2, knit 1, pull slipped stitches over,
+over, knit 3, over, slip 2, knit 1, pull slipped stitches over,
+over, knit 3 *.</p>
+
+<p>Finish with three purled rounds.</p>
+
+<p><b>Knitted edging</b> (fig. <a href="#fig_399">399</a>).&mdash;Cast on 43 stitches.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/410.jpg"  alt="FIG. 399. KNITTED EDGING." title="" />
+<a name="fig_399" id="fig_399"></a><span class="caption"><span class="smcap">Fig. 399. Knitted edging.
+<br />
+Materials:</span> Fil d&#39;Alsace D.M.C Nos. 40 to 70
+or Fil &agrave; dentelle D.M.C Nos. 25 to 50, or
+Cordonnet 6 fils D.M.C Nos. 25 to 60.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st needle, make a chain of 2 stitches, over, knit 1 from
+<a name="Page_216" id="Page_216"></a>behind, over, knit 1 from behind, over, knit 1, over, slip 1,
+knit 1, pull slipped stitch over, knit 1, knit 2 together, over,
+knit 1, over, slip 1, knit 1, pull slipped stitch over, knit 1, knit
+2 together, over, knit 1, knit 1 from behind, purl 1, knit 1 from
+behind, over, knit 1, knit 2 together, purl 1, slip 1, knit 1, pull
+slipped stitch over, knit 1, purl 1, knit 1, knit 2 together, knit
+1 from behind, slip 1, knit 1, pull slipped stitch over, knit
+1, over, knit 1 from behind, purl 1, knit 1 from behind, over,
+knit 2 together, knit 1, 1 chain.</p>
+
+<p>2nd needle&mdash;1 chain, knit 2, purl 1, purl 1 from behind,
+knit 1, purl 1 from behind, purl 3, knit 1, purl 2, knit 1,
+purl 2, knit 1, purl 3, purl
+1 from behind, knit 1,
+purl 1 from behind, purl
+14, purl 1 from behind,
+purl 4.</p>
+
+<p>3rd needle&mdash;slip 2
+stitches over for a chain,
+over, knit 1 from behind,
+over, knit 1 from behind,
+over, knit 3, over, slip 2,
+knit 1, pull slipped stitches
+over, over, knit 3, over,
+slip 2, knit 1, pull slipped
+stitches over, over, knit 2
+together, over, knit 1 from
+behind, purl 1, knit 1 from
+behind, over, knit 1, over
+knit 2 together, purl 1,
+slip 1, knit 1, pull slipped stitch over, purl 1, knit 2 together,
+purl 1, slip 1, knit 1, pull slipped stitch over, over, knit 1, over,
+knit 1 from behind, purl 1, knit 1 from behind, over, knit 2 together,
+knit 1, 1 chain.</p>
+
+<p>4th needle&mdash;slip 1, knit 2, purl 1, purl 1 from behind,
+knit 1, purl 1 from behind, purl 4, knit 1, purl 1, knit 1, purl<a name="Page_217" id="Page_217"></a>
+1, knit 1, purl 4, purl 1 from behind, knit 1, purl 1 from behind,
+purl 15, purl 1 from behind, purl 4.</p>
+
+<p>5th needle&mdash;slip 2 stitches over for a chain, over, knit
+1 from behind, over, knit 1 from behind, over, knit 2, over,
+slip 1, knit 1, pull slipped stitch over, knit 2 together, over,
+knit 2, over, slip 1, knit 1, pull slipped stitch over, knit 2 together,
+over, knit 2 together, over, knit 1, knit 1 from behind,
+purl 1, knit 1 from behind, over, knit 3, over, slip 2, knit 1,
+pull slipped stitches over, purl 1, slip 2, knit 1, pull slipped
+stitches over, over, knit 3, over, knit 1 from behind, purl 1,
+knit 1 from behind, over, knit 2 together, knit 1, 1 chain.</p>
+
+<p>6th needle&mdash;slip 1, knit 2, purl 1, purl 1 from behind,
+knit 1, purl 1 from behind, purl 6, knit 1, purl 6, purl 1 from
+behind, knit 1, purl 1 from behind, purl 16, purl 1 from behind,
+purl 4.</p>
+
+<p>7th needle&mdash;slip 2 stitches over for a chain, over, knit 1
+from behind, over, knit 1 from behind, over, knit 1, over,
+slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together,
+over, knit 1, over, slip 1, knit 1, pull slipped stitch over, knit
+1, knit 2 together, over, knit 2 together, over, knit 2 together,
+over, knit 1 from behind, purl 1, knit 1 from behind, over,
+knit 5, over, slip 2, knit 1, pull slipped stitches over, over, knit
+5, over, knit 1 from behind, purl 1, knit 1 from behind, over,
+knit 2 together, knit 1, 1 chain.</p>
+
+<p>8th needle&mdash;slip 1, knit 2, purl 1, purl 1 from behind,
+knit 1, purl 1 from behind, purl 15, purl 1 from behind, knit
+1, purl 1 from behind, purl 17, purl 1 from behind, purl 4.</p>
+
+<p>9th needle&mdash;slip 2 stitches over for a chain, over, knit
+1 from behind, over, knit 1 from behind, over, knit 3, over,
+slip 2, knit 1, pull slipped stitches over, over, knit 3, over, slip
+2, knit 1, pull slipped stitches over, over, knit 2 together, over,
+knit 2 together, over, knit 1, knit 1 from behind, purl 1, knit
+1 from behind, over, knit 1, knit 2 together, purl 1, slip 1,
+knit 1, pull slipped stitch over, knit 1, purl 1, knit 1, knit 2
+together, purl 1, slip 1, knit 1, pull slipped stitch over, knit 1,
+over, knit 1 from behind, purl 1, knit 1 from behind, over,
+knit 2 together, knit 1, 1 chain.</p>
+
+<p>10th needle&mdash;slip 1, knit 2, purl 1, purl 1 from behind,
+<a name="Page_218" id="Page_218"></a>knit 1, purl 1 from behind, purl 3, knit 1, purl 2, knit 1, purl
+2, knit 1, purl 3, purl 1 from behind, knit 1, purl 1 from behind,
+purl 18, purl 1 from behind, purl 4.</p>
+
+<p>11th needle&mdash;slip 2 stitches over for a chain, over, knit 1
+from behind, over, knit 1 from behind, over, knit 2, over,
+slip 1, knit 1, pull slipped stitch over, knit 2 together, over,
+knit 2, over, slip 1, knit 1, pull slipped stitch over, knit 2
+together, over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, knit 1 from behind, purl 1, knit 1
+from behind, over, knit 1, over, knit 2 together, purl 1, slip
+1, knit 1, pull slipped stitch over, purl 1, knit 2 together,
+purl 1, slip 1, knit 1, pull slipped stitch over, over, knit 1,
+over, knit 1 from behind, purl 1, knit 1 from behind, over,
+knit 2 together, knit 1, 1 chain.</p>
+
+<p>12th needle&mdash;slip 1, knit 2, purl 1, purl 1 from behind,
+knit 1, purl 1 from behind, purl 4, knit 1, purl 1, knit 1, purl
+1, knit 1, purl 4, purl 1 from behind, knit 1, purl 1 from
+behind, purl 19, purl 1 from behind, purl 4.</p>
+
+<p>13th needle&mdash;slip 2 stitches over for a chain, over, knit 1
+from behind, over, slip 1, knit 1, pull slipped stitch over, over,
+slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together,
+over, knit 1, over, slip 1, knit 1, pull slipped stitch over, knit
+1, knit 2 together, over, knit 1, over, slip 1, knit 1, pull slipped
+stitch over, over, slip 1, knit 1, pull slipped stitch over, over,
+slip 1, knit 1, pull slipped stitch over, knit 1 from behind,
+purl 1, knit 1, from behind, over, knit 3, over, slip 2, knit 1,
+pull slipped stitches over, purl 1, slip 2, knit 1, pull slipped
+stitches over, over, knit 3, over, knit 1 from behind, purl 1,
+knit 1 from behind, over, knit 2 together, knit 1, 1 chain.</p>
+
+<p>14th needle&mdash;slip 1, knit 2, purl 1, purl 1 from behind,
+knit 1, purl 1 from behind, purl 6, knit 1, purl 6, purl 1 from
+behind, knit 1, purl 1 from behind, purl 18, purl 1 from behind,
+purl 4.</p>
+
+<p>15th needle&mdash;slip 2 stitches over for a chain, over, knit 1
+from behind, over, slip 1, knit 1, pull slipped stitch over, over,
+slip 2, knit 1, pull slipped stitches over, over, knit 3, over, slip 2,
+knit 1, pull slipped stitches over, over, knit 3, over, slip 1, knit 1,
+pull slipped stitch over, over, slip 1, knit 1, pull slipped stitch
+<a name="Page_219" id="Page_219"></a>over, over, knit 2 together, purl 1, knit 1 from behind, over
+knit 5, over, slip 2, knit 1, pull slipped stitches over, over,
+knit 1 from behind, over, knit 2 together, knit 1, 1 chain.</p>
+
+<p>16th needle&mdash;like the 8th.</p>
+
+<p>17th needle&mdash;slip 2 stitches over for a chain, over, knit 1
+from behind, over, slip 1, knit 1, pull slipped stitch over, over,
+slip 1, knit 1, pull slipped stitch over, knit 2 together, over,
+knit 2, over, slip 1, knit 1, pull slipped stitch over, knit 2
+together, over, knit 2, over, slip 1, knit 1, pull slipped stitch
+over, over, slip 1, knit 1, pull slipped stitch over, knit 1 from
+behind, purl 1, knit 1 from behind, over, knit 1, knit 2 together,
+purl 1, slip 1, knit 1, pull slipped stitch over, knit 1,
+purl 1, knit 1, knit 2 together, purl 1, slip 1, knit 1, pull
+slipped stitch over, knit 1, over, knit 1 from behind, purl 1,
+knit 1 from behind, over, knit 2 together, knit 1, 1 chain.</p>
+
+<p>18th needle&mdash;slip 1, knit 2, purl 1, purl 1 from behind,
+knit 1, purl 1 from behind, purl 3, knit 1, purl 2, knit 1,
+purl 2, knit 1, purl 3, purl 1 from behind, knit 1, purl 1
+from behind, purl 16, purl 1 from behind, purl 4.</p>
+
+<p>19th needle&mdash;slip 2 stitches over for a chain, over, knit 1
+from behind, over, slip 1, knit 1, pull slipped stitch over, over,
+slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together,
+over, knit 1, over, slip 1, knit 1, pull slipped stitch over, knit
+1, knit 2 together, over, knit 1, over, slip 1, knit 1, pull
+slipped stitch over, over, knit 2 together, purl 1, knit 1 from
+behind, over, knit 1, over, purl 1, slip 1, knit 1, pull slipped
+stitch over, purl 1, knit 2 together, purl 1, slip 1, knit 1,
+pull slipped stitch over, over, knit 1, over, knit 1 from behind,
+purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1 chain.</p>
+
+<p>20th needle&mdash;like the 4th.</p>
+
+<p>21st needle&mdash;slip 2 stitches over for a chain, over, knit 1
+from behind, over, slip 1, knit 1, pull slipped stitch over, over,
+slip 2, knit 1, pull slipped stitches over, over, knit 3, over,
+slip 2, knit 1, pull slipped stitches over, over, knit 3, over,
+slip 1, knit 1, pull slipped stitch over, knit 1 from behind,
+purl 1, knit 1 from behind, over, knit 3, over, slip 2, knit 1,
+pull slipped stitches over, purl 1, slip 2, knit 1, pull slipped
+stitches over, over, knit 3, over, knit 1 from behind, purl 1,
+<a name="Page_220" id="Page_220"></a>knit 1 from behind, over, knit 2 together, knit 1, 1 chain.</p>
+
+<p>22nd needle&mdash;slip 1; knit 2, purl 1, purl 1 from behind,
+knit 1, purl 1 from behind, purl 6, knit 1, purl 6, purl 1 from
+behind, knit 1, purl 1 from behind, purl 14, purl 1 from behind,
+purl 4.</p>
+
+<p>23rd needle&mdash;slip 2 stitches over for a chain, over, knit 1
+from behind, over, slip 1, knit 1, pull slipped stitch over, over,
+slip 1, knit 1, pull slipped stitch over, knit 2 together, over,
+knit 2, over, slip 1, knit 1, pull slipped stitch over, knit 2
+together, over, knit 2, over, knit 2 together, purl 1, knit
+1 from behind, over, knit 5, over, slip 2, knit 1, pull slipped
+stitches over, over, knit 5, over, knit 1 from behind, purl 1,
+knit 1 from behind, over, knit 2 together, knit 1, 1 chain.</p>
+
+<p>24th needle&mdash;slip 1, knit 2, purl 1, purl 1 from behind,
+knit 4, purl 1 from behind, purl 15, purl 1 from behind, knit
+1, purl 1 from behind, purl 13, purl 1 from behind, purl 4.</p>
+
+<p>Repeat from the first needle.</p>
+
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_9.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents.</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
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+
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+	 margin-top: 2em;
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+<body>
+
+
+<p><a name="Page_221" id="Page_221"></a></p>
+
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/411.jpg" width="600" height="157" alt="CROCHET LACE.&mdash;CLOSE LEAVES AND BARS WITH PICOTS" title="" />
+<span class="caption smcap">Crochet lace.&mdash;Close leaves and bars with picots</span>
+</div>
+
+
+
+<hr style="width: 15%;" />
+<h2><a name="Crochet_Work" id="Crochet_Work"></a>Crochet Work.</h2>
+<hr style="width: 15%;" />
+
+
+<p>Crochet work, so called from the hook, French <i>croche</i> or
+<i>croc</i>, with which it is done, is not only one of the easiest but
+in comparison with the cost and labour, one of the most
+effective kinds of fancy-work. It is also one of the most useful,
+as it can be applied to the domestic requirements of every-day
+life, to wearing apparel, house-linen and upholstery; and we
+are sure that the patterns contained in this chapter, which have
+in addition to their other merits that of novelty, will meet with
+a favorable reception.</p>
+
+<p>Hooks, or needles, as they are generally called, made of
+wood, bone or tortoise-shell are used for all the heavier kinds
+of crochet work in thick wool or cotton, and steel ones for
+the finer kinds. The Tunisian crochet is done with a long
+straight hook, which is made all in one piece. The points
+should be well polished inside and not too sharp, the backs
+slightly curved, and the handles, whether of bone, steel or
+wood, so light as not to tire the hand. Those represented
+here, we consider the best, as regards shape. As it is most
+essential that the needle should be suited to the cotton in size,
+we subjoin a comparative table of the numbers of the D.M.C
+threads and cottons and of the different needles.</p><p><a name="Page_222" id="Page_222"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/412.jpg" width="600" height="41" alt="FIG. 400. CROCHET NEEDLE WITH WOODEN HANDLE." title="" />
+<a name="fig_400" id="fig_400"></a><span class="caption smcap">Fig. 400. Crochet needle with wooden handle.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/413.jpg" width="600" height="25" alt="FIG. 401. CROCHET NEEDLE WITH STEEL HANDLE." title="" />
+<a name="fig_401" id="fig_401"></a><span class="caption smcap">Fig. 401. Crochet needle with steel handle.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/414.jpg" width="600" height="38" alt="FIG. 402. ENGLISH CROCHET NEEDLE WITH WOODEN HANDLE." title="" />
+<a name="fig_402" id="fig_402"></a><span class="caption smcap">Fig. 402. English crochet needle with wooden handle.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/415.jpg" width="600" height="398" alt="Table of the approximate relation of the D.M.C threads
+and cottons to the numbers of the crochet needles." title="" />
+<span class="caption">Table of the approximate relation of the D.M.C threads
+and cottons to the numbers of the crochet needles.</span>
+</div>
+
+
+<p><b>Explanation of the signs *.</b>&mdash;In crochet, as in knitting,
+you frequently have to repeat the same series of stitches. Such
+repetitions will be indicated, by the signs *, **, ***, etc., as
+the case may be.</p>
+
+<p><b>Crochet stitches.</b>&mdash;In point of fact, there is only one,
+because all crochet work consists of loops made by means of
+the hook or needle, and connected together by being drawn
+the one through the other.</p>
+
+<p>Crochet work may however, be divided into two kinds,
+German crochet, and Victoria or Tunisian crochet; the latter
+is known also under the name of <i>tricot-crochet.</i></p>
+
+<p>In German crochet there are eight different kinds of stitches:
+(1) chain stitch, (2) single stitch, (3) plain stitch, (4) treble
+<a name="Page_223" id="Page_223"></a>stitch, (5) knot stitch, (6) bullion stitch, (7) cluster or scale
+stitch, (8) double stitch.</p>
+
+<p>The rows are worked, according to the kind of stitch, either
+to and fro, or all from one end. In the former case, the work
+has to be turned at the end of each row, and the subsequent
+row begun with 1, 2 or 3 chain stitches to prevent the contraction
+of the outside edge.</p>
+
+<p>When the rows are all worked one way, the thread must
+be fastened on afresh each time, which is done by putting the
+needle into the first chain stitch of the preceding row, drawing
+the thread through it so as to form a loop, and making one
+or more chain stitches according to the height required.</p>
+
+<p>At the end of each row, cut the thread and draw the end
+through the last loop; in this manner all crochet work is
+finished off. Some crochet workers make a few extra chain
+stitches with the ends of the thread at the beginning and end of
+each row, or fasten them off with a few stitches on the wrong
+side.</p>
+
+<p>They can also, when the occasion requires, be formed into
+a fringe or tassels as a finish to the work.</p>
+
+<p><b><a name="Position_of_the_hands" id="Position_of_the_hands"></a>Position of the hands and explanation of</b> (1) <b>chain
+stitch</b> (fig. <a href="#fig_403">403</a>).&mdash;Take the thread in the left hand between
+the finger and thumb, hold the needle between the thumb and
+first finger of the right hand, letting it rest on the second
+finger, in the same manner in which you hold your pen, and
+put it into the loop, which you hold between the finger and
+thumb of the left hand. Take up the thread, lying on your
+finger, with the needle and make your first stitch as you do in
+<a name="Page_224" id="Page_224"></a>knitting, tightening the loop just enough to leave an easy passage
+through it for the needle. The end of the thread must be
+held by the thumb and forefinger. The next stitches are made
+by taking up the thread with the needle and drawing it through
+the loop. The throwing of the thread round the needle by a
+jerk of the wrist is called an 'over'.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/416.jpg" width="600" height="235" alt="FIG. 403. POSITION OF THE HANDS AND EXPLANATION OF CHAIN STITCH." title="" />
+<a name="fig_403" id="fig_403"></a><span class="caption smcap">Fig. 403. Position of the hands and explanation of chain stitch.</span>
+</div>
+
+<p>(2) <b>Single stitch</b> (fig. <a href="#fig_404">404</a>).&mdash;Put the needle in
+from the right side of the
+work, into the uppermost
+loop of the preceding row,
+take up the thread on the
+needle and draw it through
+both loops.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/417.jpg" width="350" height="162" alt="FIG. 404. SINGLE STITCH." title="" />
+<a name="fig_404" id="fig_404"></a><span class="caption smcap">Fig. 404. Single stitch.</span>
+</div>
+
+<p>(3) <b>Plain stitch</b> (fig. <a href="#fig_405">405</a>).&mdash;Put the needle through, as in
+fig. <a href="#fig_404">404</a>, from the right side to the wrong, under the upper
+side, either of a chain, or of a stitch of the preceding row,
+draw the thread through it in a loop, turn the thread round
+the needle and draw it through both loops on the needle. By
+making the rows of plain stitches follow each other in different
+ways, a great variety of stitches can be produced, as the
+illustrations and written instructions here given will show.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/418.jpg" width="300" height="235" alt="FIG. 405. PLAIN STITCH." title="" />
+<a name="fig_405" id="fig_405"></a><span class="caption smcap">Fig. 405. Plain stitch.</span>
+</div>
+
+<p><b>Rose stitch</b> (fig. <a href="#fig_406">406</a>).&mdash;This consists of rows of plain
+stitches, worked backwards and forwards. Insert the needle
+from the right side, under both the horizontal loops of the
+preceding row.</p><p><a name="Page_225" id="Page_225"></a></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/419.jpg" width="300" height="252" alt="FIG. 406. ROSE STITCH." title="" />
+<a name="fig_406" id="fig_406"></a><span class="caption smcap">Fig. 406. Rose stitch.</span>
+</div>
+
+<p><b>Russian stitch</b> (fig. <a href="#fig_407">407</a>).&mdash;This
+is worked like the
+foregoing, only that all the
+rows have to be begun from
+the same end, and the thread
+has to be cut off at the end of
+each row.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_407" id="fig_407"></a>
+<img src="images/420.jpg" width="300" height="176" alt="FIG. 407. RUSSIAN STITCH." title="" />
+<span class="caption smcap">Fig. 407. Russian stitch.</span>
+</div>
+
+<p><b>Ribbed stitch</b> (fig. <a href="#fig_408">408</a>).&mdash;Worked
+backwards and forwards,
+the hook being passed
+through the back part only
+of the stitches of the preceding
+row.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_408" id="fig_408"></a>
+<img src="images/421.jpg" width="300" height="231" alt="FIG. 408. RIBBED STITCH." title="" />
+<span class="caption smcap">Fig. 408. Ribbed stitch.</span>
+</div>
+
+<p><b>Chain stitch.</b>&mdash;Worked
+like fig. <a href="#fig_408">408</a>, but on one side
+only.</p>
+
+<p><b>Piqu&eacute; stitch.</b>&mdash;This stitch
+also is only worked on one
+side. Put the needle in under
+one of the vertical threads of
+a stitch and complete the plain
+stitch. This is a stitch that
+looks very well on the wrong
+side; the bars of the loop lie
+quite close together, which
+makes it particularly suitable
+for unlined articles of clothing.
+It requires a large-sized
+needle to do this stitch well, especially if the material be a
+heavy one.</p>
+
+<p><b>Slanting stitch</b> (fig. <a href="#fig_409">409</a>).&mdash;Worked entirely on the right
+side. Take up the back thread of a stitch in the preceding
+row, take hold of the crochet thread without turning it round
+the needle and draw it through in a loop, and then finish
+the stitch like a plain stitch.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/422.jpg" width="300" height="158" alt="FIG. 409. SLANTING STITCH." title="" />
+<a name="fig_409" id="fig_409"></a><span class="caption smcap">Fig. 409. Slanting stitch.</span>
+</div>
+
+<p><b>Crossed stitch.</b>&mdash;The name which is given to the preceding
+stitch when both the threads of the stitches in the row
+before, are taken up together, instead of the back one only.</p><p><a name="Page_226" id="Page_226"></a></p>
+
+<p><b>Russian crossed stitch</b>
+(fig. <a href="#fig_410">410</a>).&mdash;To work this
+stitch which runs in slanting
+lines, put the needle in between
+the vertical threads of the
+stitches and underneath the
+two horizontal ones.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_410" id="fig_410"></a>
+<img src="images/423.jpg" width="300" height="155" alt="FIG. 410. RUSSIAN CROSSED STITCH." title="" />
+<span class="caption smcap">Fig. 410. Russian crossed stitch.</span>
+</div>
+
+<p><b>Counterpane stitch</b> (fig. <a href="#fig_411">411</a>).&mdash;Counterpanes can be
+made in a less close stitch
+than those just described.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/424.jpg" width="300" height="232" alt="FIG. 411. COUNTERPANE STITCH." title="" />
+<a name="fig_411" id="fig_411"></a><span class="caption smcap">Fig. 411. Counterpane stitch.</span>
+</div>
+
+<p>To produce a soft and
+elastic fabric turn the thread
+round the needle and insert
+it under both the horizontal
+threads of a loop, take up
+the thread without turning
+it round the needle, draw it
+through in a loop, make an
+over, and draw the thread
+through all the three loops,
+that you have on the needle.</p>
+
+<p><b>Knotted stitch</b> (fig. <a href="#fig_412">412</a>).&mdash;This
+stitch likewise is composed
+of plain stitches, which,
+however differ in a slight degree
+from those we have described
+hitherto.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/425.jpg" width="300" height="197" alt="FIG. 412. KNOTTED STITCH." title="" />
+<a name="fig_412" id="fig_412"></a><span class="caption smcap">Fig. 412. Knotted stitch.</span>
+</div>
+
+<p>Make an over, put the
+needle through the two horizontal threads of the stitch below,
+make another over and draw it back through the two loops
+and the first over, make another over, and draw the thread
+through the last two loops.</p>
+
+<p><b>Loop stitch</b> (fig. <a href="#fig_413">413</a>).&mdash;Worked as follows: when you
+have put the needle into the loop of a stitch below, carry the
+thread, downwards from above, round a stripe of cardboard
+or a flat wooden ruler, then finish the stitch in the usual way.
+These long loops, each about 2 c/m. in length, can also be
+<a name="Page_227" id="Page_227"></a>made over the forefinger and held fast by the thumb as you
+work, but it is more difficult to make them regular in this way.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/426.jpg" width="300" height="172" alt="FIG. 413. LOOP STITCH." title="" />
+<a name="fig_413" id="fig_413"></a><span class="caption smcap">Fig. 413. Loop stitch.</span>
+</div>
+
+<p>Each row of long stitches is followed by a row of plain
+stitches. The side, where the
+long loops lie, becomes the
+right side. If you wish this
+stitch to be very thick and
+handsome, wind the thread
+three times round the ruler, or
+finger, and secure it with a
+plain stitch; in this case, you
+should make one plain stitch
+between every two clusters. A loose, fleecy
+thread is generally used for this stitch, and
+for washing articles more especially, we recommend
+Coton &agrave; repriser D.M.C.</p>
+
+<p><b>Plain stitches for a chain</b> (fig. <a href="#fig_414">414</a>).&mdash;Begin
+with two chain stitches, put the
+needle in between the two threads of the
+first chain stitch, turn the thread round the
+needle and draw it through in a loop, turn
+it round again and draw it through the
+two loops; then, put the needle into the left
+part of the stitch that was just made, turn
+the thread round the needle, draw it through
+the two loops and so on, to the end.</p>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/427.jpg" width="150" height="248" alt="FIG. 414. PLAIN STITCHES FOR A CHAIN." title="" />
+<a name="fig_414" id="fig_414"></a><span class="caption smcap">Fig. 414. Plain stitches for a chain.</span>
+</div>
+
+<p>A chain of this kind makes a very good substitute for
+<i>mignardise</i> when that can not
+be got of the right size and
+colour for the required purpose.</p>
+
+<p>(4) <b>Trebles</b>.&mdash;Trebles are
+little columns, or bars made
+of loops or stitches. They can
+be worked, like all other crochet,
+either to and fro, or all one
+way. There are different kinds
+of trebles; half or short trebles, trebles, double trebles, called
+<a name="Page_228" id="Page_228"></a>also 'long stitch', and quadruple and quintuple trebles, called
+'extra long stitch', connected trebles and crossed trebles.</p>
+
+<p><b>Half trebles</b> (fig. <a href="#fig_415">415</a>).&mdash;Turn
+the cotton round the
+needle from behind, put the
+needle in between the trebles
+of the preceding row, or into
+one edge of a chain stitch;
+make an over, bring the
+needle forward again with
+the thread, make another
+over and draw the needle
+through all three loops.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/428.jpg" width="300" height="201" alt="FIG. 415. HALF TREBLES" title="" />
+<a name="fig_415" id="fig_415"></a><span class="caption smcap">Fig. 415. Half trebles</span>
+</div>
+
+<p><b>Trebles</b> (figs. <a href="#fig_416">416</a> and
+<a href="#fig_417">417</a>).&mdash;Begin, as for the
+half treble, by turning the
+thread round the needle, and
+putting it in under one edge
+of the stitch beneath, then
+take up the thread on the
+needle and bring it through
+two of the loops, take it up
+again, and draw it through
+the two remaining loops.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/429.jpg" width="300" height="224" alt="FIG. 416. TREBLES MADE DIRECTLY ABOVE ONE ANOTHER." title="" />
+<a name="fig_416" id="fig_416"></a><span class="caption smcap">Fig. 416. Trebles made directly above one another.</span>
+</div>
+
+<p>In fig. <a href="#fig_417">417</a>, we have trebles
+made in the same manner
+as fig. <a href="#fig_416">416</a>, only that instead
+of putting the needle under
+one edge of the stitch beneath,
+you put it under both, and
+between the trebles of the
+last row.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/430.jpg" width="300" height="226" alt="FIG. 417.
+TREBLES SET BETWEEN THOSE OF THE
+PRECEDING ROW." title="" />
+<a name="fig_417" id="fig_417"></a><span class="caption smcap">Fig. 417.
+Trebles set between those of the
+preceding row.</span>
+</div>
+
+<p><b>Double trebles or 'long
+stitch'</b> (fig. <a href="#fig_418">418</a>).&mdash;Turn
+the thread twice round the
+needle, put it into a stitch of
+the work and bring the thread
+through in a loop, then take up the thread on the needle
+<a name="Page_229" id="Page_229"></a>and bring it through two of the loops, three times in succession.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/431.jpg" width="300" height="225" alt="FIG. 418. DOUBLE TREBLES OR &#39;LONG STITCH&#39;." title="" />
+<a name="fig_418" id="fig_418"></a><span class="caption smcap">Fig. 418. Double trebles or &#39;long stitch&#39;.</span>
+</div>
+
+<p><b>Triple and quadruple
+trebles or 'extra long stitch'</b>
+(fig. <a href="#fig_419">419</a>).&mdash;For a triple treble,
+twist the cotton three times
+round the needle, for a quadruple
+one, four times, then
+form the treble in the usual
+way by bringing the needle
+through two of the loops at
+a time. To make a series of
+trebles, of gradually increasing
+length, bring the needle, at
+every other treble, through the
+last three loops, so that before
+making a triple treble you
+will have to make columns, respectively,
+1 treble, 1&frac12; treble,
+2 trebles and 2&frac12; trebles long.
+Columns like these, of different
+lengths, are often required
+in crochet work, for leaves and
+scalloped edgings.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/432.jpg" width="300" height="257" alt="FIG. 419.
+TRIPLE AND QUADRUPLE TREBLES OR
+&#39;EXTRA LONG STITCH&#39;." title="" />
+<a name="fig_419" id="fig_419"></a><span class="caption smcap">Fig. 419.
+Triple and quadruple trebles or
+&#39;extra long stitch&#39;.</span>
+</div>
+
+<p><b>Connected trebles</b> (fig. <a href="#fig_420">420</a>).&mdash;Trebles, connected
+together, can be worked to
+and fro, and take the place of
+plain stitches. Begin with a
+chain, then make a treble of
+the required height, form as
+many loops as you made
+overs for the treble, take up
+the upper thread of the stitch
+nearest the treble, turn the
+thread round the needle, bring
+it back to the right side and
+draw the needle through the trebles, two at a time.</p><p><a name="Page_230" id="Page_230"></a></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/433.jpg" width="300" height="179" alt="FIG. 420. CONNECTED TREBLES." title="" />
+<a name="fig_420" id="fig_420"></a><span class="caption smcap">Fig. 420. Connected trebles.</span>
+</div>
+
+<p><b>Crossed trebles</b> (figs. <a href="#fig_421">421</a> and <a href="#fig_422">422</a>).&mdash;Trebles of this sort
+produce an open stitch,
+which is often used for
+the footing of lace, or
+for an insertion. Make
+a foundation of chain,
+or other stitches, and
+proceed as follows:
+3 chain, miss 2 stitches
+of the row beneath,
+make 1 treble in the
+third stitch, 5 chain,
+1 over, put the needle
+in between the loops
+of the connected trebles
+and finish with
+a treble. Then make a double over, put the needle into the
+next loop of the preceding row, make another over, draw the
+needle through the loops, make another over and join the two
+next loops. This leaves 3 loops on the needle. Make an over,
+put the needle into the third stitch of the row beneath, make
+an over, and bring the needle back to the right side.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_421" id="fig_421"></a>
+<img src="images/434.jpg" width="300" height="234" alt="FIG. 421. CROSSED TREBLES." title="" />
+<span class="caption smcap">Fig. 421. Crossed trebles.</span>
+</div>
+
+<p>Join the 5 loops on the needle together, 2 and 2, make 2
+chain, 1 over, put the needle into the upper parts of the
+connected trebles and finish with a treble, and so on.</p>
+
+<p>These trebles also can be lengthened if necessary, but in
+that case, the width of the crossed treble must correspond
+with the height. Generally speaking you make the trebles over
+the same number of stitches as you made overs on the needle,
+which should always be an even number.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/435.jpg" width="400" height="324" alt="FIG. 422. CROSSED TREBLES, SET BETWEEN THOSE
+OF THE PRECEDING ROW." title="" />
+<a name="fig_422" id="fig_422"></a><span class="caption smcap">Fig. 422. Crossed trebles, set between those
+of the preceding row.</span>
+</div>
+
+<p><b>Trebles for a chain</b>.&mdash;A quicker way of making a wide
+footing for a crochet lace is to make the trebles in the following
+manner.</p>
+
+<p>Make 4 chain stitches, 2 overs, put the needle into the first
+of the 4 chain, 1 over, draw the thread through the stitch *,
+1 over, draw the thread through the next 2 loops and repeat
+twice from * = ** 2 overs, put the needle into the left bottom
+part of the treble, close the treble as before and repeat from **.</p><p><a name="Page_231" id="Page_231"></a></p>
+
+<p>(5) <b>Knot stitch</b> (fig. <a href="#fig_423">423</a>).&mdash;This stitch which is composed
+of several loops forming a tuft,
+can only be worked from one
+side, consequently all one way.
+It looks best in a coarse material
+to show the interlacing
+of the threads.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/436.jpg" width="300" height="202" alt="FIG. 423. KNOT STITCH." title="" />
+<a name="fig_423" id="fig_423"></a><span class="caption smcap">Fig. 423. Knot stitch.</span>
+</div>
+
+<p>Enter the needle through
+the two loops of the stitches of
+the bottom row, turn the thread
+round the needle, but away
+from you towards the back;
+bring it forward to the right
+side, put the needle again
+through one of the bottom
+stitches, make another over
+like the first and draw the
+needle through all the bars at
+once.</p>
+
+<p>(6) <b>Bullion Stitch</b> (figs. <a href="#fig_424">424</a>
+and <a href="#fig_425">425</a>).&mdash;For bullion stitch,
+select a needle, a little thicker
+towards the handle, and finer
+than you would use for any
+other crochet stitch.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/437.jpg" width="300" height="202" alt="FIG. 424. BULLION STITCH." title="" />
+<a name="fig_424" id="fig_424"></a><span class="caption smcap">Fig. 424. Bullion stitch.</span>
+</div>
+
+<p>Begin by making a chain
+of very loose stitches, then
+wind the thread several times,
+very evenly, round the needle.
+Insert the needle into a loop
+of the chain, make a single over, and draw it with the last
+over upon it, through all the other overs.</p>
+
+<p>Trebles in bullion stitch, fig. <a href="#fig_425">425</a>, are worked in just the same
+manner, only that you have to turn the thread, at least 10 or
+12 times round the needle and draw it through all the overs at
+once. To facilitate the passage of the needle, keep the overs
+in their place with the thumb and forefinger of the left hand.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/438.jpg" width="300" height="201" alt="FIG. 425. BULLION STITCH." title="" />
+<a name="fig_425" id="fig_425"></a><span class="caption smcap">Fig. 425. Bullion stitch.</span>
+</div>
+
+<p>Bullion stitch can only be worked with wool or a very fleecy
+<a name="Page_232" id="Page_232"></a>thread, such as Coton &agrave; repriser D.M.C,<a href="#Footnote_A" class="fnanchor">[A]</a>but trebles in bullion
+stitch can be worked in
+any of the D.M.C threads and
+cottons.</p>
+
+<p>(7) <b>Cluster stitch</b> (fig. <a href="#fig_426">426</a>).&mdash;Generally
+used as an insertion
+between rows of plain
+crochet.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/439.jpg" width="300" height="202" alt="FIG. 426. CLUSTER STITCH." title="" />
+<a name="fig_426" id="fig_426"></a><span class="caption smcap">Fig. 426. Cluster stitch.</span>
+</div>
+
+<p>Put the needle under one
+stitch of the preceding row,
+make an over, draw the thread
+through in a loop, make another
+over, put the needle in
+again under the same stitch,
+bring it back, make a third
+over, and pass a third time
+under the same stitch; bring
+the needle back, make a fourth
+over and pass the needle
+through all the loops that are
+upon it.</p>
+
+<p>Then, after making a chain stitch, begin the same stitch over
+again, placing it in the second stitch of the lower row.</p>
+
+<p>Cluster stitch may also be finished off by retaining the two
+last loops on the needle, making an over, and ending with a
+plain stitch.</p>
+
+<p>(8) <b>Double stitch</b> (fig. <a href="#fig_427">427</a>).&mdash;A rather coarse thread, such
+as Coton &agrave; tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils
+D.M.C Nos. 3 to 10, or Fil &agrave; pointer D.M.C Nos. 10 to 30<a href="#Footnote_A" class="fnanchor">[A]</a>
+is better for this stitch than a loose fleecy thread which is apt
+to render it indistinct. Take up a loop right and left of a
+stitch of the preceding row, so that counting the loop of the
+last stitch, you have 3 loops on the needle, make an over and
+draw it through the 3 loops. Then take up a loop again by
+the side of the one you made on the left, and which now lies
+<a name="Page_233" id="Page_233"></a>on the right. Take 2 loops in the next stitch, make an over
+and draw it through all the loops.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/440.jpg" width="300" height="218" alt="FIG. 427. DOUBLE STITCH." title="" />
+<a name="fig_427" id="fig_427"></a><span class="caption smcap">Fig. 427. Double stitch.</span>
+</div>
+
+<p><b>Raised stitch</b> (fig. <a href="#fig_428">428</a>).&mdash;All the stitches that come under
+this heading require a foundation of a few plain rows for the
+raised trebles. In fig. <a href="#fig_428">428</a>, you will observe that the fourth stitch
+in the fourth row is a double
+treble, connected with a loop
+of the fourth stitch of the first
+row.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/441.jpg" width="300" height="171" alt="FIG. 428. RAISED STITCH." title="" />
+<a name="fig_428" id="fig_428"></a><span class="caption smcap">Fig. 428. Raised stitch.</span>
+</div>
+
+<p>Miss the stitch of the preceding
+row, which is hidden
+under the treble, make 3 plain
+stitches, 1 double treble, and
+so on.</p>
+
+<p>Having finished this row,
+turn the work and make a
+plain row. In the next row
+begin with 4 plain stitches,
+then make 1 double treble
+between the 3 stitches that are
+between the first trebles, 3
+plain stitches, 2 double trebles
+and so on.</p>
+
+<p>In the 8th row of plain
+stitches, the trebles must be
+placed in the same order as
+in the 4th.</p>
+
+<p><b>Raised stitch with crossed trebles</b> (fig. <a href="#fig_429">429</a>).&mdash;Begin, as
+in fig. <a href="#fig_428">428</a>, by 3 rows of plain stitches. The 4th row begins
+with 2 plain stitches followed by: * 1 double treble joined to
+the upper part of the 1st stitch of the 1st row; keep the 2 last
+loops of this treble on the needle; make a double over for the
+next treble, pass the needle through the fourth stitch of the
+first row, make an over, turn the thread round the needle,
+bring it back, finish the treble all but the last 3 loops, which
+you crochet together. Miss the stitch behind the treble, make
+3 plain stitches and repeat from *.</p><p><a name="Page_234" id="Page_234"></a></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/442.jpg" width="300" height="268" alt="FIG. 429.
+RAISED STITCH, WITH CROSSED TREBLES." title="" />
+<a name="fig_429" id="fig_429"></a><span class="caption smcap">Fig. 429.
+Raised stitch, with crossed trebles.</span>
+</div>
+
+<p>Then turn the work, make one plain row, and turn the
+work back to the right side.</p>
+
+<p>The second row of trebles begins with a plain stitch. The way
+in which the trebles are to be crossed is shewn in the illustration.</p>
+
+<p><b>Raised stitch with dots</b> (fig. <a href="#fig_430">430</a>).&mdash;After making 3 plain
+rows, begin the 4th with 3 plain stitches, and proceed as
+follows: * 6 trebles
+into the 4th
+plain stitch of
+the preceding
+row, leaving the
+last loop of each
+treble on the
+needle, so that
+altogether you
+have 7 loops upon
+it; then you
+turn the thread
+once round the
+needle and draw
+it through the
+loops; miss the
+stitch that is underneath
+the dot,
+make 3 plain
+stitches and repeat
+from *.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/443.jpg" width="450" height="361" alt="FIG. 430. RAISED STITCH WITH DOTS." title="" />
+<a name="fig_430" id="fig_430"></a><span class="caption smcap">Fig. 430. Raised stitch with dots.</span>
+</div>
+
+<p>Then make 3
+rows of plain
+stitches; in the
+4th row, the 1st
+dot is made in
+the 4th stitch, so
+that the dots
+stand out in relief.</p>
+
+<p><b>Raised dots with trebles</b> (fig. <a href="#fig_431">431</a>).&mdash;Turn the work after
+making 3 rows of plain stitches, make 3 stitches more in the<a name="Page_235" id="Page_235"></a>
+4th stitch of the 1st row, * 6 trebles, drop the last stitch
+of the 6th treble, put the needle into the stitch between
+the last plain stitch and the 1st treble, take the dropped loop
+of the last treble and draw it through the one on the needle;
+miss the stitch under the dot, make 5 plain stitches and repeat
+from *.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/444.jpg" width="450" height="339" alt="FIG. 431. RAISED DOTS WITH TREBLES." title="" />
+<a name="fig_431" id="fig_431"></a><span class="caption smcap">Fig. 431. Raised dots with trebles.</span>
+</div>
+
+<p><b>Raised dots in slanting lines</b> (fig. <a href="#fig_432">432</a>).&mdash;On the rows
+of stitches that have been previously prepared, make, for the
+4th stitch of the
+4th row, a cluster
+stitch, as in
+fig. <a href="#fig_426">426</a>, with 1
+quadruple over
+and then 4 plain
+stitches, 1 cluster
+stitch and so on.
+The next row is
+plain; in the second
+you have
+to make 1 plain
+stitch more, and
+fasten the cluster
+stitches into
+the loops to the
+left of the second of the 3
+covered rows. In this way you
+have to make each raised
+stitch, one stitch, in advance
+and to the left of the last, so
+that they run in slanting lines
+over the surface.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/445.jpg" width="450" height="366" alt="FIG. 432. RAISED DOTS IN SLANTING LINES." title="" />
+<a name="fig_432" id="fig_432"></a><span class="caption smcap">Fig. 432. Raised dots in slanting lines.</span>
+</div>
+
+<p><b>Close shell stitch</b> (fig. <a href="#fig_433">433</a>).&mdash;This pretty stitch
+which can only be worked
+in rows, all one way, is more
+especially suitable for children's
+jackets and petticoats; it is easy, and has the merit of
+being quickly done. On a foundation of chain, or other
+<a name="Page_236" id="Page_236"></a>stitches, make: 2 chain, 7 trebles on the 4th stitch, * 1
+chain, 7 trebles on the 5th stitch of the last row and repeat
+from *.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/446.jpg" width="300" height="254" alt="FIG. 433. CLOSE SHELL STITCH." title="" />
+<a name="fig_433" id="fig_433"></a><span class="caption smcap">Fig. 433. Close shell stitch.</span>
+</div>
+
+<p>2nd row&mdash;** 7 trebles on the chain stitch of the last row
+which connects 7 bars, 1 plain stitch on the 4th of the 7 trebles
+of the first row and repeat from **.</p>
+
+<p><b>Picots</b>.&mdash;The edges of most crochet work are ornamented
+with picots, or small points of different shapes, called severally
+close picots, chain picots and lace picots.</p>
+
+<p>Close picots may be subdivided into, large and small,
+pointed, and rounded, picots with rounded leaves and picots
+with pointed leaves.</p>
+
+<p><b>Small rounded picots</b>.&mdash;These may either be made separately
+and then sewn on, or made at once, on to a crochet border. In
+the first case, begin with 3 chain, then coming back, make 1 plain
+stitch on the second and on the first chain stitch. In the second
+case make: 1 chain, take the needle out of the stitch and put it
+in from the right side, under both edges of the last stitch,
+take up the dropped stitch, bring it to the right side, * 3
+chain; then returning: 1 plain stitch on each chain, draw the
+needle out, put it in from the right side into the second stitch
+of the row beneath, take up the loop, bring it back to the
+right side, and repeat from *.</p>
+
+<p><b>Large rounded picots</b>.&mdash;5 chain, miss 3, 1 treble on the
+2nd and 1 treble on the 1st chain stitch.</p>
+
+<p>When you want to attach these picots at once to an existing
+piece of work, drop the last loop and bring it back again
+with the needle from the wrong side to the right and miss 2
+stitches, instead of one, as in the case of the small picots.</p>
+
+<p><b>Pointed picots</b>.&mdash;Cast on 6 chain, then returning, and
+missing the 6th stitch: 1 single stitch, 1 plain stitch, 1 half
+treble, 1 treble, 1 double treble.</p>
+
+<p><b>Picots with rounded leaves</b>.&mdash;* 4 chain, and 3 trebles
+on the first stitch, and 1 single on the same stitch on which
+the trebles were, **, or 6 chain and repeat from * to **.</p>
+
+<p>When these picots serve as a finish to a straight edge,
+make 2 single stitches in the preceding row instead of 2 chain.</p><p><a name="Page_237" id="Page_237"></a></p>
+
+<p><b>Picots with pointed leaves</b>.&mdash;6 chain, on the first chain
+stitch: 3 double trebles, of which you retain the two last
+loops on the hook, 1 over, draw the thread through the 4
+loops, 5 chain, 1 single on the stitch on which the trebles are.</p>
+
+<p><b>Chain picots</b>.&mdash;For the small chain picots, make: 5 chain
+and 1 plain stitch on the first of these 5 stitches. For the large
+ones: 5 chain and 1 treble on the first stitch.</p>
+
+<p><b>Picots in bullion stitch</b> (figs. <a href="#fig_424">424</a> and <a href="#fig_425">425</a>).&mdash;5 chain, 1
+treble in bullion stitch drawn up into a ring, and joined to the
+5th chain stitch.</p>
+
+<p><b>Drooping picots</b> (fig. <a href="#fig_434">434</a>).&mdash;5 chain, drop the loop, put the
+needle into the first of the 5 chain, take up the dropped loop,
+and draw it through the
+stitch.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/447.jpg" width="350" height="144" alt="FIG. 434. DROOPING PICOTS." title="" />
+<a name="fig_434" id="fig_434"></a><span class="caption smcap">Fig. 434. Drooping picots.</span>
+</div>
+
+<p><b>Lace picots</b> (figs.
+<a href="#fig_435">435</a> and <a href="#fig_436">436</a>).&mdash;Fig. <a href="#fig_435">435</a>
+represents picots formed
+of chain stitches, as
+follows: 2 chain, put
+the needle into the first,
+1 over, bring the thread
+back to the front, 2
+chain: * put the needle
+into the two loops, and
+at the same time, into
+the second loop and the
+first chain, draw the
+thread through in a loop,
+make 2 chain and repeat
+from *.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/448.jpg" width="350" height="150" alt="FIG. 435. EMPTY LACE PICOTS, WORKED IN CROCHET." title="" />
+<a name="fig_435" id="fig_435"></a><span class="caption smcap">Fig. 435. Empty lace picots, worked in crochet.</span>
+</div>
+
+<p>In order to make the
+picots more even and
+regular, it is advisable
+to form them over a coarse
+knitting needle or mesh.</p>
+
+<p>Fig. <a href="#fig_436">436</a> represents picots attached by plain stitches to the
+edge of a finished piece of work; this is done as follows: 1
+<a name="Page_238" id="Page_238"></a>plain stitch, draw out the loop to the proper length for a picot,
+and slip it on a mesh: put the needle into the horizontal parts
+of the last stitches, turn the thread round the needle, draw it
+through in a loop, and make 1 plain stitch on the next stitch
+and so on.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/449.jpg" width="300" height="146" alt="FIG. 436. LACE PICOTS ATTACHED TO A ROW OF
+STITCHES MADE BEFORE HAND." title="" />
+<a name="fig_436" id="fig_436"></a><span class="caption smcap">Fig. 436. Lace picots attached to a row of
+stitches made before hand.</span>
+</div>
+
+<p><b><a name="Method_for_copying_tapestry" id="Method_for_copying_tapestry"></a>Method for copying tapestry patterns in crochet
+work</b> (figs. <a href="#fig_437">437</a> and <a href="#fig_438">438</a>).&mdash;Printed cross stitch and embroidery
+patterns can very well be copied in crochet work especially
+when they are in two colours only, or rather, are drawn in
+one colour, on a plain ground.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_450.jpg"><img src="images/450.jpg" width="600" height="466" alt="FIG. 437.
+OPEN-WORK CROCHET MADE AFTER
+A TAPESTRY PATTERN." title="" /></a>
+<a name="fig_437" id="fig_437"></a><span class="caption smcap">Fig. 437.
+Open-work crochet made after
+a tapestry pattern.</span>
+</div>
+
+<p>The way in which such patterns are copied in crochet is by
+means of chain stitches and trebles, which, rising one above
+the other in rows, form little squares. For each square marked
+on the pattern, you must count, in the grounding, 1 treble and
+2 chain stitches; in the solid parts, 3 trebles.</p>
+
+<p>The squares formed by the chain stitches should always
+begin and end with a treble.</p>
+
+<p>When, therefore, a solid square comes between empty or
+foundation squares, count 4 trebles for the solid square, because
+the last treble of the last empty square touches the third treble
+of the solid one.</p>
+
+<p>Thus for 2 solid squares, side by side, count 7 trebles, and
+for 3 squares, 10. Embroidery patterns worked in several colours
+can be reproduced in crochet either by trebles and rows worked
+<a name="Page_239" id="Page_239"></a>one way only, cutting off the thread at the end of each row, or
+by plain stitches, worked in rows to and fro.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_451.jpg"><img src="images/451.jpg" width="600" height="467" alt="FIG. 438.
+PLAIN CROCHET MADE AFTER A TAPESTRY
+PATTERN." title="" /></a>
+<a name="fig_438" id="fig_438"></a><span class="caption smcap">Fig. 438.
+Plain crochet made after a tapestry
+pattern.</span>
+</div>
+
+<p>When only three colours are used, pass two threads under
+the stitches; when more than two, leave those which are not
+in use, at the back of the work and only bring them to the front
+as they are wanted. The thread, you lay aside, takes at the
+back the place of the one in use. Of course, the threads not in
+use can only can be disposed of in this way when the work has
+a wrong side, otherwise they must be passed underneath the
+stitches. The colours should alternate in the order the pattern
+prescribes; moreover, the last stitch before you take another
+colour cannot be finished with the same thread, you must pass
+the new thread through the last loop and draw it up with that.</p>
+
+<p><b><a name="Crochet_with_Soutache" id="Crochet_with_Soutache"></a>Crochet with Soutache or Lacet (braid)</b> (figs. <a href="#fig_439">439</a> and
+<a href="#fig_440">440</a>).&mdash;These are two patterns
+of crochet, worked with the
+ordinary crochet cottons and
+with Soutache or Lacet D.M.C,
+a material which has not been
+used for crochet work before.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/452.jpg" width="300" height="127" alt="FIG. 439.
+CROCHET WITH SOUTACHE OR LACET (BRAID)." title="" />
+<a name="fig_439" id="fig_439"></a><span class="caption smcap">Fig. 439.
+Crochet with soutache or lacet (braid).</span>
+</div>
+
+<p>Both patterns are worked
+entirely with trebles; in fig. <a href="#fig_439">439</a>, the red braid passes over
+and under 2 trebles; in fig. <a href="#fig_440">440</a>, it is brought, it will be
+observed, from the wrong side
+to the right after every 2
+trebles, and passed between
+them, in such a manner as to
+form a slanting stitch between
+the rows of stitches.</p>
+
+<div class="figcenter" style="width: 600px;">
+<div class="figcenter" style="width: 300px;">
+<a name="fig_440" id="fig_440"></a>
+<img src="images/453.jpg" width="300" height="100" alt="FIG. 440.
+CROCHET WITH SOUTACHE OR LACET (BRAID)." title="" />
+</div>
+<span class="caption"><span class="smcap">Fig. 440.
+Crochet with soutache or lacet (braid).<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 6
+to 12 or Cordonnet 6 fil D.M.C Nos. 3 to
+10. Soutache D.M.C No. 2 or 3 or Lacets
+superfins D.M.C Nos. 2 to 5.<br />
+<span class="smcap">Colours:</span> The cotton, white or &eacute;cru. The
+Soutache or Lacet: Rouge-Cardinal 347, or
+Rouge-Grenat 326, or Bleu-Indigo 312.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b><a name="Crochet_square" id="Crochet_square"></a>Crochet square</b> (fig. <a href="#fig_441">441</a>).&mdash;Begin
+with 4 chain stitches,
+and work 1 single on the 1st
+chain, to make a round. Work,
+1 chain and 2 plain on the next chain, 3 plain on each of the
+<a name="Page_240" id="Page_240"></a>next 3 chain, 1 plain on the stitch on which the two first plain
+are worked.</p>
+
+<p>Slip the next stitch, that is, put the needle in between the
+horizontal bars of the 1st plain stitch of the previous row, and
+draw the thread out without making a stitch.</p>
+
+<p>Then make 1 chain and 2 plain on the slipped stitch.</p>
+
+<p>After which, you make 3 plain on the second of the 3 plain
+that form the corner, and 1
+plain on all the other stitches
+of the last row. The beginning
+and end of each row, are worked
+as described above.</p>
+
+<p>Fig. <a href="#fig_441">441</a> represents a square,
+worked in consecutive rows.
+In making a crochet square,
+the rows may end in the middle
+of a side.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/454.jpg" width="300" height="278" alt="FIG. 441. CROCHET SQUARE." title="" />
+<a name="fig_441" id="fig_441"></a><span class="caption smcap">Fig. 441. Crochet square.</span>
+</div>
+
+<p>When you use a stitch that
+has to be worked to and fro, you
+turn your work at the end of
+every row and work back along the stitches you have just made.</p>
+
+<p><b>Crochet hexagon</b> (fig. <a href="#fig_442">442</a>).&mdash;Make a foundation
+chain of 6 stitches, join the
+round; 12 plain on the 6
+chain; finish the row as indicated
+for the previous
+figure == turn the work
+== * 1 plain, 3 plain on
+the second plain of the
+last row; repeat 5 times
+from *. Finish the row
+with 1 single == turn the
+work == 2 plain, 3 plain
+on the second of the first
+3 plain; 3 plain and so on. These hexagons can be made of
+any size.</p><p><a name="Page_241" id="Page_241"></a></p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/455.jpg" width="350" height="305" alt="FIG. 442. CROCHET HEXAGON." title="" />
+<a name="fig_442" id="fig_442"></a><span class="caption smcap">Fig. 442. Crochet hexagon.</span>
+</div>
+
+<p><b>Coloured star worked into a light ground</b> (fig. <a href="#fig_443">443</a>).&mdash;Begin
+with 3 chain, join the ring = 2 plain on each of the 3
+chain; then for the foundation, 1 plain with the dark thread,
+and 1 with the light on each of the 6 plain.</p>
+
+<p>In each subsequent row, make one dark stitch more,
+increasing regularly,
+that is,
+making 2 stitches
+on the last
+light stitch that
+comes before the
+dark ones.</p>
+
+<p>Proceed in
+this manner until
+you have 6 or 8
+dark stitches, in
+all and then begin
+to decrease in
+every row by
+one, until there
+is at last only one
+dark stitch remaining.</p>
+
+<p>These stars
+are used in the making of purses, cap-crowns and mats for
+lamps, etc.</p>
+
+<div class="figcenter" style="width: 425px;">
+<img src="images/456.jpg" width="425" height="420" alt="FIG. 443.
+COLOURED STAR WORKED INTO A LIGHT GROUND." title="" />
+<a name="fig_443" id="fig_443"></a><span class="caption smcap">Fig. 443.
+Coloured star worked into a light ground.</span>
+</div>
+
+<p><b><a name="Tunisian_crochet" id="Tunisian_crochet"></a>Tunisian crochet</b>.&mdash;Tunisian crochet is also called crochet-knitting
+because, you have to cast on all the first row of
+stitches, as in knitting.</p>
+
+<p><b>Materials</b>&mdash;Every kind of cotton, as well as wool and silk,
+can be used for Tunisian crochet: the stitches look equally
+well in all these materials, but for things that require frequent
+washing or cleaning, a good washing material should be selected,
+such as Coton &agrave; tricoter D.M.C and Cordonnet 6 fils
+D.M.C<a href="#Footnote_A" class="fnanchor">[A]</a>, both strong and suitable in all ways.</p>
+<p><a name="Page_242" id="Page_242"></a></p>
+<p>As we have already said, Tunisian crochet requires to be
+done with a long straight needle, with a knob at one end and
+it can only be worked on the right side.</p>
+
+<p><b>Plain Tunisian crochet</b> (fig. <a href="#fig_444">444</a>).&mdash;After making a
+foundation chain of the required length, begin the first, or
+loop row as it is called. Put
+the needle into the 2nd chain
+stitch, draw a loop through
+and so on, until you have taken
+up all the chain stitches on the
+needle. After having made the
+last stitch of the loop row,
+make 1 chain stitch and then
+pass to the second row that
+completes the stitch. Turn the
+thread round the needle, draw
+it through two loops, turn the
+thread round again, and again
+draw it through two loops,
+and so on to the end.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/457.jpg" width="300" height="220" alt="FIG. 444.
+PLAIN TUNISIAN CROCHET." title="" />
+<a name="fig_444" id="fig_444"></a><span class="caption smcap">Fig. 444.
+Plain tunisian crochet.</span>
+</div>
+
+<p><b>Straight plaited Tunisian
+stitch</b> (fig. <a href="#fig_445">445</a>).&mdash;Worked
+thus: miss the first loop in
+the 1st row, take up the second,
+and come back to the first, so
+that the 2 loops are crossed.
+Work the second row
+in the same manner as the
+second row of the preceding
+figure.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/458.jpg" width="300" height="152" alt="FIG. 445.
+STRAIGHT PLAITED TUNISIAN STITCH." title="" />
+<a name="fig_445" id="fig_445"></a><span class="caption smcap">Fig. 445.
+Straight plaited tunisian stitch.</span>
+</div>
+
+<p><b>Diagonal plaited Tunisian
+stitch</b> (fig. <a href="#fig_446">446</a>).&mdash;Worked
+like the preceding,
+taking up first the
+second loop and then the
+first: the second row also,
+in the same way as before.
+In the third row, take up the first stitch, and draw the
+<a name="Page_243" id="Page_243"></a>third through the second, so as to produce diagonal lines across
+the surface of the work.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/459.jpg" width="350" height="237" alt="FIG. 446.
+SLANTING PLAITED TUNISIAN STITCH." title="" />
+<a name="fig_446" id="fig_446"></a><span class="caption smcap">Fig. 446.
+Slanting plaited tunisian stitch.</span>
+</div>
+
+<p><b>Open Tunisian stitch</b>.&mdash;This is an easy kind of Tunisian
+crochet. The first row is worked as in fig. <a href="#fig_444">444</a>. In the row of
+plain stitches, you alternately join 2 and 3, or 3 and 4 loops of
+the preceding row together, and replace them by as many
+chain stitches.</p>
+
+<p><b>Decreasing and increasing in Tunisian crochet</b> (fig. <a href="#fig_447">447</a>).
+Our illustration shows how to decrease on both sides and by
+that means form scallops.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/460.jpg" width="500" height="273" alt="FIG. 447. DECREASING IN TUNISIAN CROCHET." title="" />
+<a name="fig_447" id="fig_447"></a><span class="caption smcap">Fig. 447. Decreasing in tunisian crochet.</span>
+</div>
+
+<p>You miss a stitch alternately on the right and left. On the
+right you crochet the first two stitches together, and at the
+end of the row, the last two, and so on, to the end. You increase
+in the same order, first on the right and then on the left.</p>
+
+<p><b><a name="Hairpin_crochet" id="Hairpin_crochet"></a>Hairpin crochet</b> (figs. <a href="#fig_448">448</a>, <a href="#fig_449">449</a>, <a href="#fig_450">450</a>).&mdash;So called because
+it is worked on a kind of large steel hairpin or fork with two
+or more prongs. Wooden and nickel varieties of this implement,
+which are patented by Mme Besson, of Paris, are also
+used.</p>
+
+<p>Very pretty laces, fringes, gimp headings and the like can
+be made in this kind of crochet work. It is often used in combination
+with ordinary crochet and plain and scalloped braids
+and gimps, or as a heading for fringes made of tufts and pendant
+balls. There are a great many stitches which can be
+worked in hairpin-crochet. We shall only describe those here
+that will best teach our readers how the work is done.</p><p><a name="Page_244" id="Page_244"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/461.jpg" width="600" height="89" alt="FIG. 448. STEEL HAIRPIN FOR CROCHET." title="" />
+<a name="fig_448" id="fig_448"></a><span class="caption smcap">Fig. 448. Steel hairpin for crochet.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/462.jpg" width="600" height="181" alt="FIG. 449. WOODEN FORK FOR CROCHET." title="" />
+<a name="fig_449" id="fig_449"></a><span class="caption smcap">Fig. 449. Wooden fork for crochet.</span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/463.jpg" width="600" height="240" alt="FIG. 450. FORK WITH SEVERAL PRONGS FOR CROCHET." title="" />
+<a name="fig_450" id="fig_450"></a><span class="caption smcap">Fig. 450. Fork with several prongs for crochet.</span>
+</div>
+
+<p><b>Materials</b>.&mdash;For washing laces, Cordonnet 6 fils D.M.C
+is the best; for furniture fringes, the lower numbers of Coton
+&agrave; tricoter D.M.C, and for producing the appearance of filoselle,
+the lower numbers of Coton &agrave; repriser D.M.C are to be taken.</p>
+
+<p><b>Stitches</b>.&mdash;Begin by a chain stitch, made with an ordinary
+crochet needle, take the needle out of the loop, and insert
+the left prong of the fork upwards from below, holding the
+fork between the thumb and finger of the left hand. The thread
+should always be in front. Then put the thread over the right
+prong and the needle into the loop on the left prong, take up
+the thread, draw it through the loop, put the thread over the
+needle and draw it through the loop that is on the needle,
+twist the loop round the left prong, turn the needle round to
+the right (the thread will now be wound round the right
+prong); put the needle into the loop on the left prong, throw
+<a name="Page_245" id="Page_245"></a>the thread over the needle, draw it through, tighten the loops
+and so on.</p>
+
+<p>These stitches may be doubled, or you may make several
+trebles on each loop, or arrange the plain stitches in different
+ways.</p>
+
+<p><b><a name="Hairpin_insertion" id="Hairpin_insertion"></a>Hairpin insertion</b> (fig. <a href="#fig_451">451</a>).&mdash;Begin by making stripes
+with the fork, covering each
+thread with two plain stitches.
+Then join the stripes together
+by the loops, drawing the left
+loop over the right one and
+the right one over the left.
+When you come to the end
+of the stripes fasten off the
+last loops by a few stitches.
+To strengthen the edges, join
+two loops together by 1 plain,
+2 chain, 1 plain and so on.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/464.jpg" width="400" height="243" alt="FIG. 451.
+HAIRPIN INSERTION." title="" />
+<a name="fig_451" id="fig_451"></a><span class="caption"><span class="smcap">Fig. 451.
+Hairpin insertion.
+<br />
+Materials:</span> Fil &agrave; pointer D.M.C No. 20
+or 30, or Cordonnet 6 fils D.M.C Nos. 4
+to 15, white or &eacute;cru.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+
+<p><b>Hairpin lace</b> (fig. <a href="#fig_452">452</a>).&mdash;When, by making two half
+trebles in each loop,
+you have got the necessary
+length of hairpin
+crochet, join the
+loops two and two, by
+means of a coloured
+thread which makes a
+good contrast with
+the thread of which
+the hairpin crochet is
+made. Work 1 plain
+stitch joining 2 loops
+on the right, 2 chain,
+1 plain joining the 2
+loops on the left; then
+2 chain and come back to the right, and so on, until you have
+taken up all the loops. This forms the zig-zag in the middle.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/465.jpg" width="400" height="233" alt="FIG. 452. HAIRPIN LACE." title="" />
+<a name="fig_452" id="fig_452"></a><span class="caption"><span class="smcap">Fig. 452. Hairpin lace.
+<br />
+Materials</span>&mdash;For the hairpin work: Fil &agrave; pointer
+D.M.C Nos. 20 to 30, or Cordonnet 6 fils D.M.C
+Nos. 3 to 10, white or &eacute;cru.
+For the edge. Coton &agrave; tricoter D.M.C Nos. 16 to 30.
+<br />
+<span class="smcap">Colours:</span> Rouge-Cardinal 347, or Jaune-Rouille 364,
+or Brun-Marron 406.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><a name="Page_246" id="Page_246"></a></p>
+<p>1st row&mdash;join 3 loops by: 1 plain, 5 chain.</p>
+
+<p>2nd row&mdash;on the 5 chain stitches: 1 plain, 1 half-treble,
+3 trebles, 1 picot, made with 5 chain (for the chain picots, see
+p. 237), 1 half-treble, 1 plain. The footing of this lace is made
+like the one in fig. <a href="#fig_451">451</a>.</p>
+
+<p><b>Hairpin fringes</b> (figs. <a href="#fig_453">453</a>, <a href="#fig_454">454</a>, <a href="#fig_455">455</a>, <a href="#fig_456">456</a>).&mdash;Fig. <a href="#fig_453">453</a> is
+made with a fork composed of one branch and 3 or 4 rulers,
+round which the thread is wound in succession, so as to form
+loops of different lengths. You may use for this, either a single
+very coarse thread, or else several fine ones, used together as
+one.</p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/466.jpg" width="500" height="451" alt="FIG. 453. HAIRPIN FRINGE WITH TASSELS." title="" />
+<a name="fig_453" id="fig_453"></a><span class="caption smcap">Fig. 453. Hairpin fringe with tassels.</span>
+</div>
+
+<p>The heading of the fringe is plain, and heavy tassels are
+fastened into the loops. The tassels are made as follows: take
+a thick skein of the same thread the fringe is made of, pass it
+through the loop, leaving just the length required for the
+tassel, at one end, thread a needle with the same thread and
+twist it round the skein, the right distance from the top to
+form the head of the tassel and then cut the ends even, at the
+bottom. As the loops are of different lengths, the tassels will
+<a name="Page_247" id="Page_247"></a>hang in steps and the fuller and heavier they are, the handsomer
+the fringe will be.</p>
+
+<p>Fig. <a href="#fig_454">454</a> represents another pattern of fringe, the first part
+of which is made with the same fork as the preceding one.
+Instead however of winding the thread round the several
+prongs in succession, you pass it alternately round the two first
+and the fourth, thus making loops of two lengths only. Tassels
+of a length, suited to the purpose the fringe is intended for,
+depend from these loops and may be varied in the second row
+by balls made to issue from the middle, or by long meshes,
+which are made over the whole width of the fork and affixed
+to the loops.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/467.jpg" width="500" height="434" alt="FIG. 454. HAIRPIN FRINGE WITH TASSELS." title="" />
+<a name="fig_454" id="fig_454"></a><span class="caption"><span class="smcap">Fig. 454. Hairpin fringe with tassels.
+<br />
+Materials:</span> Coton &agrave; tricoter D.M.C Nos. 6 to 16.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours:</span> &Eacute;cru and Jaune-Rouille 363, 368, or Gris-Tilleul 331 and
+Rouge-Cornouille 449 and 450, or three other shades.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Figs. <a href="#fig_455">455</a> and <a href="#fig_456">456</a> represent two pretty patterns of fringes
+made of &eacute;cru cotton with a strong twist. These are very suitable
+for washing articles, as the cotton balls wash perfectly.</p>
+<p><a name="Page_248" id="Page_248"></a></p>
+<div class="figcenter" style="width: 450px;">
+<img src="images/468.jpg" width="450" height="219" alt="FIG. 455. HAIRPIN FRINGE WITH ONE LINE OF BALLS." title="" />
+<a name="fig_455" id="fig_455"></a><span class="caption smcap">Fig. 455. Hairpin fringe with one line of balls.</span>
+</div>
+
+<p>The loops in fig. <a href="#fig_455">455</a> are all of one length and a ball hangs
+from every third. In the last chapter but one, a minute description
+is given of the way in which these balls are made. The
+heading of the loops is formed by a row of chain stitches,
+varying in number from four to six, according to the size of
+the cotton. The
+edge is ornamented
+with
+little picots. The
+fringe, in fig. <a href="#fig_456">456</a>, consists of
+three long and
+three short loops
+alternately,
+which causes,
+the balls that are
+made to depend
+from them, to
+form two parallel
+lines.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/469.jpg" width="450" height="223" alt="FIG. 456. HAIRPIN FRINGE WITH TWO LINES OF BALLS,
+ONE ABOVE THE OTHER." title="" />
+<a name="fig_456" id="fig_456"></a><span class="caption"><span class="smcap">Fig. 456. Hairpin fringe with two lines of balls,
+one above the other.
+<br />
+Materials</span>&mdash;For the crochet-work: Cordonnet 6 fils D.M.C
+Nos. 3 to 10, or Fil &agrave; pointer D.M.C Nos. 10 to 30.
+For the balls: Coton &agrave; repriser D.M.C Nos. 8 to 16.</span>
+</div>
+
+<p>If you join
+the loops of the
+heading together,
+three and
+three, you will
+have to make
+enough chain
+stitches to cover
+the space that is
+to be filled.</p>
+
+<p>The picots are made with 6 chain stitches, you put the
+needle back into the fifth stitch after closing the picot, make 1
+chain, 2 plain, in the preceding row, 1 picot and so on.</p>
+
+<p><b>Fringe made with Lacet or braid</b> (fig. <a href="#fig_457">457</a>).&mdash;This is an
+easy fringe to make and a very effective trimming for table-cloths,
+curtains etc., which are embroidered on coarse stuffs.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/470.jpg" width="300" height="228" alt="FIG. 457.
+FRINGE MADE WITH LACET OR SOUTACHE
+(BRAID)." title="" />
+<a name="fig_457" id="fig_457"></a><span class="caption"><span class="smcap">Fig. 457.
+Fringe made with lacet or soutache
+(braid).
+<br />
+Materials:</span> Lacet D.M.C No. 4 or
+Soutache D.M.C NO. 2&frac12; in red.
+Cordonnet 6 fils D.M.C Nos. 3 to 10.
+Fil &agrave; pointer D.M.C Nos. 10 to 30, &eacute;cru.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Begin with a foundation chain, in coarse &eacute;cru twist, the light
+<a name="Page_249" id="Page_249"></a>stitch in the middle of the heading of the fringe being also made
+of the same material.</p>
+
+<p>In the next row, you use the twist and the braid together,
+as follows&mdash;with the twist = 1 chain stitch, put the needle
+into the first stitch of the foundation chain, take up the braid,
+draw it through, turn the twist round the needle, draw it
+through the braid and the chain
+stitch. To make the braid
+loops longer, they may be made
+over a wooden ruler. To the
+two rows of braid stitches, represented
+in the pattern, you
+may add as many other rows as
+you please. On the fringed side
+make: 4 plain, 3 chain, draw out
+one very long loop and fasten into
+it a cluster of lengths of braid
+from 10 to 12 c/m. long, and
+draw the loop tightly round it to
+secure the tassel; 3 plain on the
+chain stitches. Repeat from *.</p>
+
+<p><b><a name="Lace_made_on_Point_Lace_braid" id="Lace_made_on_Point_Lace_braid"></a>Lace made on Point Lace braid</b> (fig. <a href="#fig_458">458</a>).&mdash;For the
+rounds: 1 plain on the braid, 10 chain, then coming back,
+1 single on the 4th chain.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="fig_458" id="fig_458"></a>
+<img src="images/471.jpg" width="300" height="95" alt="FIG. 458. LACE MADE ON POINT LACE BRAID." title="" />
+<span class="caption"><span class="smcap">Fig. 458. Lace made on point lace braid.
+<br />
+Materials:</span> Fil d&#39;Alsace D.M.C
+Nos. 30 to 50, or Cordonnet 6 fils D.M.C
+No. 80, white<a href="#Footnote_A" class="fnanchor">[A]</a> and Point Lace braid.</span>
+</div>
+
+<p>In this first round you make: 1 chain, 1 half-treble, 12
+trebles *, 1 half-treble, 1 chain,
+1 single on the 4th chain; 3
+chain, 1 single on the braid,
+far enough from the 1st chain
+for the rounds not to overlap
+each other. Then 10 chain,
+1 single on the 4th chain, 1
+single, 1 half-treble, 4 trebles,
+join to the first round between
+the 8th and 9th trebles, 8 trebles and repeat from *. For the
+<a name="Page_250" id="Page_250"></a>footing: 1 treble, 1 chain, miss a few threads of the edge of
+the braid, 1 treble.</p>
+
+<p><b>Crochet guipure lace</b> (fig. <a href="#fig_459">459</a>).&mdash;This charming little lace
+makes a very good substitute for real guipure. It can be made
+on a row of trebles, just as well as on point lace braid, or on
+a mignardise, after you have raised the picots of it by single
+and chain stitches.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/472.jpg" width="300" height="97" alt="FIG. 459.
+CROCHET GUIPURE LACE" title="" />
+<a name="fig_459" id="fig_459"></a><span class="caption"><span class="smcap">Fig. 459.
+Crochet guipure lace.
+<br />
+Materials:</span> Fil d&#39;Alsace D.M.C Nos. 70 to 90.
+Cordonnet 6 fils D.M.C Nos. 80 to 120,
+or Fil &agrave; dentelle D.M.C Nos. 40 to 70.</span>
+</div>
+
+<p>6 plain *, 9 chain, leave an interval equalling in length 6
+bars of the point lace braid used in our pattern; in the braid:
+6 plain stitches, very close together, 8 chain, 1 single on the
+7th of the 9 chain, 10 chain,
+1 single on the 3d of the 9
+chain, 8 chain, 1 plain close
+to the first of the first 6
+plain.</p>
+
+<p>1st scallop&mdash;7 plain, 5
+chain, join to the 4th chain;
+on the 5th chain: 6 plain; on
+the 8th chain: 3 plain.</p>
+
+<p>2nd scallop&mdash;on the 10 chain: 7 plain, 5 chain, join to the
+4th chain = on the 5 chain: 6 plain = on the 10 chain, 5
+plain, 5 chain, join to the 4th chain, 6 plain, 5 chain, join to
+the 4th chain, 6 chain, 1 plain on the 10th chain.</p>
+
+<p>3rd scallop&mdash;like the first, then repeat from *.</p>
+
+<p><b>Lace made on Point Lace braid</b> (fig. <a href="#fig_460">460</a>).&mdash;On the braid,
+work a row of trebles, 1 or 2 chain stitches apart, according
+to the size of the braid and
+on this row of trebles, make
+two other rows as follows:</p>
+
+<p>1st row&mdash;5 chain, 1 treble
+on the treble of the preceding
+row, 5 chain, 1 treble, on the
+same stitch to which the first
+treble is joined, 5 chain, miss 3 trebles, 1 treble on the 4th
+treble of the row beneath.</p>
+
+<p>2nd row&mdash;1 plain on the 3rd of the 5 first chain, 3 plain,
+1 treble on the 3rd of the chain stitches between the two trebles
+of the first row that come close together; 3 chain, 1 treble on
+<a name="Page_251" id="Page_251"></a>the same stitch, 3 chain, 1 treble on the same stitch, 3 chain,
+1 treble on the 3rd of the next 5 chain.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/473.jpg" width="300" height="86" alt="FIG. 460.
+LACE MADE ON POINT LACE BRAID." title="" />
+<a name="fig_460" id="fig_460"></a><span class="caption"><span class="smcap">Fig. 460.
+Lace made on point lace braid.<br />
+
+Materials:</span> The same as for <a href="#fig_458">458</a>.</span>
+</div>
+
+<p><b>Crochet lace</b> (fig. <a href="#fig_461">461</a>).&mdash;1st row&mdash;3 plain close together,
+in the braid; * 13 chain, join to the 1st plain. On each of the
+first 6 chain; 1 plain; = on the 7th chain: 3 plain, then on
+the other chain stitches: 6 plain. In the braid: 7 plain and
+repeat from *.</p>
+
+<p>2nd row&mdash;* miss 2 plain of the first row, 5 plain to reach
+the 2nd stitch added in the first row, 4 plain on the 2nd added
+stitch, 4 plain on the next
+stitches. Repeat from *.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/474.jpg" width="350" height="80" alt="FIG. 461. CROCHET LACE" title="" />
+<a name="fig_461" id="fig_461"></a><span class="caption"><span class="smcap">Fig. 461. Crochet lace.
+<br />
+Materials:</span> Lacet superfin D.M.C No. 14
+and Fil d&#39;Alsace D.M.C Nos. 30 to 70.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>For an insertion, drop
+the thread after the 2nd of
+the 4 stitches that are to
+be made at the point, then
+put the needle into the
+stitch of the finished stripe, take up the thread again, draw it
+through the stitch and proceed to the second side of the scallop.</p>
+
+<p><b>Crochet lace with mignardise</b> (fig. <a href="#fig_462">462</a>).&mdash;This and all
+the patterns that follow, up
+to fig. <a href="#fig_473">473</a>, make very useful
+trimmings for all kinds
+of underclothing. Begin by
+raising the picots on both
+sides of the mignardise by:
+1 plain stitch and 1 chain.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/475.jpg" width="350" height="232" alt="FIG. 462. CROCHET LACE WITH MIGNARDISE." title="" />
+<a name="fig_462" id="fig_462"></a><span class="caption"><span class="smcap">Fig. 462. Crochet lace with mignardise.
+<br />
+Materials</span>&mdash;According to the mignardise
+used. Fil d&#39;Alsace D.M.C Nos. 30 to 70, or
+Fil &agrave; dentelle D.M.C Nos. 25 to 70.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The rows of crochet
+work between, consist of:
+1 treble on 1 chain, 4 chain,
+miss 2 picots of the mignardise,
+1 treble between
+the 3rd and 4th picot.</p>
+
+<p>Work the edge in two rows.</p>
+
+<p>1st row&mdash;1 treble between 2 picots, 3 chain, miss 2 picots,
+1 treble.</p>
+
+<p>2nd row&mdash;1 treble on 3 chain, 3 chain, 1 treble, 3 chain,<a name="Page_252" id="Page_252"></a>
+3 trebles, 7 chain, turn back and join to the 1st of the 3
+trebles, 2 chain, join them to the 2nd treble, 2 trebles on the 7
+chain; keep the last loops of the last treble on the needle and
+join them to those of the next treble.</p>
+
+<p><b>Lace with two rows of leaves</b> (fig. <a href="#fig_463">463</a>).&mdash;This is one of
+the pleasantest crochet patterns to work that we know. The
+leaves are made separately and fastened into a foundation with
+thread, at least two numbers finer than that of which the leaves
+are made.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="fig_463" id="fig_463"></a>
+<img src="images/476.jpg" width="500" height="372" alt="FIG. 463. LACE WITH TWO ROWS OF LEAVES." title="" />
+<span class="caption"><span class="smcap">Fig. 463. Lace with two rows of leaves.
+<br />
+Materials:</span> Fil d&#39;Alsace D.M.C Nos. 20 to 100, Cordonnet 6 fils D.M.C Nos. 25 to 80
+or Fil &agrave; dentelle D.M.C Nos. 25 to 100.</span>
+</div>
+
+<p>Leaf with 5 petals: 8 chain, make a ring = 2 plain on the
+ring = 1st petal * 11 chain, miss 3 chain, 1 half-treble on the
+8th chain, 1 chain, miss the 7th chain, 1 treble on the 6th chain,
+1 chain, 1 treble on the 4th chain, 1 chain, 1 treble on the 3rd
+chain, 2 chain, 2 plain on the ring.</p>
+
+<p>2nd petal: 15 chain, miss 3 chain, 1 half-treble *, 1 chain,
+miss 1 chain, 1 treble *. Repeat 4 times from * to *; add: 1
+chain, 2 trebles on the ring.</p>
+
+<p>3rd petal: 21 chain, miss 3 chain, 1 half-treble *, 1 chain,
+miss 1, 1 treble *. Repeat 7 times from * to *; add: 1 chain,
+miss 1, 2 trebles in the ring.</p><p><a name="Page_253" id="Page_253"></a></p>
+
+<p>The 4th petal to be worked like the 3rd; the 5th like the
+1st.</p>
+
+<p>When the 5 petals are finished, make 2 plain stitches on
+the ring; then on the chain stitches of the 1st petal: 2 plain,
+7 trebles, 2 trebles on the 10th stitch; then descending again:
+7 trebles, 2 plain and 3 single on the 3 plain stitches of the
+ring.</p>
+
+<p>On the 2nd petal work: 3 plain, 10 trebles, 2 trebles on
+the 14th chain, 10 trebles, 3 plain, 2 single, on the 2 trebles
+on the ring.</p>
+
+<p>3rd petal: 2 single, 3 plain, 14 trebles, 2 trebles on the 20th
+chain, 14 trebles, 3 plain, a single.</p>
+
+<p>The 4th petal is worked like the 2nd; the 5th like the 1st,
+to be followed by 1 single on the 1st of the 3 chain stitches of
+the ring.</p>
+
+<p>For the stalk: 14 chain; miss 1, 9 plain on the 9 chain; 6
+chain, miss 1, 5 plain on the 5 chain, 4 plain on the chain
+stitches that are still disengaged, 2 single on the ring and then
+fasten the thread off with a few stitches.</p>
+
+<p>When you have enough leaves, join them together by a
+row of picots, working from left to right as follows: * take
+the second petal on the right side of a leaf, put the thread into
+the 12th stitch; make 2 plain, 1 picot, 1 plain on the stitch
+on which the picot was made = in all the leaves, the 3rd plain
+before the picot and the first after, meet in the same stitch
+beneath = 2 plain, 1 picot, 3 plain, 2 chain = on the 8th
+stitch of the 3rd petal: 1 plain, 2 plain more on the next stitches
+**, 1 picot, 3 plain. Repeat 6 times from ** and finish with
+2 chain.</p>
+
+<p>On the 7th stitch of the 4th petal: 1 plain, 2 plain on the
+next stitches ***, 1 picot, 3 plain. Repeat 4 times from ***.</p>
+
+<p>On the 5th stitch of the 5th petal: 1 plain, and on the 4
+next, 4 plain ****. Repeat from * to ** round each leaf,
+then instead of a picot, make 4 chain, join between the 1st
+and 2nd picot, 4 chain, close the picot. From this point the
+preceding series of stitches takes the place of the picot that
+immediately follows the sign **; proceed to ****.</p>
+
+<p>Foundation for the footing of the lace, with a single row
+<a name="Page_254" id="Page_254"></a>of leaves.&mdash;When all the leaves are joined together, take the
+finer number of cotton and fasten your thread to the last
+stitch of the small stalk; then make: * 2 chain, 1 plain on the
+9th stitch of the 5th petal; 6 chain, miss 2, 1 plain on the 3rd
+stitch; 6 chain, 1 plain on the 3rd stitch, 1 chain, 1 plain on
+the 5th stitch of the 4th petal; 6 chain, 1 plain on the 3rd
+chain; 2 chain, 1 plain on the 4th stitch (counting from the
+bottom) of the 5th petal of the next leaf; 3 chain, 1 single on
+the last stitch of the long stalk; 3 chain, join to the 3rd chain
+stitch, 3 chain, draw the thread again in coming back through
+the 3rd of the second set of 6 chain stitches in the 1st petal;
+1 single; turning back and from left to right: 1 single on the
+plain stitch between the chain stitches, 6 chain, 1 plain on the
+2nd of the last 3 chain, 6 chain, 1 plain on the stalk, 6 chain,
+1 plain on the 3rd stitch of the stalk; 6 chain, 1 plain on the
+4th stitch of the stalk; 7 chain, 1 plain at the top of the little
+stalk, then repeat from *. The network in the next rows, which
+may be of any width, is composed of: 6 chain stitches and,
+1 plain on the loop of the last row.</p>
+
+<p>For the last row but one of the network, make: 4 chain,
+1 plain over each loop, and complete the lace by a row of plain
+stitches.</p>
+
+<p>To make the leaves stand out from the foundation, use two
+shades of thread, white and &eacute;cru, white and Jaune-Rouille
+365, or white and Gris-Cendre 415.</p>
+
+<p>The following is the way to join two rows of leaves together,
+that have previously been edged with picots.</p>
+
+<p>Fasten the thread on to the little stalk, * 3 chain, 1 plain
+on the 8th stitch of the leaf, 2 chain, join to the middle picot
+of the 3rd petal of the top leaf; 2 chain, 3 plain on the 5th petal
+of the bottom row, 1 picot, 3 plain.</p>
+
+<p>For the 2nd petal of the bottom leaf: 3 plain, 1 picot, 3 plain.</p>
+
+<p>For the 5th petal of the next leaf below: 3 plain, 4 chain,
+1 single on the long stalk, 5 chain, 1 plain on the 2nd picot of
+the 1st petal of the preceding leaf, 5 chain, 1 single on the 2nd
+picot of the 4th petal of the top leaf, 4 chain, 1 plain on the
+4th single of the stalk, 3 chain, 1 single on the 7th picot of
+the 3rd petal of the top leaf, 3 chain, miss 1 stitch of the stalk,<a name="Page_255" id="Page_255"></a>
+1 plain on the stalk, 3 chain, 1 plain on the 6th picot of the
+top leaf, 3 chain, 1 plain on the little stalk. Repeat from *.</p>
+
+<p>Three and even four rows of leaves may be joined together
+in this manner and make a very handsome lace, particularly
+suitable for church linen.</p>
+
+<p><b>Insertion with waved braid</b> (fig. <a href="#fig_464">464</a>).&mdash;1 plain stitch at
+the point of the braid, 7 chain, 1 single on the 2nd chain.
+On the next chain stitches: 1 half-treble, 1 treble, 1 double
+treble, 1 triple treble, 1 plain on the next point of the braid.</p>
+
+<p>Repeat the same stitches on the second side, only that after
+the 6th chain stitch, you draw the thread through the 7th of
+the 1st finished row.</p>
+
+<p>Little wheels, set between the crochet pyramids, and described
+in the chapters on <a href="./chapter_12.html">filet-guipure</a> and <a href="./chapter_13.html">Irish lace</a>, complete
+the insertion.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/477.jpg" width="600" height="382" alt="FIG. 464. INSERTION WITH WAVED BRAID" title="" />
+<a name="fig_464" id="fig_464"></a><span class="caption"><span class="smcap">Fig. 464. Insertion with waved braid.<br />
+Materials.</span>&mdash;According to the size of the braid: Fil d&#39;Alsace D.M.C Nos. 20
+to 70, or Cordonnet 6 fils D.M.C Nos. 40 to 70.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p><b>Crochet lace, made with leaf braid</b> (fig. <a href="#fig_465">465</a>).&mdash;Introduce
+the thread into one of the leaves of the braid and working
+from right to left, make for the outer border: * 1 plain, 2 chain,<a name="Page_256" id="Page_256"></a>
+1 picot in bullion stitch, with 5 twists of the thread, 2 chain,
+1 treble near the end of the leaf. Leave the last 2 loops of the
+treble on the needle **.</p>
+
+<p>Take 2 leaves of the braid, fold them one upon the other:
+1 treble near the stalk of these folded leaves, tighten the loops
+of the 2 trebles; chain ***, 1 picot, 2 chain, 1 plain, 2
+chain. Repeat 5 times from ***.</p>
+
+<p>Proceed with 1 picot, 2 chain,&mdash;there will be 7 picots round
+the folded leaves&mdash;1 treble on the folded leaves and repeat
+from ** to *, therefore the inverse way, and begin again from *.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/478.jpg" width="400" height="126" alt="FIG. 465. CROCHET LACE MADE WITH LEAF BRAID." title="" />
+<a name="fig_465" id="fig_465"></a><span class="caption"><span class="smcap">Fig. 465. Crochet lace made with leaf braid.<br />
+Materials:</span> Fil d&#39;Alsace D.M.C Nos. 50 to 100
+or Fil &agrave; dentelle D.M.C Nos. 50 to 80.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>For the footing of the lace, 4 rows are required.</p>
+
+<p>1st row&mdash;* 1 double treble close to the stalk of the leaf, 5
+chain, 1 treble, at the third of the leaf, 1 double treble at the
+2nd third of the leaf, 5
+chain, 2 double trebles,
+one on the right leaf, one
+on the left, draw the last
+loops of the 2 trebles up
+together and repeat from *.</p>
+
+<p>2nd row&mdash;On each of
+the little loops formed by
+the 5 chain of the last row: 1 plain, 3 chain, 1 picot in bullion
+stitch, 7 chain, 1 picot, 3 chain; 1 plain on the next loop and
+so on.</p>
+
+<p>3rd row&mdash;1 plain on the 4th of the 7 chain, 5 chain, 1 plain
+and so on.</p>
+
+<p>4th row&mdash;1 plain on each loop of the last row.</p>
+
+<p><b>Crochet lace made with leaf braid</b> (fig. <a href="#fig_466">466</a>).&mdash;Begin
+with the outside edge:</p>
+
+<p>1st row:&mdash;At the end of a leaf: 1 treble, 6 chain, 1 picot
+in bullion stitch, 6 chain, 1 treble = at the beginning of a 2nd
+leaf: 6 chain, 1 picot, 6 chain, 1 treble at the end of the leaf
+= 7 chain, 1 picot, 7 chain, 1 treble on the 3rd leaf = 6 chain,
+1 picot, 6 chain, 1 treble at the end of the 3rd leaf = 6 chain,
+1 treble, 6 chain, 1 treble on the 4th leaf = 1 double treble
+joined to the 4th and 1st leaf of the next scallop = 1 treble
+<a name="Page_257" id="Page_257"></a>at the end of the 1st leaf, join and draw the last loops of
+these 3 trebles together.</p>
+
+<p>2nd row&mdash;over each treble and picot: * 1 plain, 3 chain,
+1 picot, 7 chain, 1 picot, 3 chain, 1 plain = repeat 6 times
+from *.</p>
+
+<p>At the indent and before the last picot: 2 chain, 1 picot, 2
+chain = 1 plain before the 1st picot of the next scallop.</p>
+
+<p>3rd row&mdash;1 treble, 8 chain, repeat 6 times. In the indent
+join the 4th of the 7 chain stitches right and left together by 1
+treble.</p>
+
+<p>4th row&mdash;15 single on each loop of 8 chain.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/479.jpg" width="500" height="272" alt="FIG. 466. CROCHET LACE MADE WITH LEAF BRAID." title="" />
+<a name="fig_466" id="fig_466"></a><span class="caption"><span class="smcap">Fig. 466. Crochet lace made with leaf braid.<br />
+Materials:</span> Cordonnet 6 fils D.M.C Nos. 40 to 80 or
+Fil &agrave; dentelle Nos. 50 to 80.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Inside junction.&mdash;Begin at the edge of the first leaf, fasten
+on the thread and make 10 chain and, 1 double treble at the end
+of the leaf, 1 triple treble, and draw up both together, 5 chain,
+2 triple trebles
+on the
+leaves to the
+right and
+left = 5
+chain, 2 triple
+trebles,
+one at the
+end and the
+other at the
+beginning of
+the 3rd and
+4th leaf = 2
+chain, 1 picot
+in bullion stitch, 2 chain, 1 plain on the last stitch of the
+first trebles, 10 chain, 1 plain on the last stitch of the last
+trebles; 5 chain, 1 triple treble at the end of the 4th leaf.</p>
+
+<p>Going back to the beginning: 5 chain, 1 single on the 10
+chain above the picot = 5 chain, 1 single on the 5th of the
+first 10 chain = 12 chain, 1 plain on the loop of the last triple
+treble, 7 chain, 1 picot in bullion stitch, 6 chain = 1 plain on
+<a name="Page_258" id="Page_258"></a>the stalk between the 2 leaves; 6 chain, 1 picot, 7 chain, 1
+triple treble on the leaf, 5 chain, repeat from *.</p>
+
+<p>2nd row&mdash;5 chain, 1 treble on the lower loops. Distribute
+the chain stitches equally.</p>
+
+<p>3rd row&mdash;1 plain in the braid that forms the footing of the
+lace, 2 chain, 1 plain on the last chain stitches, 2 chain, 1
+plain in the braid, continuing in this manner to join the
+crochet work and the braid together.</p>
+
+<p><b>Irish lace</b> (fig. <a href="#fig_467">467</a>).&mdash;Begin with the semicircles in the
+middle of the pattern, which arch over two scallops, and cast
+on 117 chain. Then lay a double or threefold thread of Cordonnet
+6 fils D.M.C No. 2, over the chain stitches, and make
+one plain stitch on each; then cut the padding thread short off.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_480.jpg"><img src="images/480.jpg" width="600" height="282" alt="FIG. 467. IRISH LACE" title="" /></a>
+<a name="fig_467" id="fig_467"></a><span class="caption"><span class="smcap">Fig. 467. Irish lace.<br />
+Materials:</span> Cordonnet 6 fils D.M.C Nos. 25 to 100, Fil &agrave; pointer D.M.C No. 30
+or Fil d&#39;Alsace D.M.C Nos. 30 to 100.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>On the other side of the chain make 2 plain, * 2 chain, 1
+picot, 7 chain, 1 picot, 2 chain, miss 7; 1 plain on each of
+the 2 next stitches **.</p>
+
+<p>Repeat 11 times from * to **; the 11th time making only
+6 chain.</p>
+
+<p>2nd and 3rd row&mdash;On the upper side, over a double thread
+of twist: 1 plain on each stitch of the last row; cut off the
+padding thread = 2 chain, 1 picot, 7 chain, 1 picot, 2 chain,<a name="Page_259" id="Page_259"></a>
+1 plain on the 4th of the 7 chain stitches after the first picot
+of the preceding row = 3 chain, 1 picot, 3 chain, 1 plain on
+the 4th of the next 7 chain stitches **. Repeat 11 times
+from * to ** and then make: 2 chain, 1 picot, 7 chain, 1 picot,
+2 chain, 1 plain.</p>
+
+<p>On the upper side and without a padding thread: 3 plain,
+1 picot, * 5 plain, 1 picot, **. Repeat 20 times from * to **.
+Continue with: 3 plain, 10 chain, 1 picot, 2 chain, 2 plain on
+the 4th of the first 7 chain of the 2nd row on the inside of
+the semicircle = 2 chain, 1 picot, 7 chain, 1 picot, 2 chain, 1
+plain on the plain stitch of the previous row = 1 plain on the
+1st of the 3 chain = 2 chain, 1 picot, 7 chain, 1 picot, 2 chain,
+2 plain as before, = 2 chain, 1 picot, 7 chain, 1 picot, 2 plain
+= 2 chain, 1 picot, 9 chain, 1 plain, return and make on the
+9 chain: 7 plain, 2 chain, 1 picot, 2 chain, 2 plain = make 4
+more scallops like the previous one = 2 chain, 1 picot, 9 chain,
+1 plain = return and make on the 9 chain: 7 plain, 2 chain,
+1 picot, 2 chain, 2 plain = make 2 more scallops, and then a
+3rd joined to the scallop that terminates the semicircle on the
+right by the 2 plain stitches = 2 chain, 1 picot, 7 chain, 1 picot,
+2 chain, 2 plain on the point of the crescent = 22 scallops consisting
+of: 2 chain, 1 picot, 7 chain, 1 picot, 2 chain, 2 plain.</p>
+
+<p>9 plain on the scallop that terminates the semicircle on the
+left, 7 chain, 2 plain on the next scallop, 2 chain, 1 picot, 2
+chain, 2 plain on the next scallop = make 2 bars more of the
+same kind = 7 chain, 2 plain = 3 bars like the previous ones
+= 7 chain, 2 plain = 3 bars as before = 2 plain, 7 chain, 7
+plain on the next scallop = 1 bar consisting of 3 chain, 1
+picot, 3 chain, 2 plain over all the scallops of the preceding
+row (24 scallops in all).</p>
+
+<p>4th row&mdash;3 chain *, 8 trebles on the 7 chain that follow
+the 7 plain = turn the work = 1 single on the last treble, 3
+chain, 1 treble on the 7th and 1 on the 6th of the 8 trebles, 2
+chain, 1 treble on the 5th and 1 on the 4th of the 8 trebles,
+2 chain, 1 treble on the 3rd and 1 on the 2nd of the 8 trebles,
+3 chain, 1 single on the 1st of the 8 trebles = turn the work
+= ** on the 3 chain: 1 plain, 1 half-treble, 1 treble, 1 half-treble,
+1 plain = 1 plain between the 2 trebles below = on
+<a name="Page_260" id="Page_260"></a>the 2 chain, 1 plain, 1 half-treble, 1 treble, 1 half-treble,
+1 plain *** = 1 plain between the 2 trebles beneath, repeat
+from *** to **, therefore the reverse way.</p>
+
+<p>Go on with 2 scallops consisting of 2 chain, 1 picot, 7 chain,
+1 picot, 2 chain, 2 plain = after the 2nd scallop: 2 chain, 1
+picot, 5 chain = 8 trebles on the 7 chain over the 7 plain and
+finish the little flowers consisting of 4 scallops each, like the
+first from * to *** and from *** to ** = 2 plain to get
+back to the scallop = 1 chain, 1 picot, 2 chain, 2 plain, 3 chain,
+1 picot, 7 chain, 1 picot, 2 chain, 2 plain, 3 chain, 1 picot,
+3 chain, and make a 3rd flower of 4 scallops like the 2 others
+= 2 single to come back to the scallop, 2 chain, 1 picot, 2
+chain, 2 plain = 2 more scallops like the previous ones, then
+make the 4th flower of 4 scallops, which must come before the
+7 plain stitches of the previous row = 20 scallops consisting
+of: 2 chain, 1 picot, 7 chain, 1 picot, 2 chain, 2 plain = the last
+scallop is to be joined to the 1st scallop of the 1st flower, under
+the left point of the semicircle = 3 single along the small scallop,
+3 trebles, 2 chain, 1 picot, 2 chain, 2 plain on the point of the
+scallop = 3 bars like the previous ones to be joined to the 2
+next scallops = 3 similar bars between the small scallops = 1
+single on the scallop between the 2 flowers and 1 single on
+the 2nd set of chain stitches in the scallop that precedes the
+3rd flower = 1 single on the point of the 1st scallop of the 3rd
+flower = continue the little bars along the 2nd side until past
+the 4th flower = after the 4th flower make 2 bars consisting
+of 2 chain, 1 picot, 2 chain, 2 plain = 3 chain, 1 picot, 3
+chain, 2 plain on the next scallop **** 7 chain, 2 plain on
+the next scallop, 3 chain, 1 picot, 3 chain, 2 plain on the next
+scallop, 3 chain, 1 picot, 3 chain, 2 plain on the next scallop,
+3 chain, 1 picot, 3 chain, 2 plain on the next scallop *****
+repeat five times from **** to *****. At the 2nd repetition
+make 1 bar with 1 picot more, so that you have 4 bars
+instead of 3. At the 5th repetition you decrease by 1 bar, so
+that you have 2 instead of 3.</p>
+
+<p>1 plain on the point of the scallop of the flower, 3 chain,
+1 picot, 7 chain, 1 picot, 3 chain, 3 plain, one of which is made
+on the 2nd plain of the previous row, and the 2nd on the bar of
+<a name="Page_261" id="Page_261"></a>chain stitches = 3 plain, 1 picot, 7 chain, 1 picot, 3 chain, 2
+plain = 2 more similar scallops = then 3 chain, 1 picot, 9
+chain, 1 plain on the 2nd plain of the previous row = join and
+on the 9 chain make 7 plain = 3 chain, 1 picot, 3 chain,
+2 plain.</p>
+
+<p>Over the 1st little flower inside the semicircles, make 1 scallop
+like the previous ones = then 3 chain, 1 picot, 7 chain, 2
+plain on the 3rd point of the first flower = 2 chain, 2 plain on
+the 2nd point of the second flower = 6 plain on the scallop
+and joined to the 3rd point of the first flower = 3 chain, 1 picot,
+3 chain = 2 plain = 1 scallop like the previous ones, 2 plain
+on the 4th point of the small flower, 3 chain, 1 picot, 9 chain,
+1 plain = 7 plain over the 9 chain = 3 chain, 1 picot, 3 chain,
+2 plain.</p>
+
+<p>Make 7 scallops of: 3 chain, 1 picot, 7 chain, 1 picot, 3
+chain, 2 plain, after the 7th scallop make 1 chain only, which
+must come just before the 7th chain to the left without a picot
+and above the point of the semicircle.</p>
+
+<p>Over the 7 chain make a flower like the first with 4 scallops
+= then 3 scallops, 3 chain, 1 picot, 7 chain, 1 picot, 3 chain,
+2 plain. Make one more flower with 4 scallops, 3 scallops like
+the previous ones = a third flower with 4 scallops, 2 chain, 2
+plain, one of them above the point of the row beneath, 12
+chain, 1 plain over the next scallop = turn the work and coming
+back over the row just made, make: 7 plain on the first 7 of
+the 12 chain, 1 plain on the point of the scallop, 4 chain, 1
+picot, 4 chain, 1 plain on the next scallop, carry on the bars
+over the flowers and scallops, making 1 plain on the scallops
+of the flower and 2 plain on the other scallops, up to the 5
+plain stitches between the 2 flowers underneath the semicircle.</p>
+
+<p>After the plain stitch that joins the last bar, turn the
+work and make 23 scallops consisting of: 4 chain, 1 picot, 7
+chain, 1 picot, 4 chain, 2 plain.</p>
+
+<p>Cut off the thread and fasten it on above the semicircle and
+at the plain stitch which precedes the 7 chain without picot and
+make the second side like the first = having reached the
+middle, close to the 5 plain, turn the work = make the half
+<a name="Page_262" id="Page_262"></a>round of bars and fasten off at the 4th scallop of the flower
+above the semicircle.</p>
+
+<p>Fasten on at the point under the flowers where the work
+was turned and on the wrong side, and from right to left,
+work: 21 scallops consisting of 4 chain, 1 picot, 7 chain, 1
+picot, 4 chain, 2 plain = then add: 4 chain, 1 picot, 10 chain,
+1 plain above the point of the scallop of the small flower =
+turn the work: 7 plain over the 10 chain.</p>
+
+<p>22 bars of 3 chain, 1 picot, 3 chain, 2 plain = after the 22nd
+bar, 10 chain = come back and join to the picot of the 21st
+bar = 2 chain, 8 trebles over the 10 chain and complete the
+flower as before. After the 4th scallop of the flower: 2 chain,
+1 single, quite close to the 8 trebles, 3 chain, 2 plain on the
+next bar, 3 chain, 1 picot, join to the 2nd stitch of the 4th
+scallop of the flower, 3 chain, carry on the bars the same distance
+as on the first side.</p>
+
+<p>Footing of the lace&mdash;On the chain stitches that follow the
+3rd plain stitch and above the last little figure: 1 triple treble,
+6 chain, join to the middle plain stitch = miss 1 scallop, 1
+treble, 6 chain = miss 1 scallop, 1 double treble, 6 chain, =
+miss 1 scallop, 1 triple treble, 6 chain, = miss 1 scallop of
+the figure on the left, 1 double treble, 6 chain = miss 1 scallop,
+1 treble, 6 chain = miss 1 scallop, 1 double treble, 6 chain =
+miss 1 scallop, 1 treble, 6 chain = miss 1 scallop, 1 treble,
+6 chain = miss 1 scallop, 1 double treble, 6 chain, 1 triple
+treble, 6 chain, 1 quadruple treble on the next plain stitch.
+Repeat the whole, reversed, and finish off the footing with a
+row of plain stitches.</p>
+
+<p>Edge of the lace.&mdash;Fasten on, where the semicircles join:
+1 double treble on the first 3 chain stitches of the empty
+scallop, 5 chain, 1 double treble on the next disengaged chain
+stitches of the half scallop; continue the same on all the chain
+scallops and distribute the trebles so that there may be in all,
+13 times 5 chain stitches.</p>
+
+<p>Add 2 triple trebles, the last loops of them, connected
+by a plain stitch; the 1st triple treble on the 3 last chain
+stitches of the last scallop, the 2nd on the plain stitch, that
+<a name="Page_263" id="Page_263"></a>follows the 1st scallop of the middle figure = 4 chain, 1 treble
+on the plain stitch of the 2nd point. Repeat the same, reversed.</p>
+
+<p>2nd row&mdash;On the first 5 chain of the last row: 5 plain =
+on the next 5 chain: 5 plain = on the 3 chain, leave a space:
+5 plain, 12 chain, come back and join to the 8th chain stitch
+by a single stitch = on the scallop: 4 plain, 1 picot, 3 plain,
+1 picot, 4 plain = and so on, until you have 8 points altogether.</p>
+
+<p>The plain stitches must be distributed as follows:</p>
+
+<p>For the 2nd point: in the 4th space 4 plain, in the 5th space
+3 plain = for the 3rd point: in the 5th space, 2 plain, in the
+6th space, 5 plain = for the 4th point: in the 6th space 1 plain,
+in the 7th space 6 plain = for the 5th point: in the 8th space
+4 plain, in the 9th space 3 plain = for the 6th point: in the
+9th space 3 plain, in the 10th space 4 plain = for the 7th
+point: in the 11th space 7 plain = for the 8th point: in the
+12th space 7 plain = 5 plain in each of the 2 remaining spaces.</p>
+
+<p><b>Crochet lace</b> (fig. <a href="#fig_468">468</a>).&mdash;This is always an effective pattern,
+in any number of thread. It is not new, however, and is probably
+already known to many of our readers as a pillow lace.
+Those who are not fond of making pillow lace, will be glad to
+learn how to reproduce it in crochet, as it makes a pretty trimming,
+both for wearing apparel and furniture. For furniture,
+it should be made in unbleached cotton, for articles of dress, in
+any of the of the finer numbers, referred to above.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_481.jpg"><img src="images/481.jpg" width="600" height="472" alt="FIG. 468. CROCHET LACE." title="" /></a>
+<a name="fig_468" id="fig_468"></a><span class="caption"><span class="smcap">Fig. 468. Crochet lace.<br />
+Materials.</span>&mdash;For trimming curtains and coarse linen table covers: Fil &agrave; pointer
+D.M.C No. 25 or 30, or Cordonnet 6 fils D.M.C Nos. 10 to 25 &eacute;cru.
+For articles of dress: Fil d&#39;Alsace D.M.C Nos. 30 to 70,
+Cordonnet 6 fils D.M.C Nos. 25 to 70, or Fil &agrave; dentelle D.M.C Nos. 25 to 70 &eacute;cru.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>For the separate squares, cast on 10 chain stitches, and
+close the ring.</p>
+
+<p>1st row&mdash;* 5 chain, 1 plain on the ring. Repeat 3 times
+from *.</p>
+
+<p>2nd row&mdash;1 chain, 1 plain on the first 5 chain: * 5 chain,
+1 plain = on the first 5 chain of the 1st row: 2 chain, 1 plain
+on the second 5 chain of the 1st row. Repeat 3 times from *.</p>
+
+<p>3rd row&mdash;1 plain on the first 5 of the 2nd row: * 5 chain,
+1 plain, 2 chain, 1 plain, 2 chain, 1 plain. Repeat 3 times from *.</p>
+
+<p>In the 4th and following rows, go on increasing, as in the
+3rd row, until, on all 4 sides, you have 11 plain stitches between
+every 5 chain.</p>
+
+<p>12th row&mdash;1 plain, 5 chain, 1 plain, * 1 picot made of 4
+chain, 1 plain between the 1st and the 2nd plain of the last row,<a name="Page_264" id="Page_264"></a>
+2 chain, 1 plain between the next 2 plain. Repeat 3 times from
+*, and fasten off.</p>
+
+<p>Crochet the squares together, as you finish them. After the
+12th and last plain stitch, make: 2 chain, drop the loop, put the
+hook into the 3rd of the 5 chain stitches that form one corner
+of the square, draw the dropped loop through, 2 chain, close
+the picot, finish the square.</p>
+
+<p>For the star that connects the squares&mdash;10 chain, close the
+ring; * 4 chain, 1 picot, 4 chain, 1 over, join the 2 picots right
+and left of the squares that are to be joined together, by 1 treble;
+4 chain, 1 picot, 3 chain, drop the loop, put the needle into the
+first of the first 4 chain stitches, draw the thread through, 2
+<a name="Page_265" id="Page_265"></a>plain on the ring, 8 chain, 1 treble on the 3rd picot and 1 treble
+on the 4th picot of the square = coming back: 1 plain on each
+of the 8 chain; 2 plain on the ring, and repeat 3 times from *.</p>
+
+<p>For the half-star, that fills the space under the footing of
+the lace: 10 chain, close the ring = 9 chain, 1 treble on the
+1st picot of the square; 4 chain, 1 picot, 3 chain; draw the
+thread through the 1st of the 9 chain = 2 plain, 8 chain, join
+the 3rd and 4th picots of the square by 1 treble bar on each
+picot = 8 single stitches on the 8 chain, 2 plain on the ring;
+4 chain, 1 picot, 4 chain = on the 1st and last picot of the 2
+opposite squares: 1 treble, 4 chain, 1 picot, 3 chain, drop the
+loop, draw it through the 1st of the 4 chain stitches = 2 plain,
+8 chain, join 2 picots by 2 trebles = 8 single, 2 plain on the
+ring, 4 chain, 1 picot, 4 chain, 1 treble on the last picot =
+8 chain, draw the thread through the 1st of the 4 chain.</p>
+
+<p>The footing is made as follows&mdash;* 1 plain on the 5 upper
+chain stitches of the square; 17 chain up to the ring, 3 plain,
+17 chain and repeat from *. A row of plain stitches completes
+the footing.</p>
+
+<p>Outer edge&mdash;* 2 treble on the 1st picot, 4 chain, and
+repeat 5 times from *.</p>
+
+<p>On the 5 chain stitches, in the corner, make: 1 treble =
+4 chain, 1 treble on the 5 chain and finish the second side of
+the square like the first. Omit the chain stitches, between the
+1st and last trebles of the squares.</p>
+
+<p>The next and last row consists of: 2 plain, 1 picot, 2 plain
+every 4 chain. On the last 4 chain, at the point where 2 scallops
+join, make 4 plain stitches, without picots.</p>
+
+<p><b>Lace with stars</b> (fig. <a href="#fig_469">469</a>).&mdash;Begin with the stars, make
+a chain of 18 stitches, close the ring, mount it on a mould,
+wind a soft thread, such as Coton &agrave; repriser D.M.C No 60,
+seven or eight times round it, and make 30 plain stitches upon
+it, joining the last to the first by a single stitch.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/full_482.jpg"><img src="images/482.jpg" width="550" height="253" alt="FIG. 469. LACE WITH STARS." title="" /></a>
+<a name="fig_469" id="fig_469"></a><span class="caption"><span class="smcap">Fig. 469. Lace with stars.<br />
+Materials:</span> Fil d&#39;Alsace D.M.C Nos. 30 to 70, Fil &agrave; pointer D.M.C No. 25 or 30,
+Coton pour crochet D.M.C Nos. 8 to 12.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Then: * 13 chain, and returning, miss the 1st chain = on
+the 12 chain: 1 single, 2 plain, 2 half-trebles, 2 trebles, 2
+double trebles, 1 double treble and a half, 2 triple trebles; keep
+the two last loops of the last treble but one, on the needle, and
+join them, to those of the last treble. Repeat 5 times from *.</p><p><a name="Page_266" id="Page_266"></a></p>
+
+<p>2nd row&mdash;1 plain, on the upper stitch that was missed in
+the 1st row; * 17 chain, 1 plain on the next point. Repeat 5
+times from *.</p>
+
+<p>3rd row&mdash;* 6 plain, 3 chain, miss 2 stitches of the lower
+row. Repeat from *.</p>
+
+<p>4th row&mdash;All round the last row, on each of the bottom
+stitches 1 plain; after every 6 stitches, 1 picot. This will give
+you 19 picots in all, separated from each other by 6 stitches.</p>
+
+<p>Inner connection&mdash;Fasten on the thread at the 5th treble,
+counting from the ring: 1 single, 8 chain. Draw out the thread,
+from the back, through the 9th of the 17 chain round the
+star = 8 chain * join with 1 chain to the 5th treble, passing
+the thread through to the back = work on the wrong side:
+3 chain, bring the thread back between the 5th treble to the
+right side, and repeat 5 times from *. In joining the stars,
+place them so that 9 picots are turned to the edge, and 8 to
+the footing. The 10th and the 19th picots serve to join the stars.</p>
+
+<p>1st row&mdash;2 trebles between the 19th and the 9th of the * 9
+picots, 7 chain, 1 treble; repeat 9 times from *.</p>
+
+<p>After the 10th treble, make no more chain stitches, but 1
+<a name="Page_267" id="Page_267"></a>treble immediately between the 19th and the 1st picot of the
+next row.</p>
+
+<p>2nd row&mdash;On the 7 first chain stitches of the last row: 3
+plain, 4 half-trebles, 3 trebles, 1 picot, 3 trebles, 1 picot, and
+so on, until in the semicircle over the picots, you have 7 times
+7 chain stitches and 16 picots = on the ninth set of 7 chain: 3
+trebles, 4 half trebles, 3 plain.</p>
+
+<p>The scallops are joined by smaller ones, formed of: 3 plain,
+4 half trebles, 3 trebles, 1 picot, 2 trebles, 7 chain, drop the
+loop, put the needle into the same treble of the last scallop;
+draw the loop through and make on the 7 chain: 1 plain, 1
+half-treble, 5 trebles, 1 picot, 5 trebles, 1 half-treble, 1 plain;
+continue the large scallop, as described above.</p>
+
+<p>The footing is composed of rings and trebles.&mdash;Begin
+with a ring, like those in the middle of the stars, worked as
+follows: 18 chain, with 28 plain upon them = miss 1 plain
+stitch of the ring, 3 plain, 10 chain = miss 1 plain, 3 plain, 10
+chain = miss 1 plain, 3 plain, 5 chain, 1 single on the 7th
+picot of the 1st star, 5 chain = miss 1 plain, 3 plain, 5 chain,
+1 single on the 8th picot, 5 chain = miss 1 plain, 3 plain, 5
+chain, 1 single on the 2nd picot, 5 chain, finish off.</p>
+
+<p>Straight edge&mdash;Worked from right to left = 1 chain * turn
+the thread 7 times round the needle, join to the plain stitch
+between the 7th and 6th picot, complete the long treble, 7
+chain, join 1 treble, consisting of six overs to the 1st treble; 1
+quintuple treble between the 6th and the 5th picot; 7 chain,
+1 quadruple treble joined to the previous treble = in all, 10
+trebles, the 1st made with 7 overs, the 2nd with 6, the 3rd
+with 5, the 4th with 4, the 5th and 6th with 3, the 7th with
+4, the 8th with 5, the 9th with 6, the 10th with 7; and between
+every 2 trebles, 7 chain.</p>
+
+<p>The 3 long trebles of the ring are taken up with 1 plain
+and 7 chain between.</p>
+
+<p><b>Guipure lace</b> (fig. <a href="#fig_470">470</a>).&mdash;We advise our readers to work
+this charming pattern, in unbleached Fil &agrave; dentelle D.M.C
+No 50, because it imitates the appearance of old lace better
+than any other material.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_483.jpg"><img src="images/483.jpg" width="500" height="360" alt="FIG. 470. GUIPURE LACE." title="" /></a>
+<a name="fig_470" id="fig_470"></a><span class="caption"><span class="smcap">Fig. 470. Guipure lace.<br />
+Materials:</span> Fil d&#39;Alsace D.M.C Nos. 30 to 100, Cordonnet 6 fils D.M.C
+Nos. 25 to 100, or Fil &agrave; dentelle D.M.C Nos. 25 to 100.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Lozenge-shaped figures in the centre&mdash;5 chain, close the ring.</p><p><a name="Page_268" id="Page_268"></a></p>
+
+<p>1st row&mdash;5 chain, 1 picot, 2 chain, 1 treble on the ring =
+5 chain, 1 treble on the ring = 2 chain, 1 picot, 2 chain, 1
+treble on the ring = 5 chain on the 3rd of the first 5 chain.</p>
+
+<p>2nd row&mdash;12 chain, * 1 treble on the 1st treble of the 1st
+row = 4 chain, 1 treble on the 3rd of the next 5 chain = 5
+chain, 1 treble on the same stitch as the last treble = 4 chain,
+** 1 treble on the 2nd treble of the 1st row, 9 chain. Repeat
+from * to **; join the last 4 chain, to the 3rd of the first 12
+chain, by a single stitch.</p>
+
+<p>3rd row&mdash;1 chain, 4 plain, 3 plain on the 5th of the 9 chain
+of the last row = 12 plain, 5 plain on the 3rd of the 5 chain,
+between the 2 trebles, 12 plain, 3 plain on the 5th of the lower
+9 chain = 12 plain, 5 plain on the 3rd of the 5 chain, 7 plain;
+finish the row with a single stitch.</p>
+
+<p>4th row&mdash;3 chain, 1 treble on each of the next 5 plain; 3
+trebles on the 6th plain; 1 treble on each of the next 15 plain,
+5 trebles on the 16th stitch; 15 trebles on the 2nd side; and
+<a name="Page_269" id="Page_269"></a>again 3 trebles on the 16th stitch; 15 trebles on the 3rd side;
+5 trebles on the 16th stitch, 9 trebles and join to the 3rd of the
+3 chain.</p>
+
+<p>5th row&mdash;1 chain, 6 plain, 3 plain on the 7th stitch beneath,
+* 18 plain, 3 plain on the 19th stitch. Repeat twice from *.</p>
+
+<p>6th row&mdash;1 chain, 1 picot, 2 plain, 1 picot, 2 plain, 1 picot
+= towards the point: 3 plain, 1 picot = on the 2nd side of the
+square: 3 plain, 1 picot, and 5 times 2 plain, 1 picot = towards
+the point: 4 plain, 1 picot.</p>
+
+<p>On the 3rd side as on the 2nd, only reversed, first 4 plain,
+and at the point 3 plain; on the 4th side as on the 2nd; on the
+1st side must still be added 3 plain, 1 picot, 2 plain, 1 picot,
+2 plain, 1 picot, 2 plain; draw the thread through the loop and
+fasten off.</p>
+
+<p>The oblong squares, that connect the lozenges, take 7 rows
+of plain stitches. Make a chain of 14 = turn the work = 13
+plain; add 5 rows of the same number of stitches. On the
+short side, and at the edge of the square: 1 picot, 3 plain, *
+9 chain, miss 1 chain = returning: 1 plain on the 8th chain
+= on the next 7 chain: 1 half treble, 3 trebles, 1 half treble,
+2 plain on the last chain stitches = on the 2nd half of the short
+side: 3 plain, 1 picot = on the long side: 3 plain **, 1 picot,
+3 plain ***. Repeat the whole twice from * to ***, and
+then once from * to ** only.</p>
+
+<p>The row of bars, that encircles the small leaves, begins with
+2 single stitches on the first picot, then add: **** 3 chain, 1 picot,
+3 chain, 1 treble on the 9th chain of the small leaf; on the
+short side: 1 chain, 1 picot, 1 chain, 1 triple treble on the 9th
+chain of the leaf; drop the thread, bring it out from the back, by
+the side of the picot that forms the corner on the long side of the
+lozenge = 1 chain, 1 picot, 1 chain, 1 treble on the small leaf
+= 3 chain, 1 picot, 3 chain, 1 treble on the picot, forming the
+corner of the oblong square = 3 chain, 1 picot, 3 chain, 1
+treble on the leaf on the long side of the square = 3 chain,
+1 treble on the same stitch as the 1st treble is on = 3 chain,
+1 treble on the same stitch as the 2 first trebles are on; 3 chain,
+1 picot, 3 chain, 1 treble on the picot at the corner. Repeat
+once from ****.</p><p><a name="Page_270" id="Page_270"></a></p>
+
+<p>Upper and lower edge&mdash;6 chain, 1 sextuple treble on the
+2nd picot of the lozenge = 6 chain, 1 triple treble on the 4th
+picot of the lozenge. Coming back over the 2 trebles of 6 chain,
+work in 3 journeys to and fro, 13 plain stitches.</p>
+
+<p>After the 2nd row of plain stitches, 1 quintuple treble on the
+6th treble of the lozenge, and then 4 rows of plain stitches.</p>
+
+<p>After the 6th row, pass at once to the leaves above the
+lozenge: ***** 15 chain, 1 plain on the picot that forms the point
+of the lozenge = turn the work to the wrong side = on the
+chain stitches work: ****** 3 plain, 1 half treble, 4 trebles,
+1 half treble, 3 plain = turn the work to the right side
+= returning and starting from the point of the leaf: 1 chain
+and 1 plain on each of the lower stitches.</p>
+
+<p>For the 2nd leaf: 12 chain = turn the work and repeat, as
+for the former leaf, from ***** to ******.</p>
+
+<p>This leaf, being finished like the first, with this difference
+that it ends at the upper point, you pass to the 2nd little
+square: 6 chain, 1 sextuple treble on the picot next to the leaves;
+3 chain, 1 triple treble on the 3rd picot, counted from the leaves
+= 6 chain, 1 sextuple treble on the 5th picot of the lozenge;
+keep the 2 last loops of the treble on the needle, 1 sextuple
+treble on the picot between every 3 chain of the small square
+with leaves; draw up the 2 last loops together with those already
+on the needle = 6 chain, 1 triple treble on the picot on
+the long side of the small square = 3 rows of 13 plain each.</p>
+
+<p>With the last stitch of each of these rows, take 1 of the
+chain stitches between the long trebles.</p>
+
+<p>After the 3rd row: 1 sextuple treble on the first treble on
+the small leaf of the small middle square = 3 rows of plain
+stitches to finish the square, and repeat from *****.</p>
+
+<p>The upper row is similar to this but should be worked
+from right to left.</p>
+
+<p>Scalloped edge.&mdash;In the right corner of the 1st oblong
+figure of the outside corner: 1 double treble, 2 chain, 1
+double treble on the 4th plain stitch = 2 chain, 1 double treble
+on the stitch that forms the corner stitch of the square = 2
+chain, 1 plain at the extremity of the first long leaf, 9 chain = 1
+quadruple treble on the stitch between the 2 leaves = 2 chain,<a name="Page_271" id="Page_271"></a>
+1 quadruple treble on the same stitch and on the 1st treble
+= 2 chain, 1 quadruple treble on the same stitch = 9 chain,
+1 plain on the last stitch of the 2nd long leaf = turn the work:
+1 chain, 1 plain on each of the chain stitches, and on each
+treble, 27 plain stitches in all = turn the work: 1 chain, 1
+plain, 2 chain, 1 plain on the 2nd plain; repeat the last 12
+times. Take in 1 stitch on each side in every row, turn the
+work after each row, and at the end of the last fasten off.
+Fasten on at the foot of the scallop, not at the point, and work
+plain stitches all round it; 20 plain to the upper point, 40 in all.</p>
+
+<p>The open-work edge of the scallops consists entirely of
+double trebles.&mdash;After the 40 plain stitches of the edge: 2
+chain, 1 treble on the 1st plain stitch of the small square =
+turn the work: * 2 chain, 1 treble on the 2nd of the plain
+stitches, forming the edge of the scallop **; repeat 7 times from
+* to ** = *** 2 chain, 1 treble on the next plain stitch =
+2 chain, 1 treble on the next plain = repeat 4 times from ***;
+and then 7 times from * to ** = 2 chain, 1 plain on the
+4th treble of the square; 2 chain, 1 plain on the 3rd treble.</p>
+
+<p>Work on, on the right side = **** 2 chain and 1 treble
+on the preceding treble as far as the 8th treble; after the 8th:
+***** 10 chain, back to the 7th, and returning, join to the
+7th treble = on the 10 chain: 16 plain, after the 16th draw the
+loop through the upper loop of the 8th treble = ****** 2
+chain, 1 treble, 2 chain, 1 treble, 10 chain, return, and fasten
+the chain stitches to the last treble but one = 6 plain, 1 picot,
+2 plain, 1 picot, 6 plain and join as before ******* =
+Repeat once from ***** to *******, then twice, from
+***** to ******, then from **** to *****, as on the
+first side, only 1 treble less = then 1 treble on the 4th plain
+stitch of the small square, 2 chain, 1 treble on the 7th plain
+stitch of the square, 2 chain, 1 treble on the 10th plain stitch,
+1 treble on the outside stitch, at the corner of the square, 2
+chain, 1 plain on the last stitch of the leaf; 9 chain and so on,
+as above described.</p>
+
+<p>Having reached the second scallop, on the 2nd row of trebles,
+at the sign ***, work: 2 chain, 1 treble to the left on the
+scallop just finished, keeping the last loops of the treble on the
+<a name="Page_272" id="Page_272"></a>needle, 1 double treble to the right of the scallop and join it
+to the 2nd treble; draw the 4 loops together = 2 chain, 1 treble
+to the left, 1 quadruple treble to the right = 11 chain, drop the
+loop, bring it to the right side through the 4th treble of the
+right scallop = on these 11 chain stitches: 1 single, 1 plain,
+1 half treble, 2 trebles, 1 half treble, 1 plain, 1 single = 1
+double treble on the open-work edge, then 2 chain, 1 treble,
+2 chain, 1 treble, 12 chain; join to the 6th treble of the right
+scallop = working back: 4 plain, 1 picot, 4 plain, 1 picot, 4
+plain, 1 picot, 4 plain, join to the treble, thrice 2 chain, 1
+treble. Go back to ***** and repeat twice to *******.</p>
+
+<p>The footing of the lace is worked in 5 rows from right to
+left.</p>
+
+<p>1st row&mdash;1 single, * 1 double treble on the 6th plain stitch
+of the square = 1 chain, 1 double treble on the 2nd plain stitch of
+the square = 3 chain, 1 picot downwards, 3 chain, 1 plain on the
+stitch at the extremity of the long leaf = 3 chain, 1 picot downwards,
+3 chain, 2 quadruple trebles between the two leaves = 3
+chain, 1 picot downwards, 3 chain, 1 plain on the last stitch
+of the 2nd leaf, 3 chain; repeat from *.</p>
+
+<p>2nd row&mdash;1 plain on each stitch of the previous row.</p>
+
+<p>3rd row&mdash;count 2 stitches before and above the 2 trebles
+on the squares and make: * 1 treble, miss 1 stitch, 1 treble,
+miss 1 stitch, 1 treble, miss 1 stitch, 1 treble = turn the work:
+1 plain on each of the 4 trebles = turn the work, come back
+and make 4 plain on the first 4 = 5 chain, miss 2 stitches of
+the 2nd row, 1 treble on the 3rd plain, and continue from *.</p>
+
+<p>4th row&mdash;1 treble on each of the 4 plain, 1 chain between
+each treble, 2 chain and so on.</p>
+
+<p>5th row&mdash;1 plain stitch on each of the stitches of the 4th
+row.</p>
+
+<p><b>Crochet Reticella lace</b> (fig. <a href="#fig_471">471</a>).&mdash;This pattern, copied
+in crochet from an old piece of Reticella lace, only looks well,
+worked in very fine cotton, as indicated in our illustration,
+namely, in unbleached Fil &agrave; dentelle D.M.C No 150. To make
+it resemble the original more closely, the method adopted in
+Venetian point, of making all the stitches over a padding
+thread, has, in the case of the outside edge, been followed here.</p><p><a name="Page_273" id="Page_273"></a></p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_484.jpg"><img src="images/484.jpg" width="600" height="269" alt="FIG. 471. CROCHET RETICELLA LACE." title="" /></a>
+<a name="fig_471" id="fig_471"></a><span class="caption"><span class="smcap">Fig. 471. Crochet reticella lace.<br />
+Materials:</span> Fil d&#39;Alsace D.M.C Nos. 30 to 100, or Fil &agrave; dentelle D.M.C Nos. 25 to 150.</span>
+</div>
+
+<p>At the end of each row of plain stitches, draw out a sufficiently
+long loop to lay it back over the stitches just made, and to
+work the next row of stitches over this double foundation.
+These loops must be long enough, not to pucker or tighten
+the scallops.</p>
+
+<p>For the inner squares = 4 chain, close the ring.</p>
+
+<p>1st row&mdash;8 chain, 1 treble, 3 chain, 1 double treble, 3
+chain, 1 treble, 3 chain, 1 double treble, 3 chain, 1 treble, 3
+chain, 1 double treble, 3 chain, 1 treble, 3 chain, 1 single
+stitch on the 5th of the 8 chain.</p>
+
+<p>2nd row&mdash;* 1 chain, 5 plain on the first 3 chain, 5 plain
+on the next 3 chain. On these 10 plain stitches, working to and
+fro, 9 rows of plain stitches, decreasing by 1 in each row; after
+the last stitch, come back along the side of the little triangle,
+and make 1 single stitch in every row, 1 plain on the treble of
+the 1st row **; repeat 3 times from * to **.</p>
+
+<p>These small triangles must be worked over 1 single treble
+and between 2 double trebles.</p>
+
+<p>When the 4th triangle is finished, make directly, starting
+from the last stitch at the point, and along the side: 3 plain,
+1 picot, 3 plain, 1 picot, 3 plain; 1 single stitch on the treble;
+all the triangles must be edged, in this same manner on both
+sides; on the stitch that forms the point: 3 plain stitches.</p>
+
+<p>3rd row&mdash;* 17 chain, drop the loop = bring it to the front,
+through the plain stitch that lies between 2 triangles; return<a name="Page_274" id="Page_274"></a>ing,
+make 10 single stitches backwards on the 10 chain.
+You make stitches like this, backwards, in all the trebles that
+follow, that is, the loop is dropped after each stitch, and
+brought forward from the wrong side to the right = 13 chain,
+join to the 5th single, counting upwards from below = 7 single
+on the chain stitches; 13 chain, join to the other trebles; 6
+chain, 1 single on the stitch at the point of the triangle **;
+repeat 3 times from * to **. = The chain stitches for the
+trebles, must be drawn up very tight.</p>
+
+<p>4th row&mdash;1 plain on each of the stitches of the preceding
+row, 3 plain on the corner stitch. On each side there must be
+29 plain stitches, not counting the corner ones.</p>
+
+<p>5th row = 6 chain, miss 2 stitches of the row beneath, *
+1 double treble, 2 chain; repeat 3 times from * = 2 chain,
+1 double treble, 2 chain, 1 double treble on the same stitch
+as the 1st treble = 2 chain, 1 double treble on the same stitch
+as the 1st treble = 2 chain, 1 double treble on the same stitch
+as the two first trebles = 10 times to the next corner: 2 chain,
+1 double treble, 3 double trebles, each of them with 2 chain
+stitches at the corner; repeat the same on each of the 4 sides.</p>
+
+<p>6th row&mdash;1 plain on each of the stitches of the last row, 3
+plain on the corner stitch = cut off the thread. Join the next
+squares together at once by the last corner stitch.</p>
+
+<p>Lower edge&mdash;You begin by making the large scallop at the
+point of the square, and pass the double thread over the 3rd
+treble that comes before the 3 trebles at the point of the square
+and make: 1 plain stitch on each stitch of the square, up to the
+3rd treble on the opposite side; then draw out a long loop
+which you carry back to the beginning. In the 2nd row increase
+by 2 stitches, right and left of the middle stitches, for the
+rounding of the scallop, and decrease by 1 on each side. Make
+10 rows in all, and in each row, decrease by 4 stitches and
+increase by 2. Fasten off after the 10th row.</p>
+
+<p>The two little scallops, right and left of the big one, are
+worked in 5 rows, over 5 trebles and 4 intervals of chain
+stitches, taking off 2 stitches in every row. For the small
+triangle between, worked in 4 rows, you must increase on
+both sides by 2 stitches.</p><p><a name="Page_275" id="Page_275"></a></p>
+
+<p>When all the scallops are finished, edge them with 3 plain
+stitches, 1 picot and 3 plain and work in all the ends of thread
+from the preceding rows at the same time.</p>
+
+<p>For the footing and the small triangles, that fill up the
+spaces between the squares: 22 chain, miss 1, 10 rows of
+plain stitches, worked to and fro, decreasing by 1 in every row.</p>
+
+<p>When the triangle is finished, make on one side, 1 single
+in every row; then, on the 11 remaining chain stitches,
+a second triangle, like the first, which you then join to the
+plain stitches, above the 5th treble; then returning along the
+side of the triangle, add 3 plain, 1 picot, 3 plain, 1 picot, 3
+plain; 1 single on each of the 22 chain stitches.</p>
+
+<p>Edge the next side of the 2nd triangle like the first, join the
+corner stitch to the 5th treble; edge the two inner sides 3
+times with 3 plain stitches and 2 picots.</p>
+
+<p>Then from right to left on the plain stitches: 6 plain, 15
+chain, join them to the middle of the 2 triangles = 1 single
+on each chain, 5 plain on the square; 11 chain, 1 single on
+the 9th of the first 15 chain; 1 single stitch on each of the
+chain stitches; 1 plain on each stitch of the square, to the
+point where the squares join, 8 chain, 1 single on the 6th of
+the 11 chain, 1 single on each of the 8 chain.</p>
+
+<p>On the 2nd side: 7 plain, 5 chain, 1 single on the 6th of the
+11 chain, 1 single on each of the 5 chain, 5 plain, 9 chain, 1
+single on the 9th of the 15 chain, 1 single on each of the 9
+chain, 6 plain on the square; fasten off.</p>
+
+<p>Fasten on, at the 2nd of the 3 corner stitches = 17 chain,
+1 plain on the corner stitch of the triangle; 8 chain, 1 plain
+on the next corner stitch, 17 chain, and so on.</p>
+
+<p>A row of plain stitches, or trebles, completes the lace.</p>
+
+<p><b>Lace with corner, formed by increasing on the outside</b>
+(fig. <a href="#fig_472">472</a>).&mdash;1st row&mdash;On a row of chain stitches or trebles,
+work alternately: 1 chain, 1 treble = on the corner: 1 chain,
+1 treble, 2 chain, so that the last 3 trebles come on one stitch.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_485.jpg"><img src="images/485.jpg" width="600" height="619" alt="FIG. 472. LACE WITH CORNER, FORMED BY INCREASING ON THE OUTSIDE." title="" /></a>
+<a name="fig_472" id="fig_472"></a><span class="caption"><span class="smcap">Fig. 472. Lace with corner, formed by increasing on the outside.
+<br />
+Materials:</span> Fil d&#39;Alsace D.M.C No. 30, Fil &agrave; pointer D.M.C Nos. 20 to 30, Cordonnet 6 fils
+D.M.C Nos. 15 to 30, or Fil &agrave; dentelle D.M.C Nos. 25 to 50.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>2nd row&mdash;1 plain on each stitch of the 1st row, 3 plain on
+the 2nd of the 3 corner trebles.</p>
+
+<p>3rd row&mdash;Counting from the 2nd of the 3 corner stitches,
+and towards the left, make 1 plain on the 53rd, 52nd, 51st
+<a name="Page_276" id="Page_276"></a>and 50th plain stitches; 8 chain, miss 1 chain, 1 plain on
+each of the 7 chain stitches = on the other side of the 8
+chain, also 1 plain on each
+stitch, 3 plain on the 8th
+chain, 1 plain on each of
+the first 7 plain.</p>
+
+<p>On the next 11 stitches of the 2nd row: 1 plain = 4 chain,
+miss 4, 1 triple treble on the 5th of the 2nd row, 4 chain, 1
+triple treble on the same stitch, 4 chain, 1 triple treble on the
+same stitch, 4 chain, miss 4, 1 single on the 5th = turn the
+work = on each treble of 4 chain: 7 plain; 28 in all; 1 single
+on the 10th of the 11 plain = turn the work = miss the 28th
+plain, and on the 27 others make: 3 plain, 1 picot, 3 plain =
+11 chain, miss the 11th, 10 plain on the others = on the 2nd
+<a name="Page_277" id="Page_277"></a>side of the chain: 4 plain, 10 chain, join them to the 6th of
+the first 11 plain of this row = on the 10 chain: 5 plain,
+3 chain, join them to the 5th plain of the 1st leaf, made in
+this row = on the 3 chain: 3 plain = on those of the 10
+remaining chain stitches: 6 plain = along the leaf: 3 plain, 1
+picot, 3 plain = on the stitch at the point of the leaf: 3
+plain = then down the 2nd side: 3 plain, 1 picot, 7 plain =
+over the next of the 28 plain: 3 plain, 1 picot, 4 plain =
+* 11 chain, miss the 11th, 10 plain = on the second side
+of the chain: 4 plain, 6 chain, join them to the 4th of the
+last 7 plain of the 2nd leaf = on the 6 chain: 9 plain.
+Continue on the 3rd leaf of this row: 3 plain, 1 picot, 3 plain
+and 3 plain on the stitch at the point of the leaf = on each
+of the next 3 stitches: 1 plain, then 1 picot, 7 plain = on the
+28 stitches: 4 plain, 1 picot, 3 plain **. Repeat from * to
+**, and here follow: 3 plain, 1 picot, 3 plain.</p>
+
+<p>On the 2nd row: *** 5 plain, 10 chain, join them to the
+4th of the last 7 plain of the 3rd leaf; 11 plain over the 10
+chain = on the 2nd row: 5 plain, 8 chain, miss 1 chain, 1 plain
+on each chain = on the second side: 4 plain, 3 chain, join
+them to the 6th of the last 11 plain = 3 plain on the leaf, 3
+plain on the stitch at the point, 7 plain, and repeat from *.</p>
+
+<p>On the 2nd row and for the corner: 9 plain, **** 4 chain,
+1 triple treble on the 2nd of the 3 corner stitches and repeat 4
+times from **** = 4 chain, miss 4 of the preceding row, 1
+plain on the 5th = turn the work, on each bar of 4 chain, 6
+plain, 36 in all, join the last to the 8th of the 9 plain = going
+back over the 36 plain: 3 plain, 1 picot, 3 plain, 11 chain,
+miss the 11th, 1 plain on each of the 10 chain = on the 2nd
+side of the chain: 4 plain, 10 chain, join them to the 4th of
+the 9 plain = over the 10 chain: 5 plain, 3 chain, join them
+to the 4th plain of the last leaf, 3 plain = on the remainder
+of the 10 chain: 6 plain.</p>
+
+<p>Proceeding along the leaf: 3 plain, 1 picot, 3 plain, 3 plain on
+the stitch at the point, 3 plain, 1 picot, 7 plain *****. Again
+on the 36 plain, make: 3 plain, 1 picot, 3 plain, 11 chain, miss
+the 11th, 10 plain = on the 2nd side of the chain: 4 plain, 6
+chain, join them to the 4th of the last 7 plain of the last leaf,<a name="Page_278" id="Page_278"></a>
+9 plain over the chain stitches = on the leaf: 3 plain, 1 picot,
+3 plain, 3 plain on the stitch at the point, 3 plain, 1 picot, 7
+plain ******. Repeat 3 times from ***** to ******
+and add 3 plain, 1 picot, 3 plain. Continue along the 2nd row:
+4 plain, 10 chain and on these 11 plain = 4 plain, 8 chain,
+returning, miss the 8th, 7 plain on the others = on the 2nd
+side of the chain: 4 plain, 3 chain, join them to the 6th of
+the last 11 plain = on the 3 chain: 3 plain = on the leaf: 3
+plain, 3 plain on the stitch at the point of the leaf, 7 plain.</p>
+
+<p>4th row&mdash;1 plain on the 1st leaf of the 3rd row: * 7 chain,
+1 plain on the 2nd leaf = 7 chain, 1 triple treble on the 5th of
+the 9 plain between 2 leaves = 7 chain, 1 plain on the 3rd leaf
+= 7 chain, 1 triple treble, 7 chain, 1 plain on the 4th leaf = 7
+chain, 1 plain on the 5th leaf; 5 chain, 1 plain on the 1st leaf
+of the corner scallop. Repeat from *, with this difference, that,
+in the corner scallop you must have 4 triple trebles.</p>
+
+<p>5th row&mdash;on the first 7 chain of the 4th row: 7 plain, *
+on the next chain stitches: 12 plain = turn the work, and
+crochet to and fro, decreasing by 1 stitch in each row, until you
+have only 2 stitches left = along the leaf: 10 plain and repeat
+3 times from * = 7 plain on the next 7 chain, 6 plain on the
+5 chain, 7 plain on the 7 chain.</p>
+
+<p>The corner scallop has 7 points = the 12 first stitches
+must be divided as follows: * 1st point: 12 plain in the first
+interval = 2nd point: 10 plain in the 2nd interval and 2 plain
+in the 3rd interval = 3rd point: 7 plain in the 3rd interval and
+5 plain in the 4th **. Repeat once from ** to *.</p>
+
+<p>6th row&mdash;* 1 plain in the 1st leaf, 5 chain, 1 crossed quadruple
+treble, the branches of which are joined by 5 chain;
+repeat twice from * = 1 plain, 4 chain, 1 plain in the 1st leaf
+of the next scallop = 5 chain, 1 crossed quadruple treble, the
+branches of which are joined by 5 chain and joined to the
+6th stitch of the 2 next points = 5 chain and so on.</p>
+
+<p>7th row&mdash;6 plain on the first 5 chain of the 6th row, 6
+plain on the next chain = 8 chain; carry the chain back to the
+right, and join it on, between the 6th and 7th plain = 4 plain
+on the 8 chain, then 8 chain, take it back, and join to the 1st
+plain = 12 plain on the 8 chain = continue on the small scallop:<a name="Page_279" id="Page_279"></a>
+3 plain, 1 picot, 8 plain = on the other 5 chain: 6 plain =
+8 chain, join them again to the 4th of the 8 plain on the
+scallop = on the last 8 chain: 3 plain, 1 picot, 8 plain = on
+the 2 next bars of 5 chain: 12 plain = 8 chain, join them to
+the 7th of the last 12 plain = on the 8 chain: 5 plain = 8
+chain, join them to the 1st of the last 12 plain = on the 8
+chain: 5 plain, 3 chain, join them to the 4th plain of the 3rd
+finished scallop = over the 3 chain: 2 plain, 1 picot, 2 plain
+= on the next scallop: 3 plain, 1 picot, 3 plain = in the half
+finished scallop: 6 plain = 8 chain, take it back and join it
+to the 1st of the last 6 plain = on the 8 chain: 5 plain, 1
+picot, 3 plain, 1 picot, 5 plain to finish the scallop below: 5
+plain = on the 6th row: 6 plain, 8 chain, join them to the
+first of the last 5 plain of the last scallop = on the 8 chain:
+3 plain, 1 picot, 8 plain.</p>
+
+<p>The little scallops must be carried on round the corner point,
+as they were on the 3rd, 4th and 5th trebles of the other points.</p>
+
+<p><b>Lace with corner, formed by decreasing on the inside</b>
+(fig. <a href="#fig_473">473</a>).&mdash;For the stars&mdash;8 chain, close the ring; 3 chain, 15
+trebles in the ring; close = 3 chain, miss 1 treble of the last
+row, 1 treble, 5 chain, 1 treble on the upper part of the last
+treble = alternate 7 times: 1 chain, 1 crossed treble divided by
+2 chain, lastly 1 chain, close the ring, fasten off.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_486.jpg"><img src="images/486.jpg" width="600" height="600" alt="FIG. 473. LACE WITH CORNERS FORMED BY DECREASING ON THE INSIDE." title="" /></a>
+<a name="fig_473" id="fig_473"></a><span class="caption"><span class="smcap">Fig. 473. Lace with corners formed by decreasing on the inside.
+<br />
+Materials</span>: Fil d&#39;Alsace D.M.C Nos. 30 to 70, Fil &agrave; pointer D.M.C
+No. 20 or 30, Coton pour crochet D.M.C Nos. 10 to 18, or Cordonnet 6 fils D.M.C
+Nos. 4 to 60.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: White, &Eacute;cru naturel or
+any other colour of the 450 shades of the D.M.C colour card.</span>
+</div>
+
+<p>Make 11 stars, and join them together as follows, counting
+the third from the left, in the engraving, as the first.&mdash;When
+you have joined the 1st star to the 2nd by the 6th and 7th cross
+trebles, join the next stars so that when the 3rd is fastened
+on, there should be 2 crossed trebles on the inside and outside
+of the 2nd star. The 3rd star will have: 1 crossed treble on the
+outside, 3 on the inside = the 4th: 2 crossed trebles inside,
+2 outside = the 5th, the 6th, and the 7th: 1 inside, 3 outside
+= the 8th: 2 on the inside and outside = the 9th: 3 inside, 1 outside
+= the 10th: 2 outside, 2 inside = the 11th: 3 outside, 1
+inside. For the next scallops, repeat from the 2nd to the 5th star.</p>
+
+<p>2nd row&mdash;* over the 2 chain stitches of the 3rd crossed
+treble of the 11th star: 1 treble, 3 chain = over the 1st chain
+stitch between the 3rd and 4th crossed trebles: 1 treble, 3 chain
+= over the next 2 chain stitches: 1 double treble, 3 chain =<a name="Page_280" id="Page_280"></a>
+3 overs, in the next space: 1 double treble and 1 double
+treble in the 1st space of the 10th star; connect the two trebles
+together, 3 chain, 1 double
+treble, 3 chain, 1 treble, 3
+chain, 1 treble, 3 chain, 1
+connected treble as before, 3 chain ** 1 plain over the 2
+chain stitches of the last crossed treble of the 9th star. Repeat
+from ** to *, therefore backwards.</p>
+
+<p>Each of the next trebles comes, either over 2 chain stitches
+of the crossed treble, or over the chain stitch between the
+crossed trebles *** 3 chain, 1 treble, 3 chain, 1 double treble,
+3 chain, 1 triple connected treble, 3 chain, 1 double treble, 3
+chain, 1 treble, 3 chain **** 1 single; repeat, in the reverse
+order, therefore, from **** to ***.</p>
+<p><a name="Page_281" id="Page_281"></a></p>
+<p>When the outside row is finished, make a similar row on
+the inside of the stars; at the corner 3 trebles are to be made
+3 times over each of the middle stars.</p>
+
+<p>3rd row&mdash;1 treble above and below, on each stitch of the
+second row.</p>
+
+<p>4th row&mdash;consists entirely of crossed trebles = * miss on
+the upper edge: 3 times 1 treble, and 5 times 2 trebles = on the
+next trebles of the preceding row: 1 double treble, miss 2
+stitches, 1 double treble, miss 2 stitches, 1 double treble =
+draw up the last loops of the 3 trebles together = repeat the
+same thing backwards = here follow: 8 crossed trebles separated
+each by 1 treble of the preceding row **; the 8th and the 9th
+crossed trebles are together in the corner treble of the preceding
+row. Repeat from ** to * = here follows 1 row with 1
+treble on every stitch below.</p>
+
+<p>The row on the side of the footing is worked as above described
+= at the corner, and after having made the 3rd connected
+treble, * miss 5 times 2 stitches, 6 times 1 stitch, 3 times 2
+stitches, 3 times 3 stitches, ** 3 triple trebles connected together
+above, miss 3 stitches underneath; repeat from ** to *,
+followed on both sides by a row of trebles.</p>
+
+<p>In the corner of the inside row of trebles connect the loops
+of 5 pairs of trebles, in the centre connect the loops of 3 trebles,
+and again the loops of 5 pairs of trebles.</p>
+
+<p>For the 1st star of the footing: 8 chain, close the ring;
+3 chain in the ring, 15 trebles, close = 3 chain, miss 1 treble,
+1 treble, * 3 chain, 1 treble on the stitch of the 1st treble,
+miss 1, 1 treble in the 2nd stitch, draw the loops of the 2
+trebles together **. Repeat 6 times from * to **; add 3
+chain and close = 5 chain, join them to the 15th treble of
+the last row; 5 chain, 1 plain on the first chain stitches between
+2 trebles; 4 chain, join them to the 7th treble; 4 chain,
+1 plain on the next chain stitches, 3 chain, join to the treble
+over the 3 connected triple trebles, 3 chain, 1 plain on the
+next chain stitches, 4 chain, join them to the 8th treble, 5
+chain, 1 plain on the 5th treble, cut off the thread.</p>
+
+<p>The corner star is made like the one just described, and is
+joined on, as follows: 3 chain, join them to the 17th treble on
+<a name="Page_282" id="Page_282"></a>the left of the last row (counting from the triple treble) = 3
+chain, 1 plain on the first chain stitches between 2 trebles = 3
+chain, miss 4 trebles, join them to the 5th = 3 chain, 1 plain on
+the 2nd set of chain stitches between = 6 chain, miss 5 trebles,
+join them to the 6th = 3 chain, 1 plain on the 3rd of the 6
+last chain = 3 chain, join them to the corner stitch, 3 chain, 1
+plain on the last 3 chain = towards the right: 3 chain, join to
+the 5th treble = 3 chain, 1 plain on the preceding, 3 chain, 1
+plain on the 3rd set of stitches between, 3 chain, miss 4 trebles,
+join to the 5th treble = 3 chain, 1 plain on the 4th set of
+stitches between, 3 chain, miss 4 stitches and join = 3 chain,
+1 plain on the 5th double treble, fasten off.</p>
+
+<p>On the 3 first trebles of the preceding row of the inside
+edge, counting from the outermost stitches which are to be seen
+to the right in the illustration, 1 plain, 3 chain, miss 4 trebles,
+1 treble = 3 chain, miss 3 trebles, 1 double treble, 3 chain,
+3 overs, pass the needle over the double treble, crochet off one
+over = miss 3 stitches, 1 double treble, crochet off the 2 remaining
+loops = 3 chain, 4 overs, crochet off 2 loops, 1 double
+treble over the chain treble of the star, crochet off the remaining
+loops = 3 chain, 3 overs over the treble made on the 5 chain,
+crochet off 2 loops = 1 treble on the 5th set of stitches between,
+crochet off the remaining loops = 3 chain, 1 treble on the 6th
+set of stitches between = 3 chain, 1 treble on the 7th set of
+stitches between = 3 chain, 3 overs, 1 treble on the 8th set
+of stitches between; crochet off 1 over, 1 double treble on the
+5 first chain stitches of the star, crochet off the remaining
+loops = 3 chain, 3 overs, 1 treble over the 2nd double treble,
+1 double treble, miss 2 trebles of the preceding row, complete
+the treble = 3 chain, 3 overs, crochet off 1 over, joining it to
+the last double treble; crochet off the overs = 1 treble on
+the 5th treble of the preceding row, crochet off the loops
+= 3 chain, 1 treble on the 4th treble = 3 chain, miss 4
+stitches = on each of the 6 following trebles: 1 plain =
+3 chain, miss 3 trebles, 1 treble, 3 chain, miss 3 trebles,
+1 double treble; 3 chain, 3 overs, over the double treble
+crochet off 1 loop, 1 double treble on the 4th treble after
+the plain stitches, crochet off the last overs = 3 chain, 3
+<a name="Page_283" id="Page_283"></a>overs, over the last double treble crochet off 1 loop, 1
+double treble on the 5th intervening space of the corner star,
+crochet off the loops = 3 chain, 1 plain on the 7th double
+treble of the star = 3 chain, 1 double treble on the 8th intervening
+space = 3 chain, 3 overs, over the last double treble
+crochet off 2 loops, 1 double treble on the 3rd treble of the
+preceding row, complete the treble = 3 chain, 3 overs, over
+the double treble crochet off 2 loops, 1 treble on the 4th
+treble, complete the treble = 3 chain, 1 treble on the 4th
+treble, 3 chain, miss 3, 3 plain.</p>
+
+<p>One row of trebles to finish with; draw the 5 corner trebles
+together and add: 1 row of crossed trebles and 1 row of plain
+trebles, each time drawing the 5
+corner loops together into one.</p>
+
+<p>1st row of the outside border&mdash;1
+plain on every one of
+the 7 next trebles of the row beneath,
+5 chain; turn back, join
+them to the 7th plain and so on.</p>
+
+<p>2nd row&mdash;1 plain on the
+4th of the 7 plain, 9 trebles on
+the 5 chain.</p>
+
+<p>3rd row&mdash;1 plain on each
+of the first 2 trebles of the 2nd
+row, 1 picot, 2 plain, 1 picot,
+miss 1 stitch, 2 plain, 1 picot,
+2 plain and so on.</p>
+
+<p><b><a name="Square_with_coloured_tufts" id="Square_with_coloured_tufts"></a>Square with coloured tufts</b> (fig. <a href="#fig_474">474</a>).&mdash;The following
+are different counterpane
+patterns which should be worked
+in coarse cotton; our engraving
+represents a single square,
+worked in two colours, in raised crochet. By joining a number
+of such squares together, 4 or 6 colours can be introduced
+into one covering with very good effect.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/487.jpg" width="300" height="301" alt="FIG. 474. SQUARE WITH COLOURED TUFTS." title="" />
+<a name="fig_474" id="fig_474"></a><span class="caption"><span class="smcap">Fig. 474. Square with coloured tufts.
+<br />
+Materials</span>: Coton pour crochet D.M.C Nos. 6 to 10, or Coton &agrave; tricoter D.M.C Nos. 6 to 12.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>. White and Rouge-Turc 321, or
+&eacute;cru and Bleu-Indigo 321, Rouge-G&eacute;ranium
+353 and Brun-Caroubier 356, Bleu
+d'Azur 3325 and Brun-Rouille 3312, Vert-Bouteille
+494 and Bleu-Prunelle 489.<a href="#Footnote_A" class="fnanchor">[A]</a>
+</span>
+</div>
+
+<p><a name="Page_284" id="Page_284"></a></p>
+<p>Cast on 13 chain and close the ring.</p>
+
+<p>1st row&mdash;1 plain on the 1st of the 13 chain, 5 chain,
+1 plain on the 4th chain, 5 chain, 1 plain on the 7th chain, 5
+chain, 1 plain on the 10th chain, 5 chain, 1 plain on the 13th
+chain.</p>
+
+<p>2nd row&mdash;1 plain on the 1st plain of the 1st row * 1 plain
+on the 1st of the 5 chain; 5 chain, 1 plain on the 5th chain.
+Repeat 3 times from *.</p>
+
+<p>3rd row&mdash;5 plain on the 5 chain, 5 chain, 5 plain and so on.</p>
+
+<p>4th and 5th rows&mdash;continue to increase, as in the 3rd row.</p>
+
+<p>6th row&mdash;after the 3rd
+plain, 1 tuft in the contrasting
+colour (see fig. <a href="#fig_431">431</a>).</p>
+
+<p>The contrasting colour is
+to be introduced into the work
+at the first tuft, and cut off
+when the last is finished.</p>
+
+<p>The ends of the coloured
+threads must be worked in under
+the stitches of the next row.
+The square may be of any
+size; it is bordered by small
+picot scallops by means of
+which the different squares are
+joined together.</p>
+
+<p><b>Stripes for counterpanes</b>
+(fig. <a href="#fig_475">475</a>).&mdash;We recommend
+the use of Soutache D.M.C or
+Lacets superfins D.M.C (braids)
+for the coloured stitches, in the
+place of cotton. The dark stitches
+standing, so to speak, on
+another ground of stitches the
+pattern will look brighter, if it be worked in a flat material
+that will spread out more than cotton does.</p>
+<p><a name="Page_285" id="Page_285"></a></p>
+<p>The stripe, worked in its entire length and always on the
+right side, must be begun by a chain of stitches of the length
+the stripe is to be.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/488.jpg" width="300" height="345" alt="FIG. 475. STRIPES FOR COUNTERPANES." title="" />
+<a name="fig_475" id="fig_475"></a><span class="caption"><span class="smcap">Fig. 475. Stripes for counterpanes.
+<br />
+Materials</span>: Coton pour crochet D.M.C
+Nos. 6 to 8, or Coton &agrave; tricoter D.M.C
+Nos. 6 to 12 and Lacets surfins D.M.C
+No. 4, or Soutache D.M.C No. 2&frac12;.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Gris-Lin 716 and Rouge-Bordeaux
+497, Gris-Tilleul 393 and Bleu-Faience
+484 or Brun-Caroubier 356 and
+Jaune-Rouille 308 etc.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st row&mdash;1 plain stitch on each chain stitch.</p>
+
+<p>2nd row&mdash;1 plain stitch with white or unbleached cotton,
+on each second stitch of the preceding row; 1 long plain stitch
+with the coloured cotton or the braid, in each second loop of
+the chain stitch.</p>
+
+<p>When red and white cotton are used, only one thread must
+be drawn through the 1st loop, and the other through the two
+last loops.</p>
+
+<p>3rd, 5th, 7th, 9th, 11th rows&mdash;plain stitches of the colour
+of the grounding = 4th row&mdash;between every 5 coloured
+stitches 3 white = 6th row&mdash;between every 4 red, 5 white
+= 8th row&mdash;between every 3 red, 7 white = 10th row&mdash;between
+every 2 red, 9 white = 12th row&mdash;between the
+single red stitches, 11 white plain.</p>
+
+<p>In the second half of the pattern the red stitches must increase
+in the same proportion as that in which they decreased
+before.</p>
+
+<p><b>Pattern of a counterpane in Tunisian crochet</b> (fig. <a href="#fig_476">476</a>).
+This pattern, on a reduced scale, of a counterpane in Tunisian
+crochet, though it is worked here in several colours, can be
+done all in one. The numbers of the stitches, as they are here
+given, refer of course to the pattern represented in our figure;
+if worked on a larger scale, the number of stitches would have
+to be increased every way in the proper proportion.</p>
+
+<p>For the inner square, which is worked in a light material,
+make 20 chain stitches, on which you make 17 rows of plaited
+Tunisian crochet, fig. <a href="#fig_445">445</a>, then fasten off.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/489.jpg" width="600" height="645" alt="FIG. 476. PATTERN OF A COUNTERPANE IN TUNISIAN CROCHET." title="" />
+<a name="fig_476" id="fig_476"></a><span class="caption"><span class="smcap">Fig. 476. Pattern of a counterpane in tunisian crochet.
+<br />
+Materials</span>: Coton pour crochet D.M.C Nos. 6 to 8, or Coton &agrave; tricoter D.M.C
+Nos. 6 to 12.<a href="#Footnote_A" class="fnanchor">[A]</a><br />
+<span class="smcap">Colours</span>: Gris-Amadou 385 and Rouge-Cardinal 346, Vert-Bouteille 492 and
+Violet-Mauve 316, or Bleu-Gentiane 479 and Gris-&Eacute;cru 706.</span>
+</div>
+
+<p>For the first coloured border, which immediately surrounds
+the centre square, take a coloured thread and make 2 chain
+stitches and upon these the common Tunisian stitch, fig. <a href="#fig_444">444</a>.
+Increase to the right in every row by one stitch, to the number
+of 6 = then put the needle into the first stitch on one side of
+the square, turn the thread round and draw it through. Here
+you must be careful to observe, in the first instance, that the
+second part which is now to be joined to the square, should
+<a name="Page_286" id="Page_286"></a>always remain on the left side of the square and secondly, that
+the thread with which you join the two parts together, should
+lie to the left and be drawn through, from the wrong side to
+the right. Having now got 7 Tunisian stitches on the needle,
+<a name="Page_287" id="Page_287"></a>make 18 double rows, and join the last stitch of each row to
+a stitch of the square.</p>
+
+<p>When these rows are finished, you proceed to decrease on
+the right till you have only 2 stitches left; and then again to
+increase as at the beginning of the stripe. At each increase,
+after each double row you must pass the thread through the
+corresponding stitch opposite of the same row. When you have
+again got 7 stitches on the needle, join them as before to the
+square. Work round the 4 sides of the square in this manner
+and when you come to the last decrease, join the stitches to
+those of the first increase, and fasten off. The next stripes
+are to be worked in the same way; they may be made either
+wider or narrower, plain, or ornamented with a cross stitch
+pattern which you work upon them.</p>
+
+<p><b>Pattern of counterpane worked in stripes</b> (fig. <a href="#fig_477">477</a>).&mdash;This
+is intended for a child's coverlet and is worked in pale
+<a name="Page_288" id="Page_288"></a>blue, Bleu-Indigo 334, and white; the stripes and the lace
+border, in white, the setting, partly in white, partly in blue.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/490.jpg" width="600" height="430" alt="FIG. 477. PATTERN OF COUNTERPANE WORKED IN STRIPES." title="" />
+<a name="fig_477" id="fig_477"></a><span class="caption"><span class="smcap">Fig. 477. Pattern of counterpane worked in stripes.
+<br />
+Materials</span>: Coton pour crochet D.M.C Nos. 6 to 12, Coton &agrave; tricoter D.M.C
+Nos. 6 to 14, or Cordonnet 6 fils D.M.C No. 15.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>For the first stripe, make a foundation chain of 26 stitches;
+then counting back, draw the needle through the 6th and 7th
+chain stitches, drawing up all the three loops together = 2
+chain, then put the needle again through 2 chain stitches, draw
+up the 3 loops together = 2 chain and so on.</p>
+
+<p>Coming back, make the loop of the first stitch and that of
+the second on the chain stitches of the preceding row = begin
+every row with 3 chain, which form picots along the edge of
+the stripe; when the stripes are finished, take a blue thread
+and make 1 plain stitch on each picot and 3 chain.</p>
+
+<p>This blue row is followed by a white one, worked in cluster
+stitch, fig. <a href="#fig_426">426</a>, with 2 chain stitches between every 2 clusters.</p>
+
+<p>Then follows another blue row of one plain stitch on each
+chain stitch of the previous row. The second blue row consists
+entirely of plain stitches worked along the long sides of the
+stripes, which are joined together afterwards, but not along the
+short sides until the counterpane is finished; then the stitches
+should border all the 4 sides. The second stripe, which should
+be of the same width as the first, is worked in Tunisian crochet;
+for the edge make one row of plain stitches in blue, one of
+cluster stitches in white, and then again a row of plain in blue.</p>
+
+<p>Join the stripes together on the wrong side with plain
+stitches, taking up one loop on the right and one on the left,
+alternately.</p>
+
+<p>When you have joined the stripes, make the outer border,
+which consists of 7 straight rows and a scalloped lace edging.</p>
+
+<p>1st row&mdash;in blue: 3 chain and 1 plain on each picot, 1
+plain, and so on, down the long sides of the stripes = along
+the short sides, the side of the chain stitches or that of the
+previous row: 1 plain, 3 chain, miss 2, 1 plain.</p>
+
+<p>2nd row&mdash;in white or unbleached: 1 cluster stitch, fig. <a href="#fig_426">426</a>, on each picot formed by the 3 chain stitches of the 1st
+row; on the corner picots, you must make 3 cluster stitches.</p>
+
+<p>3rd, 4th, 5th rows&mdash;in blue: similar to the first. Increase
+at the corners by making: 1 plain, 3 chain, 1 plain on the
+same stitch.</p><p><a name="Page_289" id="Page_289"></a></p>
+
+<p>6th row&mdash;in white or unbleached: similar to the 2nd row.</p>
+
+<p>7th row&mdash;in blue: 1 treble on each of the stitches of the
+previous row.</p>
+
+<p>Lace edging.&mdash;The scallops extend over 22 stitches of the
+previous row and on that account it is better to make the
+corners first, to count the stitches both ways so as to distribute
+the stitches that are left over, between the scallops.</p>
+
+<p>Corner scallop.&mdash;Fasten on the thread to the left of the
+second of the stitches that were added to make the turn, make
+6 chain, 1 single on the 4th treble to the right = 1 single on the
+next treble = turn the work = * 2 chain, 1 treble on the 6th
+chain, repeat 7 times from *, in all therefore 8 trebles = after
+the 8th treble: 2 chain, miss 1 treble, 1 single on the 2 next
+trebles = turn the work = 2 chain, 1 cluster stitch between
+each treble, in all 9 cluster stitches, then 2 chain, miss 2
+trebles, 1 single stitch on the next 2 trebles = turn the work
+= 2 chain, 1 cluster stitch over the 1st, 2nd, 3rd and 4th pairs
+of chain stitches in the preceding row, and 2 cluster stitches
+and 2 chain over the 5th, 6th and 7th chain stitches; over the
+other chain stitches again: 1 cluster stitch; then 2 chain, miss
+2 trebles, join to the 3rd treble = fasten off.</p>
+
+<p>For the scallops on the right side, divide the stitches between
+the corner scallops into equal portions. Supposing that
+they are divisible by 22, count 9 stitches to the right, fasten on
+the thread at the 9th; * 7 chain, miss 2 trebles of the row beneath,
+1 plain on the 3rd, 1 single stitch on the next = turn the
+work = 2 chain, 1 treble on the 7 chain, repeat 5 times from *
+and finish with 2 chain, 1 single on the 2nd lower treble, 1
+single on the next treble = turn the work = 2 chain and 1
+cluster stitch between each treble of the preceding row, 2
+cluster stitches between the 3rd and 2nd trebles = after the 8th
+stitch: 2 chain, miss 1 treble, 1 single on each of the 2 next
+stitches = repeat 3 times over 2 chain stitches of the previous
+row: 2 chain, 1 cluster stitch = on the 4th, 5th and 6th
+chain stitches: 2 cluster and 2 chain; on the 3 last chain the
+same stitches as on the 3 first = then 1 single over each of the
+next 18 and repeat from *.</p>
+
+<p>The final row consists of open picots, formed of 5 chain
+<a name="Page_290" id="Page_290"></a>stitches and 1 plain, between each cluster stitch; after the last
+of these stitches and in the indent of the scallops on the
+straight line, only 2 chain stitches and 1 plain on the 3rd stitch.</p>
+
+<p><b>Pattern in squares for counterpanes</b> (fig. <a href="#fig_478">478</a>).&mdash;This
+pattern may be worked in the same stitch as the previous one,
+either in Tunisian crochet or in any other of the stitches
+already described.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/491.jpg" width="600" height="583" alt="FIG. 478. PATTERN IN SQUARES FOR COUNTERPANES." title="" />
+<a name="fig_478" id="fig_478"></a><span class="caption"><span class="smcap">Fig. 478. Pattern in squares for counterpanes.
+<br />
+Materials</span>: Coton &agrave; tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C
+Nos. 1 to 5, or Coton pour crochet D.M.C Nos. 6 to 12.
+<br />
+<span class="smcap">Colours</span>: Gris-Coutil 323 and Brun-Caroubier 303 or Bleu-cendr&eacute; 448 and
+Rouge-Cornouille 449, Vert-Mousse 470 and Bleu d&#39;Azur 3325.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Make a foundation chain of 18 stitches on which you work<a name="Page_291" id="Page_291"></a>
+10 rows to and fro in the dark colour. The 11th and following
+rows up to the 21st are worked in the light colour, then take
+up the dark colour again. Each stripe should be 3 squares long.</p>
+
+<p>The 2nd stripe is begun in the light colour, and the stitches,
+made at the beginning of each row, are joined to those of the
+first stripe, as the stitches of the 3rd are to those of the 2nd
+and so on.</p>
+
+<p>When you have made sufficient big squares, each consisting
+of 9 small ones, border them with seven rows of plain stitches,
+worked to and fro.</p>
+
+<p>The 4 squares that form the corners are only to be bordered
+in this manner on two sides; the squares along the straight
+edges, on 3 sides, and only those that are intended for the
+centre of the counterpane, on all 4 sides. The separate parts
+are then either sewn or crocheted together on the wrong side.
+The dark squares are ornamented with small stars worked
+in the light colour, the light ones with scallops in the dark
+colour.</p>
+
+<p>For the small stars&mdash;4 chain, close the ring; 2 plain on
+each stitch of the chain; 8 plain in all = after the 8th stitch:
+8 chain, 1 plain on the 1st plain of the 8 plain stitches. Repeat
+the 8 chain 7 times and fasten off, then sew the star on in the
+centre of the dark square, taking care to spread out the little
+points formed of chain stitches at regular distances from each
+other. The scallops are worked from left to right; fasten the
+thread on at the point where 4 squares touch, then make a
+chain of 18 stitches and secure it at the opposite point. On the
+chain stitches: 6 plain, 1 picot, 7 plain, 1 picot, 7 plain, 1 picot,
+6 plain = fasten off.</p>
+
+<p>Repeat the same scallop over the second half of the square;
+when you come to the 2nd picot of the first scallop join the
+two picots. When both scallops are completed, fasten them
+on to the foundation by a few stitches on the wrong side.</p>
+
+<p>The outside border of the counterpane is made separately,
+and is worked inwards from without and from left to right.</p>
+
+<p>1st row&mdash;begin with the dark colour and make * 10 chain
+stitches, drop the loop, put the needle into the 1st of the 10
+chain, take up the loop and draw it through the stitch; 2 chain
+<a name="Page_292" id="Page_292"></a>and on the 10 stitches: 6 trebles quite close together. Repeat
+from * and go on repeating the sequence until the lace is long
+enough to trim the counterpane handsomely.</p>
+
+<p>2nd row&mdash;in the light colour and similar to the 1st = only
+that in joining the chain stitches together, you make the single
+stitch on the chain stitches of the 1st row.</p>
+
+<p>3rd row&mdash;in the dark colour and similar to the 2nd.</p>
+
+<p>4th, 5th and 6th rows&mdash;in the light colour and from right
+to left: 7 chain, 2 plain on each loop of chain stitches of the
+previous row.</p>
+
+<p>7th row&mdash;in the light colour and from left to right: * 2 plain
+on the treble of the lace, 11 chain, 2 plain on the next loop of
+chain stitches = these 2 stitches are made on the wrong side of the
+work = drop the loop, turn the work to the right, 3 plain on
+the last 3 chain, 8 chain **, and repeat always from * to **.</p>
+
+<p>One row of plain made on each chain stitch and a 2nd row
+of trebles on the plain stitches completes the lace edging,
+which is afterwards sewn on to the counterpane.</p>
+
+<p><b>Counterpane with fringed border</b> (fig. <a href="#fig_479">479</a>).&mdash;This
+pattern requires three colours; we suggest the following as
+making a very effective combination: Rouge-Turc 321, Bleu-Indigo 311
+and white.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_492.jpg"><img src="images/492.jpg" width="600" height="463" alt="FIG. 479. COUNTERPANE WITH FRINGED BORDER." title="" /></a>
+<a name="fig_479" id="fig_479"></a><span class="caption"><span class="smcap">Fig. 479. Counterpane with fringed border.<br />
+Materials</span>: Coton pour crochet D.M.C Nos. 6 to 10, or Coton &agrave; tricoter D.M.C
+Nos. 6 to 14.<br />
+<span class="smcap">Colours</span>: White, Gris-Tilleul 331 and Rouge-Cornouille 449.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>The stripes, one red, the other blue, may be worked in any
+stitch. They are edged with 8 plain stitches of 3 different lengths
+worked in red. * The first stitch passes only under the loops
+of the stitches; the 2nd over 2 stitches; the 3rd over 1, the 4th
+inwards, over 3. Repeat from *.</p>
+
+<p>These stitches must be worked parallel to each other along
+the two edges that are to be joined together.</p>
+
+<p>The stripes are fastened together on the wrong side by
+single or plain stitches.</p>
+
+<p>The outside edge consists of 15 rows: 1st row&mdash;in red:
+1 row of plain stitches on the right side of the work.</p>
+
+<p>2nd row&mdash;in red, and on the wrong side of the work:
+plain stitches.</p>
+
+<p>3rd and 4th rows&mdash;in red, and on the right side of the
+work: plain stitches.</p><p><a name="Page_293" id="Page_293"></a></p>
+
+<p>5th row&mdash;in dark blue and on the right side: 1 treble, 1
+chain, miss 1 plain of the row beneath, 1 treble and so on.</p>
+
+<p>6th row&mdash;in white, and similar to the 5th.</p>
+
+<p>7th row&mdash;in blue, and similar to the 5th.</p>
+
+<p>8th row&mdash;in red: 1 plain on each stitch of the preceding row.</p>
+
+<p>9th row&mdash;in red and on the wrong side: 1 plain on each
+stitch of the preceding row.</p>
+
+<p>10th and 11th rows&mdash;in red: and both on the right side,
+2 rows of plain stitches.</p>
+
+<p>12th row&mdash;in white: 5 chain, miss 3, 1 plain on the 4th
+stitch.</p>
+
+<p>13th row&mdash;in dark blue and similar to the 12th.</p>
+
+<p>14th row&mdash;in white: * 1 plain on the 5th stitch of the blue
+<a name="Page_294" id="Page_294"></a>row; 10 chain, drop the loop, lay the chain stitches from left
+to right, put the needle into the 3rd chain stitch, counting
+from the beginning, take up the loop and draw it through the
+3rd chain stitch, 2 chain and repeat from *.</p>
+
+<p>15th row&mdash;in white: 1 plain on the picot formed by the
+chain stitches; 5 chain, 1 plain.</p>
+
+<p>Into this last row you draw clusters of lengths of red cotton
+to form the fringe, and knot them together with blue, or if you
+prefer it, you may finish off the coverlet with a hairpin fringe.</p>
+
+<p><b>Counterpane composed of squares and olive shaped
+figures</b> (fig. <a href="#fig_480">480</a>).&mdash;There are many who shrink from undertaking
+a large piece of work because it becomes inconvenient
+to handle and carry about. The counterpane here represented
+has the advantage of being made up of a number of quite little
+pieces, which are worked separately and joined together afterwards.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_493.jpg"><img src="images/493.jpg" width="600" height="560" alt="FIG. 480. COUNTERPANE COMPOSED OF SQUARES AND OLIVE SHAPED FIGURES." title="" /></a>
+<a name="fig_480" id="fig_480"></a><span class="caption"><span class="smcap">Fig. 480. Counterpane composed of squares and olive shaped figures.<br />
+Materials</span>: Coton pour crochet D.M.C Nos. 6 to 10, or Coton &agrave; tricoter D.M.C
+Nos. 6 to 10.<br />
+<span class="smcap">Colours</span>: White and Rouge-Turc 321, or &Eacute;cru and Rouge-Cerise 3318,
+Gris-Coutil 323 and Bleu-Gentiane 478.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Two colours, which can be clearly distinguished from each
+other in the engraving, should be chosen from among the
+various combinations suggested; one of them should be very
+light, say, cream or white for the olive shaped figures and
+squares, and the other of some soft shade only darker, for the
+connecting rows and the knotted fringe, described in the chapter
+on <a href="./chapter_11.html">Macram&eacute;</a>.</p>
+
+<p>The olive shaped figures begin with 9 chain stitches, on
+which you make 8 plain stitches and on the 9th: 3 plain for
+the corner.</p>
+
+<p>On the second side of the chain: 8 plain and 3 besides
+on the corner stitch, and so on for 3 rows; in the last row
+there should be 28 stitches.</p>
+
+<p>These 3 rows are to be considered as one only.</p>
+
+<p>2nd row&mdash;3 chain, 1 treble on the plain stitch that follows
+* 1 chain, 1 treble and repeat 11 times from *; 1 chain, 3
+trebles with 1 chain between them on the corner stitch, **
+1 chain, 1 treble, repeat 12 times from **.</p>
+
+<p>On the last stitch at the corner, again 3 trebles with 1
+chain; close the round with 1 single stitch.</p>
+
+<p>3rd row&mdash;1 chain, 1 single on the chain stitch that follows
+the 1st treble of the last row; 3 chain, 1 double treble between
+<a name="Page_295" id="Page_295"></a>the lower trebles, 1 chain and so on, until you have 35 trebles,
+counting the two sets of 3 trebles at the corner.</p>
+
+<p>4th row&mdash;here you can change the colour: 1 plain on each
+of the stitches of the last row; 3 plain at the corners.</p>
+
+<p>5th row&mdash;similar to the 4th.</p>
+
+<p>6th row&mdash;2 plain, 1 cluster of 2 double trebles on the same
+stitch of the 4th row as the 5th stitch of the last row is on;
+miss 1 plain.</p>
+<p><a name="Page_296" id="Page_296"></a></p>
+<p>Continue in this manner along the whole row, taking care
+that the 9th and 22nd cluster come just at the corner.</p>
+
+<p>7th and 8th rows&mdash;these two last rows should be worked
+in the same colour as the inside of the figure.</p>
+
+<p>Be careful always to make the increase at the point; a 9th
+row in the dark colour may further be added, to connect the
+figures, by passing the thread from the wrong side to the right,
+between the 13 last stitches of two of the points of the figures.
+The space between these olive shaped figures is filled by a
+pointed square of chain stitches.</p>
+
+<p>In the 1st and following rows you miss 5 stitches at the
+point where the figures meet, and continue to decrease in this
+manner until the space is filled up. The fringe is made in the
+dark colour, either directly on to the plain crochet, or after a
+few rows of open-work.</p>
+
+<p><b>Squares for chair-backs</b> (fig. <a href="#fig_481">481</a>).&mdash;This is a design for
+cut-work, out of an old collection by Sibmacher, which we
+have adapted to crochet. It will be found most effective,
+worked in any of the given materials; we have worked it with
+admirable result, both in Cordonnet 6 fils D.M.C No. 15 and
+Fil &agrave; dentelle D.M.C No. 150.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_494.jpg"><img src="images/494.jpg" width="600" height="596" alt="FIG. 481. SQUARES FOR CHAIR-BACKS." title="" /></a>
+<a name="fig_481" id="fig_481"></a><span class="caption"><span class="smcap">Fig. 481. Squares for chair-backs.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C Nos. 30 to 100, Cordonnet 6 fils D.M.C
+Nos. 20 to 50, or Fil &agrave; dentelle D.M.C Nos. 25 to 70 in white or &eacute;cru.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st row&mdash;4 chain, close the ring.</p>
+
+<p>2nd row&mdash;1 chain, 2 plain on each chain, 8 in all; draw
+the loop of the last stitch through the 1st chain.</p>
+
+<p>3rd row&mdash;6 chain, 1 treble *, 3 chain, 1 treble, repeat 6 times
+from *. In all, with the 3 chain, 8 trebles.</p>
+
+<p>4th row&mdash;4 plain, over each treble of 3 chain.</p>
+
+<p>5th row&mdash;6 chain, 1 plain on the 2nd of the plain stitches
+beneath, * 3 chain, 1 treble, over the treble beneath, 3 chain,
+1 plain on the 2nd stitch of the row beneath. Repeat 6 times
+from *, then add 3 chain, 1 plain on the 3rd of the 6 chain.</p>
+
+<p>6th row&mdash;7 chain, 1 plain over the treble of the last row;
+repeat the same series 7 times.</p>
+
+<p>7th row&mdash;3 chain, 1 treble over the treble beneath; 1 treble
+on each chain stitch, 2 trebles on each plain stitch of the row
+beneath; in all, 72 trebles, including the 3 chain.</p>
+
+<p>8th row&mdash;* 8 chain, 1 plain between the 2 trebles that
+were added, therefore between the 8th and the 9th = turn the
+<a name="Page_297" id="Page_297"></a>work = make 12 plain on the wrong side = turn the work back
+to the right side = take up 1 loop of each of the 12 stitches
+for the Tunisian stitch that is made on 10 rows, and decreasing
+by one stitch in each row, alternately on the right and left = draw
+up the 3 last loops together and make, descending on the
+right side: 1 single stitch on each row of the pyramid you
+have just made, finish with 1 plain on the stitch that follows
+the 8 chain. Repeat 7 times from *.</p>
+
+<p>9th row&mdash;all along the pyramid: 3 plain, 1 picot, 3 plain,
+1 picot, 3 plain, 1 picot, 2 plain, 2 plain at the point. Repeat
+<a name="Page_298" id="Page_298"></a>the same number of stitches on the 2nd side, and down the
+sides of all the pyramids = after the 9th row, fasten off.</p>
+
+<p>10th row&mdash;fasten on the thread at a stitch at the point of
+a pyramid, * 7 chain, 5 overs, join the loop to the 2nd picot
+on the side of the pyramid where you are working, draw the
+needle back through 2 overs, make 2 overs more, and put the
+needle into the middle picot opposite and draw the needle twice
+through 2 loops, thirdly through 3 and each time after that,
+through 2 loops = 6 chain, 1 double treble, join to the 3rd
+over, 7 chain, 1 plain = on the next pyramid 7 chain, 1 septuple
+treble, join it to the next middle picot = draw the needle
+thrice through 2 loops, 1 triple treble to join to the middle picot
+opposite, draw the needle back through the loops, and at the
+4th over, through 3 loops, and each time after that, through 2
+loops, 7 chain, 1 quadruple treble, join it to the 4th over, 7
+chain, 1 triple treble, 7 chain, 1 plain on the next pyramid.
+Repeat 3 times from *.</p>
+
+<p>11th row&mdash;1 chain, 1 plain on each of the stitches of the
+previous row and 2 plain on those forming the corner; fasten
+off.</p>
+
+<p>12th row&mdash;1 single on the first plain, 5 chain, 1 treble on
+the 3rd plain, 2 chain, 1 treble on the 3rd plain and so on to
+the corner and until you have 14 trebles = on the corner
+stitch: 2 chain and 1 treble more; then proceed as you did on
+the first side. There should be 18 trebles and 19 times 2 chain
+between the corner trebles; all four sides should be alike.</p>
+
+<p>13th row&mdash;1 plain on each stitch of the last row, not
+counting the 3 which are to be made at the corner.</p>
+
+<p>14th row&mdash;14 single over the preceding stitches *, 1 chain,
+24 plain; miss 4 plain of the last row, not counting the 2
+increased stitches which must be left empty = after the 24th
+stitch turn the work, miss 2, 21 plain, passing the needle under
+the 2 loops of the row beneath = turn the work = 1 chain, 20
+plain = turn the work = 19 plain = continue to decrease in
+the same proportion, until you have 3 stitches left and fasten
+off. In all the intakes miss the last stitch but one, coming
+back, and the 1st going, and always begin on the right side
+with 1 chain.</p><p><a name="Page_299" id="Page_299"></a></p>
+
+<p>For the second half of these triangular figures which are
+worked from right to left, fasten on the thread to the 5th
+stitch after the increase and make 24 plain = 7 plain should
+remain between the two triangular figures formed of plain
+stitches = turn the work = 21 plain, miss the 2 last stitches,
+1 plain on the stitch the thread is fastened to = turn the work = miss
+1 stitch, 19 plain, 5 overs, put the needle through the
+4th of the 7 stitches between, bring it back twice, each time
+through 2 loops, make 2 overs more, put the needle through
+the last stitch of the 3rd row opposite, bring it back twice
+through 2 loops, then once through 3 loops and twice through
+2 loops = turn the work = 18 plain and so on, until you
+have made 10 transverse trebles = fasten off, then repeat the
+same series of rows on the other sides.</p>
+
+<p>15th row&mdash;do not cut off the thread on the 4th side but
+work backwards: 3 single over the chain, 5 chain * 1 treble
+on the stitch whence the 5 chain proceeded, 2 chain, 1 treble
+on the last plain of the first half of the close parts of the pattern;
+2 chain, 1 treble in the middle of the first part of the
+10th transverse treble; 2 chain, 1 treble on the second half of
+the preceding treble, 2 chain, 1 treble on the 1st plain of the
+second half of the close parts; 2 chain, 1 treble on the 3rd and
+last upper stitch of the close part; 2 chain, 1 treble on the
+same stitch as the last treble. Then along the edge, 10 trebles,
+joined by 2 chain, one of which trebles should always be on a
+row of plain stitches = after the 10th treble: 3 chain, 1 plain
+on the 5th plain of the 13th row, 3 chain, again 11 trebles
+connected by 2 chain = after the 11 trebles: 2 chain ** and
+repeat 3 times from * to **.</p>
+
+<p>16th row&mdash;on every 2 chain stitches: 3 plain.</p>
+
+<p>17th row&mdash;7 chain, 1 plain on the 6th plain of the last
+row; repeat 7 times = for the 9th and 10th scallops only: *
+5 chain. The plain stitch that follows the 9th scallop should
+come exactly over the corner stitch of the 13th row = after
+the 10th scallop: 1 plain; then 13 scallops with 7 chain, 1 plain
+on the 6th 5 stitch of the row beneath. Repeat twice from * = after
+the 4th scallop 2 smaller scallops, and up to the end of
+the row, 5 scallops more of 7 chain each.</p><p><a name="Page_300" id="Page_300"></a></p>
+
+<p>18th row&mdash;make 7 plain over 7 chain, 5 chain, drop the
+treble, bring the needle back with the loop through the 3rd
+plain = on the 5 chain: 3 plain, 1 picot, 3 plain = on the 7
+remaining stitches: 2 plain&mdash;on the 9th scallop of 5 chain,
+only: 5 plain = on the 10th scallop of 5 chain, only: 3 plain
+= then 7 chain, bring them back and join them to the 3rd
+plain of the 9th scallop and finish the picot.</p>
+
+<p>When these squares are made use of in any number and have
+to be joined together, you must join 13 picots and leave the
+14th free. The four empty picots in the centre are connected
+by a small star.</p>
+
+<p><b><a name="Crochet_star" id="Crochet_star"></a>Crochet star</b> (fig. <a href="#fig_482">482</a>).&mdash;This is one of the most graceful
+and delicate crochet patterns we know. For the purpose of
+reproduction here, we have had it worked in all the different
+sizes of D.M.C cotton but it looks best in a fine material;
+in Fil &agrave; dentelle No. 150, it can bear comparison with the finest
+needle-made lace.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a href="images/full_495.jpg"><img src="images/495.jpg" width="600" height="603" alt="FIG. 482. CROCHET STAR." title="" /></a>
+<a name="fig_482" id="fig_482"></a><span class="caption"><span class="smcap">Fig. 482. Crochet star.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C No. 30, Cordonnet 6 fils D.M.C Nos. 25 to 80,
+or Fil &agrave; dentelle D.M.C Nos. 25 to 150.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>1st row&mdash;6 chain, close the ring.</p>
+
+<p>2nd row&mdash;9 chain, 1 double treble, * 4 chain, 1 double
+treble; repeat 6 times from * = after the 7th treble: 4 chain,
+1 single on the 5th of the 9 chain.</p>
+
+<p>3rd row&mdash;1 chain, 4 plain, * 1 picot, 4 plain; repeat 7
+times from * = carry the thread to the last stitch through
+the 1st plain.</p>
+
+<p>4th row&mdash;12 chain, 1 treble on the stitch over the treble
+beneath, * 9 chain, 1 treble; repeat 6 times from * = after the
+7th treble and the 9 chain: 1 single on the 3rd of the 12 chain.</p>
+
+<p>5th row&mdash;3 chain, 1 treble on each stitch of the row
+beneath; including the 3 chain, 80 trebles in the whole circumference
+= after the last treble: 1 single on the 3 chain.</p>
+
+<p>6th row&mdash;11 chain, 1 quadruple treble on the 2nd treble
+of the last row; 4 chain, 1 quadruple treble on the 3rd treble
+and so on, in all 32 trebles including the 7 chain.</p>
+
+<p>7th row&mdash;1 chain, 5 plain on 4 chain.</p>
+
+<p>8th row&mdash;3 plain on the 3 first chain, * 16 chain, miss 1,
+** 1 single, 1 plain, 1 half treble, 2 trebles, 1 treble 1&frac12; long,
+2 double trebles, 1 triple treble, 1 treble 3&frac12; trebles long,
+1 quadruple-treble ***, 3 chain, miss 4 plain of the 7th row,<a name="Page_301" id="Page_301"></a>
+5 plain, 16 chain, join them, counting upwards from below,
+to the 5th treble of the first pyramid = on 7 chain: 3 plain,
+1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 3 plain; join the last
+loop of the last plain and the loop of the 7th chain; 8 chain.
+Repeat from ** to *** = on the middle of the last quadruple
+treble: 1 double treble towards the bottom, finish the treble,
+3 chain, miss 4, 5 plain ****. Repeat 7 times from * to ****.</p>
+
+<p>Coming back to the 1st point make along it: 8 single stitches,
+then 7 chain, join them to the 5th treble of the 16th point =
+over the chain: 3 plain, 1 picot, 3 plain, 1 picot, 3 plain, 1
+<a name="Page_302" id="Page_302"></a>picot, 3 plain and finish with 9 single to carry the thread to
+the top of the point.</p>
+
+<p>9th row&mdash;1 chain, 1 plain, * 15 chain, 1 plain at the top of
+the point and repeat 15 times from *.</p>
+
+<p>10th row&mdash;3 chain; 1 treble on each stitch of the 9th row;
+256 trebles in all, including the 3 chain.</p>
+
+<p>11th row&mdash;The star is bordered by small and large scallops,
+surmounted by points similar to those inside.</p>
+
+<p>You begin by the small scallop and make on the 10th row:
+5 single, * 8 chain, bring them back and join them to the 1st
+of the 5 single; 1 plain, 8 chain, miss 4 trebles, join them to
+the 5th; 14 plain on the 8 chain, 6 plain on the first 8 chain
+= turn the work = 5 chain, 1 treble on the plain stitch between
+two scallops; 5 chain, 1 plain on the 7th plain of the
+1st scallop; 2 plain in the 5th chain, 2 chain, 1 picot, 10 chain,
+miss 1, and make on the following ones: 1 single, 1 plain, 1 half
+treble, 2 trebles, 1 treble 1&frac12; treble long, 1 picot, 2 chain, 2
+plain on the 5 chain; 8 plain on the 8 chain.</p>
+
+<p>To pass to the large scallop make: 16 single, 8 chain, bring
+them back, 1 plain on the 5th single, 8 chain, bring them back
+again to the 5th = turn the work = on the second set of 8 chain:
+6 plain, 1 picot, 9 plain = on the first 8: 6 plain, then 8 chain,
+bring them back and join them to the 4th plain behind the
+picot of the finished scallop = on the 8 chain: 5 plain, 1
+picot, 5 plain, 1 picot, 5 plain = on the remaining chain below:
+3 plain, 1 picot, 6 plain; add 4 single on the trebles and
+pass to the outer scallop = 18 chain, 1 plain on the 3rd of the
+5 plain of the small upper scallop; 18 chain, 1 plain on the 4th
+of the 16 single = turn the work = 25 plain on the last
+chain stitches, and 25 on the first; 1 single on the 3rd single
+= turn the work = 1 plain on each of the preceding 50 plain
+stitches; join the last to the under row with a single stitch =
+turn the work = 10 plain, 1 picot, 3 plain, 1 picot, 3 plain,
+1 picot, 4 plain, 2 chain, 1 picot, 10 chain, miss 1, 1 single,
+1 plain, 1 half treble, 2 trebles, 1 treble 1&frac12; treble long, 1
+double treble, 1 treble 2&frac12; trebles long, 1 triple treble, 1 picot,
+2 chain and join them to the 6th plain stitch, counting from
+the middle.</p><p><a name="Page_303" id="Page_303"></a></p>
+
+<p>Then 4 plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 picot,
+10 plain, 11 single on the trebles. Repeat 7 times from *.</p>
+
+<p><b>Star with little squares</b> (fig. <a href="#fig_483">483</a>).&mdash;Begin with 4 chain
+stitches, close the ring.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_496.jpg"><img src="images/496.jpg" width="500" height="498" alt="FIG. 483. STAR WITH LITTLE SQUARES." title="" /></a>
+<a name="fig_483" id="fig_483"></a><span class="caption"><span class="smcap">Fig. 483. Star with little squares.<br />
+Materials</span>: The same as for fig. <a href="#fig_482">482</a>.</span>
+</div>
+
+<p>1st row&mdash;5 chain, * 1 treble, 2 chain. Repeat 6 times from
+*, to number altogether 8 trebles including the 5 chain; 1 single
+on the 3rd chain.</p>
+
+<p>2nd row&mdash;6 chain, * 1 triple treble on the 1st chain stitch,
+2 chain. Repeat 23 times from * and join to the 4th chain.</p>
+
+<p>3rd row&mdash;6 chain, * 1 double treble on the treble beneath,
+3 chain. Repeat from * through the row; join to the 4th chain.</p>
+
+<p>4th row&mdash;1 plain on the treble = on the 3 chain: 5 plain,
+1 plain on the treble; work 5 times to and fro over these stitches,
+put the needle through the 2 threads of the last stitch = after
+the 5th row: 10 chain, then 5 plain on the 3 next chain.</p><p><a name="Page_304" id="Page_304"></a></p>
+
+<p>In turning the work and going from the 2nd to the 3rd,
+from the 4th to the 5th row, carry the thread behind the chain
+stitches, so that they may blend with the plain stitches; make
+in all 12 little squares with 11 spaces between; after the 12th,
+square: 5 chain, 1 single on the 5th row of the first square.</p>
+
+<p>5th row&mdash;on each of the 6 plain of the 1st square: 1 single
+= on the 7th: 1 plain = 7 plain on the 5 chain = 1 plain on
+the 1st stitch of the 2nd square = 6 rows of plain, 14 chain,
+1 plain on the 5th stitch of the next square = then make 6
+rows of plain and wind the thread round the chain stitches.</p>
+
+<p>6th row&mdash;1 single on every stitch of the last square, 1 plain
+on the last stitch above the 7 chain = on the 7 chain: 9 plain,
+1 plain on the 1st stitch of the next square below = 9 rows to
+and fro.</p>
+
+<p>7th row&mdash;after the 12th square: 9 chain, 1 single on the
+1st plain, * 14 chain, 1 plain on the last plain = on the 9
+chain: ** 1 chain, 1 plain, 1 treble 1&frac12; treble long, 2 double
+trebles 2&frac12; trebles long ***, 5 triple trebles ****. Repeat
+from *** to **, then proceed from * to ****.</p>
+
+<p>8th row&mdash;19 plain over the 14 chain, 1 single on each
+treble; stop them at the 12th square and at the 3rd triple treble.</p>
+
+<p>9th row&mdash;12 chain, 1 plain on the 10th of the 19 plain;
+12 chain, 1 plain on the triple treble, and proceed in the same
+way throughout the whole length of the row.</p>
+
+<p>10th row&mdash;on the first 12 chain stitches: * 5 plain, 1 picot,
+12 plain = on the second 12 chain: 7 plain, 10 chain, bring
+them back to the 5th of the 12 plain of the first scallop = on
+the 10 chain: 4 plain, 1 picot, 4 plain, 1 picot, 4 plain, 1 picot,
+4 plain, = on the 12 chain: 5 plain, 1 picot, 7 plain. Repeat
+12 times from *.</p>
+
+<p><b><a name="Crochet_collar" id="Crochet_collar"></a>Crochet collar</b> (fig. <a href="#fig_484">484</a>).&mdash;We have avoided as far as
+possible describing articles in this book that are subject to the
+changes of fashion, the present collar composed of squares,
+stars, lozenge-shaped figures and a lace edge, is of a shape
+that will never be out of date. Fine and delicate work like this
+can only be executed in a very fine material, and we recommend
+unbleached thread as being more effective than white.
+The soft tone and the gloss of unbleached thread give the work
+<a name="Page_305" id="Page_305"></a>an antique look, unobtainable in a white material. Fil &agrave; dentelle
+D.M.C No. 120 is the best for the purpose.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/full_497.jpg"><img src="images/497.jpg" width="550" height="731" alt="FIG. 484. CROCHET COLLAR." title="" /></a>
+<a name="fig_484" id="fig_484"></a><span class="caption"><span class="smcap">Fig. 484. Crochet collar.<br />
+Materials</span>: Fil d&#39;Alsace D.M.C No. 100, Cordonnet 6 fils D.M.C No. 120 or
+Fil &agrave; dentelle D.M.C No. 120, &eacute;cru.</span>
+</div>
+
+<p>Begin with the straight-edged figures, and then make the
+connecting pieces between. The four squares with half stars at
+both ends of the collar and on the right and left of the centre
+square, have their four sides all alike, whereas the 3 figures
+<a name="Page_306" id="Page_306"></a>within the scalloped edge are rather narrower on the outer
+than on the inner side where they join to the foundation.</p>
+
+<p>Inner squares: 1st row&mdash;4 chain, close the ring; 5 chain,
+* 1 treble on the ring, 2 chain; repeat 6 times from * and
+fasten the thread to the 3rd chain stitch.</p>
+
+<p>2nd row&mdash;1 chain, 3 plain over 2 chain; 1 plain over each
+treble.</p>
+
+<p>3rd row&mdash;8 chain, * 1 treble on each treble of the 1st row,
+6 chain. Repeat 6 times from * = 8 trebles in all, including
+the first chain stitches.</p>
+
+<p>4th row&mdash;* 10 chain; returning over the chain stitches: 1
+plain, 1 half treble, 4 trebles, 1 half treble, 1 plain, join to the
+1st chain stitch = on the 6 chain of the 3rd row: ** 1 plain,
+1 half treble, 1 treble, 3 double trebles, 1 treble, 1 half treble,
+1 plain ***. Repeat once more from ** to ***, then 3 times
+from * to *** = along the first leaf to the 10th stitch: 10 single.</p>
+
+<p>5th row&mdash;starting from the point: * 7 chain, 1 triple treble
+on the 5th stitch of the small scallop of the 4th row: 7 chain,
+1 triple treble on the next scallop, 7 chain, 1 plain on the 10th
+stitch of the 2nd leaf. Repeat 3 times from *.</p>
+
+<p>6th row&mdash;1 chain, * 3 plain on the stitch that forms the
+point of the leaf; 1 plain on each chain stitch and each treble
+of the last row = 16 stitches in all, up to the 2nd treble = turn
+the work = coming back: 1 chain, 1 double treble on the 4th
+plain, 1 chain, 1 double treble, 1 chain, 1 double treble, 1
+chain, 1 double treble, 1 chain, 1 double treble, 1 chain, miss
+3 plain, join to the 4th plain = turn the work = make on each
+chain stitch, 2 plain and on each treble 1 plain and 1 picot
+over the 1st, 2nd, 4th and 5th treble; 8 plain **. Repeat 3
+times from * to **.</p>
+
+<p>7th row&mdash;1 chain, 1 plain on the 2nd of the 3 stitches at
+the point, * 9 chain, 1 double treble between the two first
+picots of the semicircle formed in the last row; 8 chain, 1 triple
+treble on the 3rd treble of the semicircle, 8 chain, 1 double
+treble between the 3rd and 4th picots of the semicircle, 9 chain,
+1 plain on the stitch at the corner.</p>
+
+<p>8th row&mdash;19 single on the chain stitches of the 7th row,
+1 chain, 3 plain on the corner stitch, 24 plain on the chain
+<a name="Page_307" id="Page_307"></a>stitches and trebles = turn the work = coming back: 2 chain,
+1 double treble on the 20th plain; on the same stitch add: 2
+double trebles with 2 chain; finish with: 2 chain, join them to
+the 5th plain = turn the work = on the chain stitches: 1 plain,
+1 picot, 1 plain, 1 plain on the treble. Repeat this series 4 times
+= add: 4 plain on the chain stitches of the 7th row = turn
+the work = 5 chain, 1 double treble on the 1st treble of the
+small semicircle; then again 3 times, 3 chain, and twice 1
+double treble on each of the trebles beneath = after the last
+5 chain: join to the 4th plain.</p>
+
+<p>The points in this row are made with: * 1 plain on the chain
+stitches, 8 chain, miss 1 stitch = coming back: 1 single, 1
+plain, 1 half treble, 1 treble 1&frac12; treble long, 3 double trebles,
+1 plain on the 5 chain stitches. The 2nd point must be placed
+one half of it, before, and the other half behind the picot;
+make altogether 7 points = after the 7th: 8 plain on the
+chain stitches of the 7th row = then work backwards, without
+however turning the work: 7 chain, 1 chain on the stitch at
+the top of the point and repeat 7 times from * = after the 8th
+set of 7 chain stitches: 1 chain; 1 plain on the 9th plain,
+bringing the thread forwards from the right side to the wrong
+= 2 chain; take the thread back to the 3rd plain from the
+wrong side to the right = 1 treble on each chain stitch, 1 picot
+above each point, add 4 trebles and 14 chain, join them to the
+4th treble that comes after the 1st picot.</p>
+
+<p>On the 14 chain: 5 plain, 1 picot, 4 plain, 1 picot, 4 plain,
+1 picot, 5 plain, 4 trebles to the next picot, 1 picot, 4 trebles;
+14 plain, join them to the treble nearest the 1st scallop
+and so on = make 7 scallops in all; after the 7th add 2 trebles
+on the 2 chain stitches = after the 2nd treble make 2 plain,
+followed by the 3 stitches at the corner = in the next scallop,
+you fasten by 1 single, the 1st picot of the 1st scallop to the
+3rd picot of the last scallop. When you have finished the four
+sides of the figure above-described, fasten off your thread.</p>
+
+<p>The edging of these squares should be begun on the
+narrower of the inner sides and at the 3rd little scallop: * 1
+plain on the middle picot of the 3rd little scallop, 7 chain, 1
+double treble on the 1st picot of the 4th scallop; 7 chain,<a name="Page_308" id="Page_308"></a>
+1 triple treble on the 2nd picot of the same scallop, 6 chain, 1
+double treble on the 3rd picot of the same scallop, 6 chain, 1
+plain on the middle picot of the 5th scallop; 10 chain, 1 treble
+on the middle picot of the 6th scallop, 11 chain **, 1 quadruple
+treble on the middle picot of the 7th and 1 quadruple
+treble on the middle picot of the 1st scallop following and draw
+the last loops of the 2 trebles up together. Repeat once from *
+to **. Carry the trebles all round the figure on the picots just
+referred to.</p>
+
+<p>For the second half of the edging which becomes a little
+wider: *** 10 chain, 1 treble on the 6th scallop, 11 chain,
+2 quadruple trebles, the last loops of which you join to the
+middle picots of the 7th and 1st scallop; 11 chain, 1 treble in
+the next scallop; 10 chain, 1 treble in the 3rd scallop; 7 chain,
+1 treble 2&frac12; long, 8 chain, 1 treble 3&frac12; long, 8 chain; 1 double
+treble, 8 chain, 1 plain, 12 chain, 1 treble, 14 chain, **** 2
+quadruple trebles, the last loops of which are joined together.
+Repeat from **** to ***, that is the reverse way = finally
+add 1 more whole row of plain and 3 plain stitches at the corners
+= on the wider side you should have 99 stitches, not
+counting the increases at the corner.</p>
+
+<p>To make the same figure, forming a part of the large outside
+scallops, repeat the same rows you have in the inner square up
+to the 7th row, the first half of which you make exactly the
+same as before. In the second half of the row of chain there
+should be 1 chain stitch less in each intervening space than
+there were in the first half.</p>
+
+<p>8th row&mdash;make the first half of this row like the 8th row
+of the inner square = over the 2nd half, one quarter of which
+is 4 chain stitches narrower, the little wheels are made like the
+others with 7 picots. The number of chain stitches and the
+trebles of the setting are also the same, but instead of 7 points
+you have to make 5 and over these, 5 small scallops instead of 7.</p>
+
+<p>The setting, towards the top is made exactly in the same
+manner as the wide part of the upper square, that is, as from
+the 3rd scallop of the first semicircle to the 5th scallop of the
+2nd. From this point, the series of stitches changes, so as to
+form a rounded edge: * 7 chain, 1 plain on the 6th scallop;<a name="Page_309" id="Page_309"></a>
+15 chain, 2 triple trebles joined by the last loops to the 7th
+and 1st scallop; 14 chain, 1 plain on the 2nd of the 5 scallops;
+15 chain, 1 plain on the 3rd scallop; 15 chain, 1 plain
+on the 4th scallop, 15 chain **, 2 triple trebles joined by the
+last loops in the 5th and 1st scallop. Repeat once again from
+** to * = add 1 row of plain on each stitch of the preceding
+row; 3 plain on the two top corner stitches. You will thus have
+3 figures with a rounded edge on one side.</p>
+
+<p>The second kind of square consists of 8 leaves inside and is
+begun in the same way by 6 chain formed into a ring.</p>
+
+<p>1st row&mdash;5 chain, 1 treble, 2 chain, * 1 treble, 2 chain.
+Repeat 6 times from * and join to the 3rd of the 5 chain.</p>
+
+<p>2nd row&mdash;1 chain, 3 plain over 2 chain, 1 plain on each
+treble.</p>
+
+<p>3rd row&mdash;9 chain, * miss 1 stitch = coming back: 1 single,
+1 plain, 1 half treble, 1 treble, 1 double treble, 1 triple treble,
+1 treble over the treble of the 2nd row; 7 chain. Repeat 7
+times from * = after the 8th point: 7 single along the 1st.</p>
+
+<p>4th row&mdash;* 1 plain on the stitch you missed at the point,
+5 chain, 1 triple treble on the treble of the 3rd row, 5 chain.
+Repeat 7 times from *.</p>
+
+<p>5th row&mdash;3 chain, 1 treble on each stitch of the 4th row;
+join to the 3rd of the 3 chain.</p>
+
+<p>6th row&mdash;10 chain, 1 plain on the treble over the triple
+treble of the 4th row: 10 chain, 1 plain on the treble above
+the little point.</p>
+
+<p>7th row&mdash;15 plain on the 10 chain = on the 3rd scallop
+only: * 7 plain, 10 chain, come back to the second scallop,
+bring the thread back from the wrong side to the right between
+the 7th and 8th plain stitches, 15 plain on the 3rd
+scallop, 8 plain on the next scallop, 15 plain and repeat 6
+times from *.</p>
+
+<p>When the 16th scallop is finished, pass to the point of the
+1st scallop by means of 7 single, then add the 10 chain to
+pass to the 8th scallop above; when that is finished, fasten off,
+and fasten on again to one of the 8 scallops.</p>
+
+<p>8th row&mdash;* 21 chain, miss 1 stitch, 1 plain, 1 half treble,
+1 treble, 1 treble 1&frac12; treble long, 1 double treble, 1 treble 2&frac12;
+<a name="Page_310" id="Page_310"></a>trebles long, 1 triple treble, 1 treble 3&frac12; trebles long, 1 quadruple
+treble, 1 treble 4&frac12; trebles long, 1 quintuple treble.
+After passing through the 3rd loop, make 1 quadruple treble,
+between the 2 plain scallops; then finish the quintuple treble,
+7 chain, 1 plain on the 2nd scallop and repeat 7 times from *.</p>
+
+<p>9th row&mdash;* 7 plain on the 7 chain; 1 plain on each stitch
+of the pyramid, 3 plain on the stitch at the point; 4 plain on
+the 7 chain on the opposite side = turn the work = ** 1 chain,
+miss 1 plain, 1 treble on the 2nd stitch = after the 5th treble,
+leave out no more stitches between the trebles ***; place the
+8th, 9th and 10th trebles on the 2nd of the increased stitches.
+Repeat on the opposite side from *** to ** and join to the
+4th of the plain stitches = make 17 trebles in all, then one
+plain over each chain, 1 plain on each treble and 1 picot after
+every 3rd plain = after the 4th and up to the 8th picot, leave
+only 2 plain between: 11 picots in all = in conclusion: 3 plain
+more on the 7 chain and repeat the whole 7 times from *.</p>
+
+<p>The little wheel at the top of the square is begun with 10
+chain for the ring = 16 plain on the ring, 4 chain, * 1 treble,
+1 chain = repeat 14 times from *; 16 trebles in all, including
+the chain stitches = then on each treble and each chain stitch:
+1 plain; after 4 plain: 1 picot; connect the wheel first on the
+right.</p>
+
+<p>The 2nd picot is to be fastened to the 9th picot of the large
+scallop = proceed with: 3 times 4 plain with 1 picot = after
+the 3rd plain, fasten the picot to the 3rd picot of the next large
+scallop and complete the small wheel. The left wheel is made
+and inserted in the same manner as the right one. The wheels
+at the bottom of the square require for the foundation ring:
+14 chain, on which you make 21 plain = on these: 4 chain,
+* 1 treble, 1 chain = repeat 19 times from *; 21 trebles in all,
+including the chain stitches = 3 plain, 1 picot, 3 plain, 1 picot,
+3 plain, 1 picot, 3 plain, 4 chain, join to the 8th picot of the
+2nd scallop; 4 chain, finish the picot, 3 plain, 1 picot, 3 plain,
+8 chain, join to the 10th picot of the scallop, 8 chain, complete
+the picot; 3 plain, 1 picot, 3 plain, 8 chain, join to the 2nd
+picot of the 3rd scallop, 8 chain, close the picot, 3 chain, 1
+picot, 3 plain, 4 chain, join to the 4th picot of the 3rd scallop;<a name="Page_311" id="Page_311"></a>
+4 chain, complete the picot, 3 plain, 1 picot and so on, until
+you have 14 picots round the wheel. Repeat the same wheel to
+the left between the 4th and 5th scallop.</p>
+
+<p>The edging of this second kind of square is also slightly
+different; fasten the thread to the 6th picot of the 1st scallop
+before the small wheel, then working from right to left, count:
+* 10 chain, 1 treble on the 2nd empty picot of the small wheel;
+8 chain, 1 triple treble on the 4th picot of the wheel = upwards:
+9 chain, 1 double treble on the 6th picot of the
+wheel; 9 chain, 1 plain on the 6th picot of the 8th scallop, 12
+chain, 1 plain on the 7th picot of the scallop, 11 chain **, 1
+quadruple treble on the 9th picot of the 8th scallop and on
+the 3rd picot of the 7th; draw the last loops of the two trebles
+up together. Repeat once more from ** to *, then: 1 plain on
+the 6th picot of the 6th scallop; *** 12 chain, 1 sextuple
+treble on the 9th picot of the 6th scallop, retain 2 loops of
+the treble on the needle, make 4 more overs, join the treble to
+the 3rd picot of the 5th scallop; finish the bars, 12 chain, 1
+plain in the 6th picot of the next scallop = 12 chain, 1 double
+treble on the 2nd picot of the 7 empty picots of the bottom
+wheel; 9 chain, 1 quadruple treble on the 4th picot; 12 chain,
+1 double treble on the 6th picot, 14 chain, 1 plain on the 6th
+picot of the 4th scallop, 14 chain ***, 1 septuple treble, in
+the 9th and 3rd picots of the 4th and 3rd scallops ****. For
+the preceding treble, you pass first through 4 loops only, then
+make 4 more overs for the other half of the treble, and finish
+the last loops one by one. Repeat from **** to ***. One row
+of plain stitches completes the square.</p>
+
+<p>After having made the square similar to that of the upper
+one, you have merely to add the large wheels at the top.</p>
+
+<p>The setting of chain stitches and trebles is begun at the
+first scallop between 2 wheels = 1 plain on the 6th picot of the
+1st scallop; 14 chain, 2 quintuple trebles, of which the last
+loops only are joined together, on the 9th and 3rd picot of the
+1st and 2nd scallop, = 14 chain, 1 plain on the 6th picot of the
+next scallop; * 14 chain, 1 treble on the 2nd empty picot of
+the wheel; 10 chain, 1 quadruple treble on the 4th picot, 10
+chain, 1 treble on the 6th picot; 14 chain, 1 plain on the 6th
+<a name="Page_312" id="Page_312"></a>picot of the 3rd scallop; 14 chain, 2 sextuple trebles on the
+10th and 2nd picot of the 3rd and 4th scallop; 15 chain, 1
+plain on the 6th picot of the 4th scallop; 16 chain, 2 sextuple
+trebles on the 10th and 2nd picot of the 4th and 5th scallop;
+16 chain, 1 plain on the 6th picot of the 5th scallop; 15 chain
+** 3 septuple trebles on the 10th and 2nd picot of the 5th
+and 6th scallop. Repeat from ** to *; and make 4 figures
+with rounded edges. When all the figures are finished, join
+them together by trebles of a suitable length.</p>
+
+<p>Introduce the thread at the corner stitch on the widest side
+of the 2nd 8 pointed star and make: 1 plain, 6 chain, miss 3
+stitches, 1 plain on the 3 next stitches, 4 chain, miss 2, 1
+plain on the next 3 plain stitches.</p>
+
+<p>Make 11 loops in this manner, each consisting of 4 chain
+and 3 plain, then 2 loops of 3 chain and 2 plain = then miss
+as many stitches of the square at the edge of the collar as were
+left empty in the second square; 2 plain and draw the loop
+each time through the 2 last stitches of the opposite square
+= 1 chain, 1 single on the 2nd chain stitch of the opposite
+side; 1 chain, 3 plain on the edge of the first square, 1 chain,
+1 single, 1 chain, miss 3 stitches, 3 plain, 5 chain, bring the
+loop from the wrong side to the right = on the chain stitches:
+4 plain, 2 chain, miss 3, 3 plain.</p>
+
+<p>From this point onwards, fasten all the bars of chain stitches
+to the loops produced by the same stitches in the 2nd square.
+Thus, the 1st bar consisting of 5 chain, the 2nd will consist of
+7 chain on which make 7 plain, and then add 2 more chain.
+Nowhere must the two first chain stitches be uncovered.</p>
+
+<p>The 3rd bar must consist of 9 chain, 9 plain and 2 chain
+= the 4th of 11 chain, 5 plain, 1 picot, 5 plain, 2 chain =
+the 5th of 13 chain, 4 plain, 1 picot, 4 plain, 1 picot, 4 plain,
+2 chain = the 6th of 16 chain, 6 plain, 1 picot, 6 plain, 1
+picot, 6 plain, 2 chain = the 7th of 18 chain, 5 plain, 1 picot,
+4 plain, 1 picot, 4 plain, 1 picot, 5 plain, 2 chain = the 8th
+of 21 chain, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot,
+5 plain, 2 chain = the 9th of 24 chain, 5 plain, 1 picot, 5
+plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 2
+chain = the 10th of 26 chain, 6 plain, 1 picot, 5 plain, 1 picot,<a name="Page_313" id="Page_313"></a>
+5 plain, 1 picot, 5 plain, 1 picot, 6 plain, 2 chain = the 11th
+and last of 28 chain, 32 plain, 2 chain, fasten off.</p>
+
+<p>As the square with the semicircles in it, has more plain stitches
+in the edge than the one with the eight-pointed star in it, the
+stitches must be divided so that you miss 3 from time to time,
+instead of two. When the 7 top figures are finished, join the 7
+bottom ones to them, each separately, by a row of plain stitches,
+made on the wrong side of the work. Below the first square
+with the semicircles, comes the eight-pointed star, below
+the next eight-pointed star, the square with the semicircles,
+and so on.</p>
+
+<p>A narrow edging forms the outside border, the foundation
+of which is a row of plain stitches running all along the squares.
+At the middle of the square you decrease by 2 stitches, and at
+the point where two squares meet, by 3. When you reach the
+left side and the end of the row, make 3 plain on the corner
+stitch, then: * 5 plain, 1 picot, 5 plain, 14 chain, join them
+to the first of the 5 first plain (drop the thread at each scallop
+and bring it forward from the wrong side to the right) = on
+the 14 chain: 5 plain, 1 picot, 11 plain, 1 picot, 5 plain = along
+the square: 5 plain, 1 picot, 5 plain, then 14 chain, join them
+to the first plain = over the 14 chain: 5 plain, 1 picot, 5 plain,
+14 chain, join them in turning back between the 5th and 6th
+of the 10 plain of the 1st scallop; 5 plain, 1 picot, 5 plain, 1
+picot, 5 plain, 1 picot, 5 plain; on the half-finished scallop: 5
+plain, 1 picot, 5 plain ** = on the plain stitches of the edge:
+4 plain, 1 picot, 4 plain, 12 chain, come back, join to the 1st
+of the 4 plain = on the 12 chain: 4 plain, 1 picot, 4 plain, 1
+picot, 4 plain, 1 picot, 4 plain *** = repeat on the same
+figure once from * to *** and once from * to **.</p>
+
+<p>This makes 77 stitches, the number there ought to be on
+the wide side of the straight-edged figures.</p>
+
+<p>The scallops vary a little on the rounded sides. There,
+you should have 110 stitches, counting from the corner to the
+treble that marks the middle at the bottom. The single scallops,
+between the triple scallops of the border, are also all made
+over 8 stitches; the first triple scallop is made over 20 stitches,
+the 2nd, 3rd and 4th triple scallop over 16 stitches.</p><p><a name="Page_314" id="Page_314"></a></p>
+
+<p>Make no single scallop after the 4th triple one; which is
+immediately succeeded by the 5th triple scallop, over 16 stitches.</p>
+
+<p>Altogether, round each star, there are 9 triple and 8 single
+scallops. After the 8th single one, make 3 plain stitches on the
+2 chain stitches of the connecting bar.</p>
+
+<p>On the 32 plain stitches of the last bar: 8 plain, 1 picot,
+4 plain, 12 chain, bring them back and join to the 5th of the
+8 plain = on the 12 chain: 5 plain, 2 chain, draw the loop
+through the picot in the middle of the last single scallop, 2
+chain, close the picot, 8 plain, 1 picot, 5 plain = in the bar:
+4 plain, 1 picot, 4 plain, 12 chain, bring them back and fasten
+them to the 1st plain = 5 plain, 1 picot, 4 plain, 12 chain, join
+them to the 4th plain of the 1st scallop; 5 plain, 1 picot, 8
+plain, 1 picot, 5 plain = in the half-finished scallop: 4 plain,
+1 picot, 4 plain = in the bar: 4 plain, 1 picot, 4 plain =
+12 chain, bring them back and fasten them to the 1st plain.
+4 plain, 1 picot, 4 plain, 12 chain, join them close to the
+scallop above = 5 plain, 1 picot, 4 plain, 12 chain, bring
+them back and join them to the 4th plain of the 2nd scallop;
+5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain =
+in each of the 2 half-finished scallops: 4 plain, 1 picot, 5 plain
+= finish with 4 plain, 3 plain on the 2 chain and repeat from
+* round all the rounded parts.</p>
+
+<p>The lozenges that fill the empty spaces between the large
+figures are made in 7 rows, on a ring formed of 4 chain.</p>
+
+<p>1st row&mdash;5 chain, 1 treble on the ring, 2 chain, 8 trebles
+in all, including the bar of chain stitches.</p>
+
+<p>2nd row&mdash;3 plain over 2 chain, 1 plain over each treble.</p>
+
+<p>3rd row&mdash;7 chain, 1 treble over the treble beneath, 5 chain,
+1 treble; 8 trebles in all.</p>
+
+<p>4th row&mdash;* 1 plain, 1 half treble, 1 treble, 1 double treble,
+1 treble 2&frac12; trebles long; ** repeat the reverse way to * =
+1 plain on the treble, 7 chain, miss 1 stitch, 1 plain, 1 treble,
+1 double treble, 1 treble, 1 plain. Repeat twice from * to **,
+followed by: 9 chain, miss 1, 1 single, 1 plain, 1 half treble,
+2 trebles, 1 half treble, 1 plain, 1 single ***. Repeat once
+from * to ***, then again from * to **, and add 5 single all
+along the scallop.</p><p><a name="Page_315" id="Page_315"></a></p>
+
+<p>5th row&mdash;9 chain * 1 plain on the top stitch of the small
+leaf, 7 chain, 1 treble on the middle stitch of the scallop, 7
+chain, 1 treble on the next scallop = 9 chain, 1 plain on the
+leaf, 9 chain, 1 treble on the scallop, 7 chain, 1 treble on the
+next scallop, 7 chain and repeat once from *.</p>
+
+<p>6th row&mdash;1 plain on each stitch of the row before, 3 plain
+on the points.</p>
+
+<p>7th row&mdash;on each side of the lozenge 3 little scallops on
+8 chain, with 3 picots and 1 picot below the scallops and between
+every 4 plain; the scallops at the points extend over 4
+stitches only, so that the picot below is left out.</p>
+
+<p>These lozenges are fastened on two sides to the middle
+picot of the triple scallop; then, starting from the 3rd scallop
+of the lozenge you make, 8 chain, join them to the middle
+picot of the 1st triple scallop; coming back over the 8 chain:
+5 plain, 1 picot, 5 plain and finish the scallop. The next scallop,
+at the point of the lozenge, is fastened by a picot of 6
+chain, to the middle picot of the 6th scallop underneath the
+connecting bar. Repeat the same on the 2nd side and make 6
+lozenges in all.</p>
+
+<p>The lace that finishes off the collar at the neck must be
+made to stand up, and is begun by a row of trebles on the
+plain stitches.</p>
+
+<p>From the corner as far as the 2nd treble of the 4th scallop,
+make triple trebles, from the 4th scallop to the 6th chain
+stitch after the 5th scallop, make double trebles, from this point
+to the 2nd scallop of the next semicircle, only single trebles,
+then again double trebles and finish with triple trebles as at
+the beginning. Decrease by 2 or 3 stitches in each square.</p>
+
+<p>When this row of trebles is finished, fasten off, and fasten
+on again on the right and on the base of the 1st treble which
+you border with 4 chain, then follow: * 15 plain on the row of
+trebles, put the needle in under the 2 loops of the trebles =
+turn the work = 2 chain, 1 double treble, miss 4 plain, 1 double
+treble on the 5th stitch, 2 chain, 1 double treble, 2 chain, 1
+double treble, 2 chain, miss 4 plain = turn the work = bring
+the loop to the front; ** 1 plain, 1 picot, 1 plain, 1 plain on
+the treble; repeat 3 times again from ** and add 4 plain on
+<a name="Page_316" id="Page_316"></a>the trebles = turn the work = 6 chain, 1 double treble over
+the treble beneath; again 3 times 6 chain stitches and 1 double
+treble; join the 4th set of 6 chain to the 4th plain = bring the
+thread back to the front: 1 plain on the 6 chain = 8 chain,
+miss 1, and make on the others: 1 plain, 1 half treble, 2 trebles,
+1 treble 1&frac12; treble long, 2 double trebles, 1 plain stitch on the
+6 chain. The next point comes above a treble; you make 7
+points in all. After the 7th: 5 plain, then 7 chain, 1 plain on
+each point between the points and join.</p>
+
+<p>Join the 8th set of 7 chain on to the 4th plain of the first treble
+= then add: 2 chain, draw the loop from the wrong side to
+the right through the 1st plain stitch; 8 trebles, 1 picot, 4
+trebles, 12 chain, bring them back over the picot, join it between
+the 4th and 5th trebles; 5 plain, 1 picot, 5 plain, 1 picot,
+5 plain, 1 picot, 5 plain.</p>
+
+<p>Over each point: 1 picot and over the picot 1 scallop, like
+the one made in the square. On the 7th point only 1 picot =
+after the last treble on the last chain: 2 chain; then go on
+with the plain stitches until you have 27 and repeat from *.</p>
+
+<p>In the semicircles that follow you leave out the first and
+last little scallops, the first and the last scallop must be joined
+together by the first and the last picot; in the last semicircle,
+make 6 little scallops, the same as you did in the first.</p>
+
+<p><b><a name="Crochet_chair-back" id="Crochet_chair-back"></a>Crochet chair-back</b> (fig. <a href="#fig_485">485</a>).&mdash;The close leaves in plain
+stitch of the large centre star, the 4 corner figures forming a
+cross and the diagonal figures, all have to be made separately
+and sewn on afterwards in their proper place. To join the
+separate parts neatly together, draw a square the size of the
+work on a piece of thick paper or waxcloth, divide it into 8
+parts by means of straight and diagonal lines, sew the separate
+pieces of crochet upon it, face downwards, in their proper places
+and make the trebles on the wrong side of the work.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a href="images/full_498.jpg"><img src="images/498.jpg" width="550" height="549" alt="FIG. 485. CROCHET CHAIR-BACK." title="" /></a>
+<a name="fig_485" id="fig_485"></a><span class="caption"><span class="smcap">Fig. 485. Crochet chair-back.<br />
+Materials</span>: Fil &agrave; dentelle D.M.C No. 50 for the close figures and
+No. 120 for the connecting bars.<a href="#Footnote_A" class="fnanchor">[A]</a></span>
+</div>
+
+<p>Begin by the centre star and make: 12 chain, close the ring.</p>
+
+<p>1st row&mdash;23 plain on the 12 chain.</p>
+
+<p>2nd row&mdash;9 chain, 1 double treble on the 2nd plain, 4
+chain, 1 treble and so on until you have 12 trebles, including
+the 5 chain.</p><p><a name="Page_317" id="Page_317"></a></p>
+
+<p>3rd row&mdash;1 plain on each chain stitch and each treble; 60
+plain in all.</p>
+
+<p>4th row&mdash;3 plain, 1 picot, altogether 20 picots in the row,
+then fasten off.</p>
+
+<p>The leaves round the ring have 3 petals, 1 large and 2
+small; you begin by the large one, and make the small ones
+afterwards. The petals should be begun from the point and not
+from the bottom as is generally done&mdash;30 chain; coming back:
+4 single, 4 plain, 5 half trebles, 8 trebles, 4 half trebles, 4 plain
+stitches, 3 plain on the 1st chain = on the second side of
+<a name="Page_318" id="Page_318"></a>the chain make the same number of stitches but in the reverse
+order.</p>
+
+<p>Small petal on the left&mdash;21 chain, miss 1, 5 plain, 3
+half trebles, 5 trebles, 3 half trebles, 3 plain, 3 plain on the
+top. Repeat the same series of stitches in the reverse order
+on the second side = at the 10th stitch of the large petal
+and counting upwards from below, draw the thread through
+the 10th stitch of the small petal, and do the same through the 9
+next stitches = for this purpose drop the loop each time and
+draw it back through the opposite stitch, from the wrong side
+to the right. After making the same petal on the right, fasten
+off; fasten on again at the outer edge and edge the 3 petals
+with 1 plain on each stitch and 3 plain on the stitch at the point;
+make 4 leaves with 3 petals each.</p>
+
+<p>Between the pointed leaves, which are afterwards placed on
+the diagonal line of the square, come some very long leaves which
+are rounded towards the top&mdash;29 chain, miss 1, 5 plain, 2
+chain, 1 treble on the 3rd of the chain stitches; carry on the
+trebles until you have, on coming to the last chain, 7 trebles =
+turn the work and make 1 plain on each stitch of the row =
+turn the work = 1 plain on every stitch all round = turn the
+work = * 9 plain, 4 half trebles, 3 trebles, 2 double trebles,
+join the last loops of the 2 last trebles together; set the 20th
+and 21st double treble on the same stitch = the 20th treble
+2&frac12; trebles long; the 21st a triple treble = on the next plain
+stitch; 1 treble 3&frac12; trebles long and 1 quadruple treble =
+again on the next stitch: 2 trebles, the first of them 4&frac12;
+trebles long, the 2nd a quintuple one = on the 3rd plain: 2
+quintuple trebles, 4 chain, 1 plain on the plain stitch of the
+2nd row and next to the last quintuple treble, 1 half treble,
+1 treble, 2 double trebles on one stitch, 2 triple trebles on one
+stitch **, 1 quadruple treble on the 2 next stitches. Repeat from
+** to *, therefore in the reverse order.</p>
+
+<p>To make the large star which is the first of the figures
+placed on the diagonal line, make: 4 chain, close the ring.</p>
+
+<p>1st row&mdash;10 chain,* 1 double treble on the 4 chain, 5
+chain. Repeat 4 times from *, 6 trebles in all.</p>
+
+<p>2nd row&mdash;over 5 chain: 1 half treble, 1 treble, 1 treble<a name="Page_319" id="Page_319"></a>
+1&frac12; treble long, 1 double treble, 1 treble 2&frac12; trebles long **,
+1 triple treble. Repeat once from ** to * and 5 times from *
+to **.</p>
+
+<p>3rd row&mdash;1 plain on each stitch of the 2nd row.</p>
+
+<p>4th row&mdash;3 plain, 1 picot, 2 plain, * 2 chain, 1 picot, 5
+chain, miss 1 = coming back: 4 plain, 1 picot, 2 plain = on
+the plain stitches of the 3rd row: 2 plain, 1 picot, 3 plain.
+Repeat from *, with this difference that the trebles that are
+placed over the half trebles of the 2nd row must begin with 3
+chain. Make, altogether, 12 long bars, 6 of them beginning with
+2 chain and 6 with 3; these bars remain empty; after the
+12th you fasten off.</p>
+
+<p>5th row&mdash;fasten on the thread to the top stitch of a treble,
+11 chain, 1 plain. Repeat this series 11 times.</p>
+
+<p>6th and 7th row&mdash;1 plain on each stitch of the 5th row,
+then 1 plain on each stitch of the 6th row.</p>
+
+<p>8th row&mdash;over 9 bars and 8 spaces: 3 plain, 1 picot, 3
+plain and so on. Add nothing further to the 2 rows of plain
+stitches of the 10th, 11th and 12th picots.</p>
+
+<p>For the second star of the corner figure 4 chain, close.</p>
+
+<p>1st row&mdash;8 chain, 1 treble, * 5 chain, 1 treble. Repeat 3
+times from *; 5 trebles in all, including the chain stitches.</p>
+
+<p>2nd row&mdash;* 1 chain, 1 half treble, 1 treble, 1 treble 1&frac12;
+treble long, 1 double treble, 1 triple treble **. Repeat from
+** to *, and the whole series 4 times.</p>
+
+<p>3rd row&mdash;* 1 chain, 3 plain, 1 picot, 2 plain, 2 chain, 1
+picot, 4 chain = coming back, 4 plain on the 4 chain, 1 picot,
+2 chain = on the stitches of the 2nd row: 2 plain, 1 picot, 2
+plain, 3 chain, 1 picot, 5 chain, miss 1, 4 plain = coming
+back: 1 picot, 3 plain. Repeat 4 times from *, fasten off.</p>
+
+<p>4th row&mdash;fasten on at the point of one of the bars and
+make from one bar to the other: 9 chain, 1 plain on each bar.</p>
+
+<p>5th row&mdash;1 plain on each stitch of the last row.</p>
+
+<p>6th row&mdash;1 plain on each stitch of the last row and join
+the 4 last stitches to the 4 that are under the 11th treble of
+the 1st star, taking care to put the trebles one above the other.</p>
+
+<p>The 3rd star also begins with 4 chain formed into a ring.</p><p><a name="Page_320" id="Page_320"></a></p>
+
+<p>1st row&mdash;8 chain, 1 treble, 5 chain, 1 treble, 5 chain, 1
+treble, 5 chain, join them to the 4th of the 8 chain.</p>
+
+<p>2nd row&mdash;2 chain, * 1 half treble, 1 treble, 1 treble, 1&frac12;
+treble long, 1 double treble **. Repeat from ** to * and then,
+3 times from * to **.</p>
+
+<p>3rd row&mdash;1 plain on each stitch of the 2nd row.</p>
+
+<p>4th row&mdash;1 chain, 2 plain, * 1 picot, 3 chain, 1 picot, 5
+chain. Repeat 3 times from *; after the 8th picot: 3 chain.</p>
+
+<p>5th row&mdash;15 chain, 1 triple treble on the 5th and on the
+2nd plain stitch between 2 picots, 9 chain, 1 triple treble and
+so on. Altogether, including the chain stitches, 8 trebles and
+8 times 9 chain; join to the 7th chain.</p>
+
+<p>6th and 7th row&mdash;1 plain on each stitch of the previous
+row; join the 4 last stitches again to the 4th stitch of the 2nd
+star and fasten off.</p>
+
+<p>The open work border is made from the 1st large star,
+beginning near the 9th treble at the point where the picots
+leave off. After fastening on the thread: 5 chain, miss 2 plain,
+1 plain on the 3rd = at the point where the circles meet,
+miss 3 or 4 stitches on each side and carry the treble over
+the indent of the scallop.</p>
+
+<p>After finishing the picots of chain stitches on the two sides
+and as far as the 3rd treble of the large star, fasten off; fasten
+on again on the right of the large star: 4 chain, 1 plain on the
+3rd chain; put the needle only through the 2 upper loops of
+the chain stitch; in the indent, connect 3 picots by 1 chain
+stitch; 2 chain and 1 plain between the next plain stitches.
+Fasten off. The 2 next rows both begin on the right and consist
+of plain stitches only; in the indent of the rings join 3
+stitches of the preceding row together by 1 plain.</p>
+
+<p>The 5 leaves over the circles&mdash;Begin with the middle and
+largest one&mdash;25 chain, miss 1, 3 plain, 2 chain, miss 2, 1 treble,
+2 chain and so on, 7 trebles in all = turn the work = 1 plain
+on each stitch, passing under only 1 loop of the stitches = on
+the stitch you missed: 3 plain; on the second side: 1 plain
+on each stitch = turn the work = do as in the last row = turn
+the work = do as in the 2 last rows, excepting as regards the 5
+last stitches which you leave untouched = turn the work =<a name="Page_321" id="Page_321"></a>
+15 plain, * 1 chain = turn the work = 12 plain = turn the
+work = 12 plain on the 12 plain and on all those you missed
+**. Fasten off the thread. On the 2nd side of the leaf: draw
+the thread through the 6th stitch, counting upwards from below
+and on the side that is not indented, 15 plain and repeat from
+* to ** = then make: 1 row of plain, putting the needle
+through both the loops of the lower stitches = at the points
+of the leaves: 3 plain, in the indents of the leaves miss 1 stitch.</p>
+
+<p>First leaf on the right of the large leaf&mdash;25 chain, miss 1,
+3 plain, 1 chain, 1 treble on the 3rd chain; 7 trebles in all =
+turn the work = 1 plain on each stitch, 18 stitches altogether,
+to the corner stitch; 3 plain on the corner stitch. The 2nd side
+is worked like the 1st.</p>
+
+<p>Add 3 more rows of plain stitches and increase 3 plain
+on the stitch at the point = in the 3rd row leave the 5 last
+stitches empty = turn the work = 11 plain, 1 chain = turn
+the work = 11 plain and 5 plain on the 5 stitches that were
+passed over; fasten off.</p>
+
+<p>On the opposite side fasten on the thread on the wrong side
+at the 8th stitch counting from the point: 12 plain, 1 chain
+= turn the work = 12 plain = turn the work = make plain
+stitches up to the end of the leaf and border it, like the large
+leaf, with plain stitches = join the 8 first stitches to the corresponding
+ones in the large leaf = make 4 leaves all alike.</p>
+
+<p>2nd leaf on the left&mdash;19 chain, miss 1, 3 plain, 2 chain, 1
+treble on the 2nd chain; 7 trebles in all = turn the work = 1
+plain on each of the preceding stitches, 3 plain on the stitch at
+the point = turn the work = 1 row of plain stitches = turn
+the work = 1 row of plain = turn the work = 1 row of plain,
+excepting on the last 7 stitches = turn the work = 14 plain,
+1 chain = 3 more rows to and fro with 11 plain; fasten off, and
+fasten on again on the 2nd side at the 6th stitch counting from
+below: 2 rows of 11 plain and 1 row to the end of the leaf =
+then encircle this leaf, like the others with plain stitches, join
+the 8 last stitches to the last 8 of the large leaf = make 4 leaves
+all alike.</p>
+
+<p>3rd leaf on the right&mdash;18 chain, miss 1, 2 plain, 1 chain,
+1 treble on the 3rd chain, 5 trebles in all = turn the work =<a name="Page_322" id="Page_322"></a>
+4 rows of plain worked to and fro; on the stitch at the point:
+3 plain = after the 4th row: 4 trebles, 8 plain, 1 chain, 4 plain,
+1 chain, 4 plain, 1 chain, then plain stitches to the end =
+fasten off. On the second side, fasten on to the 6th stitch counting
+downwards from the top: 9 plain = coming back: 3 plain, 1
+chain, 7 plain = coming back: 7 plain, 1 chain = then to the
+end of the leaf, 1 plain on each stitch.</p>
+
+<p>3rd leaf on the left&mdash;14 chain, miss 1, 2 plain, 2 chain, 1
+treble, 2 chain, 1 treble, 2 chain, 1 treble, 2 chain, 1 treble;
+4 rows of plain all round, 3 plain on the stitch at the point,
+and 3 plain on the added stitch. After the 4th row: 14 plain
+= turn the work = 10 plain = turn the work = 3 single, 7
+plain = coming back: 7 plain = coming back again: 7 plain; after
+the last plain, 1 single on each plain up to the top = fasten off.</p>
+
+<p>On the second side of the leaf: 9 plain = turn the work =
+5 plain = turn the work = 5 plain, 1 single on each of the
+remaining stitches = turn the work = surround the whole
+leaf with plain stitches; 3 plain on each stitch at the point;
+join the 8 last stitches to the 8 last of the 2nd leaf.</p>
+
+<p>Branch on the right and 1st leaf&mdash;28 chain, miss 1, 4 plain,
+1 chain, 1 treble on the 3rd chain, 1 chain, 1 treble on the 3rd
+chain, 1 chain, 1 treble 1&frac12; treble long on the 3rd chain, 1
+chain, 1 treble 1&frac12; treble long on the 3rd chain, 1 chain, 1
+treble on the 3rd chain, 1 chain, 1 half treble on the 3rd chain,
+1 chain, miss 2 stitches, 5 plain = on the second side of the
+chain: * 1 plain on each stitch, 3 plain on the 2nd of the
+missed stitches. Repeat 3 times from *. After the 4th row of
+plain: 6 chain = turn the work = 1 row of plain on both
+sides and plain stitches on the 6 chain; fasten off the thread.
+Counting back the last stitches, fasten on the thread at the
+18th stitch, make one more row of plain, fasten off.</p>
+
+<p>2nd leaf of the branch&mdash;22 chain, miss 1, 3 plain, 1 chain,
+1 half treble on the 3rd chain, 1 chain, 1 treble on the 3rd
+chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1 half treble
+on the 3rd chain, 1 chain, 1 plain on the 3rd chain, 1 plain
+on each of the remaining stitches; 4 rows of plain, to and fro,
+in each of the stitches of the last row. The rows touch, and
+therefore encircle the leaf.</p><p><a name="Page_323" id="Page_323"></a></p>
+
+<p>3rd leaf&mdash;16 chain, miss 1, 2 plain, 1 chain, 1 treble on
+the 3rd chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1
+treble on the 3rd chain, 1 plain on each of the remaining
+stitches, 4 rows of plain, to and fro round the leaf; 3 plain on
+the stitch at the top of the leaf and 3 on the one at the bottom.</p>
+
+<p>When these 3 leaves are finished, join them together on
+the wrong side so that the end of the 2nd leaf is parallel with
+the last treble of the 1st leaf, and the end of the 3rd leaf parallel
+with the 1st of the last plain stitches of the 2nd leaf. Having
+sewn these 3 leaves together, carry on the plain stitches with
+the thread of the 3rd little leaf over the two others. Fasten off
+the thread, join it on again at the 10th plain stitch of the 3rd
+little leaf, counting the stitches downwards from the top = 40
+chain, 1 single on the 34th chain = on the ring: 10 plain, 1 plain
+each chain and 1 plain on each stitch of the leaves = then,
+make 3 more rows of plain and 2 plain on every second stitch
+of the 10 stitches in the ring.</p>
+
+<p>Having reached the chain stitches, fasten on the thread,
+turn the work and continue the other rows. When the rows
+of plain stitches are finished, draw a thread through the chain
+stitches and pull them gently together.</p>
+
+<p>Branch on the left and 1st leaf&mdash;22 chain, miss 1, 3 plain,
+2 chain, 1 treble on the 2nd chain, 2 chain, 1 treble 1&frac12; treble
+long, 2 chain, miss 1, 1 treble, 1&frac12; treble long, 2 chain, miss
+1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain, miss 1, 1 plain
+on each of the remaining stitches. The remainder the same as
+for the right leaf.</p>
+
+<p>2nd leaf&mdash;16 chain, miss 1, 2 plain, 2 chain, 1 treble, 2
+chain, miss 1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain, miss
+1, 1 treble, 2 chain, miss 1, 1 plain on each of the remaining
+stitches. The rest the same as for the right leaf.</p>
+
+<p>3rd leaf&mdash;12 chain, miss 1, 2 plain, 2 chain, miss 1, 1 treble,
+2 chain, miss 1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain,
+miss 1, 1 plain on each of the remaining stitches. The remainder,
+as well as the little ring, the same as for the right leaf. Make
+altogether 4 leaves for the right side and 4 for the left.</p>
+
+<p>Calyx of the small flowers.&mdash;11 chain = turn the work =
+1 plain on the first 5 chain, 3 plain on the 6th chain, 1 plain
+<a name="Page_324" id="Page_324"></a>on the 5 other chain = turn the work = * 2 chain, 1 treble
+on the 1st plain, 1 chain, 1 treble, 1 chain, 1 treble, 1 chain,
+** 3 trebles on the second of the 3 plain, on the 6th chain,
+repeat once from ** to * = turn the work = 1 plain on each
+of the preceding stitches, 3 single on the added stitch = turn
+the work = 1 single on the first 2 plain; plain stitches as far
+as the middle stitch; 13 chain, miss 1, 1 plain on each chain
+stitch, 6 plain, 2 single. Fasten off. Make 8 calices in all.</p>
+
+<p>Small flowers of three different sizes&mdash;Make altogether, 24
+large, 12 of medium size, and 16 small.</p>
+
+<p>For the large flowers&mdash;18 chain, close the ring, 24 plain
+on the 18 chain; 1 plain on every stitch of the preceding row
+and 1 picot after every second plain stitch. Join the first and
+the last picots of 2 large flowers to the calyx, the 2nd and the
+3rd picots of one large flower to the 10th and 11th picots of
+the other. Join the 1st and 11th picots of the 3rd flower to the
+8th picot of the first and to the 5th of the second flower.</p>
+
+<p>For the medium-sized flowers&mdash;14 chain, close the ring =
+20 plain on the ring, then a second row of plain with 1 picot
+after every second plain stitch.</p>
+
+<p>These flowers connect the centre figure with the corner one.</p>
+
+<p>For the small flowers&mdash;10 chain, close the ring = 16 plain
+on the ring, then a second row of plain stitches with a picot
+after every second stitch. Sew the medium-sized flowers and
+the small ones to the big ones with overcasting stitches.</p>
+
+<p>As regards the bars of chain stitches that complete the
+pattern they can easily be copied from the illustration.</p>
+
+<hr style='width: 45%;' />
+
+<p class="center"><a href="./chapter_10.html">Next Chapter.</a></p>
+<p class="center"><a href="./20776-h.htm#TABLE_OF_CONTENTS">Return to Table of Contents.</a></p>
+
+<hr style='width: 45%;' />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+<div class="footnote"><p><a name="Footnote_A" id="Footnote_A"></a><span class="label">[A]</span> See at the end of the concluding chapter, the table of numbers and sizes
+and the list of colours of the D.M.C threads and cottons.</p></div>
+</div>
+</body>
+</html>
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+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Encyclopedia of Needlework, by Thérèse De Dillmont.
+    </title>
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+
+<h1><span style="font-size: 75%;">ENCYCLOPEDIA</span><br />
+<br />
+<span style="font-size: 50%;">OF</span><br />
+<br />
+NEEDLEWORK</h1>
+
+<h3>BY</h3>
+
+<h2>TH&Eacute;R&Egrave;SE DE DILLMONT</h2>
+
+<div class="figcenter" style="width: 345px;">
+<img src="images/001.jpg"  alt="" title="" />
+</div>
+
+<p class="center"><i>ENGLISH EDITION</i></p>
+
+<hr style='width: 15%;' />
+
+<p class="center">ALL RIGHTS RESERVED</p>
+
+
+
+<hr style="width: 25%;" />
+<p class="center"><i>To be had:</i></p>
+
+<p class="center"><i>of TH. DE DILLMONT, DORNACH, Alsace,<br />
+and at all booksellers, and embroidery shops</i>.</p>
+
+<hr style='width: 15%;' />
+
+<p class="center">Price, English bound with gilt edges:</p>
+
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'>English edition</td><td align='left'>Sh. </td><td align='left'>3.&mdash;</td></tr>
+<tr><td align='left'>French edition</td><td align='left'>Fr. </td><td align='left'>5.75</td></tr>
+<tr><td align='left'>German edition</td><td align='left'>Mk. </td><td align='left'>3.&mdash;</td></tr>
+</table></div>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="Preface" id="Preface"></a>Preface.</h2>
+
+
+<p>The absolute want of any comprehensive book on
+needlework&mdash;such an one as contains both verbal and
+pictorial descriptions of everything included under the
+name of needlework&mdash;has led me to put into the serviceable
+form of an Encyclopedia, all the knowledge and
+experience, which years of unceasing study and practice
+have enabled me to accumulate on the subject, with the
+hope that diligent female workers of all ages, may be able,
+by its means to instruct themselves in every branch of
+plain and fancy needlework.</p>
+
+<p>All the patterns given, even the most insignificant,
+were worked afresh for the purpose, and thus, not merely
+faithful representations, but also lucid and intelligible
+explanations of the same, are secured.</p>
+
+<p>In order that my readers may have something besides
+the dull theory, the work is enlivened by a number of
+useful patterns, some new, some derived from the artistic
+productions of such countries and epochs as have
+become famous by special excellence in the domain of
+needlework.</p>
+
+<p>Though, at first sight, the reproduction of many of
+these patterns may seem to present insuperable difficulties,
+<a name="Page_0" id="Page_0"></a>they will, after a careful study of the text, and exact attention
+to the directions given, prove easy to carry out.</p>
+
+<p>Many of these interesting designs are drawn from
+private collections, whose owners, with great kindness,
+placed their treasures at my disposal, to copy and borrow
+from at discretion, for which I desire to take the present
+opportunity, of tendering them my warmest thanks.</p>
+
+<p>The choice of colours and material&mdash;a difficult matter
+to many&mdash;my readers will find rendered comparatively
+easy to them by the notes affixed to the illustrations; and
+I may point out, that most of the patterns were worked
+with D.M.C cottons, which enjoy the well-earned reputation
+of being, the very best of their kind, in the market
+of the world.</p>
+
+<p>Experience has convinced me that, in many instances,
+these cottons may with advantage take the place of wool,
+linen thread, and even silk.</p>
+
+<p>If this work meet with indulgent judges, and prove
+really useful, I shall find ample reward in that fact for
+the trouble and difficulties that have unavoidably attended
+its completion.</p>
+
+
+<p><a name="Page_573" id="Page_573"></a></p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="TABLE_OF_CONTENTS" id="TABLE_OF_CONTENTS"></a>TABLE OF CONTENTS.</h2>
+
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'><a href="#Preface">PREFACE.</a></td><td align='left'>Page</td></tr>
+<tr><td align='left'><a href="./chapter_1.html">PLAIN SEWING</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#stitches">Stitches</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#seams">Seams</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#gathering">Gathering</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#sewing_on_cord">Sewing on cord and flaps</a></td><td align='right'><a href="./chapter_1.html#Page_10">10</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#button_holes">Button-holes</a></td><td align='right'><a href="./chapter_1.html#Page_11">11</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#sewing_on_buttons">Sewing on buttons</a></td><td align='right'><a href="./chapter_1.html#Page_12">12</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#binding_slits">Binding slits</a></td><td align='right'><a href="./chapter_1.html#Page_13">13</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#sewing_on_piping">Sewing on piping</a></td><td align='right'><a href="./chapter_1.html#Page_13">13</a></td></tr>
+<tr><td align='left'><a href="./chapter_1.html#fixing_whale_bones">Fixing whale-bones&mdash;Herring-boning</a></td><td align='right'><a href="./chapter_1.html#Page_14">14</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html">MENDING</a></td><td align='right'><a href="./chapter_2.html#Page_15">15</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html#linen_darning">Linen darning</a></td><td align='right'><a href="./chapter_2.html#Page_16">16</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html#satin_darning">Satin or twill darning</a></td><td align='right'><a href="./chapter_2.html#Page_17">17</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html#damask_darning">Damask darning</a></td><td align='right'><a href="./chapter_2.html#Page_18">18</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html#fine_drawing">Fine-drawing</a></td><td align='right'><a href="./chapter_2.html#Page_20">20</a></td></tr>
+<tr><td align='left'><a href="./chapter_2.html#patching">Patching</a></td><td align='right'><a href="./chapter_2.html#Page_20">20</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html">SINGLE AND CUT OPEN-WORK</a></td><td align='right'><a href="./chapter_3.html#Page_23">23</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html#hem_stitching">Hem-stitching</a></td><td align='right'><a href="./chapter_3.html#Page_24">24</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html#open_work_patterns">Open-work patterns</a></td><td align='right'><a href="./chapter_3.html#Page_27">27</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html#cutting_out_threads">Cutting out threads at the corners</a></td><td align='right'><a href="./chapter_3.html#Page_39">39</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html#cut_open_work">Cut open-work</a></td><td align='right'><a href="./chapter_3.html#Page_40">40</a></td></tr>
+<tr><td align='left'><a href="./chapter_3.html#patterns_for_cut_open_work">Patterns for cut open-work</a></td><td align='right'><a href="./chapter_3.html#Page_42">42</a></td></tr>
+<tr><td align='left'><a href="./chapter_4.html">NET AND DAMASK STITCHES</a></td><td align='right'><a href="./chapter_4.html#Page_51">51</a></td></tr>
+<tr><td align='left'><a href="./chapter_4.html#Net_embroidery">Net embroidery</a></td><td align='right'><a href="./chapter_4.html#Page_51">51</a></td></tr>
+<tr><td align='left'><a href="./chapter_4.html#Net_pattern">Net patterns</a></td><td align='right'><a href="./chapter_4.html#Page_52">52</a></td></tr>
+<tr><td align='left'><a href="./chapter_4.html#Net_darning">Net darning</a></td><td align='right'><a href="./chapter_4.html#Page_62">62</a></td></tr>
+<tr><td align='left'><a href="./chapter_4.html#Damask_stitches">Damask stitches</a></td><td align='right'><a href="./chapter_4.html#Page_63">63</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html">WHITE EMBROIDERY</a></td><td align='right'><a href="./chapter_5.html#Page_76">76</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#stitches">Stitches</a></td><td align='right'><a href="./chapter_5.html#Page_77">77</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#Different_kinds_of_scallops">Different kinds of scallops</a></td><td align='right'><a href="./chapter_5.html#Page_79">79</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#Eyelet_holes">Eyelet holes</a></td><td align='right'><a href="./chapter_5.html#Page_80">80</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#Six_ways_of_making_dots">Six ways of making dots</a></td><td align='right'><a href="./chapter_5.html#Page_81">81</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#Venetian_embroidery">Venetian embroidery</a></td><td align='right'><a href="./chapter_5.html#Page_82">82</a></td></tr>
+<tr><td align='left'><a href="./chapter_5.html#patterns">Patterns and alphabets</a></td><td align='right'><a href="./chapter_5.html#Page_83">83</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html">FLAT STITCH AND GOLD EMBROIDERY</a></td><td align='right'><a href="./chapter_6.html#Page_105">105</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Encroaching_flat_stitch">Encroaching satin stitch</a></td><td align='right'><a href="./chapter_6.html#Page_105">105</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Oriental_stitch">Oriental stitch</a></td><td align='right'><a href="./chapter_6.html#Page_106">106</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Plaited_stitch">Plaited stitch and mosaic stitch</a></td><td align='right'><a href="./chapter_6.html#Page_108">108</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Persian_stitch">Persian stitch</a></td><td align='right'><a href="./chapter_6.html#Page_109">109</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#straight_and_encroaching_flat_stitch">Straight and encroaching flat stitch patterns</a></td><td align='right'><a href="./chapter_6.html#Page_110">110</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Chinese_manner">Chinese embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_111">111</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Raised_embroidery">Raised embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_113">113</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Turkish_style">Turkish embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_113">113</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Gold_embroidery">Implements and materials for gold embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_115">115</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Embroidery_with_gold_purl">Stitches used in gold embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_119">119</a></td></tr>
+<tr><td align='left'><a href="./chapter_6.html#Chinese_gold_embroidery">Patterns for gold embroidery</a></td><td align='right'><a href="./chapter_6.html#Page_120">120</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html">TAPESTRY AND LINEN EMBROIDERY</a></td><td align='right'><a href="./chapter_7.html#Page_127">127</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html#Marking_out_the_embroidery_ground">Marking out the embroidery ground</a></td><td align='right'><a href="./chapter_7.html#Page_128">128</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html#Cross_stitch">Tapestry stitches</a></td><td align='right'><a href="./chapter_7.html#Page_129">129</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html#Pattern_for_borders">Tapestry patterns</a></td><td align='right'><a href="./chapter_7.html#Page_138">138</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html#Plain_cross_stitch">Stitches for linen embroidery</a></td><td align='right'><a href="./chapter_7.html#Page_143">143</a></td></tr>
+<tr><td align='left'><a href="./chapter_7.html#Gothic_borders">Patterns for linen embroidery</a></td><td align='right'><a href="./chapter_7.html#Page_152">152</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html">KNITTING</a></td><td align='right'><a href="./chapter_8.html#Page_171">171</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Position_of_the_hands">Position of the hands</a></td><td align='right'><a href="./chapter_8.html#Page_172">172</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Casting_on">Casting on</a></td><td align='right'><a href="./chapter_8.html#Page_173">173</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Plain_stitch">Stitches</a></td><td align='right'><a href="./chapter_8.html#Page_178">178</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Stocking_knitting">Stocking knitting</a></td><td align='right'><a href="./chapter_8.html#Page_182">182</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Scalloped_edge">Scalloped edge</a></td><td align='right'><a href="./chapter_8.html#Page_183">183</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Common_heel">Heels</a></td><td align='right'><a href="./chapter_8.html#Page_184">184</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Toe">Toes</a></td><td align='right'><a href="./chapter_8.html#Page_189">189</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Mending_knitting">Mending knitting</a></td><td align='right'><a href="./chapter_8.html#Page_190">190</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Piqueacute_pattern">Piqu&eacute; patterns</a></td><td align='right'><a href="./chapter_8.html#Page_195">195</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Plain_patent_knitting">Patent knitting</a></td><td align='right'><a href="./chapter_8.html#Page_201">201</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Turkish_stitch">Turkish stitch</a></td><td align='right'><a href="./chapter_8.html#Page_201">201</a></td></tr>
+<tr><td align='left'><a href="./chapter_8.html#Knitting_pattern">Knitting patterns</a></td><td align='right'><a href="./chapter_8.html#Page_203">203</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html">CROCHET WORK</a></td><td align='right'><a href="./chapter_9.html#Page_221">221</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Position_of_the_hands">Position of the hands</a></td><td align='right'><a href="./chapter_9.html#Page_223">223</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Position_of_the_hands">Stitches</a></td><td align='right'><a href="./chapter_9.html#Page_223">223</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Method_for_copying_tapestry">Method for copying tapestry patterns in crochet</a></td><td align='right'><a href="./chapter_9.html#Page_238">238</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Crochet_with_Soutache">Crochet with soutache or lacet</a></td><td align='right'><a href="./chapter_9.html#Page_239">239</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Crochet_square">Crochet square, hexagon and star</a></td><td align='right'><a href="./chapter_9.html#Page_240">240</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Tunisian_crochet">Tunisian crochet</a></td><td align='right'><a href="./chapter_9.html#Page_241">241</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Hairpin_crochet">Hairpin crochet</a></td><td align='right'><a href="./chapter_9.html#Page_243">243</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Hairpin_insertion">Patterns for hairpin crochet</a></td><td align='right'><a href="./chapter_9.html#Page_245">245</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Lace_made_on_Point_Lace_braid">Crochet lace patterns</a></td><td align='right'><a href="./chapter_9.html#Page_249">249</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Square_with_coloured_tufts">Crochet counterpanes</a></td><td align='right'><a href="./chapter_9.html#Page_284">284</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Crochet_star">Crochet stars</a></td><td align='right'><a href="./chapter_9.html#Page_300">300</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Crochet_collar">Crochet collar</a></td><td align='right'><a href="./chapter_9.html#Page_304">304</a></td></tr>
+<tr><td align='left'><a href="./chapter_9.html#Crochet_chair-back">Crochet chair-back</a></td><td align='right'><a href="./chapter_9.html#Page_316">316</a></td></tr>
+<tr><td align='left'><a href="./chapter_10.html">TATTING</a></td><td align='right'><a href="./chapter_10.html#Page_325">325</a></td></tr>
+<tr><td align='left'><a href="./chapter_10.html#First_position_of_the_hands">Position of the hands</a></td><td align='right'><a href="./chapter_10.html#Page_326">326</a></td></tr>
+<tr><td align='left'><a href="./chapter_10.html#Single_or_half_knots">Knots</a></td><td align='right'><a href="./chapter_10.html#Page_328">328</a></td></tr>
+<tr><td align='left'><a href="./chapter_10.html#Detached_scallops">Patterns of scallops and medallions</a></td><td align='right'><a href="./chapter_10.html#Page_331">331</a></td></tr>
+<tr><td align='left'><a href="./chapter_11.html">MACRAM&Eacute;</a></td><td align='right'><a href="./chapter_11.html#Page_343">343</a></td></tr>
+<tr><td align='left'><a href="./chapter_11.html#Materials">Materials and implements</a></td><td align='right'><a href="./chapter_11.html#Page_344">344</a></td></tr>
+<tr><td align='left'><a href="./chapter_11.html#Formation_of_the_knots">Formation of the knots</a></td><td align='right'><a href="./chapter_11.html#Page_345">345</a></td></tr>
+<tr><td align='left'><a href="./chapter_11.html#macrameacute_shuttles">Macram&eacute; shuttles</a></td><td align='right'><a href="./chapter_11.html#Page_360">360</a></td></tr>
+<tr><td align='left'><a href="./chapter_11.html#Macrameacute_borders">Macram&eacute; patterns</a></td><td align='right'><a href="./chapter_11.html#Page_361">361</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html">NETTING</a></td><td align='right'><a href="./chapter_12.html#Page_395">395</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Plain_netting">Implements and materials</a></td><td align='right'><a href="./chapter_12.html#Page_395">395</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Netting_stitches">Stitches</a></td><td align='right'><a href="./chapter_12.html#Page_397">397</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Patterns_produced_in_netting">Patterns produced in netting</a></td><td align='right'><a href="./chapter_12.html#Page_400">400</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Mounting_the_netting_on_the_frame">Mounting the netting on the frame</a></td><td align='right'><a href="./chapter_12.html#Page_410">410</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Star_composed_of_loose_threads">Stars and wheels</a></td><td align='right'><a href="./chapter_12.html#Page_414">414</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Ground_worked_in">Grounds and lace</a></td><td align='right'><a href="./chapter_12.html#Page_423">423</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Ground_of_netting_embroidered">Embroidery on netting</a></td><td align='right'><a href="./chapter_12.html#Page_434">434</a></td></tr>
+<tr><td align='left'><a href="./chapter_12.html#Netted_insertion">Netted insertion</a></td><td align='right'><a href="./chapter_12.html#Page_438">438</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html">IRISH LACE</a></td><td align='right'><a href="./chapter_13.html#Page_439">439</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#Materials">Materials</a></td><td align='right'><a href="./chapter_13.html#Page_439">439</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#Tacking_down">Tacking down the braids</a></td><td align='right'><a href="./chapter_13.html#Page_440">440</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#The_stitches">Bars of different kinds</a></td><td align='right'><a href="./chapter_13.html#Page_442">442</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#Insertion">Insertion stitches</a></td><td align='right'><a href="./chapter_13.html#Page_445">445</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#First_lace_stitch">Lace stitches</a></td><td align='right'><a href="./chapter_13.html#Page_450">450</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#Needle-made_picots">Needle-made picots</a></td><td align='right'><a href="./chapter_13.html#Page_467">467</a></td></tr>
+<tr><td align='left'><a href="./chapter_13.html#Irish_lace_pattern">Irish lace patterns</a></td><td align='right'><a href="./chapter_13.html#Page_468">468</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html">LACES OF DIFFERENT KINDS</a></td><td align='right'><a href="./chapter_14.html#Page_473">473</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Materials">Pillow lace and the implements for its manufacture</a></td><td align='right'><a href="./chapter_14.html#Page_474">474</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Position_and_movements_of_the_hands">&laquo;Stitches&raquo; or passings</a></td><td align='right'><a href="./chapter_14.html#Page_481">481</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Net_pattern_or_ground">Patterns or grounds</a></td><td align='right'><a href="./chapter_14.html#Page_481">481</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Armenian_lace">Armenian lace</a></td><td align='right'><a href="./chapter_14.html#Page_503">503</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Lace_and_insertion_in_knotted_stitch">Laces in knotted stitch</a></td><td align='right'><a href="./chapter_14.html#Page_505">505</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Reticella_lace">Reticella-lace</a></td><td align='right'><a href="./chapter_14.html#Page_508">508</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Venetian_laces">Venetian-lace</a></td><td align='right'><a href="./chapter_14.html#Page_510">510</a></td></tr>
+<tr><td align='left'><a href="./chapter_14.html#Spray_in_needle-point">Brussels-lace</a></td><td align='right'><a href="./chapter_14.html#Page_515">515</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html">MISCELLANEOUS FANCY WORK</a></td><td align='right'><a href="./chapter_15.html#Page_517">517</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Knotted_cord">Knotted cord</a></td><td align='right'><a href="./chapter_15.html#Page_518">518</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Balls_for_trimmings">Balls for trimmings</a></td><td align='right'><a href="./chapter_15.html#Page_519">519</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Tambour_work">Tambour work</a></td><td align='right'><a href="./chapter_15.html#Page_521">521</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Smyrna_stitch">Smyrna stitch</a></td><td align='right'><a href="./chapter_15.html#Page_523">523</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Malta_stitch">Malta stitch</a></td><td align='right'><a href="./chapter_15.html#Page_525">525</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Triangular_Turkish_stitch">Triangular Turkish stitch</a></td><td align='right'><a href="./chapter_15.html#Page_526">526</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Turkish_embroidery">Turkish embroidery</a></td><td align='right'><a href="./chapter_15.html#Page_530">530</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Appliqueacute_work">Appliqu&eacute;-work</a></td><td align='right'><a href="./chapter_15.html#Page_531">531</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Morocco_embroidery">Morocco embroidery</a></td><td align='right'><a href="./chapter_15.html#Page_535">535</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Spanish_embroidery">Spanish embroidery</a></td><td align='right'><a href="./chapter_15.html#Page_536">536</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Basket_stitch_on_linen">Different kinds of linen stitches</a></td><td align='right'><a href="./chapter_15.html#Page_540">540</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Border_in_different_kinds_of_stitches">Pattern for linen stitches</a></td><td align='right'><a href="./chapter_15.html#Page_541">541</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Roumanian_stitch">Pattern for Roumanian stitch</a></td><td align='right'><a href="./chapter_15.html#Page_544">544</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Pattern_for_piqueacute_embroidery">Pattern for Piqu&eacute; embroidery</a></td><td align='right'><a href="./chapter_15.html#Page_546">546</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Alphabet_in_Soutache">Embroideries with Soutache</a></td><td align='right'><a href="./chapter_15.html#Page_546">546</a></td></tr>
+<tr><td align='left'><a href="./chapter_15.html#Chinese_subject">Chinese subject</a></td><td align='right'><a href="./chapter_15.html#Page_551">551</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html">PRACTICAL DIRECTIONS</a></td><td align='right'><a href="./chapter_16.html#Page_553">553</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#Tracing_patterns">Tracing and drawing the designs</a></td><td align='right'><a href="./chapter_16.html#Page_553">553</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#The_preparation_of_the_stuffs">The preparation of the stuffs and the subdivision of the patterns</a></td><td align='right'><a href="./chapter_16.html#Page_557">557</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_transpose_and_repeat_patterns">To transpose and repeat patterns by means of looking glasses</a></td><td align='right'><a href="./chapter_16.html#Page_559">559</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_alter_the_proportions_of_a_pattern">To alter the proportions of a pattern by dividing the ground into squares</a></td><td align='right'><a href="./chapter_16.html#Page_560">560</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_prepare_the_paste">To prepare the paste for appliqu&eacute; work</a></td><td align='right'><a href="./chapter_16.html#Page_564">564</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_stiffen_new_needlework">To stiffen new needlework</a></td><td align='right'><a href="./chapter_16.html#Page_565">565</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_wash_ordinary_lace">To wash ordinary lace</a></td><td align='right'><a href="./chapter_16.html#Page_565">565</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_wash_real_lace">To wash real lace</a></td><td align='right'><a href="./chapter_16.html#Page_566">566</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_stiffen_lace">To stiffen lace</a></td><td align='right'><a href="./chapter_16.html#Page_566">566</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_iron_lace">To iron lace</a></td><td align='right'><a href="./chapter_16.html#Page_566">566</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_pin_out_lace">To pin out lace</a></td><td align='right'><a href="./chapter_16.html#Page_567">567</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#To_wash_coloured_cottons">To wash coloured cottons and work done with the same</a></td><td align='right'><a href="./chapter_16.html#Page_568">568</a></td></tr>
+<tr><td align='left'><a href="./chapter_16.html#Materials">Materials</a></td><td align='right'><a href="./chapter_16.html#Page_569">569</a></td></tr>
+</table></div>
+
+
+
+
+<hr style="width: 65%;" /><p><a name="Page_577" id="Page_577"></a></p>
+<p class='center'>&#9758;&nbsp;By the same Author&nbsp;&#9756;</p>
+<hr style="width: 25%;" />
+
+<p class='center' style="font-size: x-large;">ALBUM DE BRODERIES</p>
+
+<p class='center'>AU POINT DE CROIX.</p>
+
+<p class='center' style="font-size: x-large;">(Album of cross-stitch embroidery)</p>
+
+<p class='center'>BY TH. DE DILLMONT</p>
+
+<p class='center'>32 Plates with 278 Designs, and a complete treatise
+on the embroidery itself.</p>
+
+<p class='center'>Quarto; artistic boards, price 1<i>s.</i> 6<i>d.</i></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/906.jpg"  alt="FIG. 153." title="" />
+<span class="caption"><span class="smcap">Fig. 153.</span></span>
+</div>
+
+<p class='center'><i>To be had by applying to the Author and Editor
+TH. DE DILLMONT, DORNACH, Alsace, and at all the leading
+booksellers and Embroidery shops.</i></p>
+
+
+
+<hr style="width: 65%;" /><p><a name="Page_578" id="Page_578"></a></p>
+<div class="figcenter" style="width: 250px;">
+<img src="images/907.jpg"  alt="" title="" />
+</div>
+
+<p class='center'>PRINTED BY BRUSTLEIN &amp; Co.,<br />
+<br />
+MULHOUSE (Alsace)</p>
+
+
+
+
+
+</body>
+</html>
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+Project Gutenberg's Encyclopedia of Needlework, by Therese de Dillmont
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Encyclopedia of Needlework
+
+Author: Therese de Dillmont
+
+Release Date: March 8, 2007 [EBook #20776]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ENCYCLOPEDIA OF NEEDLEWORK ***
+
+
+
+
+Produced by Susan Skinner, Julie Barkley and the Online
+Distributed Proofreading Team at http://www.pgdp.net. This
+file is gratefully uploaded to the PG collection in honor
+of Distributed Proofreaders having posted over 10,000
+ebooks.
+
+
+
+
+
+
+
+ENCYCLOPEDIA
+
+OF
+
+NEEDLEWORK
+
+BY
+
+THERESE DE DILLMONT
+
+[Illustration]
+
+
+_ENGLISH EDITION_
+
+       *       *       *       *       *
+
+ALL RIGHTS RESERVED
+
+
+
+
+_To be had:_
+
+_of TH. DE DILLMONT, DORNACH, Alsace, and at all booksellers, and
+embroidery shops._
+
+       *       *       *       *       *
+
+Price, English bound with gilt edges:
+
+English edition     Sh. 3.--
+French edition      Fr. 5.75
+German edition      Mk. 3.--
+
+
+
+
+Preface.
+
+
+The absolute want of any comprehensive book on needlework--such an one
+as contains both verbal and pictorial descriptions of everything
+included under the name of needlework--has led me to put into the
+serviceable form of an Encyclopedia, all the knowledge and experience,
+which years of unceasing study and practice have enabled me to
+accumulate on the subject, with the hope that diligent female workers of
+all ages, may be able, by its means to instruct themselves in every
+branch of plain and fancy needlework.
+
+All the patterns given, even the most insignificant, were worked afresh
+for the purpose, and thus, not merely faithful representations, but also
+lucid and intelligible explanations of the same, are secured.
+
+In order that my readers may have something besides the dull theory, the
+work is enlivened by a number of useful patterns, some new, some derived
+from the artistic productions of such countries and epochs as have
+become famous by special excellence in the domain of needlework.
+
+Though, at first sight, the reproduction of many of these patterns may
+seem to present insuperable difficulties, they will, after a careful
+study of the text, and exact attention to the directions given, prove
+easy to carry out.
+
+Many of these interesting designs are drawn from private collections,
+whose owners, with great kindness, placed their treasures at my
+disposal, to copy and borrow from at discretion, for which I desire to
+take the present opportunity, of tendering them my warmest thanks.
+
+The choice of colours and material--a difficult matter to many--my
+readers will find rendered comparatively easy to them by the notes
+affixed to the illustrations; and I may point out, that most of the
+patterns were worked with D.M.C cottons, which enjoy the well-earned
+reputation of being, the very best of their kind, in the market of the
+world.
+
+Experience has convinced me that, in many instances, these cottons may
+with advantage take the place of wool, linen thread, and even silk.
+
+If this work meet with indulgent judges, and prove really useful, I
+shall find ample reward in that fact for the trouble and difficulties
+that have unavoidably attended its completion.
+
+
+
+
+[Illustration: STRIPE SHOWING RUNNING, STITCHING, BUTTON-HOLING, AND
+HERRING-BONING.]
+
+
+
+
+Plain Sewing.
+
+
+Many, on opening the Encyclopedia of needlework will be disposed to
+exclaim as they read the heading of this first section: What is the use
+of describing all the old well-known stitches, when machines have so
+nearly superseded the slower process of hand-sewing? To this our reply
+is that, of all kinds of needlework, Plain Sewing needs to be most
+thoroughly learned, as being the foundation of all. Those who are able
+to employ others to work for them, should at least know how to
+distinguish good work from bad, and those who are in less fortunate
+circumstances, have to be taught how to work for themselves.
+
+POSITION OF THE BODY AND HANDS.--Before describing different kinds of
+stitches, a word should be said as to the position of the body and hands
+when at work. Long experience has convinced me that no kind of
+needlework necessitates a stooping or cramped attitude. To obviate
+which, see that your chair and table suit each other in height, and that
+you so hold your work as hardly to need to bend your head at all. The
+practice of fastening the work to the knee, besides being ungraceful, is
+injurious to the health.
+
+NEEDLES.--These should be of the best quality. To test a needle, try
+to break it; if it resist, and then break clean in two, the steel is
+good; if it bend without breaking, or break without any resistance, it
+is bad. Never use a bent needle, it makes ugly and irregular stitches,
+and see that the eye, whether round or egg-shaped, be well-drilled, that
+it may not fray or cut the thread. Long or half-long needles are the
+best for white work, long ones for dress-making, and longer ones still,
+with long eyes, for darning. A stock of each, from No 5 to 12, is
+advised. The needle should always be a little thicker than the thread,
+to make an easy passage for it through the stuff.
+
+To keep needles from rusting, strew a little stone alum in the packets,
+and workers whose hands are apt to get damp, should have a small box of
+it handy, to powder their fingers with. Blackened needles can be made
+quite bright again by drawing them through an emery cushion.
+
+SCISSORS.--Scissors are a very important accessory of the work-table,
+and two varieties are indispensable; a pair of large ones for
+cutting-out, with one point blunt and the other sharp, the latter to be
+always held downwards; and a pair of smaller ones with two sharp points.
+The handles should be large and round; if at all tight, they tire and
+disfigure the hand.
+
+THIMBLE.--Steel thimbles are the best; bone are very liable to break,
+and silver ones are not deeply enough pitted, to hold the needle. A
+thimble should be light, with a rounded top and flat rim.
+
+THE THREAD.--Except for tacking, your thread should never be more than
+from 40 to 50 c/m. long.[1] If the thread is in skeins, it does not
+matter which end you begin with, but if you use reeled cotton, thread
+your needle with the end that points to the reel, when you cut it; as
+the other end will split, and unravel, when twisted from left to right,
+which is generally done, to facilitate the process of threading. The
+cotton should always be cut, as it is weakened by breaking.
+
+KNOTTING THE THREAD INTO THE NEEDLE (fig. 1).--When the thread becomes
+inconveniently short, and you do not want take a fresh one, it may be
+knotted into the needle, thus: bring it round the forefinger close to
+the needle, cross it on the inside next to the finger, hold the crossed
+threads fast, with the thumb draw the needle out through the loop thus
+formed, and tighten the loop round both ends.
+
+[Illustration: FIG. 1. KNOTTING THE THREAD INTO THE NEEDLE.]
+
+MATERIALS.--For tacking, use Coton a coudre D.M.C qualite superieure
+(black and gold stamp) Nos. 2 to 6.[A] For hand-sewing, Fil d'Alsace
+D.M.C Nos. 30 to 700,[A] and Fil a dentelle D.M.C, balls or reels, Nos.
+25 to 100[A] will be found most useful. For machine-work: Cable 6 fils
+pour machines D.M.C, Nos. 30 to 300,[A] black and white, or white and
+blue stamp. These can also be used for hand-work. Both these and the
+lace-thread (Fil a dentelle) on reels, are superfine in quality. The
+medium sizes are the most useful; but the only suitable ones for very
+fine and delicate fabrics are the Fil a dentelle D.M.C, and Fil
+d'Alsace, and the latter only is manufactured in the higher numbers.
+
+All these threads are to be had, wound in balls, or on reels, the buyer
+may make his own choice; balls are apt to get tangled, but the cotton
+preserves its roundness better than when it is wound on reels. Linen is
+generally sewn with linen-thread, but Fil a dentelle and the Fil
+d'Alsace are very good substitutes.
+
+POSITION OF THE HANDS (fig. 2).--The stuff, fastened to a cushion,
+must be held with the left hand, which should neither rest on the table,
+nor on the cushion, the needle must be held between the thumb and
+forefinger, of the right hand, and the middle finger, armed with the
+thimble, pushes the needle far enough through the stuff, for the other
+fingers to take hold of it and draw it out; the thread then comes to lie
+between the fourth and fifth fingers in the form of a loop, which must
+be tightened gradually to avoid its knotting.
+
+[Illustration: FIG. 2. POSITION OF THE HANDS.]
+
+POSITION OF THE HANDS WITHOUT CUSHION (fig. 3).--When the work cannot
+be fastened to a cushion it should be held between the forefinger and
+the thumb, and left hanging down, over the other fingers. If it need to
+be more firmly held, draw it between the fourth and fifth fingers, which
+will prevent it from getting puckered or dragged.
+
+[Illustration: FIG. 3. POSITION OF THE HANDS WITHOUT CUSHION.]
+
+STITCHES.--Plain-Sewing comprises 4 varieties of stitches, (1)
+running, (2) back-stitching, (3) hemming and (4) top or over-sewing.
+
+(1) RUNNING-STITCH (fig. 4).--This is the simplest and easiest of all.
+Pass the needle in and out of the material, at regular intervals, in a
+horizontal direction, taking up three or four threads at a time. If the
+stuff allow, several stitches may be taken on the needle at once, before
+the thread is drawn out. Running-stitch is used for plain seams, for
+joining light materials, for making gathers and for hems.
+
+[Illustration: FIG. 4. RUNNING-STITCH.]
+
+(2) BACK-STITCH (fig. 5).--Insert the needle, and draw it out six
+threads further on, carry your thread back, from left to right, and
+insert the needle three threads back from the point at which it was last
+drawn out, and bring it out six threads beyond. Stitching and
+back-stitching are better and more quickly done by machine than by hand.
+
+[Illustration: FIG. 5. BACK-STITCH.]
+
+STITCHING (fig. 6).--The production of a row of back-stitches, that
+exactly meet one another, constitutes what is called stitching. Only one
+stitch can be made at a time, and the needle must be put in, exactly at
+the point where it was drawn out to form the preceding back-stitch, and
+brought out as many threads further on as were covered by the last
+back-stitch. The beauty of stitching depends on the uniform length of
+the stitches, and the straightness of the line formed, to ensure which
+it is necessary to count the threads for each stitch, and to draw a
+thread to mark the line. If you have to stitch in a slanting line across
+the stuff, or the stuff be such as to render the drawing of a thread
+impossible, a coloured tacking thread should be run in first, to as a
+guide.
+
+[Illustration: FIG. 6. STITCHING.]
+
+STITCHED HEM (fig. 7).--Make a double turning, as for a hem, draw a
+thread two or three threads above the edge of the first turning, and do
+your stitching through all three layers of stuff; the right side will be
+that on which you form your stitches.
+
+[Illustration: FIG. 7. STITCHED HEM.]
+
+(3) HEMMING-STITCH (fig. 8).--To make a good hem, your stuff must be
+cut in the line of the thread. Highly dressed stuffs, such as linen and
+calico; should be rubbed in the hand, to soften them, before the hem is
+laid. Your first turning should not be more than 2 m/m. wide; turn down
+the whole length of your hem, and then make the second turning of the
+same width, so that the raw edge is enclosed between two layers of
+stuff.
+
+[Illustration: FIG. 8. HEMMING-STITCH.]
+
+Narrow hems do not need to be tacked, but wide ones, where the first
+turning should only be just wide enough to prevent the edge from
+fraying, ought always to be. In hemming you insert the needle and
+thread directed in a slanting position towards you, just below the edge
+of the hem, and push it out two threads above, and so on to the end,
+setting the stitches, two or three threads apart, in a continuous
+straight line. To ensure the hem being straight, a thread may be drawn
+to mark the line for the second turning, but it is not a good plan,
+especially in shirt-making, as the edge of the stuff, too apt in any
+case, to cut and fray, is, thereby, still further weakened. Hems in
+woollen materials, which will not take a bend, can only be laid and
+tacked, bit by bit. In making, what are called rolled hems, the needle
+must be slipped in, so as only to pierce the first turning, in order
+that the stitches may not be visible on the outside.
+
+FLAT SEAM (fig. 9).--Lay your two edges, whether straight or slanting,
+exactly even, tack them together with stitches 2 c/m. long, distant 1 to
+2 c/m. from the edge, and then back-stitch them by machine or by hand,
+following the tacking-thread. Cut off half the inner edge, turn the
+outer one in, as for a hem and sew it down with hemming-stitches.
+
+[Illustration: FIG. 9. FLAT SEAM.]
+
+Smooth the seam underneath with the forefinger as you go, to make it lie
+quite flat. Beginners should flatten down the seam with their thimbles,
+or with the handle of the scissors, before they begin to hem, as the
+outer and wider edge is very apt to get pushed up and bulge over, in the
+sewing, which hides the stitches.
+
+ROUNDED SEAM.--Back-stitch your two edges together, as above directed,
+then cut off the inner edge to a width of four threads, and roll the
+outer one in, with the left thumb, till the raw edge is quite hidden,
+hemming as you roll. This kind of seam, on the wrong side, looks like a
+fine cord, laid on, and is used in making the finer qualities of
+underclothing.
+
+FASTENING THREADS OFF, AND ON (fig. 10).--Knots should be avoided in
+white work. To fasten on, in hemming, turn the needle backwards with the
+point up, take one stitch, and stroke and work the end of the thread in,
+underneath the turning. To fasten on, in back-stitching or running,
+make one stitch with the new thread, then take both ends and lay them
+down together to the left, and work over them, so that they wind in, and
+out of the next few stitches.
+
+[Illustration: FIG. 10. FASTENING THREADS OFF AND ON.]
+
+(4) TOP OR OVER-SEWING STITCH (fig. 11).--This stitch is used for
+joining selvedges together. To keep the two pieces even, it is better,
+either to tack or pin them together first. Insert the needle, from right
+to left, under the first thread of the selvedge, and through both edges,
+and sew from right to left, setting your stitches not more than three
+threads apart. The thread must not be drawn too tightly, so that when
+the seam is finished and flattened with the thimble, the selvedges may
+lie, side by side.
+
+[Illustration: FIG. 11. TOP OR OVER-SEWING STITCH.]
+
+ANOTHER KIND OF SEWING-STITCH (fig. 12)--For dress-seams and patching;
+sew left to right, tacking or pinning the edges together first, and
+holding them tightly with the thumb and finger, to keep perfectly even.
+
+[Illustration: FIG 12. ANOTHER KIND OF SEWING-STITCH.]
+
+ANTIQUE OR OLD-GERMAN SEAM (figs. 13 and 14).--Tack or pin the
+selvedges together as above, then, pointing your needle upwards from
+below, insert it, two threads from the selvedge, first on the wrong
+side, then on the right, first through one selvedge, then through the
+other, setting the stitches two threads apart. In this manner, the
+thread crosses itself, between the two selvedges, and a perfectly flat
+seam is produced. Seams of this kind occur in old embroidered linen
+articles, where the stuff was too narrow to allow for any other. A
+similar stitch, fig. 14, only slanting, instead of quite straight, as in
+fig. 13, is used in making sheets.
+
+[Illustration: FIG. 13. ANTIQUE OR OLD-GERMAN SEAM.]
+
+[Illustration: FIG. 14. ANTIQUE OR OLD GERMAN SEAM.]
+
+FRENCH DOUBLE SEAM (fig. 15).--For joining such stuffs as fray, use
+the so-called French-seam.
+
+[Illustration: FIG 15. FRENCH DOUBLE-SEAM.]
+
+Run your two pieces of stuff together, the wrong sides touching, and the
+edges perfectly even, then turn them round just at the seam, so that the
+right sides come together inside, and the two raw edges are enclosed
+between, and run them together again. See that no threads are visible on
+the outside. This seam is used chiefly in dress-making, for joining
+slight materials together which cannot be kept from fraying by any other
+means.
+
+HEMMED DOUBLE SEAM (figs. 16 and 17).--Turn in the two raw edges, and
+lay them one upon the other, so that the one next the forefinger, lies
+slightly higher than the one next the thumb. Insert the needle, not
+upwards from below but first into the upper edge, and then, slightly
+slanting, into the lower one. This seam is used in dress-making, for
+fastening down linings. Fig. 17 shows another kind of double seam, where
+the two edges are laid together, turned in twice, and hemmed in the
+ordinary manner, with the sole difference, that the needle has to pass
+through a sixfold layer of stuff.
+
+[Illustration: FIG. 16. HEMMED DOUBLE-SEAM.]
+
+[Illustration: FIG. 17. OPEN HEMMED DOUBLE-SEAM.]
+
+GATHERING (fig. 18).--Gathers are made with running-stitches of
+perfectly equal length; take up and leave three or four threads,
+alternately, and instead of holding the stuff fast with your thumb, push
+it on to the needle as you go, and draw up your thread after every four
+or five stitches.
+
+[Illustration: FIG. 18. GATHERING.]
+
+STROKING GATHERS (fig. 19).--When you have run in your gathering
+thread, draw it up tight, and make it fast round the finger of your left
+hand, and then stroke down the gathers with a strong needle, so that
+they lie evenly side by side, pushing each gather, in stroking it, under
+your left thumb, whilst you support the stuff at the back with your
+other fingers.
+
+[Illustration: FIG. 19. STROKING GATHERS.]
+
+RUNNING IN A SECOND GATHERING THREAD (fig. 20).--This is to fix the
+gathers after they have been stroked, and should be run in 1 or 2 c/m.
+below the first thread, according to the kind of stuff, and the purpose
+it is intended for: take up five or six gathers at a time, and draw your
+two threads perfectly even, that the gathers may be straight to the line
+of the thread.
+
+[Illustration: FIG. 20. RUNNING IN A SECOND GATHERING-THREAD.]
+
+SEWING ON GATHERS (fig. 21).--To distribute the fulness equally,
+divide the gathered portion of material, and the band, or plain piece,
+on to which it is to be sewn, into equal parts, and pin the two together
+at corresponding distances, the gathered portion under the plain, and
+hem each gather to the band or plain piece, sloping the needle to make
+the thread slant, and slipping it through the upper threads only of the
+gathers.
+
+[Illustration: FIG. 21. SEWING ON GATHERS.]
+
+WHIPPING (fig. 22).--Whipping is another form of gathering, used for
+fine materials. With the thumb and forefinger of the left hand, roll the
+edge over towards you, into a very tight thin roll, insert the needle on
+the inside of the roll next the thumb, and bring it out on the outside
+next the forefinger, at very regular distances, and draw up the thread
+slightly, from time to time, to form the gathers.
+
+[Illustration: FIG 22. WHIPPING.]
+
+ORNAMENTAL HEM (fig. 23). For an ornamental hem, make a turning, 2 or
+3 c/m. deep, and run in a thread, with small running-stitches up and
+down, as shown in fig. 23. By slightly drawing the thread, the straight
+edge will be made to look as if it were scalloped.
+
+[Illustration: FIG. 23. ORNAMENTAL HEM.]
+
+SEWING ON CORD (fig. 24).--For sewing on cord, use strong thread,
+either Fil d'Alsace D.M.C, Fil a dentelle D.M.C or Cable 6 fils D.M.C
+No. 25, 30, 35 or 40.[A] Be careful not to stretch the cord, but to hold
+it in, as you sew it, as it invariably shrinks more than the stuff in
+the first washing. Fasten it with hemming stitches to the edge of the
+turning, taking care that it does not get twisted.
+
+[Illustration: FIG. 24. SEWING ON CORD.]
+
+SEWING ON FLAPS (fig. 25).--These should be back-stitched on to the
+right side of the article they are to be affixed to, quite close to the
+edge, then folded over in half, and hemmed down on the wrong side. Like
+the cord, the flap must, in the process, be held in very firmly with the
+left hand. Though the back-stitching could be more quickly done by
+machine, hand-work is here preferable, as the holding in cannot be done
+by machine.
+
+[Illustration: FIG. 25. SEWING ON FLAPS.]
+
+SEWING ON TAPE-LOOPS (figs. 26 and 27).--These, in the case of the
+coarser articles of household linen, are generally fastened to the
+corners. Lay the ends of your piece of tape, which should be from 15 to
+17 c/m. long, side by side, turn in and hem them down, on three sides:
+the loop should be so folded as to form a three-cornered point, shewn in
+the illustration. Join the two edges of the tape together in the middle
+with a few cross-stitches, and stitch the edge of the hem of the article
+to the loop, on the right side.
+
+[Illustration: FIG. 26. SEWING ON TAPE-LOOPS TO THE CORNER.]
+
+[Illustration: FIG. 27. SEWING ON TAPE-LOOPS IN THE MIDDLE OF THE
+ARTICLE.]
+
+Fig. 27 shows how to sew on a loop in the middle of an article, the two
+ends separately, one on one side, the other on the other.
+
+STRINGS AND LOOPS FOR FINE UNDER-LINEN (fig. 28).--Sew these on,
+likewise, on the wrong side of the article, hemming down the ends, and
+fastening them on the right side, with two rows of stitching crossing
+each other, and a third row along the edge.
+
+[Illustration: FIG. 28. STRINGS AND LOOPS ON FINE UNDER-LINEN.]
+
+BUTTON-HOLES IN LINEN (fig. 29).--Cut your hole perfectly straight,
+and of exactly, the diameter of the button, having previously marked
+out the place for it, with two rows of running-stitches, two or three
+threads apart. Put in your needle at the back of the slit, and take up
+about three threads, bring the working thread round, from right to left
+under the point of the needle, and draw the needle out through the loop,
+so that the little knot comes at the edge of the slit, and so on to the
+end, working from the lower left-hand corner to the right. Then make a
+bar of button-hole stitching across each end, the knotted edge towards
+the slit.
+
+[Illustration: FIG. 29. BUTTON-HOLES IN LINEN.]
+
+BUTTON HOLES IN DRESS MATERIALS (fig. 30).--Mark out and cut them as
+above described; if however, the material be liable to fray, wet the
+slit as soon as you have cut it, with liquid gum, and lay a strand of
+strong thread along the edge to make your stitches over; one end of
+dress button-holes must be round, the stitches diverging like rays from
+the centre, and when you have worked the second side, thread the needle
+with the loose strand, and pull it slightly, to straighten the edges;
+then fasten off, and close the button-hole with a straight bar of
+stitches across the other end, as in fig. 29.
+
+[Illustration: FIG. 30. BUTTON-HOLES IN DRESS-MATERIALS.]
+
+SEWING ON BUTTONS (figs. 31 and 32).--To sew linen, or webbed buttons
+on to underclothing, fasten in your thread with a stitch or two, at the
+place where the button is to be; bring the needle out through the middle
+of the button, and make eight stitches, diverging from the centre like a
+star, and if you like, encircle them by a row of stitching, as in fig.
+32. This done, bring the needle out between the stuff and the button,
+and twist the cotton six or seven times round it, then push the needle
+through to the wrong side, and fasten off.
+
+[Illustration: FIG. 31. SEWING ON LINEN BUTTONS.]
+
+[Illustration: FIG. 32. SEWING ON WEBBED BUTTONS.]
+
+BINDING SLITS (figs. 33, 34, 35, 36).--Nothing is more apt to tear
+than a slit whether it be hemmed or merely bound. To prevent this, make
+a semicircle of button-hole stitches at the bottom of the slit, and
+above that, to connect the two sides, a bridge of several threads,
+covered with button-hole stitches.
+
+[Illustration: FIG. 33. BINDING SLITS WITH HEM.]
+
+[Illustration: FIG. 34. BINDING SLITS WITH PIECE ON CROSS.]
+
+[Illustration: FIG. 35. BINDING SLITS WITH BROAD BAND.]
+
+[Illustration: FIG. 36. STRENGTHENING SLITS WITH GUSSET.]
+
+In fig. 33, we show a hemmed slit, and in figs. 34 and 35, are two slits
+backed the one with a narrow, the other, with a broad piece of the
+material, cut on the cross.
+
+In under-linen, it often so happens that two selvedges meet at the slit,
+which renders binding unnecessary; in that case take a small square of
+stuff, turn in the raw edges, top-sew it into the slit on two sides,
+turn in the other two, fold over on the bias, and hem them down over the
+top-sewing, as shewn in fig. 36. Such little squares of material,
+inserted into a slit or seam, to prevent its tearing, are called
+gussets.
+
+SEWING ON PIPING (fig. 37). Piping is a border, consisting of a cord or
+bobbin, folded into a stripe of material, cut on the cross, and affixed
+to the edge of an article to give it more strength and finish. It is a
+good substitute for a hem or binding on a bias edge, which by means of
+the cord, can be held in, and prevented from stretching. Cut your
+stripes diagonally, across the web of the stuff, and very even; run them
+together, lay the cord or bobbin along the stripe, on the wrong side, 5
+m/m. from the edge, fold the edge over, and tack the cord lightly in.
+Then lay it on the raw edge of the article, with the cord towards you,
+and with all the raw edges turned away from you. Back-stitch the piping
+to the edge, keeping close to the cord. Then turn the article round,
+fold in the raw outside edge over the others, and hem it down like an
+ordinary hem.
+
+[Illustration: FIG. 37. SEWING ON PIPING.]
+
+FIXING WHALE-BONES (fig. 38).--Before slipping the whale-bone into its
+case or fold of stuff, pierce holes in it, top and bottom, with a red
+hot stiletto. Through these holes, make your stitches, diverging like
+rays or crossing each other as shown in fig. 38.
+
+[Illustration: FIG 38. FIXING WHALE-BONES.]
+
+HERRING-BONING (fig. 39).--This stitch is chiefly used for seams in
+flannel, and for overcasting dress-seams, and takes the place of
+hemming, for fastening down the raw edges of a seam that has been run or
+stitched, without turning them in. Herring-boning is done from left to
+right, and forms two rows of stitches. Insert the needle from right to
+left, and make a stitch first above, and then below the edge, the
+threads crossing each other diagonally, as shewn in fig. 39.
+
+[Illustration: FIG. 39. HERRING-BONING]
+
+FOOTNOTES:
+
+[1] Our readers should be provided with a French metre, with the English
+yard marked on the back for purposes of comparison.
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: SPECIMENS OF PATTERN DARNS.]
+
+
+
+
+Mending.
+
+
+The mending of wearing-apparel and house-linen, though often an
+ungrateful task, is yet a very necessary one, to which every female hand
+ought to be carefully trained. How best to disguise and repair the wear
+and tear of use or accident is quite as valuable an art, as that of
+making new things.
+
+Under the head of mending, we include the strengthening and replacing of
+the worn and broken threads of a fabric, and fitting in of new stuff in
+the place of that which is torn or damaged. The former is called
+darning, the latter, patching.
+
+DARNING.--When only a few of the warp or woof threads are torn or
+missing, a darn will repair the mischief, provided the surrounding parts
+be sound. When the damage is more extensive, the piece must be cut out.
+
+In some cases the warp of the stuff itself can be used for darning,
+otherwise thread as much like the stuff as possible should be chosen.
+
+MATERIALS SUITABLE FOR MENDING.--Coton a repriser D.M.C is used for
+most kinds of darning. It can be had in 18 different sizes, from Nos. 8
+to 100, white and unbleached, and in all the colours of the D.M.C
+colour-card in Nos. 12, 25 and 50.
+
+It is but very slightly twisted and can be split or used double, if
+necessary, according to the material. For all the coarser articles of
+house-linen, unbleached cotton is the best, and for the finer white
+fabrics, Coton surfin D.M.C Nos. 110, 120 and 150[A]. This cotton, which
+is not the least twisted, and is to be had both white and unbleached,
+can be used, by subdividing it, for darning the finest cambric.
+
+VARIETIES OF DARNING.--These are four, (1) Linen darning, (2) Damask
+darning, (3) Satin or Twill darning, and (4) Invisible darning, called
+also, Fine-drawing.
+
+(1) LINEN DARNING (figs. 40 and 41).--All darns should be made on the
+wrong side of the stuff, excepting fig. 54, which it is sometimes better
+to make on the right side. The longitudinal running, to form the warp,
+must be made first. The thread must not be drawn tightly in running your
+stitches backwards and forwards, and be careful to leave loops at each
+turning, to allow for the shrinking of the thread in the washing,
+without its pulling the darn together.
+
+[Illustration: FIG. 40. LINEN DARNING. DRAWING IN THE WARP THREADS.]
+
+[Illustration: FIG. 41. LINEN DARNING. DRAWING IN THE WOOF THREADS.]
+
+Run your needle in, about one c/m. above the damaged part, take up one
+or two threads of the stuff and miss the same number, working straight
+to a thread; on reaching the hole, carry your cotton straight across it,
+take up alternate threads beyond, and proceed as before. Continue the
+rows backwards and forwards, taking up in each row, the threads left in
+the preceding one. Turn the work round and do the same for the woof;
+alternately taking up and leaving the warp threads, where the cotton
+crosses the hole. The threads must lie so alone both ways, that the
+darn, when completed, replaces the original web. The threads are only
+drawn so far apart in the illustrations, for the sake of clearness.
+
+When the material to be darned does not admit of a fleecy thread, such
+as Coton a repriser D.M.C, one that as nearly as possible matches the
+material, should be chosen from the D.M.C cottons.[A]
+
+DIAGONAL LINEN DARNING (fig. 42).--Darns are sometimes begun from the
+corner, so as to form a diagonal web, but they are then much more
+visible than when they are worked straight to a thread, and therefore
+not advisable.
+
+[Illustration: FIG. 42. DIAGONAL LINEN DARNING.]
+
+(2) SATIN OR TWILL DARNING (fig. 43).--By twill darning, the damaged
+web of any twilled or diagonal material can be restored. It would be
+impossible to enumerate all the varieties of twilled stuffs, but the
+illustrations and accompanying directions will enable the worker to
+imitate them all.
+
+[Illustration: FIG. 43. SATIN OR TWILL DARNING.]
+
+Begin, as in ordinary darning by running in the warp threads, then take
+up one thread, and miss three. In every succeeding row, advance one
+thread in the same direction. Or, miss one thread of the stuff and take
+up two, and as before, advance, one thread in the same direction, every
+succeeding row. The order in which threads should be missed and taken
+up, must depend on the web which the darn is intended to imitate.
+
+When the original is a coloured stuff, it is advisable to make a
+specimen darn first, on a larger scale, so that you may be more sure of
+obtaining a correct copy of the original web.
+
+(3) DAMASK DARNING (figs. 44, 45, 46, 47, 48, 49).--A damask darn is
+begun in the same way as all other darns are; the pattern is formed by
+the cross-runnings and will vary with the number of warp threads taken
+up and missed, in each successive running. The woven design which you
+are to copy with your needle must therefore be carefully examined first.
+
+Figs. 44 and 45 show the wrong and right sides of a damask darn, in
+process of being made.
+
+[Illustration: FIG. 44. DAMASK DARNING. WRONG SIDE.]
+
+[Illustration: FIG. 45. DAMASK DARNING. RIGHT SIDE.]
+
+Fig. 46 represents a completed one. In the case of coloured webs, a
+light shade of cotton is generally used for the warp, one that matches
+the stuff, for the shot or woof.
+
+[Illustration: FIG. 46. DAMASK DARNING. COVERED GROUND.]
+
+Figs. 47 and 48, illustrate two specimens of darning, formerly done in
+the convents, from which it will be seen, that the warp and the woof
+were first drawn in with rather fine thread and the pattern then worked
+into this foundation with coarser, or else, coloured thread. When this
+kind of darn is in two colours, take, for the darker shade, Coton a
+broder D.M.C, or Coton a repriser D.M.C, which are both of them to be
+had in all the bright and faded shades, to match alike both old and new
+linen.
+
+[Illustration: FIG. 47. DAMASK DARNING ON NEEDLE-MADE GROUND.]
+
+[Illustration: FIG. 48. DAMASK DARNING ON NEEDLE-MADE GROUND.]
+
+Fig. 49, which is executed in two colours, and is likewise copied from
+an old work on darning, shows you the manner in which a dice-pattern is
+to be reproduced.
+
+[Illustration: FIG. 49. DAMASK DARNING WITH COLOURED THREAD.]
+
+(4) DARNING, LOST IN THE GROUND (fig. 50).--A kind of darn used for
+repairing rents, the edges of which fit exactly into one another.
+Neither the torn threads of the material nor the rough edges must be cut
+off; the torn part is to be tacked upon a piece of oil-cloth, wrong side
+uppermost, and the edges, drawn together by a thread, run in backwards,
+and forwards, across them. The stitches must be set as closely together
+as possible, and regularly inverted, as in every other darn. A much
+finer thread relatively than that of which the material is composed
+should, in all cases be used for darning. In this instance also, for the
+sake of greater distinctness, the size of the thread has been magnified
+in the illustration. Coton surfin D.M.C, will be found the best for
+darning both calico and linen.
+
+[Illustration: FIG. 50. DARNING LOST IN THE GROUND.]
+
+FINE DRAWING (fig. 51).--The art of making invisible darns in cloth,
+though such a useful one, is all but unknown. It is a tedious process
+and one which, though easy enough to understand, requires great care in
+the execution.
+
+[Illustration: FIG. 51. FINE DRAWING.]
+
+Use as fine a needle as possible and thread it with hair, instead of
+silk, or any other kind of fibre. Red and white hair is the strongest,
+and stronger than the ravellings of the stuff. Of course the hair has
+first to be carefully cleansed from grease. Pare the edges of the rent,
+on the right sides, quite clean and even, with a razor, so that both
+rent and stitches may be lost in the hairy surface of the cloth.
+Scissors do not cut so closely, and are liable moreover, to disturb the
+nap, and render the darn more visible. When this is done, fit the edges
+exactly together, and overcast them. Then thread a needle with a hair by
+the root, and slip it in, 2 or 3 m/m. from the one edge and back again
+pointed towards you, through the other, so that, neither needle nor
+hair, are visible on either side. The stitches should be set slightly
+slanting and must be quite lost in the thickness of the cloth. The
+needle must always be put in, exactly at the place where it came out,
+and the hair not be too tightly drawn.
+
+When the darn is finished, lay the article on a bare table, or
+ironing-board, cover it with a damp cloth, and iron it. The sharpest eye
+will fail to detect a rent, when carefully darned in this manner.
+
+PATCHING.--As we have already said, when the defective part is past
+darning, it must be cut out, and a new piece of stuff inserted in its
+place. If the garment be no longer new, it should be patched with a
+slighter material than that of which it was originally made. The patch
+should be of the same shape, and cut the same way of the stuff, as the
+piece it is to replace, it should also be, just so much larger, as to
+allow for the turnings in, and can either be top-sewn, or else, run and
+felled in.
+
+BACK-STITCHING AND FELLING IN A PATCH (fig. 52).--Tack in the new
+piece, so that its edges over-lap the edges of the hole. The
+back-stitching must be done on the article itself, as this renders it
+easier to do the corners neatly. The hem is turned down on to the patch.
+Make a little snip at the corners with your scissors to prevent
+puckering. The back-stitching should form a right angle at each corner.
+
+[Illustration: FIG. 52. BACK-STITCHING AND FELLING IN A PATCH.]
+
+TOP-SEWING IN A PATCH (fig. 53).--To do this, the edges of the hole
+and of the patch, must first be turned in, and either overcast or
+hemmed, to prevent their fraying, after which, sew the two edges
+together. The raw edges may also be turned in with herring-boning as in
+fig. 39, putting the needle, only through one layer of stuff.
+
+[Illustration: FIG. 53. TOP-SEWING IN A PATCH.]
+
+DRAWING IN A PATCH (fig. 54).--Take a square piece of the original
+stuff, 5 or 6 c/m. larger each way, than the hole it is to fill, draw
+out threads on all the four sides, till the piece exactly matches the
+hole, and tack it into its place. Thread a very fine needle with the two
+ends of a thread of silk or Fil d'Alsace D.M.C No. 700, run it in at the
+corner of the stuff, and draw it out, leaving a loop behind. Into this
+loop, slip the first of the threads, which as it were, form a fringe to
+the patch, and tighten the loop round it, and so on with each thread,
+alternately taking up and leaving threads in the stuff, as in ordinary
+darning.
+
+[Illustration: FIG. 54. DRAWING IN A PATCH.]
+
+To put a patch into a thin material, in this manner, you must darn in
+the threads, a good long way, into the material, in order that the
+double layer of threads may be less visible.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+[Illustration: STRIPE OF CUT OPEN-WORK ON WHITE LINEN.]
+
+
+
+
+Single and cut Open-work.
+
+
+The above heading comprises every sort of needle-work, to which the
+drawing out of threads is a preliminary. By sewing over the single
+threads that remain, and drawing them together in different ways, an
+infinite variety of patterns can be produced. Many pretty combinations
+also, can be made of open-work, cross-stitch, and other kinds of
+embroidery.
+
+MATERIALS SUITABLE FOR OPEN-WORK.--For all the coarser stuffs, such as
+Holbein-linen, Java and linen-canvas and the like, now in such favour
+for the imitation of old needlework, it will be best to use: Fil a
+pointer D.M.C, No. 30[A] and Cordonnet 6 fils D.M.C, Nos. 10 to 20,[A]
+and for the finer stuffs, such as antique-linen and linen-gauze;
+Cordonnet 6 fils D.M.C Nos. 50 to 150,[A] Fil d'Alsace D.M.C, Nos. 20 to
+100, and Fil a dentelle D.M.C, Nos. 25 to 80.
+
+Coloured patterns can also be executed in open-work, with Coton a broder
+D.M.C Nos. 16 to 35, and Coton a repriser D.M.C, Nos. 25 to 50[A].
+
+THE TWO DIFFERENT KINDS OF OPEN-WORK.--The one is called, single
+open-work, the Italian Punto tirato, in which the first step is to draw
+out one layer of threads; the other, cut open-work, the Italian Punto
+tagliato, for which, both the warp, and the woof threads, have to be
+drawn out.
+
+SINGLE OPEN-WORK (PUNTO TIRATO).--This, in its simplest form, is the
+ornamental latticed hem, in common use where something rather more
+decorative than an ordinary hem (fig. 8) is required, and consists in
+drawing out one layer of threads, either the warp or the woof.
+
+SINGLE HEM-STITCH (fig. 55).--Draw out, according to the coarseness of
+the stuff, two or four threads, below the edge of the turning, and tack
+your hem down to the line thus drawn. Fasten your thread in to the left,
+and work your hem from right to left, taking up three or four
+cross-threads at a time, and inserting your needle, immediately above,
+into the folded hem, three or four threads from the edge, and then
+drawing it out.
+
+[Illustration: FIG. 55. SINGLE HEM-STITCH.]
+
+The same stitch is used for preventing the fringes, that serve as a
+finish to so many articles of house-linen, from ravelling.
+
+SECOND HEM-STITCH (fig. 56).--Prepare your hem as for fig. 55, and
+work from left to right; with this difference, that after drawing two or
+three cross-threads together, from right to left, you skip the same
+number of perpendicular threads you took up below, and insert your
+needle downwards from above, bringing it out at the bottom edge of the
+hem.
+
+[Illustration: FIG. 56. SECOND HEM-STITCH.]
+
+These stitches, which can be used for the right side also, form a kind
+of little tress, along the edge of the hem.
+
+LADDER STITCH HEM (fig. 57). Complete the hem, as already directed in
+fig. 55, then draw out three or five threads more, turn the work round,
+and repeat the process, taking up the same clusters of threads which
+you took up in the first row of stitches, thus forming little
+perpendicular bars.
+
+[Illustration: FIG. 57. LADDER STITCH HEM.]
+
+DOUBLE HEM-STITCH (fig. 58). Begin as in fig. 55, forming your
+clusters of an even number of threads; and then, in making your second
+row of stitches, draw half the threads of one cluster, and half of the
+next together, thereby making them slant, first one way and then the
+other.
+
+[Illustration: FIG. 58. DOUBLE HEM-STITCH.]
+
+ANTIQUE HEM-STITCH (figs 59, 60, 61 and 62). In the old, elaborate,
+linen needlework, we often meet two kinds of hem-stitching seldom found
+in modern books on needle-work. Figs. 59 to 62 are magnified
+representations of the same. At the necessary depth for forming a narrow
+hem, a thread is drawn, in the case of very fine textures where the edge
+is rolled, not laid; then fasten in the working thread at the left, and
+work the stitches from left to right. Passing your needle, from right to
+left, under three or four threads, draw the thread round the cluster and
+carry your needle on, through as many threads of the upper layer of
+stuff, as you took up below, so that the stitch may always emerge from
+the middle of the cluster.
+
+[Illustration: FIG. 59. ANTIQUE HEM-STITCH. WRONG SIDE.]
+
+[Illustration: FIG. 60. ANTIQUE HEM-STITCH. RIGHT SIDE.]
+
+ANTIQUE HEM-STITCH (figs. 61 and 62).--These show, the right and
+wrong sides of the hem; here the rolled hem is prepared as above, but
+the stitches are worked from right to left, and the thread is carried
+round the little roll, so that, as shown in fig. 62, it is visible on
+both sides of the hem. The needle does not enter the stuff, but is
+carried back at once, from the outside, and put in again between two
+clusters of threads.
+
+[Illustration: FIG. 61.--ANTIQUE HEM-STITCH. WRONG SIDE.]
+
+[Illustration: FIG. 62.--ANTIQUE HEM-STITCH. RIGHT SIDE.]
+
+SLANTING HEM-STITCH (figs. 63 and 64).--Bring out your needle and
+thread, two or three threads above the edge of the turning, between the
+first and second of the three cross-threads that compose the cluster,
+and then slip it under the cluster, from right to left. The loop must
+lie in front of the needle. When you have drawn up the stitch, put the
+needle in, one thread further on, and take up two threads. Fig. 64 shows
+the stitch on the right side.
+
+[Illustration: FIG. 63. SLANTING HEM-STITCH. WRONG SIDE.]
+
+[Illustration: FIG. 64. SLANTING HEM-STITCH. RIGHT SIDE.]
+
+DOUBLE-ROWED ORNAMENTAL SEAM (figs. 65, 66, 67).--Begin with any one
+of the hems already described, then counting as many threads downwards,
+as are clustered together in the first row, draw out a second thread,
+and cluster the perpendicular threads in this second line together, as
+shown in figs. 65 and 66. On the right side the stitch is straight (fig.
+67). Coloured cottons should be used for all the above patterns of
+hem-stitch, when they are to be introduced into coloured embroideries.
+
+[Illustration: FIG. 65. DOUBLE-ROWED ORNAMENTAL SEAM. WRONG SIDE.]
+
+[Illustration: FIG. 66. DOUBLE-ROWED ORNAMENTAL SEAM. WRONG SIDE.]
+
+[Illustration: FIG. 67. DOUBLE-ROWED ORNAMENTAL SEAM. RIGHT SIDE.]
+
+SINGLE THREE-ROWED OPEN-WORK (fig. 68).--This, and the following
+patterns, are suitable for the headings of hems, and for connecting
+stripes of embroidery, and are also often used instead of lace, and lace
+insertion.
+
+Fig. 68 will be found specially useful, in cases where the object is, to
+produce a good deal of effect, at the cost of as little labour as
+possible. Make six rows of hem-stitching, as in fig. 55; the first and
+sixth rows to serve as a finish, above and below.
+
+[Illustration: FIG. 68. SINGLE THREE-ROWED OPEN-WORK.]
+
+The second and third, after drawing out six threads, the third and
+fourth after drawing out eight. The clusters must all consist of an even
+number of threads. The upper and the lower band of open-work is to be
+copied from fig. 58, the centre one, from fig. 57. Divide the threads of
+the perpendicular clusters in two; insert the needle, from left to
+right, underneath half the second cluster, turn the needle's eye, by a
+second movement, from left to right, and take up the second part of the
+first cluster, drawing it under, and at the same time, in front of the
+first half of the second cluster. Be careful not to draw your thread too
+tightly.
+
+OPEN-WORK WITH TWO THREADS DRAWN THROUGH (fig. 69).--One such wide
+lane of open-work, between two finishing rows of stitches, may have two
+threads drawn through it.
+
+[Illustration: FIG. 69. OPEN-WORK WITH TWO THREADS DRAWN THROUGH.]
+
+OPEN-WORK WITH THREE THREADS DRAWN THROUGH (fig. 70). Overcast both
+edges with single stitches; draw the clusters together in the middle, as
+in fig. 68; then above and below the middle thread, draw in first one
+thread and then a second, straight above it, securing the latter with
+back-stitches to enclose the clusters between two threads.
+
+[Illustration: FIG. 70. OPEN-WORK WITH THREE THREADS DRAWN THROUGH.]
+
+CLUSTERED OPEN-WORK (fig. 71).--Draw out from sixteen to eighteen
+threads, between two hem-stitched edges. Fasten your thread in, 3 m/m.
+above the seam-edge, and wind it three times round every two clusters,
+passing the needle, the third time, under the two first rounds, to
+fasten the thread. The thread, thus drawn through, must be left rather
+slack. A second row of stitches, similar to the first, and at the same
+distance from the bottom edge, completes this pattern. To give it
+greater strength, you may if you like, work back over the first thread,
+with a second, taking care to pass it under the knot, which was formed
+by the first.
+
+[Illustration: FIG. 71. CLUSTERED OPEN-WORK.]
+
+DOUBLE-ROWED CLUSTER-OPEN-WORK (fig. 72).--A very good effect can be
+obtained by making the above stitch in such a manner, as to form groups
+of three clusters each, between hem-stitched bands of the stuff.
+
+[Illustration: FIG. 72. DOUBLE-ROWED CLUSTER-OPEN-WORK.]
+
+TURKISH CLUSTER OPEN-WORK (fig. 73).--After portioning off, and sewing
+up the clusters on one side, draw out twelve or fourteen threads, and
+make your connecting-stitch and hem, all in one, as follows: bring out
+the thread before the cluster, and pass it round it, then from right to
+left, over three horizontal and under four perpendicular threads, again
+from left to right, over the four threads just passed over, and out at
+the second cluster; laying it over this, you bring it out behind the
+first cluster, wind it round the middle of them both, and pass it
+through, between the over-casting stitches back to the hem; encircle the
+second cluster with a loop-stitch, and carry your thread again over
+three horizontal and four perpendicular threads, and upwards, slanting
+underneath the stuff, out in front of the next cluster.
+
+[Illustration: FIG. 73. TURKISH CLUSTER OPEN-WORK.]
+
+OPEN-WORK WITH DARNING STITCH (fig. 74).--Draw out from eight to
+twelve threads, according to the quality of the stuff. Insert your
+needle and thread between two clusters, and pass it, as if you were
+darning, backwards and forwards over them, until they are encased half
+way down with stitches. In so doing, work with the eye of the needle
+forward, and the point towards your thimble. To pass to the next
+cluster, take one stitch back, under the one just darned, and bring your
+thread underneath the threads of the stuff, to the second cluster.
+
+[Illustration: FIG. 74. OPEN-WORK WITH DARNING STITCH.]
+
+OPEN-WORK IN THREE COLOURS (fig. 75).--This pattern which is to be
+done in the same way as fig. 74, requires the drawing out of, at least,
+eighteen threads. Every cross-line of three clusters is to be worked in
+one colour. The colours may all be different, or you may if you prefer,
+take shades of the same colour.
+
+[Illustration: FIG. 75. OPEN-WORK IN THREE COLOURS. COLOURS: Bleu-Indigo
+311, 322, 334, Brun-Caroubier 354, 303, 357, or Rouge-Geranium 349, 351,
+352.[A]]
+
+OPEN-WORK INSERTION (figs. 76 and 77).--For both these, the edges are
+to be overcast, and the darning stitches packed sufficiently closely
+together, for the threads of the stuff to be entirely covered.
+
+Fig. 76 requires the drawing out of eighteen threads, fig. 77, of
+thirty. Both admit of several colours being used.
+
+[Illustration: FIG. 76. OPEN-WORK INSERTION.]
+
+[Illustration: FIG. 77. OPEN-WORK INSERTION.]
+
+OPEN-WORK INSERTION (fig. 78).--After drawing out sixteen or eighteen
+threads, bind both sides with stitches made over four horizontal and
+four perpendicular threads, as follows; make one back-stitch over four
+disengaged threads, then bring up your thread from right to left, over
+four horizontal and under four perpendicular threads, back over the four
+last threads, and draw it out beside the next cluster. The clusters, as
+they now stand, are bound together in the middle, three by three, with
+darning-stitches. The thread must be fastened in and cut off, after each
+group is finished.
+
+[Illustration: FIG. 78. OPEN-WORK INSERTION.]
+
+OPEN-WORK INSERTION (fig. 79).--First bind the two edges with
+stitches, in the ordinary way. At the last stitch introduce the thread
+slanting, according to the dotted line, pass it under four horizontal
+and three perpendicular threads of the stuff and draw it out; then over
+three threads from right to left, and back under the same, from left to
+right, and out again; over four horizontal threads, and, under and again
+over, three perpendicular ones; for the next stitch, you again follow
+the dotted slanting line.
+
+[Illustration: FIG. 79. OPEN-WORK INSERTION.]
+
+Then make the darning stitch over nine threads, or three clusters. At
+half their length, you leave out three threads, first on the right, then
+on the left, whilst in the other half, you, in a similar manner, take in
+three; so that you have two darned and two undarned clusters, standing
+opposite each other. Finally, you overcast the single clusters, and
+connect every two with a lock-stitch, as shown in the accompanying
+illustration.
+
+OPEN-WORK INSERTION (fig. 80).--Draw out twenty threads, overcast both
+edges with stitches, made over three threads. Then, make slanting
+stitches, proceeding out from these, over three, six and nine threads
+respectively, all three terminating in a perpendicular line, one below
+the other.
+
+[Illustration: FIG. 80. OPEN-WORK INSERTION.]
+
+For the open-work, twist the thread five times, quite tightly round and
+round one cluster, bring it to the edge, between the second and third
+clusters, and connect these by means of six darning-stitches to and fro:
+join the first and second clusters in the same way by twelve stitches,
+and finish, by twisting the thread five times round the remaining length
+of the first cluster. The second half of the open-work figure is
+carried out in a similar manner over the third and fourth clusters.
+
+OPEN-WORK INSERTION IN FOUR COLOURS (fig. 81).--Draw out, from
+twenty-five to thirty threads. The outside figures are executed over six
+clusters, of three threads each, in a dark and light shade alternately
+of the same colour. Each of the middle figures combines three clusters
+of the two figures above it, and may be executed, either in a different
+colour altogether, or in a lighter shade of the one employed in the top
+row. The little star in the centre should be worked in dark red, or
+black.
+
+[Illustration: FIG. 81. OPEN-WORK INSERTION IN FOUR COLOURS.
+
+MATERIALS: Coton a broder D.M.C No. 20, or Cordonnet 6 fils D.M.C Nos.
+15 to 30.[A]
+
+COLOURS: Rouge-Turc 321, Bleu-Indigo 312, 334, Noir grand Teint 310.[A]]
+
+OPEN-WORK INSERTIONS (figs. 82, 83, 84).--For each of these draw out
+forty threads. Fig. 82 worked in white, and Rouge-Grenat clair 309,
+comprises fourteen clusters, of four threads each. Begin at the top of
+the big pyramid, so that the threads which you run in, can be more
+closely crowded together.
+
+[Illustration: FIG. 82. OPEN-WORK INSERTION.]
+
+In fig. 83, the two rows of short clusters are worked in Gris-Tilleul
+moyen, and, Gris-Tilleul clair, 392 and 330;[A] the pyramid of steps,
+in Brun-Chamois moyen, 324;[A] the three inner clusters in Brim-Chamois
+tres clair, 418. One figure consists of fourteen clusters, of three
+threads each.
+
+[Illustration: FIG. 83. OPEN-WORK INSERTION.]
+
+Fig. 84 also is to be worked in three colours; the light squares in
+unbleached cotton, the middle figure in Bleu-Indigo tres clair, 334, the
+large squares on either side in Brun-Cuir clair 432. Each figure
+contains eighteen clusters, of three threads each.
+
+[Illustration: FIG. 84. OPEN-WORK INSERTION.]
+
+OPEN-WORK INSERTION WITH SPIDERS (fig. 85).--The edges are to be
+herring-boned, as described in fig. 39. In the middle, the so-called
+spiders are made, over every group of four clusters. The thread that
+runs out from the spider, passes over two clusters and under one, and
+then three or four times, over and under the clusters, as in darning,
+and so back, under the spider, at the place at which it was drawn in,
+and then on, to the next four strands of thread.
+
+[Illustration: FIG 85. OPEN-WORK INSERTION WITH SPIDERS.]
+
+THREE-ROWED OPEN-WORK (fig. 86).--Draw out five threads for the narrow
+stripe, and from fourteen to sixteen for the wide one. Each cluster
+should consist of four threads. The narrow bands between, are to be
+herring-boned on either side. The dotted line shows the course of the
+thread, on the wrong side. Then unite each separate cluster in the
+middle, with a back-stitch, as shown in the illustration, and finally,
+join every group of four clusters together, with three stitches, and
+make a spider in the middle of the open-work, at the point where the
+threads intersect each other.
+
+[Illustration: FIG 86. THREE-ROWED OPEN-WORK.]
+
+OPEN-WORK INSERTION WITH RINGS (fig. 87).--Bind the edges on both
+sides, with straight, two-sided, stitches. Take, for this, Coton a
+broder D.M.C, No. 30, (embroidery cotton), using it double. Draw out,
+from twenty-four to thirty threads. Wind your thread six or seven times
+round the middle of each cluster of nine threads, and then make
+darning-stitches, above and below, to a length of 3 m/m. When you have
+completed two clusters, join them together, by four interlocked
+stitches; wind your thread three times round the single thread, and sew
+it over with close stitches.
+
+[Illustration: FIG 87. OPEN-WORK INSERTION WITH RINGS.]
+
+OPEN-WORK INSERTION WITH SPIDERS (fig. 88).--Draw out twenty-four
+threads. Ornament the two edges with half-spiders. You begin these over
+two threads, and go on taking in others, to the number of eight. The
+whole spider in the middle, is made as above described.
+
+[Illustration: FIG. 88. OPEN-WORK INSERTION WITH SPIDERS.]
+
+OPEN-WORK INSERTION (figs. 89 and 90).--The beauty of this otherwise
+simple pattern, lies in the peculiar knot, with which the edges of the
+stuff are ornamented.
+
+[Illustration: FIG. 89. OPEN-WORK INSERTION.]
+
+Carry the working thread, as shown in fig. 90, from right to left, (see
+the description of the right side) over and under four threads; then
+bring the needle back, under the thread which lies slanting, form a loop
+with the forefinger of the left hand, slip it on to the needle, and draw
+it up close to the first stitch; pull the needle through the knot, and
+proceed to the next stitch.
+
+The illustration explains how the open-work in the middle should be
+carried out.
+
+[Illustration: FIG. 90. EXPLANATION OF THE STITCH FOR FIG. 89.]
+
+OPEN-WORK WITH WINDING STITCH (fig. 91).--For this pattern, which is a
+very laborious one to work, draw out twenty-eight threads. Bind the
+edges with two-sided stitches, over two, three, four and five threads,
+respectively. For the middle figures, you must reckon four threads for
+the clusters, round which the working thread is tightly twisted, eight
+for the darned clusters, ornamented with picots (see fig. 165), and
+sixteen for the rectangular rosettes, in two colours.
+
+Make a loose spider over the threads, as a background for the rosette.
+Work the picots in a different colour from the cluster, and the
+rosettes, likewise, in two colours. The connecting loops between the
+figures should be made as you go along, the thread being always carried
+back into the loop just made.
+
+[Illustration: FIG. 91. OPEN-WORK WITH WINDING STITCH.]
+
+CUTTING OUT THREADS AT THE CORNERS (figs. 92, 93, 94, 95). If you want
+to carry a latticed-hem or a simple open-work pattern, round a corner,
+you must cut and loosen the threads, on both sides, about one c/m. from
+the edge of the hem, as seen in fig. 92. The loose threads can be pushed
+into the turning, and the edge button-holed, as in fig. 93.
+
+If however, on the other hand, the stitching be continued without
+interruption, as indicated in the upper part of fig. 94, the loose
+threads must be brought to the wrong side, and as represented in the
+lower part of fig. 94, fastened down with a few stitches.
+
+[Illustration: FIG. 92. THE CUTTING AND LOOSENING OF THE THREADS AT THE
+CORNERS.]
+
+[Illustration: FIG. 93. THE OVER CASTING OF THE DISENGAGED EDGE AT THE
+CORNER, THE THREADS BEING TURNED IN WITHIN THE HEM.]
+
+[Illustration: FIG. 94. BORDERING THE DISENGAGED EDGE WITH
+HEM-STITCHING, THE THREADS BEING TURNED OVER]
+
+[Illustration: FIG. 95. FILLING IN THE CORNER WITH A SPIDER, AND
+CONTINUATION OF THE LATTICE-WORK THENCE.]
+
+CUT OPEN-WORK (PUNTO TAGLIATO).--For cut open-work, threads have to be
+drawn out both ways, the number of course to depend on the pattern.
+Threads, left between others that have been cut out, serve as a
+foundation on which a great variety of stitches can be worked. Stuffs,
+equally coarse in the warp and woof, should be chosen for all cut
+open-work, for then the empty spaces that remain, where threads have
+been drawn out both ways, will be perfectly square.
+
+DRAWING OUT THREADS BOTH WAYS (fig. 96).--The same number of threads
+must be drawn out each way; most patterns require the same number of
+threads to be left as are drawn out. In fig. 96, three threads have been
+drawn out and three left.
+
+[Illustration: FIG. 96. DRAWING OUT THREADS BOTH WAYS, WITHOUT REGARD TO
+THE EDGES.]
+
+CUTTING OUT THREADS (fig. 97).--We often meet with cut open-work
+patterns, set in another kind of embroidery. In such cases, the threads
+that are to be cut out, must be cut a few millimetres within the edge,
+and then drawn out, so that there may be a frame of the stuff left
+intact outside.
+
+[Illustration: FIG. 97. CUTTING OUT THREADS, IN THE MIDDLE OF THE
+STUFF.]
+
+BUTTON-HOLING THE RAW EDGES (fig. 98).--In very fine linen textures,
+the threads can simply be cut out, but in the case of coarser stuffs,
+and when a pattern ends in steps as in figs. 103, 104, 105, the raw
+edges must be button-holed as in fig. 98, or 99.
+
+[Illustration: FIG. 98. BUTTON-HOLING THE RAW EDGES OF CUT OPEN-WORK.]
+
+OVERCASTING THE RAW EDGES (fig. 99).--Cording the raw edges, is even
+better than button-holing them. Count the number of threads carefully
+that have to be cut out, run in a thread to mark the pattern, and then
+only, cut the threads through, at least two threads within the line.
+
+[Illustration: FIG. 99. OVERCASTING THE RAW EDGES OF CUT OPEN-WORK.]
+
+OVERCASTING THE TRELLISED GROUND (fig. 100).--If you only have a small
+surface to embroider, you can draw out all the threads at once. But in
+the case of a large piece of work it is better to begin by removing the
+threads in one direction only, and completing all the little bars, one
+way first; after which you draw out the threads the other way and
+embroider those you leave. In this way you will secure greater equality
+and finish in your work.
+
+[Illustration: FIG. 100.--OVERCASTING THE TRELLISED GROUND.]
+
+GROUND FOR SQUARE, FIG. 105 (figs. 101 and 102).--Finish the first row
+of bars along the edge completely, to begin with. In the second row,
+overcast the bar, down to half its length, then carry your thread over
+two empty spaces, see the letter _a_, come back to the bar, overcasting
+the thread which you threw across first, and passing the needle under
+the bars of the stuff. In the second rows that intersect the first,
+marked by letter _b_, the threads meet in the middle of the empty space.
+
+In fig. 102, finish the bars, overcast both ways first, and then fill in
+the ground with interlaced threads, worked row by row, throwing the
+thread from one square to the other as you go, and doubling it, as you
+return. For the bars, see the chapters on net embroidery, and Irish
+lace.
+
+[Illustration: FIG. 101. LATTICE-GROUND FOR SQUARE IN FIG. 105, SHOWING
+THE COURSE OF THE STITCHES.]
+
+[Illustration: FIG. 102. LATTICE-GROUND FOR SQUARE IN FIG. 105.]
+
+LATTICE-GROUND AND DAMASK STITCH FOR SQUARE, FIG. 105 (fig. 103).--Our
+illustration shows a third kind of openwork ground with one corner in
+damask stitch, of the square represented in fig. 105. The little bars
+which intersect each square crossways, are made in two divisions, by
+carrying the thread to the opposite bar and back. In the same way, the
+second thread is carried over the first. The damask stitches are
+described in the next chapter, in figs. 143 and 144.
+
+[Illustration: FIG. 103. LATTICE-GROUND WITH A PORTION OF SQUARE, FIG.
+105.]
+
+LATTICE-GROUND AND DAMASK STITCHES FOR SQUARE, FIG. 105 (fig.
+104).--Damask, or gobelin stitches, are given in figs. 152, 153, 154.
+The ground of this part of the square (fig. 104) is adorned with narrow
+bars, worked in darning stitch. From the centre of one bar, proceed
+three bars made on three foundation-threads, and a fourth made on two,
+on account of the passage to the next bar.
+
+[Illustration: FIG. 104. LATTICE-GROUND AND DAMASK STITCH FOR SQUARE,
+FIG. 105.]
+
+QUARTER OF THE SQUARE IN SINGLE AND CUT OPEN-WORK, AND DAMASK-STITCH
+(fig. 105).--Original size 48 c/m. square. This handsome square is
+worked in unbleached cotton on a white ground; it may also be worked in
+colours. A very good effect is produced by using Chine d'or D.M.C[A]
+red, blue, or green for the gobelin stitch, and a uniform pale tint for
+the cut open-work.
+
+Figs. 101, 102, 103, 104 illustrate in detail, one quarter of the
+square, which is represented here one third of the original size. The
+centre piece (fig. 104) is bordered by four stripes, two long and two
+short; the former containing two lozenge-shaped open-work figures
+separated and finished off by damask stitches; the latter, only one such
+figure. For the insertion in single open-work, that recurs three times,
+you will find a variety of designs in figs. 81, 82, 83, 84, 87, 88.
+
+[Illustration: FIG. 105.--QUARTER OF THE SQUARE IN SINGLE AND CUT
+OPEN-WORK, AND DAMASK STITCH.
+
+Original size 48 c/m. square.
+
+MATERIALS suitable for Holbein linen: Fil a pointer D.M.C No. 15 or 20,
+and Coton a repriser D.M.C No. 25.[A]
+
+For antique linen: Fil a dentelle D.M.C No. 25 or 30, or Cordonnet 6
+fils D.M.C No. 50, 60, or 70, and Coton a repriser D.M.C No. 50 or, in
+place of the latter, Coton a broder surfin D.M.C No. 190.[A]]
+
+DRAWING IN THE PATTERN (fig. 106).--Darning in the threads, as you do
+into a net foundation is a slower process and one that requires greater
+skill than drawing them in. The illustration shows the proper order and
+direction of stitches for Fig. 108. In this case likewise, the little
+bars must be finished, before the actual pattern is filled in.
+
+[Illustration: FIG. 106. DRAWING IN THE PATTERN. (Explanation of fig.
+108)]
+
+DARNING IN THE THREADS (fig. 107)--In old needle-work we often find
+the pattern reserved, that is, left blank and outlined by the grounding.
+As it is difficult, especially in executing minute, and delicate
+figures, to withdraw the threads partially, without injuring the linen
+foundation, they are withdrawn throughout, and new ones drawn in, to
+form the pattern. To explain this more clearly, the original threads of
+the material are represented in a lighter shade than the new ones that
+are drawn in; the course of the stitches is indicated in a darker shade.
+
+[Illustration: FIG 107. DARNING IN THE THREADS. (Explanation of fig.
+109).]
+
+BROAD INSERTION IN CUT OPEN-WORK, WITH THE PATTERN DRAWN IN (fig.
+108).--This insertion, suitable according to the foundation it is worked
+on, for the decoration either of curtains, table-covers, bed-linen or
+underclothing, is made as shown in fig. 106. If intended for the
+decoration of any article made of white linen, we recommend unbleached
+materials for the lattice-work, and bleached for the pattern, to bring
+it out in strong relief.
+
+[Illustration: FIG. 108. BROAD INSERTION IN CUT OPEN-WORK, WITH PATTERN
+DRAWN IN.]
+
+INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED IN (fig. 109).--This
+insertion can be introduced into any kind of linen material, and used
+for ornamenting towels, aprons, bed-linen and table-linen. When it is
+used to connect bands of cross-stitch embroidery, the open-work should
+be of the same colour as the embroidery, and the pattern worked in white
+or unbleached cotton, to correspond with the foundation. In fig. 109,
+the pattern is half as large again as in the original.
+
+[Illustration: FIG. 109. INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED
+IN.
+
+MATERIALS--For Holbein linen: Fil a pointer D.M.C No. 15 or 20,
+Cordonnet 6 fils D.M.C No. 8, 10 or 15 for the bars.--Coton a tricoter
+D.M.C No. 16 or Coton a repriser D.M.C No. 12 or 25 for darning or
+drawing in the pattern.
+
+For finer linens: Fil a dentelle D.M.C Nos. 25 to 30, or Cordonnet 6
+fils D.M.C Nos. 25 to 40 for the bars and Coton a repriser D.M.C No. 50
+for darning or drawing in the pattern.]
+
+CUT OPEN-WORK PATTERN (figs. 110 and 111).--This pattern, more of the
+nature of lace than any of the former, is well adapted for trimming, not
+only household articles but also church furniture, altar-cloths and the
+like, which are required to wash, as it can be worked in any width.
+
+Fig. 110, a magnified representation of the work in process of
+execution, shows alternately, ten threads withdrawn each way and six
+left, with open spaces between. The arcs are worked over three
+carefully laid threads, carried across from the middle of one bar to the
+middle of the bar at right angles to it, the wheels on the other hand
+are begun and finished at the same corner. Overcast the cut edges, and
+hem-stitch the outside layer of stuff (figs. 61 and 62).
+
+[Illustration: FIG. 110. CUT OPEN-WORK PATTERN. Fig. 111 in process of
+execution.]
+
+[Illustration: FIG. 111. CUT OPEN-WORK PATTERN. MATERIALS: Fil a pointer
+D.M.C No. 20 or 30, Cordonnet 6 fils D.M.C Nos. 15 to 50 or Fil a
+dentelle D.M.C Nos. 25 to 50.]
+
+GREEK CUT OPEN-WORK PATTERN (fig. 112).--After the foregoing
+explanations, no difficulty will be found in copying the beautiful Greek
+cut open-work pattern, illustrated in fig. 112. Here, we have in the
+original, 48 threads drawn out in the middle, both ways, from one
+straight bar to another, (these bars being darned) with open spaces
+between; and in the lower and narrower division, 21 threads drawn out
+each way. The cut edges, from bar to bar, are hem-stitched on both
+sides, leaving four threads of the stuff between.
+
+The long bars, in the second figure, are button holed on both sides,
+those with the picots, on one side only.
+
+[Illustration: FIG. 112. GREEK CUT OPEN-WORK PATTERN. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 25 to 50, Fil d'Alsace D.M.C Nos. 20 to 100
+or Fil a dentelle D.M.C Nos. 25 to 50.]
+
+FOOTNOTES:
+
+[A] See, at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: NET STRIPE, IN IMITATION OF BRUSSELS LACE.]
+
+
+
+
+Net and damask stitches.
+
+
+Many net embroidery patterns and damask stitches consist of a
+combination of ordinary running and darning, others of chain, stem and
+cross stitch.
+
+NET EMBROIDERY.--All these kinds of stitches can be worked on the
+coarse Greek net, as it is called, as well as on the finest quality of
+real Brussels net.
+
+Stripes of net, finished off with button-hole edging, and ornamented
+with one or other of the following patterns, make very pretty washing
+laces and the like; net laid upon Irish point and converted by
+needlework into a lace ground, makes an excellent substitute for a
+hand-made ground, which demands much labour and time.
+
+MATERIALS SUITABLE FOR NET EMBROIDERY.--The choice of material must be
+determined by the quality of the net and the effect to be produced. For
+a coarse make of net and a very marked pattern, the lowest numbers of
+D.M.C cottons, or the narrowest braids, such as Soutache D.M.C Nos. 1,
+2, 3 should be used; if the net be fine and the pattern a delicate one,
+then the higher numbers of the following are preferable: Coton a
+tricoter D.M.C Nos. 8 to 20, Coton a repriser D.M.C Nos. 25 to 70, Coton
+a broder D.M.C Nos. 16 to 50, Fil a dentelle D.M.C Nos. 25 to 50, Coton
+a broder surfin D.M.C Nos. 100, 120, 150. The latter must be adjusted to
+the required size before being used, that is to say as many strands of
+it removed, as is necessary in order to reduce it to the proper
+thickness.
+
+TRACING WITH RUNNING STITCHES (fig. 113).--Have your pattern traced on
+linen or paper; tack the net upon it, and copy it carefully on the net
+with running stitches. As in darning, the stitches must run first above
+and then beneath, alternating in each succeeding row. At the turn of the
+lines, the stitches cross each other, as shown in the illustration.
+
+[Illustration: FIG. 113. TRACING WITH RUNNING STITCHES.]
+
+NET PATTERN (fig. 114).--Here too the pattern is traced with running
+stitches, which are run in on both sides of each row of meshes. The
+thread is carried first to the right, and then to the left, under every
+alternate bar of the net and out again. Between the first and second
+rows, one thread of the foundation must be left uncovered. In the next
+row, the thread is carried back again, so that it encircles each mesh.
+In the third row, the thread passes under the same bar of net as in the
+second, the threads touching each other. The fourth row is a repetition
+of the first.
+
+[Illustration: FIG. 114. NET PATTERN.]
+
+NET PATTERN (fig. 115).--This consists of two rows of stitches. In the
+first, the single stitches run diagonally from left to right, over and
+under a mesh; in the second row the triple stitches, also carried
+diagonally across a mesh, lie from right to left.
+
+[Illustration: FIG. 115. NET PATTERN.]
+
+NET PATTERN (fig. 116).--Begin with a double row, as in fig. 114; this
+is followed by a row of cross-stitch, touching the others, for which the
+thread has to be carried, first under one of the straight bars of the
+mesh and then diagonally, across it. A second, similar row of stitches
+backwards, completes the crosses. This can be further varied by the
+introduction of a row of triple stitches, after the double row, as in
+fig. 115, and the repetition of the two first only.
+
+[Illustration: FIG. 116. NET PATTERN.]
+
+These rows can also be worked in two colours, or in white thread and
+washing gold.
+
+NET PATTERN (fig. 117).--Begin at the top, carrying the thread, first
+under and then over two bars and a mesh, and then underneath as before.
+In the second as in the first row, the threads must be drawn in, so that
+4 threads always meet in one mesh, and two run parallel to each other
+through the same mesh.
+
+[Illustration: FIG. 117. NET PATTERN.]
+
+NET PATTERN (fig. 118).--This pattern, which resembles fig. 117 in the
+execution, is thickened by triple stitches. Above, where in the
+preceding row three threads were laid, the thread should be single.
+
+[Illustration: FIG. 118. NET PATTERN.]
+
+Very pretty varieties are to be obtained by the introduction of several
+colours. Take white, for instance, for the first row, and different
+shades of the same colour for the second, third, fourth and fifth rows;
+such as, Bleu-Lapis 345, 344, 343, 333, 342, ([A]) or Rouge-Cardinal
+348, 305, 304, 347, 346, ([A]) or Rouge-Geranium, Brun-Caroubier or any
+other colour that is absolutely fast.
+
+NET PATTERN (fig. 119).--After one row of cross-stitch, such as was
+described in fig. 116, add a second, carrying the thread under the bar
+that lies between the first stitches, so that the two rows only cover
+three threads of the net. The close bands of cross-stitch must be
+divided from each other by one row of net bars.
+
+[Illustration: FIG. 119. NET PATTERN.]
+
+NET PATTERN (fig. 120).--Draw the thread twice backwards and forwards,
+as in darning, through one row of meshes. In the next, make four
+stitches over one mesh and two bars. After the fourth stitch, the thread
+is carried forward under two bars to the next group. The meshes filled
+in thus are divided from each other by two double rows of darning
+stitches. Here you may introduce a variety in the colour, using either
+white and unbleached, or unbleached and pale blue, or some other
+combination of the kind.
+
+[Illustration: FIG. 120. NET PATTERN.]
+
+NET PATTERN (fig. 121).--Make three diagonal stitches over three bars
+and two meshes, then returning to the mesh out of which the first
+stitches come, make three more in the opposite direction. In the second
+row, the stitches meet in the same mesh as those of the first.
+
+[Illustration: FIG. 121. NET PATTERN.]
+
+NET PATTERN (fig. 122).--Carry the thread upwards from below, over a
+bar of the net, then pass it horizontally under another bar and carrying
+it downwards, pass it under a diagonal bar and cover the other three. In
+the second row, your loops must be turned the opposite way. When the
+whole foundation is finished, run a thread over the whole surface and
+overcast it. A good effect is produced by using white and unbleached
+cottons, in alternate rows.
+
+[Illustration: FIG. 122. NET PATTERN.]
+
+NET PATTERN (fig. 123).--This pattern consists of one row of
+overcasting, one of stitches like those described in fig. 114, and one
+of cross-stitch, as in fig. 39, running diagonally across the stuff.
+Besides the cottons already mentioned, washing gold thread (Or fin D.M.C
+pour la broderie), may be used for the overcasting. Dead gold introduced
+into simple needlework of this kind enlivens it extremely.
+
+[Illustration: FIG. 123. NET PATTERN.]
+
+NET PATTERN (fig. 124).--Three kinds of stitches are required for this
+pattern. In the first row the stitch lies crossed underneath the net; in
+the second, 3 stitches are made over one mesh, the first and the last of
+which are carried across three meshes. In the third row, button-hole
+stitches are carried from right to left over two diagonal bars, in such
+a manner that the thread is drawn through the mesh facing the loops, and
+the next stitch comes out under the loop of the preceding one.
+
+[Illustration: FIG. 124. NET PATTERN.]
+
+NET PATTERN (fig. 125).--Fill in every other diagonal row of meshes
+with chain stitch, inserting the needle into the same mesh it came out
+of, so that the thread lies in front of the needle, in a loop. The rows
+of chain stitch may be made with two or three rows of meshes between
+them. Even the diagonal lines by themselves, make a very pretty
+foundation for other stitches.
+
+[Illustration: FIG. 125. NET PATTERN.]
+
+NET PATTERN (fig. 126).--The first row worked from left to right,
+consists of three loop stitches upwards and three downwards, each over
+one bar. In the second row, divided from the first by one row of
+stitches, the inner loops must be turned towards each other; in the
+third, the outer ones. Any of the stitches, already described, can be
+introduced into this pattern to enliven it.
+
+[Illustration: FIG. 126. NET PATTERN.]
+
+NET INSERTIONS (figs. 127 and 128).--These two, as well as the
+subsequent patterns, are most of them worked in darning stitch and
+simple overcasting.
+
+The scallops in fig. 127 are formed of darning stitches, over 4, 3, 2
+and 1 mesh, respectively. In the intervening space, which is five meshes
+wide, the stitch shown in fig. 118, may be introduced.
+
+[Illustration: FIG. 127. NET INSERTION.]
+
+In repeating the pattern, the stitches forming the scallops, must be
+made to run in the opposite direction. Instead of the thread, simply
+drawn through the middle, little stars like those described in fig. 134,
+have a very pretty effect.
+
+In fig. 128, the thread is first carried round one mesh and then on to
+the next scallop. In the second scallop, which turns the opposite way,
+the thread is carried once more round the last mesh after the pyramid is
+completed, and then on, to the next figure.
+
+[Illustration: FIG. 128. NET INSERTION.]
+
+NET PATTERN (fig. 129).--This checked pattern is also worked in
+darning stitch. Carry the thread, as in fig. 125, through every second
+row of meshes. When the bottom rows are all finished, the upper ones are
+worked across them in the same way. Here the stitches may, if preferred,
+be distributed more sparingly. But if they are set wider apart, the
+spaces between should be filled up in some way. Little dots, made of
+Coton a repriser D.M.C, will answer the purpose best.
+
+[Illustration: FIG. 129. NET PATTERN.]
+
+NET INSERTIONS (figs. 130, 131, 132).--These three patterns are
+specially suitable, for insertions, neck-tie lappets and the like, in
+the place of crochet, pillow, and other kinds of lace. Both design and
+stitch are clearly enough represented in the subjoined figure for
+further explanation to be unnecessary. All three should be worked with
+rather coarse cotton, and Soutache D.M.C[A] (braid) drawn in, produces
+an excellent effect.
+
+[Illustration: FIG. 130. NET INSERTION.]
+
+[Illustration: FIG. 131. NET INSERTION.]
+
+[Illustration: FIG. 132. NET INSERTION.]
+
+NET PATTERN (fig. 133).--These delicate little figures can be worked
+into a close pattern, or can be strewn singly over the surface. The
+closer you set the stitches, the more clear and distinct the stars will
+be. The thread must be drawn in to the centre mesh from without, so as
+to be invisible if possible, and then back again to the outside when the
+stitches are finished.
+
+[Illustration: FIG. 133. NET PATTERN.]
+
+NET PATTERN (fig. 134).--These flowerets have a very pretty effect,
+set either singly, or in double or triple rows, and are very useful for
+filling up gaps or supplementing rows.
+
+[Illustration: FIG. 134. NET PATTERN.]
+
+NET PATTERN (fig. 135).--These star-shaped figures, their longest
+stitch covering three straight bars and two meshes, the shortest, three
+diagonal bars and two meshes, may like the above flowerets, be ranged
+closely together in rows, so that four stitches, two horizontal and two
+vertical ones, meet in one mesh. Cotton of two colours should be used,
+in order that the figures may be distinct from each other: white and
+unbleached are the best, in cases where bright colours would be
+unsuitable.
+
+[Illustration: FIG. 135. NET PATTERN.]
+
+NET INSERTION (fig. 136).--These diamonds make a very pretty grounding
+either set separately, or in a continuous pattern. The design is slight,
+nevertheless, when it is worked in coarse cotton, the effect is
+exceedingly handsome, especially if the inside, in addition to the star
+here given, be enriched with ordinary darning-stitches, worked in fine
+gold thread, as we have already mentioned.
+
+[Illustration: FIG. 136. NET INSERTION.]
+
+NET TRACERY WITH BORDER (fig. 137).--In order to bring out the pattern
+and the colours, use instead of cotton, Soutache D.M.C, or Lacets
+surfins D.M.C. Both are to be had in all the colours, given in the list
+of colours of the D.M.C threads and cottons. The little border can be
+used in conjunction with any of the preceding patterns, but care must
+be taken not to let it get twisted in the working. To prevent this,
+slip a coarse needle under the last stitch, and draw the braid flat over
+it.
+
+[Illustration: FIG. 137. NET TRACERY WITH BRAIDS. MATERIALS: Soutache
+D.M.C No. 2 in Bleu-Indigo 334 and Rouge-Turc 321.]
+
+BROAD NET LACE TRACERY (fig. 138).--The pattern of this pretty lace
+must first be transferred to stout paper, or oil-cloth. All the leaves
+and stalks, and the buttonholing round the open centres of the flowers,
+are worked in a pale green, the two bottom flowers in Turkey red, the
+star-shaped one in blue, the calyx in which the stalks unite, in dark
+red, and the little bells, in the lightest green.
+
+[Illustration: FIG. 138. BROAD NET LACE TRACERY. MATERIALS: Coton a
+broder D.M.C No. 30, 35 or 40.--COLOURS: Rouge-Turc 321, Rouge-Cardinal
+346, Bleu-Indigo 322, Gris-Tilleul 393 and Vert-Pistache 369.]
+
+NET DARNING.--We conclude with some directions for darning net, a
+valuable art, by means of which many a curious piece of old needlework
+is preserved. Coarse and fine net are all darned in the same way.
+
+Laying the first thread (fig. 139).--Tack the net which is to be darned,
+closely to the defective part, upon either oil-cloth or coloured paper
+and cut the edges straight to the thread; Your thread must be of exactly
+the same size, as that of which the net is made. It takes three rows of
+stitches to imitate the net ground; in the first place, as shown in fig.
+139, cross-threads must be laid from side to side, carried as in
+darning, a little beyond the edges of the hole and so as to surround
+each mesh with a slanting stitch.
+
+[Illustration: FIG. 139. NET DARNING. LAYING THE FIRST THREAD.]
+
+LAYING THE SECOND THREAD (fig. 140).--Secondly, beginning from one
+corner, threads are laid diagonally across the first layer. The
+cross-threads of the foundation are encircled by a stitch, made from
+right to left, the needle is then carried under the next horizontal bar,
+and the first layer of threads is overcast with similar stitches.
+
+[Illustration: FIG. 140. NET DARNING. LAYING THE SECOND THREAD.]
+
+LAYING THE THIRD THREAD (fig. 141).--Thirdly, threads are carried
+across the second and first layers. They must start, far enough from the
+edge, for the second layer of threads to be overcast at the same time,
+so that there may be no loose threads left on the wrong side. In this
+third journey, every diagonal thread of the foundation is to be
+encircled with a stitch, taken upwards from below, the cut edges being
+strengthened in the same way. Then, to form the little cross in the
+fabric, the thread must be conducted by means of a second stitch, under
+the single horizontal thread, outwards, to the next-diagonal thread.
+
+[Illustration: FIG. 141. NET DARNING. LAYING THE THIRD THREAD.]
+
+In places where the net is worn, it can be strengthened in the same
+manner, the stitches being made the way of the stuff.
+
+DAMASK STITCHES.--As a rule the pattern is simply outlined with stem
+and cord stitch, and the inside spaces are left plain. In spite of the
+time this simple tracing takes to do, the effect is rather poor and
+scanty. If however, the inside of the leaves and flowers, be filled in
+with damask stitch, the result is very handsome.
+
+Not only can the following stitches, which are suitable for any linen
+coarse or fine, be used for this kind of embroidery, but most of the net
+and lace patterns too, and these combined with buttonholing and flat
+stitch produce charming effects.
+
+MATERIALS SUITABLE FOR DAMASK STITCHES.--All the threads and cottons
+used for net work can also be used for damask stitches, according to
+the material and the kind of work. We will enumerate them once more:
+Coton a tricoter D.M.C Nos. 8 to 20, Coton a repriser D.M.C Nos. 25 to
+70, Coton a broder D.M.C Nos. 16 to 50, Fil a dentelle D.M.C Nos. 25 to
+50, Coton a broder surfin D.M.C Nos. 100, 120, 150.[A]
+
+This kind of embroidery is generally done with a very coarse needle, to
+press the threads of the stuff closely together and make the light
+spaces between, which appear in many of the following illustrations.
+
+FIRST PATTERN (fig. 142).--Carry the needle in a slanting direction
+over three threads and bring it out, from right to left, under three
+perpendicular ones, then again slanting, over three threads, from left
+to right, and out again underneath three horizontal ones, downwards from
+above. Thus the first stitch lies across, from right to left, the
+second, lengthways. On the wrong side, the stitch forms a regular
+succession of steps.
+
+[Illustration: FIG 142. FIRST PATTERN]
+
+SECOND PATTERN (fig. 143).--This is worked exactly in the same manner
+as fig. 142, only that the second row of stitches touches the first, so
+that two threads enter and issue from the same hole.
+
+[Illustration: FIG 143. SECOND PATTERN]
+
+THIRD PATTERN (fig. 144).--Though at first sight, this stitch is very
+like the Holbein or stroke stitch, it is very different in the
+execution. It is worked in two rows, to and fro; in the first, you make
+all the vertical stitches side by side in the width of the stuff,
+drawing your thread very tightly, in the second, coming back, you make
+the horizontal stitches in a straight line, at right angles to the first
+stitches. On the wrong side the stitches are crossed; they in thin
+stuffs, show through, and quite alter the appearance of the right side.
+
+[Illustration: FIG. 144. THIRD PATTERN.]
+
+FOURTH, PATTERN (fig. 145).--In the first row, the thread is carried
+slanting upwards from right to left, over two threads, then downwards
+under two. Coming back, the stitches must be set the opposite way, so
+that four threads meet in one hole.
+
+[Illustration: FIG. 145. FOURTH PATTERN.]
+
+FIFTH PATTERN (fig. 146).--This is worked like fig. 145, only that the
+stitches must cover three threads each way. In the second row, you take
+up one thread on the right and two on the left, to form your stitches.
+
+[Illustration: FIG. 146. FIFTH PATTERN.]
+
+SIXTH PATTERN (fig. 147).--Here, the stitches form a chess-board
+pattern. You begin with a diagonal stitch over two threads and bring
+your needle up again into the same line it started from. The second
+stitch covers three threads, the third six, the fourth eight; the next
+three decrease, successively in length, in the same proportion.
+
+[Illustration: FIG. 147. SIXTH PATTERN.]
+
+SEVENTH PATTERN (fig. 148).--Two kinds of cotton have to be used for
+this pattern, one of them soft and flat, like Colon a repriser D.M.C[A]
+(darning cotton) or Coton a tricoter D.M.C (knitting cotton)[A] for the
+flat stitches, and the other strongly twisted, like Cordonnet 6 fils
+D.M.C No. 8, 10, 12 or 15,[A] for the cross stitches.
+
+[Illustration: FIG. 148. SEVENTH PATTERN.]
+
+The five flat stitches cover three threads in width and six in height,
+and lie from right to left and from left to right. In the second row,
+which must be two threads distant from the first, the stitches must lie
+in the contrary direction. In the lozenge-shaped space between, make
+four cross stitches, over four threads in height and two in width.
+
+EIGHTH PATTERN (figs. 149 and 150).--Make five stitches over 8
+horizontal threads, miss 6 threads and make another 5 stitches. The
+groups of long stitches above and beneath the first row, encroach over
+two threads of the first group, so that a space of only four threads
+remains between two groups. The stitch between these groups is generally
+known as the rococo stitch.
+
+[Illustration: FIG. 149. EIGHTH PATTERN.]
+
+Bring out your needle between the third and fourth of these threads, and
+insert it again above, drawing it out afterwards between the second and
+third horizontal thread, and securing the first stitch with a back
+stitch. Make the three remaining stitches, as explained in fig. 150.
+
+[Illustration: FIG. 150. EXPLANATION OF THE ROCOCO STITCH IN FIG. 149.]
+
+NINTH PATTERN (fig. 151).--This consists of straight bands of flat
+stitches, covering three threads each way, with spaces 8 threads wide
+between, ornamented with a small pattern in stroke stitch, (see chapter
+on Tapestry and Linen embroidery).
+
+[Illustration: FIG 151. NINTH PATTERN.]
+
+DAMASK STITCH FOR FIGS. 103 AND 105 (fig. 152).--The stitches, here
+represented on a large scale, form the border to the square in cut
+open-work in fig. 105. The long diagonal stitches, on either side, can
+be made to look fuller and more distinct, by using a soft, coarse
+cotton.
+
+[Illustration: FIG. 152. DAMASK STITCH FOR FIGS. 103 AND 105.]
+
+TENTH AND ELEVENTH PATTERNS (figs. 153 and 154).--The former of these
+is used for filling in the short stripe in fig. 105, the second for the
+long inside one. Fig. 153 is clear enough to need no explanation; with
+reference to fig. 154, it is however as well to point out that the
+shortest stitch should cover 4 threads and the longest 12, the rest is
+easily learnt from the illustration. This is a very suitable design for
+the decoration of large surfaces and combines well with any running
+diagonal pattern, when it can be made to form a large star which can be
+worked as a separate figure.
+
+[Illustration: FIG. 153. TENTH PATTERN. DAMASK STITCH FOR FIGS. 104 AND
+105.]
+
+[Illustration: FIG. 154. ELEVENTH PATTERN. DAMASK STITCH FOR FIG. 105.]
+
+TWELFTH PATTERN (fig. 155).--In cases where this and the following
+stitches are to be executed on a light, transparent stuff, it is best to
+use a very strongly twisted thread, such as Fil d'Alsace D.M.C ([A]) or,
+Fil a dentelle D.M.C ([A]) instead of a softer and looser material. A
+stiff thread compresses the threads of the stuff better and the open
+spaces, thus made in it, are rendered more visible.
+
+[Illustration: FIG. 155. TWELFTH PATTERN.]
+
+Count 6 threads vertically, put in the needle and draw it through from
+right to left, underneath 3 diagonal threads. For the next stitch, carry
+it upwards over 6 threads, and back under 3. The second row is worked
+back over the first in the same way. Leave 6 threads between each row.
+
+THIRTEENTH PATTERN (fig. 156).--Carry the thread, from right to left
+over four vertical threads, and under the same number of horizontal
+ones. The second row of stitches touches the first, so that the thread
+it is worked with seems to be drawn through under the same threads of
+the stuff, as the one the first row was worked with.
+
+[Illustration: FIG. 156. THIRTEENTH PATTERN.]
+
+FOURTEENTH PATTERN (fig. 157).--Here, the stitches, contrary to those
+in fig. 147, are set vertically. The first stitch covers 2 threads, the
+second 6, the third 10, the fourth 14, the fifth 18. The longest
+stitches of two checks always meet in the same hole.
+
+[Illustration: FIG. 157. FOURTEENTH PATTERN.]
+
+FIFTEENTH PATTERN (fig. 158).--Cover the whole expanse with rows of
+stitches, such as are described in fig. 155, with intervals of 12
+threads between them.
+
+[Illustration: FIG. 158. FIFTEENTH PATTERN.]
+
+These rows are intersected by others, to which the thread is passed,
+from between the sixth and seventh of the 12 threads between the first
+rows. Where the stitches of the two rows meet, the working thread of the
+second row must be drawn through, under that of the first.
+
+SIXTEENTH PATTERN (fig. 159).--Between every two rows of cross-stitch,
+leave an interval of 6 threads, counting those on each side of the rows.
+Over these 6 threads work 2 rows, as shown in fig. 148, but so, that in
+the second, the lower stitch of the first row and the upper one of the
+second, cover the same threads.
+
+[Illustration: FIG. 159. SIXTEENTH PATTERN.]
+
+SEVENTEENTH PATTERN (fig. 160).--This consists of stripes, 4 stitches
+wide, like those of fig. 155, with 3 threads between, which are overcast
+in the ordinary manner.
+
+[Illustration: FIG. 160. SEVENTEENTH PATTERN.]
+
+EIGHTEENTH PATTERN (fig. 161).--Small squares of 7 stitches, inclined
+alternately, to the right and left, and so formed, that the longest
+stitch of one square is crossed by the first short stitch of the next,
+so that a space only 6 threads wide and 4 long, remains uncovered. The
+intervening stripes are filled with 3 rows of overcasting stitches,
+covering 2 threads each way.
+
+[Illustration: FIG. 161. EIGHTEENTH PATTERN.]
+
+NINETEENTH PATTERN (fig. 162).--The steps formed by this pattern are
+11 stitches high, and 11 wide, and each stitch covers 4 threads.
+
+[Illustration: FIG. 162. NINETEENTH PATTERN.]
+
+Eight threads intervene between each row of steps, which are covered at
+the bend, by a square of stitches, from the last of which, the thread is
+carried on at once, to the four single stitches.
+
+TWENTIETH PATTERN (fig. 163).--The 4 squares set opposite to each
+other, with 2 threads between, are edged all round by 3 rows of
+overcasting.
+
+[Illustration: FIG. 163. TWENTIETH PATTERN.]
+
+TWENTY-FIRST PATTERN (fig. 164).--Begin by rows of stitches, like
+those described in fig. 155, over 4 and 2 threads, with 4 threads
+between, not counting those covered with cross-stitch. Between the two
+rows of cross-stitch, join 6 threads together by a back-stitch, and
+carry your thread over the two last of the 6, to the 2 first of the next
+cluster. The narrow diagonal stripes are separated by 24 threads,
+exclusive of those covered by the cross-stitches. These spaces are
+filled in with squares, 10 threads wide and 10 long, formed by
+back-stitches crossed on the wrong side.
+
+[Illustration: FIG. 164. TWENTY-FIRST PATTERN.]
+
+TWENTY-SECOND PATTERN (fig. 165).--In the closer stuffs, of a coarse
+texture, the threads of which do not admit of being drawn together, as
+you can those, of a loose thin stuff, where, by simply pulling your
+thread a little tighter you get open spaces, you must begin by cutting
+out every fourth or fifth thread. After which, you overcast all the
+rows, first one way, and then the other, with stitches covering 4
+threads, each way. On this foundation with strong, loosely-twisted
+cotton, Coton a broder D.M.C or Coton a tricoter D.M.C No. 25, 30, 35,
+or 40, make long stitches, as indicated in the illustration.
+
+[Illustration: FIG. 165. TWENTY-SECOND PATTERN.]
+
+TWENTY-THIRD PATTERN (fig. 166.)--From the point where the thread
+comes out of the stuff, make 16 stitches, four times over, all coming
+out of the same hole, over 8, 6, 4 and 6 threads, thus forming a star.
+Leave an interval of four threads between the stars, and unite the
+intervening threads by cross-stitches one way, and whip-stitches, the
+other.
+
+[Illustration: FIG. 166. TWENTY-THIRD PATTERN.]
+
+TWENTY-FOURTH PATTERN (fig. 167).--Make a succession of diagonal
+stitches, increasing in length, and advancing one thread at a time,
+until the seventh stitch covers seven threads, and completes the
+triangle. Then begin a second triangle on the nearest, adjacent thread.
+
+[Illustration: FIG. 167. TWENTY-FOURTH PATTERN.]
+
+TWENTY-FIFTH PATTERN (fig. 168).--Cover your whole surface with
+squares of 16 stitches, as in fig. 147, and fill in the intervening
+squares with 23 stitches, all radiating from one centre.
+
+[Illustration: FIG. 168. TWENTY-FIFTH PATTERN.]
+
+TWENTY-SIXTH PATTERN (fig. 169).--Diagonal trellised stripes, made as
+indicated in fig. 165, and overcast, form the ground. Twelve threads are
+to be left between the stripes, upon which, work six-cornered,
+lozenge-shaped groups of stitches, set at right angles to each other, in
+diagonal rows.
+
+[Illustration: FIG 169. TWENTY-SIXTH PATTERN.]
+
+TWENTY-SEVENTH PATTERN (fig. 170).--We conclude our chapter with a
+circular design, which combines a variety of stitches, and introduces
+our workers to two new patterns, as well as to an advantageous way of
+hiding the junction of several kinds of stitches by semicircles of
+button-hole stitching.
+
+[Illustration: FIG. 170. TWENTY-SEVENTH PATTERN.]
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: STRIPE IN FLAT AND RAISED SATIN STITCH, AND MADEIRA
+EMBROIDERY.]
+
+
+
+
+White Embroidery.
+
+
+We have retained the familiar term, white embroidery, for this kind of
+needlework, for convenience sake, in spite of its inaccuracy, now that
+coloured materials are quite as much used for it as white.
+
+It is executed, either on a backing of oil-cloth, or in an embroidery
+frame, called "tambour-frame". Only skilful workers can dispense with
+these, for an untrained hand can hardly avoid puckering. If you work
+without a foundation, the material must be held, quite smoothly over the
+forefinger, so that the threads lie perfectly straight, otherwise, the
+pattern is very apt to get pulled out of shape in the working. With your
+three other fingers you hold the material fast, the thumb resting on the
+work itself, beyond the outline of the pattern, which must be turned
+towards the worker. It is always the outside line of a pattern that is
+drawn in double lines, that should be turned towards the palm of the
+hand.
+
+TRACING PATTERNS.--Patterns are generally to be had ready traced, but
+as it is often necessary to repeat, enlarge, or reduce them,
+descriptions of several modes of doing so, will be found at the end of
+the concluding chapter.
+
+MATERIALS.--A loose, soft make of cotton, the looser the better, and
+very little twisted, is the best material for embroidery. We recommend
+for white embroidery in general, Coton a broder D.M.C Nos. 16 to 150;
+for monograms on cambric, Coton a broder surfin D.M.C Nos. 100, 120,
+150;[A] and for English or Madeira embroidery, Coton Madeira D.M.C Nos.
+40, 50, 60;[A] for padding, or raising the embroidery, all the
+different kinds of Coton a repriser D.M.C[A] can be used.
+
+OUTLINING AND PADDING.--The outlining of a pattern is a very important
+preliminary. A want of precision in the ultimate effect is often due,
+merely to careless outlining. This part of the work should be done with
+rather a coarser cotton than the embroidery itself. Fasten in the thread
+by a few running stitches, never with a knot, a rule to be observed also
+in embroidering, except in very rare cases. Finish off your thread by
+drawing it through the tracing stitches, or through some part of the
+pattern that is already finished. Fill in the spaces between the lines
+with a padding of run threads, run loosely, and so that they lie thickly
+and solidly in the centre, and shade off on both sides. The fullness,
+and roundness of embroidery, depends on the firmness of this sub-stratum
+of threads. The outlining and the padding of the different rounded and
+pointed scallops, as well as of other figures that occur in white
+embroidery, are illustrated in figs. 181, 182, 183, 184, 185, 187, 189,
+190 and 191.
+
+BLANKET, OR BUTTON-HOLE STITCH (fig. 171).--Work from left to right;
+run in a foundation line, hold down the working thread below the run
+line with the right thumb; insert the needle above and bring it out
+below the run line but above the working thread; tighten the loop thus
+formed, without drawing up the stuff, and continue in this manner,
+setting your stitches closely and regularly, side by side.
+
+[Illustration: FIG. 171. BLANKET, OR BUTTON-HOLE STITCH.]
+
+STRAIGHT STEM STITCH (fig. 172).--Work from left to right. The needle
+must always be inserted above the run thread, and brought out underneath
+it. In the case of a very delicate pattern, take up only just as much
+stuff as the run thread covers.
+
+[Illustration: FIG. 172. STRAIGHT STEM STITCH.]
+
+SLOPING STEM STITCH (fig. 173).--Work without a run thread; insert the
+needle from right to left in a slanting direction, under 1 or 2
+horizontal threads, and 5 or 6 perpendicular ones; so that each stitch
+reaches halfway back to the last.
+
+[Illustration: FIG. 173. SLOPING STEM STITCH.]
+
+This kind of stem stitch is chiefly used for the fine upstrokes of
+letters and numbers, and for linen embroidery.
+
+BACK-STITCHING (fig. 174).--Back-stitching, that is small, even
+stitches set closely together, is done from right to left, along a
+straight line, and is chiefly used for filling in the centres of
+letters, leaves and flowers.
+
+[Illustration: FIG. 174. BACK-STITCHING.]
+
+CROSSED BACK-STITCH (figs. 175 and 176).--Used, generally speaking,
+only for very transparent materials; it forms a close seam of
+cross-stitch, on the wrong side, and two straight rows of back-stitching
+on the right. To work, insert the needle as if for an ordinary
+back-stitch, pass it under the stuff, sloping it a little towards the
+second outline of the pattern, and draw it out almost in front of the
+first stitch. After making a back-stitch, pass the needle up again under
+the stuff and bring it out at the spot where the next stitch is to be.
+
+[Illustration: FIG. 175. CROSSED BACK-STITCH. RIGHT SIDE.]
+
+[Illustration: FIG. 176. CROSSED BACK-STITCH. WRONG SIDE.]
+
+Fig. 176 shows the interlacing of the stitches on the wrong side, and
+the way in which this stitch, when it is used for filling in centres,
+can be worked on the right side.
+
+SIMPLE KNOT STITCH (fig. 177). This consists of two back-stitches,
+side by side, covering the same threads; it is chiefly used for filling
+in leaves, embroidered on very thin materials, or in conjunction with
+flat stitch.
+
+[Illustration: FIG. 177. SIMPLE KNOT STITCH.]
+
+TWISTED KNOT STITCH (fig. 178). To work hold the working thread down
+with the thumb close to the spot where you first brought it out, twist
+it twice round the needle, turn the needle round from left to right,
+following the direction indicated by the arrow, pass it through the
+fabric at the place which is marked by a dot, and draw it out at the
+place where the next stitch is to be.
+
+[Illustration: FIG. 178. TWISTED KNOT STITCH.]
+
+POST STITCH (fig. 179).--Something like knot stitch and much used for
+patterns, composed of small flowers and leaves, where it often takes the
+place of raised satin stitch. The illustration represents five leaves
+finished, and the sixth in process of being worked.
+
+[Illustration: FIG. 179. POST STITCH.]
+
+To work, bring the needle up from the back and twist the thread round it
+as many times as the length of the stitch requires, hold the left thumb
+on the species of curl thus formed, and passing the needle and thread
+through it, insert it at the end of the leaf where it first came out,
+and draw it out at the right place for the next stitch.
+
+BUTTON-HOLE BARS (fig. 180).--When a pattern is ornamented with
+open-work bars, begin by tracing the outside parallel lines. Then
+button-hole the whole lower line and the upper one, till you come to the
+place where the first bar is to be; then you carry your thread across
+and bring up the needle from below through one of the loops, as, shown
+in the figure; lay three threads in this manner, inserting your needle
+the third time one loop further on. Then cover the three threads thickly
+with button-holing.
+
+[Illustration: FIG. 180. BUTTON-HOLE BARS.]
+
+DIFFERENT KINDS OF SCALLOPS (figs. 181, 182, 183).--The outlining,
+padding and button-holing of these scallops is executed in the manner
+already described. Be careful to adapt the length of the stitches to the
+shape and size of the scallops. If they are pointed (figs. 182, 183),
+the stitches will have to be set very closely together on the inner
+line, and a little play allowed them on the outer, to come exactly to
+the point, which should be very sharply defined.
+
+[Illustration: FIG. 181. ROUND, BUTTON-HOLED SCALLOPS.]
+
+[Illustration: FIG. 182. LARGE, POINTED, BUTTON-HOLED SCALLOPS.]
+
+[Illustration: FIG. 183. SMALL, POINTED, BUTTON-HOLED SCALLOPS.]
+
+ROSE SCALLOPS (figs. 184 and 185).--These are, large button-holed
+scallops with indented edges, in the one case, rounded at the top and
+sharply pointed at the join; in the other, pointed at the top, and
+joined at the bottom by a straight bar of button-holing.
+
+[Illustration: FIG. 184. ROUNDED ROSE SCALLOPS.]
+
+[Illustration: FIG. 185. POINTED ROSE SCALLOPS.]
+
+EYELET HOLES (figs. 186, 187, 188).--Outline the eyelet holes very
+carefully first by running a thread round them, then cut out the
+enclosed stuff with a sharp pair of finely pointed scissors, and edge
+the hole with plain overcasting stitches, worked from left to right.
+
+[Illustration: FIG. 186. OVERCAST EYELET HOLES.]
+
+When you have a long row of eyelet holes to make, outline the upper and
+lower halves alternately, first on one side and then on the other, using
+two threads, and then overcast them in the same way. The double crossing
+of the working threads between the eyelet holes makes them much
+stronger, than if each hole were finished off separately, and the thread
+passed underneath from one to the other.
+
+[Illustration: FIG. 187. BUTTON-HOLED SHADED EYELET HOLES.]
+
+[Illustration: FIG. 188. SHADED EYELET HOLES HALF OVERCAST, HALF
+BUTTON-HOLED.]
+
+The lower halves of shaded eyelet holes, (see figs. 187 and 188), are
+worked with very short stitches, and the upper halves with long ones;
+they may be edged entirely, either with button-holing or overcasting, or
+half with one and half with the other.
+
+SIX LEAVES IN RAISED SATIN STITCH (fig. 189).--Raised satin stitch is
+chiefly used for working flowers, leaves, petals, dots, initials and
+monograms. After tracing the outline of the design, fill in the centres
+with a padding of long, close stitches for which you can again take
+Coton a repriser D.M.C[A] and then, beginning always at the point of the
+leaf, see letter A, cover it with flat, perfectly even stitches, worked
+from right-to-left. B illustrates a leaf, divided through the middle by
+a line of overcasting; C, one with a corded vein; D, a divided leaf
+worked in sloping satin stitch; E, a leaf, with a corded vein and framed
+in sloping satin stitch; F, a leaf worked half in satin stitch, half in
+back-stitch and straight stem stitch.
+
+[Illustration: FIG. 189. SIX LEAVES IN RAISED SATIN STITCH.]
+
+Leaves and flowers of all descriptions, can be executed in any of these
+stitches, and in different combinations of the same.
+
+SIX WAYS OF MAKING DOTS (fig. 190).--Dots, when they are well made,
+are exceedingly effective in white embroidery, particularly if they are
+worked in a variety of stitches. Dot A is worked in raised satin stitch;
+B, in raised satin stitch, framed in back stitch; C, in raised satin
+stitch, framed in twisted knot stitch; D is composed of several post
+stitches of different lengths, set in a frame of stem stitches; E is
+worked in back-stitch, and F consists of a small eyelet hole, with a
+corded setting, which forms the centre.
+
+[Illustration: FIG. 190. SIX WAYS OF MAKING DOTS.]
+
+VENETIAN EMBROIDERY (fig. 191).--Scallops, worked in very high relief,
+called Venetian embroidery, are an imitation on stuff of Venetian lace.
+
+Real Venetian point is entirely needle-made; in the embroidered
+imitations of it, the stuff takes the place of the needle-made lace
+foundation. To make it more like the original however, the ground is
+seldom left plain, but is covered with fancy stitches, such as are
+represented in the illustration, or with one or other of the damask
+stitches in figs. 146 to 170. The button-hole bars may be made with or
+without picots. A full description of the latter will be found in the
+chapters on net embroidery, and Irish lace. The space to be buttonholed,
+must be well padded, for thereon depends the roundness of the
+embroidery. For this purpose take 6 or 8 threads of Coton a repriser
+D.M.C No. 25,[A] and fasten them down on to the pattern with loose
+stitches, laying on extra threads, and cutting them gradually away,
+according to the width the line is to be. The stuff underneath the
+bars should only be cut away when the embroidery is quite finished.
+
+[Illustration: FIG. 191. VENETIAN EMBROIDERY.]
+
+RENAISSANCE EMBROIDERY (figs. 192 and 193).--This is the term applied,
+more especially in France, to embroidery patterns, which are worked
+entirely in button-holing, and connected by button-hole bars without
+picots, as shewn in the two accompanying figures. The outside edge in
+fig. 193, is embellished with picots, described in the chapters just
+referred to.
+
+[Illustration: FIG. 192. RENAISSANCE EMBROIDERY.]
+
+[Illustration: FIG. 193. RENAISSANCE EMBROIDERY.]
+
+RICHELIEU EMBROIDERY (fig. 194).--The name given to embroidery of a
+similar kind to the former, but in which the connecting bars, instead of
+being left plain as they are in the Renaissance embroidery, are
+ornamented with picots.
+
+[Illustration: FIG. 194. RICHELIEU EMBROIDERY.]
+
+MADEIRA WORK (figs. 195, 196, 197).--This kind of embroidery, which
+consists chiefly of eyelet holes, and is distinguished for the
+excellence of its workmanship used to be known as English, but is now
+generally called Madeira work, from the island where it originated. The
+scallops in figs. 195 and 197, are bordered with shaded eyelet holes,
+worked half in button-hole stitch, half in overcasting; the finely
+scalloped edge, in fig. 196, is entirely button-holed. In working eyelet
+holes, the material must always be turned in, up to the inside line, and
+completely worked in, underneath the in order that no loose threads may
+be visible on the wrong side.
+
+[Illustration: FIG. 195. MADEIRA WORK.]
+
+[Illustration: FIG. 196. MADEIRA WORK. MATERIALS: Coton Madeira D.M.C
+No. 40, 50 or 60. (Special cotton for Madeira work)[A]]
+
+[Illustration: FIG. 197. MADEIRA-WORK. MATERIALS: Coton Madeira D.M.C
+No. 40, 50 or 60. (Special cotton for Madeira-work).]
+
+SWISS EMBROIDERY FRAME (fig. 198).--Letters, monograms, coronets and
+the like, require extreme care in the working, and can only be really
+well done in a frame. The round Swiss frame, or tambour frame, is the
+one most commonly used. It consists of two wooden hoops, fitting loosely
+into each other; the inner one, fastened to a support with a wooden
+screw let into the lower part of it, with which to fasten the frame to
+the table. The outside hoop is loose.
+
+Place the fabric to be embroidered over the smaller hoop, the pattern in
+the middle, and press the other down over it so that it is tightly
+stretched and fixed between the two hoops.
+
+A leathern strap with holes and a buckle, sometimes takes the place of
+the second hoop.
+
+[Illustration: FIG. 198. SWISS EMBROIDERY FRAME.]
+
+ORDINARY EMBROIDERY FRAME (fig. 199).--Tambour frames can only be used
+for embroidering pocket-handkerchiefs and other small articles; all
+larger work has to be done in an ordinary frame. Sew a piece of strong
+stuff into the frame, stretch it as tightly and evenly as possible, and
+cut out a square in the middle to the size of the pattern. Then tack
+your work in underneath, straight to the thread, dividing it out
+carefully with pins first, to ensure its being set in perfectly evenly.
+Roll or fold up the rest of the stuff over the edges of the frame,
+and secure it with a few stitches or pins, to keep it out of the way of
+your hand as you work.
+
+[Illustration: FIG. 199. ORDINARY EMBROIDERY FRAME.]
+
+ALPHABETS FOR MONOGRAMS (figs. 200 to 205).--On account of the
+difficulty of devising a good monogram for marking under-linen, we
+subjoin two alphabets, by the aid of which our workers will be able to
+compose their own.
+
+The letters are of a good medium size, which can be magnified or reduced
+according to the worker's own taste.
+
+For any such modifications, we would again draw our reader's attention
+to the directions given in the concluding chapter. The three first
+plates represent large wide letters, intended to contain or encompass
+the more elongated ones, represented in the fourth and fifth plates,
+figs. 203 and 204.
+
+The interlacing of the letters requires to be carefully done, and our
+workers should study the following specimens, so as to learn the
+stitches also, which are most suitable for this branch of embroidery.
+
+[Illustration: FIG. 200. ALPHABETS FOR MONOGRAMS. Outside letters A to
+H.]
+
+[Illustration: FIG. 201. ALPHABETS FOR MONOGRAMS. Outside letters J to
+Q.]
+
+[Illustration: FIG. 202. ALPHABETS FOR MONOGRAMS. Outside letters R to
+Y.]
+
+[Illustration: FIG. 203. ALPHABETS FOR MONOGRAMS. Inside letters A to
+L.]
+
+[Illustration: FIG. 204. ALPHABETS FOR MONOGRAMS. Inside letters M to
+X.]
+
+[Illustration: FIG. 205. ALPHABETS FOR MONOGRAMS. Last inside and
+outside letters.]
+
+MONOGRAM COMPOSED OF LETTERS A AND D (fig. 206).--Here, letter A is
+worked in flat satin stitch, in Bleu-Indigo 312, and set in stem stitch,
+worked in Rouge-Turc 321. D as a contrast to A, is embroidered in
+transverse bars, the left part in pale blue and white, the right in pale
+blue and dark blue. The little ornaments may be worked according to
+fancy, either in white, or in one of the given colours.
+
+[Illustration: FIG. 206. MONOGRAM COMPOSED OF LETTERS A AND D DRAWN FROM
+THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton a broder D.M.C Nos. 100 to
+150. COLOURS: Bleu-Indigo 334, Rouge-Turc 321 and white.[A]]
+
+MONOGRAM COMPOSED OF LETTERS V AND S (fig. 207).--The flat satin
+stitch in both letters is worked in white; the setting, is in red, in
+short stem stitch, or if preferred, in knotted back stitch.
+
+[Illustration: FIG. 207. MONOGRAM COMPOSED OF LETTERS V AND S DRAWN FROM
+THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton a broder D.M.C No. 120.
+COLOURS: White and Rouge-Cardinal 305.[A]]
+
+MONOGRAM COMPOSED OF LETTERS R AND C (fig. 208).--These are worked in
+black and grey, for mourning; the way C is divided, admits of a variety
+in the stitch; for instance, the back-stitches, in the illustration, may
+be replaced by very small eyelet holes.
+
+[Illustration: FIG. 208. MONOGRAM COMPOSED OF LETTERS R AND C DRAWN FROM
+THE ALPHABETS OF MONOGRAMS. MATERIALS: Fil a dentelle D.M.C No. 150.
+COLOURS: Gris-Cendre 318 and Noir grand Teint 310.]
+
+MONOGRAM COMPOSED OF LETTERS G AND E (fig. 209).--The flat satin
+stitching and back-stitching in E, and the stem-stitched edges of G are
+worked in white Coton a broder D.M.C; the inside of G in ivory white
+Coton surfin D.M.C.
+
+[Illustration: FIG. 209. MONOGRAM COMPOSED OF LETTERS G AND E DRAWN FROM
+THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton a broder D.M.C No. 120
+white and Coton surfin D.M.C No. 120, unbleached.]
+
+BORDER IN GOBELIN STITCH (fig. 210).--Gobelin embroidery is merely
+raised satin stitch, worked directly upon the pattern, without any
+foundation, or padding. The effectiveness of this kind of embroidery,
+which appears so complicated and is really so easy, and the many ways in
+which it can be utilised, soon brought it into favour. It can be worked
+on the article itself, or on stripes, laid on afterwards, with a
+hem-stitch bordering. The original of fig. 210 was in blue and red;
+Bleu Indigo 312 for the grounding, Rouge-Turc 321, for the setting in
+stem-stitch. The herring-boning along the edges of the pattern, top and
+bottom, is also in red.
+
+[Illustration: FIG. 210. BORDER IN GOBELIN STITCH. MATERIALS: Coton a
+broder D.M.C No. 35 in two different colours such as: Bleu-Indigo 312
+and Rouge-Cardinal 304, Rouge-Grenat 358 and 309 or, Gris-Tilleul 393
+and Rouge-Cardinal 305.[A]]
+
+Should a different selection of colours be made, it is important to
+remember that in all cases a sharp contrast is desirable.
+
+ALPHABET AND NUMERALS, LEFT BLANK, AND OUTLINED BY THE GROUNDING,
+WORKED IN GOBELIN STITCH (figs. 211 to 215).
+
+[Illustration: FIG. 211. ALPHABET LEFT BLANK AND OUTLINED BY THE
+GROUNDING. Letters A to N.]
+
+[Illustration: FIG. 212. ALPHABET LEFT BLANK AND OUTLINED BY THE
+GROUNDING. Letters O to Z.]
+
+[Illustration: FIG. 213. LETTER O, FROM THE ALPHABET GIVEN IN FIGS. 211
+AND 212.]
+
+[Illustration: FIG. 214. NUMERALS LEFT BLANK AND OUTLINED BY THE
+GROUNDING.]
+
+The border worked in Gobelin stitch, illustrated in fig. 210, suggested
+to us the idea of an alphabet and numerals, to be executed in a similar
+style, left blank, that is to say, and outlined by a grounding in
+Gobelin stitch, which are better suited to embroideries of the kind than
+those generally used. Our limited space prevents us from giving all the
+letters in the diagonal position they are intended to occupy on the
+article itself. O and W only, are represented in the right position. No
+difficulty will be found in copying the other letters, in giving them
+the proper direction.
+
+[Illustration: FIG. 215. LETTER W, FROM THE ALPHABET GIVEN IN FIG. 211
+AND 212.]
+
+In order to economize room, J and H are represented in one square, but
+they are easily distinguishable from each other.
+
+Fig. 214 represents the numerals, executed in the same way. We should
+like to draw our readers attention to a few other ways in which letters
+and numerals may be outlined by the back-ground; for example, the solid
+parts can be worked either in plain or twisted knot stitch (figs. 177
+and 178); in very fine chain stitch; in old German knot or bead stitch
+(fig. 873), or even in pique embroidery (fig. 877).
+
+BORDER OUTLINED BY GROUNDING, WORKED IN GOBELIN AND STEM STITCH (fig.
+216). The grounding of this pattern is worked on stiff white linen, and
+entirely in Rouge-Turc 321, and the outlining in Noir grand Teint 310.
+The same pattern can equally well be worked on gauzes and other
+transparent stuffs, but with Coton a repriser, instead of Coton a broder
+D.M.C, for the solid parts. Two shades of Rouge-Grenat, one dark and one
+very light, may be taken instead, or two of Jaune-Rouille, or of
+Violet-Mauve, employing always the lighter shade for the grounding and
+the darker for the setting.
+
+[Illustration: FIG. 216. BORDER, OUTLINED BY THE GROUNDING WORKED IN
+GOBELIN AND STEM STITCH. First part.]
+
+[Illustration: FIG. 216. Second part. MATERIALS: Coton a broder D.M.C
+No. 50.--COLOURS: Rouge-Turc 321 and Noir grand Teint 310.[A]]
+
+Be careful, in the grounding, not to make the red stitches near the
+edge, longer than they are represented in the illustration and to set
+the black stem stitches as close as possible to the grounding.
+
+The pattern, which could only be reproduced in the original size, had to
+be divided in two, to fit the page. In copying it, join the A and B of
+the first part to the A and B of the second; the same in fig. 217, each
+time the pattern is repeated, the flowers are to droop from the + as
+seen from the position of the buds in the first part, at the beginning
+of the drawing.
+
+FLOWER GARLAND IN DIFFERENT KINDS OF STITCHES (figs. 217 and
+218).--Most of the stitches, described at the beginning of this chapter,
+will be found in this graceful garland, in the execution of which a
+considerable variety of colours can be introduced. The rose-buds may be
+worked in two shades of Vert-Pistache and of Rouge-Grenat, in the
+stitches described in figs. 173, 177, 189 A; the forget-me-nots, in two
+or even three shades of Bleu-Indigo, in raised satin stitch and knotted
+stitch; the slender green leaves in Vert-de-gris, or Gris-Tilleul, the
+stamens in Jaune-Citron, and the stalks of the roses in Brun-Acajou.
+
+[Illustration: FIG. 217. FLOWER-GARLAND IN DIFFERENT KINDS OF STITCHES.
+First part.]
+
+[Illustration: FIG. 217. Second part. MATERIALS: Coton a broder D.M.C
+No. 40. COLOURS: Rouge-Grenat 326 and 335, Bleu-Indigo 312 and 334,
+Vert-Pistache 319 and 320, Vert-de-gris 474 and 475, Brun-Acajou 301,
+Jaune-citron 446.]
+
+[Illustration: FIG. 218. SHOWING THE WORKING OF THE OUTSIDE STITCHES IN
+FIG. 217.]
+
+The border that completes this charming pattern, consists of four rows
+of button holing, worked in four colours. The first row in our
+illustration is worked in pale pink, followed by three shades of green,
+the palest of which is used for the second row of stitches.
+
+When these rows are worked upon a satine or cambric foundation, it is
+advisable to begin by making a small drawing, in which the height of the
+stitches and the distance between them is accurately marked out, then
+prick the pattern through and pounce it upon the material beneath.
+
+When they are worked on a material, the threads of which can be counted
+no such precaution is necessary.
+
+INSERTION IN GOBELIN AND STEM STITCH (fig. 219).--Owing to the
+shortness of the stitches, this pattern is easier to work than the
+foregoing ones. The little flowers are embroidered alternately in dark
+and light red; the setting varies to correspond, the light red flower
+being set in dark red, and vice versa. The interior of the leaves is in
+light green and the setting, as well as the connecting bars, in dark
+green.
+
+[Illustration: FIG. 219. INSERTION IN GOBELIN AND STEM STITCH.
+MATERIALS: Coton a broder D.M.C No. 35--COLOURS: Rouge-Cardinal 347 and
+Rouge-Geranium 352 with Gris-Tilleul 392 and 331, or Bleu-Indigo 312 and
+334 with Vert-Mousse 469 and 471, or Violet-Mauve 375 and 376 with
+Jaune-Rouille 364 365.[A]]
+
+STRIPES OF EMBROIDERY WITH LACE INSERTION BETWEEN (fig. 220).--We
+conclude this chapter, by showing how stripes of embroidery can be used
+alone, or in conjunction, either with bands of open-work, or lace,
+crochet, or net insertion. Such combinations are useful for ornamenting
+aprons, table-cloths, curtains etc., every description in short of
+household linen and of children's garments. One great advantage,
+moreover, which stripes of this kind, have over larger pieces of
+embroidery is that they require neither frame nor pillow, nor wearisome
+counting of stitches, but can be worked in the hand, at all times and
+places.
+
+[Illustration: FIG. 220. STRIPES OF EMBROIDERY WITH INSERTION BETWEEN.]
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: STRIPE OF GOLD EMBROIDERY IN GOLD THREAD, PURL, AND
+FLATTENED GOLD WIRE.]
+
+
+
+
+Flat stitch and Gold embroidery.
+
+
+The terms, flat stitch and gold embroidery, suggest as a rule,
+needle-work upon rich materials, such as velvet, brocade, plush and the
+like.
+
+Nevertheless, a great deal of beautiful embroidery is to be met with, in
+silk and gold thread upon quite common stuffs; Persian and Moorish
+embroidery for instance, both remarkable for their delicacy and
+minuteness, and executed upon ordinary linen, or cotton fabrics.
+
+As a fact, the material is quite a secondary matter; almost any will do
+equally well as a foundation, for the stitches described in these pages.
+Flat stitch, and some of the other stitches used in gold embroidery, can
+be worked with any kind of thread, but best of all with the D.M.C
+cottons.
+
+FLAT STITCH EMBROIDERY.--Decorative designs, and conventional flowers,
+are the most suitable for flat stitch embroidery; a faithful
+representation of natural flowers should not be attempted, unless it be
+so well executed, as to produce the effect of a painting and thus
+possess real artistic merit.
+
+ENCROACHING FLAT STITCH (fig. 221).--Small delicate flowers, leaves,
+and arabesques, should in preference, be worked either in straight flat
+stitch (figs. 189 and 190) or in encroaching flat stitch. The stitches
+should all be of equal length, the length to be determined by the
+quality of the thread; a fine thread necessitating short, and a coarse
+one, long stitches. The stitches should run, one into the other, as
+shown in the illustration. They are worked in rows, those of the second
+row encroaching on those of the first, and fitting into one another.
+
+[Illustration: FIG. 221. ENCROACHING SATIN STITCH.]
+
+Work your flowers and leaves from the point, never from the calyx or
+stalk. If they are to be shaded, begin by choosing the right shade for
+the outside edge, varying the depth according to the light in which the
+object is supposed to be placed. The stitches should always follow the
+direction of the drawing.
+
+ORIENTAL STITCH (figs. 222, 223, 224).--The three following stitches,
+which we have grouped under one heading, are known also, under the name
+of Renaissance or Arabic stitches. We have used the term Oriental,
+because they are to be met with in almost all Oriental needlework and
+probably derive their origin from Asia, whose inhabitants have, at all
+times, been renowned for the beauty of their embroideries.
+
+[Illustration: FIG. 222. ORIENTAL STITCH.]
+
+[Illustration: FIG. 223. ORIENTAL STITCH.]
+
+These kind of stitches are only suitable for large, bold designs. Draw
+in the vertical threads first; in working with a soft, silky material,
+to economise thread, and prevent the embroidery from becoming too heavy,
+you can begin your second stitch close to where the first ended.
+
+[Illustration: FIG. 224. ORIENTAL STITCH.]
+
+But if the thread be one that is liable to twist, take it back
+underneath the stuff and begin your next stitch in a line with the
+first, so that all the stitches of the first layer, which form the
+grounding, are carried from the top to the bottom. The same directions
+apply to figs. 223, 224 and 226.
+
+When you have laid your vertical threads, stretch threads horizontally
+across, and fasten them down with isolated stitches, set six vertical
+threads apart. The position of these fastening stitches on the
+transverse threads must alternate in each row, as indicated in fig. 222.
+
+For fig. 223, make a similar grounding to the one above described,
+laying the horizontal threads a little closer together, and making the
+fastening stitches over two threads.
+
+In fig. 224, the second threads are carried diagonally across the
+foundation-threads, and the fastening stitches are given a similar
+direction.
+
+For these stitches, use either one material only, a fleecy thread like
+Coton a repriser D.M.C for instance, or else two, such as Coton a
+repriser D.M.C for the grounding, and a material with a strong twist
+like Cordonnet 6 fils D.M.C or Fil a pointer D.M.C for the stem stitch.
+
+PLAITED STITCH (fig. 225).--When the vertical stitches are laid, a
+kind of plait is formed in the following way. Pass the thread three
+times, alternately under and over three foundation threads. To do this
+very accurately, you must take the thread back, underneath, to its
+starting-point; and consequently, always make your stitch from right to
+left.
+
+[Illustration: FIG. 225. PLAITED STITCH.]
+
+If you have chosen a washing material, and D.M.C cottons to work with,
+use one colour of cotton for the foundation, and Chine d'or D.M.C No.
+30, for the plaited stitch.
+
+MOSAIC STITCH (fig. 226).--In old embroideries we often find this
+stitch, employed as a substitute for plush or other costly stuffs,
+appliqued on to the foundation. It is executed in the same manner as the
+four preceding stitches, but can only be done in thick twist, such as
+Cordonnet 6 fils D.M.C or Ganse turque D.M.C.
+
+[Illustration: FIG. 226. MOSAIC STITCH.]
+
+Each stitch should be made separately, and must pass underneath the
+foundation, so that the threads which form the pattern are not flat, as
+they are in the preceding examples, but slightly rounded.
+
+BORDER IN PERSIAN STITCH (fig. 227).--This stitch, of Persian origin,
+resembles the one represented in fig. 175. Instead of bringing the
+needle out, however, as indicated in fig. 176, take it back as you see
+in the illustration, to the space between the outlines of the drawing,
+and behind the thread that forms the next stitch. Before filling in the
+pattern, outline it with short stem stitches, or a fine cord, laid on,
+and secured with invisible stitches.
+
+[Illustration: FIG. 227. BORDER IN PERSIAN STITCH. MATERIALS: Cordonnet
+6 fils D.M.C No. 14, 15, 20 or 25. COLOURS: Noir grand Teint 310,
+Vert-Mousse 469 and 471, Rouge-Cardinal 346, Jaune-vieil-Or 680,
+Violet-Mauve 315 and 316.]
+
+This graceful design which can be utilised in various ways is formed of
+leaves of 7 lobes, worked alternately in dark and light green; of
+flowers of 3 petals, worked in red and the centres in yellow, and of
+small leaves in violet. The setting, throughout, is worked either in
+black or in dark brown.
+
+STRIPE WORKED IN FLAT STITCH (fig. 228).--This pattern, simple as it
+is, will be found both useful and effective for the trimming of all
+kinds of articles of dress. The bottom edge should be finished off with
+rounded scallops or toothed vandykes worked in button-hole stitch. The
+flowers in flat stitch, are worked alternately, in Rouge-Geranium 351
+and 352, and the leaves alternately, in Vert-de-gris 474 and 475; the
+centres of the flowers are worked in knot stitch, in Jaune-Rouille 308.
+
+[Illustration: FIG. 228. STRIPE WORKED IN FLAT STITCH.
+MATERIALS--According to the stuff: Fil a dentelle D.M.C, Cordonnet 6
+fils D.M.C or Coton a repriser D.M.C[A]
+
+COLOURS--For the flowers: Rouge-Geranium 351 and 352.--For the knot
+stitch: Jaune-Rouille 308.--For the foliage: Vert-de-gris 474 and
+475.[A]]
+
+BOUQUET IN STRAIGHT AND ENCROACHING FLAT STITCH (fig. 229). As we have
+already observed, it is by no means easy to arrange the colours in an
+embroidery of this kind, so as to obtain a really artistic effect.
+Whether the design be a conventional one or not, the great point is to
+put in the lights and shadows at the right place. If you want to make a
+faithful copy of a natural flower, take the flower itself, or a coloured
+botanical drawing of it, and if possible, a good black and white drawing
+of the same, match the colours in 6 or 7 shades, by the flower itself,
+keeping them all rather paler in tone, and take the black and white
+drawing as a guide for the lights and shadows. The colours for the
+leaves and petals, which should always be worked from the outside,
+should be chosen with a view to their blending well together. The
+stamens and the centres of the flowers should be left to the last, but
+the veins and ribs of the leaves, should always be put in before the
+grounding.
+
+[Illustration: FIG. 229. BOUQUET IN STRAIGHT AND ENCROACHING FLAT
+STITCH. MATERIALS: Coton a repriser D.M.C No. 50. COLOURS--For the
+forget-me-nots: Bleu-Indigo 312, 322 and 334.--For the other flowers:
+Jaune-Rouille 365 and 366, Violet-Mauve 376, 316 and 377, Vert-Pistache
+369.--For the foliage: Vert-de-Gris 474, Vert-Mousse 468, 469, 471 and
+472.--For the stalks: Brun-Havane 455 and 457.[A]]
+
+For embroideries of this kind, suitable materials must be selected; the
+more delicate and minute the design, and the more varied the colouring,
+the softer and finer should be the quality of the material employed.
+Specially to be recommended, as adapted to every form of stitch and as
+being each of them capable of being subdivided, are Filoselle,
+Marseille, open Chinese silk and Coton a repriser D.M.C.[A].
+
+FLOWERS EMBROIDERED IN THE CHINESE MANNER (fig. 230).--All Chinese
+embroidery displays undoubted originality and wonderful skill and
+judgment in the choice of material and colour. It excels particularly,
+in the representation of figures, flowers, and animals, but differs from
+European work in this, that instead of using flat stitch and making the
+colours blend together as we do, the Chinese put them, side by side,
+without intermediate tones, or they sometimes work the whole pattern in
+knot stitch. The little knots, formed by this stitch are generally set
+in gold thread.
+
+[Illustration: FIG. 230. FLOWERS EMBROIDERED IN THE CHINESE MANNER.]
+
+Often too, instead of combining a number of colours, as we do, the
+Chinese fill in the whole leaf with long stitches and upon this
+foundation, draw the veins in a different stitch and colour. Even the
+flowers, they embroider in the same way, in very fine thread, filling
+in the whole ground first, with stitches set very closely together and
+marking in the seed vessels afterwards, by very diminutive knots, wide
+apart.
+
+CHINESE ENCROACHING FLAT STITCH (fig. 231).--Another easy kind of
+embroidery, common in China, is done in encroaching flat stitch. The
+branch represented in our drawing, taken from a large design, is
+executed in three shades of yellow, resembling those of the
+Jaune-Rouille series on the D.M.C colour card.[A]
+
+[Illustration: FIG. 231. CHINESE ENCROACHING FLAT STITCH.
+
+MATERIALS: Cordonnet 6 fils D.M.C Nos. 20 to 50 or Chine d'or D.M.C.
+
+COLOURS--For the cotton: Jaune-Rouille 363, 308, 366.--For Chine d'or:
+Red and gold, blue and gold, green and gold.[A]]
+
+The stitches of the different rows encroach upon one another, as the
+working detail shows, and the three shades alternate in regular
+succession. Flowers, butterflies and birds are represented in Chinese
+embroidery, executed in this manner. It is a style, that is adapted to
+stuffs of all kinds, washing materials as well as others, and can be
+worked in the hand and with any of the D.M.C threads and cottons.[A]
+
+RAISED EMBROIDERY (figs. 232 and 233).--Raised embroidery worked in
+colours, must be stuffed or padded first, like the white embroidery in
+fig. 191. If you outline your design with a cord, secure it on the right
+side with invisible stitches, untwisting the cord slightly as you insert
+your needle and thread, that the stitch may be hidden between the
+strands. Use Coton a repriser D.M.C No. 25, for the padding. These
+cottons are to be had in all the colours, indicated in the D.M.C colour
+card, and are the most suitable for the kind of work.
+
+[Illustration: FIG. 232. RAISED EMBROIDERY. PREPARATORY WORK.]
+
+[Illustration: FIG. 233. RAISED EMBROIDERY. WORK COMPLETED.]
+
+Use Coton a broder D.M.C for the transverse stitches and over the smooth
+surface which is thus formed, work close lines of satin stitch in silk
+or cotton; the effect produced, will bear more resemblance to applique
+work than to embroidery. The centres of the flowers are filled in with
+knot stitches, which are either set directly on the stuff or on an
+embroidered ground.
+
+EMBROIDERY IN THE TURKISH STYLE (figs. 234 and 235).--This again is a
+style of embroidery different from any we are accustomed to. The solid
+raised parts are first padded with common coarse cotton and then worked
+over with gold, silver, or silk thread.
+
+Contrary to what is noticeable in the real Turkish embroidery, the
+preparatory work here is very carefully done, with several threads of
+Coton a repriser D.M.C used as one. A rope of five threads is laid down,
+and carried from right to left and from left to right, across the width
+of the pattern. After laying it across to the right, as explained in
+fig. 234, bring the needle out a little beyond the space occupied by the
+threads, insert it behind them and passing it under the stuff, draw it
+out at the spot indicated by the arrow. The stitch that secures the
+threads, should be sufficiently long to give them a little play, so that
+they may lie perfectly parallel, side by side, over the whole width of
+the pattern.
+
+This kind of work can be done on wollen or cotton materials, and
+generally speaking, with D.M.C cottons, and gold thread shot with colour
+(Chine d'or D.M.C.)
+
+Very pretty effects can be obtained, by a combination of three shades of
+Rouge-Cardinal 347, 346 and 304, with Chine d'or gold and dark blue or
+with Chine d'or, gold and light blue.[A]
+
+This kind of embroidery may be regarded as the transition from satin
+stitch to gold embroidery.
+
+[Illustration: FIG. 234. EMBROIDERY IN THE TURKISH STYLE. PREPARATORY
+WORK.]
+
+[Illustration: FIG. 235. EMBROIDERY IN THE TURKISH STYLE. WORK
+COMPLETED.]
+
+GOLD EMBROIDERY.--Up to the present time, dating from the end of the
+eighteenth century, gold embroidery has been almost exclusively confined
+to those who made it a profession; amateurs have seldom attempted what,
+it was commonly supposed, required an apprenticeship of nine years to
+attain any proficiency in.
+
+But now, when it is the fashion to decorate every kind of fancy article,
+whether of leather, plush, or velvet, with monograms and ingenious
+devices of all descriptions, the art of gold embroidery has revived and
+is being taken up and practised with success, even by those to whom
+needlework is nothing more than an agreeable recreation.
+
+We trust that the following directions and illustrations will enable our
+readers to dispense with the five years training, which even now,
+experts in the art consider necessary.
+
+IMPLEMENTS AND MATERIALS.--The first and needful requisites for gold
+embroidery, are a strong frame, a spindle, two pressers, one flat and
+the other convex, a curved knife, a pricker or stiletto, and a tray, to
+contain the materials.
+
+EMBROIDERY FRAME (fig. 236).--The frame, represented here, is only
+suitable for small pieces of embroidery, for larger ones, which have to
+be done piece by piece, round bars on which to roll up the stuff, are
+desirable, as sharp wooden edges are so apt to mark the stuff.
+
+[Illustration: FIG. 236. EMBROIDERY FRAME FOR GOLD EMBROIDERY.]
+
+Every gold embroidery, on whatever material it may be executed, requires
+a stout foundation, which has to be sewn into the frame, in doing which,
+hold the webbing loosely, almost in folds, and stretch the stuff very
+tightly. Sew on a stout cord to the edges of the foundation, which are
+nearest the stretchers, setting the stitches, 3 or 4 c/m. apart. Then
+put the frame together and stretch the material laterally to its fullest
+extent, by passing a piece of twine, in and out through the cord at the
+edge and over the stretchers. Draw up the bracing until the foundation
+is strained evenly and tightly. Upon this firm foundation lay the stuff
+which you are going to embroider, and hem or herring-bone it down,
+taking care to keep it perfectly even with the thread of the foundation
+and, if possible, more tightly stretched to prevent it from being
+wrinkled or puckered when you come to take it off the backing. For
+directions how to transfer the pattern to your stuff, and prepare the
+paste with which the embroidery has to be stiffened before it is taken
+out of the frame, see the concluding chapter in the book.
+
+THE SPINDLE (fig. 237).--The spindle to wind the gold thread upon,
+should be 20 c/m. long and made of hard wood. Cover the round stalk and
+part of the prongs with a double thread of Coton a broder D.M.C No. 16,
+or pale yellow Cordonnet D.M.C No. 25, and terminate this covering with
+a loop, to which you fasten the gold thread that you wind round the
+stalk.
+
+[Illustration: FIG. 237. THE SPINDLE.]
+
+THE PRESSERS (figs. 238 and 239).--These, so called 'pressers', are
+small rectangular boards with a handle in the middle. The convex one,
+fig. 238, should be 15 c/m. long by 9 broad; the other, fig. 239, which
+is quite flat, should be 32 c/m. by 20.
+
+[Illustration: FIG. 238. CONVEX PRESSER, FOR PRESSING THE STUFF ON THE
+WRONG SIDE.]
+
+[Illustration: FIG. 239. FLAT PRESSER FOR LAYING ON THE PATTERN.]
+
+Having cut out your pattern in cartridge paper, lay it down, on the
+wrong side, upon a board thinly spread with embroidery paste. Let it get
+thoroughly impregnated with the paste and then transfer it carefully to
+its proper place on the stuff; press it closely down with the large
+presser, and with the little convex one rub the stuff firmly, from
+beneath, to make it adhere closely to the pasted pattern; small, pointed
+leaves and flowers will be found to need sewing down besides, as you
+will observe in fig. 242, where each point is secured by stitches. The
+embroidery should not be begun until the paste is perfectly dry, and the
+pattern adheres firmly to the stuff.
+
+THE KNIFE (fig. 240).--Most gold embroideries require a foundation of
+stout cartridge paper, and, in the case of very delicate designs, the
+paper should further be covered with kid, pasted upon it.
+
+[Illustration: FIG. 240. THE KNIFE. REDUCED SCALE.]
+
+Transfer the design on to the paper or kid, in the manner described in
+the concluding chapter, and cut it out with the knife. You can only make
+very short incisions with this tool, which should be kept extremely
+sharp and held, in cutting, with the point outwards, and the rounded
+part towards you, as shown in the drawing.
+
+TRAY TO CONTAIN THE MATERIALS (fig. 241).--Cut out as many divisions
+in a thin board, or sheet of stout cardboard, as you will require
+materials for your embroidery; these include not only gold thread of all
+kinds, but likewise beads and spangles of all sorts and sizes as well as
+bright and dead gold and silver purl, or bullion, as it is also called.
+For the pieces of purl alone, which should be cut ready to hand, you
+should have several divisions, in order that the different lengths may
+be kept separate.
+
+[Illustration: FIG. 241. TRAY TO CONTAIN THE MATERIALS.]
+
+USE OF THE SPINDLE (fig. 242).--Gold embroidery thread should be wound
+double upon the spindle. It is laid backwards and forwards and secured
+with two stitches at each turn, as described in fig. 234. Small holes
+where the stitches are to come, have first to be pierced in the material
+with the pricker, from the right side, for the needle to pass through.
+In soft stuffs, this is unnecessary, but in brocaded materials, and in
+plush and leather, where every prick shows and would often spoil the
+whole effect, it is indispensable.
+
+[Illustration: FIG. 242. USE OF THE SPINDLE]
+
+Gold thread which is stiff and difficult to work with, can be rendered
+soft and pliable by putting it into the oven, or any other warm place,
+for a short time.
+
+EMBROIDERY WITH GOLD PURL (fig. 243).--Embroidery is the easiest kind
+of gold embroidery; you have only to thread the little pieces of purl,
+cut into the required lengths beforehand, like beads on your needle, and
+fasten them down upon the foundation like the beads in bead-work. Smooth
+and crimped gold purl, or silver and gold purl used together, look
+exceedingly well, particularly where the pattern requires effects of
+light and shade to be reproduced.
+
+[Illustration: FIG. 243. EMBROIDERY WITH GOLD PURL.]
+
+EMBROIDERY IN DIAMOND STITCH (fig. 244).--The diamond stitch is a
+charming novelty in gold embroidery. Short lengths of purl, not more
+than 11/2 m/m. long, are threaded on the needle, and the needle is put
+in and drawn out at the same hole. These stitches which resemble knot
+stitches, form so many little glittering knots, turned alternately to
+the right and left, and look like seed-diamonds in appearance, more
+especially, when they are made in silver purl. The shorter the pieces
+are, and the more closely you set the knots together, the handsomer and
+richer the effect will be.
+
+[Illustration: FIG. 244. DIAMOND STITCH.]
+
+CHINESE GOLD EMBROIDERY (figs. 245 and 246).--We recommend the
+imitation of Chinese gold embroidery to our readers as an easy and
+grateful recreation. It consists simply in laying down a gold thread, on
+a delicately outlined pattern and securing it by stitches. It can be
+done on any material, washing or other, the costliest as well as the
+most ordinary.
+
+[Illustration: FIG. 245. CHINESE GOLD EMBROIDERY. First part.]
+
+[Illustration: FIG. 245. Second part]
+
+[Illustration: FIG. 246. CHINESE GOLD EMBROIDERY. First part.]
+
+[Illustration: FIG. 246. Second part.]
+
+For a washing material use, Or fin D.M.C pour la broderie, No. 20, 30 or
+40,[A] which, as it washes perfectly, is well adapted for the embroidery
+of wearing apparel, and household linen. Plain gold thread and gold
+thread with a thread of coloured silk twisted round it, are very
+effective used together.
+
+Thus in fig. 245, the trees, foliage and flowers, are worked in plain
+gold, the grasses, in gold shot with green, the butterflies in gold with
+red, the two birds in gold with dark blue, and gold with light blue.
+
+Two threads of gold should be laid down side by side and secured by
+small catching stitches, set at regular intervals from one another, and
+worked in Fil d'Alsace D.M.C No. 200,[A] of the same colour. Where the
+design requires it, you may separate the gold threads, and work with one
+alone.
+
+The second specimen of Chinese embroidery, fig. 246, resembles the
+first, as far as materials and execution are concerned, but the design
+is different. The grotesque animals, flowers and shells it represents,
+can be worked separately, or connected together so as to form a running
+pattern.
+
+STRIPE WORKED IN VARIOUS STITCHES (fig. 247).--All the designs
+described thus far, are worked in the same way, but the stripe now
+presented to our readers introduces them to several kinds of gold
+thread, and a variety of stitches. The small, turned-back petals of the
+flowers are worked in plain gold thread, and outlined with crimped; the
+rest of the petals are worked in darning stitch, with plain gold thread.
+The latticed leaves are edged with picots, worked with bright purl. The
+other parts of the design are all worked with a double gold thread, the
+stalks in dead gold, the leaves in crimped. The gold thread is secured
+by overcasting stitches in gold-coloured thread, Jaune d'or 667, but it
+looks very well if you use black or red thread for fastening the crimped
+gold and dark or light green for the leaves and tendrils.
+
+[Illustration: FIG. 247. STRIPE WORKED IN VARIOUS STITCHES.]
+
+GOLD EMBROIDERY ON A FOUNDATION OF CORDS (fig. 248).--In the old
+ecclesiastical embroideries, especially those representing the figures
+of saints, we often find thick whip cords used as a foundation, instead
+of cardboard, for the good reason that the stiff cardboard does not give
+such soft and rounded contours as a cord foundation, which will readily
+take every bend and turn that you give to it. In the following
+illustrations, we have adhered strictly to the originals, as far as the
+manner of working the surface is concerned, but have substituted for the
+cord, which in their case has been used for the foundation, Cordonnet 6
+fils D.M.C No. 1, which is better for padding than the grey whip cord,
+as it can be had in white or yellow, according to whether it is intended
+to serve as a foundation to silver or gold work.
+
+[Illustration: FIG. 248. EMBROIDERY IN FLATTENED GOLD WIRE AND PURL.]
+
+Lay down as many cords as are necessary to give the design the requisite
+thickness, in many cases up to 8 or 10 m/m. in height, taking care to
+lay them closely and solidly in the centre, and graduate them down at
+the sides and ends. When you have finished the foundation, edge it with
+a thick gold cord, such as Cordonnet d'or D.M.C No. 6 and then only
+begin the actual embroidery, all the directions just given, applying
+merely to the preparatory work.
+
+Only four of the many stitches that are already in use and might be
+devised are described here. For the pattern, represented in fig. 248,
+flattened gold or silver wire is necessary, which should be cut into
+pieces, long enough to be turned in at the ends so as to form a little
+loop through which the thread that fastens them down is passed. Over
+each length of gold or silver wire small lengths of purl are laid at
+regular intervals, close enough just to leave room for the next stitch,
+the pieces of one row, alternating in position with those of the
+preceding one.
+
+PLAITED STITCH IN GOLD PURL ON A CORD FOUNDATION (fig. 249).
+--Distribute the stitches as in the previous figure, substituting purl,
+for the flattened gold wire, and covering the purl with short lengths of
+gold thread of the same kind. All these stitches may be worked in gold
+and silver thread, mixed or in the one, or the other alone.
+
+[Illustration: FIG. 249. PLAITED STITCH IN GOLD PURL ON A CORD
+FOUNDATION.]
+
+SCALE STITCH WORKED IN GOLD THREAD AND PURL ON A CORD FOUNDATION (fig.
+250).--Begin by covering the whole padded surface with gold or silver
+thread, then sew on short lengths of purl, long enough to cover six or
+eight threads, 2 or 3 m/m. apart, as shown in the engraving. These
+stitches in dead gold purl are then surrounded by shining or crimped
+purl.
+
+[Illustration: FIG. 250. SCALE STITCH IN GOLD THREAD AND PURL ON A CORD
+FOUNDATION.]
+
+You bring out the working thread to the left of the purl stitch, which
+you take on your needle, put the needle in on the other side, draw it
+out above the little stroke, and secure the crimped purl with an
+invisible stitch.
+
+CONVENTIONAL FLOWER WORKED ON A CORD FOUNDATION (fig. 251).--The half
+finished flower, represented here, was copied from a handsome piece of
+ecclesiastical embroidery enriched with ornament of this kind. The three
+foregoing stitches and a fourth, are employed in its composition. The
+finished portions on the left hand side, are executed in silver and gold
+purl, whilst the egg-shaped heart of the flower is formed of transverse
+threads, carried over the first padding, and secured by a stitch between
+the two cords. In the subsequent row, the catching stitch is set between
+the cords, over which the first gold threads were carried.
+
+[Illustration: FIG. 251. CONVENTIONAL FLOWER WORKED ON A CORD
+FOUNDATION. MATERIALS.--For padding: Cordonnet 6 fils D.M.C Nos. 1 to 5
+or Fil a pointer D.M.C No. 10.--For sewing on the gold thread and purl:
+Soie de coton D.M.C No. 50 or 70, Fil a dentelle D.M.C on reels Nos. 25
+to 50.[A]]
+
+The heavier the design is, the thicker your padding should be, and cords
+a good deal thicker than those which are represented in the drawing
+should be used, as the more light and shade you can introduce into
+embroidery of this kind, the greater will be its beauty and value.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: INSERTION IN CROSS STITCH, ALIKE ON BOTH SIDES, THE
+PATTERN LEFT BLANK.]
+
+
+
+
+Tapestry and Linen Embroidery.
+
+
+Tapestry is one of the oldest kinds of needlework and one which has
+always been popular every where.
+
+There are two distinct sorts of canvas in use for tapestry, called
+respectively, 'plain (single thread) canvas', and 'Penelope (double
+thread) canvas'. The latter is generally preferred, because it is easier
+to count the stitches upon it, but both make an equally good foundation
+for the embroidery, as the following examples will show.
+
+Besides canvas, other fabrics bearing a close resemblance to it, are
+often used, especially Java linen, the close texture of which renders
+grounding unnecessary.
+
+Cloth, velvet or plush can also be overlaid with canvas, the threads of
+which are pulled away after the pattern is finished. For work of this
+kind, we however prefer a material with less dressing, such as a twisted
+tammy, or Colbert linen, because the pulling out of the harsh rough
+threads of the canvas is very apt to injure the material beneath.
+
+Stitches, worked upon two stuffs, must be drawn very tight, or they will
+look loose and untidy when the auxiliary fabric is taken away.
+
+Tapestry can be done either in a frame, or in the hand; in the latter
+case, the ends of the piece of canvas should be weighted with stones or
+lead, to prevent its puckering.
+
+The stitches, which ought completely to hide the canvas, should all lean
+one way and the underneath ones always from left to right, as the
+letters in writing.
+
+MARKING OUT THE EMBROIDERY GROUND (fig. 252).--Before beginning a
+piece of canvas work and tacking on the auxiliary fabric, count how many
+stitches it will contain, and mark them out in tens, with a coloured
+thread, as shown in fig. 252, along two sides at least, in the length
+and breadth. Having ascertained the number of stitches both ways, divide
+them in two, and starting each time from the middle stitch, trace two
+lines, one horizontal, the other vertical, right across the canvas. The
+point of intersection will be the centre. This sort of ground-plan will
+be found most useful, and should not be pulled out until, at least, half
+the work be finished. If moreover, you have corners to work, or a
+pattern to reverse, in the angle of a piece of embroidery, trace a
+diagonal line besides, from the corner to the centre.
+
+[Illustration: FIG. 252. MARKING OUT THE EMBROIDERY GROUND.]
+
+MATERIALS SUITABLE FOR TAPESTRY.--Hitherto, wool and silk, were the
+materials chiefly used for canvas work; a very thick wool for carpets,
+as being warmer and more durable. Silk is too delicate a fibre to resist
+much wear and tear, and cannot therefore be recommended for articles
+that are intended for constant use, and wool, though stronger, is
+subject to the destructive agency of moths; whereas cotton, which is
+cheaper than both, and quite as brilliant, is free from all these
+disadvantages and is extremely easy to clean.
+
+For most kinds of tapestry we can therefore with perfect confidence,
+recommend the use of Coton a tricoter D.M.C Nos. 6 to 20, Cordonnet 6
+fils D.M.C Nos. 3 to 15, and even Coton a repriser D.M.C No. 25.[A]
+
+CROSS STITCH (fig. 253).--Cross stitch is the foundation of every
+other stitch, and the one in most common use. It is also called
+marking-stitch, being used for marking linen. It is worked in two lines.
+In the first, the thread is carried diagonally from left to right across
+a square of threads, and then, downwards, underneath the two horizontal
+threads; in the second, the stitches are carried from the right-hand
+lower corner of the square to the upper left-hand corner, so that the
+four points of the two stitches form a perfect square.
+
+[Illustration: FIG. 253. CROSS STITCH.]
+
+HALF CROSS STITCH (fig. 254).--If the cotton is too coarse, or the
+canvas too fine, to make the double stitch, carry the thread back along
+the whole line and make the half-stitches across it, from left to
+right; the same in the case of a piece of work, which you buy with
+a part of the pattern ready-worked.
+
+[Illustration: FIG. 254. HALF CROSS STITCH.]
+
+GOBELIN STITCH ON PLAIN CANVAS (fig. 255).--This is worked over two
+horizontal threads and one perpendicular. In a frame, you can work the
+second row, from right to left, otherwise, you must turn the work round,
+and bring out your needle behind the last-made stitch.
+
+[Illustration: FIG. 255. GOBELIN STITCH.]
+
+GOBELIN STITCH ON PENELOPE CANVAS (fig. 256).--For the same stitch on
+Penelope canvas, you need rather a coarse needle, which will make its
+way easily between the threads of the canvas.
+
+[Illustration: FIG. 256. GOBELIN STITCH ON PENELOPE CANVAS.]
+
+REPS STITCH (fig. 257).--Contrary to Gobelin stitch, this stitch which
+is an imitation of reps, is worked in vertical lines, over two vertical
+threads and one horizontal one.
+
+[Illustration: FIG. 257. REPS STITCH.]
+
+TENT STITCH (fig. 258).--This stitch is simply the first half of a
+cross or marking stitch, worked over a single thread each way. The
+illustration shows the working of a row, from right to left, the thread
+being carried forward, underneath the vertical threads. Tent stitch is
+used for the most part, in conjunction with cross stitch, for the more
+delicate lines and the shaded parts of flowers and figures.
+
+[Illustration: FIG. 258. TENT STITCH.]
+
+WIDE GOBELIN STITCH (fig. 259).--This stitch covers two vertical and
+two horizontal threads, and advances one thread at a time.
+
+[Illustration: FIG. 259. WIDE GOBELIN STITCH.]
+
+BROAD CROSS STITCH (fig. 260).--Worked over two vertical and four
+horizontal threads, and very useful for filling in large surfaces as it
+can be done twice as quickly as the ordinary cross stitch. It may be
+varied by turning the crosses first one way and then the other.
+
+[Illustration: FIG. 260. BROAD CROSS STITCH.]
+
+DOUBLE STITCH (fig. 261).--Begin with a simple cross stitch over every
+alternate intersection of the threads then make a second row of stitches
+between those of the first, but in this case, over two and six threads,
+so that they extend beyond the first each way. In the subsequent rows, a
+square stitch should be opposed to a long one and a long stitch to a
+square one.
+
+[Illustration: FIG. 261. DOUBLE STITCH.]
+
+RICE STITCH (fig. 262).--Fill in the whole ground first, with large
+cross stitches, over four threads each way, then upon these, make the
+so-called rice stitches. These cross the four points of the large cross
+stitches, and meet in the space between, where they form another cross.
+The large cross stitches should be worked in rather coarse cotton, the
+rice stitches in one of a finer quality.
+
+[Illustration: FIG. 262. RICE STITCH.]
+
+DOUBLE STITCH, SET TWO WAYS (fig. 263).--This consists of diagonal and
+upright cross stitches, alternately. Work from left to right, and carry
+the thread over four vertical threads and downwards, under two
+horizontal ones, then diagonally upwards, over four threads and
+downwards under two, then again over four vertical threads, and so on.
+Coming back, you cross the first threads, and pass the working thread
+each time in a straight line, underneath the two threads of the canvas.
+The stitches of the third and fourth rows are set, as the illustration
+shows, the opposite way to those of the two first, the thread being laid
+the contrary way. Gold thread is generally used for this second set of
+stitches; Or fin D.M.C pour la broderie, or Chine d'or D.M.C will be
+found to be the most suitable for the purpose.[A]
+
+[Illustration: FIG. 263. DOUBLE STITCH SET TWO WAYS.]
+
+PLAIT STITCH (fig. 264).--It requires great attention to work this
+stitch, to and fro; the easier way is to carry the thread back each
+time, to the starting point.
+
+[Illustration: FIG. 264. PLAIT STITCH.]
+
+Carry the thread from left to right, over two horizontal threads, and
+downwards under four perpendicular ones, then under two threads, from
+right to left, as the figure indicates.
+
+STEM STITCH (fig. 265).--Here, the stitches are worked in separate
+rows, over four threads each way. The working thread passes first under
+the two middle threads, from right to left, and then under the two upper
+ones.
+
+[Illustration: FIG. 265. STEM STITCH.]
+
+LEAF STITCH (fig. 266).--Carry the thread diagonally over two double
+threads each way, and back under one double thread, to the row whence
+the stitch started. Make rows of back-stitches in a different colour
+between the rows of long ones.
+
+[Illustration: FIG. 266. LEAF STITCH.]
+
+FISH-BONE STITCH (fig. 267).--The difference between this and the
+preceding stitch is, that the working thread after passing over three
+perpendicular and three horizontal threads, is secured by a back-stitch
+over the last intersection of the canvas threads. These back-stitches
+lean to the right or left, according to the direction of the long
+stitches.
+
+[Illustration: FIG. 267. FISH-BONE STITCH.]
+
+DIAGONAL WEB STITCH (fig. 268).--Stretch diagonal threads across the
+whole surface you are going to embroider, and secure them with rows of
+overcasting stitches, set, if you are working on Penelope canvas,
+between the double threads of the canvas. In the next rows the stitches
+must be set the opposite way, which produces the effect of diagonal or
+twilled cloth.
+
+[Illustration: FIG. 268. DIAGONAL WEB STITCH.]
+
+CASHMERE STITCH (fig. 269).--To imitate this texture in needlework
+first make one stitch over one crossing of the canvas threads, and then
+two stitches over two crossings.
+
+[Illustration: FIG. 269. CASHMERE STITCH.]
+
+FLORENTINE STITCH (fig. 270).--Florentine stitch is worked in slanting
+lines, the thread being carried, diagonally first over one and then over
+two double threads of the canvas.
+
+[Illustration: FIG. 270. FLORENTINE STITCH.]
+
+MOSAIC STITCH (fig. 271).--The first row consists of one short and one
+long stitch, alternately; the second, of short stitches only, set
+between the long stitches of the first row; the third row is a
+repetition of the first, and so on.
+
+[Illustration: FIG. 271. MOSAIC STITCH.]
+
+KNOTTED STITCH (fig. 272).--Carry the working thread over two threads
+in width and six in height, bring the needle back, four threads lower
+down, in front of the double threads, and insert it behind the preceding
+stitch, and over the middle threads, and then carry it down to the line
+of the stitches. In the subsequent rows, the stitches extend over four
+threads and encroach on two of the previous row, so that the stitches of
+the second row lie between those of the first.
+
+[Illustration: FIG. 272. KNOTTED STITCH.]
+
+STAR, OR SMYRNA STITCH (fig. 273).--- Make a plain cross stitch over
+four threads, each way, and then over that, another cross stitch,
+standing upright. The same stitch can be made over six or seven threads;
+if you work over more than four threads, it follows that you increase
+the number of stitches accordingly.
+
+[Illustration: FIG. 273. STAR, OR SMYRNA STITCH.]
+
+ROCOCO STITCH (figs. 274, 275, 276).--After fastening in your thread,
+lay it over four single or two double threads, as the case may be, and
+carry the needle through to the left, under one double thread; then, as
+fig. 274 shows, bring it back over the first stitch, put it in by the
+side of it, and bring it out below, under half the horizontal threads
+covered by the first stitch. Then make a stitch to the right, similar to
+the one just made to the left.
+
+[Illustration: FIG. 274. ROCOCO STITCH. FIRST STITCHES ON THE WRONG
+SIDE.]
+
+When you have finished one stitch, carry the needle under one thread, in
+an oblique line, to the next stitch, see fig. 273. The whole pattern is
+worked in diagonal lines.
+
+[Illustration: FIG. 275. ROCOCO STITCH. STITCHES ON THE RIGHT SIDE.]
+
+[Illustration: FIG. 276. ROCOCO STITCH. COMPLETED.]
+
+PARISIAN STITCH (fig. 277).--This stitch, though it is generally
+worked on silk canvas, can also be worked on the different cotton and
+linen materials already referred to more than once in this Encyclopedia.
+It makes a very good grounding in cases where the material is not
+intended to be completely hidden. It consists of a long stitch over
+three threads, and a short stitch over one thread, alternately.
+
+[Illustration: FIG. 277. PARISIAN STITCH.]
+
+GREEK STITCH (fig. 278).--This differs from the ordinary cross stitch,
+in the oblique inclination given to the threads, and the manner in which
+it is begun. Instead of taking up the two threads that follow the first
+stitch, you bring your needle back from right to left, under the
+vertical threads of the first stitch, carry it downwards, and then from
+right to left, to a distance of four threads beyond the first stitch.
+The next stitch is made like the first. The rows may be joined together,
+either by the short or the long stitches, but you must follow one rule
+throughout. This stitch is much used in Slavonic countries, for the
+adornment of linen garments, and there we have observed that the short
+stitches are generally made to encounter the long ones. A coarse
+material that covers the ground well, such as, Coton a tricoter D.M.C
+Nos. 6 to 12, is the best one to use for this stitch.
+
+[Illustration: FIG. 278. GREEK STITCH.]
+
+SCOTCH STITCH (fig. 279).--Squares, composed of slanting stitches,
+made over one, three, five, three threads respectively, and then again
+over one thread, and separated from each other by rows of Gobelin
+stitches, constitute what is ordinarily known by the name of Scotch
+stitch.
+
+[Illustration: FIG. 279. SCOTCH STITCH.]
+
+MOORISH STITCH (fig. 280).--For this stitch, instead of surrounding
+squares of stitches, made in the way we have just described, with
+Gobelin stitch, the squares are made to touch, rising like steps one
+above the other, and bordered only at the sides by Gobelin stitch.
+
+[Illustration: FIG. 280. MOORISH STITCH.]
+
+ORIENTAL STITCH (fig. 281).--Here, you make four diagonal stitches
+over one, two, three and four double threads respectively; which four
+stitches form so many triangles, one above the other. The empty spaces
+between are filled up with Gobelin stitches covering two threads.
+
+[Illustration: FIG. 281. ORIENTAL STITCH.]
+
+SHELL STITCH (fig. 282).--Carry your thread upwards over six
+horizontal threads, then from right to left, under one vertical thread
+and downwards over six horizontal ones. When you have made four vertical
+stitches in this way, bring the needle out behind the third double
+thread, counted lengthways, and between the third and fourth, counted
+across, and fasten the four long stitches together with a back-stitch,
+to the middle thread of the canvas. Draw a thread of a different colour
+twice through these back-stitches, so as to form small knots like
+shells, and then fill in the ground between the rows of long stitches,
+with back-stitches.
+
+[Illustration: FIG. 282. SHELL STITCH.]
+
+JACQUARD STITCH (fig. 283).--If you have a large plain surface to
+cover, you should choose a stitch that forms a pattern in itself.
+Jacquard stitch and others which we shall describe later on, will be
+found to produce the effect of brocaded stuff. To work Jacquard stitch,
+make six stitches underneath one another, over two double threads, and
+six by the side of one another, from left to right, over two double
+threads. The second row consists of the same number of stitches,
+similarly worked downwards and to the side, but over one double thread
+only.
+
+[Illustration: FIG. 283. JACQUARD STITCH.]
+
+BYZANTINE STITCH (fig. 284).--Here, you make the same number of
+stitches as in the preceding figure but with this difference, that the
+two rows of stitches are made either over two, or four threads.
+
+[Illustration: FIG. 284. BYZANTINE STITCH.]
+
+MILANESE STITCH (fig. 285).--In the first row, the back-stitch is made
+alternately, first over four diagonal crosses and then over one; in the
+second row, over three and two; in the third, over two and three, in the
+fourth, over one and four. The last long stitches should come under the
+last short ones and the short ones, in the middle of the last long ones.
+
+[Illustration: FIG. 285. MILANESE STITCH.]
+
+PLUSH STITCH (fig. 286).--This stitch, also called Astrachan stitch,
+by means of which a very good imitation of an Oriental rug can be
+produced, consists of loops, each secured by a cross stitch; the best
+way to ensure these loops being even and regular is to make them over a
+narrow wooden ruler, or a piece of whalebone.
+
+The effect can be varied by cutting the loops, which gives the surface
+the appearance of velvet.
+
+[Illustration: FIG. 286. PLUSH STITCH.]
+
+The illustration represents the middle loops only, as cut, for the cut
+and the uncut stitch can both be introduced into the same piece of
+embroidery. For example, the borders in figs. 290, and 291, are worked
+in open or cut plush stitch, whilst in the centres, the stitch is left
+uncut. Two stitches of a similar kind, called Smyrna and Malta stitch,
+suitable for making rugs or carpets, are described in the last chapter
+but one in the book.
+
+CHAIN STITCH (fig. 287).--Generally speaking, this stitch is only used
+for the adornment of under-linen or small articles of fancy-work but it
+can also be employed in copying cross stitch patterns. In old
+collections we often meet with very interesting pieces of needlework,
+which were used for hangings or screens, where the figure-subjects, are
+executed in chain stitch. Patterns in many colours, gain immensely by
+being worked in this stitch, the colours blend together better than in
+any other, and even the shape of the stitch contributes to soften the
+contrasts of colour.
+
+Chain stitch cannot, like other stitches, be worked to and fro, nor can
+all the stitches of one row be finished first, as is generally possible
+in cross stitch work, each row must be begun separately, and always from
+the same side, and a different needle should be used for each colour, as
+the material has often to be changed.
+
+[Illustration: FIG. 287. CHAIN STITCH.]
+
+The stitch is worked as follows; after fastening in your thread, insert
+the needle at the same hole it came out of, and bring it out two threads
+lower down. Keep the loop, formed by the working thread, under the point
+of the needle. The thread should not be drawn up tightly but left to
+form a rather loose, round loop. For the next stitches, insert the
+needle close to the thread that issues from the last loop.
+
+PATTERN FOR BORDERS OR GROUNDING (fig. 288).--This simple but most
+effective design, copied from one of the most beautiful of Oriental
+carpets, can be executed in, either cross stitch, plush stitch, or chain
+stitch. To make a wider border still, the diagonal lines that divide the
+figures shaped like an S, have only to be prolonged, and the figures
+repeated.
+
+The colours have been chosen with the view of reproducing as nearly as
+possible the subdued and faded tones, which time has imparted to the
+original.
+
+[Illustration: FIG. 288. PATTERN FOR BORDERS OR GROUNDINGS. MATERIALS:
+Coton a broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15,
+Fil a pointer D.M.C Nos. 10 to 30, or Coton a repriser D.M.C No. 25.
+EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol])
+Rouge-Cardinal 346, ([symbol]) Rouge-Cornouille 449, ([symbol])
+Bleu-Indigo 311, and ([symbol]) Bleu-Indigo 322, ([symbol]) Gris-Cendre
+414, ([symbol]) Bronze dore 585 and ([symbol]) Vert-Mousse 470.[A]]
+
+
+PATTERN FOR GROUNDING (fig. 289).--Diagonal lines, intersected by
+balls, serve here as a setting for quaintly shaped flowers and leaves.
+The outlines are all worked in cross stitch, and the solid parts, in
+either tent stitch or Gobelin stitch.
+
+[Illustration: FIG. 289. PATTERN FOR GROUNDING. MATERIALS: Coton a
+tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C Nos. 5 to 15 or
+Coton a broder D.M.C No. 16.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE
+COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Jaune d'Ocre 676,
+([symbol]) Violet-Mauve 315, ([symbol]) Rouge-Geranium 349, ([symbol])
+Rouge-Aurore 360, ([symbol]) Bleu-Indigo 312, ([symbol]) Bleu pale 668,
+([symbol]) Rouge-Cornouille 449, ([symbol]) Vert-de-gris 474, ([symbol])
+Vert-de-gris 475, ([symbol]) Grounding.[A]]
+
+PART OF A DESIGN, SUITABLE FOR CARPETS (figs. 290 and 291). Our space
+will not admit of our reproducing more than a quarter of this design.
+Colours of the softest shades should be selected for it. A black line
+divides the pattern into four quarters. The upper quarter on the right,
+and the lower one, on the left, should be worked in blue, and the upper
+one on the left, copied from fig. 290.
+
+[Illustration: FIG. 290. PART OF A DESIGN SUITABLE FOR CARPETS.
+
+MATERIALS: Fil a pointer D.M.C Nos. 10 to 30, Coton a tricoter D.M.C
+Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton a repriser
+D.M.C No. 12.
+
+EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand
+Teint 310, Rouge-Grenat 358, ([symbol]) Rouge-Cornouille 450, ([symbol])
+Bleu-Indigo 311 and ([symbol]) Bleu-Indigo 322, ([symbol]) Vert
+metallique 465, ([symbol]) Gris-Noisette 424.]
+
+The narrow border, in red, blue and green, is to be repeated after the
+broad band, which is represented in fig. 291, has been added to the
+grounding. A very good effect is obtained, if in the broad border, fig.
+291, you vary the background of the different subjects.
+
+[Illustration: FIG. 291. OUTER BORDER OF THE DESIGN FOR CARPETS FIG.
+290. MATERIALS: Fil a pointer D.M.C Nos. 10 to 30, Coton a tricoter
+D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15, or Coton a
+repriser D.M.C No. 12.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE
+COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Rouge-Grenat 358,
+([symbol]) Bleu-Indigo 311, ([symbol]) Vert metallique 465, ([symbol])
+Jaune-vieil-Or 679, ([symbol]) Gris-Noisette 424, ([symbol])
+Rouge-Cornouille 450.[A]]
+
+LINEN EMBROIDERY.--The stitches used in linen embroidery are very
+similar to those used in canvas work. The ordinary cross stitch, as
+represented in fig. 253, is the one most commonly used, but it is not so
+effective as the two-sided stitches, which in the beautiful old
+needlework of the 15th, 16th and 17th centuries, have always excited our
+wonder and admiration.
+
+STUFFS SUITABLE FOR LINEN EMBROIDERY.--Most embroidery of this kind,
+and more especially the Italian, is done on very fine linen. Such fine
+work however, requires more time and patience than people, in these
+days, are as a rule disposed to bestow on work intended merely for
+pleasure and recreation. To meet the requirements of the day, therefore,
+in addition to the finer kinds of linen, a great variety of textures,
+are now manufactured, the threads of which, being thick and round, can
+be easily counted. The cross stitches that are worked on Cuba, Ceylon or
+Batavia linen, are large and coarse, those on linen-canvas, Russian
+linen, twisted tammy, and Rhodes linen, small and fine.
+
+Linen fabrics are either white, unbleached or cream-coloured. All three
+are used for embroidery, but the coloured cottons show up best on the
+cream ground; on the white, they look hard and crude, and on the
+unbleached, dull and faded.
+
+MATERIALS SUITABLE FOR LINEN EMBROIDERY--As most linen embroidery is
+executed on articles that are subjected to frequent washing, the D.M.C
+cottons, which are to be had in every shade and colour, are the best for
+the purpose. For coarse stuffs, coarse cotton should be used, such as
+knitting cotton, Coton a tricoter D.M.C Nos. 6, 8, 10, 12 and 14,[A]
+which will be found a very good substitute for wool; or six-cord crochet
+cotton (Cordonnet 6 fils D.M.C) Nos. 3, 4, 5, 10 and 15,[A] which gives
+quite as full and brilliant a stitch, as silk-twist. Finer cottons
+should be used for the finer stuffs, such as embroidery cotton (Coton a
+broder D.M.C) Nos. 6 to 200,[A] and lace thread (Fil a dentelle D.M.C)
+Nos. 30 to 150.[A] In many cases, even darning cotton (Coton a repriser
+D.M.C) can be used, as like Algerian silk, it can be split or taken
+double, to suit the stuff.
+
+PLAIN CROSS STITCH ON AUXILIARY CANVAS (fig. 292).--Plain cross
+stitch, commonly called marking stitch, has already been described in
+fig. 253. But it may be well to observe, that when an auxiliary material
+is used, it should be most carefully tacked upon the stuff following the
+thread of the same, and a sufficient margin left to allow of the drawing
+out of the canvas threads, when the work is finished.
+
+[Illustration: FIG. 292. PLAIN CROSS STITCH ON AUXILIARY CANVAS.]
+
+TWO-SIDED CROSS STITCH, WORKED IN FOUR ROWS OF STITCHES (figs. 293,
+294, 295).--Straight lines of cross stitch, alike on both sides, can be
+worked in two journeys to and fro. Working from left to right, begin by
+fastening in your thread, never with a knot, but by two or three little
+running stitches, which are hidden afterwards by your first cross
+stitch. Directing your needle to the right, pass it diagonally over a
+double cross of the warp and woof of the canvas, and so on to the end of
+the line.
+
+Having reached the last stitch, draw out your thread in the middle of
+it, make an auxiliary diagonal stitch downwards to the right, bring the
+needle up in the middle of the last stitch, take it thence, upwards to
+the left, across two threads, and begin the return journey, from right
+to left, crossing and thus completing the first row of stitches. In the
+auxiliary stitch with which you begin the backward journey, the thread
+lies double on both sides. Fig. 295 shows how to pass down to the next
+row.
+
+[Illustration: FIG. 293. FIRST HALF OF THE FIRST JOURNEY AND AUXILIARY
+STITCH FOR RETURNING.]
+
+[Illustration: FIG. 294. ONE JOURNEY AND FIRST HALF OF THE SECOND
+FINISHED, AND AUXILIARY STITCH LEADING TO THE SECOND RETURN.]
+
+[Illustration: FIG. 295. THE TWO JOURNEYS TO AND FRO, COMPLETING ONE ROW
+OF CROSS STITCH, BOTH SIDES ALIKE.]
+
+TWO-SIDED MARKING STITCH (figs. 296 and 297). The above mode of
+working two-sided cross stitch cannot be applied to letters, or patterns
+in broken lines, which both consist chiefly of isolated stitches. Figs.
+296 and 297 explain the course of the stitches in embroidery of this
+kind.
+
+The working detail A, Fig. 296, indicates the spot for the thread to
+enter the stuff, and the position of the needle for the first and second
+stitches; B, the first two stitches completed, with an auxiliary stitch
+to the right, the thread drawn out on the right, and the position of the
+needle for the fifth stitch that completes the cross; G shows the
+completion of the stitch begun at B and the position of the needle for a
+second stitch to the right; D, one cross stitch completed and another
+begun, immediately beneath A. In fig. 297, E shows how to work stitches
+to the left; F, an auxiliary stitch to reach an isolated cross stitch on
+the right, G, auxiliary stitches between two isolated cross stitches,
+and H, a second and last auxiliary stitch to complete the cross.
+
+It requires both practice and care to do this two-sided marking stitch,
+so as not to disfigure the stuff by superfluous stitches.
+
+[Illustration: A B C D FIG. 296. TWO-SIDED MARKING STITCH. DIFFERENT
+POSITIONS OF THE NEEDLE.]
+
+[Illustration: E F G H FIG. 297. TWO-SIDED MARKING STITCH. DIFFERENT
+POSITIONS OF THE NEEDLE.]
+
+CROSS STITCH FORMING A SQUARE AT THE BACK (figs. 298 and 299).--Many
+of the alphabets we so admire in old samplers are worked in cross
+stitch, that forms a square at the back. Each stitch has to be finished
+off before another is begun; if you carefully examine figs. 298 and 299,
+which show severally the right and the wrong sides of the stitch, you
+will find no difficulty in mastering it. Letter A, fig. 296, shows the
+entrance of the thread, the position of the needle for half the cross
+stitch on the right side, and the second side of the square at the back,
+as shown in fig. 299, A. Letter B, fig. 298, shows the cross stitch
+finished, and the position of the needle for the third side of the
+square on the wrong side, indicated by the same letter in fig. 299. C,
+in both figures, indicates a stitch which is double on the right side,
+and on the wrong side forms the fourth side of the square, whilst letter
+D, explains how to continue the stitches.
+
+[Illustration: A B C D FIG. 298. RIGHT SIDE OF THE CROSS STITCH, FORMING
+A SQUARE AT THE BACK.]
+
+[Illustration: E F G H FIG. 299. SQUARE STITCH FORMING THE BACK OF THE
+CROSS STITCH.]
+
+TWO-SIDED ITALIAN STITCH (figs. 300, 301, 302, 303).--Two-sided
+Italian stitch consists of cross stitches, alike on both sides, divided
+from each other by horizontal and vertical stitches. The upper and lower
+stitches should all slope one way, as in plain cross stitch.
+
+Italian stitch is worked in one journey, to and fro. Fig. 300 shows how
+to fasten in the thread, and place the needle for the first stitch, from
+right to left; fig. 301, the position of the needle from left to right,
+to form the cross at the back, and the vertical stitch to the left, on
+the right side; fig. 302, the position of the needle, for a two-sided
+horizontal stitch at the bottom of the cross, where upon you proceed as
+in fig. 300. Fig. 303 explains the return of the thread, which completes
+the double crosses and the lines between.
+
+The horizontal lines, not made on the first journey, are added on the
+way back. In conclusion, pass the needle back, horizontally, from left
+to right, to make the final stitch over the cross, and then make the
+stitch between, as shown in fig. 303. On a thin stuff, this stitch
+produces an extremely pretty effect, resembling lattice-work, provided
+the thread be tightly drawn in the working.
+
+[Illustration: FIG. 300. TWO-SIDED ITALIAN STITCH. INTRODUCTION OF THE
+THREAD AND POSITION OF THE NEEDLE FOR THE FIRST STITCH.]
+
+[Illustration: FIG. 301. TWO-SIDED ITALIAN STITCH. POSITION OF THE
+NEEDLE FOR THE 2ND AND 3RD STITCHES.]
+
+[Illustration: FIG. 302. TWO-SIDED ITALIAN STITCH. POSITION OF THE
+NEEDLE FOR THE 4TH AND 5TH STITCHES.]
+
+[Illustration: FIG. 303. TWO-SIDED ITALIAN STITCH. RETURN JOURNEY, WHICH
+COMPLETES THE CROSS STITCH.]
+
+MONTENEGRIN CROSS STITCH (figs. 304, 305, 306).--The Slavonic tribes
+of the southern districts of E. Europe, especially the Montenegrins,
+have a great partiality for this stitch, which has been rarely noticed,
+hitherto, in books on needlework. The right side shows cross stitches
+with a double thread underneath, and divided by vertical stitches; the
+wrong side, regular cross stitches, also divided by vertical stitches.
+Coarse cotton should be used for this stitch; it produces a richer
+effect and not only covers the stuff better, but also the underneath
+stitch which in the Slavonic work, is entirely hidden by the cross
+stitches.
+
+Begin, as letter A indicates, with a long, slanting stitch, across 4 and
+8 threads, then, bringing your needle back from right to left, under
+four threads, draw it out, carry it over the first long stitch, and
+insert it again from left to right, under the first four threads of the
+canvas. These four stitches finished, proceed to the fifth and sixth,
+which as B shows, cross the first four, then repeat the first stitch.
+
+The threads that form the stitches on the wrong side, should always be
+opposed to each other, that is, one cross should lean to the right, the
+other to the left, as shown in fig. 305. This variation in the
+inclination of the stitches, which is regarded as a fault in plain cross
+stitch, is indispensable here, and produces a charming effect on the
+wrong side.
+
+[Illustration: A B FIG. 304. MONTENEGRIN CROSS STITCH. 1ST, 2ND, 3RD,
+4TH AND 5TH STITCH AND TRANSVERSAL STITCH]
+
+[Illustration: A B FIG. 305. MONTENEGRIN CROSS STITCH. POSITION OF THE
+STITCHES ON THE WRONG SIDE.]
+
+[Illustration: FIG. 306. MONTENEGRIN CROSS STITCH. A ROW OF STITCHES
+FINISHED.]
+
+PLAITED ALGERIAN STITCH (fig. 307).--The distinguishing feature of
+this stitch is, that it only advances one thread at a time. It should be
+begun on an uneven number of threads, and like the Montenegrin stitch,
+should be worked with coarse cotton. The rows may touch, either at the
+top or at the bottom of the stitch, so long as you keep to one plan
+throughout.
+
+[Illustration: FIG. 307. PLAITED ALGERIAN STITCH.]
+
+TWO-SIDED SPANISH PLAITED STITCH (figs. 308 and 309).--This stitch has
+the advantage of being, not only very effective, but also very quickly
+executed. It is worked in two rows, forwards and backwards. All cross
+stitch patterns can be worked in Spanish stitch. The gaps, which are
+occasioned by the long stitches, have to be filled in with short ones.
+In itself, the stitch consists of slanting stitches, three threads a
+part, alike on both sides, and advances three threads at a time, as
+shown in figs. 308 and 309.
+
+[Illustration: FIG. 308. TWO-SIDED PLAITED SPANISH STITCH.]
+
+[Illustration: FIG. 309. TWO-SIDED PLAITED SPANISH STITCH.]
+
+TWO-SIDED LINE STITCH (figs. 310 and 311).--Square stitch, Holbein
+stitch, line, or stroke stitch, as it is sometimes called, and setting
+stitch, are all worked on one principle. Though all these two-sided
+stitches are related to each other, and by no means difficult of
+execution, those new to the work will find a little practice necessary,
+to make the stitches follow in their proper order. Fig. 310 explains how
+the needle has to pass, alternately, step by step, over and under the
+threads of the stuff, and fig. 311, how the threads, left blank the
+first time, are covered on the way back. The great difficulty is how to
+place your first row of stitches so as to ensure an unbroken course
+back. It is as well before setting out, to ascertain clearly the most
+direct course back, so that you may not come to a stand-still, or be
+obliged to make unnecessary stitches on the wrong side. If you have to
+pass obliquely across the stuff, as in patterns figs. 326, 327, 328,
+329, 331 and 333, proceed in the same way as though you were covering
+the straight threads of a fabric.
+
+[Illustration: FIG. 310. TWO-SIDED LINE STITCH. FORWARD ROW.]
+
+[Illustration: FIG. 311. TWO-SIDED LINE STITCH. BACKWARD ROW.]
+
+TWO-SIDED INSERTION (figs. 312, 313, 314, 315, 316, 317, 318).--We
+conclude this series of stitches with a description of a pretty,
+two-sided insertion, suitable for joining stripes of work of different
+widths together. In pieces of old needlework, we often find handsome,
+coloured patterns, joined together by a piece of lace or some quite
+different kind of work. The insertion represented in fig. 317, is a very
+good substitute for either. Fig. 312 explains the first stitch and the
+course of the second, from left to right, under 3 vertical and 3
+horizontal threads; the 3rd stitch to the left, over 6 vertical threads,
+and the beginning of the 4th stitch. Fig. 313 shows the 4th stitch
+completed, and the direction the 5th and 6th stitches have to take;
+fig. 314, the 6th completed, and the position of the needle for the 7th
+and 8th; fig. 315, the 9th lower, horizontal stitch, over 6 vertical
+threads, the 10th backward stitch, and the position of the needle for
+the 11th and last stitch. Fig. 317 represents a whole series of
+stitches, and fig. 318, the back of the work, which though quite a
+different pattern, will combine very well with any two-sided embroidery.
+
+[Illustration: FIG. 312. TWO-SIDED INSERTION. FIRST DETAIL.]
+
+[Illustration: FIG. 313. TWO-SIDED INSERTION. SECOND DETAIL.]
+
+[Illustration: FIG. 314. TWO-SIDED INSERTION. THIRD DETAIL.]
+
+[Illustration: FIG. 315. TWO-SIDED INSERTION. FOURTH DETAIL.]
+
+[Illustration: FIG. 316. TWO-SIDED INSERTION. FIFTH DETAIL.]
+
+These insertions can be worked on any stuff, but the stitches, must be
+done, both ways, on a number of threads, divisible by 3. Thus, the first
+stitch may cover 6, 9, or 12 threads, but never 8, 10, 12 or 14.
+[Transcriber's note: 12, here, appears to be an error in the original.]
+
+[Illustration: FIG. 317. TWO-SIDED INSERTION. ROW OF STITCHES FINISHED.]
+
+[Illustration: FIG. 318. TWO-SIDED INSERTION, SHOWING THE BACK OF FIG.
+317.]
+
+GOTHIC BORDERS IN GOBELIN AND CROSS STITCH (figs. 319 and 320).--We
+are indebted for both these pretty patterns, which are quite Gothic in
+their character, to a visit we paid to the national museum at Munich,
+where we discovered them amongst a heap of other old valuables, lying
+un-heeded in a remote corner. Their simple graceful outlines render them
+peculiarly suitable for the decoration of table-cloths, counterpanes,
+curtains, etc. All embroideries of this kind should be finished off with
+a deep fringe, made in the stuff itself, or knotted on to it or may be
+trimmed with a heavy thread lace, of a wide width, corresponding with
+the work in character.
+
+The design may be worked either in one shade, as in fig. 319, or in two,
+as in fig. 320, where all the outside stitches are worked in the darker
+shade of the given colours.
+
+[Illustration: FIG. 319. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton
+a tricoter D.M.C Nos. 6 to 12, Coton a broder D.M.C Nos. 16 to 35, or
+Cordonnet 6 fils D.M.C Nos. 3 to 15.[A] COLOURS: Rouge-Turc 321, or two
+shades of Bleu-Indigo, 311 and 334, or two shades of Rouge-Grenat, 358
+and 359 or two shades of Brun-Acajou, 300 and 402.[A]]
+
+[Illustration: FIG. 320. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton
+a tricoter D.M.C Nos. 16 to 35. COLOURS: Bleu-Indigo 311 and 344, or
+Rouge-Cardinal 346 and Rouge-Geranium 335, or Gris-Tilleul 391 and
+331.[A]]
+
+POWDERING AND BORDER. ALBANIAN SUBJECTS (figs. 321 and 322).--The
+arrangement of colours for these charming patterns, of Albanian origin,
+should be as follows; the dark-coloured crosses, red, the lighter ones,
+alternately blue and green, the lightest, yellow.
+
+[Illustration: FIG. 321. POWDERING. ALBANIAN SUBJECT. MATERIALS: Coton a
+tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or
+Coton a repriser D.M.C No. 12, 25 or 50.[A]
+
+COLOURS: Rouge-Cardinal 347, Bleu-Indigo 322, Vert metallique 465,
+Jaune-Orange 444, Gris-Brun 409.[A]]
+
+In fig. 321, most of the stitches in every other diagonal row, are
+worked in red, the others in green or blue; in the intermediate rows the
+flowers are worked alternately, in green and red, or blue and red, and
+throughout, the centre of each figure should consist of 4 stitches in
+yellow.
+
+[Illustration: FIG. 322. ALBANIAN SUBJECT. MATERIALS: Coton a tricoter
+D.M.C Nos. 6 to 12, Coton a broder D.M.C Nos. 16 to 35 or Cordonnet 6
+fils D.M.C Nos. 3 to 25.[A] COLOURS: Rouge-Cardinal 347, Bleu-Indigo
+312, Jaune-Orange 444, Vert metallique 465, Gris-Brun 409.[A]]
+
+In fig. 321, which serves as a border to the above, only the stalks of
+the 4 conventional pinks, which, with the cross in their middle, form a
+square, are in brown.
+
+These squares are separated from the bottom border by an insertion, in
+Gobelin stitch, worked over 6 threads, in red, blue, green and yellow,
+from 20 to 25 stitches of each. This band is edged on both sides with a
+row of stem stitches, worked in yellow over 4 threads. The Holbein
+stitches that border the band, can be made in whichever colour the
+worker prefers, or else in red and gold thread.
+
+BORDERS IN STROKE STITCH (figs. 323, 324, 325).--These three patterns
+will give our readers an opportunity of perfecting themselves in
+two-sided, square stitch (see figs. 310 and 311), also called stroke, or
+line stitch, according as it is worked, in oblique, or straight rows.
+
+[Illustration: FIG. 323. BORDER IN STROKE STITCH. MATERIALS: Coton a
+marquer D.M.C Nos. 5 to 200.[A] COLOURS: Rouge-Turc 321 or Bleu-Indigo
+312.[A]]
+
+[Illustration: FIG. 324. BORDER IN STROKE STITCH. MATERIALS: Coton a
+repriser D.M.C No. 50.[A] COLOURS: Vert-Pistache 319, or Vert-Mousse
+470.[A]]
+
+[Illustration: FIG. 325. INSERTION IN STROKE STITCH. MATERIALS: Coton a
+broder D.M.C Nos. 16 to 60.[A] COLOURS: Rouge-Turc 321, or Rouge-Grenat
+309, or Bleu-Indigo 311.[A]]
+
+We again recommend our readers, to begin by ascertaining the course the
+stitches should take, in order to avoid all unnecessary stitches and be
+sure of finding their way back according to the prescribed rule.
+
+CORNERS IN STROKE STITCH (figs. 326 and 327).--These pretty little
+patterns are suitable for the decoration of ladies' and children's
+collars, fine pocket-handkerchiefs and finger napkins, and can be worked
+in one or two colours, as preferred. If two colours be used, the darker
+should be taken for the interior, the lighter for the narrow outside
+edge.
+
+[Illustration: FIG. 326. & FIG. 327. CORNERS IN LINE STITCH. MATERIALS:
+Coton a broder D.M.C Nos 35 to 200 or Fil a dentelle D.M.C Nos. 25 to
+70.[A] COLOURS: Bleu-Indigo, or Rouge-Cardinal, or Brun-Caroubier, or
+Violet-Lie-de-vin.[A]]
+
+STRIPE IN STROKE STITCH (fig. 328).--This is copied from a piece of
+Italian work, though from a resemblance in the different subjects to the
+rose, thistle and shamrock, if might have been supposed to be of English
+origin. The original work was executed in a most brilliant purple red
+which time has toned down to the colour of Jaune-Rouille 308, or
+Brun-Cuir 432, one or other of which we recommend, as being the only
+colours with which any thing approaching the refined distinguished look
+of the old embroidery, can be given to the new.
+
+[Illustration: FIG. 328. STRIPE IN STROKE STITCH. MATERIALS: Cordonnet 6
+fils D.M.C Nos. 15 to 50, Coton a broder D.M.C Nos. 16 to 35, or Coton a
+repriser D.M.C No. 12, 25 or 50.[A] COLOURS: Jaune-Rouille 308, or
+Jaune-vieil-Or 680.[A]]
+
+GROUNDING IN DIAGONAL LINES (fig. 329).--This pattern can be worked,
+in any of the previous stitches, or in back-stitch. It is only suitable
+for large surfaces, on account of the diagonal lines, and should be
+worked, all in one colour. It can be varied by adding sprays to the
+upper sides of the slanting stalks, like those on the lower sides,
+turned either the same way, or upwards. Skilled workers will readily
+contrive the middles for themselves, by combining the different subjects
+and putting them together in various positions, either diagonally or at
+right angles to each other, with the help of the Penelope mirror.[2]
+
+[Illustration: FIG. 329. GROUNDING IN DIAGONAL LINES. MATERIALS: Coton a
+tricoter D.M.C Nos. 6 to 16, or Coton a broder D.M.C Nos. 16 to 100.
+COLOURS: Bleu-Indigo 322, or Rouge-Cardinal 347.]
+
+POWDERING IN CROSS, STROKE AND STAR STITCH (fig. 330).--This charming
+combination of cross, stroke and star stitches, can be made use of
+wherever embroidery is available as a means of decoration.
+
+The cross stitches, in which the solid parts of the pattern are worked,
+should be in one colour only, the stroke and star stitches, in Chine
+d'or D.M.C.[A]
+
+[Illustration: FIG. 330. POWDERING IN CROSS, STROKE AND STAR STITCH.
+MATERIALS: Coton a repriser D.M.C No. 50 and Chine d'or D.M.C.[A]
+COLOURS--For the Cotton: Rouge-Grenat 326.--For the Chine: Bleu-Indigo
+and gold.[A]]
+
+BORDER IN GREEK STITCH (fig. 331).--All the darker lines here, should
+be worked in black, colour 473, the leaves in the form of steps,
+alternately in light and dark red up to the stalks, the line of
+demarcation being indicated by the different direction of the stitches,
+so that two light leaves, and two dark leaves, should always face each
+other.
+
+[Illustration: FIG. 331. BORDER IN GREEK STITCH. MATERIALS: Coton a
+broder D.M.C Nos. 16 to 25, or Coton a repriser D.M.C Nos. 12 to 50.
+COLOURS: Rouge-Geranium 349 and 351, Jaune-Rouille 364, Bleu de France
+341, Bleu pale 668, Noir-Vert 473, Or fin D.M.C pour la broderie No. 30
+and Chine d'or D.M.C No. 30.]
+
+In the original, the cross bars that unite the leaves, are in yellow,
+whilst the detached figures that separate them, are worked, those that
+come between the light red leaves, in pale blue, and those between the
+dark red ones, in gold thread. The exterior part of the figure is filled
+in with the different colours, indicated above; with the exception of
+the small squares in Gobelin stitch, which should all be worked in plain
+gold, or Chine d'or D.M.C, green and gold. The SS in the narrow outside
+border, should be worked in two shades of blue; the outside stitches in
+colour 341 and the solid parts in colour 668. The little figures with
+the transverse bars that unite the SS, should be set in black, and
+filled in, alternately, in light and dark red, and in yellow.
+
+GROUNDING (fig. 332).--This grounding was copied from a beautiful old
+cushion-cover and will be found particularly useful in the confection of
+small embroidered articles, because the pattern will always form a
+centre point in itself. A light, brilliant red, such as either of the
+two colours indicated beneath the figure, will best reproduce the tone
+of the original.
+
+[Illustration: FIG. 332. GROUNDING. MATERIALS: Coton a tricoter D.M.C
+Nos. 6 to 10, or Coton a broder D.M.C Nos. 16 to 100.[A] COLOURS:
+Rouge-Cardinal 804, or Rouge-Cornouille 450.[A]]
+
+In making the little stars that connect the different squares, the mode
+we recommended for working stroke stitch should be adopted, that is,
+beginning, by bringing the needle out in the middle, making 7 stitches,
+and at the eighth, carrying the needle back under the first, to the spot
+whence you started. The stitches will then be alike on both sides.
+
+WALLACHIAN BORDER (fig. 333).--A piece of Wallachian needlework,
+executed on rough linen, and uncommon, both in colour and design,
+suggested the charming embroidery, here represented. In place of the
+somewhat violent colours, which indicate an undeveloped taste, we have
+substituted softer and more refined ones. All the stroke stitches of the
+middle stripe and of the two border stripes, top and bottom, as well as
+the darker portions of the small dice, subdivided into eight, in the
+bottom border, and of the small diagonal squares in the top border,
+worked in Gobelin stitch, are in red, colour 346. The setting of upright
+stroke stitches round the large centre figures, as well as the straight
+lines that divide these same figures into four, are worked in yellow,
+colour 680.
+
+[Illustration: FIG. 333. WALLACHIAN BORDER. GOBELIN STITCH, STROKE
+STITCH AND SPANISH HALF-STITCH. MATERIALS.--For Rhodes linen No. 1:
+Cordonnet 6 fils D.M.C No. 15, and Or fin D.M.C pour la broderie No.
+30.--For other stuffs: Coton a tricoter D.M.C Nos. 6 to 16, or Coton a
+repriser D.M.C No. 12, 25 or 50 and Or fin D.M.C.[A]
+
+COLOURS: Rouge-Cardinal 346, Rouge-Geranium 326, Vert-Pistache 319 and
+Jaune-vieil-Or 680.[A]]
+
+The squares and the half-squares are worked in colour 326, green 319,
+and gold thread; colour 326 is indicated in the illustration by the
+darkest shade, green 319, by the medium shade, and the gold thread by
+the lightest shade.
+
+The stitches in the right bottom quarter and top left one, incline
+upwards from left to right, in the two other quarters they incline the
+contrary way. The Spanish half-stitch as shown in fig. 309, can only be
+done over 4 and 2 threads and worked one way, not to and fro.
+
+The general effect is very much heightened by the introduction of one or
+two rows of stitches, worked in gold thread, into the straight lines on
+either side of the stripes; all the light parts of the design moreover,
+should be worked in gold thread.
+
+BORDERS IN SEVERAL SHADES OF ONE COLOUR (figs. 334 and 335). In some
+beautifully embroidered Chinese hangings, that latterly came under our
+notice, the principal subject was the figure of a mandarin, in a very
+richly decorated dress. The pretty pattern, given in fig. 334, was
+copied from the collar and cuffs of this dress. We should advise working
+it in several shades of pink or red, or in a single one of the colours
+indicated above.
+
+[Illustration: FIG. 334. BORDER IN SEVERAL SHADES OF ONE COLOUR.
+MATERIALS: Coton a tricoter D.M.C Nos. 12 to 20, Coton a broder D.M.C
+Nos.. 16 to 35 or Coton a repriser No. 12, 25 or 50. COLOURS: Three
+shades of either Bleu-Indigo, Rouge-Grenat, or Violet-Mauve etc. etc.]
+
+[Illustration: FIG. 335. BORDER IN SEVERAL SHADES OF ONE COLOUR.]
+
+The border of these hangings furnished us with pattern 335, which will
+be found to look best, worked in three very distinct shades of blue.
+
+The grotesque heads of animals, and the flowers and branches which break
+the running pattern, and are a Chinese speciality, distinguish this
+design from the more conventional patterns of the present day.
+
+We recommend these two pretty patterns, to our readers notice, as
+likewise adaptable by transposition, to centres, or by repetition, to
+broad stripes. With very little trouble they can be converted, into a
+variety of subjects, such as it is often difficult to find ready made,
+and exactly suited to the purpose in hand.
+
+BORDER IN GREEK STITCH WITH A FOOTING, COMPOSED OF BRANCHES (fig.
+336).--This design can be worked in Greek, Slavonic, Montenegrin, or
+plaited Algerian stitch. Our illustration worked in Greek stitch, shows
+how one stitch encroaches upon another, and how the thread is carried
+from one isolated stitch, to another.
+
+[Illustration: FIG. 336. BORDER IN GREEK STITCH WITH A FOOTING, COMPOSED
+OF BRANCHES.]
+
+It will be found to be an improvement if the stitches are so made as to
+follow the direction of the lines. The central subject may be repeated
+two or three times, according to the width of border required. The
+edging is the same throughout. The use of the 'Penelope mirror' for
+repeating patterns is described in the concluding chapter of the book.
+
+TABLE-COVER IN GOBELIN AND STROKE STITCH (figs. 337, 338, 339,
+340).--This tasteful little table-cover provides excellent practice in
+working two sided, square stitch. The square represented in fig. 339,
+forms the middle of the cloth. The Gobelin stitches, set very closely,
+unite and form a star in the centre of the principal subject. They begin
+in the corners, in red and continue in green, violet and blue,
+successively; the little branches in stroke stitch, on each side of the
+Gobelin stitches, correspond with them in colour, and the small figures,
+that form the border of the square, may be worked, indiscriminately, in
+any of the colours used for the Gobelin stitches of the centre. Four
+branches run inwards from the corners of the square, and four more
+advance to meet, and pass them, from the inner angles of the wide
+border. Four figures, copied from the outside border, fig. 339, and
+worked in yellow, and the little star, fig. 337, besides the little
+subjects, borrowed from the outside border, fig. 338, are strewn lightly
+over the foundation, interspersed between the branches. In fig. 340,
+nevertheless, which represents the whole table-cover, the edge is formed
+of the small subjects contained in the wide border and not of the
+little stars. The Gobelin stitches in the centre of fig. 337, are in
+dark green, the star stitches and the stroke stitches on the outside in
+red. The wide border consists of stars, every other row of which, is
+worked in red; the intermediate rows, successively, in blue, green, and
+yellow. The corners are composed of four detached stars, framed by a row
+of stroke stitches, one red and one blue, alternately. This line skirts
+both sides of the border, and forms the base to the quaint figures, that
+terminate the design and which can be worked in all the colours used for
+the inside.
+
+[Illustration: FIG. 337. SMALL DETACHED SUBJECT OF FIG. 340.]
+
+[Illustration: FIG. 338. OUTER BORDER OF FIG. 340.]
+
+[Illustration: FIG. 339. MIDDLE OF FIG. 340.]
+
+The original of our illustration, which is on fine Rhodes linen, in
+Coton a broder D.M.C No. 25, is only a small table-cover; for a larger
+one, if you wish strictly to adhere to the pattern, Java or Ceylon linen
+will be the best material to select, with Coton a tricoter D.M.C No. 12,
+for the stroke stitches and Coton a repriser No. 25 for the Gobelin
+stitches.
+
+[Illustration: FIG. 340. TABLE-COVER IN GOBELIN AND STROKE STITCH.
+MATERIALS.--According to the stuff: Coton a tricoter D.M.C Nos. 6 to 16,
+Coton a broder D.M.C Nos. 16 to 35, Coton a repriser D.M.C Nos. 12, 25,
+50, Fil a pointer D.M.C Nos. 10 to 30, or Cordonnet 6 fils D.M.C Nos. 3
+to 20.[A] COLOURS: Rouge-Cornouille 450, Vert-Pistache 319,
+Violet-Lie-de-vin 372, Jaune-Rouille 364, Bleu-Indigo 322.[A]]
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: INSERTION--PLAIN STITCHES AND OVERS]
+
+
+
+
+Knitting.
+
+
+Knitting is one of the earliest forms of needlework, and one, which has
+been carried to the highest perfection. It would be difficult to invent
+new stitches or patterns and, we shall therefore confine ourselves to
+describing the stitches in general use, and reproducing those of the old
+patterns we consider the most useful, that our readers may make their
+own selection.
+
+In former days, knitting served mainly for the manufacture of stockings,
+and even now, in spite of machines, handknit stockings, and numberless
+other useful and ornamental articles, such as shawls, counterpanes,
+cradle-coverings, gloves, laces etc. are in great request.
+
+Besides its practical use, knitting is an easy and pleasant pastime that
+can be taken up at odd minutes and even carried on, whilst talking, or
+reading.
+
+Knitting consists of loops, or stitches, as they are generally called,
+formed by means of a thread and two needles.
+
+In round knitting, four, or five needles are necessary for the better
+handling of the work.
+
+Through the loops formed in knitting, being connected together in
+unbroken continuity, a very elastic fabric is produced, which is
+specially suitable for making warm, and closely-fitting
+wearing-apparel.
+
+MATERIALS.--Threads with a slight twist, such as Coton a tricoter
+D.M.C, are the best. With regard to the thickness of the needles,
+whether they be of steel, wood, or bone, your choice must be determined
+by the quality of the thread used.
+
+The accompanying table is intended to help inexperienced knitters to
+match their needles and thread, we advisedly say, help, as it is
+impossible exactly to determine the numbers that will correspond,
+because every hand knits differently, and a loose knitter has to use
+finer needles than a tight knitter.
+
+Other materials are enumerated here, besides, what is properly speaking,
+called knitting-cotton, as for caps, lace edgings, insertions and so
+forth, finer kinds of thread and threads with a stronger twist which
+show up the pattern better, should be used.
+
+[Illustration: TABLE OF THE APPROXIMATE RELATION OF THE D.M.C THREADS
+AND COTTONS TO THE NUMBERS OF THE KNITTING NEEDLES[A].]
+
+POSITION OF THE HANDS IN KNITTING (fig. 341.)--Lay the thread over the
+fifth finger of the right hand, and twist it round it, then carry it
+over the forefinger, which should be kept close to the work, the work
+being held between the third finger and the thumb. The left hand remains
+more or less inactive, having merely, by a slight movement of the
+forefinger to pass the loops, in succession, on to the needle in the
+right hand, which forms the stitches. This position of the hands, which
+is the one usually adopted in England and France, is the one represented
+in our illustration. The Germans on the contrary, lay the thread over
+the left hand, and can move the hands much more quickly, in consequence.
+There are some ways of casting on, which can only be done in the German
+fashion.
+
+To prevent the irregularity in stitches, the needles should never be
+allowed to protrude more than 1 or 11/2 c/m, from the work. All
+exaggerated movement of the arms, which renders knitting a very tiring
+occupation, should be avoided.
+
+[Illustration: FIG. 341. POSITION OF THE HANDS IN KNITTING.]
+
+CASTING ON.--Casting, or, setting on, as it is sometimes called, is
+the formation of the first row of stitches which are to constitute the
+foundation of the work.
+
+There are four methods of casting on: (1) crossed casting on, done in
+four different ways; (2) knitting on; (3) slipping on, also done in two
+ways; (4) casting on with picots.
+
+(1) CROSSED CASTING ON WITH A SINGLE THREAD (fig. 342). Lay the thread
+over your fingers as though you were beginning a chain of plain
+stitches, fig. 403, leaving a long end, sufficient to make the number of
+stitches required, lying within the palm of the hand. Put the needle in
+from below, into the loop on the thumb, and pass it from right to left
+under that part of the thread which lies between the forefinger and the
+thumb. Then bring the thread through the loop on the thumb, draw the
+thumb out, and lay the loop on the needle. In making the next stitches,
+lay the thread over the thumb, so that the end lies outside. Put in the
+needle under the front thread and complete the stitch as before. This
+method of casting on is generally done over two needles, one of them
+being drawn out before the knitting-off is begun, to ensure a loose
+edge.
+
+[Illustration: FIG. 342. CROSSED CASTING ON WITH A SINGLE THREAD.]
+
+CROSSED CASTING ON WITH A THREEFOLD THREAD.--This method is similar to
+the last, only that the thread is taken threefold and is drawn by the
+needle through the loop, which is formed at the bend of the thread. Then
+you pass the single thread over the left hand, and the triple one over
+the thumb, as shown in fig. 342, and make the same stitches, as above.
+The threefold thread makes a broad chain at the bottom of the loops.
+
+DOUBLE CROSSED CASTING ON (fig. 343).--This can be done either with a
+single or a threefold thread. In our drawing it is done with the latter.
+The first stitch is made as we have already described, only that you
+have to keep the loop on your thumb, put the needle into it a second
+time, lay hold of the thread behind, cast on a second stitch, and then
+only, withdraw your thumb. In this manner two loops are made at once,
+close together.
+
+[Illustration: FIG. 343. DOUBLE CROSSED CASTING ON.]
+
+CROSSED CASTING ON, FORMING A CHAIN (fig. 344.)--Begin by making one
+such stitch, as we have described in fig. 341; for the second and
+following stitches, bring the end of the thread to the inside of the
+palm of the hand, so that it lies between the thumb and the forefinger.
+
+[Illustration: FIG. 344. CROSSED CASTING ON, FORMING A CHAIN.]
+
+(2) KNITTING ON STITCHES (fig. 345).--Begin with a plain crossed
+stitch; then take the thread and the needle in the left hand, a second
+needle in the right, and catch it into the stitch on the left needle,
+lay the thread under the right needle and draw it through in a loop,
+through the loop on the left needle. Then transfer it as a fresh stitch
+to the left needle; catch the needle into this second stitch, and draw
+the thread through it, to form the third, and so on.
+
+This method of casting on is used for articles, that are to have a
+double edge, (see figs, 355, 356), because stitches, made in this way,
+are easier to pick up than the tighter ones; but it should not be used,
+where it will form the actual edge, as the loops are always too open.
+
+[Illustration: FIG. 345. KNITTING ON STITCHES.]
+
+(3) CASTING ON WITH SLIP LOOPS (fig. 346).--Begin by casting on one
+loop in the ordinary way, next, lay the thread, as in German knitting,
+over the left hand, twisting it once only round the forefinger, then put
+the needle in, upwards from below, under the thread that lies on the
+outside of the forefinger; draw out the finger from the loop, put the
+loop on the needle to the right, take the thread on the forefinger
+again, and so on.
+
+[Illustration: FIG. 346. CASTING ON WITH SLIP LOOPS.]
+
+CASTING ON WITH DOUBLE SLIP LOOPS (fig. 347).--Begin by casting on a
+stitch in the ordinary way, then lay the thread over the forefinger, the
+reverse way, so that it crosses between, not outside the hand and the
+body of the knitter. Pass the needle upwards from below, under the
+inside thread, and slip this thread as a loop on to the needle. Continue
+to cast on, inserting the needle under the front and back threads
+alternately. This method is specially suitable for open patterns, where
+you have to increase several times, in succession.
+
+[Illustration: FIG. 347. CASTING ON WITH DOUBLE SLIP LOOPS.]
+
+(4) CASTING ON WITH PICOTS (fig. 348).--Cast on two stitches in the
+ordinary way and turn the work. Lay the thread over the needle, put the
+needle into the first stitch, from right to left, and slip it on to the
+right needle, knit off the second stitch plain, and draw the slipped one
+over it.
+
+[Illustration: FIG. 348. CASTING ON WITH PICOTS.]
+
+Cast on as many stitches as you want in this manner and then pick up the
+picots thus formed, with an auxiliary needle, and knit them off like
+ordinary stitches.
+
+This method of casting on may be varied thus in the following manner:
+having cast on the stitches as in fig. 348, throw the thread over the
+needle and knit two stitches together.
+
+PLAIN STITCH (fig. 349).--This is the easiest stitch and the first
+which a knitter has to learn. It is executed as follows: Put the
+right-hand needle in, upwards from below, under the front part of the
+first stitch on the left-hand needle, lay the thread from right to left
+under the needle, draw it through the loop, and drop the loop off the
+left needle.
+
+[Illustration: FIG. 349. PLAIN STITCH.]
+
+Plain knitting is employed wherever a perfectly smooth, even surface is
+required. It looks quite differently on the wrong side from what it does
+on the right where it presents the appearance of vertical rows of
+plaiting.
+
+BACK, OR SEAM-STITCH (fig. 350).--You may intentionally knit the wrong
+side of plain knitting. This is called purling and is done, in the
+following way: lay the thread over the left needle, and put the right
+one, downwards from above, behind the thread, into the loop on the left
+needle, lay the thread upwards from below, over the right needle, draw
+it through the loop, and drop the loop off the left needle. This stitch
+is used in knitting patterns, and for marking horizontal lines in
+smooth surfaces, such as the seam of a stocking, for instance.
+
+[Illustration: FIG. 350. BACK OR SEAM-STITCH.]
+
+PLAIN STITCH TAKEN FROM BEHIND (fig. 351).--Put the needle in from
+right to left, under the back part of the stitch; leave the thread
+behind the needle, then pass it from right to left over the needle and
+draw it through the stitch.
+
+[Illustration: FIG. 351. PLAIN STITCH TAKEN FROM BEHIND.]
+
+BACK, OR SEAM-STITCH TAKEN FROM BEHIND (fig. 352).--Put the needle
+into the second part of the stitch, upwards from below, and knit it as a
+back or seam-stitch.
+
+[Illustration: FIG. 352. BACK OR SEAM-STITCH TAKEN FROM BEHIND.]
+
+In plain stitch, taken from behind, the two threads of the loop are
+crossed, instead of lying side by side, as they do in plain knitting.
+
+Back-stitch taken from behind, is only used for certain open-work
+patterns.
+
+OVERS (fig. 353).--These form holes in plain knitting, and are used
+for open-work patterns and for increasing.
+
+[Illustration: FIG. 353. OVERS.]
+
+To make an over, lay the thread over the needle, and in the next row,
+knit this loop like any other stitch.
+
+Each over adds one to the existing number of stitches. In cases,
+therefore, where the number is to remain the same, you have to make as
+many intakes as overs. Overs can only be used in conjunction with other
+stitches.
+
+KNOT STITCH (fig. 354).--This forms a raised spot in plain knitting
+and is executed as follows: knit 1, and leave it on the left-hand
+needle; put the stitch you have made with the right needle back on the
+left, and knit it off. Make 4 or 5 similar stitches, all issuing from
+the same stitch on the left needle, so that you have 4 or 5 loops on the
+right needle; then drop the stitch off the left needle, and pull the 4
+first loops over the last one.
+
+[Illustration: FIG. 354. KNOT STITCH.]
+
+CABLE OR CHAIN STITCH.--Chain stitches are used for strengthening and
+equalizing the edges of articles that are made in stripes. They can be
+made in two ways; either, you knit off all the stitches on one needle,
+turn the work, put the needle into the first stitch, as if you were
+going to knit it from the back, and take it off the left needle without
+knitting it, the thread to lie behind the needle; or, you knit off all
+the stitches on one needle, turn the work, and knit off the first
+stitch.
+
+THE NAMES OF THE STITCHES.--Out of the stitches that have been already
+described, other stitches are formed, which, as they are frequently
+alluded to in knitting directions, we shall here enumerate, explaining
+all the terms, usually employed in such directions.
+
+OVER, OR INCREASE.--Explained in fig. 353. Throwing the thread once
+over the right needle.
+
+DOUBLE OVER, OR TWO INCREASES.--Throwing the thread twice over the
+needle.
+
+PLAIN INTAKE.--Knitting two stitches together plain. This is done when
+the intake is to lie from left to right.
+
+PURLED INTAKE.--Purling two stitches together. This is done to make
+the stitches, that are knitted together, visible; or in the case of a
+piece of work composed of stripes, on the wrong side, when the intake is
+to lean to the right, on the right side.
+
+PLAIN DECREASE, TAKEN FROM BEHIND.--Knitting off two stitches
+together, plain from behind. This is done when the intake is to lie to
+the left.
+
+PURLED DECREASE, TAKEN FROM BEHIND.--Purling two stitches together,
+from behind. This is done when, in articles composed of stripes, the
+decrease has to be made on the wrong side, and is to lie to the left on
+the right side.
+
+PULLING OVER.--Slipping a stitch from the left needle to the right
+without knitting it, knitting the next plain, and pulling the slipped
+stitch over the knitted one. In this manner two or three stitches can be
+pulled over the knitted one.
+
+CASTING OFF.--To prevent the stitches from unravelling they are
+finished off in the following manner. Knit off two plain, pull the first
+over the second and drop it, so that only one remains on the needle.
+Knit the next stitch, and pull the one behind over it, and so on. This
+chain of stitches, must neither be too tight, nor too loose, but just as
+elastic as the rest of the work.
+
+MATERIALS FOR STOCKINGS.--Stockings can be made of silk, wool or
+cotton, entirely according to fancy, but for coloured stockings, we
+cannot too highly recommend the D.M.C knitting cottons, as more
+durable, in all respects, than either silk or wool. They are
+manufactured in 360 different shades, whereas, wool and silk are only to
+be had in a very limited assortment of colours. For hand-knit stockings,
+Nos. 25, 30, 35[A] are the best, for machine-knit, Nos. 40 and 50.
+
+STOCKING KNITTING.--A stocking consists of five parts: (1) the top,
+(2) the knee, (3) the leg, (4) the heel, (5) the foot.
+
+(1). The top may be either ribbed, or knitted in an openwork stitch of
+same kind or with a double-toothed edge, fig. 356.
+
+(2) and (3). The knee, and the leg down to the heel, are generally plain
+knitted; it is only children's stockings that are fancy knitted.
+
+(4). The heel, is worked as straight knitting backwards and forwards; by
+knitting first one row plain and then turning back and knitting it purl.
+It is shaped to the foot by the intakes at the top.
+
+(5). The foot is knitted plain, with intakes from the heel onwards, to
+get rid of the superfluous stitches. Then knit a plain piece, without a
+seam-stitch, till you begin to decrease for the toe, which can be worked
+in several different ways.
+
+To ensure the right proportions between the several parts of a stocking,
+the following directions should be attended to. An ornamental top must
+never be taken into account, in measuring the length of the leg. When
+the top part is finished, you make the seam, at the beginning of the
+first needle of the round, of one, or two purled stitches, or sometimes,
+a narrow pattern of purled stitches. This marks the middle of the
+stocking. For ordinary-sized stockings, knit plain from the top-band,
+till the knitted piece, forms a square.
+
+For stockings that are to cover the knee, knit half as much again, that
+is one and a half times the width of the stocking. This brings you to
+the calf of the leg. Pull the third stitch after the seam, over the
+second, and knit together the two last but one before the seam. There
+should be 12 rounds between each of the first 3 or 4 intakes, and after
+that 8, until this part is one and a half times the width of the knee
+in length, and a quarter narrower.
+
+For the ankle, knit a plain piece, half the width of the knee in length,
+without intakes.
+
+For the heel, count the stitches on the four needles, exclusive of the
+seam, and put two stitches more than the quarter of the whole number on
+to the needles, to the right and left of the seam.
+
+For a heel to fit well, it should be as long as it is wide. In order
+that they should wear better, the heel and the toe are often knitted
+with double thread. Coton a feutrer D.M.C[A] is made expressly for that
+purpose, and should be wound round the thread of which the whole
+stocking is made. For the instep, the part between the heel and toe, you
+must go on decreasing from the heel, until you have 2 stitches less on
+each needle, than you had at the ankle. Then knit the plain part of the
+foot, which should be as wide as the ankle, after which proceed to
+decrease for the toe, which should be a quarter the length of the whole
+foot. In spite of this careful subdivision, it is always well to count
+the stitches, to ensure perfect regularity. The number of stitches cast
+on, at the outset, for the same-sized stockings, must depend upon the
+size of the wool or cotton; we can only give the numbers approximately.
+Our calculation is based on the use of 5 needles; the given number has
+therefore to be cast on four times.
+
+______________________________________________________________________________
+Coton a tricoter D.M.C    Number of stitches to      Number of stitches to
+                          be cast on one needle for  be cast on one needle
+ Numbers to be used       stocking ordinary-sized    for stockings that are
+                                                     to reach above the knee
+______________________________________________________________________________
+       25                        32                           36
+       30                        34                           38
+       35                        36                           42
+       40                        40                           46
+       50                        42                           50
+______________________________________________________________________________
+
+SCALLOPED EDGE (figs. 355 and 356).--This is the simplest and
+strongest edge you can have for a stocking, and is called the
+cat's-teeth edge.
+
+[Illustration: FIG. 355. SCALLOPED STOCKING EDGE. EDGE OPEN.]
+
+[Illustration: FIG. 356. SCALLOPED STOCKING EDGE. EDGE FOLDED TOGETHER.]
+
+Having cast on the stitches, knit 6 to 10 rounds plain, according to the
+size of the cotton, then one round of alternate intakes and overs. Knit
+as many plain rounds as before, and with a sixth needle take up as many
+of the cast on stitches, as you have stitches on one of the upper
+needles. Turn this needle inwards, and place it against the outside
+needle and knit off both needles together. See that you knit the
+corresponding stitches off together, otherwise the scallops that form
+the edge will be crooked.
+
+COMMON HEEL (fig. 357).--This is the simplest form of heel, and can be
+knitted either with or without an outside seam. Divide the stitches into
+four, and put two more on each of the heel needles than on the others,
+then make, according to the size of the cotton, from 15 to 20 seams;
+knit off all the stitches on the right needle and a third of those on
+the left. Supposing that you have 24 stitches, knit off 8, then slip 1,
+knit 1, and pull the slipped stitch over, knit 2 plain, turn the work,
+slip the first, and purl the next 8 stitches of the second needle; purl
+the 9th and 10th together, purl 2, turn the work to the right side, and
+slip the first stitch on to the right needle. By means of these
+successive intakes after the 8 stitches, the knitting forms a plait on
+both sides of the heel.
+
+[Illustration: FIG. 357. COMMON HEEL.]
+
+In all heels that are made after this pattern, the intakes must begin on
+the right side and the last one must be made on the wrong, so that once
+the heel is finished and the work turned, you can go on knitting plain.
+
+When you have finished the stitches of the two heel needles up to the
+outside seams, take up the stitches on the sides of the heel with a
+spare needle and knit them on to the left heel needle, then knit the
+stitches reserved for the instep, take up the stitches on the right side
+of the heel again and knit them on to the fourth needle.
+
+In the next round, knit all the stitches of the first needle plain,
+excepting the 4 last; knit the first and second of these together and
+the two last plain. Knit the two first stitches of the fourth needle
+plain, slip the third, knit the fourth and pull the slipped stitch over.
+
+HEEL IN STEPS (fig. 358).--After dividing the stitches, make from 12
+to 14 seams. Then knit as many stitches of the first needle as you have
+seams at the side; turn the work, and begin the needle with the seam you
+made first. Knit off as many stitches from the second needle as from the
+first. Make the same number of seams, as for the first part of the
+heel. When the seams are finished, take up the chain stitches, on both
+sides, make a decrease by knitting the last stitch of the small part and
+the first of the large, together; knit two; turn the work; slip the
+first stitch, knit to the second side, and decrease as in the first
+part.
+
+[Illustration: FIG. 358. HEEL IN STEPS.]
+
+When you have decreased all the stitches up to the last, take up the
+slipped stitches of the first part, and begin the intakes for the instep
+in the ordinary way.
+
+There is not more work in this pattern of heel than in any other; it
+fits closely and consequently wears well.
+
+PLAIN HEEL (figs. 359 and 360).--Those who are not fond of purling
+will appreciate this and the following pattern for a plain heel.
+
+[Illustration: FIG. 359. PLAIN HEEL.]
+
+[Illustration: FIG. 360. HEEL KNITTED ON THE RIGHT SIDE.]
+
+Knit off the stitches of the first needle after the seam; then on to two
+spare needles, cast on, 8 more stitches than you had on one needle after
+dividing the stitches; put the stitches of the third and fourth needles
+together and knit the first round plain.
+
+2nd round--knit together the 1st and 2nd, and the 9th and 10th of the
+first auxiliary needle; and the 10th and 9th and 2nd and 1st of the
+second.
+
+3rd round--plain.
+
+4th round--knit together the 1st and 2nd and the 7th and 8th of the
+first needle.
+
+5th round--plain.
+
+6th round--knit together the 1st and 2nd and the 5th and 6th of the
+first auxiliary needle; and the 6th and 7th and the last but one and the
+last, of the second.
+
+7th, 10th, 11th, 13th, 14th, 16th, 17th, 19th, 20th rounds all plain.
+
+8th round--knit together the 1st and 2nd, and the 3rd and 4th of the
+first auxiliary needle, and the 4th and 3rd, and the last stitch but one
+and the last, of the second.
+
+9th round--After the two last intakes, purl together the 4th and 3rd
+stitches before the end of the 1st and 3rd needle, and the 3rd and 4th
+at the beginning of the 2nd and 4th needles.
+
+12th, 15th, and 18th rounds--Decrease, the same as in the 9th round.
+
+21st round--knit 2 plain, at the beginning of the 1st and 3rd needles;
+knit the next 2 together; knit together the 4th and 3rd, before the end
+of the 2nd and 4th needles; knit the last stitches plain; go on
+decreasing in this way until the purled stitches meet. After the plain
+round over the intakes, add four plain rounds, divide the stitches that
+remain for the sole, on two needles and cast off on the wrong side.
+
+Now take up the auxiliary stitches, and in the first 3 plain rounds,
+knit together the last and the first of the 1st and 2nd needles, and the
+last and the first of the 3rd and 4th.
+
+With the rest of the extra stitches make purled intakes, knitting two
+plain rounds after each round with an intake.
+
+For the other kind of plain heel also (fig. 360), auxiliary stitches are
+required. Supposing that you have 20 stitches on each needle, you must
+cast on 28 stitches on to each auxiliary needle; knit together the 4th
+and 3rd stitches at the end of the 1st and 3rd needles, and the 3rd and
+4th of the 2nd and 3rd needles, so that you may have 4 plain stitches
+between both intakes. Go on decreasing, knitting 2 plain rounds after
+each round with an intake, until you have 6 stitches left on each
+needle. Then knit together the first and last stitches of each needle,
+one plain round over it, and finish with a chain on the wrong side of
+the heel. Then take up the auxiliary stitches and knit the instep.
+
+ITALIAN STOCKING (fig. 361).--The heel, sole and toe of a stocking
+always wear out before the instep. The Italians and Greeks economise
+time and material and facilitate the renewal of those parts that wear
+out, by knitting the upper part of the foot in two pieces. After
+knitting the heel in on or other of the above ways, work the foot as
+straight knitting with the two upper needles only, until you have the
+necessary length. Then knit the underneath part separately, in the same
+way. You must keep a chain along all edges and a narrow seam of one or
+two stitches. In the sole, which you make after finishing the upper
+part, you intakes must come directly after and before the seam. When you
+have got the same number of rounds in each piece, join them together and
+begin the toe.
+
+[Illustration: FIG. 361. ITALIAN STOCKING.]
+
+Sew up the slits left open on either side, with a needle and thread
+taking care to fit the corresponding stitches together.
+
+In this manner, when one part wears out, you have only to unpick these
+side-seams and re-sole or re-heel the stocking as the case may be.
+
+TOE (fig. 362).--To begin as before, with the simplest and most
+ordinary way of making this part of the stocking, divide the stitches
+equally on to the 4 needles; knit together the 4th and 3rd stitches
+before the end of the 1st and 3rd needles, knit the 2 last and 2 first
+stitches of the 2nd and 4th needles plain, and make an intake by
+slipping the 3rd stitch, knitting the 4th, and pulling the slipped
+stitch over. Begin by knitting 2 plain rounds after each of the first 4
+rounds with an intake, and afterwards only one. When you have only 4
+stitches left on each needle, collect them on two, and knit them
+together, two and two, on the wrong side of the stocking.
+
+[Illustration: FIG. 362. TOE.]
+
+TOE (fig. 363).--Here, before beginning to decrease, divide the
+stitches by 8, 10, or 12. Supposing that they have been divided by 10,
+knit 8 plain; knit the 9th and 10th together, 8 plain, knit two
+together, and so on, the whole way round. Then knit as many plain rounds
+as there are plain stitches between 2 intakes. In the next rounds with
+intakes, you will have one stitch less between each intake, in the
+second therefore, there should be 7 plain stitches between each intake,
+and you knit 7 plain rounds; and so on to the 7th round, when 2 stitches
+will remain, followed by 2 plain rounds; when there are only 4 stitches
+left on the needles, turn them in to the wrong side of the stocking,
+and finish off with a chain.
+
+[Illustration: FIG. 363. TOE.]
+
+TOE (fig. 364).--Begin the intakes with the two first stitches of each
+needle, by the slip and pull over process, knit one plain round after
+each round with an intake. In the following rounds, make the intake in
+the 2nd round with the 3rd and 4th stitches, in the 3rd, with the 5th
+and 6th stitches, in the 4th, with the 7th and 8th stitches, so that
+when finished the intakes form a kind of spiral. Finish off in the
+ordinary way.
+
+[Illustration: FIG. 364. TOE.]
+
+TOE (fig. 365).--We will describe one other kind of toe, quite as
+shapely and easy to make as the others.
+
+[Illustration: FIG. 365. TOE.]
+
+1st round--purl the first 2 stitches on each needle together.
+
+2nd and 3rd, 5th and 6th, 8th and 9th, 11th and 12th, 14th and 15th,
+17th and 18th rounds--plain.
+
+4th round--1 plain, 1 intake with the 2nd and 3rd stitches, and with the
+last 2 on each needle.
+
+7th round--knit the 2 first plain, make 1 intake with the 3rd and 4th
+stitches, and 1 with the 2 last.
+
+In each of the next rounds with intakes, knit 1 plain stitch more.
+
+When the two seams meet, pull the last stitch on each needle over the
+first of the next; knit the stitches between the intakes plain. Continue
+to decrease in this manner until the last stitches are reached.
+
+MENDING KNITTING.--Knitted articles are repaired by reconstructing
+the web with a needle and thread. When the stitches are not actually
+broken, they can be strengthened by new ones made over them, by means of
+a needle and thread.
+
+MATERIALS FOR DARNING STOCKINGS.--The thread used for darning a
+stocking should be a little finer than that of which it is made. Coton a
+repriser D.M.C[A] is the best, for as it consists of several strands it
+can be subdivided as occasion requires.
+
+STRENGTHENING THE STITCHES (figs. 366 and 367).--This can be done in
+two ways. In fig. 366, the thread is brought out between two horizontal
+bars, passed upwards over a perpendicular bar, put in by the side of the
+same and brought out between the next horizontal bars.
+
+Work the second row of stitches backwards; take up two threads on the
+left, pass downwards to the right, over one thread, take up the thread
+you passed over, and so on.
+
+[Illustration: FIG. 366. STRENGTHENING THE LOOPS. FIRST WAY.]
+
+[Illustration: FIG. 367. STRENGTHENING THE LOOPS. SECOND WAY.]
+
+The other way, fig. 367, is, when you have brought out your needle, to
+carry it over one thread to the right and upwards over two, take up the
+next two threads on the left, pass downwards over two horizontal
+threads, and over one thread to the right, and put in the needle where
+it first came out; then working from right to left, take up two threads,
+pass over one to the right, and downwards over two horizontal ones, and
+so on. In the next row, hold your work, the finished part uppermost,
+carry the needle downwards over one horizontal thread, bring it out
+between two threads that lie separately and take it downwards again over
+two horizontal threads, pick up two threads, working from right to left,
+pass upwards over two threads and over one to the right, take up two to
+the left, and so on.
+
+REPAIRING PLAIN KNITTING (fig. 368).--When a broken piece of stocking
+web requires to be replaced by new, draw the new and the old pieces
+together with a needle and thread, using the same thread the stocking is
+made of.
+
+[Illustration: FIG. 368. REPAIRING PLAIN KNITTING.]
+
+For this purpose, you must clear the loops, by ravelling them out top
+and bottom, and slip them on to knitting needles. The loops that are to
+be connected must lie exactly opposite to each other. Enter your
+threaded needle upwards from below through the first disengaged upper
+loop, and slip it off the knitting needle, then enter the needle,
+downwards from above through the first lower loop, and upwards from
+below through the next, and draw out just enough thread to make the new
+loop the same size as the old ones. Then enter the needle, downwards
+from above, through the same upper loop you took up before, taking up
+also the one next to it, and passing your needle through it from
+underneath; draw out the thread to form the new loop and descend again
+to the next, and so on.
+
+REPAIRING PURLED KNITTING (fig. 369).--To repair ribbed surfaces
+consisting of alternate rows of plain and purl, proceed as follows: hold
+the article so that the row of purled stitches is exactly opposite the
+upper part. Enter your needle upwards from below, through the first
+loop of the upper part; join the two lower loops together as in fig.
+368; carry the needle upwards again, and enter it upwards from below
+through the first loop of the upper part and downwards from above,
+through the loop next it. Join the lower loops again, as in plain
+knitting.
+
+[Illustration: FIG. 369. REPAIRING PURLED KNITTING.]
+
+DISENGAGING THE LOOPS FOR DARNING (fig. 370).--Where the threads are
+broken, new loops have to be made, and the broken ones ravelled out and
+cut, so that the horizontal loops may stand out clear and distinct. Cut
+the threads on the vertical sides so that the loops form an edge and the
+hole is square, clear two or four loops in the corners of the hole, fold
+them in and fasten them off at the back by a stitch or two. The darns we
+are next going to describe should be made upon a ball to prevent drawing
+the threads too tightly.
+
+[Illustration: FIG. 370. DISENGAGING THE LOOPS FOR DARNING.]
+
+DARNING ON THREADS STRETCHED HORIZONTALLY (figs. 371 and 372).--Carry
+a horizontal thread across on the wrong side, in the place of each
+broken thread, securing it in the sound part of the stocking, about two
+threads from the edge of the hole. When you have made this foundation,
+put the needle in on the right side near the stitch that is nearest to
+the sound part on the left, fig. 371.
+
+[Illustration: FIG. 371. DARNING ON THREADS STRETCHED HORIZONTALLY.
+POSITION OF THE HORIZONTAL THREADS.]
+
+[Illustration: FIG. 372. DARNING ON THREADS STRETCHED HORIZONTALLY. HOW
+TO COVER THE HORIZONTAL THREADS.]
+
+Then descending, pick up the nearest horizontal thread from below, so
+that the working thread lies to the right of the needle, and cover all
+the horizontal threads you have laid in this manner.
+
+When you have taken up the last thread, pass the needle downwards from
+above, through the nearest loop, and bring it back through the one at
+which you entered it.
+
+To make, in reascending, the second half of the loop, you must lay your
+thread to the right of the needle, fig. 372.
+
+When you have reached the last thread, enter the needle at the loop,
+opposite the one it came out of.
+
+DARNING ON THREADS STRETCHED OBLIQUELY ACROSS (figs. 373 and 374).--As
+the illustration shows, you have to pick up all the cleared loops,
+besides two or three on either side of the empty space. The number and
+length of the threads which you carry across, must correspond with those
+of the threads you have to replace.
+
+[Illustration: FIG. 373. DARNING ON THREADS STRETCHED OBLIQUELY ACROSS.
+POSITION OF THE THREADS.]
+
+[Illustration: FIG. 374. DARNING ON THREADS STRETCHED OBLIQUELY ACROSS.
+HOW TO COVER THE OBLIQUE THREADS.]
+
+Fasten in, from the right side, a rather finer thread than the one the
+original web is made of, and make a few stitches over the existing ones,
+in the row you are about to complete.
+
+Enter the needle upwards from below, through the first disengaged loop,
+pass it under two threads issuing from one loop, and then bring it back
+again into the same loop between the two slanting threads, drawing it
+out again upwards from below, through the next loop, and so on. The new
+loop must be just equal to the old ones in size. Make in the same manner
+as at the beginning, two or three stitches at the end of the row, within
+the edge of the hole. Work back in a similar way, with this difference
+only, that you turn your work round.
+
+PIQUE PATTERN (fig. 375).--The following patterns are suitable for
+making counterpanes, petticoats, vests and other articles of clothing.
+Select a suitable number of Coton a tricoter D.M.C. Cast on a number of
+stitches divisible by 7, and begin by 6 rows of 5 plain stitches and 1
+purled, taken from behind.
+
+[Illustration: FIG. 375. PIQUE PATTERN. MATERIALS: Coton a tricoter
+D.M.C Nos. 6 to 30.]
+
+7th row--purl from behind the 3rd of the 5 plain, and knit 5 plain more
+and so on.
+
+PIQUE PATTERN (fig. 376).--Cast on a number of stitches divisible by
+14.
+
+[Illustration: FIG. 376. PIQUE PATTERN. MATERIALS: Coton a tricoter
+D.M.C Nos. 6 to 30, or Coton pour crochet 4 fils D.M.C Nos. 4 to 20.[A]]
+
+1st and 2nd row--* purl 7, knit 1, purl 1, knit 1, purl 1, knit 1, purl
+1, knit 1; repeat from *.
+
+3rd and 4th row--* knit 7, purl 1, knit 1, purl 1, knit 1, purl 1, knit
+1, purl 1; repeat from *.
+
+Repeat the whole from the 1st row.
+
+PIQUE PATTERN (fig. 377).--Cast on a number of stitches divisible by
+4.
+
+[Illustration: FIG. 377. PIQUE PATTERN. MATERIALS: The same as for fig.
+371.]
+
+The 8 first rows--knit 2, purl 2.
+
+9th and 10th row--knit 2 over the 2 purled, purl 2 over the 2 knitted of
+the 8th row.
+
+11th and 12th rows--the same as the first 8 rows.
+
+13th and 14th row--the same as the 9th and 10th row.
+
+15th to the 23rd--the same as the first 8 rows.
+
+STRIPES FOR COUNTERPANES (fig. 378).--This pattern is to be worked in
+stripes, of two colours; we may here take occasion to mention that in
+choosing two colours, one dark and one light, for a piece of work, the
+dark cotton should always be one or two numbers finer than the light,
+because the dark dyes thicken the cotton more than the light ones do.
+The blue, red and dark brown dyes sink into the cotton more and cause
+it to swell, whereas the lighter dyes do not affect its thickness.
+
+[Illustration: FIG. 378. STRIPES FOR COUNTERPANES. MATERIALS: Coton a
+tricoter D.M.C No. 6, 8, 10 or 12. COLOURS: Rouge-Turc 321 and
+Gris-Tilleul 391.[A]]
+
+Hence it comes, that for the stripes, here described, we were obliged to
+take No. 8 of the red cotton and No. 6 of the green, in order that the
+same number of stitches should make the same length of stripe.
+
+Cast on 28 stitches:
+
+1st needle--slip 1, knit 2, over, knit 1, knit 1 from behind, purl 1
+from behind, knit 1 from behind, purl 2, knit 5, purl 2, knit 1 from
+behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
+1 from behind, purl 1 from behind, knit 1 from behind, purl 1 from
+behind, knit 1, over, knit 3, 1 chain stitch.
+
+2nd needle--wrong side: slip 1, purl 2, purl 2 together, purl 1 from
+behind, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
+1 from behind, knit 1 from behind, purl 1 from behind, knit 2, purl 5,
+knit 2, purl 1 from behind, knit 1 from behind, knit 2 together, purl 2,
+1 chain stitch.
+
+3rd needle--right side: slip 1, knit 2, over, knit 1, knit 1 from
+behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
+1 from behind, purl 2, knit 5, purl 2, knit 1 from behind, purl 1 from
+behind, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
+1 from behind, knit 1, over, knit 2, 1 chain stitch.
+
+4th needle--wrong side: slip 1, purl 2, purl 2 together, purl 1 from
+behind, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
+1 from behind, knit 2, purl 5, knit 2, purl 1 from behind, knit 1 from
+behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
+1 from behind, purl 2 together, purl 2, 1 chain stitch.
+
+5th needle--on the right side: slip 1, knit 2, over, knit 1, knit 1 from
+behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
+1 from behind, purl 1 from behind, knit 1 from behind, purl 2, knit 5,
+purl 2, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
+1 from behind, knit 1, over, knit 2, 1 chain stitch.
+
+6th needle--on the wrong side: slip 1, purl 2, purl 2 together, purl 1
+from behind, knit 1 from behind, purl 1 from behind, knit 2, purl 5,
+knit 2, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
+1 from behind, purl 1 from behind, knit 1 from behind, purl 1 from
+behind, knit 1 from behind, purl 2 together, purl 2, 1 chain stitch.
+
+7th needle like the 5th, 8th needle like the 4th, 9th needle like the
+3rd, 10th needle like the 2nd, 11th needle like the 1st. Five plain
+stitches form a zig-zag in the middle of the stripe.
+
+Join the stripes with crochet stitches; of which several kinds are
+described in the next chapter.
+
+KNITTED SQUARE (fig. 379).--Cast on 2 stitches on to each of the 4
+needles. Repeat always 3 times after the asterisk.
+
+[Illustration: FIG. 379. KNITTED SQUARE. MATERIALS: Coton a tricoter
+D.M.C No. 8 or Fil a pointer D.M.C No. 20.]
+
+1st row--over, knit 1, over, knit 1 *.
+
+2nd row--knit 1, over, knit 1, over, knit 2 *.
+
+3rd row--knit 1, purl 1, over, knit 1, over, purl 2, knit 2 *.
+
+4th row--knit 1, purl 2, over, knit 1, over, purl 2, knit 2 *.
+
+5th row--knit 1, purl 3, over, knit 1, over, purl 3, knit 2 *.
+
+6th row--knit 1, purl 4, over, knit 1, over, purl 4, knit 2 *.
+
+7th row--knit 1, purl 5, over, knit 1, over, purl 5, knit 2 *.
+
+8th row--knit 1, purl 4, knit 2, over, knit 2, over, knit 1, purl 4,
+knit 2 *.
+
+9th row--knit 1, purl 3, knit 4, over, knit 1, over, knit 4, purl 3,
+knit 2 *.
+
+10th row--knit 1, purl 2, knit 6, over, knit 1, over, knit 6, purl 2,
+knit 2 *.
+
+11th row--knit 1, purl 1, knit 8, over, knit 1, over, knit 8, purl 1,
+knit 2 *.
+
+12th row--knit 1, purl 2, knit 5, cross 2 stitches (that is, first knit
+off the second stitch plain and then the first), knit 1, over, knit 1,
+over, knit 1, cross 2, knit 5, purl 2, knit 2 *.
+
+13th row--knit 1, purl 3, knit 8, purl 1, over, knit 1, over, purl 1,
+knit 8, purl 3, knit 2 *.
+
+14th row--knit 1, purl 4, knit 4, cross 2, knit 1, purl 2, over, knit 1,
+over, purl 2, knit 1, cross 2, knit 4, purl 4, knit 2 *.
+
+15th row--knit 1, purl 5, knit 6, purl 3, over, knit 1, over, purl 3,
+knit 6, purl 5, knit 2 *.
+
+16th row--knit 1, purl 4, knit 3, cross 2, knit 1, purl 4, over, knit 1,
+over, purl 4, knit 1, cross 2, knit 3, purl 4, knit 2 *.
+
+17th row--knit 1, purl 3, knit 7, purl 5, over, knit 1, over, purl 5,
+knit 7, purl 3, knit 2 *.
+
+18th row--knit 1, purl 2, knit 5, cross 2, knit 1, purl 4, knit 2, over,
+knit 1, over, knit 2, purl 4, knit 1, cross 2, knit 5, purl 2, knit 2 *.
+
+19th row--knit 1, purl 1, knit 9, purl 3, knit 4, over, knit 1, over,
+knit 4, purl 3, knit 9, purl 1, knit 2 *.
+
+20th row--knit 1, purl 2, knit 5, cross 2, knit 1, purl 2, knit 6, over,
+knit 1, over, knit 6, purl 2, knit 1, cross 2, knit 5, purl 2, knit 2 *.
+
+21st row--knit 1, purl 3, knit 7, purl 1, knit 8, over, knit 1, over,
+knit 8, purl 1, knit 7, purl 3, knit 2 *.
+
+22nd row--knit 1, purl 4, knit 3, cross 2, knit 1, purl 2, knit 6, cross
+2, knit 1, purl 2, knit 5, cross 2, knit 1, over, knit 1, cross 2, knit
+5, purl 2, knit 1, cross 2, knit 3, purl 4, knit 2 *.
+
+23rd row--knit 1, purl 5, knit 3, purl 3, knit 7, purl 1, over, knit 1,
+over, purl 1, knit 7, purl 3, knit 5, purl 5, knit 2 *.
+
+24th row--knit 1, purl 4, knit 3, cross 2, knit 1, purl 4, knit 3, cross
+2, knit 1, purl 2, over, knit 1, over, purl 2, knit 1, cross 2, knit 3,
+purl 4, knit 1, cross 2, knit 3, purl 4, knit 2 *.
+
+25th row--knit 1, purl 3, knit 8, purl 5, knit 5, purl 3, over, knit 1,
+over, purl 3, knit 5, purl 5, knit 5, purl 3, knit 2 *.
+
+26th row--knit 1, purl 2, knit 5, cross 2, knit 1, purl 4, knit 3, cross
+2, knit 1, purl 4, over, knit 1, over, purl 4, knit 1, cross 2, knit 3,
+purl 4, knit 1, cross 2, knit 5, purl 2, knit 2 *.
+
+27th round--knit 1, purl 1, knit 9, purl 3, knit 7, purl 5, over, knit
+1, over, purl 5, knit 7, purl 3, knit 9, purl 1, knit 2 *.
+
+Finish the square with several rows of purl and a chain.
+
+PLAIN PATENT KNITTING, OR BRIOCHE PATTERN (fig. 380).--This easy and
+extremely elastic stitch is used for all sorts of articles of clothing,
+and is worked in two rows.
+
+[Illustration: FIG. 380. PLAIN PATENT KNITTING, OR BRIOCHE PATTERN.]
+
+Cast on a number of stitches that divides by 3, with 4 extra for the
+edge.
+
+1st row--slip 1, knit 1, * over, put the needle into the next stitch, as
+if to purl it, slip the stitch from the left needle to the right, knit
+1, repeat from *, and finish with 2 plain.
+
+2nd row--begin with 1 chain, knit 1, knit the slipped stitch and the
+over together, over, slip the single stitch that remains, from the left
+needle to the right. When the knitting is round, you purl and knit the
+intake alternately.
+
+DOUBLE PATENT KNITTING (fig. 381).--Begin on the wrong side.
+
+[Illustration: FIG. 381. DOUBLE PATENT KNITTING.]
+
+1st row--like the 1st row of fig. 380.
+
+2nd row--knit all the stitches, pass the over by putting the needle into
+it from right to left.
+
+3rd row--like the second row of fig. 380. Now, it is only the second and
+third row that should alternate.
+
+Patent knitting has a charming effect, done in two colours, by working
+them alternately backwards and forwards.
+
+PLAITED STITCH (fig. 382).--This kind of stitch is worked in stripes,
+which, for scarves, counterpanes, etc., are generally joined together
+with stripes of plain knitting. For counterpanes, the lower numbers of
+D.M.C cottons are most suitable, for smaller articles the higher
+numbers. Plaited stitch is formed by crossing the stitches, that is, by
+knitting the second stitch on the left needle to begin with, and then
+the first stitch.
+
+[Illustration: FIG. 382. PLAITED STITCH.
+
+MATERIALS: Coton a tricoter D.M.C Nos. 8 to 20, or Cordonnet 6 fils
+D.M.C Nos. 10 to 30.]
+
+If you cross two or more stitches in a few successive rows without
+slipping them, the stitches will be seen by degrees, to form a plait, as
+shown in fig. 382.
+
+1st row--purl 4, cast on 3 stitches on to an auxiliary needle, and leave
+it hanging on the inside of the work; knit 3 and then knit the 3
+stitches on the extra needle, purl 4.
+
+Then follow 5 rows, in which you purl all the purled stitches and knit
+all the plain ones. After which 5 rows you repeat from the beginning.
+
+TURKISH STITCH (fig. 383).--1st row--slip 1, knit 1, over, knit 2
+together, over, knit 2 together, and so on to the 2 last stitches, which
+you knit plain.
+
+[Illustration: FIG. 383. TURKISH STITCH.]
+
+2nd row--slip the 1st, knit the 2nd and the 3rd plain, the latter having
+been formed by the last over on the 1st needle; 1 over, 1 intake with
+the stitch and the over, 1 over, 1 intake and so on.
+
+TURKISH STITCH WITH BEADS (fig. 384).--String the beads on the thread
+before you begin to knit. When you only use one kind of bead, thread a
+needle with your knitting cotton and run it through the thread on which
+the beads are strung.
+
+When you use several kinds, you must count and thread them on in the
+required order. Beaded knitting is little in request now, excepting for
+tobacco pouches and purses; for which you should use Cordonnet 6 fils
+D.M.C Nos. 35, in any colour, and small beads.
+
+[Illustration: FIG. 384. TURKISH STITCH WITH BEADS.]
+
+For close beaded knitting, plain stitch is the best. Run the beads down
+singly at each stitch. The beads will fall on the reverse side of the
+work so that in knitting with beads, remember that the reverse side will
+be the right side.
+
+To work fig. 384, which represents the same stitch as fig. 383, you run
+down 2 or sometimes 3 beads before knitting each stitch.
+
+KNITTING PATTERN WITH TWO KINDS OF COTTON (fig. 385).--A variety of
+pretty things, such as open-work stockings, shawls, curtains etc. can be
+made in this pattern, worked with two sizes of thread. To give it its
+full effect it ought to be knitted with coarse needles, Nos. 10, 11, or
+12.
+
+[Illustration: FIG. 385. KNITTING PATTERN WITH TWO KINDS OF COTTON.
+
+MATERIALS: Fil a pointer D.M.C No. 20 or 30, and Cordonnet 6 fils D.M.C
+No. 60 or 80, ecru.[A]]
+
+Cast on a number of stitches that divides by 8. Take the coarse thread
+to begin with.
+
+1st and 2nd row--purl.
+
+3rd row--purl 5, 2 overs, purl 5.
+
+4th row--with the fine thread: over, knit 2 together, slip the next
+stitch of the previous row, drop the double over, slip the next stitch,
+1 over, knit 2 together.
+
+5th row--over, knit 2 together, over, knit 2 together, and so on.
+
+6th row--like the last. See that the 2 slipped stitches, in the coarse
+thread, always come on the right side of the work.
+
+7th row--with the coarse thread: purl 4, purl the 2 slipped stitches of
+the 3rd row together, then repeat from the 1st row.
+
+See that in the 3rd row the 2 overs come between the stitches formed by
+the 2 stitches that were formed by the 1st over, and the 2 stitches of
+the 6th row, that were knitted together.
+
+KNITTING PATTERN WITH TWO KINDS OF THREAD (fig. 386).--Cast on a
+number of stitches that divides by 4.
+
+[Illustration: FIG. 386. KNITTING PATTERN WITH TWO KINDS OF THREAD.
+
+MATERIALS: Fil a pointer D.M.C Nos. 25 to 30 and Cordonnet 6 fils D.M.C
+No. 60 or 80.]
+
+1st row--with coarse thread: purl.
+
+2nd row--plain.
+
+3rd row--with fine thread: over, 1 intake, knit 2.
+
+4th row--plain.
+
+5th row--knit 1, over, 1 intake, knit 1.
+
+6th row--plain.
+
+7th row--knit 2, over, 1 intake.
+
+8th row--plain.
+
+9th and 10th row--with the coarse thread: purl.
+
+11th row--plain.
+
+12th row--with the fine thread: over, knit 2 together.
+
+13th row--plain.
+
+14th row--purl. Then repeat from the 1st row.
+
+KNITTING PATTERN WITH DROPPED STITCHES (fig. 387).--Cast on a number
+of stitches that divides by 9.
+
+[Illustration: FIG. 387. KNITTING PATTERN WITH DROPPED STITCHES.
+
+MATERIALS: Coton a tricoter D.M.C Nos. 16 to 30, Coton pour crochet
+D.M.C Nos. 6 to 30, or Fil a pointer D.M.C Nos. 10 to 30.]
+
+1st row--over, slip 3, knit 1, 2 overs, knit 3, 2 overs, knit 1.
+
+2nd row--knit 3, slip the next, drop the 2 overs, knit 4, turn the work,
+purl 4, turn the work, knit 4, drop the 2 overs, slip the next stitch.
+
+3rd row--over, slip 2, knit 1, pull slipped stitches over, drop the
+first of the 4 stitches, knit first the stitch that follows the second
+double over, then the 4 others plain, and lastly, take up the dropped
+stitch and knit it plain on the right side of the work.
+
+4th row--knit plain.
+
+5th row--over, slip 3, over, knit 6.
+
+6th row--knit plain, and repeat from the 1st row.
+
+KNITTING PATTERN (fig. 388).--This pattern may be worked with any one
+of the D.M.C cottons recommended for fig. 387, but in the case of
+anything that is not wearing apparel, Fil a pointer D.M.C will be found
+more suitable. Cast on a number of stitches that divides by 18.
+
+[Illustration: FIG. 388. KNITTING PATTERN.]
+
+1st row--over, knit 2 together, over, knit 2 together, over, knit 2
+together, over, knit 4, knit 2 together, over, slip 2, knit 1, pull
+slipped stitches over, over, knit 3.
+
+Each row marked by an even number is to be knitted plain throughout.
+
+3rd row--knit 1, over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 2,
+knit 2 together, over, knit 3, over, slip 1, knit 1, pull slipped stitch
+over, knit 1.
+
+5th row--knit 2, over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 2
+together, over, knit 5, over, knit 2 together.
+
+7th row--knit 3, over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 1,
+over, slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together,
+over, knit 2.
+
+9th row--knit 4, over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 1,
+over, slip 2, knit 1, pull slipped stitches over, over, knit 2.
+
+11th row--knit 5, over, knit 2 together, over, knit 2 together, over,
+knit 2 together, over, knit 2 together, over, slip 1, knit 1, pull
+slipped stitch over, knit 6.
+
+13th row--knit 7, over, knit 2 together, over, purl 2 together, over,
+slip 1, knit 1, pull slipped stitch over, knit 5.
+
+Repeat from the beginning.
+
+KNITTING PATTERN (fig. 389).--Cast on a number of stitches that
+divides by 9.
+
+1st row--2 overs, slip 1, knit 1, pull slipped stitch over, knit 5, knit
+2 together.
+
+2nd row--2 overs, slip the first over on to the right needle, knit the
+second over, slip 1, knit 1, pull slipped stitch over, knit 3, knit 2
+together.
+
+3rd row--2 overs, slip the overs of the two first rows on to the right
+needle, slip 1, knit 1, pull slipped stitch over, knit 1, knit 2
+together.
+
+4th row--drop the overs of the 3 first rows and knit 8 double stitches,
+that is, knit 1 stitch on the over, slip it on to the left needle and
+knit it again.
+
+These 8 stitches finished, make 2 overs, and slip 3, knit 1, pull
+slipped stitches over. Repeat from the beginning.
+
+Each time you repeat the 4th row, make double stitches on 4 overs, that
+is, on 4 threads.
+
+[Illustration: FIG. 389. KNITTING PATTERN.
+
+MATERIALS: Cordonnet 6 fils D.M.C, or Fil a pointer D.M.C]
+
+KNITTING PATTERN (fig. 390).--This pattern is suitable for children's
+braces. For Coton a repriser D.M.C Nos. 6 to 20, which is the best for
+the purpose, you will require fine bone needles.
+
+Cast on a number of stitches that divides by 4.
+
+1st row--over, slip 1, knit 1, pull slipped stitch over, knit 2.
+
+2nd row--knit 1, over, slip 1, knit 1, pull slipped stitch over, knit 1.
+
+3rd row--knit 2, over, slip 1, knit 1, pull slipped stitch over.
+
+4th row--slip 1, knit 1, pull slipped stitch over, knit 2, over.
+
+5th row--knit 2 together, over, knit 2.
+
+6th row--knit 1, knit 2 together, over, knit 1.
+
+7th row--knit 2 together, over, knit 2.
+
+8th row--knit 2, knit 2 together, over.
+
+Repeat from the beginning.
+
+[Illustration: FIG. 390. KNITTING PATTERN. MATERIALS: Coton a repriser
+D.M.C Nos. 5 to 20.]
+
+KNITTING PATTERN (fig. 391).--The patterns shown in figs. 391 and 392,
+are more particularly useful for comforters, shawls, hoods and the like.
+The needles, which may be either of bone or steel must match the cotton
+in size; steel needles are the best for any thing finer than No. 16, of
+D.M.C Coton a tricoter.
+
+[Illustration: FIG. 391. KNITTING PATTERN.]
+
+Cast on a number of stitches that divides by 3.
+
+1st row--over, slip 1 stitch on to the right needle, knit the 2 next
+stitches, and draw the first stitch over them.
+
+2nd row and 4th row--knit plain.
+
+3rd row--like the first, but note, that the stitch that was the third in
+the first row, will be the first here.
+
+Repeat from the beginning.
+
+KNITTING PATTERN (fig. 392).--Cast on a number of stitches that
+divides by 3.
+
+[Illustration: FIG. 392. KNITTING PATTERN.]
+
+1st row--over, knit the 2 first together, draw the 3rd stitch through
+the stitch formed by the intake and knit it off plain, then knit the
+stitch that was pulled over it.
+
+2nd and 4th row--knit plain.
+
+3rd row--like the first; the third stitch here is the same that was
+drawn through the third stitch in the first row.
+
+KNITTING PATTERN (fig. 393).--Cast on a number of stitches that
+divides by 14.
+
+[Illustration: FIG. 393. KNITTING PATTERN.]
+
+1st row--over, knit 1, over, knit 2, purl 3, knit 3 together, purl 3,
+knit 2.
+
+2nd row--knit 5, purl 7, knit 2.
+
+3rd row--over, knit 3, over, knit 2, purl 2, knit 3 together, purl 2,
+knit 2.
+
+4th row--knit 7, purl 5, knit 2.
+
+5th row--over, knit 5, over, knit 2, purl 1, knit 3 together, purl 1,
+knit 2.
+
+6th row--knit 9, purl 3, knit 2.
+
+7th row--over, knit 7, over, knit 2, knit 3 together, knit 2.
+
+8th row--knit 11, purl 1, knit 1.
+
+Repeat from the beginning but in the reverse order, that is, purling the
+knitted stitches and knitting the purled.
+
+KNITTED LACE (fig. 394).--Knitted lace looks best, made of a smooth,
+silky thread which shows up the pattern better than any other material.
+As a knitted edging makes a very pretty finish to almost any kind of
+knitted article, we give a selection of some of the easiest and most
+effective patterns that we consider suitable for the purpose.
+
+[Illustration: FIG. 394. KNITTED LACE.
+
+MATERIALS: Cordonnet 6 fils D.M.C Nos. 25 to 60, Fil a dentelle D.M.C
+Nos. 25 to 70.[A]]
+
+Cast on 8 stitches.
+
+1st needle--1 chain, knit 2, over, knit 2 together, knit 2, 2 overs,
+knit 2.
+
+2nd needle--knit 3, purl 1, knit 4, over, knit 2 together, 1 chain.
+
+3rd needle--1 chain, knit 2, over, knit 2 together, knit 6.
+
+4th needle--2 chain, knit 5, over, knit 2 together, 1 chain.
+
+Repeat from the first needle.
+
+KNITTED LACE (fig. 395).--Cast on 10 stitches.
+
+1st needle--knit 2 together, 2 overs, knit 2 together, 2 overs, knit 3,
+over, knit 2 together, 1 chain.
+
+2nd needle--1 chain, knit 2, knit 2 together, knit 2, purl 1, knit 2,
+purl 1, knit 1.
+
+3rd needle--knit 2 together, 2 overs, knit 2 together, 2 overs, knit 4,
+over, knit 2 together, 1 chain.
+
+4th needle--1 chain, knit 2, knit 2 together, knit 3, purl 1, knit 2,
+purl 1, knit 1.
+
+5th needle--knit 2 together, 2 overs, knit 2 together, 2 overs, knit 5,
+over, knit 2 together, 1 chain.
+
+6th needle--1 chain, knit 2, knit 2 together, knit 4, purl 1, knit 2,
+purl 1, knit 1.
+
+7th needle--knit 10, over, knit 2 together, 1 chain.
+
+8th needle--1 chain, knit 2, knit 2 together, knit 8.
+
+9th needle--4 chain, 2 overs, knit 2 together, 2 overs, knit 3, over,
+knit 2 together, 1 chain.
+
+Repeat from the second needle.
+
+KNITTED LACE (fig. 396).--Cast on 13 stitches.
+
+[Illustration: FIG. 395. KNITTED LACE.
+
+MATERIALS: Coton a tricoter D.M.C Nos. 25 to 50, Fil a pointer D.M.C
+Nos. 10 to 30, Cordonnet 6 fils D.M.C Nos. 10 to 30.[A]]
+
+1st needle--1 chain, purl 1, purl 2 together, over, knit 8, 1 chain.
+
+2nd needle--1 chain, knit 8, over, knit 2, knit 1 from behind, 1 chain.
+
+3rd needle--1 chain, purl 2, over, purl 2 together, over, knit 8, 1
+chain.
+
+4th needle--1 chain, knit 8, over, knit 2 together, over, knit 2, knit 1
+from behind, 1 chain.
+
+5th needle--1 chain, purl 2, over, purl 2 together, over, purl 2
+together, over, knit 8, 1 chain.
+
+6th needle--1 chain, knit 8, over, knit 2 together, over, knit 2
+together, over, knit 2, knit 1 from behind, 1 chain.
+
+7th needle--1 chain, purl 2, over, purl 2 together, over, purl 2
+together, over, purl 2 together, over, knit 8, 1 chain.
+
+8th needle--1 chain, knit 8, over, knit 2 together, over, knit 2
+together, over, knit 2 together, over, knit 2, knit 1 from behind, 1
+chain.
+
+9th needle--1 chain, purl 2, over, purl 2 together, over, purl 2
+together, over, purl 2 together, over, purl 2 together, over, knit 8, 1
+chain.
+
+10th needle--8 chain, knit 10, knit 1 from behind, 1 chain.
+
+Repeat from the first needle.
+
+[Illustration: FIG. 396. KNITTED LACE.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos.
+20 to 80, or Fil a dentelle D.M.C Nos. 25 to 60.[A]]
+
+KNITTED LACE (fig. 397).--Cast on 11 stitches.
+
+[Illustration: FIG. 397. KNITTED LACE.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos.
+25 to 70, Fil a dentelle D.M.C Nos. 25 to 80.[A]]
+
+1st needle--1 chain, knit 1 from behind, over, knit 1, over, slip 1,
+knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
+stitch over, over, slip 1, knit 1, pull slipped stitch over, knit 1, 1
+chain.
+
+The 2nd, 4th, 6th, 8th, 10th, 12th, 14th, and 16th needle, purled.
+
+3rd needle--1 chain, knit 1 from behind, over, knit 3, over, slip 1,
+knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
+stitch over, over, slip 1, knit 1, pull slipped stitch over, 1 chain.
+
+5th needle--1 chain, knit 1 from behind, over, knit 5, over, slip 1,
+knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
+stitch over, knit 1, 1 chain.
+
+7th needle--1 chain, knit 1 from behind, over, knit 7, over, slip 1,
+knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
+stitch over, 1 chain.
+
+9th needle--1 chain, slip 1, knit 1, pull slipped stitch over, over,
+slip 1, knit 1, pull slipped stitch over, knit 3, knit 2 together, over,
+knit 2 together, over, knit 2, 1 chain.
+
+11th needle--1 chain, slip 1, knit 1, pull slipped stitch over, over,
+slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over,
+knit 2 together, over, knit 2 together, over, knit 1, 1 chain.
+
+13th needle--1 chain, slip 1, knit 1, pull slipped stitch over, over,
+knit 3 together, over, knit 2 together, over, knit 2 together, over,
+knit 2, 1 chain.
+
+15th needle--1 chain, slip 1, knit 1, pull slipped stitch over, knit 1,
+knit 2 together, over, knit 2 together, over, knit 1, 1 chain.
+
+Repeat from the first needle.
+
+ROSE FOR KNITTING (fig. 398).--Repeat all the directions, 8 ending
+with the sign *, 7 times.
+
+Cast on 8 stitches, on to 4 needles, two on each; close the ring.
+
+2nd round--8 times: over, knit 1.
+
+The 3rd, 5th, 7th, 9th, 11th, 13th, 15th, 17th, 19th, 21st, 23rd, and
+25th round, knit plain.
+
+4th round--over, knit 3, over, knit 1 from behind *.
+
+6th round--over, knit 4, over, knit 1 from behind *.
+
+8th round--over, knit 7, over, knit 1 from behind *.
+
+10th round--over, slip 1, knit 1, pull slipped stitch over, knit 2
+together, over, knit 1 *.
+
+12th round--over, knit 2 together, over, knit 3 *.
+
+14th round--over, knit 1 from behind, over, knit 5 *.
+
+16th round--over, knit 1 from behind, over, knit 7 *.
+
+18th round--over, knit 1 from behind, over, knit 9 *.
+
+20th round--over, knit 1 from behind, over, knit 11 *.
+
+22nd round--over, knit 1 from behind, over, knit 13 *.
+
+24th round--over, knit 1 from behind, over, knit 15 *.
+
+26th round--over, knit 3, over, knit 5, knit 2 together, purl 1, slip 1,
+knit 1, pull slipped stitch over, knit 5 *.
+
+[Illustration: FIG. 398. ROSE FOR KNITTING.
+
+MATERIALS: Fil d'Alsace D.M.C in balls, No. 60 or 70, Fil a dentelle
+D.M.C No. 40, 50 or 60.[A]]
+
+27th round--knit 11, purl 1, knit 6 *.
+
+28th round--over, knit 5, over, knit 4, knit 2 together, purl 1, slip 1,
+knit 1, pull slipped stitch over, knit 4 *.
+
+29th round--knit 12, purl 1, knit 5 *.
+
+30th round--over, knit 1, over, slip 1, knit 1, pull slipped stitch
+over, knit 1, knit 2 together, over, knit 1, over, knit 3, knit 2
+together, purl 1, slip 1, knit 1, pull slipped stitch over, knit 3 *.
+
+31st round--knit 13, purl 1, knit 4 *.
+
+32nd round--over, knit 3, over, slip 2, knit 1, pull slipped stitches
+over, over, knit 3, over, knit 2, knit 2 together, purl 1, slip 1, knit
+1, pull slipped stitch over, knit 2 *.
+
+33rd round--knit 14, purl 1, knit 3.
+
+34th round--over, knit 11, over, knit 1, knit 2 together, purl 1, slip
+1, knit 1, pull slipped stitch over, knit 1 *.
+
+35th round--knit 15, purl 1, knit 2.
+
+36th round--over, knit 1, over, slip 1, knit 1, pull slipped stitch
+over, knit 1, knit 2 together, over, knit 1, over, slip 1, knit 1, pull
+slipped stitch over, knit 1, knit 2 together, over, knit 1, over, knit 2
+together, purl 1, slip 1, knit 1, pull slipped stitch over *.
+
+37th round--knit 16, purl 1, knit 1.
+
+38th round--over, knit 3, over, slip 2, knit 1, pull slipped stitches
+over, over, knit 3, over, slip 2, knit 1, pull slipped stitches over,
+over, knit 3, over, knit 2, over, slip 2, knit 1, pull slipped stitches
+over *.
+
+39th, 41st and 43rd round--knit plain.
+
+40th round--over, knit 4, knit 2 together, over, knit 5, over, slip 1,
+knit 1, pull slipped stitch over, knit 4, over, knit 1.
+
+42nd round--knit 1, over, slip 1, knit 1, pull slipped stitch over, knit
+1, knit 2 together, over, knit 1, over, slip 1, knit 1, pull slipped
+stitch over, knit 1, knit 2 together, over, knit 1, over, slip 1, knit
+1, pull slipped stitch over, knit 1, knit 2 together, over, knit 2 *.
+
+44th round--knit 2, over, slip 2, knit 1, pull slipped stitches over,
+over, knit 3, over, slip 2, knit 1, pull slipped stitches over, over,
+knit 3, over, slip 2, knit 1, pull slipped stitches over, over, knit 3
+*.
+
+Finish with three purled rounds.
+
+KNITTED EDGING (fig. 399).--Cast on 43 stitches.
+
+1st needle, make a chain of 2 stitches, over, knit 1 from behind, over,
+knit 1 from behind, over, knit 1, over, slip 1, knit 1, pull slipped
+stitch over, knit 1, knit 2 together, over, knit 1, over, slip 1, knit
+1, pull slipped stitch over, knit 1, knit 2 together, over, knit 1, knit
+1 from behind, purl 1, knit 1 from behind, over, knit 1, knit 2
+together, purl 1, slip 1, knit 1, pull slipped stitch over, knit 1, purl
+1, knit 1, knit 2 together, knit 1 from behind, slip 1, knit 1, pull
+slipped stitch over, knit 1, over, knit 1 from behind, purl 1, knit 1
+from behind, over, knit 2 together, knit 1, 1 chain.
+
+[Illustration: FIG. 399. KNITTED EDGING.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 40 to 70 or Fil a dentelle D.M.C Nos.
+25 to 50, or Cordonnet 6 fils D.M.C Nos. 25 to 60.[A]]
+
+2nd needle--1 chain, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 3, knit 1, purl 2, knit 1, purl 2, knit 1, purl 3,
+purl 1 from behind, knit 1, purl 1 from behind, purl 14, purl 1 from
+behind, purl 4.
+
+3rd needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, knit 1 from behind, over, knit 3, over, slip 2, knit 1, pull
+slipped stitches over, over, knit 3, over, slip 2, knit 1, pull slipped
+stitches over, over, knit 2 together, over, knit 1 from behind, purl 1,
+knit 1 from behind, over, knit 1, over knit 2 together, purl 1, slip 1,
+knit 1, pull slipped stitch over, purl 1, knit 2 together, purl 1, slip
+1, knit 1, pull slipped stitch over, over, knit 1, over, knit 1 from
+behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
+chain.
+
+4th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 4, knit 1, purl 1, knit 1, purl 1, knit 1, purl 4,
+purl 1 from behind, knit 1, purl 1 from behind, purl 15, purl 1 from
+behind, purl 4.
+
+5th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, knit 1 from behind, over, knit 2, over, slip 1, knit 1, pull
+slipped stitch over, knit 2 together, over, knit 2, over, slip 1, knit
+1, pull slipped stitch over, knit 2 together, over, knit 2 together,
+over, knit 1, knit 1 from behind, purl 1, knit 1 from behind, over, knit
+3, over, slip 2, knit 1, pull slipped stitches over, purl 1, slip 2,
+knit 1, pull slipped stitches over, over, knit 3, over, knit 1 from
+behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
+chain.
+
+6th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 6, knit 1, purl 6, purl 1 from behind, knit 1, purl 1
+from behind, purl 16, purl 1 from behind, purl 4.
+
+7th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, knit 1 from behind, over, knit 1, over, slip 1, knit 1, pull
+slipped stitch over, knit 1, knit 2 together, over, knit 1, over, slip
+1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over, knit
+2 together, over, knit 2 together, over, knit 1 from behind, purl 1,
+knit 1 from behind, over, knit 5, over, slip 2, knit 1, pull slipped
+stitches over, over, knit 5, over, knit 1 from behind, purl 1, knit 1
+from behind, over, knit 2 together, knit 1, 1 chain.
+
+8th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 15, purl 1 from behind, knit 1, purl 1 from behind,
+purl 17, purl 1 from behind, purl 4.
+
+9th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, knit 1 from behind, over, knit 3, over, slip 2, knit 1, pull
+slipped stitches over, over, knit 3, over, slip 2, knit 1, pull slipped
+stitches over, over, knit 2 together, over, knit 2 together, over, knit
+1, knit 1 from behind, purl 1, knit 1 from behind, over, knit 1, knit 2
+together, purl 1, slip 1, knit 1, pull slipped stitch over, knit 1, purl
+1, knit 1, knit 2 together, purl 1, slip 1, knit 1, pull slipped stitch
+over, knit 1, over, knit 1 from behind, purl 1, knit 1 from behind,
+over, knit 2 together, knit 1, 1 chain.
+
+10th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 3, knit 1, purl 2, knit 1, purl 2, knit 1, purl 3,
+purl 1 from behind, knit 1, purl 1 from behind, purl 18, purl 1 from
+behind, purl 4.
+
+11th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, knit 1 from behind, over, knit 2, over, slip 1, knit 1, pull
+slipped stitch over, knit 2 together, over, knit 2, over, slip 1, knit
+1, pull slipped stitch over, knit 2 together, over, knit 2 together,
+over, knit 2 together, over, knit 2 together, over, knit 1 from behind,
+purl 1, knit 1 from behind, over, knit 1, over, knit 2 together, purl 1,
+slip 1, knit 1, pull slipped stitch over, purl 1, knit 2 together, purl
+1, slip 1, knit 1, pull slipped stitch over, over, knit 1, over, knit 1
+from behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1,
+1 chain.
+
+12th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 4, knit 1, purl 1, knit 1, purl 1, knit 1, purl 4,
+purl 1 from behind, knit 1, purl 1 from behind, purl 19, purl 1 from
+behind, purl 4.
+
+13th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
+pull slipped stitch over, knit 1, knit 2 together, over, knit 1, over,
+slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over,
+knit 1, over, slip 1, knit 1, pull slipped stitch over, over, slip 1,
+knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
+stitch over, knit 1 from behind, purl 1, knit 1, from behind, over, knit
+3, over, slip 2, knit 1, pull slipped stitches over, purl 1, slip 2,
+knit 1, pull slipped stitches over, over, knit 3, over, knit 1 from
+behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
+chain.
+
+14th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 6, knit 1, purl 6, purl 1 from behind, knit 1, purl 1
+from behind, purl 18, purl 1 from behind, purl 4.
+
+15th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 2, knit 1,
+pull slipped stitches over, over, knit 3, over, slip 2, knit 1, pull
+slipped stitches over, over, knit 3, over, slip 1, knit 1, pull slipped
+stitch over, over, slip 1, knit 1, pull slipped stitch over, over, knit
+2 together, purl 1, knit 1 from behind, over knit 5, over, slip 2, knit
+1, pull slipped stitches over, over, knit 1 from behind, over, knit 2
+together, knit 1, 1 chain.
+
+16th needle--like the 8th.
+
+17th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
+pull slipped stitch over, knit 2 together, over, knit 2, over, slip 1,
+knit 1, pull slipped stitch over, knit 2 together, over, knit 2, over,
+slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1, pull
+slipped stitch over, knit 1 from behind, purl 1, knit 1 from behind,
+over, knit 1, knit 2 together, purl 1, slip 1, knit 1, pull slipped
+stitch over, knit 1, purl 1, knit 1, knit 2 together, purl 1, slip 1,
+knit 1, pull slipped stitch over, knit 1, over, knit 1 from behind, purl
+1, knit 1 from behind, over, knit 2 together, knit 1, 1 chain.
+
+18th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 3, knit 1, purl 2, knit 1, purl 2, knit 1, purl 3,
+purl 1 from behind, knit 1, purl 1 from behind, purl 16, purl 1 from
+behind, purl 4.
+
+19th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
+pull slipped stitch over, knit 1, knit 2 together, over, knit 1, over,
+slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over,
+knit 1, over, slip 1, knit 1, pull slipped stitch over, over, knit 2
+together, purl 1, knit 1 from behind, over, knit 1, over, purl 1, slip
+1, knit 1, pull slipped stitch over, purl 1, knit 2 together, purl 1,
+slip 1, knit 1, pull slipped stitch over, over, knit 1, over, knit 1
+from behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1,
+1 chain.
+
+20th needle--like the 4th.
+
+21st needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 2, knit 1,
+pull slipped stitches over, over, knit 3, over, slip 2, knit 1, pull
+slipped stitches over, over, knit 3, over, slip 1, knit 1, pull slipped
+stitch over, knit 1 from behind, purl 1, knit 1 from behind, over, knit
+3, over, slip 2, knit 1, pull slipped stitches over, purl 1, slip 2,
+knit 1, pull slipped stitches over, over, knit 3, over, knit 1 from
+behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
+chain.
+
+22nd needle--slip 1; knit 2, purl 1, purl 1 from behind, knit 1, purl 1
+from behind, purl 6, knit 1, purl 6, purl 1 from behind, knit 1, purl 1
+from behind, purl 14, purl 1 from behind, purl 4.
+
+23rd needle--slip 2 stitches over for a chain, over, knit 1 from behind,
+over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
+pull slipped stitch over, knit 2 together, over, knit 2, over, slip 1,
+knit 1, pull slipped stitch over, knit 2 together, over, knit 2, over,
+knit 2 together, purl 1, knit 1 from behind, over, knit 5, over, slip 2,
+knit 1, pull slipped stitches over, over, knit 5, over, knit 1 from
+behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
+chain.
+
+24th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 4, purl 1
+from behind, purl 15, purl 1 from behind, knit 1, purl 1 from behind,
+purl 13, purl 1 from behind, purl 4.
+
+Repeat from the first needle.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: CROCHET LACE.--CLOSE LEAVES AND BARS WITH PICOTS]
+
+
+
+
+Crochet Work.
+
+
+Crochet work, so called from the hook, French _croche_ or _croc_, with
+which it is done, is not only one of the easiest but in comparison with
+the cost and labour, one of the most effective kinds of fancy-work. It
+is also one of the most useful, as it can be applied to the domestic
+requirements of every-day life, to wearing apparel, house-linen and
+upholstery; and we are sure that the patterns contained in this chapter,
+which have in addition to their other merits that of novelty, will meet
+with a favorable reception.
+
+Hooks, or needles, as they are generally called, made of wood, bone or
+tortoise-shell are used for all the heavier kinds of crochet work in
+thick wool or cotton, and steel ones for the finer kinds. The Tunisian
+crochet is done with a long straight hook, which is made all in one
+piece. The points should be well polished inside and not too sharp, the
+backs slightly curved, and the handles, whether of bone, steel or wood,
+so light as not to tire the hand. Those represented here, we consider
+the best, as regards shape. As it is most essential that the needle
+should be suited to the cotton in size, we subjoin a comparative table
+of the numbers of the D.M.C threads and cottons and of the different
+needles.
+
+[Illustration: FIG. 400. CROCHET NEEDLE WITH WOODEN HANDLE.]
+
+[Illustration: FIG. 401. CROCHET NEEDLE WITH STEEL HANDLE.]
+
+[Illustration: FIG. 402. ENGLISH CROCHET NEEDLE WITH WOODEN HANDLE.]
+
+TABLE OF THE APPROXIMATE RELATION OF THE D.M.C THREADS AND COTTONS TO
+THE NUMBERS OF THE CROCHET NEEDLES.
+
+-----------------------------------------------------------------------------+
+Numbers of the     |        |        |     |      |      |     |     |       |
+crochet needles    |   9    |  10    | 11  |  12  |  13  | 14  | 16  | 18    |
+-------------------+--------+--------+-----+------+------+-----+-----+-------|
+Numbers of the     |        |        |     |      |      |     |     |       |
+cottons            |   No.  |  No.   | No. |  No. |  No. | No. | No. | No.   |
+-------------------+--------+--------+-----+------+------+-----+-----+-------+
+Coton pour crochet |  ---   |  6     | 8-10| 12-14| 16-20|24-40| --- | ---   |
+Coton a tricoter   |   6    |  8     |10-12| 14-16| 18-25|25-40|  50 | ---   |
+Fil a pointer      |  10    | 15     |20-30|  --- |  --- | --- | --- | ---   |
+Cordonnet 6 fils   | 1-11/2   | 2-21/2   | 3-4 | 10-15| 20-30|40-60|70-90|100-150|
+Fil d'Alsace       |  ---   | ---    | --- |  --- |   30 |36-50|60-90|100-150|
+Fil a dentelle     |  ---   | ---    | --- |  --- |   25 |30-50|60-90|100-150|
+-----------------------------------------------------------------------------+
+
+EXPLANATION OF THE SIGNS *.--In crochet, as in knitting, you
+frequently have to repeat the same series of stitches. Such repetitions
+will be indicated, by the signs *, **, ***, etc., as the case may be.
+
+CROCHET STITCHES.--In point of fact, there is only one, because all
+crochet work consists of loops made by means of the hook or needle, and
+connected together by being drawn the one through the other.
+
+Crochet work may however, be divided into two kinds, German crochet, and
+Victoria or Tunisian crochet; the latter is known also under the name of
+_tricot-crochet._
+
+In German crochet there are eight different kinds of stitches: (1) chain
+stitch, (2) single stitch, (3) plain stitch, (4) treble stitch, (5)
+knot stitch, (6) bullion stitch, (7) cluster or scale stitch, (8) double
+stitch.
+
+The rows are worked, according to the kind of stitch, either to and fro,
+or all from one end. In the former case, the work has to be turned at
+the end of each row, and the subsequent row begun with 1, 2 or 3 chain
+stitches to prevent the contraction of the outside edge.
+
+When the rows are all worked one way, the thread must be fastened on
+afresh each time, which is done by putting the needle into the first
+chain stitch of the preceding row, drawing the thread through it so as
+to form a loop, and making one or more chain stitches according to the
+height required.
+
+At the end of each row, cut the thread and draw the end through the last
+loop; in this manner all crochet work is finished off. Some crochet
+workers make a few extra chain stitches with the ends of the thread at
+the beginning and end of each row, or fasten them off with a few
+stitches on the wrong side.
+
+They can also, when the occasion requires, be formed into a fringe or
+tassels as a finish to the work.
+
+POSITION OF THE HANDS AND EXPLANATION OF (1) CHAIN STITCH (fig.
+403).--Take the thread in the left hand between the finger and thumb,
+hold the needle between the thumb and first finger of the right hand,
+letting it rest on the second finger, in the same manner in which you
+hold your pen, and put it into the loop, which you hold between the
+finger and thumb of the left hand. Take up the thread, lying on your
+finger, with the needle and make your first stitch as you do in
+knitting, tightening the loop just enough to leave an easy passage
+through it for the needle. The end of the thread must be held by the
+thumb and forefinger. The next stitches are made by taking up the thread
+with the needle and drawing it through the loop. The throwing of the
+thread round the needle by a jerk of the wrist is called an 'over'.
+
+[Illustration: FIG. 403. POSITION OF THE HANDS AND EXPLANATION OF CHAIN
+STITCH.]
+
+(2) SINGLE STITCH (fig. 404).--Put the needle in from the right side
+of the work, into the uppermost loop of the preceding row, take up the
+thread on the needle and draw it through both loops.
+
+[Illustration: FIG. 404. SINGLE STITCH.]
+
+(3) PLAIN STITCH (fig. 405).--Put the needle through, as in fig. 404,
+from the right side to the wrong, under the upper side, either of a
+chain, or of a stitch of the preceding row, draw the thread through it
+in a loop, turn the thread round the needle and draw it through both
+loops on the needle. By making the rows of plain stitches follow each
+other in different ways, a great variety of stitches can be produced, as
+the illustrations and written instructions here given will show.
+
+[Illustration: FIG. 405. PLAIN STITCH.]
+
+ROSE STITCH (fig. 406).--This consists of rows of plain stitches,
+worked backwards and forwards. Insert the needle from the right side,
+under both the horizontal loops of the preceding row.
+
+[Illustration: FIG. 406. ROSE STITCH.]
+
+RUSSIAN STITCH (fig. 407).--This is worked like the foregoing, only
+that all the rows have to be begun from the same end, and the thread has
+to be cut off at the end of each row.
+
+[Illustration: FIG 407. RUSSIAN STITCH.]
+
+RIBBED STITCH (fig. 408).--Worked backwards and forwards, the hook
+being passed through the back part only of the stitches of the preceding
+row.
+
+[Illustration: FIG 408. RIBBED STITCH.]
+
+CHAIN STITCH.--Worked like fig. 408, but on one side only.
+
+PIQUE STITCH.--This stitch also is only worked on one side. Put the
+needle in under one of the vertical threads of a stitch and complete the
+plain stitch. This is a stitch that looks very well on the wrong side;
+the bars of the loop lie quite close together, which makes it
+particularly suitable for unlined articles of clothing. It requires a
+large-sized needle to do this stitch well, especially if the material be
+a heavy one.
+
+SLANTING STITCH (fig. 409).--Worked entirely on the right side. Take
+up the back thread of a stitch in the preceding row, take hold of the
+crochet thread without turning it round the needle and draw it through
+in a loop, and then finish the stitch like a plain stitch.
+
+[Illustration: FIG. 409. SLANTING STITCH.]
+
+CROSSED STITCH.--The name which is given to the preceding stitch when
+both the threads of the stitches in the row before, are taken up
+together, instead of the back one only.
+
+RUSSIAN CROSSED STITCH (fig. 410).--To work this stitch which runs in
+slanting lines, put the needle in between the vertical threads of the
+stitches and underneath the two horizontal ones.
+
+[Illustration: FIG 410. RUSSIAN CROSSED STITCH.]
+
+COUNTERPANE STITCH (fig. 411).--Counterpanes can be made in a less
+close stitch than those just described.
+
+[Illustration: FIG. 411. COUNTERPANE STITCH.]
+
+To produce a soft and elastic fabric turn the thread round the needle
+and insert it under both the horizontal threads of a loop, take up the
+thread without turning it round the needle, draw it through in a loop,
+make an over, and draw the thread through all the three loops, that you
+have on the needle.
+
+KNOTTED STITCH (fig. 412).--This stitch likewise is composed of plain
+stitches, which, however differ in a slight degree from those we have
+described hitherto.
+
+[Illustration: FIG. 412. KNOTTED STITCH.]
+
+Make an over, put the needle through the two horizontal threads of the
+stitch below, make another over and draw it back through the two loops
+and the first over, make another over, and draw the thread through the
+last two loops.
+
+LOOP STITCH (fig. 413).--Worked as follows: when you have put the
+needle into the loop of a stitch below, carry the thread, downwards from
+above, round a stripe of cardboard or a flat wooden ruler, then finish
+the stitch in the usual way. These long loops, each about 2 c/m. in
+length, can also be made over the forefinger and held fast by the thumb
+as you work, but it is more difficult to make them regular in this way.
+
+Each row of long stitches is followed by a row of plain stitches. The
+side, where the long loops lie, becomes the right side. If you wish this
+stitch to be very thick and handsome, wind the thread three times round
+the ruler, or finger, and secure it with a plain stitch; in this case,
+you should make one plain stitch between every two clusters. A loose,
+fleecy thread is generally used for this stitch, and for washing
+articles more especially, we recommend Coton a repriser D.M.C.
+
+[Illustration: FIG. 413. LOOP STITCH.]
+
+PLAIN STITCHES FOR A CHAIN (fig. 414).--Begin with two chain stitches,
+put the needle in between the two threads of the first chain stitch,
+turn the thread round the needle and draw it through in a loop, turn it
+round again and draw it through the two loops; then, put the needle into
+the left part of the stitch that was just made, turn the thread round
+the needle, draw it through the two loops and so on, to the end.
+
+[Illustration: FIG. 414. PLAIN STITCHES FOR A CHAIN.]
+
+A chain of this kind makes a very good substitute for _mignardise_ when
+that can not be got of the right size and colour for the required
+purpose.
+
+(4) TREBLES.--Trebles are little columns, or bars made of loops or
+stitches. They can be worked, like all other crochet, either to and fro,
+or all one way. There are different kinds of trebles; half or short
+trebles, trebles, double trebles, called also 'long stitch', and
+quadruple and quintuple trebles, called 'extra long stitch', connected
+trebles and crossed trebles.
+
+HALF TREBLES (fig. 415).--Turn the cotton round the needle from
+behind, put the needle in between the trebles of the preceding row, or
+into one edge of a chain stitch; make an over, bring the needle forward
+again with the thread, make another over and draw the needle through all
+three loops.
+
+[Illustration: FIG. 415. HALF TREBLES]
+
+TREBLES (figs. 416 and 417).--Begin, as for the half treble, by
+turning the thread round the needle, and putting it in under one edge of
+the stitch beneath, then take up the thread on the needle and bring it
+through two of the loops, take it up again, and draw it through the two
+remaining loops.
+
+[Illustration: FIG. 416. TREBLES MADE DIRECTLY ABOVE ONE ANOTHER.]
+
+[Illustration: FIG. 417. TREBLES SET BETWEEN THOSE OF THE PRECEDING
+ROW.]
+
+In fig. 417, we have trebles made in the same manner as fig. 416, only
+that instead of putting the needle under one edge of the stitch beneath,
+you put it under both, and between the trebles of the last row.
+
+[Illustration: FIG. 418. DOUBLE TREBLES OR 'LONG STITCH'.]
+
+DOUBLE TREBLES OR 'LONG STITCH' (fig. 418).--Turn the thread twice
+round the needle, put it into a stitch of the work and bring the thread
+through in a loop, then take up the thread on the needle and bring it
+through two of the loops, three times in succession.
+
+[Illustration: FIG. 419. TRIPLE AND QUADRUPLE TREBLES OR 'EXTRA LONG
+STITCH'.]
+
+TRIPLE AND QUADRUPLE TREBLES OR 'EXTRA LONG STITCH' (fig. 419).--For a
+triple treble, twist the cotton three times round the needle, for a
+quadruple one, four times, then form the treble in the usual way by
+bringing the needle through two of the loops at a time. To make a series
+of trebles, of gradually increasing length, bring the needle, at every
+other treble, through the last three loops, so that before making a
+triple treble you will have to make columns, respectively, 1 treble, 11/2
+treble, 2 trebles and 21/2 trebles long. Columns like these, of different
+lengths, are often required in crochet work, for leaves and scalloped
+edgings.
+
+CONNECTED TREBLES (fig. 420).--Trebles, connected together, can be
+worked to and fro, and take the place of plain stitches. Begin with a
+chain, then make a treble of the required height, form as many loops as
+you made overs for the treble, take up the upper thread of the stitch
+nearest the treble, turn the thread round the needle, bring it back to
+the right side and draw the needle through the trebles, two at a time.
+
+[Illustration: FIG. 420. CONNECTED TREBLES.]
+
+CROSSED TREBLES (figs. 421 and 422).--Trebles of this sort produce an
+open stitch, which is often used for the footing of lace, or for an
+insertion. Make a foundation of chain, or other stitches, and proceed as
+follows: 3 chain, miss 2 stitches of the row beneath, make 1 treble in
+the third stitch, 5 chain, 1 over, put the needle in between the loops
+of the connected trebles and finish with a treble. Then make a double
+over, put the needle into the next loop of the preceding row, make
+another over, draw the needle through the loops, make another over and
+join the two next loops. This leaves 3 loops on the needle. Make an
+over, put the needle into the third stitch of the row beneath, make an
+over, and bring the needle back to the right side.
+
+[Illustration: FIG 421. CROSSED TREBLES.]
+
+[Illustration: FIG. 422. CROSSED TREBLES, SET BETWEEN THOSE OF THE
+PRECEDING ROW.]
+
+Join the 5 loops on the needle together, 2 and 2, make 2 chain, 1 over,
+put the needle into the upper parts of the connected trebles and finish
+with a treble, and so on.
+
+These trebles also can be lengthened if necessary, but in that case, the
+width of the crossed treble must correspond with the height. Generally
+speaking you make the trebles over the same number of stitches as you
+made overs on the needle, which should always be an even number.
+
+TREBLES FOR A CHAIN.--A quicker way of making a wide footing for a
+crochet lace is to make the trebles in the following manner.
+
+Make 4 chain stitches, 2 overs, put the needle into the first of the 4
+chain, 1 over, draw the thread through the stitch *, 1 over, draw the
+thread through the next 2 loops and repeat twice from * = ** 2 overs,
+put the needle into the left bottom part of the treble, close the treble
+as before and repeat from **.
+
+(5) KNOT STITCH (fig. 423).--This stitch which is composed of several
+loops forming a tuft, can only be worked from one side, consequently all
+one way. It looks best in a coarse material to show the interlacing of
+the threads.
+
+Enter the needle through the two loops of the stitches of the bottom
+row, turn the thread round the needle, but away from you towards the
+back; bring it forward to the right side, put the needle again through
+one of the bottom stitches, make another over like the first and draw
+the needle through all the bars at once.
+
+[Illustration: FIG. 423. KNOT STITCH.]
+
+(6) BULLION STITCH (figs. 424 and 425).--For bullion stitch, select a
+needle, a little thicker towards the handle, and finer than you would
+use for any other crochet stitch.
+
+[Illustration: FIG. 424. BULLION STITCH.]
+
+[Illustration: FIG. 425. BULLION STITCH.]
+
+Begin by making a chain of very loose stitches, then wind the thread
+several times, very evenly, round the needle. Insert the needle into a
+loop of the chain, make a single over, and draw it with the last over
+upon it, through all the other overs.
+
+Trebles in bullion stitch, fig. 425, are worked in just the same manner,
+only that you have to turn the thread, at least 10 or 12 times round the
+needle and draw it through all the overs at once. To facilitate the
+passage of the needle, keep the overs in their place with the thumb and
+forefinger of the left hand.
+
+Bullion stitch can only be worked with wool or a very fleecy thread,
+such as Coton a repriser D.M.C,[A] but trebles in bullion stitch can be
+worked in any of the D.M.C threads and cottons.
+
+(7) CLUSTER STITCH (fig. 426).--Generally used as an insertion between
+rows of plain crochet.
+
+[Illustration: FIG. 426. CLUSTER STITCH.]
+
+Put the needle under one stitch of the preceding row, make an over, draw
+the thread through in a loop, make another over, put the needle in again
+under the same stitch, bring it back, make a third over, and pass a
+third time under the same stitch; bring the needle back, make a fourth
+over and pass the needle through all the loops that are upon it.
+
+Then, after making a chain stitch, begin the same stitch over again,
+placing it in the second stitch of the lower row.
+
+Cluster stitch may also be finished off by retaining the two last loops
+on the needle, making an over, and ending with a plain stitch.
+
+(8) DOUBLE STITCH (fig. 427).--A rather coarse thread, such as Coton a
+tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Fil
+a pointer D.M.C Nos. 10 to 30[A] is better for this stitch than a loose
+fleecy thread which is apt to render it indistinct. Take up a loop right
+and left of a stitch of the preceding row, so that counting the loop of
+the last stitch, you have 3 loops on the needle, make an over and draw
+it through the 3 loops. Then take up a loop again by the side of the one
+you made on the left, and which now lies on the right. Take 2 loops in
+the next stitch, make an over and draw it through all the loops.
+
+[Illustration: FIG. 427. DOUBLE STITCH.]
+
+RAISED STITCH (fig. 428).--All the stitches that come under this heading
+require a foundation of a few plain rows for the raised trebles. In fig.
+428, you will observe that the fourth stitch in the fourth row is a
+double treble, connected with a loop of the fourth stitch of the first
+row.
+
+[Illustration: FIG. 428. RAISED STITCH.]
+
+Miss the stitch of the preceding row, which is hidden under the treble,
+make 3 plain stitches, 1 double treble, and so on.
+
+Having finished this row, turn the work and make a plain row. In the
+next row begin with 4 plain stitches, then make 1 double treble between
+the 3 stitches that are between the first trebles, 3 plain stitches, 2
+double trebles and so on.
+
+In the 8th row of plain stitches, the trebles must be placed in the same
+order as in the 4th.
+
+RAISED STITCH WITH CROSSED TREBLES (fig. 429).--Begin, as in fig. 428,
+by 3 rows of plain stitches. The 4th row begins with 2 plain stitches
+followed by: * 1 double treble joined to the upper part of the 1st
+stitch of the 1st row; keep the 2 last loops of this treble on the
+needle; make a double over for the next treble, pass the needle through
+the fourth stitch of the first row, make an over, turn the thread round
+the needle, bring it back, finish the treble all but the last 3 loops,
+which you crochet together. Miss the stitch behind the treble, make 3
+plain stitches and repeat from *.
+
+[Illustration: FIG. 429. RAISED STITCH, WITH CROSSED TREBLES.]
+
+Then turn the work, make one plain row, and turn the work back to the
+right side.
+
+The second row of trebles begins with a plain stitch. The way in which
+the trebles are to be crossed is shewn in the illustration.
+
+RAISED STITCH WITH DOTS (fig. 430).--After making 3 plain rows, begin
+the 4th with 3 plain stitches, and proceed as follows: * 6 trebles into
+the 4th plain stitch of the preceding row, leaving the last loop of each
+treble on the needle, so that altogether you have 7 loops upon it; then
+you turn the thread once round the needle and draw it through the loops;
+miss the stitch that is underneath the dot, make 3 plain stitches and
+repeat from *.
+
+[Illustration: FIG. 430. RAISED STITCH WITH DOTS.]
+
+Then make 3 rows of plain stitches; in the 4th row, the 1st dot is made
+in the 4th stitch, so that the dots stand out in relief.
+
+RAISED DOTS WITH TREBLES (fig. 431).--Turn the work after making 3
+rows of plain stitches, make 3 stitches more in the 4th stitch of the
+1st row, * 6 trebles, drop the last stitch of the 6th treble, put the
+needle into the stitch between the last plain stitch and the 1st treble,
+take the dropped loop of the last treble and draw it through the one on
+the needle; miss the stitch under the dot, make 5 plain stitches and
+repeat from *.
+
+[Illustration: FIG. 431. RAISED DOTS WITH TREBLES.]
+
+RAISED DOTS IN SLANTING LINES (fig. 432).--On the rows of stitches
+that have been previously prepared, make, for the 4th stitch of the 4th
+row, a cluster stitch, as in fig. 426, with 1 quadruple over and then 4
+plain stitches, 1 cluster stitch and so on. The next row is plain; in
+the second you have to make 1 plain stitch more, and fasten the cluster
+stitches into the loops to the left of the second of the 3 covered rows.
+In this way you have to make each raised stitch, one stitch, in advance
+and to the left of the last, so that they run in slanting lines over the
+surface.
+
+[Illustration: FIG. 432. RAISED DOTS IN SLANTING LINES.]
+
+CLOSE SHELL STITCH (fig. 433).--This pretty stitch which can only be
+worked in rows, all one way, is more especially suitable for children's
+jackets and petticoats; it is easy, and has the merit of being quickly
+done. On a foundation of chain, or other stitches, make: 2 chain, 7
+trebles on the 4th stitch, * 1 chain, 7 trebles on the 5th stitch of the
+last row and repeat from *.
+
+[Illustration: FIG. 433. CLOSE SHELL STITCH.]
+
+2nd row--** 7 trebles on the chain stitch of the last row which
+connects 7 bars, 1 plain stitch on the 4th of the 7 trebles of the first
+row and repeat from **.
+
+PICOTS.--The edges of most crochet work are ornamented with picots, or
+small points of different shapes, called severally close picots, chain
+picots and lace picots.
+
+Close picots may be subdivided into, large and small, pointed, and
+rounded, picots with rounded leaves and picots with pointed leaves.
+
+SMALL ROUNDED PICOTS.--These may either be made separately and then
+sewn on, or made at once, on to a crochet border. In the first case,
+begin with 3 chain, then coming back, make 1 plain stitch on the second
+and on the first chain stitch. In the second case make: 1 chain, take
+the needle out of the stitch and put it in from the right side, under
+both edges of the last stitch, take up the dropped stitch, bring it to
+the right side, * 3 chain; then returning: 1 plain stitch on each chain,
+draw the needle out, put it in from the right side into the second
+stitch of the row beneath, take up the loop, bring it back to the right
+side, and repeat from *.
+
+LARGE ROUNDED PICOTS.--5 chain, miss 3, 1 treble on the 2nd and 1
+treble on the 1st chain stitch.
+
+When you want to attach these picots at once to an existing piece of
+work, drop the last loop and bring it back again with the needle from
+the wrong side to the right and miss 2 stitches, instead of one, as in
+the case of the small picots.
+
+POINTED PICOTS.--Cast on 6 chain, then returning, and missing the 6th
+stitch: 1 single stitch, 1 plain stitch, 1 half treble, 1 treble, 1
+double treble.
+
+PICOTS WITH ROUNDED LEAVES.--* 4 chain, and 3 trebles on the first
+stitch, and 1 single on the same stitch on which the trebles were, **,
+or 6 chain and repeat from * to **.
+
+When these picots serve as a finish to a straight edge, make 2 single
+stitches in the preceding row instead of 2 chain.
+
+PICOTS WITH POINTED LEAVES.--6 chain, on the first chain stitch: 3
+double trebles, of which you retain the two last loops on the hook, 1
+over, draw the thread through the 4 loops, 5 chain, 1 single on the
+stitch on which the trebles are.
+
+CHAIN PICOTS.--For the small chain picots, make: 5 chain and 1 plain
+stitch on the first of these 5 stitches. For the large ones: 5 chain and
+1 treble on the first stitch.
+
+PICOTS IN BULLION STITCH (figs. 424 and 425).--5 chain, 1 treble in
+bullion stitch drawn up into a ring, and joined to the 5th chain stitch.
+
+[Illustration: FIG. 434. DROOPING PICOTS.]
+
+DROOPING PICOTS (fig. 434).--5 chain, drop the loop, put the needle
+into the first of the 5 chain, take up the dropped loop, and draw it
+through the stitch.
+
+[Illustration: FIG. 435. EMPTY LACE PICOTS, WORKED IN CROCHET.]
+
+[Illustration: FIG. 436. LACE PICOTS ATTACHED TO A ROW OF STITCHES MADE
+BEFORE HAND.]
+
+LACE PICOTS (figs. 435 and 436).--Fig. 435 represents picots formed of
+chain stitches, as follows: 2 chain, put the needle into the first, 1
+over, bring the thread back to the front, 2 chain: * put the needle into
+the two loops, and at the same time, into the second loop and the first
+chain, draw the thread through in a loop, make 2 chain and repeat from
+*.
+
+In order to make the picots more even and regular, it is advisable to
+form them over a coarse knitting needle or mesh.
+
+Fig. 436 represents picots attached by plain stitches to the edge of a
+finished piece of work; this is done as follows: 1 plain stitch, draw
+out the loop to the proper length for a picot, and slip it on a mesh:
+put the needle into the horizontal parts of the last stitches, turn the
+thread round the needle, draw it through in a loop, and make 1 plain
+stitch on the next stitch and so on.
+
+[Illustration: FIG. 437. OPEN-WORK CROCHET MADE AFTER A TAPESTRY
+PATTERN.]
+
+[Illustration: FIG. 438. PLAIN CROCHET MADE AFTER A TAPESTRY PATTERN.]
+
+METHOD FOR COPYING TAPESTRY PATTERNS IN CROCHET WORK (figs. 437 and
+438).--Printed cross stitch and embroidery patterns can very well be
+copied in crochet work especially when they are in two colours only, or
+rather, are drawn in one colour, on a plain ground.
+
+The way in which such patterns are copied in crochet is by means of
+chain stitches and trebles, which, rising one above the other in rows,
+form little squares. For each square marked on the pattern, you must
+count, in the grounding, 1 treble and 2 chain stitches; in the solid
+parts, 3 trebles.
+
+The squares formed by the chain stitches should always begin and end
+with a treble.
+
+When, therefore, a solid square comes between empty or foundation
+squares, count 4 trebles for the solid square, because the last treble
+of the last empty square touches the third treble of the solid one.
+
+Thus for 2 solid squares, side by side, count 7 trebles, and for 3
+squares, 10. Embroidery patterns worked in several colours can be
+reproduced in crochet either by trebles and rows worked one way only,
+cutting off the thread at the end of each row, or by plain stitches,
+worked in rows to and fro.
+
+When only three colours are used, pass two threads under the stitches;
+when more than two, leave those which are not in use, at the back of the
+work and only bring them to the front as they are wanted. The thread,
+you lay aside, takes at the back the place of the one in use. Of course,
+the threads not in use can only can be disposed of in this way when the
+work has a wrong side, otherwise they must be passed underneath the
+stitches. The colours should alternate in the order the pattern
+prescribes; moreover, the last stitch before you take another colour
+cannot be finished with the same thread, you must pass the new thread
+through the last loop and draw it up with that.
+
+[Illustration: FIG. 439. CROCHET WITH SOUTACHE OR LACET (BRAID).]
+
+[Illustration: FIG. 440. CROCHET WITH SOUTACHE OR LACET (BRAID).
+MATERIALS: Coton a tricoter D.M.C Nos. 6 to 12 or Cordonnet 6 fil D.M.C
+Nos. 3 to 10. Soutache D.M.C No. 2 or 3 or Lacets superfins D.M.C Nos. 2
+to 5. COLOURS: The cotton, white or ecru. The Soutache or Lacet:
+Rouge-Cardinal 347, or Rouge-Grenat 326, or Bleu-Indigo 312.[A]]
+
+CROCHET WITH SOUTACHE OR LACET (BRAID) (figs. 439 and 440).--These are
+two patterns of crochet, worked with the ordinary crochet cottons and
+with Soutache or Lacet D.M.C, a material which has not been used for
+crochet work before.
+
+Both patterns are worked entirely with trebles; in fig. 439, the red
+braid passes over and under 2 trebles; in fig. 440, it is brought, it
+will be observed, from the wrong side to the right after every 2
+trebles, and passed between them, in such a manner as to form a slanting
+stitch between the rows of stitches.
+
+CROCHET SQUARE (fig. 441).--Begin with 4 chain stitches, and work 1
+single on the 1st chain, to make a round. Work, 1 chain and 2 plain on
+the next chain, 3 plain on each of the next 3 chain, 1 plain on the
+stitch on which the two first plain are worked.
+
+Slip the next stitch, that is, put the needle in between the horizontal
+bars of the 1st plain stitch of the previous row, and draw the thread
+out without making a stitch.
+
+Then make 1 chain and 2 plain on the slipped stitch.
+
+After which, you make 3 plain on the second of the 3 plain that form the
+corner, and 1 plain on all the other stitches of the last row. The
+beginning and end of each row, are worked as described above.
+
+Fig. 441 represents a square, worked in consecutive rows. In making a
+crochet square, the rows may end in the middle of a side.
+
+[Illustration: FIG. 441. CROCHET SQUARE.]
+
+When you use a stitch that has to be worked to and fro, you turn your
+work at the end of every row and work back along the stitches you have
+just made.
+
+[Illustration: FIG. 442. CROCHET HEXAGON.]
+
+CROCHET HEXAGON (fig. 442).--Make a foundation chain of 6 stitches,
+join the round; 12 plain on the 6 chain; finish the row as indicated for
+the previous figure == turn the work == * 1 plain, 3 plain on the second
+plain of the last row; repeat 5 times from *. Finish the row with 1
+single == turn the work == 2 plain, 3 plain on the second of the first 3
+plain; 3 plain and so on. These hexagons can be made of any size.
+
+COLOURED STAR WORKED INTO A LIGHT GROUND (fig. 443).--Begin with 3
+chain, join the ring = 2 plain on each of the 3 chain; then for the
+foundation, 1 plain with the dark thread, and 1 with the light on each
+of the 6 plain.
+
+In each subsequent row, make one dark stitch more, increasing regularly,
+that is, making 2 stitches on the last light stitch that comes before
+the dark ones.
+
+Proceed in this manner until you have 6 or 8 dark stitches, in all and
+then begin to decrease in every row by one, until there is at last only
+one dark stitch remaining.
+
+These stars are used in the making of purses, cap-crowns and mats for
+lamps, etc.
+
+[Illustration: FIG. 423. COLOURED STAR WORKED INTO A LIGHT GROUND.]
+
+TUNISIAN CROCHET.--Tunisian crochet is also called crochet-knitting
+because, you have to cast on all the first row of stitches, as in
+knitting.
+
+MATERIALS--Every kind of cotton, as well as wool and silk, can be used
+for Tunisian crochet: the stitches look equally well in all these
+materials, but for things that require frequent washing or cleaning, a
+good washing material should be selected, such as Coton a tricoter D.M.C
+and Cordonnet 6 fils D.M.C[A], both strong and suitable in all ways.
+
+As we have already said, Tunisian crochet requires to be done with a
+long straight needle, with a knob at one end and it can only be worked
+on the right side.
+
+[Illustration: FIG. 444. PLAIN TUNISIAN CROCHET.]
+
+PLAIN TUNISIAN CROCHET (fig. 444).--After making a foundation chain of
+the required length, begin the first, or loop row as it is called. Put
+the needle into the 2nd chain stitch, draw a loop through and so on,
+until you have taken up all the chain stitches on the needle. After
+having made the last stitch of the loop row, make 1 chain stitch and
+then pass to the second row that completes the stitch. Turn the thread
+round the needle, draw it through two loops, turn the thread round
+again, and again draw it through two loops, and so on to the end.
+
+[Illustration: FIG. 445. STRAIGHT PLAITED TUNISIAN STITCH.]
+
+STRAIGHT PLAITED TUNISIAN STITCH (fig. 445).--Worked thus: miss the
+first loop in the 1st row, take up the second, and come back to the
+first, so that the 2 loops are crossed. Work the second row in the same
+manner as the second row of the preceding figure.
+
+[Illustration: FIG. 446. SLANTING PLAITED TUNISIAN STITCH.]
+
+DIAGONAL PLAITED TUNISIAN STITCH (fig. 446).--Worked like the
+preceding, taking up first the second loop and then the first: the
+second row also, in the same way as before. In the third row, take up
+the first stitch, and draw the third through the second, so as to
+produce diagonal lines across the surface of the work.
+
+OPEN TUNISIAN STITCH.--This is an easy kind of Tunisian crochet. The
+first row is worked as in fig. 444. In the row of plain stitches, you
+alternately join 2 and 3, or 3 and 4 loops of the preceding row
+together, and replace them by as many chain stitches.
+
+DECREASING AND INCREASING IN TUNISIAN CROCHET (fig. 447). Our
+illustration shows how to decrease on both sides and by that means form
+scallops.
+
+[Illustration: FIG. 447. DECREASING IN TUNISIAN CROCHET.]
+
+You miss a stitch alternately on the right and left. On the right you
+crochet the first two stitches together, and at the end of the row, the
+last two, and so on, to the end. You increase in the same order, first
+on the right and then on the left.
+
+HAIRPIN CROCHET (figs. 448, 449, 450).--So called because it is worked
+on a kind of large steel hairpin or fork with two or more prongs. Wooden
+and nickel varieties of this implement, which are patented by Mme
+Besson, of Paris, are also used.
+
+Very pretty laces, fringes, gimp headings and the like can be made in
+this kind of crochet work. It is often used in combination with ordinary
+crochet and plain and scalloped braids and gimps, or as a heading for
+fringes made of tufts and pendant balls. There are a great many stitches
+which can be worked in hairpin-crochet. We shall only describe those
+here that will best teach our readers how the work is done.
+
+MATERIALS.--For washing laces, Cordonnet 6 fils D.M.C is the best; for
+furniture fringes, the lower numbers of Coton a tricoter D.M.C, and for
+producing the appearance of filoselle, the lower numbers of Coton a
+repriser D.M.C are to be taken.
+
+[Illustration: FIG. 448. STEEL HAIRPIN FOR CROCHET.]
+
+[Illustration: FIG. 449. WOODEN FORK FOR CROCHET.]
+
+[Illustration: FIG. 450. FORK WITH SEVERAL PRONGS FOR CROCHET.]
+
+STITCHES.--Begin by a chain stitch, made with an ordinary crochet
+needle, take the needle out of the loop, and insert the left prong of
+the fork upwards from below, holding the fork between the thumb and
+finger of the left hand. The thread should always be in front. Then put
+the thread over the right prong and the needle into the loop on the left
+prong, take up the thread, draw it through the loop, put the thread over
+the needle and draw it through the loop that is on the needle, twist the
+loop round the left prong, turn the needle round to the right (the
+thread will now be wound round the right prong); put the needle into the
+loop on the left prong, throw the thread over the needle, draw it
+through, tighten the loops and so on.
+
+These stitches may be doubled, or you may make several trebles on each
+loop, or arrange the plain stitches in different ways.
+
+[Illustration: FIG. 451. HAIRPIN INSERTION.
+
+MATERIALS: Fil a pointer D.M.C No. 20 or 30, or Cordonnet 6 fils D.M.C
+Nos. 4 to 15, white or ecru.[A]]
+
+HAIRPIN INSERTION (fig. 451).--Begin by making stripes with the fork,
+covering each thread with two plain stitches. Then join the stripes
+together by the loops, drawing the left loop over the right one and the
+right one over the left. When you come to the end of the stripes fasten
+off the last loops by a few stitches. To strengthen the edges, join two
+loops together by 1 plain, 2 chain, 1 plain and so on.
+
+[Illustration: FIG. 452. HAIRPIN LACE
+
+MATERIALS--For the hairpin work: Fil a pointer D.M.C Nos. 20 to 30, or
+Cordonnet 6 fils D.M.C Nos. 3 to 10, white or ecru. For the edge. Coton
+a tricoter D.M.C Nos. 16 to 30.
+
+COLOURS: Rouge-Cardinal 347, or Jaune-Rouille 364, or Brun-Marron
+406.[A]]
+
+HAIRPIN LACE (fig. 452).--When, by making two half trebles in each
+loop, you have got the necessary length of hairpin crochet, join the
+loops two and two, by means of a coloured thread which makes a good
+contrast with the thread of which the hairpin crochet is made. Work 1
+plain stitch joining 2 loops on the right, 2 chain, 1 plain joining the
+2 loops on the left; then 2 chain and come back to the right, and so on,
+until you have taken up all the loops. This forms the zig-zag in the
+middle.
+
+1st row--join 3 loops by: 1 plain, 5 chain.
+
+2nd row--on the 5 chain stitches: 1 plain, 1 half-treble, 3 trebles, 1
+picot, made with 5 chain (for the chain picots, see p. 237), 1
+half-treble, 1 plain. The footing of this lace is made like the one in
+fig. 451.
+
+[Illustration: FIG. 453. HAIRPIN FRINGE WITH TASSELS.]
+
+HAIRPIN FRINGES (figs. 453, 454, 455, 456).--Fig. 453 is made with a
+fork composed of one branch and 3 or 4 rulers, round which the thread is
+wound in succession, so as to form loops of different lengths. You may
+use for this, either a single very coarse thread, or else several fine
+ones, used together as one.
+
+The heading of the fringe is plain, and heavy tassels are fastened into
+the loops. The tassels are made as follows: take a thick skein of the
+same thread the fringe is made of, pass it through the loop, leaving
+just the length required for the tassel, at one end, thread a needle
+with the same thread and twist it round the skein, the right distance
+from the top to form the head of the tassel and then cut the ends even,
+at the bottom. As the loops are of different lengths, the tassels will
+hang in steps and the fuller and heavier they are, the handsomer the
+fringe will be.
+
+[Illustration: FIG. 454. HAIRPIN FRINGE WITH TASSELS.
+
+MATERIALS: Coton a tricoter D.M.C Nos. 6 to 16.[A]
+
+COLOURS: Ecru and Jaune-Rouille 363, 368, or Gris-Tilleul 331 and
+Rouge-Cornouille 449 and 450, or three other shades.[A]]
+
+Fig. 454 represents another pattern of fringe, the first part of which
+is made with the same fork as the preceding one. Instead however of
+winding the thread round the several prongs in succession, you pass it
+alternately round the two first and the fourth, thus making loops of two
+lengths only. Tassels of a length, suited to the purpose the fringe is
+intended for, depend from these loops and may be varied in the second
+row by balls made to issue from the middle, or by long meshes, which are
+made over the whole width of the fork and affixed to the loops.
+
+Figs. 455 and 456 represent two pretty patterns of fringes made of ecru
+cotton with a strong twist. These are very suitable for washing
+articles, as the cotton balls wash perfectly.
+
+[Illustration: FIG. 455. HAIRPIN FRINGE WITH ONE LINE OF BALLS.]
+
+[Illustration: FIG. 456. HAIRPIN FRINGE WITH TWO LINES OF BALLS, ONE
+ABOVE THE OTHER.
+
+MATERIALS--For the crochet-work: Cordonnet 6 fils D.M.C Nos. 3 to 10, or
+Fil a pointer D.M.C Nos. 10 to 30. For the balls: Coton a repriser D.M.C
+Nos. 8 to 16.]
+
+The loops in fig. 455 are all of one length and a ball hangs from every
+third. In the last chapter but one, a minute description is given of the
+way in which these balls are made. The heading of the loops is formed by
+a row of chain stitches, varying in number from four to six, according
+to the size of the cotton. The edge is ornamented with little picots.
+The fringe, in fig. 456, consists of three long and three short loops
+alternately, which causes, the balls that are made to depend from them,
+to form two parallel lines.
+
+If you join the loops of the heading together, three and three, you will
+have to make enough chain stitches to cover the space that is to be
+filled.
+
+The picots are made with 6 chain stitches, you put the needle back into
+the fifth stitch after closing the picot, make 1 chain, 2 plain, in the
+preceding row, 1 picot and so on.
+
+FRINGE MADE WITH LACET OR BRAID (fig. 457).--This is an easy fringe to
+make and a very effective trimming for table-cloths, curtains etc.,
+which are embroidered on coarse stuffs.
+
+Begin with a foundation chain, in coarse ecru twist, the light stitch
+in the middle of the heading of the fringe being also made of the same
+material.
+
+In the next row, you use the twist and the braid together, as
+follows--with the twist = 1 chain stitch, put the needle into the first
+stitch of the foundation chain, take up the braid, draw it through, turn
+the twist round the needle, draw it through the braid and the chain
+stitch. To make the braid loops longer, they may be made over a wooden
+ruler. To the two rows of braid stitches, represented in the pattern,
+you may add as many other rows as you please. On the fringed side make:
+4 plain, 3 chain, draw out one very long loop and fasten into it a
+cluster of lengths of braid from 10 to 12 c/m. long, and draw the loop
+tightly round it to secure the tassel; 3 plain on the chain stitches.
+Repeat from *.
+
+[Illustration: FIG. 457. FRINGE MADE WITH LACET OR SOUTACHE (BRAID).
+
+MATERIALS: Lacet D.M.C No. 4 or Soutache D.M.C NO. 21/2 in red. Cordonnet
+6 fils D.M.C Nos. 3 to 10. Fil a pointer D.M.C Nos. 10 to 30, ecru.[A]]
+
+[Illustration: FIG. 458. LACE MADE ON POINT LACE BRAID.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 50, or Cordonnet 6 fils D.M.C
+No. 80, white[A] and Point Lace braid.]
+
+LACE MADE ON POINT LACE BRAID (fig. 458).--For the rounds: 1 plain on
+the braid, 10 chain, then coming back, 1 single on the 4th chain.
+
+In this first round you make: 1 chain, 1 half-treble, 12 trebles *, 1
+half-treble, 1 chain, 1 single on the 4th chain; 3 chain, 1 single on
+the braid, far enough from the 1st chain for the rounds not to overlap
+each other. Then 10 chain, 1 single on the 4th chain, 1 single, 1
+half-treble, 4 trebles, join to the first round between the 8th and 9th
+trebles, 8 trebles and repeat from *. For the footing: 1 treble, 1
+chain, miss a few threads of the edge of the braid, 1 treble.
+
+[Illustration: FIG. 459. CROCHET GUIPURE LACE.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 70 to 90. Cordonnet 6 fils D.M.C Nos.
+80 to 120, or Fil a dentelle D.M.C Nos. 40 to 70.]
+
+CROCHET GUIPURE LACE (fig. 459).--This charming little lace makes a
+very good substitute for real guipure. It can be made on a row of
+trebles, just as well as on point lace braid, or on a mignardise, after
+you have raised the picots of it by single and chain stitches.
+
+6 plain *, 9 chain, leave an interval equalling in length 6 bars of the
+point lace braid used in our pattern; in the braid: 6 plain stitches,
+very close together, 8 chain, 1 single on the 7th of the 9 chain, 10
+chain, 1 single on the 3d of the 9 chain, 8 chain, 1 plain close to the
+first of the first 6 plain.
+
+1st scallop--7 plain, 5 chain, join to the 4th chain; on the 5th chain:
+6 plain; on the 8th chain: 3 plain.
+
+2nd scallop--on the 10 chain: 7 plain, 5 chain, join to the 4th chain =
+on the 5 chain: 6 plain = on the 10 chain, 5 plain, 5 chain, join to the
+4th chain, 6 plain, 5 chain, join to the 4th chain, 6 chain, 1 plain on
+the 10th chain.
+
+3rd scallop--like the first, then repeat from *.
+
+[Illustration: FIG. 460. LACE MADE ON POINT LACE BRAID.
+
+MATERIALS: The same as for 458.]
+
+LACE MADE ON POINT LACE BRAID (fig. 460).--On the braid, work a row of
+trebles, 1 or 2 chain stitches apart, according to the size of the braid
+and on this row of trebles, make two other rows as follows:
+
+1st row--5 chain, 1 treble on the treble of the preceding row, 5 chain,
+1 treble, on the same stitch to which the first treble is joined, 5
+chain, miss 3 trebles, 1 treble on the 4th treble of the row beneath.
+
+2nd row--1 plain on the 3rd of the 5 first chain, 3 plain, 1 treble on
+the 3rd of the chain stitches between the two trebles of the first row
+that come close together; 3 chain, 1 treble on the same stitch, 3
+chain, 1 treble on the same stitch, 3 chain, 1 treble on the 3rd of the
+next 5 chain.
+
+[Illustration: FIG. 461. CROCHET LACE.
+
+MATERIALS: Lacet superfin D.M.C No. 14 and Fil d'Alsace D.M.C Nos. 30 to
+70.[A]]
+
+CROCHET LACE (fig. 461).--1st row--3 plain close together, in the
+braid; * 13 chain, join to the 1st plain. On each of the first 6 chain;
+1 plain; = on the 7th chain: 3 plain, then on the other chain stitches:
+6 plain. In the braid: 7 plain and repeat from *.
+
+2nd row--* miss 2 plain of the first row, 5 plain to reach the 2nd
+stitch added in the first row, 4 plain on the 2nd added stitch, 4 plain
+on the next stitches. Repeat from *.
+
+For an insertion, drop the thread after the 2nd of the 4 stitches that
+are to be made at the point, then put the needle into the stitch of the
+finished stripe, take up the thread again, draw it through the stitch
+and proceed to the second side of the scallop.
+
+[Illustration: FIG. 462. CROCHET LACE WITH MIGNARDISE.
+
+MATERIALS--According to the mignardise used. Fil d'Alsace D.M.C Nos. 30
+to 70, or Fil a dentelle D.M.C Nos. 25 to 70.[A]]
+
+CROCHET LACE WITH MIGNARDISE (fig. 462).--This and all the patterns
+that follow, up to fig. 473, make very useful trimmings for all kinds of
+underclothing. Begin by raising the picots on both sides of the
+mignardise by: 1 plain stitch and 1 chain.
+
+The rows of crochet work between, consist of: 1 treble on 1 chain, 4
+chain, miss 2 picots of the mignardise, 1 treble between the 3rd and 4th
+picot.
+
+Work the edge in two rows.
+
+1st row--1 treble between 2 picots, 3 chain, miss 2 picots, 1 treble.
+
+2nd row--1 treble on 3 chain, 3 chain, 1 treble, 3 chain, 3 trebles, 7
+chain, turn back and join to the 1st of the 3 trebles, 2 chain, join
+them to the 2nd treble, 2 trebles on the 7 chain; keep the last loops of
+the last treble on the needle and join them to those of the next treble.
+
+[Illustration: FIG. 463. LACE WITH TWO ROWS OF LEAVES.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 20 to 100, Cordonnet 6 fils D.M.C
+Nos. 25 to 80 or Fil a dentelle D.M.C Nos. 25 to 100.]
+
+LACE WITH TWO ROWS OF LEAVES (fig. 463).--This is one of the
+pleasantest crochet patterns to work that we know. The leaves are made
+separately and fastened into a foundation with thread, at least two
+numbers finer than that of which the leaves are made.
+
+Leaf with 5 petals: 8 chain, make a ring = 2 plain on the ring = 1st
+petal * 11 chain, miss 3 chain, 1 half-treble on the 8th chain, 1 chain,
+miss the 7th chain, 1 treble on the 6th chain, 1 chain, 1 treble on the
+4th chain, 1 chain, 1 treble on the 3rd chain, 2 chain, 2 plain on the
+ring.
+
+2nd petal: 15 chain, miss 3 chain, 1 half-treble *, 1 chain, miss 1
+chain, 1 treble *. Repeat 4 times from * to *; add: 1 chain, 2 trebles
+on the ring.
+
+3rd petal: 21 chain, miss 3 chain, 1 half-treble *, 1 chain, miss 1, 1
+treble *. Repeat 7 times from * to *; add: 1 chain, miss 1, 2 trebles in
+the ring.
+
+The 4th petal to be worked like the 3rd; the 5th like the 1st.
+
+When the 5 petals are finished, make 2 plain stitches on the ring; then
+on the chain stitches of the 1st petal: 2 plain, 7 trebles, 2 trebles on
+the 10th stitch; then descending again: 7 trebles, 2 plain and 3 single
+on the 3 plain stitches of the ring.
+
+On the 2nd petal work: 3 plain, 10 trebles, 2 trebles on the 14th chain,
+10 trebles, 3 plain, 2 single, on the 2 trebles on the ring.
+
+3rd petal: 2 single, 3 plain, 14 trebles, 2 trebles on the 20th chain,
+14 trebles, 3 plain, a single.
+
+The 4th petal is worked like the 2nd; the 5th like the 1st, to be
+followed by 1 single on the 1st of the 3 chain stitches of the ring.
+
+For the stalk: 14 chain; miss 1, 9 plain on the 9 chain; 6 chain, miss
+1, 5 plain on the 5 chain, 4 plain on the chain stitches that are still
+disengaged, 2 single on the ring and then fasten the thread off with a
+few stitches.
+
+When you have enough leaves, join them together by a row of picots,
+working from left to right as follows: * take the second petal on the
+right side of a leaf, put the thread into the 12th stitch; make 2 plain,
+1 picot, 1 plain on the stitch on which the picot was made = in all the
+leaves, the 3rd plain before the picot and the first after, meet in the
+same stitch beneath = 2 plain, 1 picot, 3 plain, 2 chain = on the 8th
+stitch of the 3rd petal: 1 plain, 2 plain more on the next stitches **,
+1 picot, 3 plain. Repeat 6 times from ** and finish with 2 chain.
+
+On the 7th stitch of the 4th petal: 1 plain, 2 plain on the next
+stitches ***, 1 picot, 3 plain. Repeat 4 times from ***.
+
+On the 5th stitch of the 5th petal: 1 plain, and on the 4 next, 4 plain
+****. Repeat from * to ** round each leaf, then instead of a picot, make
+4 chain, join between the 1st and 2nd picot, 4 chain, close the picot.
+From this point the preceding series of stitches takes the place of the
+picot that immediately follows the sign **; proceed to ****.
+
+Foundation for the footing of the lace, with a single row of
+leaves.--When all the leaves are joined together, take the finer number
+of cotton and fasten your thread to the last stitch of the small stalk;
+then make: * 2 chain, 1 plain on the 9th stitch of the 5th petal; 6
+chain, miss 2, 1 plain on the 3rd stitch; 6 chain, 1 plain on the 3rd
+stitch, 1 chain, 1 plain on the 5th stitch of the 4th petal; 6 chain, 1
+plain on the 3rd chain; 2 chain, 1 plain on the 4th stitch (counting
+from the bottom) of the 5th petal of the next leaf; 3 chain, 1 single on
+the last stitch of the long stalk; 3 chain, join to the 3rd chain
+stitch, 3 chain, draw the thread again in coming back through the 3rd of
+the second set of 6 chain stitches in the 1st petal; 1 single; turning
+back and from left to right: 1 single on the plain stitch between the
+chain stitches, 6 chain, 1 plain on the 2nd of the last 3 chain, 6
+chain, 1 plain on the stalk, 6 chain, 1 plain on the 3rd stitch of the
+stalk; 6 chain, 1 plain on the 4th stitch of the stalk; 7 chain, 1 plain
+at the top of the little stalk, then repeat from *. The network in the
+next rows, which may be of any width, is composed of: 6 chain stitches
+and, 1 plain on the loop of the last row.
+
+For the last row but one of the network, make: 4 chain, 1 plain over
+each loop, and complete the lace by a row of plain stitches.
+
+To make the leaves stand out from the foundation, use two shades of
+thread, white and ecru, white and Jaune-Rouille 365, or white and
+Gris-Cendre 415.
+
+The following is the way to join two rows of leaves together, that have
+previously been edged with picots.
+
+Fasten the thread on to the little stalk, * 3 chain, 1 plain on the 8th
+stitch of the leaf, 2 chain, join to the middle picot of the 3rd petal
+of the top leaf; 2 chain, 3 plain on the 5th petal of the bottom row, 1
+picot, 3 plain.
+
+For the 2nd petal of the bottom leaf: 3 plain, 1 picot, 3 plain.
+
+For the 5th petal of the next leaf below: 3 plain, 4 chain, 1 single on
+the long stalk, 5 chain, 1 plain on the 2nd picot of the 1st petal of
+the preceding leaf, 5 chain, 1 single on the 2nd picot of the 4th petal
+of the top leaf, 4 chain, 1 plain on the 4th single of the stalk, 3
+chain, 1 single on the 7th picot of the 3rd petal of the top leaf, 3
+chain, miss 1 stitch of the stalk, 1 plain on the stalk, 3 chain, 1
+plain on the 6th picot of the top leaf, 3 chain, 1 plain on the little
+stalk. Repeat from *.
+
+Three and even four rows of leaves may be joined together in this manner
+and make a very handsome lace, particularly suitable for church linen.
+
+INSERTION WITH WAVED BRAID (fig. 464).--1 plain stitch at the point of
+the braid, 7 chain, 1 single on the 2nd chain. On the next chain
+stitches: 1 half-treble, 1 treble, 1 double treble, 1 triple treble, 1
+plain on the next point of the braid.
+
+Repeat the same stitches on the second side, only that after the 6th
+chain stitch, you draw the thread through the 7th of the 1st finished
+row.
+
+Little wheels, set between the crochet pyramids, and described in the
+chapters on filet-guipure and Irish lace, complete the insertion.
+
+[Illustration: FIG. 464. INSERTION WITH WAVED BRAID.
+MATERIALS.--According to the size of the braid: Fil d'Alsace D.M.C Nos.
+20 to 70, or Cordonnet 6 fils D.M.C Nos. 40 to 70.[A]]
+
+CROCHET LACE, MADE WITH LEAF BRAID (fig. 465).--Introduce the thread
+into one of the leaves of the braid and working from right to left, make
+for the outer border: * 1 plain, 2 chain, 1 picot in bullion stitch,
+with 5 twists of the thread, 2 chain, 1 treble near the end of the leaf.
+Leave the last 2 loops of the treble on the needle **.
+
+Take 2 leaves of the braid, fold them one upon the other: 1 treble near
+the stalk of these folded leaves, tighten the loops of the 2 trebles;
+chain ***, 1 picot, 2 chain, 1 plain, 2 chain. Repeat 5 times from ***.
+
+Proceed with 1 picot, 2 chain,--there will be 7 picots round the folded
+leaves--1 treble on the folded leaves and repeat from ** to *, therefore
+the inverse way, and begin again from *.
+
+For the footing of the lace, 4 rows are required.
+
+1st row--* 1 double treble close to the stalk of the leaf, 5 chain, 1
+treble, at the third of the leaf, 1 double treble at the 2nd third of
+the leaf, 5 chain, 2 double trebles, one on the right leaf, one on the
+left, draw the last loops of the 2 trebles up together and repeat from
+*.
+
+2nd row--On each of the little loops formed by the 5 chain of the last
+row: 1 plain, 3 chain, 1 picot in bullion stitch, 7 chain, 1 picot, 3
+chain; 1 plain on the next loop and so on.
+
+3rd row--1 plain on the 4th of the 7 chain, 5 chain, 1 plain and so on.
+
+4th row--1 plain on each loop of the last row.
+
+[Illustration: FIG. 465. CROCHET LACE MADE WITH LEAF BRAID. MATERIALS:
+Fil d'Alsace D.M.C Nos. 50 to 100 or Fil a dentelle D.M.C Nos. 50 to
+80.[A]]
+
+CROCHET LACE MADE WITH LEAF BRAID (fig. 466).--Begin with the outside
+edge:
+
+1st row:--At the end of a leaf: 1 treble, 6 chain, 1 picot in bullion
+stitch, 6 chain, 1 treble = at the beginning of a 2nd leaf: 6 chain, 1
+picot, 6 chain, 1 treble at the end of the leaf = 7 chain, 1 picot, 7
+chain, 1 treble on the 3rd leaf = 6 chain, 1 picot, 6 chain, 1 treble at
+the end of the 3rd leaf = 6 chain, 1 treble, 6 chain, 1 treble on the
+4th leaf = 1 double treble joined to the 4th and 1st leaf of the next
+scallop = 1 treble at the end of the 1st leaf, join and draw the last
+loops of these 3 trebles together.
+
+2nd row--over each treble and picot: * 1 plain, 3 chain, 1 picot, 7
+chain, 1 picot, 3 chain, 1 plain = repeat 6 times from *.
+
+At the indent and before the last picot: 2 chain, 1 picot, 2 chain = 1
+plain before the 1st picot of the next scallop.
+
+3rd row--1 treble, 8 chain, repeat 6 times. In the indent join the 4th
+of the 7 chain stitches right and left together by 1 treble.
+
+4th row--15 single on each loop of 8 chain.
+
+Inside junction.--Begin at the edge of the first leaf, fasten on the
+thread and make 10 chain and, 1 double treble at the end of the leaf, 1
+triple treble, and draw up both together, 5 chain, 2 triple trebles on
+the leaves to the right and left = 5 chain, 2 triple trebles, one at the
+end and the other at the beginning of the 3rd and 4th leaf = 2 chain, 1
+picot in bullion stitch, 2 chain, 1 plain on the last stitch of the
+first trebles, 10 chain, 1 plain on the last stitch of the last trebles;
+5 chain, 1 triple treble at the end of the 4th leaf.
+
+[Illustration: FIG. 466. CROCHET LACE MADE WITH LEAF BRAID. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 40 to 80 or Fil a dentelle Nos. 50 to
+80.[A]]
+
+Going back to the beginning: 5 chain, 1 single on the 10 chain above the
+picot = 5 chain, 1 single on the 5th of the first 10 chain = 12 chain, 1
+plain on the loop of the last triple treble, 7 chain, 1 picot in bullion
+stitch, 6 chain = 1 plain on the stalk between the 2 leaves; 6 chain, 1
+picot, 7 chain, 1 triple treble on the leaf, 5 chain, repeat from *.
+
+2nd row--5 chain, 1 treble on the lower loops. Distribute the chain
+stitches equally.
+
+3rd row--1 plain in the braid that forms the footing of the lace, 2
+chain, 1 plain on the last chain stitches, 2 chain, 1 plain in the
+braid, continuing in this manner to join the crochet work and the braid
+together.
+
+IRISH LACE (fig. 467).--Begin with the semicircles in the middle of
+the pattern, which arch over two scallops, and cast on 117 chain. Then
+lay a double or threefold thread of Cordonnet 6 fils D.M.C No. 2, over
+the chain stitches, and make one plain stitch on each; then cut the
+padding thread short off.
+
+[Illustration: FIG. 467. IRISH LACE. MATERIALS: Cordonnet 6 fils D.M.C
+Nos. 25 to 100, Fil a pointer D.M.C No. 30 or Fil d'Alsace D.M.C Nos. 30
+to 100.[A]]
+
+On the other side of the chain make 2 plain, * 2 chain, 1 picot, 7
+chain, 1 picot, 2 chain, miss 7; 1 plain on each of the 2 next stitches
+**.
+
+Repeat 11 times from * to **; the 11th time making only 6 chain.
+
+2nd and 3rd row--On the upper side, over a double thread of twist: 1
+plain on each stitch of the last row; cut off the padding thread = 2
+chain, 1 picot, 7 chain, 1 picot, 2 chain, 1 plain on the 4th of the 7
+chain stitches after the first picot of the preceding row = 3 chain, 1
+picot, 3 chain, 1 plain on the 4th of the next 7 chain stitches **.
+Repeat 11 times from * to ** and then make: 2 chain, 1 picot, 7 chain, 1
+picot, 2 chain, 1 plain.
+
+On the upper side and without a padding thread: 3 plain, 1 picot, * 5
+plain, 1 picot, **. Repeat 20 times from * to **. Continue with: 3
+plain, 10 chain, 1 picot, 2 chain, 2 plain on the 4th of the first 7
+chain of the 2nd row on the inside of the semicircle = 2 chain, 1 picot,
+7 chain, 1 picot, 2 chain, 1 plain on the plain stitch of the previous
+row = 1 plain on the 1st of the 3 chain = 2 chain, 1 picot, 7 chain, 1
+picot, 2 chain, 2 plain as before, = 2 chain, 1 picot, 7 chain, 1 picot,
+2 plain = 2 chain, 1 picot, 9 chain, 1 plain, return and make on the 9
+chain: 7 plain, 2 chain, 1 picot, 2 chain, 2 plain = make 4 more
+scallops like the previous one = 2 chain, 1 picot, 9 chain, 1 plain =
+return and make on the 9 chain: 7 plain, 2 chain, 1 picot, 2 chain, 2
+plain = make 2 more scallops, and then a 3rd joined to the scallop that
+terminates the semicircle on the right by the 2 plain stitches = 2
+chain, 1 picot, 7 chain, 1 picot, 2 chain, 2 plain on the point of the
+crescent = 22 scallops consisting of: 2 chain, 1 picot, 7 chain, 1
+picot, 2 chain, 2 plain.
+
+9 plain on the scallop that terminates the semicircle on the left, 7
+chain, 2 plain on the next scallop, 2 chain, 1 picot, 2 chain, 2 plain
+on the next scallop = make 2 bars more of the same kind = 7 chain, 2
+plain = 3 bars like the previous ones = 7 chain, 2 plain = 3 bars as
+before = 2 plain, 7 chain, 7 plain on the next scallop = 1 bar
+consisting of 3 chain, 1 picot, 3 chain, 2 plain over all the scallops
+of the preceding row (24 scallops in all).
+
+4th row--3 chain *, 8 trebles on the 7 chain that follow the 7 plain =
+turn the work = 1 single on the last treble, 3 chain, 1 treble on the
+7th and 1 on the 6th of the 8 trebles, 2 chain, 1 treble on the 5th and
+1 on the 4th of the 8 trebles, 2 chain, 1 treble on the 3rd and 1 on the
+2nd of the 8 trebles, 3 chain, 1 single on the 1st of the 8 trebles =
+turn the work = ** on the 3 chain: 1 plain, 1 half-treble, 1 treble, 1
+half-treble, 1 plain = 1 plain between the 2 trebles below = on the 2
+chain, 1 plain, 1 half-treble, 1 treble, 1 half-treble, 1 plain *** = 1
+plain between the 2 trebles beneath, repeat from *** to **, therefore
+the reverse way.
+
+Go on with 2 scallops consisting of 2 chain, 1 picot, 7 chain, 1 picot,
+2 chain, 2 plain = after the 2nd scallop: 2 chain, 1 picot, 5 chain = 8
+trebles on the 7 chain over the 7 plain and finish the little flowers
+consisting of 4 scallops each, like the first from * to *** and from ***
+to ** = 2 plain to get back to the scallop = 1 chain, 1 picot, 2 chain,
+2 plain, 3 chain, 1 picot, 7 chain, 1 picot, 2 chain, 2 plain, 3 chain,
+1 picot, 3 chain, and make a 3rd flower of 4 scallops like the 2 others
+= 2 single to come back to the scallop, 2 chain, 1 picot, 2 chain, 2
+plain = 2 more scallops like the previous ones, then make the 4th flower
+of 4 scallops, which must come before the 7 plain stitches of the
+previous row = 20 scallops consisting of: 2 chain, 1 picot, 7 chain, 1
+picot, 2 chain, 2 plain = the last scallop is to be joined to the 1st
+scallop of the 1st flower, under the left point of the semicircle = 3
+single along the small scallop, 3 trebles, 2 chain, 1 picot, 2 chain, 2
+plain on the point of the scallop = 3 bars like the previous ones to be
+joined to the 2 next scallops = 3 similar bars between the small
+scallops = 1 single on the scallop between the 2 flowers and 1 single on
+the 2nd set of chain stitches in the scallop that precedes the 3rd
+flower = 1 single on the point of the 1st scallop of the 3rd flower =
+continue the little bars along the 2nd side until past the 4th flower =
+after the 4th flower make 2 bars consisting of 2 chain, 1 picot, 2
+chain, 2 plain = 3 chain, 1 picot, 3 chain, 2 plain on the next scallop
+**** 7 chain, 2 plain on the next scallop, 3 chain, 1 picot, 3 chain, 2
+plain on the next scallop, 3 chain, 1 picot, 3 chain, 2 plain on the
+next scallop, 3 chain, 1 picot, 3 chain, 2 plain on the next scallop
+***** repeat five times from **** to *****. At the 2nd repetition make 1
+bar with 1 picot more, so that you have 4 bars instead of 3. At the 5th
+repetition you decrease by 1 bar, so that you have 2 instead of 3.
+
+1 plain on the point of the scallop of the flower, 3 chain, 1 picot, 7
+chain, 1 picot, 3 chain, 3 plain, one of which is made on the 2nd plain
+of the previous row, and the 2nd on the bar of chain stitches = 3
+plain, 1 picot, 7 chain, 1 picot, 3 chain, 2 plain = 2 more similar
+scallops = then 3 chain, 1 picot, 9 chain, 1 plain on the 2nd plain of
+the previous row = join and on the 9 chain make 7 plain = 3 chain, 1
+picot, 3 chain, 2 plain.
+
+Over the 1st little flower inside the semicircles, make 1 scallop like
+the previous ones = then 3 chain, 1 picot, 7 chain, 2 plain on the 3rd
+point of the first flower = 2 chain, 2 plain on the 2nd point of the
+second flower = 6 plain on the scallop and joined to the 3rd point of
+the first flower = 3 chain, 1 picot, 3 chain = 2 plain = 1 scallop like
+the previous ones, 2 plain on the 4th point of the small flower, 3
+chain, 1 picot, 9 chain, 1 plain = 7 plain over the 9 chain = 3 chain, 1
+picot, 3 chain, 2 plain.
+
+Make 7 scallops of: 3 chain, 1 picot, 7 chain, 1 picot, 3 chain, 2
+plain, after the 7th scallop make 1 chain only, which must come just
+before the 7th chain to the left without a picot and above the point of
+the semicircle.
+
+Over the 7 chain make a flower like the first with 4 scallops = then 3
+scallops, 3 chain, 1 picot, 7 chain, 1 picot, 3 chain, 2 plain. Make one
+more flower with 4 scallops, 3 scallops like the previous ones = a third
+flower with 4 scallops, 2 chain, 2 plain, one of them above the point of
+the row beneath, 12 chain, 1 plain over the next scallop = turn the work
+and coming back over the row just made, make: 7 plain on the first 7 of
+the 12 chain, 1 plain on the point of the scallop, 4 chain, 1 picot, 4
+chain, 1 plain on the next scallop, carry on the bars over the flowers
+and scallops, making 1 plain on the scallops of the flower and 2 plain
+on the other scallops, up to the 5 plain stitches between the 2 flowers
+underneath the semicircle.
+
+After the plain stitch that joins the last bar, turn the work and make
+23 scallops consisting of: 4 chain, 1 picot, 7 chain, 1 picot, 4 chain,
+2 plain.
+
+Cut off the thread and fasten it on above the semicircle and at the
+plain stitch which precedes the 7 chain without picot and make the
+second side like the first = having reached the middle, close to the 5
+plain, turn the work = make the half round of bars and fasten off at
+the 4th scallop of the flower above the semicircle.
+
+Fasten on at the point under the flowers where the work was turned and
+on the wrong side, and from right to left, work: 21 scallops consisting
+of 4 chain, 1 picot, 7 chain, 1 picot, 4 chain, 2 plain = then add: 4
+chain, 1 picot, 10 chain, 1 plain above the point of the scallop of the
+small flower = turn the work: 7 plain over the 10 chain.
+
+22 bars of 3 chain, 1 picot, 3 chain, 2 plain = after the 22nd bar, 10
+chain = come back and join to the picot of the 21st bar = 2 chain, 8
+trebles over the 10 chain and complete the flower as before. After the
+4th scallop of the flower: 2 chain, 1 single, quite close to the 8
+trebles, 3 chain, 2 plain on the next bar, 3 chain, 1 picot, join to the
+2nd stitch of the 4th scallop of the flower, 3 chain, carry on the bars
+the same distance as on the first side.
+
+Footing of the lace--On the chain stitches that follow the 3rd plain
+stitch and above the last little figure: 1 triple treble, 6 chain, join
+to the middle plain stitch = miss 1 scallop, 1 treble, 6 chain = miss 1
+scallop, 1 double treble, 6 chain, = miss 1 scallop, 1 triple treble, 6
+chain, = miss 1 scallop of the figure on the left, 1 double treble, 6
+chain = miss 1 scallop, 1 treble, 6 chain = miss 1 scallop, 1 double
+treble, 6 chain = miss 1 scallop, 1 treble, 6 chain = miss 1 scallop, 1
+treble, 6 chain = miss 1 scallop, 1 double treble, 6 chain, 1 triple
+treble, 6 chain, 1 quadruple treble on the next plain stitch. Repeat the
+whole, reversed, and finish off the footing with a row of plain
+stitches.
+
+Edge of the lace.--Fasten on, where the semicircles join: 1 double
+treble on the first 3 chain stitches of the empty scallop, 5 chain, 1
+double treble on the next disengaged chain stitches of the half scallop;
+continue the same on all the chain scallops and distribute the trebles
+so that there may be in all, 13 times 5 chain stitches.
+
+Add 2 triple trebles, the last loops of them, connected by a plain
+stitch; the 1st triple treble on the 3 last chain stitches of the last
+scallop, the 2nd on the plain stitch, that follows the 1st scallop of
+the middle figure = 4 chain, 1 treble on the plain stitch of the 2nd
+point. Repeat the same, reversed.
+
+2nd row--On the first 5 chain of the last row: 5 plain = on the next 5
+chain: 5 plain = on the 3 chain, leave a space: 5 plain, 12 chain, come
+back and join to the 8th chain stitch by a single stitch = on the
+scallop: 4 plain, 1 picot, 3 plain, 1 picot, 4 plain = and so on, until
+you have 8 points altogether.
+
+The plain stitches must be distributed as follows:
+
+For the 2nd point: in the 4th space 4 plain, in the 5th space 3 plain =
+for the 3rd point: in the 5th space, 2 plain, in the 6th space, 5 plain
+= for the 4th point: in the 6th space 1 plain, in the 7th space 6 plain
+= for the 5th point: in the 8th space 4 plain, in the 9th space 3 plain
+= for the 6th point: in the 9th space 3 plain, in the 10th space 4 plain
+= for the 7th point: in the 11th space 7 plain = for the 8th point: in
+the 12th space 7 plain = 5 plain in each of the 2 remaining spaces.
+
+CROCHET LACE (fig. 468).--This is always an effective pattern, in any
+number of thread. It is not new, however, and is probably already known
+to many of our readers as a pillow lace. Those who are not fond of
+making pillow lace, will be glad to learn how to reproduce it in
+crochet, as it makes a pretty trimming, both for wearing apparel and
+furniture. For furniture, it should be made in unbleached cotton, for
+articles of dress, in any of the of the finer numbers, referred to
+above.
+
+For the separate squares, cast on 10 chain stitches, and close the ring.
+
+1st row--* 5 chain, 1 plain on the ring. Repeat 3 times from *.
+
+2nd row--1 chain, 1 plain on the first 5 chain: * 5 chain, 1 plain = on
+the first 5 chain of the 1st row: 2 chain, 1 plain on the second 5 chain
+of the 1st row. Repeat 3 times from *.
+
+3rd row--1 plain on the first 5 of the 2nd row: * 5 chain, 1 plain, 2
+chain, 1 plain, 2 chain, 1 plain. Repeat 3 times from *.
+
+In the 4th and following rows, go on increasing, as in the 3rd row,
+until, on all 4 sides, you have 11 plain stitches between every 5 chain.
+
+12th row--1 plain, 5 chain, 1 plain, * 1 picot made of 4 chain, 1 plain
+between the 1st and the 2nd plain of the last row, 2 chain, 1 plain
+between the next 2 plain. Repeat 3 times from *, and fasten off.
+
+Crochet the squares together, as you finish them. After the 12th and
+last plain stitch, make: 2 chain, drop the loop, put the hook into the
+3rd of the 5 chain stitches that form one corner of the square, draw the
+dropped loop through, 2 chain, close the picot, finish the square.
+
+[Illustration: FIG. 468. CROCHET LACE. MATERIALS.--For trimming curtains
+and coarse linen table covers: Fil a pointer D.M.C No. 25 or 30, or
+Cordonnet 6 fils D.M.C Nos. 10 to 25 ecru. For articles of dress: Fil
+d'Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos. 25 to 70, or
+Fil a dentelle D.M.C Nos. 25 to 70 ecru.[A]]
+
+For the star that connects the squares--10 chain, close the ring; * 4
+chain, 1 picot, 4 chain, 1 over, join the 2 picots right and left of the
+squares that are to be joined together, by 1 treble; 4 chain, 1 picot, 3
+chain, drop the loop, put the needle into the first of the first 4 chain
+stitches, draw the thread through, 2 plain on the ring, 8 chain, 1
+treble on the 3rd picot and 1 treble on the 4th picot of the square =
+coming back: 1 plain on each of the 8 chain; 2 plain on the ring, and
+repeat 3 times from *.
+
+For the half-star, that fills the space under the footing of the lace:
+10 chain, close the ring = 9 chain, 1 treble on the 1st picot of the
+square; 4 chain, 1 picot, 3 chain; draw the thread through the 1st of
+the 9 chain = 2 plain, 8 chain, join the 3rd and 4th picots of the
+square by 1 treble bar on each picot = 8 single stitches on the 8 chain,
+2 plain on the ring; 4 chain, 1 picot, 4 chain = on the 1st and last
+picot of the 2 opposite squares: 1 treble, 4 chain, 1 picot, 3 chain,
+drop the loop, draw it through the 1st of the 4 chain stitches = 2
+plain, 8 chain, join 2 picots by 2 trebles = 8 single, 2 plain on the
+ring, 4 chain, 1 picot, 4 chain, 1 treble on the last picot = 8 chain,
+draw the thread through the 1st of the 4 chain.
+
+The footing is made as follows--* 1 plain on the 5 upper chain stitches
+of the square; 17 chain up to the ring, 3 plain, 17 chain and repeat
+from *. A row of plain stitches completes the footing.
+
+Outer edge--* 2 treble on the 1st picot, 4 chain, and repeat 5 times
+from *.
+
+On the 5 chain stitches, in the corner, make: 1 treble = 4 chain, 1
+treble on the 5 chain and finish the second side of the square like the
+first. Omit the chain stitches, between the 1st and last trebles of the
+squares.
+
+The next and last row consists of: 2 plain, 1 picot, 2 plain every 4
+chain. On the last 4 chain, at the point where 2 scallops join, make 4
+plain stitches, without picots.
+
+LACE WITH STARS (fig. 469).--Begin with the stars, make a chain of 18
+stitches, close the ring, mount it on a mould, wind a soft thread, such
+as Coton a repriser D.M.C No 60, seven or eight times round it, and make
+30 plain stitches upon it, joining the last to the first by a single
+stitch.
+
+Then: * 13 chain, and returning, miss the 1st chain = on the 12 chain: 1
+single, 2 plain, 2 half-trebles, 2 trebles, 2 double trebles, 1 double
+treble and a half, 2 triple trebles; keep the two last loops of the last
+treble but one, on the needle, and join them, to those of the last
+treble. Repeat 5 times from *.
+
+2nd row--1 plain, on the upper stitch that was missed in the 1st row; *
+17 chain, 1 plain on the next point. Repeat 5 times from *.
+
+3rd row--* 6 plain, 3 chain, miss 2 stitches of the lower row. Repeat
+from *.
+
+[Illustration: FIG. 469. LACE WITH STARS. MATERIALS: Fil d'Alsace D.M.C
+Nos. 30 to 70, Fil a pointer D.M.C No. 25 or 30, Coton pour crochet
+D.M.C Nos. 8 to 12.[A]]
+
+4th row--All round the last row, on each of the bottom stitches 1 plain;
+after every 6 stitches, 1 picot. This will give you 19 picots in all,
+separated from each other by 6 stitches.
+
+Inner connection--Fasten on the thread at the 5th treble, counting from
+the ring: 1 single, 8 chain. Draw out the thread, from the back, through
+the 9th of the 17 chain round the star = 8 chain * join with 1 chain to
+the 5th treble, passing the thread through to the back = work on the
+wrong side: 3 chain, bring the thread back between the 5th treble to the
+right side, and repeat 5 times from *. In joining the stars, place them
+so that 9 picots are turned to the edge, and 8 to the footing. The 10th
+and the 19th picots serve to join the stars.
+
+1st row--2 trebles between the 19th and the 9th of the * 9 picots, 7
+chain, 1 treble; repeat 9 times from *.
+
+After the 10th treble, make no more chain stitches, but 1 treble
+immediately between the 19th and the 1st picot of the next row.
+
+2nd row--On the 7 first chain stitches of the last row: 3 plain, 4
+half-trebles, 3 trebles, 1 picot, 3 trebles, 1 picot, and so on, until
+in the semicircle over the picots, you have 7 times 7 chain stitches and
+16 picots = on the ninth set of 7 chain: 3 trebles, 4 half trebles, 3
+plain.
+
+The scallops are joined by smaller ones, formed of: 3 plain, 4 half
+trebles, 3 trebles, 1 picot, 2 trebles, 7 chain, drop the loop, put the
+needle into the same treble of the last scallop; draw the loop through
+and make on the 7 chain: 1 plain, 1 half-treble, 5 trebles, 1 picot, 5
+trebles, 1 half-treble, 1 plain; continue the large scallop, as
+described above.
+
+The footing is composed of rings and trebles.--Begin with a ring, like
+those in the middle of the stars, worked as follows: 18 chain, with 28
+plain upon them = miss 1 plain stitch of the ring, 3 plain, 10 chain =
+miss 1 plain, 3 plain, 10 chain = miss 1 plain, 3 plain, 5 chain, 1
+single on the 7th picot of the 1st star, 5 chain = miss 1 plain, 3
+plain, 5 chain, 1 single on the 8th picot, 5 chain = miss 1 plain, 3
+plain, 5 chain, 1 single on the 2nd picot, 5 chain, finish off.
+
+Straight edge--Worked from right to left = 1 chain * turn the thread 7
+times round the needle, join to the plain stitch between the 7th and 6th
+picot, complete the long treble, 7 chain, join 1 treble, consisting of
+six overs to the 1st treble; 1 quintuple treble between the 6th and the
+5th picot; 7 chain, 1 quadruple treble joined to the previous treble =
+in all, 10 trebles, the 1st made with 7 overs, the 2nd with 6, the 3rd
+with 5, the 4th with 4, the 5th and 6th with 3, the 7th with 4, the 8th
+with 5, the 9th with 6, the 10th with 7; and between every 2 trebles, 7
+chain.
+
+The 3 long trebles of the ring are taken up with 1 plain and 7 chain
+between.
+
+GUIPURE LACE (fig. 470).--We advise our readers to work this charming
+pattern, in unbleached Fil a dentelle D.M.C No 50, because it imitates
+the appearance of old lace better than any other material.
+
+Lozenge-shaped figures in the centre--5 chain, close the ring.
+
+[Illustration: FIG. 470. GUIPURE LACE. MATERIALS: Fil d'Alsace D.M.C
+Nos. 30 to 100, Cordonnet 6 fils D.M.C Nos. 25 to 100, or Fil a dentelle
+D.M.C Nos. 25 to 100.[A]]
+
+1st row--5 chain, 1 picot, 2 chain, 1 treble on the ring = 5 chain, 1
+treble on the ring = 2 chain, 1 picot, 2 chain, 1 treble on the ring = 5
+chain on the 3rd of the first 5 chain.
+
+2nd row--12 chain, * 1 treble on the 1st treble of the 1st row = 4
+chain, 1 treble on the 3rd of the next 5 chain = 5 chain, 1 treble on
+the same stitch as the last treble = 4 chain, ** 1 treble on the 2nd
+treble of the 1st row, 9 chain. Repeat from * to **; join the last 4
+chain, to the 3rd of the first 12 chain, by a single stitch.
+
+3rd row--1 chain, 4 plain, 3 plain on the 5th of the 9 chain of the last
+row = 12 plain, 5 plain on the 3rd of the 5 chain, between the 2
+trebles, 12 plain, 3 plain on the 5th of the lower 9 chain = 12 plain, 5
+plain on the 3rd of the 5 chain, 7 plain; finish the row with a single
+stitch.
+
+4th row--3 chain, 1 treble on each of the next 5 plain; 3 trebles on the
+6th plain; 1 treble on each of the next 15 plain, 5 trebles on the 16th
+stitch; 15 trebles on the 2nd side; and again 3 trebles on the 16th
+stitch; 15 trebles on the 3rd side; 5 trebles on the 16th stitch, 9
+trebles and join to the 3rd of the 3 chain.
+
+5th row--1 chain, 6 plain, 3 plain on the 7th stitch beneath, * 18
+plain, 3 plain on the 19th stitch. Repeat twice from *.
+
+6th row--1 chain, 1 picot, 2 plain, 1 picot, 2 plain, 1 picot = towards
+the point: 3 plain, 1 picot = on the 2nd side of the square: 3 plain, 1
+picot, and 5 times 2 plain, 1 picot = towards the point: 4 plain, 1
+picot.
+
+On the 3rd side as on the 2nd, only reversed, first 4 plain, and at the
+point 3 plain; on the 4th side as on the 2nd; on the 1st side must still
+be added 3 plain, 1 picot, 2 plain, 1 picot, 2 plain, 1 picot, 2 plain;
+draw the thread through the loop and fasten off.
+
+The oblong squares, that connect the lozenges, take 7 rows of plain
+stitches. Make a chain of 14 = turn the work = 13 plain; add 5 rows of
+the same number of stitches. On the short side, and at the edge of the
+square: 1 picot, 3 plain, * 9 chain, miss 1 chain = returning: 1 plain
+on the 8th chain = on the next 7 chain: 1 half treble, 3 trebles, 1 half
+treble, 2 plain on the last chain stitches = on the 2nd half of the
+short side: 3 plain, 1 picot = on the long side: 3 plain **, 1 picot, 3
+plain ***. Repeat the whole twice from * to ***, and then once from * to
+** only.
+
+The row of bars, that encircles the small leaves, begins with 2 single
+stitches on the first picot, then add: **** 3 chain, 1 picot, 3 chain, 1
+treble on the 9th chain of the small leaf; on the short side: 1 chain, 1
+picot, 1 chain, 1 triple treble on the 9th chain of the leaf; drop the
+thread, bring it out from the back, by the side of the picot that forms
+the corner on the long side of the lozenge = 1 chain, 1 picot, 1 chain,
+1 treble on the small leaf = 3 chain, 1 picot, 3 chain, 1 treble on the
+picot, forming the corner of the oblong square = 3 chain, 1 picot, 3
+chain, 1 treble on the leaf on the long side of the square = 3 chain, 1
+treble on the same stitch as the 1st treble is on = 3 chain, 1 treble on
+the same stitch as the 2 first trebles are on; 3 chain, 1 picot, 3
+chain, 1 treble on the picot at the corner. Repeat once from ****.
+
+Upper and lower edge--6 chain, 1 sextuple treble on the 2nd picot of the
+lozenge = 6 chain, 1 triple treble on the 4th picot of the lozenge.
+Coming back over the 2 trebles of 6 chain, work in 3 journeys to and
+fro, 13 plain stitches.
+
+After the 2nd row of plain stitches, 1 quintuple treble on the 6th
+treble of the lozenge, and then 4 rows of plain stitches.
+
+After the 6th row, pass at once to the leaves above the lozenge: *****
+15 chain, 1 plain on the picot that forms the point of the lozenge =
+turn the work to the wrong side = on the chain stitches work: ****** 3
+plain, 1 half treble, 4 trebles, 1 half treble, 3 plain = turn the work
+to the right side = returning and starting from the point of the leaf: 1
+chain and 1 plain on each of the lower stitches.
+
+For the 2nd leaf: 12 chain = turn the work and repeat, as for the former
+leaf, from ***** to ******.
+
+This leaf, being finished like the first, with this difference that it
+ends at the upper point, you pass to the 2nd little square: 6 chain, 1
+sextuple treble on the picot next to the leaves; 3 chain, 1 triple
+treble on the 3rd picot, counted from the leaves = 6 chain, 1 sextuple
+treble on the 5th picot of the lozenge; keep the 2 last loops of the
+treble on the needle, 1 sextuple treble on the picot between every 3
+chain of the small square with leaves; draw up the 2 last loops together
+with those already on the needle = 6 chain, 1 triple treble on the picot
+on the long side of the small square = 3 rows of 13 plain each.
+
+With the last stitch of each of these rows, take 1 of the chain stitches
+between the long trebles.
+
+After the 3rd row: 1 sextuple treble on the first treble on the small
+leaf of the small middle square = 3 rows of plain stitches to finish the
+square, and repeat from *****.
+
+The upper row is similar to this but should be worked from right to
+left.
+
+Scalloped edge.--In the right corner of the 1st oblong figure of the
+outside corner: 1 double treble, 2 chain, 1 double treble on the 4th
+plain stitch = 2 chain, 1 double treble on the stitch that forms the
+corner stitch of the square = 2 chain, 1 plain at the extremity of the
+first long leaf, 9 chain = 1 quadruple treble on the stitch between the
+2 leaves = 2 chain, 1 quadruple treble on the same stitch and on the
+1st treble = 2 chain, 1 quadruple treble on the same stitch = 9 chain, 1
+plain on the last stitch of the 2nd long leaf = turn the work: 1 chain,
+1 plain on each of the chain stitches, and on each treble, 27 plain
+stitches in all = turn the work: 1 chain, 1 plain, 2 chain, 1 plain on
+the 2nd plain; repeat the last 12 times. Take in 1 stitch on each side
+in every row, turn the work after each row, and at the end of the last
+fasten off. Fasten on at the foot of the scallop, not at the point, and
+work plain stitches all round it; 20 plain to the upper point, 40 in
+all.
+
+The open-work edge of the scallops consists entirely of double
+trebles.--After the 40 plain stitches of the edge: 2 chain, 1 treble on
+the 1st plain stitch of the small square = turn the work: * 2 chain, 1
+treble on the 2nd of the plain stitches, forming the edge of the scallop
+**; repeat 7 times from * to ** = *** 2 chain, 1 treble on the next
+plain stitch = 2 chain, 1 treble on the next plain = repeat 4 times from
+***; and then 7 times from * to ** = 2 chain, 1 plain on the 4th treble
+of the square; 2 chain, 1 plain on the 3rd treble.
+
+Work on, on the right side = **** 2 chain and 1 treble on the preceding
+treble as far as the 8th treble; after the 8th: ***** 10 chain, back to
+the 7th, and returning, join to the 7th treble = on the 10 chain: 16
+plain, after the 16th draw the loop through the upper loop of the 8th
+treble = ****** 2 chain, 1 treble, 2 chain, 1 treble, 10 chain, return,
+and fasten the chain stitches to the last treble but one = 6 plain, 1
+picot, 2 plain, 1 picot, 6 plain and join as before ******* = Repeat
+once from ***** to *******, then twice, from ***** to ******, then from
+**** to *****, as on the first side, only 1 treble less = then 1 treble
+on the 4th plain stitch of the small square, 2 chain, 1 treble on the
+7th plain stitch of the square, 2 chain, 1 treble on the 10th plain
+stitch, 1 treble on the outside stitch, at the corner of the square, 2
+chain, 1 plain on the last stitch of the leaf; 9 chain and so on, as
+above described.
+
+Having reached the second scallop, on the 2nd row of trebles, at the
+sign ***, work: 2 chain, 1 treble to the left on the scallop just
+finished, keeping the last loops of the treble on the needle, 1 double
+treble to the right of the scallop and join it to the 2nd treble; draw
+the 4 loops together = 2 chain, 1 treble to the left, 1 quadruple treble
+to the right = 11 chain, drop the loop, bring it to the right side
+through the 4th treble of the right scallop = on these 11 chain
+stitches: 1 single, 1 plain, 1 half treble, 2 trebles, 1 half treble, 1
+plain, 1 single = 1 double treble on the open-work edge, then 2 chain, 1
+treble, 2 chain, 1 treble, 12 chain; join to the 6th treble of the right
+scallop = working back: 4 plain, 1 picot, 4 plain, 1 picot, 4 plain, 1
+picot, 4 plain, join to the treble, thrice 2 chain, 1 treble. Go back to
+***** and repeat twice to *******.
+
+The footing of the lace is worked in 5 rows from right to left.
+
+1st row--1 single, * 1 double treble on the 6th plain stitch of the
+square = 1 chain, 1 double treble on the 2nd plain stitch of the square
+= 3 chain, 1 picot downwards, 3 chain, 1 plain on the stitch at the
+extremity of the long leaf = 3 chain, 1 picot downwards, 3 chain, 2
+quadruple trebles between the two leaves = 3 chain, 1 picot downwards, 3
+chain, 1 plain on the last stitch of the 2nd leaf, 3 chain; repeat from
+*.
+
+2nd row--1 plain on each stitch of the previous row.
+
+3rd row--count 2 stitches before and above the 2 trebles on the squares
+and make: * 1 treble, miss 1 stitch, 1 treble, miss 1 stitch, 1 treble,
+miss 1 stitch, 1 treble = turn the work: 1 plain on each of the 4
+trebles = turn the work, come back and make 4 plain on the first 4 = 5
+chain, miss 2 stitches of the 2nd row, 1 treble on the 3rd plain, and
+continue from *.
+
+4th row--1 treble on each of the 4 plain, 1 chain between each treble, 2
+chain and so on.
+
+5th row--1 plain stitch on each of the stitches of the 4th row.
+
+CROCHET RETICELLA LACE (fig. 471).--This pattern, copied in crochet
+from an old piece of Reticella lace, only looks well, worked in very
+fine cotton, as indicated in our illustration, namely, in unbleached Fil
+a dentelle D.M.C No 150. To make it resemble the original more closely,
+the method adopted in Venetian point, of making all the stitches over a
+padding thread, has, in the case of the outside edge, been followed
+here.
+
+At the end of each row of plain stitches, draw out a sufficiently long
+loop to lay it back over the stitches just made, and to work the next
+row of stitches over this double foundation. These loops must be long
+enough, not to pucker or tighten the scallops.
+
+For the inner squares = 4 chain, close the ring.
+
+1st row--8 chain, 1 treble, 3 chain, 1 double treble, 3 chain, 1 treble,
+3 chain, 1 double treble, 3 chain, 1 treble, 3 chain, 1 double treble, 3
+chain, 1 treble, 3 chain, 1 single stitch on the 5th of the 8 chain.
+
+2nd row--* 1 chain, 5 plain on the first 3 chain, 5 plain on the next 3
+chain. On these 10 plain stitches, working to and fro, 9 rows of plain
+stitches, decreasing by 1 in each row; after the last stitch, come back
+along the side of the little triangle, and make 1 single stitch in every
+row, 1 plain on the treble of the 1st row **; repeat 3 times from * to
+**.
+
+[Illustration: FIG. 471. CROCHET RETICELLA LACE. MATERIALS: Fil d'Alsace
+D.M.C Nos. 30 to 100, or Fil a dentelle D.M.C Nos. 25 to 150.]
+
+These small triangles must be worked over 1 single treble and between 2
+double trebles.
+
+When the 4th triangle is finished, make directly, starting from the last
+stitch at the point, and along the side: 3 plain, 1 picot, 3 plain, 1
+picot, 3 plain; 1 single stitch on the treble; all the triangles must be
+edged, in this same manner on both sides; on the stitch that forms the
+point: 3 plain stitches.
+
+3rd row--* 17 chain, drop the loop = bring it to the front, through the
+plain stitch that lies between 2 triangles; returning, make 10 single
+stitches backwards on the 10 chain. You make stitches like this,
+backwards, in all the trebles that follow, that is, the loop is dropped
+after each stitch, and brought forward from the wrong side to the right
+= 13 chain, join to the 5th single, counting upwards from below = 7
+single on the chain stitches; 13 chain, join to the other trebles; 6
+chain, 1 single on the stitch at the point of the triangle **; repeat 3
+times from * to **. = The chain stitches for the trebles, must be drawn
+up very tight.
+
+4th row--1 plain on each of the stitches of the preceding row, 3 plain
+on the corner stitch. On each side there must be 29 plain stitches, not
+counting the corner ones.
+
+5th row = 6 chain, miss 2 stitches of the row beneath, * 1 double
+treble, 2 chain; repeat 3 times from * = 2 chain, 1 double treble, 2
+chain, 1 double treble on the same stitch as the 1st treble = 2 chain, 1
+double treble on the same stitch as the 1st treble = 2 chain, 1 double
+treble on the same stitch as the two first trebles = 10 times to the
+next corner: 2 chain, 1 double treble, 3 double trebles, each of them
+with 2 chain stitches at the corner; repeat the same on each of the 4
+sides.
+
+6th row--1 plain on each of the stitches of the last row, 3 plain on the
+corner stitch = cut off the thread. Join the next squares together at
+once by the last corner stitch.
+
+Lower edge--You begin by making the large scallop at the point of the
+square, and pass the double thread over the 3rd treble that comes before
+the 3 trebles at the point of the square and make: 1 plain stitch on
+each stitch of the square, up to the 3rd treble on the opposite side;
+then draw out a long loop which you carry back to the beginning. In the
+2nd row increase by 2 stitches, right and left of the middle stitches,
+for the rounding of the scallop, and decrease by 1 on each side. Make 10
+rows in all, and in each row, decrease by 4 stitches and increase by 2.
+Fasten off after the 10th row.
+
+The two little scallops, right and left of the big one, are worked in 5
+rows, over 5 trebles and 4 intervals of chain stitches, taking off 2
+stitches in every row. For the small triangle between, worked in 4 rows,
+you must increase on both sides by 2 stitches.
+
+When all the scallops are finished, edge them with 3 plain stitches, 1
+picot and 3 plain and work in all the ends of thread from the preceding
+rows at the same time.
+
+For the footing and the small triangles, that fill up the spaces between
+the squares: 22 chain, miss 1, 10 rows of plain stitches, worked to and
+fro, decreasing by 1 in every row.
+
+When the triangle is finished, make on one side, 1 single in every row;
+then, on the 11 remaining chain stitches, a second triangle, like the
+first, which you then join to the plain stitches, above the 5th treble;
+then returning along the side of the triangle, add 3 plain, 1 picot, 3
+plain, 1 picot, 3 plain; 1 single on each of the 22 chain stitches.
+
+Edge the next side of the 2nd triangle like the first, join the corner
+stitch to the 5th treble; edge the two inner sides 3 times with 3 plain
+stitches and 2 picots.
+
+Then from right to left on the plain stitches: 6 plain, 15 chain, join
+them to the middle of the 2 triangles = 1 single on each chain, 5 plain
+on the square; 11 chain, 1 single on the 9th of the first 15 chain; 1
+single stitch on each of the chain stitches; 1 plain on each stitch of
+the square, to the point where the squares join, 8 chain, 1 single on
+the 6th of the 11 chain, 1 single on each of the 8 chain.
+
+On the 2nd side: 7 plain, 5 chain, 1 single on the 6th of the 11 chain,
+1 single on each of the 5 chain, 5 plain, 9 chain, 1 single on the 9th
+of the 15 chain, 1 single on each of the 9 chain, 6 plain on the square;
+fasten off.
+
+Fasten on, at the 2nd of the 3 corner stitches = 17 chain, 1 plain on
+the corner stitch of the triangle; 8 chain, 1 plain on the next corner
+stitch, 17 chain, and so on.
+
+A row of plain stitches, or trebles, completes the lace.
+
+LACE WITH CORNER, FORMED BY INCREASING ON THE OUTSIDE (fig. 472).--1st
+row--On a row of chain stitches or trebles, work alternately: 1 chain, 1
+treble = on the corner: 1 chain, 1 treble, 2 chain, so that the last 3
+trebles come on one stitch.
+
+2nd row--1 plain on each stitch of the 1st row, 3 plain on the 2nd of
+the 3 corner trebles.
+
+3rd row--Counting from the 2nd of the 3 corner stitches, and towards the
+left, make 1 plain on the 53rd, 52nd, 51st and 50th plain stitches; 8
+chain, miss 1 chain, 1 plain on each of the 7 chain stitches = on the
+other side of the 8 chain, also 1 plain on each stitch, 3 plain on the
+8th chain, 1 plain on each of the first 7 plain.
+
+[Illustration: FIG. 472. LACE WITH CORNER, FORMED BY INCREASING ON THE
+OUTSIDE.
+
+MATERIALS: Fil d'Alsace D.M.C No. 30, Fil a pointer D.M.C Nos. 20 to 30,
+Cordonnet 6 fils D.M.C Nos. 15 to 30, or Fil a dentelle D.M.C Nos. 25 to
+50.[A]]
+
+On the next 11 stitches of the 2nd row: 1 plain = 4 chain, miss 4, 1
+triple treble on the 5th of the 2nd row, 4 chain, 1 triple treble on the
+same stitch, 4 chain, 1 triple treble on the same stitch, 4 chain, miss
+4, 1 single on the 5th = turn the work = on each treble of 4 chain: 7
+plain; 28 in all; 1 single on the 10th of the 11 plain = turn the work =
+miss the 28th plain, and on the 27 others make: 3 plain, 1 picot, 3
+plain = 11 chain, miss the 11th, 10 plain on the others = on the 2nd
+side of the chain: 4 plain, 10 chain, join them to the 6th of the first
+11 plain of this row = on the 10 chain: 5 plain, 3 chain, join them to
+the 5th plain of the 1st leaf, made in this row = on the 3 chain: 3
+plain = on those of the 10 remaining chain stitches: 6 plain = along the
+leaf: 3 plain, 1 picot, 3 plain = on the stitch at the point of the
+leaf: 3 plain = then down the 2nd side: 3 plain, 1 picot, 7 plain = over
+the next of the 28 plain: 3 plain, 1 picot, 4 plain = * 11 chain, miss
+the 11th, 10 plain = on the second side of the chain: 4 plain, 6 chain,
+join them to the 4th of the last 7 plain of the 2nd leaf = on the 6
+chain: 9 plain. Continue on the 3rd leaf of this row: 3 plain, 1 picot,
+3 plain and 3 plain on the stitch at the point of the leaf = on each of
+the next 3 stitches: 1 plain, then 1 picot, 7 plain = on the 28
+stitches: 4 plain, 1 picot, 3 plain **. Repeat from * to **, and here
+follow: 3 plain, 1 picot, 3 plain.
+
+On the 2nd row: *** 5 plain, 10 chain, join them to the 4th of the last
+7 plain of the 3rd leaf; 11 plain over the 10 chain = on the 2nd row: 5
+plain, 8 chain, miss 1 chain, 1 plain on each chain = on the second
+side: 4 plain, 3 chain, join them to the 6th of the last 11 plain = 3
+plain on the leaf, 3 plain on the stitch at the point, 7 plain, and
+repeat from *.
+
+On the 2nd row and for the corner: 9 plain, **** 4 chain, 1 triple
+treble on the 2nd of the 3 corner stitches and repeat 4 times from ****
+= 4 chain, miss 4 of the preceding row, 1 plain on the 5th = turn the
+work, on each bar of 4 chain, 6 plain, 36 in all, join the last to the
+8th of the 9 plain = going back over the 36 plain: 3 plain, 1 picot, 3
+plain, 11 chain, miss the 11th, 1 plain on each of the 10 chain = on the
+2nd side of the chain: 4 plain, 10 chain, join them to the 4th of the 9
+plain = over the 10 chain: 5 plain, 3 chain, join them to the 4th plain
+of the last leaf, 3 plain = on the remainder of the 10 chain: 6 plain.
+
+Proceeding along the leaf: 3 plain, 1 picot, 3 plain, 3 plain on the
+stitch at the point, 3 plain, 1 picot, 7 plain *****. Again on the 36
+plain, make: 3 plain, 1 picot, 3 plain, 11 chain, miss the 11th, 10
+plain = on the 2nd side of the chain: 4 plain, 6 chain, join them to the
+4th of the last 7 plain of the last leaf, 9 plain over the chain
+stitches = on the leaf: 3 plain, 1 picot, 3 plain, 3 plain on the stitch
+at the point, 3 plain, 1 picot, 7 plain ******. Repeat 3 times from
+***** to ****** and add 3 plain, 1 picot, 3 plain. Continue along the
+2nd row: 4 plain, 10 chain and on these 11 plain = 4 plain, 8 chain,
+returning, miss the 8th, 7 plain on the others = on the 2nd side of the
+chain: 4 plain, 3 chain, join them to the 6th of the last 11 plain = on
+the 3 chain: 3 plain = on the leaf: 3 plain, 3 plain on the stitch at
+the point of the leaf, 7 plain.
+
+4th row--1 plain on the 1st leaf of the 3rd row: * 7 chain, 1 plain on
+the 2nd leaf = 7 chain, 1 triple treble on the 5th of the 9 plain
+between 2 leaves = 7 chain, 1 plain on the 3rd leaf = 7 chain, 1 triple
+treble, 7 chain, 1 plain on the 4th leaf = 7 chain, 1 plain on the 5th
+leaf; 5 chain, 1 plain on the 1st leaf of the corner scallop. Repeat
+from *, with this difference, that, in the corner scallop you must have
+4 triple trebles.
+
+5th row--on the first 7 chain of the 4th row: 7 plain, * on the next
+chain stitches: 12 plain = turn the work, and crochet to and fro,
+decreasing by 1 stitch in each row, until you have only 2 stitches left
+= along the leaf: 10 plain and repeat 3 times from * = 7 plain on the
+next 7 chain, 6 plain on the 5 chain, 7 plain on the 7 chain.
+
+The corner scallop has 7 points = the 12 first stitches must be divided
+as follows: * 1st point: 12 plain in the first interval = 2nd point: 10
+plain in the 2nd interval and 2 plain in the 3rd interval = 3rd point: 7
+plain in the 3rd interval and 5 plain in the 4th **. Repeat once from **
+to *.
+
+6th row--* 1 plain in the 1st leaf, 5 chain, 1 crossed quadruple treble,
+the branches of which are joined by 5 chain; repeat twice from * = 1
+plain, 4 chain, 1 plain in the 1st leaf of the next scallop = 5 chain, 1
+crossed quadruple treble, the branches of which are joined by 5 chain
+and joined to the 6th stitch of the 2 next points = 5 chain and so on.
+
+7th row--6 plain on the first 5 chain of the 6th row, 6 plain on the
+next chain = 8 chain; carry the chain back to the right, and join it on,
+between the 6th and 7th plain = 4 plain on the 8 chain, then 8 chain,
+take it back, and join to the 1st plain = 12 plain on the 8 chain =
+continue on the small scallop: 3 plain, 1 picot, 8 plain = on the other
+5 chain: 6 plain = 8 chain, join them again to the 4th of the 8 plain on
+the scallop = on the last 8 chain: 3 plain, 1 picot, 8 plain = on the 2
+next bars of 5 chain: 12 plain = 8 chain, join them to the 7th of the
+last 12 plain = on the 8 chain: 5 plain = 8 chain, join them to the 1st
+of the last 12 plain = on the 8 chain: 5 plain, 3 chain, join them to
+the 4th plain of the 3rd finished scallop = over the 3 chain: 2 plain, 1
+picot, 2 plain = on the next scallop: 3 plain, 1 picot, 3 plain = in the
+half finished scallop: 6 plain = 8 chain, take it back and join it to
+the 1st of the last 6 plain = on the 8 chain: 5 plain, 1 picot, 3 plain,
+1 picot, 5 plain to finish the scallop below: 5 plain = on the 6th row:
+6 plain, 8 chain, join them to the first of the last 5 plain of the last
+scallop = on the 8 chain: 3 plain, 1 picot, 8 plain.
+
+The little scallops must be carried on round the corner point, as they
+were on the 3rd, 4th and 5th trebles of the other points.
+
+LACE WITH CORNER, FORMED BY DECREASING ON THE INSIDE (fig. 473).--For
+the stars--8 chain, close the ring; 3 chain, 15 trebles in the ring;
+close = 3 chain, miss 1 treble of the last row, 1 treble, 5 chain, 1
+treble on the upper part of the last treble = alternate 7 times: 1
+chain, 1 crossed treble divided by 2 chain, lastly 1 chain, close the
+ring, fasten off.
+
+Make 11 stars, and join them together as follows, counting the third
+from the left, in the engraving, as the first.--When you have joined the
+1st star to the 2nd by the 6th and 7th cross trebles, join the next
+stars so that when the 3rd is fastened on, there should be 2 crossed
+trebles on the inside and outside of the 2nd star. The 3rd star will
+have: 1 crossed treble on the outside, 3 on the inside = the 4th: 2
+crossed trebles inside, 2 outside = the 5th, the 6th, and the 7th: 1
+inside, 3 outside = the 8th: 2 on the inside and outside = the 9th: 3
+inside, 1 outside = the 10th: 2 outside, 2 inside = the 11th: 3 outside,
+1 inside. For the next scallops, repeat from the 2nd to the 5th star.
+
+2nd row--* over the 2 chain stitches of the 3rd crossed treble of the
+11th star: 1 treble, 3 chain = over the 1st chain stitch between the 3rd
+and 4th crossed trebles: 1 treble, 3 chain = over the next 2 chain
+stitches: 1 double treble, 3 chain = 3 overs, in the next space: 1
+double treble and 1 double treble in the 1st space of the 10th star;
+connect the two trebles together, 3 chain, 1 double treble, 3 chain, 1
+treble, 3 chain, 1 treble, 3 chain, 1 connected treble as before, 3
+chain ** 1 plain over the 2 chain stitches of the last crossed treble of
+the 9th star. Repeat from ** to *, therefore backwards.
+
+[Illustration: FIG. 473. LACE WITH CORNERS FORMED BY DECREASING ON THE
+INSIDE.
+
+MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 70, Fil a pointer D.M.C No. 20
+or 30, Coton pour crochet D.M.C Nos. 10 to 18, or Cordonnet 6 fils D.M.C
+Nos. 4 to 60.[A]
+
+COLOURS: White, Ecru naturel or any other colour of the 450 shades of
+the D.M.C colour card.]
+
+Each of the next trebles comes, either over 2 chain stitches of the
+crossed treble, or over the chain stitch between the crossed trebles ***
+3 chain, 1 treble, 3 chain, 1 double treble, 3 chain, 1 triple connected
+treble, 3 chain, 1 double treble, 3 chain, 1 treble, 3 chain **** 1
+single; repeat, in the reverse order, therefore, from **** to ***.
+
+When the outside row is finished, make a similar row on the inside of
+the stars; at the corner 3 trebles are to be made 3 times over each of
+the middle stars.
+
+3rd row--1 treble above and below, on each stitch of the second row.
+
+4th row--consists entirely of crossed trebles = * miss on the upper
+edge: 3 times 1 treble, and 5 times 2 trebles = on the next trebles of
+the preceding row: 1 double treble, miss 2 stitches, 1 double treble,
+miss 2 stitches, 1 double treble = draw up the last loops of the 3
+trebles together = repeat the same thing backwards = here follow: 8
+crossed trebles separated each by 1 treble of the preceding row **; the
+8th and the 9th crossed trebles are together in the corner treble of the
+preceding row. Repeat from ** to * = here follows 1 row with 1 treble on
+every stitch below.
+
+The row on the side of the footing is worked as above described = at the
+corner, and after having made the 3rd connected treble, * miss 5 times 2
+stitches, 6 times 1 stitch, 3 times 2 stitches, 3 times 3 stitches, ** 3
+triple trebles connected together above, miss 3 stitches underneath;
+repeat from ** to *, followed on both sides by a row of trebles.
+
+In the corner of the inside row of trebles connect the loops of 5 pairs
+of trebles, in the centre connect the loops of 3 trebles, and again the
+loops of 5 pairs of trebles.
+
+For the 1st star of the footing: 8 chain, close the ring; 3 chain in the
+ring, 15 trebles, close = 3 chain, miss 1 treble, 1 treble, * 3 chain, 1
+treble on the stitch of the 1st treble, miss 1, 1 treble in the 2nd
+stitch, draw the loops of the 2 trebles together **. Repeat 6 times from
+* to **; add 3 chain and close = 5 chain, join them to the 15th treble
+of the last row; 5 chain, 1 plain on the first chain stitches between 2
+trebles; 4 chain, join them to the 7th treble; 4 chain, 1 plain on the
+next chain stitches, 3 chain, join to the treble over the 3 connected
+triple trebles, 3 chain, 1 plain on the next chain stitches, 4 chain,
+join them to the 8th treble, 5 chain, 1 plain on the 5th treble, cut off
+the thread.
+
+The corner star is made like the one just described, and is joined on,
+as follows: 3 chain, join them to the 17th treble on the left of the
+last row (counting from the triple treble) = 3 chain, 1 plain on the
+first chain stitches between 2 trebles = 3 chain, miss 4 trebles, join
+them to the 5th = 3 chain, 1 plain on the 2nd set of chain stitches
+between = 6 chain, miss 5 trebles, join them to the 6th = 3 chain, 1
+plain on the 3rd of the 6 last chain = 3 chain, join them to the corner
+stitch, 3 chain, 1 plain on the last 3 chain = towards the right: 3
+chain, join to the 5th treble = 3 chain, 1 plain on the preceding, 3
+chain, 1 plain on the 3rd set of stitches between, 3 chain, miss 4
+trebles, join to the 5th treble = 3 chain, 1 plain on the 4th set of
+stitches between, 3 chain, miss 4 stitches and join = 3 chain, 1 plain
+on the 5th double treble, fasten off.
+
+On the 3 first trebles of the preceding row of the inside edge, counting
+from the outermost stitches which are to be seen to the right in the
+illustration, 1 plain, 3 chain, miss 4 trebles, 1 treble = 3 chain, miss
+3 trebles, 1 double treble, 3 chain, 3 overs, pass the needle over the
+double treble, crochet off one over = miss 3 stitches, 1 double treble,
+crochet off the 2 remaining loops = 3 chain, 4 overs, crochet off 2
+loops, 1 double treble over the chain treble of the star, crochet off
+the remaining loops = 3 chain, 3 overs over the treble made on the 5
+chain, crochet off 2 loops = 1 treble on the 5th set of stitches
+between, crochet off the remaining loops = 3 chain, 1 treble on the 6th
+set of stitches between = 3 chain, 1 treble on the 7th set of stitches
+between = 3 chain, 3 overs, 1 treble on the 8th set of stitches between;
+crochet off 1 over, 1 double treble on the 5 first chain stitches of the
+star, crochet off the remaining loops = 3 chain, 3 overs, 1 treble over
+the 2nd double treble, 1 double treble, miss 2 trebles of the preceding
+row, complete the treble = 3 chain, 3 overs, crochet off 1 over, joining
+it to the last double treble; crochet off the overs = 1 treble on the
+5th treble of the preceding row, crochet off the loops = 3 chain, 1
+treble on the 4th treble = 3 chain, miss 4 stitches = on each of the 6
+following trebles: 1 plain = 3 chain, miss 3 trebles, 1 treble, 3 chain,
+miss 3 trebles, 1 double treble; 3 chain, 3 overs, over the double
+treble crochet off 1 loop, 1 double treble on the 4th treble after the
+plain stitches, crochet off the last overs = 3 chain, 3 overs, over the
+last double treble crochet off 1 loop, 1 double treble on the 5th
+intervening space of the corner star, crochet off the loops = 3 chain, 1
+plain on the 7th double treble of the star = 3 chain, 1 double treble on
+the 8th intervening space = 3 chain, 3 overs, over the last double
+treble crochet off 2 loops, 1 double treble on the 3rd treble of the
+preceding row, complete the treble = 3 chain, 3 overs, over the double
+treble crochet off 2 loops, 1 treble on the 4th treble, complete the
+treble = 3 chain, 1 treble on the 4th treble, 3 chain, miss 3, 3 plain.
+
+One row of trebles to finish with; draw the 5 corner trebles together
+and add: 1 row of crossed trebles and 1 row of plain trebles, each time
+drawing the 5 corner loops together into one.
+
+1st row of the outside border--1 plain on every one of the 7 next
+trebles of the row beneath, 5 chain; turn back, join them to the 7th
+plain and so on.
+
+2nd row--1 plain on the 4th of the 7 plain, 9 trebles on the 5 chain.
+
+3rd row--1 plain on each of the first 2 trebles of the 2nd row, 1 picot,
+2 plain, 1 picot, miss 1 stitch, 2 plain, 1 picot, 2 plain and so on.
+
+[Illustration: FIG. 474. SQUARE WITH COLOURED TUFTS.
+
+MATERIALS: Coton pour crochet D.M.C Nos. 6 to 10, or Coton a tricoter
+D.M.C Nos. 6 to 12.[A]
+
+COLOURS. White and Rouge-Turc 321, or ecru and Bleu-Indigo 321,
+Rouge-Geranium 353 and Brun-Caroubier 356, Bleu d'Azur 3325 and
+Brun-Rouille 3312, Vert-Bouteille 494 and Bleu-Prunelle 489.[A]]
+
+SQUARE WITH COLOURED TUFTS (fig. 474).--The following are different
+counterpane patterns which should be worked in coarse cotton; our
+engraving represents a single square, worked in two colours, in raised
+crochet. By joining a number of such squares together, 4 or 6 colours
+can be introduced into one covering with very good effect.
+
+Cast on 13 chain and close the ring.
+
+1st row--1 plain on the 1st of the 13 chain, 5 chain, 1 plain on the 4th
+chain, 5 chain, 1 plain on the 7th chain, 5 chain, 1 plain on the 10th
+chain, 5 chain, 1 plain on the 13th chain.
+
+2nd row--1 plain on the 1st plain of the 1st row * 1 plain on the 1st of
+the 5 chain; 5 chain, 1 plain on the 5th chain. Repeat 3 times from *.
+
+3rd row--5 plain on the 5 chain, 5 chain, 5 plain and so on.
+
+4th and 5th rows--continue to increase, as in the 3rd row.
+
+6th row--after the 3rd plain, 1 tuft in the contrasting colour (see fig.
+431).
+
+The contrasting colour is to be introduced into the work at the first
+tuft, and cut off when the last is finished.
+
+The ends of the coloured threads must be worked in under the stitches of
+the next row. The square may be of any size; it is bordered by small
+picot scallops by means of which the different squares are joined
+together.
+
+[Illustration: FIG. 475. STRIPES FOR COUNTERPANES.
+
+MATERIALS: Coton pour crochet D.M.C Nos. 6 to 8, or Coton a tricoter
+D.M.C Nos. 6 to 12 and Lacets surfins D.M.C No. 4, or Soutache D.M.C No.
+21/2.[A]
+
+COLOURS: Gris-Lin 716 and Rouge-Bordeaux 497, Gris-Tilleul 393 and
+Bleu-Faience 484 or Brun-Caroubier 356 and Jaune-Rouille 308 etc.[A]]
+
+STRIPES FOR COUNTERPANES (fig. 475).--We recommend the use of Soutache
+D.M.C or Lacets superfins D.M.C (braids) for the coloured stitches, in
+the place of cotton. The dark stitches standing, so to speak, on another
+ground of stitches the pattern will look brighter, if it be worked in a
+flat material that will spread out more than cotton does.
+
+The stripe, worked in its entire length and always on the right side,
+must be begun by a chain of stitches of the length the stripe is to be.
+
+1st row--1 plain stitch on each chain stitch.
+
+2nd row--1 plain stitch with white or unbleached cotton, on each second
+stitch of the preceding row; 1 long plain stitch with the coloured
+cotton or the braid, in each second loop of the chain stitch.
+
+When red and white cotton are used, only one thread must be drawn
+through the 1st loop, and the other through the two last loops.
+
+3rd, 5th, 7th, 9th, 11th rows--plain stitches of the colour of the
+grounding = 4th row--between every 5 coloured stitches 3 white = 6th
+row--between every 4 red, 5 white = 8th row--between every 3 red, 7
+white = 10th row--between every 2 red, 9 white = 12th row--between the
+single red stitches, 11 white plain.
+
+In the second half of the pattern the red stitches must increase in the
+same proportion as that in which they decreased before.
+
+PATTERN OF A COUNTERPANE IN TUNISIAN CROCHET (fig. 476). This pattern,
+on a reduced scale, of a counterpane in Tunisian crochet, though it is
+worked here in several colours, can be done all in one. The numbers of
+the stitches, as they are here given, refer of course to the pattern
+represented in our figure; if worked on a larger scale, the number of
+stitches would have to be increased every way in the proper proportion.
+
+For the inner square, which is worked in a light material, make 20 chain
+stitches, on which you make 17 rows of plaited Tunisian crochet, fig.
+445, then fasten off.
+
+[Illustration: FIG. 476. PATTERN OF A COUNTERPANE IN TUNISIAN CROCHET.
+
+MATERIALS: Coton pour crochet D.M.C Nos. 6 to 8, or Coton a tricoter
+D.M.C Nos. 6 to 12.[A]
+
+COLOURS: Gris-Amadou 385 and Rouge-Cardinal 346, Vert-Bouteille 492 and
+Violet-Mauve 316, or Bleu-Gentiane 479 and Gris-Ecru 706.]
+
+For the first coloured border, which immediately surrounds the centre
+square, take a coloured thread and make 2 chain stitches and upon these
+the common Tunisian stitch, fig. 444. Increase to the right in every row
+by one stitch, to the number of 6 = then put the needle into the first
+stitch on one side of the square, turn the thread round and draw it
+through. Here you must be careful to observe, in the first instance,
+that the second part which is now to be joined to the square, should
+always remain on the left side of the square and secondly, that the
+thread with which you join the two parts together, should lie to the
+left and be drawn through, from the wrong side to the right. Having now
+got 7 Tunisian stitches on the needle, make 18 double rows, and join
+the last stitch of each row to a stitch of the square.
+
+When these rows are finished, you proceed to decrease on the right till
+you have only 2 stitches left; and then again to increase as at the
+beginning of the stripe. At each increase, after each double row you
+must pass the thread through the corresponding stitch opposite of the
+same row. When you have again got 7 stitches on the needle, join them as
+before to the square. Work round the 4 sides of the square in this
+manner and when you come to the last decrease, join the stitches to
+those of the first increase, and fasten off. The next stripes are to be
+worked in the same way; they may be made either wider or narrower,
+plain, or ornamented with a cross stitch pattern which you work upon
+them.
+
+[Illustration: FIG. 477. PATTERN OF COUNTERPANE WORKED IN STRIPES.
+
+MATERIALS: Coton pour crochet D.M.C Nos. 6 to 12, Coton a tricoter D.M.C
+Nos. 6 to 14, or Cordonnet 6 fils D.M.C No. 15.[A]]
+
+PATTERN OF COUNTERPANE WORKED IN STRIPES (fig. 477).--This is intended
+for a child's coverlet and is worked in pale blue, Bleu-Indigo 334, and
+white; the stripes and the lace border, in white, the setting, partly in
+white, partly in blue.
+
+For the first stripe, make a foundation chain of 26 stitches; then
+counting back, draw the needle through the 6th and 7th chain stitches,
+drawing up all the three loops together = 2 chain, then put the needle
+again through 2 chain stitches, draw up the 3 loops together = 2 chain
+and so on.
+
+Coming back, make the loop of the first stitch and that of the second on
+the chain stitches of the preceding row = begin every row with 3 chain,
+which form picots along the edge of the stripe; when the stripes are
+finished, take a blue thread and make 1 plain stitch on each picot and 3
+chain.
+
+This blue row is followed by a white one, worked in cluster stitch, fig.
+426, with 2 chain stitches between every 2 clusters.
+
+Then follows another blue row of one plain stitch on each chain stitch
+of the previous row. The second blue row consists entirely of plain
+stitches worked along the long sides of the stripes, which are joined
+together afterwards, but not along the short sides until the counterpane
+is finished; then the stitches should border all the 4 sides. The second
+stripe, which should be of the same width as the first, is worked in
+Tunisian crochet; for the edge make one row of plain stitches in blue,
+one of cluster stitches in white, and then again a row of plain in blue.
+
+Join the stripes together on the wrong side with plain stitches, taking
+up one loop on the right and one on the left, alternately.
+
+When you have joined the stripes, make the outer border, which consists
+of 7 straight rows and a scalloped lace edging.
+
+1st row--in blue: 3 chain and 1 plain on each picot, 1 plain, and so on,
+down the long sides of the stripes = along the short sides, the side of
+the chain stitches or that of the previous row: 1 plain, 3 chain, miss
+2, 1 plain.
+
+2nd row--in white or unbleached: 1 cluster stitch, fig. 426, on each
+picot formed by the 3 chain stitches of the 1st row; on the corner
+picots, you must make 3 cluster stitches.
+
+3rd, 4th, 5th rows--in blue: similar to the first. Increase at the
+corners by making: 1 plain, 3 chain, 1 plain on the same stitch.
+
+6th row--in white or unbleached: similar to the 2nd row.
+
+7th row--in blue: 1 treble on each of the stitches of the previous row.
+
+Lace edging.--The scallops extend over 22 stitches of the previous row
+and on that account it is better to make the corners first, to count the
+stitches both ways so as to distribute the stitches that are left over,
+between the scallops.
+
+Corner scallop.--Fasten on the thread to the left of the second of the
+stitches that were added to make the turn, make 6 chain, 1 single on the
+4th treble to the right = 1 single on the next treble = turn the work =
+* 2 chain, 1 treble on the 6th chain, repeat 7 times from *, in all
+therefore 8 trebles = after the 8th treble: 2 chain, miss 1 treble, 1
+single on the 2 next trebles = turn the work = 2 chain, 1 cluster stitch
+between each treble, in all 9 cluster stitches, then 2 chain, miss 2
+trebles, 1 single stitch on the next 2 trebles = turn the work = 2
+chain, 1 cluster stitch over the 1st, 2nd, 3rd and 4th pairs of chain
+stitches in the preceding row, and 2 cluster stitches and 2 chain over
+the 5th, 6th and 7th chain stitches; over the other chain stitches
+again: 1 cluster stitch; then 2 chain, miss 2 trebles, join to the 3rd
+treble = fasten off.
+
+For the scallops on the right side, divide the stitches between the
+corner scallops into equal portions. Supposing that they are divisible
+by 22, count 9 stitches to the right, fasten on the thread at the 9th; *
+7 chain, miss 2 trebles of the row beneath, 1 plain on the 3rd, 1 single
+stitch on the next = turn the work = 2 chain, 1 treble on the 7 chain,
+repeat 5 times from * and finish with 2 chain, 1 single on the 2nd lower
+treble, 1 single on the next treble = turn the work = 2 chain and 1
+cluster stitch between each treble of the preceding row, 2 cluster
+stitches between the 3rd and 2nd trebles = after the 8th stitch: 2
+chain, miss 1 treble, 1 single on each of the 2 next stitches = repeat 3
+times over 2 chain stitches of the previous row: 2 chain, 1 cluster
+stitch = on the 4th, 5th and 6th chain stitches: 2 cluster and 2 chain;
+on the 3 last chain the same stitches as on the 3 first = then 1 single
+over each of the next 18 and repeat from *.
+
+The final row consists of open picots, formed of 5 chain stitches and 1
+plain, between each cluster stitch; after the last of these stitches and
+in the indent of the scallops on the straight line, only 2 chain
+stitches and 1 plain on the 3rd stitch.
+
+[Illustration: FIG. 478. PATTERN IN SQUARES FOR COUNTERPANES.
+
+MATERIALS: Coton a tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C
+Nos. 1 to 5, or Coton pour crochet D.M.C Nos. 6 to 12.
+
+COLOURS: Gris-Coutil 323 and Brun-Caroubier 303 or Bleu-cendre 448 and
+Rouge-Cornouille 449, Vert-Mousse 470 and Bleu d'Azur 3325.[A]]
+
+PATTERN IN SQUARES FOR COUNTERPANES (fig. 478).--This pattern may be
+worked in the same stitch as the previous one, either in Tunisian
+crochet or in any other of the stitches already described.
+
+Make a foundation chain of 18 stitches on which you work 10 rows to and
+fro in the dark colour. The 11th and following rows up to the 21st are
+worked in the light colour, then take up the dark colour again. Each
+stripe should be 3 squares long.
+
+The 2nd stripe is begun in the light colour, and the stitches, made at
+the beginning of each row, are joined to those of the first stripe, as
+the stitches of the 3rd are to those of the 2nd and so on.
+
+When you have made sufficient big squares, each consisting of 9 small
+ones, border them with seven rows of plain stitches, worked to and fro.
+
+The 4 squares that form the corners are only to be bordered in this
+manner on two sides; the squares along the straight edges, on 3 sides,
+and only those that are intended for the centre of the counterpane, on
+all 4 sides. The separate parts are then either sewn or crocheted
+together on the wrong side. The dark squares are ornamented with small
+stars worked in the light colour, the light ones with scallops in the
+dark colour.
+
+For the small stars--4 chain, close the ring; 2 plain on each stitch of
+the chain; 8 plain in all = after the 8th stitch: 8 chain, 1 plain on
+the 1st plain of the 8 plain stitches. Repeat the 8 chain 7 times and
+fasten off, then sew the star on in the centre of the dark square,
+taking care to spread out the little points formed of chain stitches at
+regular distances from each other. The scallops are worked from left to
+right; fasten the thread on at the point where 4 squares touch, then
+make a chain of 18 stitches and secure it at the opposite point. On the
+chain stitches: 6 plain, 1 picot, 7 plain, 1 picot, 7 plain, 1 picot, 6
+plain = fasten off.
+
+Repeat the same scallop over the second half of the square; when you
+come to the 2nd picot of the first scallop join the two picots. When
+both scallops are completed, fasten them on to the foundation by a few
+stitches on the wrong side.
+
+The outside border of the counterpane is made separately, and is worked
+inwards from without and from left to right.
+
+1st row--begin with the dark colour and make * 10 chain stitches, drop
+the loop, put the needle into the 1st of the 10 chain, take up the loop
+and draw it through the stitch; 2 chain and on the 10 stitches: 6
+trebles quite close together. Repeat from * and go on repeating the
+sequence until the lace is long enough to trim the counterpane
+handsomely.
+
+2nd row--in the light colour and similar to the 1st = only that in
+joining the chain stitches together, you make the single stitch on the
+chain stitches of the 1st row.
+
+3rd row--in the dark colour and similar to the 2nd.
+
+4th, 5th and 6th rows--in the light colour and from right to left: 7
+chain, 2 plain on each loop of chain stitches of the previous row.
+
+7th row--in the light colour and from left to right: * 2 plain on the
+treble of the lace, 11 chain, 2 plain on the next loop of chain stitches
+= these 2 stitches are made on the wrong side of the work = drop the
+loop, turn the work to the right, 3 plain on the last 3 chain, 8 chain
+**, and repeat always from * to **.
+
+One row of plain made on each chain stitch and a 2nd row of trebles on
+the plain stitches completes the lace edging, which is afterwards sewn
+on to the counterpane.
+
+COUNTERPANE WITH FRINGED BORDER (fig. 479).--This pattern requires
+three colours; we suggest the following as making a very effective
+combination: Rouge-Turc 321, Bleu-Indigo 311 and white.
+
+The stripes, one red, the other blue, may be worked in any stitch. They
+are edged with 8 plain stitches of 3 different lengths worked in red. *
+The first stitch passes only under the loops of the stitches; the 2nd
+over 2 stitches; the 3rd over 1, the 4th inwards, over 3. Repeat from *.
+
+These stitches must be worked parallel to each other along the two edges
+that are to be joined together.
+
+The stripes are fastened together on the wrong side by single or plain
+stitches.
+
+The outside edge consists of 15 rows: 1st row--in red: 1 row of plain
+stitches on the right side of the work.
+
+2nd row--in red, and on the wrong side of the work: plain stitches.
+
+3rd and 4th rows--in red, and on the right side of the work: plain
+stitches.
+
+5th row--in dark blue and on the right side: 1 treble, 1 chain, miss 1
+plain of the row beneath, 1 treble and so on.
+
+6th row--in white, and similar to the 5th.
+
+7th row--in blue, and similar to the 5th.
+
+8th row--in red: 1 plain on each stitch of the preceding row.
+
+[Illustration: FIG. 479. COUNTERPANE WITH FRINGED BORDER. MATERIALS:
+Coton pour crochet D.M.C Nos. 6 to 10, or Coton a tricoter D.M.C Nos. 6
+to 14. COLOURS: White, Gris-Tilleul 331 and Rouge-Cornouille 449.[A]]
+
+9th row--in red and on the wrong side: 1 plain on each stitch of the
+preceding row.
+
+10th and 11th rows--in red: and both on the right side, 2 rows of plain
+stitches.
+
+12th row--in white: 5 chain, miss 3, 1 plain on the 4th stitch.
+
+13th row--in dark blue and similar to the 12th.
+
+14th row--in white: * 1 plain on the 5th stitch of the blue row; 10
+chain, drop the loop, lay the chain stitches from left to right, put the
+needle into the 3rd chain stitch, counting from the beginning, take up
+the loop and draw it through the 3rd chain stitch, 2 chain and repeat
+from *.
+
+15th row--in white: 1 plain on the picot formed by the chain stitches; 5
+chain, 1 plain.
+
+Into this last row you draw clusters of lengths of red cotton to form
+the fringe, and knot them together with blue, or if you prefer it, you
+may finish off the coverlet with a hairpin fringe.
+
+COUNTERPANE COMPOSED OF SQUARES AND OLIVE SHAPED FIGURES (fig.
+480).--There are many who shrink from undertaking a large piece of work
+because it becomes inconvenient to handle and carry about. The
+counterpane here represented has the advantage of being made up of a
+number of quite little pieces, which are worked separately and joined
+together afterwards.
+
+Two colours, which can be clearly distinguished from each other in the
+engraving, should be chosen from among the various combinations
+suggested; one of them should be very light, say, cream or white for the
+olive shaped figures and squares, and the other of some soft shade only
+darker, for the connecting rows and the knotted fringe, described in the
+chapter on Macrame.
+
+The olive shaped figures begin with 9 chain stitches, on which you make
+8 plain stitches and on the 9th: 3 plain for the corner.
+
+On the second side of the chain: 8 plain and 3 besides on the corner
+stitch, and so on for 3 rows; in the last row there should be 28
+stitches.
+
+These 3 rows are to be considered as one only.
+
+2nd row--3 chain, 1 treble on the plain stitch that follows * 1 chain, 1
+treble and repeat 11 times from *; 1 chain, 3 trebles with 1 chain
+between them on the corner stitch, ** 1 chain, 1 treble, repeat 12 times
+from **.
+
+On the last stitch at the corner, again 3 trebles with 1 chain; close
+the round with 1 single stitch.
+
+3rd row--1 chain, 1 single on the chain stitch that follows the 1st
+treble of the last row; 3 chain, 1 double treble between the lower
+trebles, 1 chain and so on, until you have 35 trebles, counting the two
+sets of 3 trebles at the corner.
+
+4th row--here you can change the colour: 1 plain on each of the stitches
+of the last row; 3 plain at the corners.
+
+5th row--similar to the 4th.
+
+[Illustration: FIG. 480. COUNTERPANE COMPOSED OF SQUARES AND OLIVE
+SHAPED FIGURES. MATERIALS: Coton pour crochet D.M.C Nos. 6 to 10, or
+Coton a tricoter D.M.C Nos. 6 to 10. COLOURS: White and Rouge-Turc 321,
+or Ecru and Rouge-Cerise 3318, Gris-Coutil 323 and Bleu-Gentiane
+478.[A]]
+
+6th row--2 plain, 1 cluster of 2 double trebles on the same stitch of
+the 4th row as the 5th stitch of the last row is on; miss 1 plain.
+
+Continue in this manner along the whole row, taking care that the 9th
+and 22nd cluster come just at the corner.
+
+7th and 8th rows--these two last rows should be worked in the same
+colour as the inside of the figure.
+
+Be careful always to make the increase at the point; a 9th row in the
+dark colour may further be added, to connect the figures, by passing the
+thread from the wrong side to the right, between the 13 last stitches of
+two of the points of the figures. The space between these olive shaped
+figures is filled by a pointed square of chain stitches.
+
+In the 1st and following rows you miss 5 stitches at the point where the
+figures meet, and continue to decrease in this manner until the space is
+filled up. The fringe is made in the dark colour, either directly on to
+the plain crochet, or after a few rows of open-work.
+
+SQUARES FOR CHAIR-BACKS (fig. 481).--This is a design for cut-work,
+out of an old collection by Sibmacher, which we have adapted to crochet.
+It will be found most effective, worked in any of the given materials;
+we have worked it with admirable result, both in Cordonnet 6 fils D.M.C
+No. 15 and Fil a dentelle D.M.C No. 150.
+
+1st row--4 chain, close the ring.
+
+2nd row--1 chain, 2 plain on each chain, 8 in all; draw the loop of the
+last stitch through the 1st chain.
+
+3rd row--6 chain, 1 treble *, 3 chain, 1 treble, repeat 6 times from *.
+In all, with the 3 chain, 8 trebles.
+
+4th row--4 plain, over each treble of 3 chain.
+
+5th row--6 chain, 1 plain on the 2nd of the plain stitches beneath, * 3
+chain, 1 treble, over the treble beneath, 3 chain, 1 plain on the 2nd
+stitch of the row beneath. Repeat 6 times from *, then add 3 chain, 1
+plain on the 3rd of the 6 chain.
+
+6th row--7 chain, 1 plain over the treble of the last row; repeat the
+same series 7 times.
+
+7th row--3 chain, 1 treble over the treble beneath; 1 treble on each
+chain stitch, 2 trebles on each plain stitch of the row beneath; in all,
+72 trebles, including the 3 chain.
+
+8th row--* 8 chain, 1 plain between the 2 trebles that were added,
+therefore between the 8th and the 9th = turn the work = make 12 plain
+on the wrong side = turn the work back to the right side = take up 1
+loop of each of the 12 stitches for the Tunisian stitch that is made on
+10 rows, and decreasing by one stitch in each row, alternately on the
+right and left = draw up the 3 last loops together and make, descending
+on the right side: 1 single stitch on each row of the pyramid you have
+just made, finish with 1 plain on the stitch that follows the 8 chain.
+Repeat 7 times from *.
+
+[Illustration: FIG. 481. SQUARES FOR CHAIR-BACKS. MATERIALS: Fil
+d'Alsace D.M.C Nos. 30 to 100, Cordonnet 6 fils D.M.C Nos. 20 to 50, or
+Fil a dentelle D.M.C Nos. 25 to 70 in white or ecru.[A]]
+
+9th row--all along the pyramid: 3 plain, 1 picot, 3 plain, 1 picot, 3
+plain, 1 picot, 2 plain, 2 plain at the point. Repeat the same number
+of stitches on the 2nd side, and down the sides of all the pyramids =
+after the 9th row, fasten off.
+
+10th row--fasten on the thread at a stitch at the point of a pyramid, *
+7 chain, 5 overs, join the loop to the 2nd picot on the side of the
+pyramid where you are working, draw the needle back through 2 overs,
+make 2 overs more, and put the needle into the middle picot opposite and
+draw the needle twice through 2 loops, thirdly through 3 and each time
+after that, through 2 loops = 6 chain, 1 double treble, join to the 3rd
+over, 7 chain, 1 plain = on the next pyramid 7 chain, 1 septuple treble,
+join it to the next middle picot = draw the needle thrice through 2
+loops, 1 triple treble to join to the middle picot opposite, draw the
+needle back through the loops, and at the 4th over, through 3 loops, and
+each time after that, through 2 loops, 7 chain, 1 quadruple treble, join
+it to the 4th over, 7 chain, 1 triple treble, 7 chain, 1 plain on the
+next pyramid. Repeat 3 times from *.
+
+11th row--1 chain, 1 plain on each of the stitches of the previous row
+and 2 plain on those forming the corner; fasten off.
+
+12th row--1 single on the first plain, 5 chain, 1 treble on the 3rd
+plain, 2 chain, 1 treble on the 3rd plain and so on to the corner and
+until you have 14 trebles = on the corner stitch: 2 chain and 1 treble
+more; then proceed as you did on the first side. There should be 18
+trebles and 19 times 2 chain between the corner trebles; all four sides
+should be alike.
+
+13th row--1 plain on each stitch of the last row, not counting the 3
+which are to be made at the corner.
+
+14th row--14 single over the preceding stitches *, 1 chain, 24 plain;
+miss 4 plain of the last row, not counting the 2 increased stitches
+which must be left empty = after the 24th stitch turn the work, miss 2,
+21 plain, passing the needle under the 2 loops of the row beneath = turn
+the work = 1 chain, 20 plain = turn the work = 19 plain = continue to
+decrease in the same proportion, until you have 3 stitches left and
+fasten off. In all the intakes miss the last stitch but one, coming
+back, and the 1st going, and always begin on the right side with 1
+chain.
+
+For the second half of these triangular figures which are worked from
+right to left, fasten on the thread to the 5th stitch after the increase
+and make 24 plain = 7 plain should remain between the two triangular
+figures formed of plain stitches = turn the work = 21 plain, miss the 2
+last stitches, 1 plain on the stitch the thread is fastened to = turn
+the work = miss 1 stitch, 19 plain, 5 overs, put the needle through the
+4th of the 7 stitches between, bring it back twice, each time through 2
+loops, make 2 overs more, put the needle through the last stitch of the
+3rd row opposite, bring it back twice through 2 loops, then once through
+3 loops and twice through 2 loops = turn the work = 18 plain and so on,
+until you have made 10 transverse trebles = fasten off, then repeat the
+same series of rows on the other sides.
+
+15th row--do not cut off the thread on the 4th side but work backwards:
+3 single over the chain, 5 chain * 1 treble on the stitch whence the 5
+chain proceeded, 2 chain, 1 treble on the last plain of the first half
+of the close parts of the pattern; 2 chain, 1 treble in the middle of
+the first part of the 10th transverse treble; 2 chain, 1 treble on the
+second half of the preceding treble, 2 chain, 1 treble on the 1st plain
+of the second half of the close parts; 2 chain, 1 treble on the 3rd and
+last upper stitch of the close part; 2 chain, 1 treble on the same
+stitch as the last treble. Then along the edge, 10 trebles, joined by 2
+chain, one of which trebles should always be on a row of plain stitches
+= after the 10th treble: 3 chain, 1 plain on the 5th plain of the 13th
+row, 3 chain, again 11 trebles connected by 2 chain = after the 11
+trebles: 2 chain ** and repeat 3 times from * to **.
+
+16th row--on every 2 chain stitches: 3 plain.
+
+17th row--7 chain, 1 plain on the 6th plain of the last row; repeat 7
+times = for the 9th and 10th scallops only: * 5 chain. The plain stitch
+that follows the 9th scallop should come exactly over the corner stitch
+of the 13th row = after the 10th scallop: 1 plain; then 13 scallops with
+7 chain, 1 plain on the 6th 5 stitch of the row beneath. Repeat twice
+from * = after the 4th scallop 2 smaller scallops, and up to the end of
+the row, 5 scallops more of 7 chain each.
+
+18th row--make 7 plain over 7 chain, 5 chain, drop the treble, bring the
+needle back with the loop through the 3rd plain = on the 5 chain: 3
+plain, 1 picot, 3 plain = on the 7 remaining stitches: 2 plain--on the
+9th scallop of 5 chain, only: 5 plain = on the 10th scallop of 5 chain,
+only: 3 plain = then 7 chain, bring them back and join them to the 3rd
+plain of the 9th scallop and finish the picot.
+
+When these squares are made use of in any number and have to be joined
+together, you must join 13 picots and leave the 14th free. The four
+empty picots in the centre are connected by a small star.
+
+CROCHET STAR (fig. 482).--This is one of the most graceful and
+delicate crochet patterns we know. For the purpose of reproduction here,
+we have had it worked in all the different sizes of D.M.C cotton but it
+looks best in a fine material; in Fil a dentelle No. 150, it can bear
+comparison with the finest needle-made lace.
+
+1st row--6 chain, close the ring.
+
+2nd row--9 chain, 1 double treble, * 4 chain, 1 double treble; repeat 6
+times from * = after the 7th treble: 4 chain, 1 single on the 5th of the
+9 chain.
+
+3rd row--1 chain, 4 plain, * 1 picot, 4 plain; repeat 7 times from * =
+carry the thread to the last stitch through the 1st plain.
+
+4th row--12 chain, 1 treble on the stitch over the treble beneath, * 9
+chain, 1 treble; repeat 6 times from * = after the 7th treble and the 9
+chain: 1 single on the 3rd of the 12 chain.
+
+5th row--3 chain, 1 treble on each stitch of the row beneath; including
+the 3 chain, 80 trebles in the whole circumference = after the last
+treble: 1 single on the 3 chain.
+
+6th row--11 chain, 1 quadruple treble on the 2nd treble of the last row;
+4 chain, 1 quadruple treble on the 3rd treble and so on, in all 32
+trebles including the 7 chain.
+
+7th row--1 chain, 5 plain on 4 chain.
+
+8th row--3 plain on the 3 first chain, * 16 chain, miss 1, ** 1 single,
+1 plain, 1 half treble, 2 trebles, 1 treble 11/2 long, 2 double trebles, 1
+triple treble, 1 treble 31/2 trebles long, 1 quadruple-treble ***, 3
+chain, miss 4 plain of the 7th row, 5 plain, 16 chain, join them,
+counting upwards from below, to the 5th treble of the first pyramid = on
+7 chain: 3 plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 3 plain;
+join the last loop of the last plain and the loop of the 7th chain; 8
+chain. Repeat from ** to *** = on the middle of the last quadruple
+treble: 1 double treble towards the bottom, finish the treble, 3 chain,
+miss 4, 5 plain ****. Repeat 7 times from * to ****.
+
+[Illustration: FIG. 482. CROCHET STAR. MATERIALS: Fil d'Alsace D.M.C No.
+30, Cordonnet 6 fils D.M.C Nos. 25 to 80, or Fil a dentelle D.M.C Nos.
+25 to 150.[A]]
+
+Coming back to the 1st point make along it: 8 single stitches, then 7
+chain, join them to the 5th treble of the 16th point = over the chain: 3
+plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 3 plain and finish
+with 9 single to carry the thread to the top of the point.
+
+9th row--1 chain, 1 plain, * 15 chain, 1 plain at the top of the point
+and repeat 15 times from *.
+
+10th row--3 chain; 1 treble on each stitch of the 9th row; 256 trebles
+in all, including the 3 chain.
+
+11th row--The star is bordered by small and large scallops, surmounted
+by points similar to those inside.
+
+You begin by the small scallop and make on the 10th row: 5 single, * 8
+chain, bring them back and join them to the 1st of the 5 single; 1
+plain, 8 chain, miss 4 trebles, join them to the 5th; 14 plain on the 8
+chain, 6 plain on the first 8 chain = turn the work = 5 chain, 1 treble
+on the plain stitch between two scallops; 5 chain, 1 plain on the 7th
+plain of the 1st scallop; 2 plain in the 5th chain, 2 chain, 1 picot, 10
+chain, miss 1, and make on the following ones: 1 single, 1 plain, 1 half
+treble, 2 trebles, 1 treble 11/2 treble long, 1 picot, 2 chain, 2 plain on
+the 5 chain; 8 plain on the 8 chain.
+
+To pass to the large scallop make: 16 single, 8 chain, bring them back,
+1 plain on the 5th single, 8 chain, bring them back again to the 5th =
+turn the work = on the second set of 8 chain: 6 plain, 1 picot, 9 plain
+= on the first 8: 6 plain, then 8 chain, bring them back and join them
+to the 4th plain behind the picot of the finished scallop = on the 8
+chain: 5 plain, 1 picot, 5 plain, 1 picot, 5 plain = on the remaining
+chain below: 3 plain, 1 picot, 6 plain; add 4 single on the trebles and
+pass to the outer scallop = 18 chain, 1 plain on the 3rd of the 5 plain
+of the small upper scallop; 18 chain, 1 plain on the 4th of the 16
+single = turn the work = 25 plain on the last chain stitches, and 25 on
+the first; 1 single on the 3rd single = turn the work = 1 plain on each
+of the preceding 50 plain stitches; join the last to the under row with
+a single stitch = turn the work = 10 plain, 1 picot, 3 plain, 1 picot, 3
+plain, 1 picot, 4 plain, 2 chain, 1 picot, 10 chain, miss 1, 1 single, 1
+plain, 1 half treble, 2 trebles, 1 treble 11/2 treble long, 1 double
+treble, 1 treble 21/2 trebles long, 1 triple treble, 1 picot, 2 chain and
+join them to the 6th plain stitch, counting from the middle.
+
+Then 4 plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 10 plain, 11
+single on the trebles. Repeat 7 times from *.
+
+STAR WITH LITTLE SQUARES (fig. 483).--Begin with 4 chain stitches,
+close the ring.
+
+1st row--5 chain, * 1 treble, 2 chain. Repeat 6 times from *, to number
+altogether 8 trebles including the 5 chain; 1 single on the 3rd chain.
+
+2nd row--6 chain, * 1 triple treble on the 1st chain stitch, 2 chain.
+Repeat 23 times from * and join to the 4th chain.
+
+[Illustration: FIG. 483. STAR WITH LITTLE SQUARES. MATERIALS: The same
+as for fig. 482.]
+
+3rd row--6 chain, * 1 double treble on the treble beneath, 3 chain.
+Repeat from * through the row; join to the 4th chain.
+
+4th row--1 plain on the treble = on the 3 chain: 5 plain, 1 plain on the
+treble; work 5 times to and fro over these stitches, put the needle
+through the 2 threads of the last stitch = after the 5th row: 10 chain,
+then 5 plain on the 3 next chain.
+
+In turning the work and going from the 2nd to the 3rd, from the 4th to
+the 5th row, carry the thread behind the chain stitches, so that they
+may blend with the plain stitches; make in all 12 little squares with 11
+spaces between; after the 12th, square: 5 chain, 1 single on the 5th row
+of the first square.
+
+5th row--on each of the 6 plain of the 1st square: 1 single = on the
+7th: 1 plain = 7 plain on the 5 chain = 1 plain on the 1st stitch of the
+2nd square = 6 rows of plain, 14 chain, 1 plain on the 5th stitch of the
+next square = then make 6 rows of plain and wind the thread round the
+chain stitches.
+
+6th row--1 single on every stitch of the last square, 1 plain on the
+last stitch above the 7 chain = on the 7 chain: 9 plain, 1 plain on the
+1st stitch of the next square below = 9 rows to and fro.
+
+7th row--after the 12th square: 9 chain, 1 single on the 1st plain, * 14
+chain, 1 plain on the last plain = on the 9 chain: ** 1 chain, 1 plain,
+1 treble 11/2 treble long, 2 double trebles 21/2 trebles long ***, 5 triple
+trebles ****. Repeat from *** to **, then proceed from * to ****.
+
+8th row--19 plain over the 14 chain, 1 single on each treble; stop them
+at the 12th square and at the 3rd triple treble.
+
+9th row--12 chain, 1 plain on the 10th of the 19 plain; 12 chain, 1
+plain on the triple treble, and proceed in the same way throughout the
+whole length of the row.
+
+10th row--on the first 12 chain stitches: * 5 plain, 1 picot, 12 plain =
+on the second 12 chain: 7 plain, 10 chain, bring them back to the 5th of
+the 12 plain of the first scallop = on the 10 chain: 4 plain, 1 picot, 4
+plain, 1 picot, 4 plain, 1 picot, 4 plain, = on the 12 chain: 5 plain, 1
+picot, 7 plain. Repeat 12 times from *.
+
+CROCHET COLLAR (fig. 484).--We have avoided as far as possible
+describing articles in this book that are subject to the changes of
+fashion, the present collar composed of squares, stars, lozenge-shaped
+figures and a lace edge, is of a shape that will never be out of date.
+Fine and delicate work like this can only be executed in a very fine
+material, and we recommend unbleached thread as being more effective
+than white. The soft tone and the gloss of unbleached thread give the
+work an antique look, unobtainable in a white material. Fil a dentelle
+D.M.C No. 120 is the best for the purpose.
+
+[Illustration: FIG. 484. CROCHET COLLAR. MATERIALS: Fil d'Alsace D.M.C
+No. 100, Cordonnet 6 fils D.M.C No. 120 or Fil a dentelle D.M.C No. 120,
+ecru.]
+
+Begin with the straight-edged figures, and then make the connecting
+pieces between. The four squares with half stars at both ends of the
+collar and on the right and left of the centre square, have their four
+sides all alike, whereas the 3 figures within the scalloped edge are
+rather narrower on the outer than on the inner side where they join to
+the foundation.
+
+Inner squares: 1st row--4 chain, close the ring; 5 chain, * 1 treble on
+the ring, 2 chain; repeat 6 times from * and fasten the thread to the
+3rd chain stitch.
+
+2nd row--1 chain, 3 plain over 2 chain; 1 plain over each treble.
+
+3rd row--8 chain, * 1 treble on each treble of the 1st row, 6 chain.
+Repeat 6 times from * = 8 trebles in all, including the first chain
+stitches.
+
+4th row--* 10 chain; returning over the chain stitches: 1 plain, 1 half
+treble, 4 trebles, 1 half treble, 1 plain, join to the 1st chain stitch
+= on the 6 chain of the 3rd row: ** 1 plain, 1 half treble, 1 treble, 3
+double trebles, 1 treble, 1 half treble, 1 plain ***. Repeat once more
+from ** to ***, then 3 times from * to *** = along the first leaf to the
+10th stitch: 10 single.
+
+5th row--starting from the point: * 7 chain, 1 triple treble on the 5th
+stitch of the small scallop of the 4th row: 7 chain, 1 triple treble on
+the next scallop, 7 chain, 1 plain on the 10th stitch of the 2nd leaf.
+Repeat 3 times from *.
+
+6th row--1 chain, * 3 plain on the stitch that forms the point of the
+leaf; 1 plain on each chain stitch and each treble of the last row = 16
+stitches in all, up to the 2nd treble = turn the work = coming back: 1
+chain, 1 double treble on the 4th plain, 1 chain, 1 double treble, 1
+chain, 1 double treble, 1 chain, 1 double treble, 1 chain, 1 double
+treble, 1 chain, miss 3 plain, join to the 4th plain = turn the work =
+make on each chain stitch, 2 plain and on each treble 1 plain and 1
+picot over the 1st, 2nd, 4th and 5th treble; 8 plain **. Repeat 3 times
+from * to **.
+
+7th row--1 chain, 1 plain on the 2nd of the 3 stitches at the point, * 9
+chain, 1 double treble between the two first picots of the semicircle
+formed in the last row; 8 chain, 1 triple treble on the 3rd treble of
+the semicircle, 8 chain, 1 double treble between the 3rd and 4th picots
+of the semicircle, 9 chain, 1 plain on the stitch at the corner.
+
+8th row--19 single on the chain stitches of the 7th row, 1 chain, 3
+plain on the corner stitch, 24 plain on the chain stitches and trebles
+= turn the work = coming back: 2 chain, 1 double treble on the 20th
+plain; on the same stitch add: 2 double trebles with 2 chain; finish
+with: 2 chain, join them to the 5th plain = turn the work = on the chain
+stitches: 1 plain, 1 picot, 1 plain, 1 plain on the treble. Repeat this
+series 4 times = add: 4 plain on the chain stitches of the 7th row =
+turn the work = 5 chain, 1 double treble on the 1st treble of the small
+semicircle; then again 3 times, 3 chain, and twice 1 double treble on
+each of the trebles beneath = after the last 5 chain: join to the 4th
+plain.
+
+The points in this row are made with: * 1 plain on the chain stitches, 8
+chain, miss 1 stitch = coming back: 1 single, 1 plain, 1 half treble, 1
+treble 11/2 treble long, 3 double trebles, 1 plain on the 5 chain
+stitches. The 2nd point must be placed one half of it, before, and the
+other half behind the picot; make altogether 7 points = after the 7th: 8
+plain on the chain stitches of the 7th row = then work backwards,
+without however turning the work: 7 chain, 1 chain on the stitch at the
+top of the point and repeat 7 times from * = after the 8th set of 7
+chain stitches: 1 chain; 1 plain on the 9th plain, bringing the thread
+forwards from the right side to the wrong = 2 chain; take the thread
+back to the 3rd plain from the wrong side to the right = 1 treble on
+each chain stitch, 1 picot above each point, add 4 trebles and 14 chain,
+join them to the 4th treble that comes after the 1st picot.
+
+On the 14 chain: 5 plain, 1 picot, 4 plain, 1 picot, 4 plain, 1 picot, 5
+plain, 4 trebles to the next picot, 1 picot, 4 trebles; 14 plain, join
+them to the treble nearest the 1st scallop and so on = make 7 scallops
+in all; after the 7th add 2 trebles on the 2 chain stitches = after the
+2nd treble make 2 plain, followed by the 3 stitches at the corner = in
+the next scallop, you fasten by 1 single, the 1st picot of the 1st
+scallop to the 3rd picot of the last scallop. When you have finished the
+four sides of the figure above-described, fasten off your thread.
+
+The edging of these squares should be begun on the narrower of the inner
+sides and at the 3rd little scallop: * 1 plain on the middle picot of
+the 3rd little scallop, 7 chain, 1 double treble on the 1st picot of the
+4th scallop; 7 chain, 1 triple treble on the 2nd picot of the same
+scallop, 6 chain, 1 double treble on the 3rd picot of the same scallop,
+6 chain, 1 plain on the middle picot of the 5th scallop; 10 chain, 1
+treble on the middle picot of the 6th scallop, 11 chain **, 1 quadruple
+treble on the middle picot of the 7th and 1 quadruple treble on the
+middle picot of the 1st scallop following and draw the last loops of the
+2 trebles up together. Repeat once from * to **. Carry the trebles all
+round the figure on the picots just referred to.
+
+For the second half of the edging which becomes a little wider: *** 10
+chain, 1 treble on the 6th scallop, 11 chain, 2 quadruple trebles, the
+last loops of which you join to the middle picots of the 7th and 1st
+scallop; 11 chain, 1 treble in the next scallop; 10 chain, 1 treble in
+the 3rd scallop; 7 chain, 1 treble 21/2 long, 8 chain, 1 treble 31/2 long, 8
+chain; 1 double treble, 8 chain, 1 plain, 12 chain, 1 treble, 14 chain,
+**** 2 quadruple trebles, the last loops of which are joined together.
+Repeat from **** to ***, that is the reverse way = finally add 1 more
+whole row of plain and 3 plain stitches at the corners = on the wider
+side you should have 99 stitches, not counting the increases at the
+corner.
+
+To make the same figure, forming a part of the large outside scallops,
+repeat the same rows you have in the inner square up to the 7th row, the
+first half of which you make exactly the same as before. In the second
+half of the row of chain there should be 1 chain stitch less in each
+intervening space than there were in the first half.
+
+8th row--make the first half of this row like the 8th row of the inner
+square = over the 2nd half, one quarter of which is 4 chain stitches
+narrower, the little wheels are made like the others with 7 picots. The
+number of chain stitches and the trebles of the setting are also the
+same, but instead of 7 points you have to make 5 and over these, 5 small
+scallops instead of 7.
+
+The setting, towards the top is made exactly in the same manner as the
+wide part of the upper square, that is, as from the 3rd scallop of the
+first semicircle to the 5th scallop of the 2nd. From this point, the
+series of stitches changes, so as to form a rounded edge: * 7 chain, 1
+plain on the 6th scallop; 15 chain, 2 triple trebles joined by the last
+loops to the 7th and 1st scallop; 14 chain, 1 plain on the 2nd of the 5
+scallops; 15 chain, 1 plain on the 3rd scallop; 15 chain, 1 plain on the
+4th scallop, 15 chain **, 2 triple trebles joined by the last loops in
+the 5th and 1st scallop. Repeat once again from ** to * = add 1 row of
+plain on each stitch of the preceding row; 3 plain on the two top corner
+stitches. You will thus have 3 figures with a rounded edge on one side.
+
+The second kind of square consists of 8 leaves inside and is begun in
+the same way by 6 chain formed into a ring.
+
+1st row--5 chain, 1 treble, 2 chain, * 1 treble, 2 chain. Repeat 6 times
+from * and join to the 3rd of the 5 chain.
+
+2nd row--1 chain, 3 plain over 2 chain, 1 plain on each treble.
+
+3rd row--9 chain, * miss 1 stitch = coming back: 1 single, 1 plain, 1
+half treble, 1 treble, 1 double treble, 1 triple treble, 1 treble over
+the treble of the 2nd row; 7 chain. Repeat 7 times from * = after the
+8th point: 7 single along the 1st.
+
+4th row--* 1 plain on the stitch you missed at the point, 5 chain, 1
+triple treble on the treble of the 3rd row, 5 chain. Repeat 7 times from
+*.
+
+5th row--3 chain, 1 treble on each stitch of the 4th row; join to the
+3rd of the 3 chain.
+
+6th row--10 chain, 1 plain on the treble over the triple treble of the
+4th row: 10 chain, 1 plain on the treble above the little point.
+
+7th row--15 plain on the 10 chain = on the 3rd scallop only: * 7 plain,
+10 chain, come back to the second scallop, bring the thread back from
+the wrong side to the right between the 7th and 8th plain stitches, 15
+plain on the 3rd scallop, 8 plain on the next scallop, 15 plain and
+repeat 6 times from *.
+
+When the 16th scallop is finished, pass to the point of the 1st scallop
+by means of 7 single, then add the 10 chain to pass to the 8th scallop
+above; when that is finished, fasten off, and fasten on again to one of
+the 8 scallops.
+
+8th row--* 21 chain, miss 1 stitch, 1 plain, 1 half treble, 1 treble, 1
+treble 11/2 treble long, 1 double treble, 1 treble 21/2 trebles long, 1
+triple treble, 1 treble 31/2 trebles long, 1 quadruple treble, 1 treble 41/2
+trebles long, 1 quintuple treble. After passing through the 3rd loop,
+make 1 quadruple treble, between the 2 plain scallops; then finish the
+quintuple treble, 7 chain, 1 plain on the 2nd scallop and repeat 7 times
+from *.
+
+9th row--* 7 plain on the 7 chain; 1 plain on each stitch of the
+pyramid, 3 plain on the stitch at the point; 4 plain on the 7 chain on
+the opposite side = turn the work = ** 1 chain, miss 1 plain, 1 treble
+on the 2nd stitch = after the 5th treble, leave out no more stitches
+between the trebles ***; place the 8th, 9th and 10th trebles on the 2nd
+of the increased stitches. Repeat on the opposite side from *** to **
+and join to the 4th of the plain stitches = make 17 trebles in all, then
+one plain over each chain, 1 plain on each treble and 1 picot after
+every 3rd plain = after the 4th and up to the 8th picot, leave only 2
+plain between: 11 picots in all = in conclusion: 3 plain more on the 7
+chain and repeat the whole 7 times from *.
+
+The little wheel at the top of the square is begun with 10 chain for the
+ring = 16 plain on the ring, 4 chain, * 1 treble, 1 chain = repeat 14
+times from *; 16 trebles in all, including the chain stitches = then on
+each treble and each chain stitch: 1 plain; after 4 plain: 1 picot;
+connect the wheel first on the right.
+
+The 2nd picot is to be fastened to the 9th picot of the large scallop =
+proceed with: 3 times 4 plain with 1 picot = after the 3rd plain, fasten
+the picot to the 3rd picot of the next large scallop and complete the
+small wheel. The left wheel is made and inserted in the same manner as
+the right one. The wheels at the bottom of the square require for the
+foundation ring: 14 chain, on which you make 21 plain = on these: 4
+chain, * 1 treble, 1 chain = repeat 19 times from *; 21 trebles in all,
+including the chain stitches = 3 plain, 1 picot, 3 plain, 1 picot, 3
+plain, 1 picot, 3 plain, 4 chain, join to the 8th picot of the 2nd
+scallop; 4 chain, finish the picot, 3 plain, 1 picot, 3 plain, 8 chain,
+join to the 10th picot of the scallop, 8 chain, complete the picot; 3
+plain, 1 picot, 3 plain, 8 chain, join to the 2nd picot of the 3rd
+scallop, 8 chain, close the picot, 3 chain, 1 picot, 3 plain, 4 chain,
+join to the 4th picot of the 3rd scallop; 4 chain, complete the picot,
+3 plain, 1 picot and so on, until you have 14 picots round the wheel.
+Repeat the same wheel to the left between the 4th and 5th scallop.
+
+The edging of this second kind of square is also slightly different;
+fasten the thread to the 6th picot of the 1st scallop before the small
+wheel, then working from right to left, count: * 10 chain, 1 treble on
+the 2nd empty picot of the small wheel; 8 chain, 1 triple treble on the
+4th picot of the wheel = upwards: 9 chain, 1 double treble on the 6th
+picot of the wheel; 9 chain, 1 plain on the 6th picot of the 8th
+scallop, 12 chain, 1 plain on the 7th picot of the scallop, 11 chain **,
+1 quadruple treble on the 9th picot of the 8th scallop and on the 3rd
+picot of the 7th; draw the last loops of the two trebles up together.
+Repeat once more from ** to *, then: 1 plain on the 6th picot of the 6th
+scallop; *** 12 chain, 1 sextuple treble on the 9th picot of the 6th
+scallop, retain 2 loops of the treble on the needle, make 4 more overs,
+join the treble to the 3rd picot of the 5th scallop; finish the bars, 12
+chain, 1 plain in the 6th picot of the next scallop = 12 chain, 1 double
+treble on the 2nd picot of the 7 empty picots of the bottom wheel; 9
+chain, 1 quadruple treble on the 4th picot; 12 chain, 1 double treble on
+the 6th picot, 14 chain, 1 plain on the 6th picot of the 4th scallop, 14
+chain ***, 1 septuple treble, in the 9th and 3rd picots of the 4th and
+3rd scallops ****. For the preceding treble, you pass first through 4
+loops only, then make 4 more overs for the other half of the treble, and
+finish the last loops one by one. Repeat from **** to ***. One row of
+plain stitches completes the square.
+
+After having made the square similar to that of the upper one, you have
+merely to add the large wheels at the top.
+
+The setting of chain stitches and trebles is begun at the first scallop
+between 2 wheels = 1 plain on the 6th picot of the 1st scallop; 14
+chain, 2 quintuple trebles, of which the last loops only are joined
+together, on the 9th and 3rd picot of the 1st and 2nd scallop, = 14
+chain, 1 plain on the 6th picot of the next scallop; * 14 chain, 1
+treble on the 2nd empty picot of the wheel; 10 chain, 1 quadruple treble
+on the 4th picot, 10 chain, 1 treble on the 6th picot; 14 chain, 1 plain
+on the 6th picot of the 3rd scallop; 14 chain, 2 sextuple trebles on
+the 10th and 2nd picot of the 3rd and 4th scallop; 15 chain, 1 plain on
+the 6th picot of the 4th scallop; 16 chain, 2 sextuple trebles on the
+10th and 2nd picot of the 4th and 5th scallop; 16 chain, 1 plain on the
+6th picot of the 5th scallop; 15 chain ** 3 septuple trebles on the 10th
+and 2nd picot of the 5th and 6th scallop. Repeat from ** to *; and make
+4 figures with rounded edges. When all the figures are finished, join
+them together by trebles of a suitable length.
+
+Introduce the thread at the corner stitch on the widest side of the 2nd
+8 pointed star and make: 1 plain, 6 chain, miss 3 stitches, 1 plain on
+the 3 next stitches, 4 chain, miss 2, 1 plain on the next 3 plain
+stitches.
+
+Make 11 loops in this manner, each consisting of 4 chain and 3 plain,
+then 2 loops of 3 chain and 2 plain = then miss as many stitches of the
+square at the edge of the collar as were left empty in the second
+square; 2 plain and draw the loop each time through the 2 last stitches
+of the opposite square = 1 chain, 1 single on the 2nd chain stitch of
+the opposite side; 1 chain, 3 plain on the edge of the first square, 1
+chain, 1 single, 1 chain, miss 3 stitches, 3 plain, 5 chain, bring the
+loop from the wrong side to the right = on the chain stitches: 4 plain,
+2 chain, miss 3, 3 plain.
+
+From this point onwards, fasten all the bars of chain stitches to the
+loops produced by the same stitches in the 2nd square. Thus, the 1st bar
+consisting of 5 chain, the 2nd will consist of 7 chain on which make 7
+plain, and then add 2 more chain. Nowhere must the two first chain
+stitches be uncovered.
+
+The 3rd bar must consist of 9 chain, 9 plain and 2 chain = the 4th of 11
+chain, 5 plain, 1 picot, 5 plain, 2 chain = the 5th of 13 chain, 4
+plain, 1 picot, 4 plain, 1 picot, 4 plain, 2 chain = the 6th of 16
+chain, 6 plain, 1 picot, 6 plain, 1 picot, 6 plain, 2 chain = the 7th of
+18 chain, 5 plain, 1 picot, 4 plain, 1 picot, 4 plain, 1 picot, 5 plain,
+2 chain = the 8th of 21 chain, 5 plain, 1 picot, 5 plain, 1 picot, 5
+plain, 1 picot, 5 plain, 2 chain = the 9th of 24 chain, 5 plain, 1
+picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 2
+chain = the 10th of 26 chain, 6 plain, 1 picot, 5 plain, 1 picot, 5
+plain, 1 picot, 5 plain, 1 picot, 6 plain, 2 chain = the 11th and last
+of 28 chain, 32 plain, 2 chain, fasten off.
+
+As the square with the semicircles in it, has more plain stitches in the
+edge than the one with the eight-pointed star in it, the stitches must
+be divided so that you miss 3 from time to time, instead of two. When
+the 7 top figures are finished, join the 7 bottom ones to them, each
+separately, by a row of plain stitches, made on the wrong side of the
+work. Below the first square with the semicircles, comes the
+eight-pointed star, below the next eight-pointed star, the square with
+the semicircles, and so on.
+
+A narrow edging forms the outside border, the foundation of which is a
+row of plain stitches running all along the squares. At the middle of
+the square you decrease by 2 stitches, and at the point where two
+squares meet, by 3. When you reach the left side and the end of the row,
+make 3 plain on the corner stitch, then: * 5 plain, 1 picot, 5 plain, 14
+chain, join them to the first of the 5 first plain (drop the thread at
+each scallop and bring it forward from the wrong side to the right) = on
+the 14 chain: 5 plain, 1 picot, 11 plain, 1 picot, 5 plain = along the
+square: 5 plain, 1 picot, 5 plain, then 14 chain, join them to the first
+plain = over the 14 chain: 5 plain, 1 picot, 5 plain, 14 chain, join
+them in turning back between the 5th and 6th of the 10 plain of the 1st
+scallop; 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain;
+on the half-finished scallop: 5 plain, 1 picot, 5 plain ** = on the
+plain stitches of the edge: 4 plain, 1 picot, 4 plain, 12 chain, come
+back, join to the 1st of the 4 plain = on the 12 chain: 4 plain, 1
+picot, 4 plain, 1 picot, 4 plain, 1 picot, 4 plain *** = repeat on the
+same figure once from * to *** and once from * to **.
+
+This makes 77 stitches, the number there ought to be on the wide side of
+the straight-edged figures.
+
+The scallops vary a little on the rounded sides. There, you should have
+110 stitches, counting from the corner to the treble that marks the
+middle at the bottom. The single scallops, between the triple scallops
+of the border, are also all made over 8 stitches; the first triple
+scallop is made over 20 stitches, the 2nd, 3rd and 4th triple scallop
+over 16 stitches.
+
+Make no single scallop after the 4th triple one; which is immediately
+succeeded by the 5th triple scallop, over 16 stitches.
+
+Altogether, round each star, there are 9 triple and 8 single scallops.
+After the 8th single one, make 3 plain stitches on the 2 chain stitches
+of the connecting bar.
+
+On the 32 plain stitches of the last bar: 8 plain, 1 picot, 4 plain, 12
+chain, bring them back and join to the 5th of the 8 plain = on the 12
+chain: 5 plain, 2 chain, draw the loop through the picot in the middle
+of the last single scallop, 2 chain, close the picot, 8 plain, 1 picot,
+5 plain = in the bar: 4 plain, 1 picot, 4 plain, 12 chain, bring them
+back and fasten them to the 1st plain = 5 plain, 1 picot, 4 plain, 12
+chain, join them to the 4th plain of the 1st scallop; 5 plain, 1 picot,
+8 plain, 1 picot, 5 plain = in the half-finished scallop: 4 plain, 1
+picot, 4 plain = in the bar: 4 plain, 1 picot, 4 plain = 12 chain, bring
+them back and fasten them to the 1st plain. 4 plain, 1 picot, 4 plain,
+12 chain, join them close to the scallop above = 5 plain, 1 picot, 4
+plain, 12 chain, bring them back and join them to the 4th plain of the
+2nd scallop; 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5
+plain = in each of the 2 half-finished scallops: 4 plain, 1 picot, 5
+plain = finish with 4 plain, 3 plain on the 2 chain and repeat from *
+round all the rounded parts.
+
+The lozenges that fill the empty spaces between the large figures are
+made in 7 rows, on a ring formed of 4 chain.
+
+1st row--5 chain, 1 treble on the ring, 2 chain, 8 trebles in all,
+including the bar of chain stitches.
+
+2nd row--3 plain over 2 chain, 1 plain over each treble.
+
+3rd row--7 chain, 1 treble over the treble beneath, 5 chain, 1 treble; 8
+trebles in all.
+
+4th row--* 1 plain, 1 half treble, 1 treble, 1 double treble, 1 treble
+21/2 trebles long; ** repeat the reverse way to * = 1 plain on the
+treble, 7 chain, miss 1 stitch, 1 plain, 1 treble, 1 double treble, 1
+treble, 1 plain. Repeat twice from * to **, followed by: 9 chain, miss
+1, 1 single, 1 plain, 1 half treble, 2 trebles, 1 half treble, 1 plain,
+1 single ***. Repeat once from * to ***, then again from * to **, and
+add 5 single all along the scallop.
+
+5th row--9 chain * 1 plain on the top stitch of the small leaf, 7 chain,
+1 treble on the middle stitch of the scallop, 7 chain, 1 treble on the
+next scallop = 9 chain, 1 plain on the leaf, 9 chain, 1 treble on the
+scallop, 7 chain, 1 treble on the next scallop, 7 chain and repeat once
+from *.
+
+6th row--1 plain on each stitch of the row before, 3 plain on the
+points.
+
+7th row--on each side of the lozenge 3 little scallops on 8 chain, with
+3 picots and 1 picot below the scallops and between every 4 plain; the
+scallops at the points extend over 4 stitches only, so that the picot
+below is left out.
+
+These lozenges are fastened on two sides to the middle picot of the
+triple scallop; then, starting from the 3rd scallop of the lozenge you
+make, 8 chain, join them to the middle picot of the 1st triple scallop;
+coming back over the 8 chain: 5 plain, 1 picot, 5 plain and finish the
+scallop. The next scallop, at the point of the lozenge, is fastened by a
+picot of 6 chain, to the middle picot of the 6th scallop underneath the
+connecting bar. Repeat the same on the 2nd side and make 6 lozenges in
+all.
+
+The lace that finishes off the collar at the neck must be made to stand
+up, and is begun by a row of trebles on the plain stitches.
+
+From the corner as far as the 2nd treble of the 4th scallop, make triple
+trebles, from the 4th scallop to the 6th chain stitch after the 5th
+scallop, make double trebles, from this point to the 2nd scallop of the
+next semicircle, only single trebles, then again double trebles and
+finish with triple trebles as at the beginning. Decrease by 2 or 3
+stitches in each square.
+
+When this row of trebles is finished, fasten off, and fasten on again on
+the right and on the base of the 1st treble which you border with 4
+chain, then follow: * 15 plain on the row of trebles, put the needle in
+under the 2 loops of the trebles = turn the work = 2 chain, 1 double
+treble, miss 4 plain, 1 double treble on the 5th stitch, 2 chain, 1
+double treble, 2 chain, 1 double treble, 2 chain, miss 4 plain = turn
+the work = bring the loop to the front; ** 1 plain, 1 picot, 1 plain, 1
+plain on the treble; repeat 3 times again from ** and add 4 plain on
+the trebles = turn the work = 6 chain, 1 double treble over the treble
+beneath; again 3 times 6 chain stitches and 1 double treble; join the
+4th set of 6 chain to the 4th plain = bring the thread back to the
+front: 1 plain on the 6 chain = 8 chain, miss 1, and make on the others:
+1 plain, 1 half treble, 2 trebles, 1 treble 11/2 treble long, 2 double
+trebles, 1 plain stitch on the 6 chain. The next point comes above a
+treble; you make 7 points in all. After the 7th: 5 plain, then 7 chain,
+1 plain on each point between the points and join.
+
+Join the 8th set of 7 chain on to the 4th plain of the first treble =
+then add: 2 chain, draw the loop from the wrong side to the right
+through the 1st plain stitch; 8 trebles, 1 picot, 4 trebles, 12 chain,
+bring them back over the picot, join it between the 4th and 5th trebles;
+5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain.
+
+Over each point: 1 picot and over the picot 1 scallop, like the one made
+in the square. On the 7th point only 1 picot = after the last treble on
+the last chain: 2 chain; then go on with the plain stitches until you
+have 27 and repeat from *.
+
+In the semicircles that follow you leave out the first and last little
+scallops, the first and the last scallop must be joined together by the
+first and the last picot; in the last semicircle, make 6 little
+scallops, the same as you did in the first.
+
+CROCHET CHAIR-BACK (fig. 485).--The close leaves in plain stitch of
+the large centre star, the 4 corner figures forming a cross and the
+diagonal figures, all have to be made separately and sewn on afterwards
+in their proper place. To join the separate parts neatly together, draw
+a square the size of the work on a piece of thick paper or waxcloth,
+divide it into 8 parts by means of straight and diagonal lines, sew the
+separate pieces of crochet upon it, face downwards, in their proper
+places and make the trebles on the wrong side of the work.
+
+Begin by the centre star and make: 12 chain, close the ring.
+
+1st row--23 plain on the 12 chain.
+
+2nd row--9 chain, 1 double treble on the 2nd plain, 4 chain, 1 treble
+and so on until you have 12 trebles, including the 5 chain.
+
+3rd row--1 plain on each chain stitch and each treble; 60 plain in all.
+
+4th row--3 plain, 1 picot, altogether 20 picots in the row, then fasten
+off.
+
+[Illustration: FIG. 485. CROCHET CHAIR-BACK. MATERIALS: Fil a dentelle
+D.M.C No. 50 for the close figures and No. 120 for the connecting
+bars.[A]]
+
+The leaves round the ring have 3 petals, 1 large and 2 small; you begin
+by the large one, and make the small ones afterwards. The petals should
+be begun from the point and not from the bottom as is generally done--30
+chain; coming back: 4 single, 4 plain, 5 half trebles, 8 trebles, 4 half
+trebles, 4 plain stitches, 3 plain on the 1st chain = on the second side
+of the chain make the same number of stitches but in the reverse order.
+
+Small petal on the left--21 chain, miss 1, 5 plain, 3 half trebles, 5
+trebles, 3 half trebles, 3 plain, 3 plain on the top. Repeat the same
+series of stitches in the reverse order on the second side = at the 10th
+stitch of the large petal and counting upwards from below, draw the
+thread through the 10th stitch of the small petal, and do the same
+through the 9 next stitches = for this purpose drop the loop each time
+and draw it back through the opposite stitch, from the wrong side to the
+right. After making the same petal on the right, fasten off; fasten on
+again at the outer edge and edge the 3 petals with 1 plain on each
+stitch and 3 plain on the stitch at the point; make 4 leaves with 3
+petals each.
+
+Between the pointed leaves, which are afterwards placed on the diagonal
+line of the square, come some very long leaves which are rounded towards
+the top--29 chain, miss 1, 5 plain, 2 chain, 1 treble on the 3rd of the
+chain stitches; carry on the trebles until you have, on coming to the
+last chain, 7 trebles = turn the work and make 1 plain on each stitch of
+the row = turn the work = 1 plain on every stitch all round = turn the
+work = * 9 plain, 4 half trebles, 3 trebles, 2 double trebles, join the
+last loops of the 2 last trebles together; set the 20th and 21st double
+treble on the same stitch = the 20th treble 21/2 trebles long; the 21st a
+triple treble = on the next plain stitch; 1 treble 31/2 trebles long and 1
+quadruple treble = again on the next stitch: 2 trebles, the first of
+them 41/2 trebles long, the 2nd a quintuple one = on the 3rd plain: 2
+quintuple trebles, 4 chain, 1 plain on the plain stitch of the 2nd row
+and next to the last quintuple treble, 1 half treble, 1 treble, 2 double
+trebles on one stitch, 2 triple trebles on one stitch **, 1 quadruple
+treble on the 2 next stitches. Repeat from ** to *, therefore in the
+reverse order.
+
+To make the large star which is the first of the figures placed on the
+diagonal line, make: 4 chain, close the ring.
+
+1st row--10 chain,* 1 double treble on the 4 chain, 5 chain. Repeat 4
+times from *, 6 trebles in all.
+
+2nd row--over 5 chain: 1 half treble, 1 treble, 1 treble 11/2 treble long,
+1 double treble, 1 treble 21/2 trebles long **, 1 triple treble. Repeat
+once from ** to * and 5 times from * to **.
+
+3rd row--1 plain on each stitch of the 2nd row.
+
+4th row--3 plain, 1 picot, 2 plain, * 2 chain, 1 picot, 5 chain, miss 1
+= coming back: 4 plain, 1 picot, 2 plain = on the plain stitches of the
+3rd row: 2 plain, 1 picot, 3 plain. Repeat from *, with this difference
+that the trebles that are placed over the half trebles of the 2nd row
+must begin with 3 chain. Make, altogether, 12 long bars, 6 of them
+beginning with 2 chain and 6 with 3; these bars remain empty; after the
+12th you fasten off.
+
+5th row--fasten on the thread to the top stitch of a treble, 11 chain, 1
+plain. Repeat this series 11 times.
+
+6th and 7th row--1 plain on each stitch of the 5th row, then 1 plain on
+each stitch of the 6th row.
+
+8th row--over 9 bars and 8 spaces: 3 plain, 1 picot, 3 plain and so on.
+Add nothing further to the 2 rows of plain stitches of the 10th, 11th
+and 12th picots.
+
+For the second star of the corner figure 4 chain, close.
+
+1st row--8 chain, 1 treble, * 5 chain, 1 treble. Repeat 3 times from *;
+5 trebles in all, including the chain stitches.
+
+2nd row--* 1 chain, 1 half treble, 1 treble, 1 treble 11/2 treble long, 1
+double treble, 1 triple treble **. Repeat from ** to *, and the whole
+series 4 times.
+
+3rd row--* 1 chain, 3 plain, 1 picot, 2 plain, 2 chain, 1 picot, 4 chain
+= coming back, 4 plain on the 4 chain, 1 picot, 2 chain = on the
+stitches of the 2nd row: 2 plain, 1 picot, 2 plain, 3 chain, 1 picot, 5
+chain, miss 1, 4 plain = coming back: 1 picot, 3 plain. Repeat 4 times
+from *, fasten off.
+
+4th row--fasten on at the point of one of the bars and make from one bar
+to the other: 9 chain, 1 plain on each bar.
+
+5th row--1 plain on each stitch of the last row.
+
+6th row--1 plain on each stitch of the last row and join the 4 last
+stitches to the 4 that are under the 11th treble of the 1st star, taking
+care to put the trebles one above the other.
+
+The 3rd star also begins with 4 chain formed into a ring.
+
+1st row--8 chain, 1 treble, 5 chain, 1 treble, 5 chain, 1 treble, 5
+chain, join them to the 4th of the 8 chain.
+
+2nd row--2 chain, * 1 half treble, 1 treble, 1 treble, 11/2 treble long, 1
+double treble **. Repeat from ** to * and then, 3 times from * to **.
+
+3rd row--1 plain on each stitch of the 2nd row.
+
+4th row--1 chain, 2 plain, * 1 picot, 3 chain, 1 picot, 5 chain. Repeat
+3 times from *; after the 8th picot: 3 chain.
+
+5th row--15 chain, 1 triple treble on the 5th and on the 2nd plain
+stitch between 2 picots, 9 chain, 1 triple treble and so on. Altogether,
+including the chain stitches, 8 trebles and 8 times 9 chain; join to the
+7th chain.
+
+6th and 7th row--1 plain on each stitch of the previous row; join the 4
+last stitches again to the 4th stitch of the 2nd star and fasten off.
+
+The open work border is made from the 1st large star, beginning near the
+9th treble at the point where the picots leave off. After fastening on
+the thread: 5 chain, miss 2 plain, 1 plain on the 3rd = at the point
+where the circles meet, miss 3 or 4 stitches on each side and carry the
+treble over the indent of the scallop.
+
+After finishing the picots of chain stitches on the two sides and as far
+as the 3rd treble of the large star, fasten off; fasten on again on the
+right of the large star: 4 chain, 1 plain on the 3rd chain; put the
+needle only through the 2 upper loops of the chain stitch; in the
+indent, connect 3 picots by 1 chain stitch; 2 chain and 1 plain between
+the next plain stitches. Fasten off. The 2 next rows both begin on the
+right and consist of plain stitches only; in the indent of the rings
+join 3 stitches of the preceding row together by 1 plain.
+
+The 5 leaves over the circles--Begin with the middle and largest one--25
+chain, miss 1, 3 plain, 2 chain, miss 2, 1 treble, 2 chain and so on, 7
+trebles in all = turn the work = 1 plain on each stitch, passing under
+only 1 loop of the stitches = on the stitch you missed: 3 plain; on the
+second side: 1 plain on each stitch = turn the work = do as in the last
+row = turn the work = do as in the 2 last rows, excepting as regards the
+5 last stitches which you leave untouched = turn the work = 15 plain, *
+1 chain = turn the work = 12 plain = turn the work = 12 plain on the 12
+plain and on all those you missed **. Fasten off the thread. On the 2nd
+side of the leaf: draw the thread through the 6th stitch, counting
+upwards from below and on the side that is not indented, 15 plain and
+repeat from * to ** = then make: 1 row of plain, putting the needle
+through both the loops of the lower stitches = at the points of the
+leaves: 3 plain, in the indents of the leaves miss 1 stitch.
+
+First leaf on the right of the large leaf--25 chain, miss 1, 3 plain, 1
+chain, 1 treble on the 3rd chain; 7 trebles in all = turn the work = 1
+plain on each stitch, 18 stitches altogether, to the corner stitch; 3
+plain on the corner stitch. The 2nd side is worked like the 1st.
+
+Add 3 more rows of plain stitches and increase 3 plain on the stitch at
+the point = in the 3rd row leave the 5 last stitches empty = turn the
+work = 11 plain, 1 chain = turn the work = 11 plain and 5 plain on the 5
+stitches that were passed over; fasten off.
+
+On the opposite side fasten on the thread on the wrong side at the 8th
+stitch counting from the point: 12 plain, 1 chain = turn the work = 12
+plain = turn the work = make plain stitches up to the end of the leaf
+and border it, like the large leaf, with plain stitches = join the 8
+first stitches to the corresponding ones in the large leaf = make 4
+leaves all alike.
+
+2nd leaf on the left--19 chain, miss 1, 3 plain, 2 chain, 1 treble on
+the 2nd chain; 7 trebles in all = turn the work = 1 plain on each of the
+preceding stitches, 3 plain on the stitch at the point = turn the work =
+1 row of plain stitches = turn the work = 1 row of plain = turn the work
+= 1 row of plain, excepting on the last 7 stitches = turn the work = 14
+plain, 1 chain = 3 more rows to and fro with 11 plain; fasten off, and
+fasten on again on the 2nd side at the 6th stitch counting from below: 2
+rows of 11 plain and 1 row to the end of the leaf = then encircle this
+leaf, like the others with plain stitches, join the 8 last stitches to
+the last 8 of the large leaf = make 4 leaves all alike.
+
+3rd leaf on the right--18 chain, miss 1, 2 plain, 1 chain, 1 treble on
+the 3rd chain, 5 trebles in all = turn the work = 4 rows of plain
+worked to and fro; on the stitch at the point: 3 plain = after the 4th
+row: 4 trebles, 8 plain, 1 chain, 4 plain, 1 chain, 4 plain, 1 chain,
+then plain stitches to the end = fasten off. On the second side, fasten
+on to the 6th stitch counting downwards from the top: 9 plain = coming
+back: 3 plain, 1 chain, 7 plain = coming back: 7 plain, 1 chain = then
+to the end of the leaf, 1 plain on each stitch.
+
+3rd leaf on the left--14 chain, miss 1, 2 plain, 2 chain, 1 treble, 2
+chain, 1 treble, 2 chain, 1 treble, 2 chain, 1 treble; 4 rows of plain
+all round, 3 plain on the stitch at the point, and 3 plain on the added
+stitch. After the 4th row: 14 plain = turn the work = 10 plain = turn
+the work = 3 single, 7 plain = coming back: 7 plain = coming back again:
+7 plain; after the last plain, 1 single on each plain up to the top =
+fasten off.
+
+On the second side of the leaf: 9 plain = turn the work = 5 plain = turn
+the work = 5 plain, 1 single on each of the remaining stitches = turn
+the work = surround the whole leaf with plain stitches; 3 plain on each
+stitch at the point; join the 8 last stitches to the 8 last of the 2nd
+leaf.
+
+Branch on the right and 1st leaf--28 chain, miss 1, 4 plain, 1 chain, 1
+treble on the 3rd chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1
+treble 11/2 treble long on the 3rd chain, 1 chain, 1 treble 11/2 treble long
+on the 3rd chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1 half
+treble on the 3rd chain, 1 chain, miss 2 stitches, 5 plain = on the
+second side of the chain: * 1 plain on each stitch, 3 plain on the 2nd
+of the missed stitches. Repeat 3 times from *. After the 4th row of
+plain: 6 chain = turn the work = 1 row of plain on both sides and plain
+stitches on the 6 chain; fasten off the thread. Counting back the last
+stitches, fasten on the thread at the 18th stitch, make one more row of
+plain, fasten off.
+
+2nd leaf of the branch--22 chain, miss 1, 3 plain, 1 chain, 1 half
+treble on the 3rd chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1
+treble on the 3rd chain, 1 chain, 1 half treble on the 3rd chain, 1
+chain, 1 plain on the 3rd chain, 1 plain on each of the remaining
+stitches; 4 rows of plain, to and fro, in each of the stitches of the
+last row. The rows touch, and therefore encircle the leaf.
+
+3rd leaf--16 chain, miss 1, 2 plain, 1 chain, 1 treble on the 3rd chain,
+1 chain, 1 treble on the 3rd chain, 1 chain, 1 treble on the 3rd chain,
+1 plain on each of the remaining stitches, 4 rows of plain, to and fro
+round the leaf; 3 plain on the stitch at the top of the leaf and 3 on
+the one at the bottom.
+
+When these 3 leaves are finished, join them together on the wrong side
+so that the end of the 2nd leaf is parallel with the last treble of the
+1st leaf, and the end of the 3rd leaf parallel with the 1st of the last
+plain stitches of the 2nd leaf. Having sewn these 3 leaves together,
+carry on the plain stitches with the thread of the 3rd little leaf over
+the two others. Fasten off the thread, join it on again at the 10th
+plain stitch of the 3rd little leaf, counting the stitches downwards
+from the top = 40 chain, 1 single on the 34th chain = on the ring: 10
+plain, 1 plain each chain and 1 plain on each stitch of the leaves =
+then, make 3 more rows of plain and 2 plain on every second stitch of
+the 10 stitches in the ring.
+
+Having reached the chain stitches, fasten on the thread, turn the work
+and continue the other rows. When the rows of plain stitches are
+finished, draw a thread through the chain stitches and pull them gently
+together.
+
+Branch on the left and 1st leaf--22 chain, miss 1, 3 plain, 2 chain, 1
+treble on the 2nd chain, 2 chain, 1 treble 11/2 treble long, 2 chain, miss
+1, 1 treble, 11/2 treble long, 2 chain, miss 1, 1 treble, 2 chain, miss 1,
+1 treble, 2 chain, miss 1, 1 plain on each of the remaining stitches.
+The remainder the same as for the right leaf.
+
+2nd leaf--16 chain, miss 1, 2 plain, 2 chain, 1 treble, 2 chain, miss 1,
+1 treble, 2 chain, miss 1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain,
+miss 1, 1 plain on each of the remaining stitches. The rest the same as
+for the right leaf.
+
+3rd leaf--12 chain, miss 1, 2 plain, 2 chain, miss 1, 1 treble, 2 chain,
+miss 1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain, miss 1, 1 plain on
+each of the remaining stitches. The remainder, as well as the little
+ring, the same as for the right leaf. Make altogether 4 leaves for the
+right side and 4 for the left.
+
+Calyx of the small flowers.--11 chain = turn the work = 1 plain on the
+first 5 chain, 3 plain on the 6th chain, 1 plain on the 5 other chain =
+turn the work = * 2 chain, 1 treble on the 1st plain, 1 chain, 1 treble,
+1 chain, 1 treble, 1 chain, ** 3 trebles on the second of the 3 plain,
+on the 6th chain, repeat once from ** to * = turn the work = 1 plain on
+each of the preceding stitches, 3 single on the added stitch = turn the
+work = 1 single on the first 2 plain; plain stitches as far as the
+middle stitch; 13 chain, miss 1, 1 plain on each chain stitch, 6 plain,
+2 single. Fasten off. Make 8 calices in all.
+
+Small flowers of three different sizes--Make altogether, 24 large, 12 of
+medium size, and 16 small.
+
+For the large flowers--18 chain, close the ring, 24 plain on the 18
+chain; 1 plain on every stitch of the preceding row and 1 picot after
+every second plain stitch. Join the first and the last picots of 2 large
+flowers to the calyx, the 2nd and the 3rd picots of one large flower to
+the 10th and 11th picots of the other. Join the 1st and 11th picots of
+the 3rd flower to the 8th picot of the first and to the 5th of the
+second flower.
+
+For the medium-sized flowers--14 chain, close the ring = 20 plain on the
+ring, then a second row of plain with 1 picot after every second plain
+stitch.
+
+These flowers connect the centre figure with the corner one.
+
+For the small flowers--10 chain, close the ring = 16 plain on the ring,
+then a second row of plain stitches with a picot after every second
+stitch. Sew the medium-sized flowers and the small ones to the big ones
+with overcasting stitches.
+
+As regards the bars of chain stitches that complete the pattern they can
+easily be copied from the illustration.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: TATTED INSERTION.--DOUBLE KNOTS, SINGLE PICOTS AND
+JOSEPHINE PICOTS.]
+
+
+
+
+Tatting.
+
+
+On account of a similarity in their construction, a chapter on tatting
+seems to form a natural sequence to the one on crochet and is in some
+ways a preparation for that on macrame which succeeds it.
+
+The English name of tatting is said to be derived from "tatters" and to
+denote the frail disconnected character of the fabric. By the Italians
+it was formerly called "occhi", whilst in the East it still bears the
+name of "makouk", from the shuttle used in making it.
+
+In the eighteenth century, when tatting was in great vogue, much larger
+shuttles than our present ones were used, because of the voluminous
+materials they had to carry, silk cord being one.
+
+SHUTTLES.--The tatting shuttle consists of two oval blades of either
+bone, ivory, mother of pearl or tortoise-shell, pointed at both ends,
+and joined together in the middle. A good shuttle contributes materially
+to the rapid and perfect execution of the work and attention should be
+paid in its selection to the following particulars: that it be not more
+than 7 c/m. long and 2 or 3 c/m. wide: that the two ends be close enough
+to prevent the thread from protruding; this is more especially important
+in tatting with two shuttles and lastly, that the centre piece that
+joins the two oval blades together should have a hole bored in it, large
+enough for the thread to pass through.
+
+In filling the shuttle, be careful not to wind on too much thread at
+once, or the blades will gape open at the ends and the thread get soiled
+by constant contact with the worker's hands.
+
+MATERIALS.--A strongly twisted thread such as Fil d'Alsace D.M.C, Fil
+a dentelle D.M.C, or Cordonnet 6 fils D.M.C, is best for tatting. We
+particularly recommend Fil d'Alsace, as forming the best shaped knots
+and picots. A soft material such as Coton a tricoter D.M.C, can also be
+used where it suits the purpose better.
+
+[Illustration: FIG. 486. FIRST POSITION OF THE HANDS.]
+
+FIRST POSITION OF THE HANDS (fig. 486).--The construction of the knots
+or stitches, appears at first sight to present great difficulties but
+will be easily mastered by attention to the indications here given. One
+thing, to be constantly borne in mind is, that when the right hand has
+passed the shuttle through the loop, it must stop with a sudden jerk and
+hold the thread tightly extended until the left hand has drawn up the
+knot. After filling the shuttle, take the end of the thread between the
+thumb and forefinger of the left hand, and the shuttle in the right,
+pass the thread over the third and fourth fingers of the left hand,
+bring it back towards the thumb and cross the two threads under the
+fingers, as indicated in fig. 486. Pass the thread that comes from the
+shuttle round the little finger of the right hand, and give the shuttle
+the direction shown in the engraving.
+
+SECOND AND THIRD POSITION OF THE HANDS (figs. 487 and 488).--Make the
+shuttle pass between the first and third fingers, in the direction
+indicated by the arrow in fig. 487, and bring it out behind the loop.
+
+[Illustration: FIG. 487. SECOND POSITION OF THE HANDS.]
+
+[Illustration: FIG. 488. THIRD POSITION OF THE HANDS.]
+
+Here the first difficulties for beginners arise and until they have
+sufficiently mastered the movements of both hands not to confuse them,
+we advise them to pay careful attention to the following instructions.
+As soon as you have put the shuttle through the loop, place the right
+hand on the table with the thread tightly extended, leaving the left
+hand perfectly passive.
+
+Then, raising the third and fourth fingers of the left hand with the
+loop upon them, pull up the loop, stretching the thread tightly in so
+doing by extending the fingers. By this movement a knot is formed, the
+first part of the "double knot", which is the most common one in
+tatting.
+
+Remember that the right hand must be kept perfectly still as long as the
+left is in motion and that the knot must be formed of the loop thread
+that is in the left hand.
+
+The right hand, or shuttle thread, must always be free to run through
+the knots; if it were itself formed into knots it would not have the
+free play, needed for loosening and tightening the loop on the left
+hand, as required.
+
+[Illustration: FIG. 489. FOURTH POSITION OF THE HANDS.]
+
+FOURTH POSITION OF THE HANDS (fig. 489).--The second part of a knot is
+formed by the following movements: pass the shuttle, as indicated in
+fig. 489, from left to right, between the first and third fingers
+through the extended loop; the right hand seizes the shuttle in front of
+the empty loop and extends the thread; the left hand pulls up this
+second part of the knot as it did the first.
+
+[Illustration: FIG. 490. SINGLE OR HALF KNOTS. SMALL JOSEPHINE PICOT.]
+
+[Illustration: FIG. 491. SINGLE OR HALF KNOTS. LARGE JOSEPHINE PICOT.]
+
+SINGLE OR HALF KNOTS. JOSEPHINE PICOTS (figs. 490 and 491).--The
+Josephine picot or purl, as it is also called in tatting, consists of a
+series of single or half knots formed of the first knot only. These
+picots may be made of 4 or 5 knots, as in fig. 490, or of 10 or 12
+knots, as in fig. 491.
+
+FIFTH POSITION OF THE HANDS (fig. 492).--When the second knot forming
+the double knot has been made, the two hands resume the position shown
+in fig. 487. Fig. 492 reproduces the same and shows us a few finished
+knots as well.
+
+[Illustration: FIG. 492. FIFTH POSITION OF THE HANDS.]
+
+[Illustration: FIG. 493. POSITION OF THE HANDS FOR MAKING A PICOT.]
+
+POSITION OF THE HANDS FOR MAKING A PICOT (fig. 493).--Picots are
+introduced into tatting patterns as they are into knitting and crochet.
+They also serve to connect the different parts of a pattern together and
+render a great many pretty combinations feasible.
+
+OPEN AND CLOSE PICOT (figs. 494 and 495).--These are formed of single
+knots, leaving a loop on the extended thread, as shown in fig. 494, and
+a short length of thread between the knots; finish the second half knot
+and when you have pulled it up, join it to the preceding knot. In this
+manner the picot represented in fig. 496 is formed quite naturally.
+
+[Illustration: FIG. 494. OPEN PICOT.]
+
+[Illustration: FIG. 495. CLOSE PICOT.]
+
+In every kind of tatting the knot that comes after the picot is
+independent of the loop.
+
+Thus if the directions say: 2 knots, 1 picot, 3 knots, 1 picot, 2 knots,
+etc., you must count the knot that served to form the loop and not make:
+2 knots, 1 picot, 4 knots, etc. To join the different rings, ovals,
+etc., together by means of picots, take up the thread that runs over the
+left hand with a crochet needle, inserting it into the picot downwards
+from above, draw the thread through and pull it up like any other knot.
+
+[Illustration: FIG. 496. TATTING WITH TWO SHUTTLES.]
+
+TATTING WITH TWO SHUTTLES (fig. 496).--Two shuttles are used in
+tatting when the little rings are not to be connected together at the
+bottom by a thread, when you want to hide the passage of the thread to
+another group of knots and when threads of several colours are used.
+
+When you work with two shuttles, tie the two threads together. Pass one
+thread over the third finger of the left hand, wind it twice round the
+fourth finger and leave the shuttle hanging down.
+
+Pass the second shuttle into the right hand and make the same movements
+with it as you do in working with one shuttle only.
+
+DETACHED SCALLOPS (fig. 497).--Make 12 double knots with one shuttle,
+then tighten the thread so as to draw them together into a half ring;
+the next knot must touch the last knot of the scallop before it.
+
+[Illustration: FIG. 497. DETACHED SCALLOPS. MATERIALS: Fil d'Alsace
+D.M.C in balls Nos 30 to 70 or Cordonnet 6 fils D.M.C Nos. 25 to 50.[A]]
+
+SCALLOPS JOINED TOGETHER AT THE TOP (fig. 498). With one shuttle make
+4 double, 1 picot, * 8 double, 1 picot, 4 double, close the half ring, 4
+double, draw the thread through the picot and repeat from *.
+
+[Illustration: FIG. 498. SCALLOPS JOINED TOGETHER AT THE TOP. MATERIALS:
+Fil d'Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos. 15 to 40,
+or Fil a dentelle D.M.C Nos. 25 to 60[A]]
+
+SCALLOPS WITH PICOTS (fig. 499).--Make with one shuttle: 4 double, 1
+picot, * 3 double, 1 picot, 2 double, 1 picot, 2 double, 1 picot, 3
+double, 1 picot, 4 double, close the ring.
+
+[Illustration: FIG. 499. SCALLOPS WITH PICOTS. MATERIALS: Fil d'Alsace
+D.M.C in balls Nos. 30 to 70, ecru or white.[A]]
+
+Leave sufficient length of thread before beginning the next ring, for
+the rings not to overlap each other = make 4 double, draw the left hand
+thread through the 5th picot of the preceding ring and repeat from *.
+
+TATTED INSERTION (fig. 500).--Make with one shuttle a ring like the
+ones in fig. 499, then leaving a length of, from 5 to 10 m/m. of thread,
+make a second ring = turn the work = leave the same length of thread
+again, begin a third ring which you join after the 4th double, to the
+5th picot of the 1st ring = turn the work after each ring is made, so
+that all the upper rings represent the right side of the work and all
+the lower ones the wrong.
+
+[Illustration: FIG. 500. TATTED INSERTION. MATERIALS: Fil d'Alsace D.M.C
+in balls Nos. 30 to 70, ecru or white.]
+
+[Illustration: FIG. 501. TATTED INSERTION. MATERIALS: Fil d'Alsace D.M.C
+Nos. 30 to 70, or Cordonnet 6 fils D.M.C No. 20.]
+
+[Illustration: FIG. 502. EDGING OF TATTING AND CROCHET. MATERIALS--For
+the tatting: Fil d'Alsace D.M.C in balls No. 30. For the crochet:
+Cordonnet 6 fils D.M.C No. 60.]
+
+TATTED INSERTION (fig. 501).--To be worked with two shuttles. Begin
+with one thread and one shuttle and make a ring, as in figs. 499 and
+500; and a second close to it; then pass the thread over the left hand,
+take the second shuttle in the right hand and make 6 double on the 2nd
+thread, after which you again make a ring above and one below with one
+shuttle only.
+
+EDGING OF TATTING AND CROCHET (fig. 502).--Make with one shuttle: 1
+double, 1 picot, 2 double, 1 picot, 2 double, 1 picot, 2 double, 1 picot
+twice as long as the others, 2 double, 1 picot, 2 double, 1 picot, 2
+double, 1 picot, 2 double, 1 long picot, 1 double = close the ring =
+fasten off the two threads on the wrong side with two or three stitches.
+
+After the first knot join the next ring to the preceding one by the long
+picot, and work the remainder as has been already described.
+
+When you have a sufficient number of rings, pick up the picots by
+crochet trebles with 3 chain stitches between them. On this first row,
+crochet a second, consisting of: 2 chain, 1 picot, 2 chain, 1 single in
+the treble of the 1st row. To finish the bottom part of the work, make 1
+plain in the 1st picot, 3 chain; 1 plain in the 2nd picot, 3 chain, 1
+plain in the 3rd picot, 1 chain, 1 plain in the 1st picot of the next
+ring.
+
+One row of single crochet serves as a footing to the edging.
+
+[Illustration: FIG. 503. TATTED EDGING IN THREE ROWS. MATERIALS: Fil
+d'Alsace D.M.C in balls Nos. 30 to 70, or Cordonnet 6 fils D.M.C Nos. 20
+to 60.]
+
+TATTED EDGING IN THREE ROWS (fig. 503).--Worked with two shuttles. The
+first row is worked like fig. 495, with one shuttle. The second and
+third are worked with two.
+
+Fasten the thread of the right hand shuttle into the first picot; then
+work on this thread the same number of double knots and picots as in the
+1st row and join each half ring to the picot of the row before. In the
+3rd row, insert 3 picots between the 8 double knots of the row above.
+Here the Josephine picot may be substituted for the plain picot.
+
+[Illustration: FIG. 504. TATTED EDGING. MATERIALS: Fil d'Alsace D.M.C in
+balls Nos. 30 to 70, or Fil a dentelle D.M.C Nos. 25 to 50. COLOURS:
+Ecru and Bleu-Indigo 334, or Jaune d'Ocre 667 and Rouge-Cornouille 450,
+Gris-Tilleul 331 and Brun-Caroubier 356.]
+
+TATTED EDGING (fig. 504).--Worked with two shuttles and two colours.
+After making a string of rings like those in fig. 502, with Fil d'Alsace
+D.M.C No. 30 ecru, fasten the blue and unbleached threads of the
+respective shuttles to the middle picot. Holding the light thread in the
+right hand, and the dark one laid over the left hand, work: 3 double, 1
+picot, 3 double = then put the right hand thread separately through the
+2 picots of the rings and continue to make: 3 double, 1 picot, 3 double.
+
+The next row also is made with two shuttles. Hold the light thread in
+the right hand; with the dark thread, laid across the left hand, make: *
+4 double, 1 picot, 2 double, 1 picot, 2 double = turn the work = with
+the right hand shuttle make: 6 double, put the thread through the little
+picot formed above the middle picot of the rings, 6 double, close the
+ring = turn the work = make with two shuttles: 2 double, 1 picot, 2
+double, 1 picot, 4 double, put the light thread through the 2 blue
+picots and repeat from *. The first row of crochet for the footing
+consists of chain and plain stitches only, the second, of chain stitches
+and trebles.
+
+MEDALLION (fig. 505).--Take two colours of thread and fill two
+shuttles with the light colour and two with the dark. Make with one
+shuttle: 24 double and 12 picots, 6 of them short and 6 long; close the
+ring, break off the thread and fasten off the ends by a stitch or two on
+the wrong side.--For the next 4 rows take two shuttles.
+
+[Illustration: FIG. 505. MEDALLION. MATERIALS: Fil d'Alsace D.M.C in
+balls Nos. 30 to 50.[A] COLOURS: White and Rouge-Geranium 352, or ecru
+and Vert-Mousse 471, Bleu pale 668 and Jaune d'Or 676.]
+
+1st row--with the shuttles containing the light colour = fasten the ends
+on to a short picot and make: * 3 double, 1 short picot, 2 double, 1
+long picot, 2 double, 1 long picot, 2 double, 1 long picot, 2 double, 1
+short picot, 3 double; pass the right hand thread through one of the
+short picots of the first ring, repeat the series 5 times from *.
+
+When you reach the 6th half ring, instead of making the second picot,
+put the left hand thread through the short picot of the first half ring,
+then complete the last double knots, cut the threads off, pass them
+through the picot of the ring and fasten them off on the wrong side.
+
+2nd row--with the shuttles filled with the light colour = fasten the
+ends on to a long picot, then make: * 4 double, 1 picot, 4 double, pass
+the right hand thread through the picot of the first row and repeat the
+series 17 times from *.
+
+3rd row--with the shuttles filled with the dark colour = fasten the ends
+on to one of the picots of the last row and make: * 4 double, pass the
+right hand thread through the picot of the 2nd row, make a long picot, 4
+double and repeat this series all round the medallion, until you have 18
+scallops.
+
+4th row--with the shuttles filled with the dark colour = * 2 double, 1
+picot, 2 double, 1 picot, 2 double, 1 picot, 2 double, pass the right
+hand thread, from the wrong side, through the picot of the 2nd row and
+begin again from *.
+
+[Illustration: FIG. 506. INSERTION OF TATTING AND CROCHET. MATERIALS:
+Fil d'Alsace D.M.C in balls Nos. 30 to 70, or Fil a dentelle D.M.C Nos.
+25 to 50. COLOURS: Bleu de France 344 and Jaune-Rouille 365.]
+
+INSERTION OF TATTING AND CROCHET (fig. 506).--Fill two shuttles, one
+with a light colour, say, Bleu de France 344, the other with a darker,
+such as Jaune-Rouille 365, and two numbers coarser than the thread you
+intend to use for the crochet. Begin with the dark colour and make: * 4
+double, 1 picot, 8 double, 1 picot, 4 double, close the ring. With both
+shuttles, the light colour in the left hand: 4 double, 1 picot, 2
+double, 1 picot, 2 double, 1 picot, 4 double, put the right hand thread
+through the picot of the first circle; then add: 4 double, 1 picot, 2
+double, 1 picot, 2 double, 1 picot, 4 double.
+
+With the shuttle, filled with the dark colour: 5 double, pass the thread
+through the picot of the first ring, make 8 double, 1 picot, 5 double,
+close the ring. Then, leaving a short length of thread between, make: 4
+double, put the thread through the picot of the preceding ring, 8
+double, 1 picot, 4 double, close the ring **; then repeat from * to **.
+
+When you have thus made two equal lengths, join them together with
+crochet, using a thread two numbers finer than the tatting thread; if
+the latter for instance was Fil d'Alsace No. 30, you would take No. 50
+of the same material for the crochet--1 plain in the 1st picot, 5 chain,
+1 plain in the middle picot, 5 chain, 1 plain in the 3rd and 1st picot =
+then, over 5 chain: 1 sextuple cluster stitch (fig. 426), 5 chain.
+
+In the row on the opposite side of the tatting, take out the crochet
+needle at the 3rd chain stitch and put it in from beneath into the
+corresponding stitch of the opposite row; in this manner join the two
+insertions together so as to complete the pattern.
+
+[Illustration: FIG. 507. INSERTION OF TATTING AND CROCHET.
+MATERIALS--For the tatting: Fil d'Alsace D.M.C in balls Nos. 30 to 70,
+or Cordonnet 6 fils D.M.C Nos. 25 to 50, ecru or white.[A] For the
+crochet: The same materials, but two numbers finer.]
+
+[Illustration: FIG. 508. WORKING DETAIL OF FIG. 507.]
+
+INSERTION OF TATTING AND CROCHET (figs. 507 and 508).--Worked with one
+shuttle. The tatting thread should be two numbers coarser than the
+crochet thread. Begin with 2 strings of half rings consisting of: 4
+short picots and 3 long. Leave a length of thread between, equal to the
+diameter of the ring.
+
+When the two strings of half rings are finished, crochet with the fine
+thread: 6 plain over each length of thread between, and at the base of
+the scallops.
+
+2nd row--5 chain, 1 plain in the 4th plain of the 1st row.
+
+In the row that connects the two rows of tatting, put the 3rd chain
+stitch into the corresponding stitch of the opposite row.
+
+For the outside edge make: 1 plain in the 1st short picot, 8 chain *, 1
+treble in the 2nd short picot, 7 chain, 1 treble in the 3rd short picot,
+8 chain, 1 plain in the 4th short picot, 1 plain in the short picot
+opposite, 3 chain, pass the thread through the 4th of the 8 chain
+stitches, 4 chain and repeat from *.
+
+For the last row make: 3 plain in each of the 3 last of 8 chain, * 1
+picot of 5 chain above the treble, 4 plain in the 4 next chain, 1 picot,
+1 single in the same stitch as the plain before the picot, 3 plain, 1
+picot, 3 plain, miss the 1st and the last stitch, then make 3 plain on
+the next scallop and repeat from *.
+
+[Illustration: FIG. 509. EDGING OF TATTING AND CROCHET. MATERIALS--For
+the tatting: Fil d'Alsace D.M.C in balls No. 30 in two shades of one
+colour. For the crochet: Fil d'Alsace D.M.C in balls No. 50 in one
+colour only.]
+
+EDGING OF TATTING AND CROCHET (fig. 509).--Worked with two shuttles
+and in two shades. With the light shade: 2 double, 1 short picot, 2
+double, 1 long picot, * 2 double, 1 picot of the ordinary size, 2
+double, 1 picot, 2 double, 1 picot, 2 double, 1 long picot, 2 double, 1
+short picot, 2 double, close the ring = with 2 shuttles: 3 double, pass
+the thread through the 1st picot, make 3 double, 1 long picot, 2 double
+= with the light shade: 4 double, pass the thread through the 9th picot
+of the 1st ring, make 3 double, 1 picot, 4 double, close the ring = with
+2 shuttles: 2 double, 1 picot, 3 double, 1 short picot, 3 double = with
+one shuttle: 2 double, pass the thread through the empty picot of the
+small ring, make 2 double, pass the thread through the long picot of the
+big ring, then repeat from *.
+
+To complete the edge, crochet first one row, consisting of: * 1 plain in
+the 1st of the 5 picots of the big ring, 4 chain, 1 plain in the 2nd
+picot, 4 chain, 1 plain in the 3rd picot, 4 chain, 1 plain in the 4th
+picot, 4 chain, 1 plain in the 5th picot and repeat from *.
+
+2nd row--2 plain on the 3rd and 4th of the first chain stitches = over
+the 2nd and 3rd chain: 1 plain, 1 half treble, 2 trebles, 1 half treble,
+1 plain; on the 4 last chain: 2 plain.
+
+For the footing make: 1 plain in the long picot, 5 chain, 1 plain in
+the next picot, 5 chain, 1 double treble in the short picot, leave the 2
+last loops of the treble on the needle = 3 trebles in the first lower
+loop of the double treble, keep the last loops of these 3 trebles on the
+needle, after the 4th treble, draw the needle through the 4 trebles. The
+last row consists of: 3 chain, 1 treble over 5 chain.
+
+TATTED MEDALLION (fig. 510).--Worked with two shuttles and two
+colours.
+
+1st row--with one shuttle: 12 double and 6 picots, close the ring.
+
+2nd row--with two shuttles and the dark coloured thread laid across the
+left hand = knot the threads into one of the picots of the 1st ring: 1
+double, 1 long picot, 2 double, pass the right hand thread through one
+of the picots of the ring, 1 picot, 2 double and so on. After the 12th
+picot fasten off the threads on the wrong side by two or three stitches.
+
+[Illustration: FIG. 510. TATTED MEDALLION. MATERIALS: Fil d'Alsace D.M.C
+Nos. 30 to 50.[A] COLOURS: Gris-Tilleul 330 and Rouge-Cardinal 304.[A]]
+
+3rd row--with one shuttle: * 3 double, pass the thread through one of
+the picots of the 2nd row, make 3 double, close the ring = leave 5 m/m.
+of thread = turn the work = 4 double, 1 picot, 4 double, close the ring
+= leave 5 m/m. of thread again and repeat 11 times from *.
+
+4th row--with two shuttles; fasten the ends to one of the picots of one
+of the 12 rings of the 3rd row: * 3 double, 1 picot, 3 double = with one
+shuttle: 3 double, pass the thread through the picot, 3 double, 1 picot,
+2 double, 1 picot, 3 double, close the ring = close to this: 3 double,
+pass the thread through the 2nd picot of the 1st ring, 3 double, 1
+picot, 3 double, close the ring = again, close to the last ring: 3
+double, pass the thread through the picot of the 2nd ring, 2 double, 1
+picot, 3 double, close the ring = with 2 shuttles: 3 double, pass the
+thread through the 2nd picot of the 3rd ring, 3 double, fasten the
+thread to the picot of the ring of the 3rd row and repeat 11 times from
+*.
+
+5th row--with two shuttles and the dark colour across the left hand: 6
+double and 2 picots over the lower rings and 10 double and 4 picots over
+the upper rings.
+
+[Illustration: FIG. 511. TATTED EDGING. MATERIALS: Fil d'Alsace D.M.C in
+balls Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos. 40 to 50, or Fil a
+dentelle D.M.C Nos. 25 to 40. COLOURS: Gris-Tilleul 330 and Rouge-Grenat
+326.]
+
+TATTED EDGING (fig. 511).--With two shuttles and with the two colours
+indicated, or in any other combination of colours.
+
+Begin with two shuttles, the red thread across the left hand = 10
+double, 1 picot, 6 double = with one shuttle: 6 double, 1 picot, 6
+double, close the ring = turn the work = make a second ring like the
+first and close to it = turn the work = with two shuttles: 6 double, 1
+picot, 6 double = with one shuttle: 6 double, pass the thread through
+the picot of the ring opposite, 6 double, close the ring = 6 double, 1
+picot, 6 double, close the ring = turn the work to make the next half
+ring.
+
+Make 3 rows of half rings connected by rings. In the 2nd row, you pass
+the thread from the ring through the picot to which the 2nd ring was
+fastened in the 1st row.
+
+For the outside scallops, make with one shuttle: * 5 double, pass the
+thread through the picot that connects 2 rings, 5 double, close the ring
+= with two shuttles: 4 double = with one shuttle: 2 double, 1 picot, 2
+double, 1 picot, 2 double, pass the thread through the picot of the half
+ring of the 3rd row, 2 double; then 8 picots more with 2 double between
+each, close the ring = with two shuttles: 4 double, 1 long picot, 2
+double, 1 short picot, 2 double, 1 short picot, 3 double = with one
+shuttle: 5 double, pass the thread through the 3rd picot of the big
+ring, 5 double, close the ring = with two shuttles: 2 double, 6 picots
+with 2 double after each picot = with one shuttle: 5 double, pass the
+thread through the 3rd picot of the big ring, 5 double, close the ring =
+with two shuttles: 3 double, 1 picot, 2 double, 1 picot, 2 double, 1
+picot, 4 double, pass the right hand thread through the 6th picot of the
+big ring = with two shuttles: 4 double, then repeat from *.
+
+The footing is worked in crochet and consists of one row of chain
+stitches and one of trebles.
+
+SQUARE OF TATTING (fig. 512).--Worked with two shuttles and two
+colours. With the light colour: 2 double, 1 picot, 4 double, 1 picot, 4
+double, 1 picot, 4 double, 1 picot, 2 double, close the ring.
+
+1st row--with two shuttles, the dark coloured thread across the left
+hand = fasten the thread to a picot and make: * 2 double, 1 picot, 2
+double, 1 picot, 2 double, 1 picot, 2 double, pass the right hand thread
+through the picot of the ring; 1 picot over the connecting thread, then
+repeat 3 times from *. The last picot over the picot of the small ring
+is made at the end.
+
+2nd row--with two shuttles, the light thread over the left hand = fasten
+the thread to the picot over the light picot: * 2 double, pass the right
+hand thread through the picot of the 1st row, 1 long picot over the
+lower picot, 3 double, pass the thread through the next picot of the 1st
+row = in the corner, 1 rather longer picot than the one before, 3
+double, pass the right hand thread through a picot, 1 long picot, 2
+double, pass the thread through a picot; repeat 3 times from *. To form
+the last picot, fasten off the thread on the wrong side by two or three
+stitches.
+
+[Illustration: FIG. 512. SQUARE OF TATTING. MATERIALS: Fil d'Alsace
+D.M.C in balls Nos. 30 to 100, Cordonnet 6 fils D.M.C Nos. 10 to 60, or
+Fil a dentelle D.M.C Nos. 25 to 70.[A] COLOURS: Jaune-Rouille 366 and
+Brun-Caroubier 359.[A]]
+
+3rd row--with one shuttle and the dark colour: * 4 double, pass the
+thread through the picot above the picot of the small ring, 4 double,
+close the ring = leave 10 m/m. of thread, make a second ring like the
+1st = leave 10 m/m. of thread, make 6 double, pass the thread through
+the long picot, 6 double, close the ring = leave 10 m/m. of thread, make
+another ring of 12 knots, fasten it to the same picot, the preceding
+knot is fastened to; then make a ring of 8 double knots and repeat 3
+times from *.
+
+4th row--with one shuttle and the light colour and worked like the 3rd
+row, leaving a rather longer length of thread between; then make: 16
+instead of 12 double for the corner rings.
+
+5th row--with one shuttle and the light colour = 8 double, fasten the
+thread to one of the corner loops and between 2 rings of the 4th ring: 8
+double, close the ring = turn the work = leave a length of thread, 3
+double, 1 picot, then 4 times 2 double knots and 1 picot, 3 double,
+close the ring. Make the second ring as close as possible to the first,
+beginning and finishing the second with 5 double knots = make a 3rd ring
+like the 1st, join it to the 2nd ring by the 4th picot = turn the work =
+make another ring of 16 knots and join it to the same loop of the 4th
+row, to which the two other rings are already joined = turn the work = 1
+ring above, with 4 picots, like the first one we described, then a ring
+of 12 double knots below.
+
+At the top, 6 detached half rings, placed between 3 connected rings,
+which form the corners. The top rings are to be joined after the 3rd
+double knot, to the 4th picot of the preceding ring.
+
+6th row--with two shuttles and the dark colour only = fasten the threads
+to a picot that serves as a connecting link, take the dark thread over
+the left hand and make: 3 double, 1 picot, 2 double, 1 picot, 2 double,
+1 picot, 3 double = fasten the thread to the connecting picot and carry
+the half rings all round the square.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: MACRAME STRIPE--ARABIC SUBJECT.]
+
+
+
+
+Macrame.
+
+
+Macrame is an Arabic word, signifying an ornamental fringe or trimming,
+which has been adopted as the term for a certain kind of hand-work,
+known also as "knotted fringe" or "Mexican lace" and produced by the
+knotting, interweaving and tying together of threads.
+
+We have given the preference to the Arabic name because of its less
+definite meaning, seeing that not only fringe and lace, but trimmings of
+all kinds, in the shape of bands and stripes and headings, can be worked
+in macrame.
+
+Until its revival about ten years ago, when it was regarded by many as a
+new invention, the art of macrame making had for centuries become almost
+extinct and save here and there in the convents, was quite unknown.
+
+The multitude of uses to which it can be turned as a trimming, the
+infinite variety it admits of and its great durability and strength,
+make macrame well worth a study; the difficulties that repel many at
+first sight are only on the surface and any one who carefully follows
+the instructions given in the following pages, will soon overcome them
+and be able without pains to copy the charming designs that accompany
+them, which remind us of the wooden lattices in the windows of Eastern
+houses, doubtless familiar to many of our readers, under the name of
+_moucharabieh_.
+
+MATERIALS.--These may be of almost any kind; silk, gold thread, cord,
+wool or cotton, can all be employed with good effect. Almost any of the
+D.M.C cottons can be used for macrame; but the ones especially to be
+recommended are: Fil a dentelle D.M.C[A], Cordonnet 6 fils D.M.C[A]
+and Coton a broder D.M.C[A] for the finer kinds of work, and for the
+coarser, Fil a pointer D.M.C[A], Coton a tricoter D.M.C[A] and Ganse
+turque D.M.C[A]. The twist in all these is so regular as to admit of a
+high degree of perfection being attained with them: they are moreover
+very agreeable to the touch, a great recommendation considering how much
+they have to be handled by the worker.
+
+[Illustration: FIG. 513. MACRAME CUSHION.]
+
+MACRAME CUSHION AND OTHER ACCESSORIES (figs. 513 and 514).--The only
+really important requisite for macrame work is the cushion, which should
+be well stuffed, and weighted with lead (fig. 513). It is convenient to
+have it made to screw on to a table like the Swiss tambour frames. There
+are other kinds of macrame cushions but none, in our opinion, as
+practical as these because any pattern can be worked upon them and
+patterns that have a heading or a border of picots can not be worked on
+any others. The pegs at the ends of the cushion are for fixing and
+winding the long threads upon, which carry the knots, and which we shall
+in future call "cords".
+
+For making long lengths of macrame fringe, metal clamps, with
+round-headed pegs attached to them top and bottom, to fasten the cords
+to, as represented in fig. 514, will be found far better than a cushion,
+as any number of threads can be knotted on to them at a time by pushing
+them more or less closely together on the cord.
+
+[Illustration: FIG. 514. CLAMPS FOR MACRAME FRINGE.]
+
+Besides the cushion and clamps, you will require, some big glass-headed
+pins, made expressly for the purpose, a crochet needle for pulling the
+threads through the stuff when they have to be knotted on to an edge,
+and a French metre or yard measure to measure the threads with; to these
+implements may further be added, scissors and a metal comb and ruler for
+cutting and straightening the ends of the threads.
+
+The length of the threads must depend on their substance and size; that
+is to say, that a knot will take up more of a coarse stiff thread than
+of a fine pliable one, on which account, to avoid the necessity of
+preliminary trials, the right length of thread, for the quality and size
+of material, is given with each pattern. If, for any reason, our workers
+should not follow the directions given, they must bear in mind that the
+thicker and stiffer the material, the more they will have to allow for
+the knots and vice versa.
+
+FORMATION OF THE KNOTS.--Beginners must be careful, in macrame as in
+tatting, not to move or slacken the cord, or horizontal thread that
+carries the knots. The knots made by the "knotting-thread", as it will
+be called in future, consist of loops formed over the cord and then
+tightened. The knotting-thread and the cord are constantly changing
+places, as you work, loops having to be made now with the one and now
+with the other.
+
+[Illustration: FIG. 515. KNOTTING ON THE THREADS.]
+
+KNOTTING ON THE THREADS (fig. 515).--Excepting when you work with the
+threads of a material obtained by unravelling and drawing out the cross
+threads, you must knot on lengths of thread on to a cord; cut them
+double the length the fringe is to be and fold them in half, so as to
+form a loop by means of which you attach them to the cord, in the
+following manner. Put the loop over the cord from the front and bring it
+back underneath, put the ends down through the loop, detail _a_, and
+tighten it, detail _b_, as shown in the engraving.
+
+[Illustration: FIG. 516. KNOTTING ON THE THREADS ON TO A STUFF EDGE AND
+FORMATION OF A FLAT DOUBLE KNOT.]
+
+KNOTTING ON THE THREADS ON TO A STUFF EDGE AND FORMATION OF A FLAT
+DOUBLE KNOT (fig. 516).--Push your crochet needle through the edge of
+the stuff from the right to the wrong side and catch hold of the loop,
+formed by the folding in half of the thread that is to be knotted on;
+pull it out to the right side, put the ends through, and tighten the
+loop, detail _a_. Detail _b_ shows two double threads, knotted on near
+to each other in this way, and the first tying together of the two outer
+threads for the flat knot which is formed as follows: you take the two
+outer of the four threads hanging down and cross the right hand one
+under, and the left hand one over the two centre threads. Whilst doing
+this, hold the inner ones tightly stretched out on the 3rd and 4th
+fingers of the left hand, detail _b_. The manner in which the two
+threads are brought back and tied together again is shown in detail _c_;
+the drawing up of the threads completes the so-called flat double knot,
+detail _d_. Detail _e_, of the same figure, shows two flat double knots,
+side by side, and the first step towards the formation of a third,
+connecting together the two right threads of the one with the two left
+threads of the other.
+
+[Illustration: FIG. 517. KNOTTING ON THREADS ONTO A KNOTTED HEADING.]
+
+KNOTTING ON THREADS ON TO A KNOTTED HEADING (fig. 517).--Make flat
+double knots as in fig. 516, detail _d_, on a double cord and then knot
+on your threads on to the loops of the double knots, putting the loop
+through from the right side, so that it may lie at the back. Use double
+threads so that the work beneath the heading may not be too open.
+
+[Illustration: FIG. 518. KNOTTING ON THREADS ON TO A PICOT HEADING.]
+
+KNOTTING ON THREADS ON TO A PICOT HEADING (fig. 518).--First, crochet
+a row of chain stitches, then make flat double knots on the chain, far
+enough apart for the thread between to form picots on the chain, then a
+second chain of crochet drawn through the picots on one side, on to
+which tie triple or quadruple lengths of thread, as shown in the
+engraving.
+
+KNOTTING ON THREADS WITH ROUND PICOTS (fig. 519).--Fasten the lengths
+of thread to the cushion with pins, about half a c/m. apart, fix the
+cord to one of the pegs at the left end of the cushion, hold it tightly
+extended in a horizontal line with the right hand. With the left hand
+knot the threads that are pinned down on to the cord, looping each end
+twice round it, upwards from below and then drawing it through between
+the two loops or knots thus formed, pulling each knot to the left as you
+tighten it round the cord. Make the second row of knots in the same way,
+taking care to lay the second cord as close to the first as possible
+that the vertical threads may not be visible between. One series of
+knots forms a bar; there are both horizontal and slanting bars as will
+be seen later on.
+
+[Illustration: FIG. 519. KNOTTING ON THREADS WITH ROUND PICOTS.]
+
+[Illustration: FIG. 520. KNOTTING ON WITH A FRINGE HEADING.]
+
+KNOTTING ON THREADS WITH A FRINGE HEADING (fig. 520).--Knot the
+threads on with a picot heading, as explained in the preceding figure,
+then cut the picots through and unravel and comb out the threads.
+
+For this way of knotting on threads, a very strongly twisted material is
+better than a loose one, as when it is cut and untwisted, it makes a
+much richer and fuller fringe.
+
+KNOTTING ON WITH PICOTS AND FLAT DOUBLE KNOTS (fig. 521).--Take two
+threads, pin them on close together, make a flat double knot, fig. 516,
+tying the outer threads over the inner ones, and loop the ends over a
+cord to make a horizontal bar of knots.
+
+KNOTTING ON THREADS WITH PICOTS AND TWO FLAT DOUBLE KNOTS (figs. 522
+and 523).--Pin the two threads on as before and make two flat double
+knots, one below the other; detail _a_ shows the first knot begun,
+detail _b_ the two knots completed. Fig. 523 shows the picots secured by
+a horizontal bar of knots beneath them.
+
+[Illustration: FIG. 521. KNOTTING ON THREADS WITH PICOTS AND TWO FLAT
+DOUBLE KNOTS.]
+
+[Illustration: FIG. 522. & FIG. 523. KNOTTING ON THREADS WITH PICOT AND
+TWO FLAT DOUBLE KNOTS.]
+
+[Illustration: FIG. 524. KNOTTING ON THREADS WITH SCALLOPS.]
+
+KNOTTING ON THREADS WITH SCALLOPS (fig. 524).--The threads for the
+scallops must be cut much longer than those that are to be knotted on
+below them. The buttonhole loops must be so made that they turn upwards;
+and there must be 12 of them, all made with the left hand thread over
+the right hand thread, detail _a_. Then, knot on two double threads
+underneath the scallop and besides, make knots with the threads that
+come from the scallops, detail _b_.
+
+[Illustration: FIG. 525. KNOTTING ON THREADS WITH LOOPS.]
+
+KNOTTING ON THREADS WITH LOOPS (fig. 525).--Pin on two threads folded
+in half, a little distance apart, detail _a_, and bind them together
+with a flat double knot. Pin on more lengths close to them, the inner
+threads of which are held by a "collecting knot", as the flat double
+knot is called when it is made over more than two threads (see also fig.
+530). The ends of the threads can then be looped over one or two cords,
+so as to form a single or double bar of knots, as required.
+
+[Illustration: FIG. 526. KNOTTING ON THREADS WITH TRIPLE SCALLOPS.]
+
+KNOTTING ON THREADS WITH TRIPLE SCALLOPS (fig. 526).--Knot on three
+single threads in succession; first, the middle one, then the second,
+with the knot right and left and the loop long enough to form the
+scallop, then the third in the same manner.
+
+KNOTTING ON THREADS FOR RIBBED PICOTS (fig. 527).--Take a double
+thread and make two slanting bars of knots, see details _a_ and _b_,
+then secure them, like the preceding scallops by a horizontal bar of
+knots, see detail _c_.
+
+KNOTTING ON THREADS FOR A GIMP HEADING (fig. 528).--This mode of
+knotting on forms a broad gimp, consisting of vertical bars of knots,
+made over a single cord. On the one side, that which is afterwards
+turned downwards, the cord, the ribs are made on, forms loops, held with
+pins, into which meshes of threads can be knotted when the gimp is
+finished, for making either a fringe or a grounding.
+
+Patterns in several colours may likewise be knotted into gimp headings
+of this kind.
+
+[Illustration: FIG. 527. KNOTTING ON THREADS WITH RIBBED PICOTS.]
+
+[Illustration: FIG. 528. KNOTTING ON THREADS FOR A GIMP HEADING.]
+
+FLAT DOUBLE KNOTS WITH HALF KNOTS (fig. 529).--These are double knots
+followed by a third knot, or more correctly speaking, a half one of the
+first flat knots.
+
+COLLECTING KNOTS (fig. 530).--As explained in fig. 525, these are flat
+double knots, made over more than two threads. The engraving shows, in
+the first place on the left, a flat double knot made over two threads,
+completed, and the first crossing of the thread for the collecting knot;
+secondly, the second crossing of the threads; thirdly how the collecting
+knot can, if necessary, be continued over 4 threads, and fourthly, how
+the collecting knot should be made to finish with a flat double knot.
+
+PLAITED AND WAVED KNOTS (fig. 531).--Plaited knots are formed by a
+continuous repetition of the first crossing of the threads for making a
+flat knot, detail _a_; waved knots by a slight twist given to the
+plaited knots from left to right, detail _b_. These plaits of waved
+knots are secured by joining together the threads of opposite meshes,
+two and two, by a flat double knot.
+
+[Illustration: FIG. 529. FLAT DOUBLE KNOTS WITH HALF KNOTS.]
+
+[Illustration: FIG. 530. COLLECTING KNOTS.]
+
+SINGLE CROSSED KNOTS AND DOUBLE CROSSED KNOTS (figs. 532 and
+533).--Two plain crossings of the threads, detail _a_, to begin with;
+after which you rapidly reverse the threads, turning the knot to the
+wrong side, drawing it up tightly at the same time; this forms the first
+knot, detail _b_. The second knot, fig. 533, is formed by 3 crossings,
+detail _a_; reverse the threads rapidly, to form the double crossed
+knot, detail _b_. For the following knots tie the threads together, as
+for the flat double knot, detail _c_.
+
+LOOPED PICOT AND KNOTTED PICOTS (figs. 534 and 535).--Looped picots
+are made along a row of knots by setting the knots, far enough apart for
+the loop between, to form a picot when the knots are drawn up close
+together. In fig. 534, the detail _a_ represents the picot, in its first
+open stage, detail _b_ the same picot when it is finished.
+
+Knotted picots, fig. 535, are formed after one or more flat double
+knots, by a knot made in the outer thread; to get this knot into the
+right place, make it on a big pin and draw it up close to the flat knot
+before you take out the pin.
+
+[Illustration: FIG. 531. PLAITED AND WAVED KNOTS.]
+
+[Illustration: FIG. 532. SINGLE CROSSED KNOT.]
+
+[Illustration: FIG. 533. DOUBLE CROSSED KNOT.]
+
+These picots are always made on both sides and can be repeated several
+times along a row of knots. Detail _a_ shows the crossing of the threads
+for the picots, detail _b_ the picots completed and followed by a flat
+knot.
+
+[Illustration: FIG. 534. LOOPED PICOT.]
+
+[Illustration: FIG. 535. KNOTTED PICOT.]
+
+[Illustration: FIG. 536. BEAD KNOTS.]
+
+BEAD KNOTS (fig. 536).--A bead knot is made by turning back the
+threads after a row of flat double knots. Detail _a_ shows three flat
+double knots finished, detail _b_ the inner threads turned back over the
+flat double knots, detail _c_ the two knotting threads, brought between
+the two threads coming from the left to the right, and detail _d_ the
+bead knot finished and followed by a flat double knot.
+
+BARS OF KNOTS TO THE RIGHT AND LEFT (figs. 537, 538, 539, 540, 541,
+542, 543, 544).--After knotting on the requisite number of threads on to
+a double cord, make two buttonhole loops with the right thread round the
+left one, fig. 537, then knot each thread twice over the second cord,
+fig. 538. These knots must be as close together as possible. This done,
+begin to make the slanting bars, inclining from left to right, with 4
+threads.
+
+The first thread on the left, marked 1 in fig. 540, serves as cord to
+the threads 2, 3, 4, which are looped in succession over thread 1.
+
+Fig. 541 represents threads 2, 3 and 4, knotted thread 1 and in the
+second bar, thread 2 becoming in its turn the cord, and having threads
+3, 4 and 1 knotted over it, whilst it is being held, tightly stretched
+in the right hand. The knotting should be done with the left hand.
+
+In fig. 542, which represents a bar inclining from right to left,
+threads 3, 2 and 1 are knotted over thread 4; and in fig. 543, in the
+second row, threads 2, 1, 4 over thread 3. Here, it has to be the left
+hand that holds the thread extended from right to left, whilst the right
+hand does the knotting.
+
+[Illustration: FIG. 537. BUTTONHOLE LOOP TO THE RIGHT.]
+
+[Illustration: FIG. 538. FASTENING THE THREADS TO THE CORD.]
+
+[Illustration: FIG. 539. BAR SLANTING TO THE RIGHT. THE KNOT OPEN.]
+
+[Illustration: FIG. 540. BAR SLANTING TO THE RIGHT. THREAD 2 KNOTTED
+OVER THREAD 1.]
+
+[Illustration: FIG. 541. BAR SLANTING TO THE RIGHT. THREADS 3, 4, 1 TO
+BE KNOTTED OVER THREAD 2.]
+
+Fig. 544 explains how the double bars are bound together by an ordinary
+double knot.
+
+[Illustration: FIG. 542. BAR SLANTING TO THE LEFT.]
+
+[Illustration: FIG. 543. BAR SLANTING TO THE LEFT.]
+
+[Illustration: FIG. 544. BARS JOINED TOGETHER.]
+
+SINGLE CHAIN (fig. 545).--This is made with two single threads, by
+knotting them alternately over each other, that is, each in turns
+serving as cord to the other.
+
+DOUBLE CHAIN (fig. 546).--The double chain is made in the same manner
+as the single, only with a double thread.
+
+Both the double and single chain are generally used in macrame gimps and
+borders as a means of conducting threads of different colours, from one
+part of a pattern to another, which could be done in no other way; also,
+as a continuation to the Chinese knot, fig. 607, as described at the end
+of this chapter.
+
+[Illustration: FIG. 545. SINGLE CHAIN.]
+
+[Illustration: FIG. 546. DOUBLE CHAIN.]
+
+RIBBED BORDER (fig. 547).--Here, the same cord runs to and fro; the 4
+threads that hang down, form little ribbed bars running right and left.
+To distinguish from the knotting threads, the thread that runs to and
+fro it, is represented in a darker colour.
+
+MACRAME FRINGE (figs. 548, 549, 550).--Entire length of the threads
+for No. 8 of Coton a tricoter D.M.C: 80 c/m.
+
+[Illustration: FIG. 547. RIBBED BORDER.]
+
+1st row--knot on the threads, as in fig. 515, and in the following
+order: 1 double white thread, 2 double red, 1 double blue and so on.
+
+2nd row--make a horizontal bar of knots, see figs. 519, 520 and 521,
+over a second cord.
+
+3rd row--3 buttonhole knots, fig. 524, each with 2 threads.
+
+4th row--like the 2nd.
+
+5th row--make slanting bars of double knots right and left, counting 6
+threads for each bar, consequently 12 for 2. The 1st and 12th thread
+serving as the cords for the knots. In the 2nd series of knots which
+forms the double slanting bar, make another double knot over the cord
+with the thread that served as cord in the preceding row.
+
+When the slanting bars are finished, bring them as close together as
+possible, tighten the last thread on the right and make another double
+knot with the left thread; the position of all the threads is clearly
+described in fig. 549. Then continue the bars in the opposite direction,
+so that the 2nd thread on the left is stretched over the right hand
+group of threads, and the 11th thread on the right over the left hand
+group.
+
+[Illustration: FIG. 548. MACRAME FRINGE. MATERIALS: Coton a tricoter
+D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C Nos. 5 to 25, or Fil a
+dentelle D.M.C Nos. 25 to 70. COLOURS: Bleu-Indigo 311, Rouge-Turc 321
+and white, or Bleu tendre 710, Rouge-Maroquin 3327 and Vert-Fauve 691.]
+
+Make 3 rows of double bars and then take always 3 threads of a left hand
+group and 3 of a right hand one, tie them loosely together in a plain
+knot, put in, above the knot, a bunch of 8 threads, 15 c/m. long, fig.
+550 detail _a_, draw up the knot close to the bars and wind thread of a
+different colour several times round it, detail _b_, to form the tassel.
+
+The other bunches of threads which are hung on between two bars of knots
+must be tied on the same level with the first, but do not, nevertheless,
+come into close contact with the bars.
+
+[Illustration: FIG. 549. WORKING DETAIL OF FIG. 548.]
+
+[Illustration: FIG. 550. WORKING DETAIL OF FIG. 548.]
+
+INSERTION OR FRINGE (figs. 551 and 552).--Entire length of the threads
+for No. 8 of Coton a tricoter D.M.C: 50 c/m., including the fringe.
+
+1st row--knot on the threads as in fig. 515.
+
+2nd row--1 double horizontal bar of knots, as in figs. 519 or 520, over
+double cords.
+
+3rd row--Take 8 threads for a group of bars; 2 light and 2 dark ones on
+each side; the two sets of threads are numbered in fig. 552, a working
+detail of fig. 551, from 1 to 4.
+
+Begin by making all the knots over threads 1 and 2 of the left set, so
+that threads 3 and 4 on the left will be outside and threads 1 and 2
+inside the group. Make the same knots over the 3rd and 4th thread on the
+right, then repeat the left group again and so on.
+
+[Illustration: FIG. 551. INSERTION OR FRINGE. MATERIALS: Coton a
+tricoter D.M.C Nos. 6 to 13, Cordonnet 6 fils D.M.C Nos. 1 to 20, Fil a
+pointer D.M.C Nos. 10 to 30, or Fil a dentelle D.M.C Nos. 25 to 50.
+COLOURS: Bleu-indigo 311 and Brun-Chamois 418, or Brun-Rouille 3312 and
+Bleu-Gris 3303.]
+
+Repeat from the beginning, and make 2 double knots over thread 3 on the
+right, fig. 552, with threads 1 and 2 on the left, then again 2 knots
+over thread 4 on the right. When this series of knots is finished, make:
+3 double knots over thread 1 (dark-coloured in the engraving) with the
+left thread 2 and the right threads 1 and 2; make on the left: 3 knots
+over thread 4 with the right thread 3 and the left threads 2 and 1, and
+so on.
+
+When this pattern is worked for a gimp and not a fringe, the threads are
+made to end in knots, as explained in fig. 558.
+
+[Illustration: FIG. 552. WORKING DETAIL OF FIG. 551]
+
+GIMP MADE WITH MACRAME SHUTTLES (figs. 553, 554, 555).--Cut 8 double
+threads of the length the gimp is to be.
+
+In order not to have to add on threads in the middle of the work, or
+have long ends hanging down, which are very much in the way, we
+recommend the employment of a new macrame shuttle, a kind of spool, such
+as are used in the making of pillow lace. These shuttles simplify the
+work enormously and are made hollow so that they can be mounted and
+filled on the spindle of any sewing machine.
+
+Knot on the threads, as in fig. 515, and make a single bar of knots.
+Then leaving 2 threads on the right and 2 on the left disengaged, make 3
+flat double knots with every set of 4 threads between. Make a slanting
+bar of double knots over the 16th right thread, with the 15th, 14th,
+13th, 12th, 11th, 10th and 9th thread; then make knots with the same
+threads and with the 16th over the 15th thread. Make a similar bar on
+the left, over the 1st thread, with the 2nd, 3rd, 4th, 5th, 6th, 7th and
+8th thread.
+
+[Illustration: FIG. 553. GIMP MADE WITH MACRAME SHUTTLES.
+
+MATERIALS: Coton a tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C
+Nos. 1 to 10, Fil a pointer D.M.C Nos. 10 to 30, or Fil a dentelle D.M.C
+Nos. 25 to 50.[A]
+
+COLOURS: Bleu-Indigo 311 and Brun-Marron 406.[A]]
+
+[Illustration: FIG. 554. MACRAME SHUTTLE.]
+
+On both sides, and with the 4 outer threads: 4 flat double knots, fig.
+516, detail _d_; 2 more bars on the right and left, but in the opposite
+direction, and knotting all the threads even to the last one, fig. 555.
+Take the 4 middle threads and make 6 flat double knots and then turn the
+bars of knots inwards; the return of the cord is indicated as before in
+fig. 555.
+
+MACRAME BORDERS (figs. 556, 557, 558, 559).--Length of the single
+threads for No. 6 of Coton a tricoter D.M.C: 50 c/m.
+
+Knot the threads on for both these borders in the ordinary way, followed
+by a single horizontal bar of knots. For fig. 556, make a triple
+slanting bar of knots, with 4 threads, slanting one from right to left
+and one from left to right; then make a single horizontal bar and add
+another series of triple bars slanting the opposite way; complete the
+pattern by a vertical bar, lay another cord and make a horizontal bar
+upon it on the wrong side of the work and finish by tying the threads
+together, two and two, as shown in fig. 558, detail _a_, cut them,
+detail _b_, and push the knot upwards, detail _c_.
+
+[Illustration: FIG. 555. SLANTING BAR AND THE RETURN OF THE CORD.
+WORKING DETAIL OF FIG. 553.]
+
+[Illustration: FIG. 556. MACRAME BORDER.]
+
+[Illustration: FIG. 557. MACRAME BORDER.
+
+MATERIALS: Coton a tricoter D.M.C Nos. 6 to 10, Fil a pointer D.M.C Nos.
+10 to 30, or Fil a dentelle D.M.C Nos. 25 to 70.[A]
+
+COLOURS--For fig. 556: Bleu-Lapis 342 or Bleu-Gentiane 480--For fig.
+557: Rouge-Turc 321 or Rouge-Cerise 3318.[A]]
+
+For fig. 557 take 8 threads for a group of knots. Make all the bars
+slanting from right to left first, fig. 559, then take the 5th thread,
+counting from left to right, for the cord, fig. 559 again, and begin the
+second series of bars of knots, slanting from left to right. Fasten off
+the threads as already explained in fig. 558.
+
+The same pattern can also be used as an insertion: bags for instance,
+look very well made of alternate stripes of this insertion and stripes
+made of flat knots. The openwork stripes must be wider than the close
+ones.
+
+[Illustration: FIG. 558. WORKING DETAIL OF FIGS. 556 AND 557.]
+
+[Illustration: FIG. 559. WORKING DETAIL OF FIG. 557.]
+
+MACRAME FRINGE (figs. 560 and 561).--Entire length of the threads,
+including the fringe, for No. 5 of Cordonnet 6 fils D.M.C: 120 c/m.
+
+[Illustration: FIG. 560. MACRAME FRINGE. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 3 to 25 or Fil a dentelle D.M.C Nos. 25 to 50. COLOURS:
+Brun-Cuir 431 and 432, Bleu-Indigo 31]
+
+1st row--knot on the threads, as in fig. 520, in the following order: 4
+double blue threads, 3 single dark brown, 1 double light brown, 3 single
+dark brown; then again 4 double blue, and so on.
+
+2nd row--divide the threads into groups, so that the brown threads come
+in the middle with 4 blue ones on either side. Begin on the left = cover
+the 4th blue thread, which comes nearest to the first brown one, with
+flat double knots, made over the 1st, 2nd and 3rd brown thread and the
+light brown one = cover the 3rd blue thread with the 4 brown threads and
+the 4th blue, which served as the cord in the 1st row of knots = cover
+the 2nd blue thread with the 4 brown and the 4th and 3rd blue = cover
+the 1st blue with the 4 brown and the 4th, 3rd and 2nd blue.
+
+[Illustration: FIG. 561. WORKING DETAIL OF FIG. 560]
+
+In the working detail, fig. 561, the dark lines represent the blue
+threads, the light ones, the brown.
+
+When the quadruple bar, slanting from left to right, is finished, make a
+similar one, from right to left, then connect the 1st and 16th thread by
+a double knot and pass the first blue thread on the left over to the
+right group.
+
+2nd row--make similar groups, reversed, so that the brown knots come
+next to the last blue ones and the blue knots again terminate the groups
+of bars; the brown threads will be stretched flat between the preceding
+group and the next.
+
+3rd and 5th row--like the first.
+
+4th row--like the 2nd.
+
+[Illustration: FIG. 562. MACRAME FRINGE. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 3 to 15 or Fil a dentelle D.M.C Nos. 25 to 50.[A] COLOURS:
+Ecru, or any light shade mentioned in the D.M.C colour card.[A]]
+
+After the 5th row of groups, take 4 brown threads on either side of the
+blue knots, and make them into a double chain, fig. 546, consisting of
+12 knots, and make 6 flat double knots with the last threads.
+
+Lastly, unite all the threads of one group of bars, and make them into a
+handsome tassel by the addition of other threads.
+
+MACRAME FRINGE (fig. 562).--Entire length of the threads for No. 3 of
+Cordonnet 6 fils D.M.C: 75 c/m.
+
+1st row--Knot on the threads as in fig. 527, succeeded by a double
+horizontal bar of knots.
+
+2nd row--twisted or waved knots with 4 knots, fig. 531.
+
+3rd row--double horizontal bar of knots.
+
+4th row--with 6 threads: 1 double bar, slanting from left to right, and
+1 bar, from right to left, joined together by the last threads.
+
+5th row--with the 4 threads coming from the groups of bars: 1 single
+chain, fig. 545, with 4 crossings of the threads, quite close to the
+point where the groups meet, and 1 single chain with 7 crossings, made
+with the outside threads.
+
+6th row--similar groups of bars to those of the 4th row, but set the
+reverse way and terminating in a horizontal bar. For the tassels, add a
+thick bunch of threads to each group of 6 threads that issues from the
+work.
+
+[Illustration: FIG. 563. FRINGE WITH MOSAIC BORDER.
+
+MATERIALS: Cordonnet 6 fils D.M.C Nos. 8 to 30, or Fil a dentelle D.M.C
+Nos. 25 to 50.
+
+COLOURS: Ecru, Brun-Acajou 401 and Rouge-Cardinal 347.]
+
+[Illustration: FIG. 564. KNOT OPEN.
+
+WORKING DETAIL OF FIG. 563.]
+
+[Illustration: FIG. 565. KNOT SHUT.
+
+WORKING DETAIL OF FIG. 563.]
+
+FRINGE WITH MOSAIC BORDER (figs. 563, 564, 565).--Entire length of the
+threads for No. 8 of Cordonnet 6 fils D.M.C: 75 c/m.
+
+1st row--knot the threads on, as in fig. 515, one ecru and one brown
+alternately, succeeded by a single horizontal bar of double knots.
+
+2nd, 3rd, 4th and 5th row--4 rows of knots, such as are seen in fig.
+564, in process of being made, and in fig. 565, finished, and succeeded
+by a flat knot. The colours alternate in the knots; in the 2nd and 4th
+row the knot is set in the light colour, in the 3rd and 5th, in the
+dark.
+
+6th row--1 horizontal bar of double knots over a fresh cord.
+
+7th row--lay down another cord, make another horizontal bar of knots and
+between every second of the light double knots, loop on 1 red thread;
+the loop, that fastens it to the cord, taking the place of the knot.
+
+8th row--lay down a third cord, and make 2 double knots with the red
+threads between the knots of ecru thread.
+
+9th row--lay down a fourth cord, make a half knot with every red thread.
+
+10th row--lay down a fifth cord, then make a horizontal bar of double
+knots, as in the 6th row; the red threads are taken to the wrong side
+and passed over. Knot the ends of the threads together in clusters of 6,
+about 15 m/m. below the last cord of knots.
+
+[Illustration: FIG. 566. MACRAME GROUND. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 15 to 30 or Fil a dentelle D.M.C Nos. 25 to 50.[A] COLOURS:
+Ecru and Bleu-Indigo 322, or Vert-Perroquet 697 and Rouge-Ecarlate
+498.[A]]
+
+[Illustration: FIG. 567. SHELL BAR. WORKING DETAIL OF FIG. 566.]
+
+[Illustration: FIG. 568. OPENWORK PART OF FIG. 566.]
+
+MACRAME GROUND (figs. 566, 567, 568).--Fill the shuttles with the
+length of thread that you think will be required for the work.
+
+1st row--knot the threads on, as in fig. 515, 4 blue and 4 ecru
+alternately, and make a double horizontal bar.
+
+2nd row--beginning in the middle, make 2 flat double knots with 8 blue
+threads; with the 4 blue threads on the left, make a quadruple group of
+bars over the 4 blue threads on the right. These quadruple groups of
+bars, called "shell bars" are illustrated in detail in fig. 567. Unite
+the blue threads at the sides by flat double knots.
+
+The beginning and continuation of the openwork parts of the pattern are
+explained in fig. 568.
+
+The threads that issue from the last group of knots are used for making
+the second shell bar, the two inner bars of which are made in ecru
+cotton, and the two outer in blue. When this striped shell bar is
+finished, the blue threads are again united for the openwork figure.
+
+[Illustration: FIG. 569.
+
+FRINGE WITH FOUNDATION WORKED ON THE WRONG SIDE.
+
+MATERIALS: Coton a tricoter D.M.C Nos. 8 to 16, Cordonnet 6 fils D.M.C
+Nos. 5 to 25, Fil a pointer D.M.C Nos. 6 to 30, or Fil a dentelle D.M.C
+Nos. 25 to 50.[A]
+
+COLOURS: White, Bleu-Indigo 311 and 312 or Gris-Amadou 385,
+Brun-Caroubier 356, 357.[A]]
+
+FRINGE WITH FOUNDATION WORKED ON THE WRONG SIDE (figs. 569, 570, 571,
+572).--Entire length of the threads for No. 8 of Coton a tricoter D.M.C:
+80 c/m.
+
+Knot the threads on, as in fig. 515 and after finishing the horizontal
+bar, make from left to right, over the 1st thread, 1 double knot made
+with the 2nd and with the 3rd thread.
+
+Then, over the 2nd thread, which has now become the 1st, make double
+knots with the 3rd, 1st, 4th and 5th thread; then, over the 3rd thread,
+counting now from right to left, which in the knotting on figured as the
+4th: 1 double knot with the 5th and 2nd thread.
+
+Make the same group from right to left, only at the 3rd change of thread
+make 5 double knots instead of 2, and let the last knots count for the
+new group of bars, turned the opposite way.
+
+[Illustration: FIG. 570.
+
+OPPOSING BARS.
+
+WORKING DETAIL OF FIG. 569.]
+
+[Illustration: FIG. 571.
+
+FORMATION OF THE KNOTS ON THE WRONG SIDE.
+
+WORKING DETAIL OF FIG. 569.]
+
+[Illustration: FIG. 572.
+
+APPEARANCE OF THE KNOTS ON THE RIGHT SIDE.
+
+WORKING DETAIL OF FIG. 569.]
+
+In the middle of two opposing groups of bars, make a flat double knot
+with 2 of the right threads and 2 of the left.
+
+When the second horizontal bar is finished, turn the work round, and go
+on working on the wrong side, making plain double knots, as in fig. 571,
+turned in one row, all from right to left, and in the next, from left to
+right.
+
+When you have worked 10 such rows of knots, begin to make one knot less
+on either side of a group, so as to form pointed scallops of knots which
+you finish off with a plain bar.
+
+Tassels are then made with the threads that issue from each scallop, and
+when these are sewn up, turn the work round to the right side, where the
+knots, made on the wrong side, will present the appearance indicated in
+fig. 572.
+
+[Illustration: FIG. 573. MACRAME FRINGE.
+
+MATERIALS: Coton a tricoter D.M.C No. 6, Cordonnet 6 fils D.M.C Nos. 3
+to 25, or Fil a pointer D.M.C Nos. 10 to 30.[A]
+
+COLOURS: Ecru, Rouge-Turc 321 and Rouge-Grenat 358 or Violet-Mauve 315
+and 316, and Vert-Bouteille 494.[A]]
+
+MACRAME FRINGE (fig. 573).--Entire length of the threads for No. 6 of
+Coton a tricoter D.M.C: 65 c/m.
+
+Knot on double threads, as in figs. 517 and 524, to count as single in
+the working directions = * 1 thread of red, colour 358, 3 of ecru, 1 of
+red, colour 358, 1 of red, colour 321, 3 of ecru, 1 of red, colour 321,
+and repeat from *.
+
+1st row--6 chain knots made with every 4 threads.
+
+2nd row--a single horizontal bar of knots.
+
+3rd row--collecting knots, fig. 530, made with the ecru threads over the
+4 dark and the 4 light red ones, and flat double knots over the 4 ecru
+threads.
+
+4th row--collecting knots over 4 ecru threads with 4 red and 2 ecru
+threads.
+
+5th row--collecting knots in the centre of the groups, with the ecru
+threads.
+
+6th row--similar to the 4th.
+
+7th row--similar to the 5th.
+
+Then take the red threads on the right and left and twist them, each
+cluster separately, from left to right between the thumb and forefinger,
+as you do in making a cord, then unite them together, twisting them from
+left to right. Fasten off the cord by a knot, beneath which the ends of
+thread form a little tassel. Collect all the ecru threads together and
+make them into a heavy tassel with the aid of supplementary threads.
+
+[Illustration: FIG. 574.
+
+BORDER WITH SHELL KNOTS.
+
+MATERIALS: Cordonnet 6 fils D.M.C Nos. 5 to 25.[A]
+
+COLOURS: Vert-Mousse 471 and Rouge-Cornouille 450, or Rouge-Framboise
+686 and Gris-Coutil 323.[A]]
+
+BORDER WITH SHELL KNOTS (figs. 574, 575, 576, 577).--Fill the macrame
+shuttles with the requisite length of thread. Knot the threads on, as in
+fig. 520, in the following order; 1 double thread of colour 471, 6
+double threads of colour 450, 2 of colour 471, 6 of colour 450, 1 of
+colour 471.
+
+From left to right and over the 1st thread: 1 double knot with the 2nd
+thread; over the 4th thread of colour 450, and from right to left,
+double knots with the 3rd, 2nd and 1st thread of the same colour = from
+left to right: 1 double knot with the 6th thread of colour 450 over the
+5th, and with the 3rd thread over the 2nd = from right to left: 5 double
+knots over the 8th thread of colour 450 = from left to right: 1 double
+knot over the 10th thread, 1 double knot over the 5th thread, 1 double
+knot over the 1st thread = from right to left: 7 double knots over the
+12th thread = from left to right: 3 detached double knots.
+
+Then, from left to right, and subsequently from right to left = with 6
+green threads: 2 double bars slanting over the 2 red threads (see the
+top of fig. 577); unite the 4 red threads in the middle and make a shell
+knot with them, fig. 575, consisting of 6 flat knots, fig. 576; take 2
+threads on the right and 2 on the left, turn them down to the left and
+right, and then from the wrong side to the right, over the threads that
+come from the bars and close with a flat knot. On the sides, make
+double bars and between each bar, 2 single chain knots.
+
+[Illustration: FIG. 575. LARGE SHELL KNOT, OPEN.
+
+WORKING DETAIL OF FIG. 574.]
+
+[Illustration: FIG. 576. LARGE SHELL KNOT, SHUT.
+
+WORKING DETAIL OF FIG. 574.]
+
+[Illustration: FIG. 577. OPENWORK PART OF FIG. 574.]
+
+Fill the empty spaces under the outside shell knots, with 9 flat double
+knots; under the middle knot make bars of inter-crossed knots, of which
+a clear explanation will be found in fig. 577.
+
+To join two borders of the kind together, pass the thread of the second
+border over the thread on which the bar in the middle of the outer
+scallop is knotted.
+
+FRINGE WITH SHELL KNOTS (fig. 578).--Entire length of the single
+threads for No. 12 of Coton a tricoter D.M.C: 90 c/m.
+
+[Illustration: FIG. 578. FRINGE WITH SHELL KNOTS.
+
+MATERIALS: Coton a tricoter D.M.C Nos. 6 to 15.
+
+COLOURS: Ecru and Rouge-Turc 321.]
+
+The threads must be taken double, counting as one. Knot them on, as in
+fig. 524. This exceedingly effective pattern is a very simple one to
+work and can easily be copied from the engraving by following, for the
+bars, figs. 537 to 544; for the collecting knots fig. 530, for the
+large shell knots figs. 575 and 576, and for the chain of flat double
+knots, fig. 536 detail _a_.
+
+The tassels that complete the fringe must depend from the last
+collecting knot and hang between the triple bars of knots and beneath
+the collecting knot.
+
+[Illustration: FIG. 579. MACRAME BORDER OR FRINGE. MATERIALS: Cordonnet
+6 fils D.M.C Nos. 10 to 20, Fil a dentelle D.M.C Nos. 25 to 50, or Fil a
+pointer D.M.C No. 30.[A] COLOURS: Ecru, Rouge-Turc 321 and Bleu-Indigo
+312.[A]]
+
+MACRAME BORDER OR FRINGE (fig. 579).--Entire length of the threads for
+No. 10 of Cordonnet 6 fils D.M.C: 170 c/m.
+
+1st row--knot on the threads with double round picots, and one
+horizontal double bar. The colours should succeed each other as follows:
+* 4 blue scallops, 4 ecru, 5 red, 4 ecru, repeat from *.
+
+2nd row--begin working from right to left: 1 single chain with 2 single
+threads, fig. 545, and 7 changes of the threads; after the 3rd change of
+the threads, connect the 2nd chain with the 3rd, the 4th with the 5th.
+Finish off every 2 chains with a flat double knot.
+
+Make, over the first blue threads; 1 waved plait, fig. 531 detail _b_, =
+over the 14th ecru thread: 1 bar of double knots, 3 going and 4
+returning = over the last 2 red threads: waved knots, and repeat from *
+= then lay down 2 fresh cords, to make a double horizontal bar of knots.
+
+3rd row--with the blue threads: 5 large shell knots, fig. 576, 1 triple
+bar of double knots to the left and right = between the bars 9 large
+shell knots = 1 triple bar of double knots to the right and left and
+finish with 5 large shell knots, as above.
+
+With the ecru threads: 3 flat double knots, 1 double horizontal bar of
+knots = over the last ecru thread: 3 waved knots with 12 changes of the
+threads = 1 more double bar of knots = join the cord to the outside
+thread of the blue triple bar. With the red threads: 1 shell knot, figs.
+576 and 577, over 12 threads; 1 double bar on both sides of the shell
+knot with the outside threads, 1 single chain, consisting of 7 changes
+of the threads, made with the outside red threads; join the red thread
+and the light one that comes from the double bar together, on the left.
+
+The light thread is afterwards looped into the blue thread on the right
+= 4 collecting knots over 6 red threads on the right and left, 1
+collecting knot over all the red threads and one, on both sides, over 6
+red threads.
+
+After joining the threads on both sides, carry on the single chain with
+3 changes of the threads = over the first red thread of the left chain,
+make 1 double horizontal bar with all the disengaged threads = below the
+bar, 4 flat double knots = 1 single horizontal bar = 8 double knots,
+each over a single thread = 1 double bar of knots.
+
+From this point, continue with the ecru threads: 1 row of double knots,
+1 double horizontal bar and 1 waved plait; then join: 2 blue threads and
+2 ecru, and 2 ecru and 2 red, together, to make flat double knots; the
+double knots between remain of one colour.
+
+The bottom border is like the top one with the exception of the picots.
+
+When this pattern is to be used for an insertion or a gimp, the threads
+should be fastened off, as indicated in fig. 558.
+
+[Illustration: FIG. 580. MACRAME BORDER. MATERIALS: Coton a tricoter
+D.M.C Nos. 15 to 30, Cordonnet 6 fils D.M.C Nos. 10 to 30, or Fil a
+dentelle D.M.C Nos. 25 to 50 and Chine d'or D.M.C[A] COLOURS: Noir grand
+teint 310, Gris-Tilleul 392 and 330, Brun-Cuir 430 and 432, Bleu-Indigo
+334 or Chine d'or D.M.C, Bleu et Or.[A]]
+
+[Illustration: FIG. 581. CROSSED BAR SLANTING TO THE LEFT. WORKING
+DETAIL OF FIG. 580.]
+
+[Illustration: FIG. 582. CROSSED BAR SLANTING TO THE RIGHT. WORKING
+DETAIL OF FIG. 580.]
+
+MACRAME BORDER (figs. 580, 581, 582).--Wind the threads on shuttles
+and knot them on, as in fig. 515, in the following order: 2 threads of,
+either colour 334 or Chine d'or (blue and gold), 2 of colour 330, 2 of
+colour 392, 1 of colour 432, 1 of colour 310, 2 of colour 430, 1 of
+colour 310, 1 of colour 432, 2 of colour 392, 2 of colour 330, 2 of
+colour 334, or of Chine d'or blue and gold.
+
+Begin with the open work on either side of the crossed bars, figs. 581
+and 582, with 4 blue threads and by 4 changes of the threads outwards
+and 3 inwards = the same with 4 light green threads with 3 changes
+outwards and 2 inwards = then with the dark green threads, with 2
+changes outwards and 3 inwards = over the 4th dark green thread, 1
+double knot with the 1st dark green thread with the 4th light green one
+and with the 4 blue.
+
+Over the 3 next, dark green threads, knot the 4 light green threads and
+the 4 blue, from right to left, and from left to right, thus forming
+altogether 8 bars across the first bar = then knot the 8 first threads
+over the last dark green one = add a crossed bar with 7 changes of the
+threads outwards and 5 inwards.
+
+Middle group, left side: 1 double knot with the first light brown thread
+over the second thread; 3 double knots with the black threads (the only
+ones that are to be taken double) and 2 light brown threads over the 1st
+and 2nd dark brown ones.
+
+In the 2nd bar, knot the 1st dark brown thread, and in the 3rd, the 4
+dark brown ones, over the black thread. On the right, a similar group,
+slanting towards the one on the left.
+
+On the left--over the 1st light brown thread coming from the right, 1
+double knot, made with 2 light and 2 dark brown threads, and the black
+one, all coming from the left.
+
+On the right--over the 1st light brown thread coming from the left, 1
+double knot with 1 light and 2 dark brown threads and the black one
+(used double).
+
+On the left--over the light brown thread coming from the right, 1 double
+knot with one light and 2 dark brown threads and the black one.
+
+On the right--over the light brown thread, 1 double knot with 2 dark
+brown threads and the black one.
+
+On the left--the same knots as on the right.
+
+On the right--over the 1 dark brown thread 1 knot with 1 brown thread
+and the black one.
+
+On the left--the same knots as on the right.
+
+On the right--over the 1st dark brown thread, 1 knot with a brown thread
+and the black one.
+
+On the left--the same knots over the last thread.
+
+On the right--over the last brown thread one knot with the black one.
+
+On the left--over the 4 light green threads and the 4 blue ones, double
+knots with the 4 brown threads and the black one = 1 double knot with
+the 1st light brown thread over the 2nd, 3 double knots over the 2nd
+dark brown thread, with 2 light threads and 1 dark brown = 4 double
+knots with the 2 light and the 2 dark brown threads over the black one;
+after which you make 5 other bars, taking the last thread turned inwards
+for the cord. Make similar groups, slanting from right to left, then,
+beginning again on the left, make the knots with the 4 light green
+threads over the 1st thread of the same colour running from right to
+left.
+
+[Illustration: FIG. 583. MACRAME FRINGE.
+
+MATERIALS: Cordonnet 6 fils D.M.C Nos. 15 to 30, Fil a pointer D.M.C
+Nos. 10 to 30, or Fil a dentelle Nos. 25 to 50.
+
+COLOURS: Ecru and Brun-Havane 455, or Gris-Tilleul 391 and 331.]
+
+On the right--knot 3 light green threads over the 1st thread coming from
+the left and repeat the same group twice, on both sides.
+
+The third bar forms, at the same time, the first scallop of a triple
+crossed bar, which has also to be made on the right.
+
+The two crossed bars finish with a triple group of bars; the last bar of
+which, on the right, consists of only one double knot.
+
+There remain to be made, on both sides, crossed bars with three whole
+scallops inside, one outside, and one half one, top and bottom.
+
+[Illustration: FIG. 584. WORKING DETAIL OF FIG. 583.]
+
+Knot all the other threads over the 4 blue and the 4 light green ones =
+in the middle, knot the right and the left threads, alternately, till
+the black threads meet at the point.
+
+Turn the group of bars, edged with blue and light green, inwards, and
+finish it off by a crossed bar, with 3 scallops inside.
+
+MACRAME FRINGE (figs. 583 and 584).--Entire length of the threads for
+No. 15 of Cordonnet 6 fils D.M.C: 120 c/m.
+
+1st row--knot the threads on with picots, fig. 519, 6 ecru and 6 brown.
+
+2nd row--double and slanting bars made with 6 single threads, succeeded
+by a double horizontal bar.
+
+3rd row--begin with the light threads and make bars with double knots
+between, as in fig. 577, and finish at the sides with 2 bars made with
+the brown threads; for the dark brown bars, see also figs. 555, 561,
+568, for the crossed bars, fig. 584.
+
+This pattern should always end in such a manner that the light openwork
+figure form the scallop and be framed with the brown knot.
+
+[Illustration: FIG. 585. MACRAME FRINGE. MATERIALS: Coton a tricoter
+D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C Nos. 8 to 20, or Fil a
+dentelle D.M.C Nos. 25 to 50.[A] COLOURS: Brun-Cuir 325 and Brun-Marron
+403, 405, 407.[A]]
+
+MACRAME FRINGE (fig. 585).--Entire length of the threads for No. 12 of
+Coton a tricoter D.M.C: 96 c/m.
+
+This pattern is so easy that we refer our readers to figs. 544 and 561
+for the working of it, merely remarking, that the bars are made
+alternately from right to left, and from left to right, and that 3
+threads are knotted over the cord that runs from the left and 4, over
+the one from the right.
+
+This fringe will always be found most effective in appearance if it be
+made in four shades of one colour, knotted on in succession.
+
+[Illustration: FIG. 586. MACRAME FRINGE. MATERIALS: The same as for fig.
+585. COLOURS: Gris-Tilleul 331 and Violet-Mauve 315 or, Bleu cendre 448
+and Rouge-Cornouille 450, Bleu-Canard 3309 and Rouge-Maroquin 3328,
+etc.]
+
+[Illustration: FIG. 587. WORKING DETAIL OF FIG. 586.]
+
+MACRAME FRINGE OR GROUND (figs. 586 and 587).--Entire length of the
+threads for No. 8 of Cordonnet 6 fils D.M.C: 150 c/m.
+
+This effective pattern is not difficult, save in appearance, so that it
+is unnecessary to describe it in detail; for the knotting on, see fig.
+525; for the plain bars, figs. 539 to 544; for the collecting knots,
+fig. 530. The only difficult point is where the threads cross each other
+inside the bars and form a check and by carefully following the course
+of the knots in fig. 587, that will be easily overcome.
+
+FRINGE OR GROUND WITH PICOTS (fig. 588).--Wind the threads on shuttles
+and do the knotting on, as in fig. 521, followed by a double horizontal
+bar.
+
+Leave a small space between the double bar and the 3rd bar, which is a
+single one, in which you cross the threads without knotting them.
+
+Beginning on the left--over the 2nd and 3rd thread: 2 buttonhole knots,
+1 picot, 2 button hole knots = over the 1st, 2nd and 3rd thread: 1
+double knot with each of the 3 next threads = over the 6th and 7th with
+the 5th thread: 4 buttonhole knots with 1 picot after the 2nd knot.
+
+With each of the 4 next threads, that is the 8th, 9th, 10th and 11th: 1
+flat double knot followed by: 1 bar of double knots over the 12th thread
+as the cord, made with the 11th, 10th and 9th thread = add 1 bar with
+the 11th thread as the cord, and the 7 next ones as the knotting threads
+= add 1 bar with the 10th thread as the cord, and the 7 next ones as the
+knotting threads. Leave 3 threads free on the right = with the 8 threads
+on the left: 1 bar over the thread before these 3 threads = leave 3 free
+again on the right = 1 quintuple bar with the remaining threads.
+
+* 1 flat double knot with the 15th, 16th and 17th thread = with the 20th
+thread, over the 19th, 18th and 17th thread: 4 buttonhole knots with 1
+picot after 2 knots = knot 4 threads over the 13th thread and from left
+to right = from left to right, 2 bars with all the threads **.
+
+[Illustration: FIG. 588. FRINGE OR GROUND WITH PICOTS. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 10 to 40 or Fil a dentelle D.M.C Nos. 25 to
+50.[A] COLOURS: White, ecru, or any light shade mentioned in the D.M.C
+colour card.[A]]
+
+Over the 2 threads on the left and with the 3rd thread: 4 buttonhole
+knots and 1 picot = with the 6 threads from the left: 2 bars consisting
+of buttonhole knots and picots = a 3rd bar with 6 double knots = join it
+to the last bar.
+
+Leave 2 threads of the bar of buttonhole knots free = with the outer
+thread make: 4 buttonhole knots and 1 picot over the 2nd thread and the
+cord of the bar.
+
+Repeat from * to ** along the bar, also from right to left.
+
+Left group--knot the 3 last threads over the 4th thread and from left to
+right.
+
+Right group--make, from right to left, 1 bar consisting of 6 double
+knots, over the 4th thread counting from right to left. After these last
+changes of the threads no difficulty will be found in copying the rest
+of the pattern.
+
+[Illustration: FIG. 589. DOUBLE FRINGE. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 10 to 30 and Coton a broder D.M.C Nos. 16 to 35. COLOURS:
+White for the Cordonnet, Rouge-Grenat 335 for the Coton a broder.]
+
+[Illustration: FIG. 590. KNOTTED BERRY FOR FIG. 589.]
+
+[Illustration: FIG. 591. LARGE SHELL KNOT, OPEN.]
+
+[Illustration: FIG. 592. LARGE SHELL KNOT, SHUT.]
+
+DOUBLE FRINGE (figs. 589, 590, 591, 592).--Entire length of the
+threads for No. 10 of Cordonnet 6 fils D.M.C: 100 c/m., and entire
+length for No. 16 of Coton a broder D.M.C: 40 c/m. Knot on, as in fig.
+515, 1 thread of Cordonnet, 4 of Coton a broder (these are to be taken
+double) 2 of Cordonnet, 4 of Coton a broder, and so on.
+
+In the second horizontal bar, you only use the red threads of Coton a
+broder for knotting, not the white Cordonnet ones. To supply their
+place, knot on two threads of red Coton a broder under the white
+threads.
+
+With the red threads (4 count as one) make 3 rows of collecting knots,
+followed by a single horizontal bar. Divide the white threads into twos
+and make single chains with them, the whole length of the fringe; the
+thread must be changed 8 times for each chain; then pass the right chain
+under the left one and join them by a flat double knot.
+
+You then, with the threads turned outwards, right and left, make the
+single chain with 5 changes of the threads and join them together again
+by a flat knot.
+
+The other single chains are made with 6 and 8 changes of the threads and
+crossed under the double knots. The tassels, which the red threads serve
+as a foundation to, are begun by: 1 waved plait with two knots, then 4
+single chains, again a waved plait and 1 berry composed of knots.
+
+This berry is made over the 8 threads that come from the chains, with a
+long auxiliary thread, knotted as shown in fig. 590.
+
+[Illustration: FIG. 593. MACRAME BORDER. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 10 to 20 and Or fin D.M.C No. 30. COLOUR--For the cotton:
+Vert metallique 465[A]]
+
+[Illustration: FIG. 594. BEADED GROUND. MATERIALS: Cordonnet 6 fils
+D.M.C No. 25 or Fil a dentelle D.M.C Nos. 25 to 50 and gold beads.[A]]
+
+Large shell knots, as described in figs. 591 and 592 may be substituted
+in the place of the berry, fig. 590.
+
+MACRAME BORDER (fig. 593).--Fill 24 shuttles, knotted together, that
+is, 2 and 2, and knot on 3 green threads, 6 gold and 3 green. The
+changing of the threads and the course of the knots can be so easily
+copied from the pattern that a description in detail is not necessary,
+it is sufficient to observe that all the dark parts in the engraving
+should be worked in green and the light ones in gold.
+
+[Illustration: FIG. 595. SQUARE OF MOSAIC MACRAME. MATERIALS: Fil a
+pointer D.M.C No. 30, Coton a broder D.M.C No. 16 and Or fin D.M.C pour
+la broderie No. 20[A]. COLOURS: Rouge-Cardinal 346, Rouge-Grenat 326 and
+309, Bleu-Indigo 312 and 334, Gris-Tilleul 391 and 393[A].]
+
+BEADED GROUND (fig. 594).--Knot on 4 threads for every group of knots,
+and secure them by a knot and a picot, as shown in the engraving. Work
+the groups of knots, as indicated in fig. 568, and after each group is
+finished, thread a gold bead on to every 2 threads. Our model is worked
+in ecru thread and gold beads; the latter go very well with any colour
+and especially with the more subdued shades of green, such as the
+Vert-Mousse, Vert Bouteille and Gris-Tilleul of the D.M.C colour card.
+
+SQUARE OF MOSAIC MACRAME (figs. 595 and 596).--This little pattern
+illustrates the way in which tapestry and cross-stitch patterns can be
+utilised for macrame.
+
+All patterns that are drawn on checked paper can be copied in macrame
+and even in several colours. For every square, you count either one
+single or one double thread, according to the scale on which the work is
+to be.
+
+In the case of a single thread, you count one double knot per square, in
+that of a double one, 4 double knots, two in the first and two in the
+second row.
+
+After knotting the threads together, two and two, and pinning them to
+the cushion, see letter _a_, make 2 single chains with 2 changes of the
+thread, letters _b_ and _c_, then take a very long cord, letter _d_, and
+knot on the threads. The cord forms picots along two sides of the
+square; into which you fasten threads, letters _e_ and _f_, for the
+single chain formed, on the two other sides by the knotting threads.
+
+[Illustration: FIG. 596. WORKING DETAIL OF FIG. 595.]
+
+The coloured threads for the flowers are knotted on as the pattern
+requires it, taking the place for the time being, of those with which
+the foundation is made, which are left hanging on the wrong side until
+they are wanted again.
+
+The top leaves of the iris shaped flower, are worked in two shades of
+blue; the bottom ones, in three shades of red, the stalk and the leaves
+in green, and the little stars, with which the ground is powdered, in
+real gold thread.
+
+When the ground is finished, you make the same openwork border at the
+sides and along the bottom, as at the top and finish off with very full
+tassels, hung on over 3 double threads and made of all the colours used
+in the square, tied up with gold thread, fig. 596 letter _g_.
+
+FRINGE WITH THREE ROWS OF TASSELS (fig. 597).--As this kind of fringe
+is chiefly used for trimming carpets, curtains and furniture, it is best
+to make it in the coarsest numbers of the materials indicated at the
+foot of the engraving.
+
+[Illustration: FIG. 597. FRINGE WITH THREE ROWS OF TASSELS. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 3 to 30, or Fil a pointer D.M.C Nos. 10 to
+30[A]. COLOURS: Bleu-Indigo 312 and ecru.]
+
+The pattern is so simple in its construction that it is sufficient to
+refer our readers to fig. 528, for the knotting on of the threads and to
+fig. 531, for the waved plait.
+
+The little tassels between the knots, are made separately from the rest
+of the work and fastened on by the thread with which you sew them
+together at the top.
+
+[Illustration: FIG. 598. MACRAME GROUND. MATERIALS: Ganse turque D.M.C
+No. 12 and Coton a broder D.M.C No. 16. COLOURS: Rouge-Cardinal 347, or
+Rouge-Cerise 3318.]
+
+MACRAME GROUND (fig. 598).--The work represented in the engraving was
+made for a purse and copied from a beautiful piece of Arabian stuff.
+Ganse turque D.M.C was used for the light background and Coton a broder
+D.M.C for the design. It is very easy to copy this pattern from the
+illustration by paying scrupulous attention to the number of knots; we
+do not therefore enter into any detailed description of the same, merely
+referring the worker to figs. 528 and 596 and the accompanying
+directions, for the adding on and the taking off of threads.
+
+MACRAME SQUARE (figs. 599 and 600).--Length of the single threads of
+both kinds: 200 c/m.
+
+Knot upon a ring consisting of one thread: * 1 thread of white
+Cordonnet, 1 of Coton a broder colour 309, 1 of colour 358, 1 of colour
+309 and repeat three times from *. (The embroidery cotton is to be taken
+double.)
+
+Begin with the light red thread and make: 1 single chain with 3 changes
+of the threads, 1 single chain with the dark red thread with 4 changes
+of the threads. Add, or rather thread, 8 supplementary threads in
+succession on to the white thread, which in fig. 600, comes in the
+middle of the group of knots, and over each of these supplementary
+threads, make 2 double knots with the light red thread and 2 with the
+dark.
+
+[Illustration: FIG. 599. MACRAME SQUARE. MATERIALS: Cordonnet 6 fils
+D.M.C No. 15 and Coton a broder D.M.C No. 16 or Fil a dentelle D.M.C No.
+25 and Coton a broder D.M.C No. 30.[A] COLOURS: White, Rouge-Grenat 309
+and 358, or Gris-Lin 716 and Rouge-Maroquin 3327 and 3329.[A]]
+
+When all the red threads are knotted over the white ones, make crossed
+bars with the red threads by themselves, thus producing a point at the
+bottom of the leaf.
+
+Then, over the first white thread coming from the right, knot all the
+white threads on the left of it and in the last place, the cord itself,
+over the 3 red threads.
+
+Make the same series of threads on the left. This is succeeded by a
+second bar of white knots, the last thread of which is left unknotted.
+Make 4 double knots with the 8 white threads and close the square by a
+double bar. Add a supplementary thread to the first bar, so that you may
+have 10 threads coming from each side of the second bar and over these
+you knot the red threads, which form a dark setting to the leaves.
+
+[Illustration: FIG. 600. GRADUAL INCREASE OF THE THREADS. WORKING DETAIL
+OF FIG. 599.]
+
+When this is done on both sides, make 10 flat double knots with a
+supplementary knot, taking 4 single threads for each knot, and
+decreasing the number of knots successively to 2. At the point of the
+inside square, knot the white threads over the red ones and turn back
+the second white thread to serve as a cord to the first of the outside
+bars. Join the first thread on the left and the first on the right, to
+form a flat knot with them in the middle, the threads of which are then
+passed over the red threads; the last white threads become the cords for
+the second outer bar. Make a group of bars with the red threads and
+cross them 3 times, then finish with a handsome tassel and join the
+white threads together all round the square with tassels. In the case of
+your wishing to use these squares for making a larger piece of work,
+through joining several of them together, you can knot the ends of the
+threads into short double chains, finishing off these again with ring
+knots, fig. 608, and loops; through these loops, when you come to join
+on the next square, the knotting thread is drawn, forming them thus into
+connecting picots, like those which you make in tatting.
+
+FRINGE WITH CORNER (figs. 601, 602, 603).--Macrame fringes are not
+capable of being drawn up, as knitted, crochet, and netted fringes are,
+on the inside, so as to turn the corners. Consequently, according to the
+pattern, a greater or less number of supplementary threads have to be
+knotted in so as to form the corners.
+
+[Illustration: FIG. 601. FRINGE WITH CORNER. MATERIALS: Cordonnet 6 fils
+D.M.C Nos. 10 to 30 or Fil a dentelle D.M.C Nos. 25 to 50.[A] COLOURS:
+White and Rouge-Cardinal 348.[A]]
+
+The working detail, fig. 602, shows us how the 5 first supplementary
+threads, are looped on to the 4th row of knots. A group of crossed bars
+requires 16 threads, which answer to 4 groups of little squares, placed
+between the lozenges. The 6th supplementary thread is put into the
+double connecting knot at the corner, fig. 603, and on this, the bar of
+knots which runs right and left is subsequently made. (In order to make
+it clearer, the supplementary threads are represented in the engraving
+in a darker shade).
+
+On the two middle threads, which are a continuation of the connecting
+knot, 7 supplementary threads have next to be knotted, thread 7 singly,
+threads 8 and 9 together, threads 10, 11, 12 and 13, all singly.
+
+In this manner the supplementary threads 7, 10, 11, 12 and 13 connect
+the two cords, whilst threads 8 and 9 only, are mounted separately on
+both sides.
+
+[Illustration: FIG. 602. ADDITION OF THE FIRST SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 601.]
+
+The bars, formed by the knots which are made with the supplementary
+threads, must be drawn tight, like any other double bar. The space left
+between the cords in the engraving is intentional, to distinguish the
+supplementary threads from the others.
+
+A long, coloured thread is looped on to the topmost thread, between the
+two bars, and with this, knots are made over all the 14 threads that
+come from the bars and run inwards.
+
+In the middle of the square there must be 9 flat double knots; when
+these are made, you continue knotting the red thread from the right and
+left, down to the bottom point of the square, and complete the figure by
+a single bar of knots, made of the white thread.
+
+[Illustration: FIG. 603. ADDITION OF THE SECOND SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 601.]
+
+Knotted tassels, hanging from the points of the scallops, and others
+ornamented with flat double knots made of 10 threads, suspended between
+the scallops, form the outside finish to this fringe.
+
+FRINGE WITH POINTED SCALLOPS AND LARGE TASSELS (figs. 604, 605, 606,
+607, 608, 609, 610).--Entire length of the threads for No. 15 of
+Cordonnet 6 fils D.M.C: 200 c/m.
+
+[Illustration: FIG. 604. FRINGE WITH POINTED SCALLOPS AND LARGE TASSELS.
+
+MATERIALS: Fil a pointer D.M.C Nos. 10 to 30, Cordonnet 6 fils D.M.C
+Nos. 10 to 50, or Fil a dentelle D.M.C Nos. 25 to 50.[A]]
+
+The present pattern, which concludes our chapter on macrame work, is one
+of the most difficult of all, requiring great accuracy in every
+particular, but more especially, extremely careful attention to the
+direction of the cords, that the groups of double knots and the bars may
+be drawn up very tightly together, so as to make the pattern very
+distinct and give each figure its proper value.
+
+[Illustration: FIG. 605. ADDITION OF THE FIRST SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 604.]
+
+For each repetition of the subject 16 threads are wanted. You begin the
+half stars, on each side of the lozenges, with the 15th and 16th double
+thread of the first figure and make 3 double knots with 3 threads over a
+4th thread, fig. 606.
+
+Over 2 cords on the left and 2 on the right, consequently over 4
+threads: 5 buttonhole knots, with the 4 threads and the disengaged
+threads, 1 flat double knot over each of the 4 threads. This forms a
+shell knot, on either side of which, make 3 buttonhole knots over 3
+threads.
+
+[Illustration: FIG. 606. ADDITION OF THE OTHER SUPPLEMENTARY THREADS.
+WORKING DETAIL OF FIG. 604.]
+
+For the groups of bars on either side of the shell, take the 11th,
+12th, 13th and 14th double thread on the left, and the 3rd, 4th, 5th and
+6th on the right. These groups are joined by buttonhole knots.
+
+Knot the 4 threads of the left group over the cord on the right; and
+over them again the 2 next threads on the right; knot the 4 threads on
+the left over the 4th thread on the right; make 2 buttonhole knots with
+the 4th thread over the 3 threads at the bottom and on the side.
+
+Over the 4 threads, that come from the left and right, make quadruple
+bars; cross the upper threads after the second row of bars, make 2
+buttonhole bars with the next thread over the 4th thread, then finish
+the 3rd and 4th bar of knots.
+
+[Illustration: FIG. 607. CHINESE KNOT AND DOUBLE CHAIN FOR A RING KNOT.]
+
+To make the olive-shaped group of knots on both sides, take the threads,
+that come out from the shells, as cords. Fig. 605 shows the adding on of
+the first supplementary thread, fig. 606, that of 12 more which, knotted
+on to the first, form with it, the group of bars on the diagonal corner
+line. The knots, of which the next large shell is composed, are made
+with 2 more supplementary threads and one thread from the preceding
+figure. Add on 2 more supplementary threads to the disengaged threads,
+which 4 then serve as cords for the groups of bars, left and right.
+
+The 4th group of bars which forms the corner of the fringe, is made on
+the 4 threads that come from the large shell, on to which the fourth set
+of 12 supplementary threads is knotted.
+
+[Illustration: FIG. 608. RING KNOT FORMED OF A SINGLE CHAIN.]
+
+The pattern ends at the bottom with a half star, and a double bar;
+beneath these, large scallops are added, consisting of 2 half stars, 4
+ovals, 1 whole star and 2 ovals.
+
+All the threads that come from the groups are then collected at the top
+of the scallops and overcast with strong thread, so as to form a thick
+round cord along the edges of the scallops, widening towards the point,
+as more and more threads are taken in. At the point, these threads are
+knotted into a big tassel with another bunch of supplementary threads
+added to them. The other small tassels, represented in fig. 604, are
+made separately and then fastened on.
+
+The fringe is further ornamented by large knotted tassels, introduced
+between the scallops, for which, a large knotted berry, fig. 590, over
+21 cords, has first to be made.
+
+Collect the 21 threads all together, to begin with; then make: 2 rows of
+knots over 12 threads, 1 over 15, 3 over 21, 1 over 15 and 2 over 12;
+then cut the ends of the 21 threads to the same length, and turn them
+inwards, to fill up the hollow space inside the berry, stuffing it
+besides, if necessary, with wadding to make it perfectly firm and hard
+and sewing it together at the ends.
+
+To this you attach 5 large and 6 small pendants; the smaller ones are
+begun with a Chinese knot, figs. 607 and 609, which terminates in a
+double chain, formed into a ring knot.
+
+[Illustration: FIG. 609. SMALL PENDANT OF THE TASSELS IN FIG. 604.]
+
+[Illustration: FIG. 610. LARGE PENDANT OF THE TASSELS IN FIG. 604.]
+
+These ring knots take the place, in macrame, of bead drops, in gimp
+trimmings; when they are made of a double chain, you cut away 3
+threads, when of a single, 1 thread, conceal the ends carefully inside
+the knot, make a loop with the 4th or 2nd thread, fig. 608, and lastly,
+fasten off all the ends with two or three invisible stitches.
+
+Into the loop formed by the 4th thread, you hang 3 small ring knots,
+made of a single chain, with a loop, top and bottom, formed of the ends
+of the thread.
+
+Fig. 609 represents the small pendant, of which six are required for a
+tassel; fig. 610, the large one, of which there should be five. The
+berry, or head of the tassel, is attached to a crochet, or knotted cord,
+of which a description will be found in the last chapter but one of this
+work.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: INSERTION IN EMBROIDERED NETTING.--ORNAMENT WITH VARIOUS
+STITCHES.]
+
+
+
+
+Netting.
+
+
+Netting is a handicraft, so ancient that it would be difficult to trace
+it to its origin, or determine the date of its invention. There is
+evidence to show that the making of nets for fishing and game catching
+was as familiar to the earlier races of mankind as it is to us.
+
+Practised in the first instance for the wants of life, it by degrees
+developed into an art, in conjunction with embroidery, to which it was
+made to serve as a foundation. The netting of every country, almost, has
+a distinctive character of its own: that of Persia is known by its fine
+silken meshes and rich gold and silver embroidery; that of Italy, by the
+varied size and shape of its meshes and a resemblance in the style of
+its embroidery to the Punto tagliato; whilst the netting of France,
+known by the name of Cluny guipure, consists of a groundwork of fine
+meshes with stiff close designs embroidered upon it, outlined in coarse
+glazed thread.
+
+Netting, which divides itself under two headings, netting proper, or
+plain netting and net embroidery, has never yet gone out of fashion and
+places are still to be found where the entire population is engaged in
+this industry.
+
+PLAIN NETTING AND THE IMPLEMENTS USED IN NETTING (figs. 611, 612,
+613).--Plain netting consists of loops, secured and rendered independent
+of one another by knots. For forming and tightening these loops and
+knots the following implements are necessary; in the first place, a
+netting needle; these are generally made of steel, split and flattened
+at both ends, with a hole bored through them below the fork at the one
+end, in which the thread, fig. 611, is secured, before it is wound on
+lengthwise between the forks. They are numbered as to size like knitting
+needles. There are netting needles likewise of bone, ivory, wood and
+tortoise-shell for twine and thick materials; these are without hole,
+fig. 612.
+
+[Illustration: FIG. 611. NETTING NEEDLE OF STEEL.]
+
+[Illustration: FIG. 612. NETTING NEEDLE OF IVORY.]
+
+The thread must be wound on very tightly, and not too much of it at a
+time, that the needle may slip easily through the loops. The mesh, or
+spool, fig. 613, whether of ivory, bone, steel or wood, should be smooth
+and round and of the same thickness throughout, so that the loops, made
+upon it, may be all of one size and easily slipped off.
+
+[Illustration: FIG. 613. MESH OR SPOOL OF IVORY.]
+
+For long loops a flat mesh is best, and in all cases, the needle and
+mesh should be selected with a view, both to the material employed, and
+the size of loop required.
+
+In addition to these two implements, a cushion, weighted with lead will
+be required, to pin the foundation loop to, on which the first row of
+netting is worked.
+
+MATERIALS SUITABLE FOR NETTING.--These, of course depend on the
+purpose of the netting: silk, twine, wool and cotton, can all be used
+and each possesses its advantages and disadvantages. Silk has the finest
+gloss but when it is strongly twisted it is very apt to knot, and when
+loosely twisted, does not make firm knots. It is difficult to get linen
+thread with a smooth uniform twist and moreover it soon frays in the
+working; wool is too elastic a fibre and is unsuitable for washing
+purposes, cotton remains therefore, in every respect the most desirable
+material, being both smooth and uniformly twisted; as qualities, more
+especially adapted for netting we may mention the following: Fil a
+pointer D.M.C, Cordonnet 6 fils D.M.C (crochet cotton), Fil a dentelle
+D.M.C (lace thread), and even Coton a tricoter D.M.C[A] (knitting
+cotton).
+
+NETTING STITCHES.--The loops are always the same--four-cornered
+whether they be square or oblong--and connected together, though secured
+and rendered independent of one another by knots. By different ways of
+passing the thread over the mesh and connecting the loops together, the
+following stitches are produced: 1 deg. plain loop, 2 deg. double loop, 3 deg.
+oblong loop, 4 deg. honeycomb loop, 5 deg. twisted loop.
+
+[Illustration: FIG. 614. FIRST POSITION OF THE HANDS.]
+
+1 deg. PLAIN LOOP. FIRST POSITION OF THE HANDS (fig. 614).--Every kind of
+netting requires a foundation loop, from 10 to 20 c/m. long, made either
+of Cordonnet 6 fils D.M.C Nos. 3 to 10, or Fil a pointer D.M.C No.
+10[A], which is pinned to the cushion. Fasten the working thread to the
+foundation loop; then take the mesh in the left hand, holding it between
+the thumb and forefinger, with the other fingers extended beneath. Take
+the needle filled with thread in the right hand and pass the thread
+downwards over the mesh and over the second, third and fourth fingers,
+inside, carry it up behind the third finger and lay it to the left under
+the thumb by which it has to be held fast.
+
+[Illustration: FIG. 615. SECOND POSITION OF THE HANDS.]
+
+SECOND AND THIRD POSITION OF THE HANDS (figs. 615 and 616).--Carry the
+thread down behind the second, third, fourth and fifth fingers, and put
+the needle through the loop on the fingers and behind the mesh, through
+the foundation loop, thus forming a second loop, which you hold back
+with the little finger of the left hand. Then gradually drawing up the
+thread that runs from the mesh, let go the loop held down by the thumb;
+then by degrees let go also, the loop which lies over the second, third
+and fourth fingers, still holding the last loop fast with the little
+finger; finally you release this too and pull up the knot thus formed
+close to the mesh with the right hand. This completes the stitch. The
+next stitches are made in the same way; whether they are to serve for
+casting on or for a netted foundation. The mesh is drawn out at the end
+of each row, the work turned and the mesh held beneath the last row, in
+readiness for the next, in making which you pass your needle through
+each loop. These diamond-shaped loops form a diagonal net.
+
+[Illustration: FIG. 616. THIRD POSITION OF THE HANDS.]
+
+2 deg. DOUBLE LOOP.--To make a double loop put the thread two or three
+times round the mesh.
+
+3 deg. OBLONG LOOP.--For oblong loops, the knots must be made a little
+distance from the mesh.
+
+4 deg. HONEYCOMB LOOP.--Make an oblong loop, pass the thread round the
+fingers, but not over the mesh as in plain netting, put the needle, not
+into the loop of the previous row, but between the loop, just made. The
+knot which is made in the same way as in plain netting, must be drawn
+close up to the mesh; the two threads of the loop should lie side by
+side on the mesh. The loops in honeycomb netting are six-sided.
+
+5 deg. TWISTED LOOPS.--Pass the thread, as in plain netting, over the mesh
+and fingers, but before letting the thread which is under the thumb go,
+pass the needle from right to left under the loop you are making and the
+thread, and only then draw up the knot.
+
+Although in netting the loops cannot be formed in as many different ways
+as in knitting or crochet, they admit of a certain variety, as the
+following explanations will show.
+
+PATTERNS PRODUCED IN NETTING BY USING MESHES OF DIFFERENT
+WIDTHS.--Plain netting can be varied by making one row of loops over a
+large mesh and one over a small one, or several rows over the large and
+several over the small, alternately, changing the meshes at regular
+intervals.
+
+[Illustration: FIG. 617. PATTERNS PRODUCED IN NETTING BY INCREASING AND
+DECREASING.]
+
+PATTERNS PRODUCED IN NETTING BY INCREASING AND DECREASING (fig.
+617).--Patterns of this kind are made by netting the meshes together in
+regular sequence and taking up as many meshes as you have netted
+together, or vice versa. You may increase and decrease in the same rows,
+or at an interval of so many rows.
+
+[Illustration: FIG. 618. LOOSE LOOPS IN CLUSTERS.]
+
+Two sizes of thread should be used for this patterns. To show the
+relation they should bear to one another, we instance: Fil a pointer
+D.M.C No. 30 with Fil a dentelle D.M.C No. 50[A], or Coton a tricoter
+D.M.C Nos. 14 and 30[A], with Coton a tricoter D.M.C No. 50[A], or
+Coton a repriser D.M.C No. 25 with No. 100.[A]
+
+Begin by 3 rows of plain netting with the finer thread over the small
+mesh, followed by one row with the coarser thread over the large mesh;
+then, with the coarse thread over the large mesh, one row, in which you
+net every two loops together and one row, with two loops in every one,
+so that the number of loops remains the same. These are followed by 3
+rows of plain netting with the fine thread on the small mesh.
+
+[Illustration: FIG. 619. LOOSE LOOPS IN CLUSTERS. WORKING DETAIL OF FIG.
+618.]
+
+LOOSE LOOPS IN CLUSTERS (figs. 618 and 619).--These clusters of loose
+loops are made in the following manner:
+
+1st row--one loop, the knot of which must be a little distance from the
+mesh; put the thread over the mesh and the needle through the loop where
+the knot is; repeat this three or four times, making the loops all of
+the same length. Then unite all the loops with one knot, carrying the
+needle from right to left, round the loops, instead of putting it
+through the loop of the previous row.
+
+2nd row--make one loop over each loop of the first row, leaving out the
+loops that form the cluster.
+
+As may be gathered from the drawing, many different patterns can be
+worked upon the netting in this manner.
+
+[Illustration: FIG. 620. NETTING COMPOSED OF PLAIN, DOUBLE AND OBLONG
+LOOPS.]
+
+NETTING COMPOSED OF PLAIN, DOUBLE AND OBLONG LOOPS (fig.
+620).--Netting composed of large and small loops is the kind generally
+used as a groundwork for embroidery. The loops of it are straight;
+diamond netting will serve the same purpose, but as it is less commonly
+used we have given the preference to the straight.
+
+The whole first row consists of a double and a plain loop alternately;
+the second, entirely of oblong loops, which are made by passing the
+thread only once over the mesh, and so, that in netting on the double
+loop, the knot is brought close to the needle, where as, in netting the
+plain loop, it hangs free; so that, as shown in fig. 620, all the loops
+of the 2nd row are of the same length. In the 3rd row, which is like the
+first, the plain loops should come between the small holes and the
+double ones between the large holes.
+
+[Illustration: FIG. 621. CIRCULAR NETTING COMPOSED OF LONG AND SHORT
+LOOPS.]
+
+CIRCULAR NETTING COMPOSED OF LONG AND SHORT LOOPS (fig. 621).--Make
+thirty or thirty one loops over a large mesh with a very stout material,
+such as Fil a pointer D.M.C No. 20, or a double thread of Cordonnet 6
+fils D.M.C No. 30, then draw up the thread on which the loops are
+strung, as tightly as possible, so as to form quite a small ring for the
+centre, and fasten off.
+
+For the next row, also made in coarse thread, fasten the thread on to a
+long loop and make one loop into each loop of the first row, over a
+small mesh. Use the same mesh for all the subsequent rows, which should
+be worked in a finer thread, such as Cordonnet 6 fils D.M.C No. 50 or
+60.
+
+If you want to avoid fastening on the thread afresh for each row, make a
+loop over the thumb.
+
+MAKING LOOPS OVER THE THUMB.--Put the thread, as for a plain loop over
+the mesh and fingers, and put the needle through the loop, likewise as
+for a plain loop, but before tightening the knot, draw the mesh out of
+the loop just made and make it exactly as long as the loop above.
+
+[Illustration: FIG. 622. CIRCULAR NETTING FORMED BY INCREASES.]
+
+CIRCULAR NETTING FORMED BY INCREASES (fig. 622).--Make 10 loops on the
+foundation loop, close the ring, then go on, making a row with one knot
+in the first loop and two knots in the second, until the net attains the
+right circumference; in the subsequent rows, increase by one loop, that
+is to say, make two knots in each of the previous increases.
+
+[Illustration: FIG. 623. SQUARE OF NETTING. BEGUN.]
+
+SQUARE OF NETTING (figs. 623 and 624).--To make squares of netting
+with straight loops, begin by making two loops or three knots. Make two
+knots in each of the following rows so that each row is increased by one
+loop. Continue to increase until you have one loop more than the square
+should number.
+
+[Illustration: FIG. 624. SQUARE OF NETTING. COMPLETED.]
+
+Following this row with the extra stitch, make a row without either
+increase or intake and begin the intakes in the next row, joining the
+two last loops of each row together by a knot. Finish the two last loops
+over the thumb.
+
+[Illustration: FIG. 625. SQUARE OF NETTING BEGUN FROM THE MIDDLE.
+BEGUN.]
+
+[Illustration: FIG. 626. SQUARE OF NETTING BEGUN FROM THE MIDDLE.
+COMPLETED.]
+
+SQUARE OF NETTING BEGUN FROM THE MIDDLE (figs. 625 and 626).--Instead
+of beginning a square from the corner, in the manner just described, it
+may be begun from the middle.
+
+[Illustration: FIG. 627. STRIPE OF STRAIGHT NETTING EDGED WITH EMPTY
+LOOPS.]
+
+Cast on the required number of loops, make an intake in each row, by
+omitting to take up the last loop of a row. In coming back, your first
+knot will thus be made over the last loop but one of the previous row,
+fig. 625. To complete the square, fasten the thread on again, to the end
+of the thread of the last row, then make a similar to it, and repeat the
+same rows you made at the beginning (see fig. 626).
+
+[Illustration: FIG. 628. STRIPE OF STRAIGHT NETTING.]
+
+STRIPES OF STRAIGHT NETTING (figs. 627 and 628).--These can be begun
+and finished in two ways. The simplest way, more especially when they
+are to be embroidered afterwards, is to cast on the necessary number of
+loops, to decrease on one side by dropping a loop, fig. 627, or by
+joining two loops together with a knot, fig. 628, and to increase on the
+other side, by making two knots over one loop.
+
+Great care must be taken not to change the order of the intakes and
+increases, as any mistake of the kind would break the lines of squares,
+and interfere with the subsequent embroidery, unless there happened to
+be more loops in the stripe than stitches in the pattern, in which case
+the superfluous loops might be cut away when the embroidery is finished.
+
+STRAIGHT NETTING WITH A SCALLOPED EDGE (fig. 629).--The second way of
+making stripes of straight netting is to begin by a square. After making
+two loops on the foundation loop, make rows with increases, until you
+have the required number of loops. Then make an increase in every row to
+the left and leave the last loop empty in every row to the right.
+Continuing the increases on the left, you net 4 rows, without
+increasing or decreasing on the right, whilst in the next 4, you again
+leave the outside loop empty.
+
+[Illustration: FIG. 629. STRAIGHT NETTING WITH A SCALLOPED EDGE.]
+
+SQUARE FRAME OF NETTING (fig. 630).--Handkerchief, counterpane and
+chair-back borders can be netted in one piece, leaving an empty square
+in the centre. After casting on the loops as for an ordinary square of
+netting, letter _a_, increase them to double the number required for the
+border. Thus, for example, if the border is to consist of 3 squares, you
+make 6 loops, then leave 3 loops empty on the left and continue to work
+to the right and decrease to the left, up to the dotted line from _c_ to
+_c_. After this you begin to decrease on the right and increase on the
+left, up to the dotted line from _e_ to _e_.
+
+[Illustration: FIG. 630. SQUARE FRAME OF NETTING.]
+
+Leaving the right side of the net, you now fasten on the thread at _c_,
+where the 3 empty loops are, and here you make your increases on the
+right side and your intakes on the left, till you come to the corner,
+from whence you decrease on the right and increase on the left, up to
+letter _g_. Stop on the left side and then work from left to right,
+passing over the row that is marked _e_. The fourth corner, letter _b_,
+is worked like any other piece of straight netting, with an intake in
+each row, until there are only two loops left.
+
+[Illustration: FIG. 631. DIAGONAL NETTING WITH CROSSED LOOPS. ORIGINAL
+SIZE. MATERIALS--For the netting: Cordonnet 6 fils D.M.C Nos. 10 to 30,
+or Fil a dentelle D.M.C Nos. 25 to 40.[A] For the darning stitches:
+Coton a tricoter D.M.C Nos. 12 to 20, or Coton a repriser D.M.C Nos. 12
+to 50.[A]]
+
+DIAGONAL NETTING WITH CROSSED LOOPS (figs. 631 and 632). To work this
+simple and effective pattern, begin by making a stripe of plain netting,
+14 loops in width, for the middle. When it is long enough for your
+purpose, take up all the loops on one side on a strong thread; fasten
+the work to the cushion again and work 3 rows, along the other edge in
+the following manner.
+
+1st row--long loops, to be made by the thread being passed thrice over
+the mesh.
+
+2nd row--here, 3 loops are so made as to cross each other, that is, you
+begin by putting your netting-needle at first into the 3rd loop,
+counting from left to right, then into the 1st, and lastly into the
+middle one of the three, so that the right loop leans to the left and
+the left one to the right.
+
+3rd row--one plain loop in each of the loops of the previous row. You
+now, draw out the thread, run in on the other side, and run it in
+through the loops last made, in order to make 3 rows again, as above
+described, on the bottom side.
+
+[Illustration: FIG. 632. WORKING DETAIL OF FIG. 631.]
+
+When this is done, you begin the scallops, composed of 12 knots or 11
+loops, or 14 loops and 15 knots = net 5 rows, leaving the outside loops
+empty, fig. 632, stop on the left and proceed with: 6 knots or 5 plain
+loops, 2 or 3 long loops with 3 overs, 3 plain loops = turn the work = 3
+plain loops, 3 knots = turn the work = 2 loops with 3 overs, 3 knots =
+turn the work = 2 plain loops, 2 knots = turn the work = cross 2 or 3
+loops, according to the number you crossed in the middle, then carry the
+working thread to the middle of the long loops, and connect them by 2
+knots = pass the needle under the knot of the last long loop, then, on
+the right side net: 3 plain loops = turn the work = 3 plain loops, 3
+knots = turn the work = 2 plain loops, 2 knots = turn the work and
+continue the rows of plain netting until you have only 2 loops left.
+
+To reach the next scallop, pass the netting-needle through each hole of
+the net and round each thread.
+
+Finish off the scallops with a row of plain netting, made with a coarser
+thread than the foundation.
+
+[Illustration: FIG. 633. NETTED FRINGE.
+
+MATERIALS--For the netting: Cordonnet 6 fils D.M.C Nos. 10 to 30 or Fil
+a pointer D.M.C No. 30.[A]
+
+For the fringes: Soutache D.M.C No. 3 or Lacets superfins D.M.C No.
+4.[A]]
+
+These netted edgings are generally made in unbleached cotton, because
+the patterns afterwards embroidered upon them in coarse, white knitting
+or darning cotton, show best upon it. The thread for this purpose should
+be used double, and the pattern worked in darning stitches, made over 8
+squares of the netting; the 8th knot is then encircled by a loop and the
+thread carried down over 8 squares and a loop again made round the 8th
+knot. After making 4 rows of stitches on the netting, cut 3 bars between
+the rows of white stitches.
+
+The row of openwork produced in this way has a very good effect and
+greatly improves the look of the lace.
+
+NETTED FRINGE (fig. 633).--Plain netting, pretty as it is, looks
+rather poor, unless ornamented with embroidery of some kind. The double
+netting, illustrated in fig. 633, will prove a welcome novelty. The
+footing is worked in crochet, with braid, secured on both sides by chain
+stitches.
+
+Into every fourth of these chain stitches, net one loop, missing the 3
+between. At the end of the row, turn the work and make the knot in the
+middle of the 3 chain stitches, so that the 2 loops of netting cross
+each other.
+
+In the second, or rather the third row, the knots are again made first
+into the front loops, into those of the first row that is; in the fourth
+row, into those of the second row.
+
+When the stripe is sufficiently wide, finish it off with tassels, made
+of Soutache D.M.C No. 3. Instead of tying up the lengths of braid with a
+thread, twisted round them and fastened off with a stitch, make 2 looped
+knots round them with an end of the braid, where the neck of the tassel
+should come.
+
+[Illustration: FIG. 634. WIRE FRAME FOR EMBROIDERED NETTING.]
+
+EMBROIDERED NETTING.--Embroidered netting, also known as Filet
+Guipure, Cluny Guipure, and Richelieu Guipure, is a netted ground, with
+patterns of one kind or another, worked upon it in a variety of
+stitches.
+
+IMPLEMENTS REQUIRED FOR EMBROIDERED NETTING.--Besides scissors,
+needles and thread, a light steel frame is the only thing required, and
+this renders embroidered netting very popular.
+
+The needles should be long, and blunt; those called saddlers needles are
+the best.
+
+WIRE FRAME FOR EMBROIDERED NETTING (fig. 634).--The frame on which the
+net is stretched should be made of strong iron wire, that will not bend
+in the using. In shape, it may be square or oblong, according to whether
+squares or edgings are to be made upon it, but the sides must be
+straight, so that the net can be evenly stretched.
+
+[Illustration: FIG. 635. MOUNTING THE NETTING ON THE FRAME.]
+
+This wire frame must be covered, first with wadding or tow, as shown in
+fig. 634, and then with silk ribbon, which must be wound tightly round
+it, and more particularly at the corners, very closely, so that it may
+be quite firm and not twist about when the netting is sewn in. The ends
+of the ribbon should be secured by two or three stitches.
+
+[Illustration: FIG. 636. MOUNTING THE NETTING ON THE FRAME WITH AN
+AUXILIARY TAPE.]
+
+MOUNTING THE NETTING ON THE FRAME (fig. 635).--When the netting is
+exactly the size of the inside of the frame, it need only be secured to
+it with overcasting stitches, set very closely at the corners.
+
+MOUNTING THE NETTING ON THE FRAME WITH AN AUXILIARY TAPE (fig.
+636).--When the netting, is smaller, the space between it and the frame,
+must be filled up with strong very evenly woven, linen tape, sewn on all
+round the netting.
+
+The tape must be very tightly held in the sewing, so that it even forms
+little gathers all round; this will help you to stretch the netting in
+mounting it without injuring it, and is especially necessary when the
+netting is not quite evenly made. Fig. 636 shows how the tape is sewn
+on, the fold that has to be made at the corners, and the way to fix the
+netting into the frame.
+
+Long stripes or large pieces of work, can be mounted on waxcloth, but we
+cannot recommend shortening the preparatory work in this manner, as the
+squares of netting are never so regular as when they are made in a
+frame.
+
+MATERIALS FOR EMBROIDERED NETTING.--Thick threads with a strong twist
+are the best for darned, or embroidered netting, such as Cordonnet 6
+fils D.M.C[A] (crochet cotton), or Fil a dentelle D.M.C[A] (lace
+thread).
+
+There are however certain old kinds of embroidered netting made in soft
+loose silk, for imitating which it is best to use, Coton a repriser
+D.M.C[A] that being quite the best substitute for the original material.
+
+THE STITCHES USED FOR EMBROIDERED NETTING.--These are so multifarious
+and admit of so many different combinations, that not a few of them
+seeing that be quite new to our readers, willsome we have never yet come
+across in any book on the subject that has come under our notice.
+
+ORDINARY DARNING STITCH (fig. 637).--The simplest stitch of all for
+covering a netted ground is the ordinary darning stitch; drawing the
+thread, that is to say, in and out of the number of squares, prescribed
+by the pattern, and backwards and forwards as many times as is necessary
+to fill them up.
+
+[Illustration: FIG. 637. ORDINARY DARNING STITCH.]
+
+[Illustration: FIG. 638. LINEN STITCH. FIRST STITCHES.]
+
+The number of stitches depends, to a certain extent, on the material
+employed; with Coton a broder D.M.C for example, you will have to make
+more stitches than with one of the coarser numbers of Coton a repriser
+D.M.C.
+
+This is the stitch generally used for reproducing a cross stitch pattern
+on a netted ground and is especially to be recommended for covering
+large surfaces, curtains, counterpanes and so forth, as it is quickly
+done and shows up the pattern well.
+
+[Illustration: FIG. 639. LINEN STITCH. SECOND STITCHES.]
+
+[Illustration: FIG. 640. LINEN STITCH. FORMATION OF THE CORNERS.]
+
+LINEN STITCH (figs. 638 and 639).--This is the stitch most often met
+with in the old embroideries, it being the one the solid parts of the
+leaves and flowers, and the borders are generally worked in.
+
+Fasten on the thread to a knot of the netting and carry it twice to and
+fro, over and under the threads of the netting, so that at the end of
+the row, every second thread passes under and over the thread of the
+netting, as it is carried upwards again.
+
+This constitutes the first layer of threads, the second completes the
+linen stitch and is made in the same way, only across the first,
+alternately taking up and missing a thread as is done, in darning. The
+thread may also be carried both ways over the threads of the squares. In
+this case you must draw an uneven number of threads through the squares,
+otherwise the crossing of the threads will be irregular in the last
+square.
+
+LINEN STITCH. FORMATION OF THE CORNERS (fig. 640).--When linen stitch
+is used for the border of a pattern, and a corner has to be formed, you
+begin by carrying the threads over a given number of squares. This first
+layer, especially in the case of long stripes, must be kept very slack,
+and to ensure the threads being all of the same length, lay a fine mesh
+or a thick knitting needle at one end and stretch the threads over it.
+After carrying the second layer across a few squares, take away the mesh
+or needle. The threads of the first layer become gradually shorter, from
+the passage of the cross threads in and out between them, and end by
+being just long enough to prevent the last embroidered squares from
+being too tightly stretched.
+
+On reaching the corner, you cross the threads of the next row, as shown
+in fig. 640. The first threads of the second side form the foundation of
+the corner square; from the second corner square you pass to the third;
+from the third to the fourth, carrying your thread alternately over and
+under the threads that were stretched for the first corner.
+
+LOOP STITCH (POINT D'ESPRIT) (figs. 641 and 642).--This is a light
+open stitch, chiefly used for making a less transparent foundation than
+plain netting. Fasten the thread to the middle of one bar of the
+netting, then make a loose loop to the middle of the top bar of the same
+square, fig. 641, by carrying the thread, from left to right, over one
+vertical and one horizontal bar of the net and inserting the needle
+downwards from above under the bar and in front of the working thread.
+For the second row back, also represented in fig. 641, you draw the
+needle through, underneath the bar above the loop stitch and make the
+loop upwards from below; in doing this the working thread must lie to
+the left, in front of the needle. Fig. 642 shows how to join the rows
+and pass the needle through the stitches of the preceding row.
+
+[Illustration: FIG. 641. LOOP STITCH. 1ST AND 2ND COURSE OF THE THREAD.]
+
+[Illustration: FIG. 642. LOOP STITCH. SEVERAL ROWS COMPLETED.]
+
+[Illustration: FIG. 643. STAR FORMED OF LOOSE THREADS LAYING THE
+UNDERNEATH THREADS.]
+
+[Illustration: FIG. 644. STAR FORMED OF LOOSE THREADS. LAYING THE UPPER
+THREADS.]
+
+STAR COMPOSED OF LOOSE THREADS (figs. 643, 644, 645).--This star
+covers 16 squares of netting. Fasten the thread to the middle knot of
+the 16 squares, then carry it diagonally over 4 squares, three times
+from left to right under a knot of the foundation and three times from
+right to left. In this way, the bottom rays of the star are formed. For
+the stitches that complete the figure, you start from the middle and
+following the direction of the little arrow in the illustration, you
+cover the netting with 3 horizontal and 3 vertical threads, carried
+over 4 squares. When you have laid the vertical threads, slip the needle
+4 or 5 times round in a circle, under the diagonal and over the straight
+threads, but always over the bars of the netting. This completes the
+star, as it is represented in fig. 645. Care must be taken to make the
+stitches lie quite flat side by side, and not one on the top of the
+other.
+
+[Illustration: FIG. 645. STAR FORMED OF LOOSE THREADS. FINISHED.]
+
+DARNING STITCH (POINT DE REPRISE) (figs. 646 and 647).--Little flowers
+and leaves are generally executed in this stitch; the first course of
+the thread is shown in fig. 646. Leaves can be made with one, two or
+three veins. Carry the needle, invariably from the middle, first to the
+right and then to the left, under the threads of the foundation and push
+the stitches close together, as they are made, with the point of your
+needle. This you will be able to do most easily by holding the work so
+as to make the stitches towards you.
+
+[Illustration: FIG. 646. LEAVES WORKED IN DARNING STITCH. BEGUN.]
+
+[Illustration: FIG. 647. LEAVES WORKED IN DARNING STITCH. COMPLETED.]
+
+For a leaf with only one division or vein, like the left leaf in fig.
+646, merely run the needle through the middle of the threads, whereas
+for a leaf with two or three veins, you must run it, over and under,
+either one, or two threads (see the right leaf in fig. 646).
+
+In working leaves of this kind in darning stitch, you must draw your
+stitches at the top and bottom of the leaf rather tighter than in the
+middle, so as to give them the proper shape. If you wish to make them
+very slender at the bottom, you can finish them off with a few
+overcasting stitches.
+
+Fig. 647 represents two leaves completed, one with one vein and the
+other, with two.
+
+POINTED SCALLOPS IN DARNING STITCH (fig. 648).--The simplest way to
+work these scallops is to carry a thread, as shown in the illustration,
+to and fro over the square, from the knot in one corner to the middle of
+the bar above and downwards to the opposite knot, round which the thread
+is carried and passed upwards again to the middle. As the scallop must
+always be begun from the top, you will have, two foundation threads on
+one side and three on the other. Here likewise, you must push the
+threads as closely together as possible with the needle.
+
+[Illustration: FIG. 648. POINTED SCALLOPS IN DARNING STITCH.]
+
+[Illustration: FIG. 649. POINTED SCALLOPS IN BUTTONHOLE STITCH.]
+
+POINTED SCALLOPS IN BUTTONHOLE STITCH (fig. 649).--Another quite as
+pretty and easy way of working pointed scallops on a netted foundation
+is by making two buttonhole stitches before crossing to the opposite
+side. As shown in the foregoing illustration, you begin by stretching
+single or double foundation threads across; then beginning at the point,
+you make, alternately right and left, 2 buttonhole stitches over the
+foundation threads, so that the working thread is only carried across to
+the opposite side after every second stitch.
+
+VEINED POINTED SCALLOPS (fig. 650).--A third way of making pointed
+scallops is by first stretching a thread to and fro across the middle of
+the square, after which you slip the needle from left to right under the
+middle thread, and underneath the left bar from above. Then you carry
+the needle, from right to left, over the foundation thread and under the
+right bar and so on. The one thread must be drawn tightly round the
+other, in order that the stitches may form close and evenly shaped
+veins, like small cords, on the wrong side of the scallop. There must be
+enough stitches to completely cover the foundation thread that crosses
+the middle of the square.
+
+[Illustration: FIG. 650. VEINED POINTED SCALLOPS.]
+
+[Illustration: FIG. 651. POINTED SCALLOPS IN VENETIAN STITCH.]
+
+POINTED SCALLOPS IN VENETIAN STITCH (fig. 651).--The prettiest
+scallops of all are those worked in Venetian stitch. You begin, by
+making from 8 to 10 buttonhole stitches over one bar of the netting,
+then you work on with the same stitch backwards and forwards, making one
+stitch less in each row, until you come to the one which forms the point
+of the scallop and is fastened to the bar above; you carry the working
+thread back on the wrong side to the lower bar, and then under the
+buttonhole stitches to the next square of the netting. Scallops worked
+in this manner, can be overcast round the edges in the way described
+further on, in fig. 660.
+
+WHEELS EMBROIDERED ON NETTING (figs. 652 and 653).--To make wheels or
+spiders, as they are also called, you have first to fasten the thread to
+the middle knot of four squares, thence you carry it diagonally right
+and left, fig. 652, right detail, across the empty squares of netting
+and the knot, and return to the middle, overcasting your first thread
+by the way, so as to form a closely twisted cord. This is called cording
+a thread.
+
+Having reached the centre, carry the working thread round and round,
+under and over the corded threads and under the bars of the netting till
+the wheel covers half the bars.
+
+[Illustration: FIG. 652. LAYING THE THREADS FOR A WHEEL AND BEGINNING OF
+THE WHEEL.]
+
+[Illustration: FIG. 653. WHEELS WORKED IN TWO WAYS.]
+
+Fig. 653 shows, on the right, a finished wheel, and on the left, another
+way in which it can be made, and indicates the course of the thread over
+and under the lines, as in a darn. These details show also how, when the
+foundation thread of the wheel starts from a corner, it is left single
+in the first square until the wheel is finished; then the needle is
+slipped back along the little spoke, opposite to the single thread, and
+through the wheel, and the single thread is corded like the others.
+
+[Illustration: FIG. 654. RIBBED WHEELS.]
+
+[Illustration: FIG. 655. RIBBED SQUARES OR LOZENGES.]
+
+RIBBED WHEELS (fig. 654).--Make the foundation of the wheels as
+before, over 8 threads. To form the ribs at the back of the wheels, see
+fig. 654; make a back stitch, on the right side, over a bar of the
+netting, and carry on the needle under one bar, so that the thread that
+lies outside always crosses 2 bars of the netting.
+
+In this case you must make circles of thread enough, to cover the bars
+completely, not half, as before.
+
+The same stitches, as fig. 654 shows, can be made on either side of the
+embroidery, and so as to form, either a square or a lozenge (see fig.
+655).
+
+[Illustration: FIG. 656. WHEELS SET WITH BUTTONHOLING.]
+
+WHEELS SET WITH BUTTONHOLING (fig. 656).--A very pretty lace-like
+effect is produced by encircling the wheels in large squares of netting
+with a double setting of stitches. The left detail of fig. 656 shows how
+the thread, having been passed under the wheel and twisted once round
+the single thread, is carried all round the square and forms 8 loops.
+
+The arrow shows the way in which the loops are taken up, and the first
+ring of stitches round the wheel is finished.
+
+The second detail of the same figure explains the course the thread,
+that forms the second ring, has to take through the loops and between
+the bars; whilst the white line shows the passage of the thread over the
+second ring. The third detail represents a wheel, completed.
+
+[Illustration: FIG. 657. STAR WITH ONE-SIDED BUTTONHOLE STITCHES.]
+
+STAR WITH ONE-SIDED BUTTONHOLE STITCHES (fig. 657).--The pattern
+represented in fig. 657, is the quickest to work that we know of. Two
+buttonhole stitches made upon the outside bar of a square and a simple
+crossing of the thread at the bottom, produce elongated triangles which
+should always be begun from the knot. Two triangles stand exactly
+opposite to each other in one square, and the square that comes in the
+middle of the four thus filled, is ornamented with a small wheel.
+
+[Illustration: FIG. 658. ROUNDED CORNERS ON NETTING.]
+
+[Illustration: FIG. 659. LINEN STITCH SET WITH DARNING STITCH.]
+
+[Illustration: FIG. 660. LINEN STITCH SET WITH CORD STITCH.]
+
+ROUNDED CORNERS OF NETTING (fig. 658).--Darning stitches, made over a
+thread carried diagonally across one square and the adjacent corners of
+that and two other squares, produce the figure illustrated in fig. 658.
+The accompanying detail shows the mode of working.
+
+The number of stitches depends on the material you use; there should be
+no more than can lie quite flat, side by side, on the diagonal thread.
+
+LINEN STITCH, SET WITH DARNING STITCH (fig. 659).--There are some
+patterns it would hardly be possible to work on netting unless you could
+soften the outlines by darning stitches, as shown in the foregoing
+figure.
+
+When employed as a setting to linen stitch, there should be fewer than
+in fig. 658; you may also, instead of interrupting them at every corner,
+carry them all round a square, (see the right detail of the figure).
+
+LINEN STITCH SET WITH CORD STITCH (fig. 660).--Many figures are also
+either corded or edged with twisted thread; both ways are represented
+in the illustration. In the latter case you can use the same thread as
+for the linen stitch, or if you wish the setting to be very pronounced,
+a thicker one. For instance, if the netting be made of Cordonnet 6 fils
+D.M.C No. 25[A] we recommend Fil a pointer D.M.C No. 15 or 20[A] for
+the setting. This difference of material is especially noticeable in the
+old Cluny Guipure, where the figures worked in linen stitch are edged
+with a thread like a cord. But if the linen stitch be bound with cord
+stitch, the same thread must be used for it, as for the foundation. A
+soft material, like Coton a repriser, makes the best padding for the
+overcasting stitches.
+
+[Illustration: FIG. 661. FLOWER IN DOT STITCH ON A FOUNDATION OF LINEN
+STITCH.]
+
+FLOWER IN DOT STITCH ON A FOUNDATION OF LINEN STITCH (fig. 661).--With
+the help of this stitch, which is described in the chapter on white
+embroidery and represented in fig. 179, a great variety of little
+supplementary ornaments can be made, on every description of netted
+ground.
+
+[Illustration: FIG. 662. BORDERING IN BUTTONHOLE STITCH.]
+
+BORDERING IN BUTTONHOLE STITCH (fig. 662).--Scalloped edges in netting
+should be buttonholed; 2 or 3 padding threads should be run in first,
+following the bars of the netting, over which the buttonholing is done;
+the bars of the netting must not be cut away until the edge be finished.
+
+CUT WORK IN EMBROIDERED NETTING (fig. 663).--Cut work here means half
+covering the bars of the netting with button-hole stitches and half
+cutting them away with scissors. The inner bars are frequently
+ornamented with a double buttonhole edging and knotted picots, see figs.
+698 and 699 in the next chapter. You slightly separate the stitches of
+the first row of buttonholing so as to be able to introduce the thread
+of the second row between them.
+
+[Illustration: FIG. 663. CUT WORK IN EMBROIDERED NETTING.]
+
+[Illustration: FIG. 664. STRAIGHT LOOP STITCH.]
+
+STRAIGHT LOOP STITCH (fig. 664).--In the first row you carry the
+thread over one bar and slip it through behind a knot; in the second you
+do the same thing, only that above, your needle will pass under 3
+threads, two of them the threads of the loop of the first row and the
+third a bar of the net. In every square 4 threads cross each other.
+
+[Illustration: FIG. 665. WAVED STITCH.]
+
+WAVED STITCH (fig. 665).--This stitch, which forms a close waved
+ground, is produced by passing the thread in each row of the netting
+over a square and behind a knot. When the pattern admits of it, as it
+mostly does, a considerably thicker thread is used for this stitch and
+for the stitches represented in figs. 667, 668, 669 and 670, than that
+in which the netting is made. When the netted ground is of Fil a
+dentelle D.M.C No. 50,[A] the embroidery upon it may very well be done
+in Cordonnet 6 fils. D.M.C No. 10[A], or Fil a pointer D.M.C No. 30.[A]
+
+INTERSECTED LOOP STITCH (fig. 666).--Begin by covering the whole
+surface to be embroidered with plain loop stitches, then stretch threads
+diagonally across the squares of the netting and the loop stitches; one
+set of threads running over the stitches and under the knots of the
+netting, the other under the first and second threads of the loop
+stitches and over the first crossed threads and the knots.
+
+The laying and stretching of these threads must, it is hardly necessary
+to say, be systematically and regularly done.
+
+[Illustration: FIG. 666. INTERSECTED LOOP STITCH.]
+
+GROUND WORKED IN HORIZONTAL LINES (fig. 667).--Make half cross
+stitches over 4 squares of netting, by passing the thread alternately
+over and under 3 knots, and under 3 squares of the netting. In the
+second row, cross the threads over those of the first row, as is shown
+in our engraving.
+
+GROUND WORKED IN STITCHES PLACED ONE ABOVE THE OTHER (fig.
+668).--Cover a whole row of squares with cross stitches and leave 3 rows
+of squares empty. When you have a sufficient number of rows of cross
+stitches, take a long needle and pass it upwards from below, and from
+right to left, under the two bars of the third upper square; then pass
+downwards to the first square of the 3 bottom rows and under the bars
+from right to left, so as again to leave 3 squares between the fresh
+stitches. The next row of stitches is made in the same manner, so that
+the stitches are not only set contrary ways but reciprocally cover each
+other.
+
+LATTICED GROUND (fig. 669).--Begin by running the thread, to and fro,
+under two vertical bars and over three horizontal ones. When the ground
+is entirely covered, carry your thread from right to left, under the
+bars over which the first rows of threads are crossed; then take it over
+the long crosses, that correspond to 5 squares of netting, and pass it
+in the same line under the bars of the netting. In coming back, the long
+stitches cross each other over the stitches of the first rows.
+
+[Illustration: FIG. 667. GROUND WORKED IN HORIZONTAL LINES.]
+
+[Illustration: FIG. 668. GROUND WORKED IN STITCHES PLACED ONE ABOVE THE
+OTHER.]
+
+[Illustration: FIG. 669. LATTICED GROUND.]
+
+[Illustration: FIG. 670. GROUND WORKED IN RUSSIAN STITCH.]
+
+GROUND WORKED IN RUSSIAN STITCH (fig. 670).--Pass the thread from left
+to right, under a bar of the netting, carry it downwards over 4 squares
+and pass it again, from left to right, under the bar, then upwards,
+again over 4 squares of netting and so on. The stitches of the next rows
+are made in the same manner; you have only to see that the loops formed
+by the stitches all come on the same line of knots.
+
+GROUND WORKED IN TWO SIZES OF THREAD (fig. 671).--Herewith begins the
+series of stitches, referred to at the beginning of the chapter, copied
+in part from one of the oldest and most curious pieces of embroidered
+netting we have ever met with. The copies were worked with Cordonnet 6
+fils D.M.C No. 25 and ecru Fil a dentelle D.M.C No. 70[A]; the former
+being used for the darning and the almond-shaped stitches between; the
+latter for the buttonhole stitches. Wherever two sizes of thread are
+used for one pattern, all the stitches in the coarse thread should be
+put in first and those in the fine, last.
+
+[Illustration: FIG. 671. GROUND WORKED IN TWO SIZES OF THREAD.]
+
+GROUND WITH WHEELS AND LOOP STITCH (fig. 672).--You begin with the
+coarse thread and finish all the wheels first, making them each over 4
+threads of the netting; then with the fine thread, you make loop
+stitches between them, in rows, as shown in figs. 641 and 642.
+
+GROUND WORKED IN DARNING AND LOOP STITCH (fig. 673).--The darning
+stitches are made in the coarse thread, over 4 squares of the netting,
+in a horizontal direction, with loop stitches, in the fine thread, made
+between them, over the same number of squares.
+
+[Illustration: FIG. 672. GROUND WITH WHEELS AND LOOP STITCH.]
+
+GROUND WORKED IN TWO SIZES OF THREAD (fig. 674).--Carry the coarse
+thread, from right to left, under the first knot of the netting, and
+then under the next, from left to right. This has to be done twice, to
+and fro, so that the squares of the netting are edged on both sides with
+a double layer of threads.
+
+When the whole foundation has been thus covered, take the fine thread
+and make loop stitches in the squares between the other rows of
+stitches, passing the needle for that purpose over the double stitch.
+Lastly, intersect the loop stitches with straight threads and pass the
+needle each time through the knot of the netting.
+
+[Illustration: FIG. 673. GROUND WORKED IN DARNING AND LOOP STITCH.]
+
+[Illustration: FIG. 674. GROUND WORKED IN TWO SIZES OF THREAD.]
+
+[Illustration: FIG. 675. GROUND WORKED WITH CROSS STITCHES IN ONE SIZE
+OF THREAD.]
+
+GROUND WORKED WITH CROSS STITCHES IN ONE SIZE OF THREAD (fig.
+675).--This pattern, very like the foregoing one, consists of 3 diagonal
+rows of stitches, worked to and fro, with cross stitches made over them.
+
+You may also begin with the cross stitches, in the fine thread, and work
+the triple stitches over them, in the coarse.
+
+GROUND WORKED WITH DARNING AND CORD STITCHES (fig. 676).--Patterns,
+executed chiefly in darning stitches, in a comparatively coarse thread,
+present a closer and heavier appearance than those we have been
+describing. Here, every other square of the netting is filled, as
+closely as possible, with stitches; the empty squares between are
+intersected diagonally with corded threads.
+
+[Illustration: FIG. 676. GROUND WORKED WITH DARNING AND CORD STITCHES.]
+
+[Illustration: FIG. 677. GROUND WORKED WITH SQUARES AND WHEELS.]
+
+[Illustration: FIG. 678. GROUND WORKED WITH SQUARES AND WHEELS.]
+
+GROUND WORKED WITH SQUARES AND WHEELS (figs. 677, 678, 679).--A ground
+very often met with in old embroidered netting, consists of diagonal
+lines of squares, closely filled with darning stitches, alternating with
+diagonal lines of squares, each with a small wheel in the middle.
+
+In fig. 678, the darning stitches, and the wheels, which are both worked
+with the same material, cover 4 squares of the netting.
+
+Larger expanses of netting may also be entirely filled with wheels, fig.
+679. To make a really satisfactory grounding of this kind, you should be
+careful always to carry your thread over the bars of the netting and
+under the threads that are stretched diagonally across.
+
+GROUND WORKED IN CROSS AND DARNING STITCH (fig. 680).--You begin, as
+before, by making the close darning stitches, and then proceed to the
+cross stitches. To give them the right shape, finish all the rows of
+stitches one way first; in the subsequent rows, that cross the first
+ones, you introduce the thread between the stitches that were first
+crossed.
+
+[Illustration: FIG. 679. GROUND WITH LARGE WHEELS.]
+
+GROUND OF GEOMETRICAL FIGURES (fig. 681).--This pattern, quite
+different from all the others, consists of simple geometrical lines.
+Fasten the thread to a knot of the netting, then carry it, always
+diagonally, under 3 other knots and repeat this 3 times, after which,
+carry it once round the bar of the netting, to fasten it, and back again
+to the knot which it already encircles, and from thence begin a new
+square. Owing to your having always to bring the thread back to the knot
+whence the next square is to begin, you will have 4 threads on two of
+the sides and 6 on the two others.
+
+[Illustration: FIG. 680. GROUND WORKED IN CROSS AND DARNING STITCH.]
+
+In the second and subsequent rows, the needle has to pass twice under
+the angles that were first formed, in order that, over the whole
+surface, all the corners may be equally covered and connected.
+
+NETTED INSERTION WORKED IN PLAIN DARNING STITCH (fig. 682).--The taste
+for ornamenting not only curtains but bed and table linen also, with
+lace and insertion of all kinds, to break the monotony of the large
+white surfaces, is becoming more and more general and the insertion here
+described will be welcome to such of our readers as have neither time
+nor patience for work of a more elaborate nature.
+
+The way to make straight netting has already been fully described in
+figs. 625, 626, 627, 628, 629 and 630, and darning stitch in fig. 637.
+
+To those who wish to be saved the trouble of making the netting
+themselves, we can strongly recommend various fabrics, intended to take
+its place, more especially Filet Canevas, which is an exact imitation of
+the finest hand-made netting. The centre part of the pattern in fig.
+682, is worked in rows of horizontal darning stitches, the narrow border
+in vertical ones.
+
+[Illustration: FIG. 681. GROUND OF GEOMETRICAL FIGURES.]
+
+[Illustration: FIG. 682. NETTED INSERTION WORKED IN PLAIN DARNING
+STITCH. MATERIALS--For the netting: Cordonnet 6 fils D.M.C No. 25.--For
+the darning stitch: Coton a broder D.M.C No. 25, or Coton a repriser
+D.M.C Nos. 12 to 50, white or ecru.[A]]
+
+[Illustration: FIG. 683. EMBROIDERED GROUND OF NETTING. MATERIALS--For
+the netting: Fil a dentelle D.M.C Nos. 25 to 50. For the darning stitch:
+Cordonnet 6 fils D.M.C No. 15, or Fil a pointer D.M.C No. 30.--For the
+loop stitch: Fil a dentelle D.M.C or Cordonnet 6 fils D.M.C according to
+the size of the netting thread.]
+
+GROUND OF NETTING EMBROIDERED (fig. 683).--We have already had
+occasion, in the foregoing explanations, to point out the advantage of
+embroidering with two sizes of thread, but it is only in a piece of work
+of a certain size that it is possible really to judge of the excellent
+effect produced by the use of two threads of different sizes.
+
+The principal lines of the pattern, which are in darning stitch, are
+worked in a very coarse thread with a strong twist, Fil a pointer D.M.C,
+whilst the loop stitches are in Cordonnet 6 fils D.M.C.
+
+Our model was worked in ecru thread but there is nothing to prevent
+several colours being introduced, for instance ecru, black or
+Gris-Ficelle 462 for the netted foundation; Rouge-Cardinal 346, for the
+darning stitches, and Chine d'or D.M.C green and gold or blue and gold,
+for the loop stitches and the threads that are carried across inside.
+
+[Illustration: FIG. 684. EMBROIDERED SQUARE OF NETTING. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 15 to 30, or Fil a dentelle D.M.C Nos. 15 to
+40, white or ecru.[A]]
+
+EMBROIDERED SQUARE OF NETTING WITH TWO KINDS OF LACE SUITABLE FOR THE
+BORDER (figs. 684, 685, 686).--Large pieces of embroidered netting are
+generally made up of squares and stripes, joined together with ribbon
+and fine linen insertions. It is easier and less cumbrous to make the
+netting in separate pieces. Squares of different patterns can also be
+combined with crochet and pillow lace, in this case of course the
+squares have to be arranged with some system.
+
+Fig. 685 represents a lace edging intended for the square fig. 684,
+which shows how even in such a simple pattern as this, several colours
+may be successfully introduced.
+
+Fig. 686 is a handsomer and more elaborate pattern for the same kind of
+purpose. The loop stitches and the linen stitches should be worked in a
+very light shade; instead of the colour indicated at the foot of the
+engraving, Rouge-Geranium 353, Violet-Mauve 377 or Jaune-Rouille 365 may
+be used; for the netting and the loop stitches you may combine, with the
+first shade, two shades of Brun-Caroubier 303 and 357, with the second,
+two shades of Jaune-vieil Or 678 and 680 and with the third, two shades
+of Rouge-Cardinal 346 and 348.
+
+[Illustration: FIG. 685. LACE EDGING FOR THE SQUARE, FIG. 684.
+MATERIALS: The same as for fig. 684, and Or fin D.M.C pour la broderie
+No. 30. COLOURS--For the netting and the loop stitch: White or
+ecru.--For the darning stitch: Brun-Caroubier 303 and Rouge-Grenat
+335.[A]]
+
+[Illustration: FIG. 686. LACE EDGING. MATERIALS: The same as for 684.
+COLOURS--For the netting: ecru.--For the ground in loop and linen
+stitch: Bleu pale 668.--For the bars in darning stitch: Gris-Tilleul 391
+and 393.[A]]
+
+PATTERN FOR GROUND (fig. 687).--The peculiar charm of this most
+unpretending pattern is chiefly due to the variety of material and
+colour introduced into it. The netted ground is made of dark brown
+Cordonnet 6 fils D.M.C No. 25, worked over, in the first instance, with
+loop stitches in a pale grey, which are afterwards connected by darning
+stitches in Coton a repriser Gris-Tilleul 392.
+
+[Illustration: FIG. 687. PATTERN FOR GROUND. MATERIALS--For the netting:
+Cordonnet 6 fils D.M.C Nos. 15 to 30. For the embroidery: Coton a
+repriser D.M.C No. 25. COLOURS: Brun-Havane 455, Gris-Noisette 423,
+Jaune-vieil-Or 680, Gris-Tilleul 391 and Rouge-Geranium 352.[A]]
+
+The same material in Rouge-Geranium, is used for the little centre
+squares and the pink crosses, and isolated darned squares are framed
+with loose cord stitches in Coton a repriser colour Jaune-vieil-Or 680.
+
+
+We can also recommend, for the same pattern, the following combination
+of colours, all to be found on the D.M.C colour card; namely, Bleu pale
+668 for the netting; Chine d'or, gold with dark blue for the loop
+stitches; Ganse turque D.M.C No. 12 (Turkish gold cord) for the darning
+stitches, between the loop stitches; Coton a broder or Cordonnet 6 fils
+in Rouge-Cornouille 450, for the detached darned squares and Coton a
+repriser, in Jaune-d'Or 667 for the setting of all the different parts
+of the pattern.
+
+[Illustration: FIG. 688. EMBROIDERY ON NETTING WITH DIFFERENT-SIZED
+LOOPS. MATERIALS--For the netting: Fil a dentelle D.M.C No. 40. For the
+embroidery: Coton a broder D.M.C No. 16, white or ecru.[A]]
+
+EMBROIDERY ON NETTING WITH DIFFERENT-SIZED LOOPS (fig. 688).--The
+netting, described and represented in fig. 620, with plain, oblong and
+double loops, here forms the ground for the embroidery.
+
+[Illustration: FIG. 689. SQUARE IN CUT NETTING.]
+
+[Illustration: FIG. 690. LACE EDGING IN CUT NETTING. MATERIALS: Fil a
+dentelle D.M.C Nos. 25 to 50, in three shades of one colour.]
+
+In order to make the isolated loop stitches, the thread which forms the
+cross in the middle must be carried to the middle of the bar, the loops
+that form the stitches must be finished and the thread carried back to
+the knot whence it started. It must then be taken three times backwards
+and forwards over the foundation thread and the two bars of the
+netting, when the stitches, into and over 3 squares of the netting,
+should be made. The last row in the engraving shows the pattern in the
+successive stages of its development.
+
+[Illustration: FIG. 691. NETTING INSERTION MATERIALS--For the netting:
+Cordonnet 6 fils D.M.C No. 40 white or ecru.--For the embroidery: Ganse
+turque D.M.C Nos. 6 and 12.]
+
+SQUARE AND EDGING IN CUT NETTING (figs. 689 and 690).--Few patterns
+admit of such a successful application of all the stitches hitherto
+described, as the square and edging presented to our readers in the two
+subjoined figures. On a netted ground of rather fine thread, we have in
+the first place, linen stitch, in the border, worked in rather a coarser
+thread than the ground; then raised wheels, buttonholed bars with picots
+in the centre, plain wheels very close together, and long ribbed bars
+worked in darning stitch.
+
+The edging, to match the square, is worked in the original in pale
+shades, in contrast to the square which is executed entirely in ecru
+thread. The squares in the netted footing of the lace are loosely
+overcast with pale Violet-Mauve 316, the same colour is also used for
+the wheels in the outside edge, each of which fills a square, and for
+the loop stitches round them; whilst the middle one of the three upper
+ribbed wheels and the star are worked in dark Violet-Mauve 315. The
+crosses in linen stitch, the three lower ribbed wheels and the long
+ribbed bars in darning stitch, are in Gris-Tilleul 392.
+
+NETTED INSERTION (fig. 691).--This is a copy of a beautiful piece of
+embroidered netting, to all appearance, several centuries old, and in a
+state that rendered, even the most delicate handling almost impossible.
+
+After several experiments, the best result has been arrived at, and the
+Turkish cord in which the original is made, has now been manufactured
+for netting purposes, as well as for other kinds of decorative work,
+already alluded to, and referred to again later on.
+
+The first foundation, that is, the actual netting, for a thing of this
+kind, should be made in white or ecru thread, with very small meshes;
+the pattern itself is embroidered on the netting with Ganse turque D.M.C
+No. 12; this material, ecru and gold mixed, gives the work a glittering
+and peculiarly elegant appearance, unobtainable in any other.
+
+The execution is extremely easy, it being worked entirely in darning
+stitch; but the drawing should be copied with great accuracy and the
+wide braid very carefully sewn on with close stitches round the squares,
+which are filled in with darning stitches made in Ganse turque No. 12.
+
+Any netting pattern can be copied in this braid, and the simplest piece
+of work of the kind is worth mounting on a rich foundation of silk,
+brocade, velvet or plush. To give a single example, the insertion here
+described and illustrated, was mounted on slate-blue plush and has been
+universally admired.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: INSERTION.--IRISH LACE WITH RAISED ORNAMENTS.]
+
+
+
+
+IRISH LACE.
+
+
+Irish lace, also known under the name of Renaissance lace, from its
+having been first made in the sixteenth century, is an imitation of the
+earliest pillow laces; it ought, properly speaking, to be called French
+lace, having been invented in France and thence introduced into England
+and Ireland.
+
+It is composed of braid or tape, formed into figures, joined together by
+needlemade, corded or buttonhole bars and fillings of different kinds,
+or by bars alone.
+
+The lace stitches and bars are almost the same as those used in fine
+Venetian point, but they are executed in a coarser material so that this
+section of our work may be considered as a preparation for the different
+kinds of lace, to be described in the next chapter.
+
+MATERIALS (fig. 692).--The braids used for making Irish lace are an
+English speciality and manufactured exclusively in England; they are
+very various in shade, width and thickness, and are to be had white,
+unbleached, grey and pale yellow, narrow and wide, coarse and fine in
+texture, with and without holes, open edge and picots, with large
+medallions and small.
+
+Fig. 692 represents the kinds most commonly used, in their original
+size, together with a specimen picot, or purl, as they are called in
+England, for the outside edge, also to be had ready made, for those who
+do not care for the trouble of making them themselves.
+
+For the stitches and bars by which the braids are joined together, the
+best material is Fil a dentelle D.M.C,[A] (lace thread) a smooth even
+thread, now made in every colour to match the braids.
+
+[Illustration: FIG. 692. PATTERNS OF THE DIFFERENT TAPES AND BRAIDS USED
+FOR IRISH LACE.]
+
+TRANSFERRING DESIGNS FOR IRISH LACE.--The best way is to trace them on
+oiled tracing linen with a watery ink, free from greasy matter. This
+tracing linen, which is of English make, is white, glazed on one side
+only; the unglazed surface should be turned uppermost, as it takes the
+ink better.
+
+As this tracing linen is quite transparent, the pattern can be
+transferred to it at once without recourse to any other process.
+
+It will be found less trying for the eyes to lay a piece of transparent
+coloured paper, or stuff, under the pattern whilst you are copying it.
+The Irish lace designs are almost all drawn with double lines, between
+which the braid is tacked on with small back stitches. We may mention at
+once that it is advisable to make the stitches longer on the right side
+than on the other, or at any rate to make them of the same length.
+
+TACKING DOWN AND GATHERING IN THE BRAIDS (fig. 693).--Where the lines
+of the pattern describe a curve or a circle, the outside edge of the
+braid, as shown in fig. 693, must be sewn down firmly, so as to form
+little folds or gathers on the inside edge, which are first tacked down
+and then gathered in with small overcasting stitches in fine thread, so
+as to fit exactly to the pattern.
+
+[Illustration: FIG. 693. TACKING DOWN AND DRAWING IN THE BRAIDS.]
+
+The stitches, made for the bars and the fillings, must never be drawn so
+tightly as to drag out the edges of the braids and thus spoil the
+outlines of the pattern. Nor should the stitches be caught into the
+tracing cloth, but only rest upon it.
+
+When the embroidery is finished, turn the work the wrong side up, cut
+every second or third tacking stitch and pull the threads carefully out,
+from the wrong side, when the lace will separate itself from the backing
+without difficulty; it has then to be damped and ironed also on the
+wrong side. (See the concluding chapter on the different processes for
+finishing off needlework).
+
+It is of no consequence which are made first, the bars or the fillings;
+we however incline to the former, more especially in the case of
+buttonhole bars, as they are easier to do than the fillings and once
+done, there is less risk of puckering or drawing the edges together, in
+making the fillings.
+
+THE STITCHES.--We shall now proceed to describe a series of bars and
+stitches, which, if carefully studied, will serve as a preparation for
+making all the finer kinds of laces described in the ensuing chapter.
+
+Without pretending to have exhausted the infinite variety of lace
+stitches that exists, we hope to have brought before our readers' notice
+a sufficiently numerous selection to satisfy all tastes and capacities.
+
+With regard to the names, the same stitches are known by so many
+different ones, that excepting in the case of those universally
+accepted, we have disregarded them altogether and merely numbered the
+stitches in their order.
+
+[Illustration: FIG. 694. PLAIN TWISTED BAR.]
+
+PLAIN TWISTED BAR (fig. 694).--Secure the thread to the braid and
+throw it across from one braid edge to the other, put the needle in
+downwards from above, and overcast the first thread, so as to form the
+two into a cord. If you do not make enough overcasting stitches to
+tighten the two threads, the bars will be loose and untidy and spoil the
+general appearance of the work.
+
+[Illustration: FIG. 695. DOUBLE TWISTED BAR.]
+
+DOUBLE TWISTED BAR (fig. 695).--Throw three foundation threads across
+the space to be filled and overcast them loosely, so that they remain
+visible between the stitches.
+
+PLAIN BUTTONHOLE BAR (fig. 696).--Throw three threads across and cover
+them with buttonhole stitches, made from right to left.
+
+In making this and the subsequent bars, we recommend turning the needle
+round and holding it as it were the reverse way, so that the eye not the
+point passes first under the threads; strange as it may seem, it is
+easier in this manner to avoid splitting the threads. The working thread
+should always issue from the edge of the braid, one or two threads
+before the foundation threads of the bar, to prevent the bars being of
+unequal width, or getting twisted at the beginning.
+
+BUTTONHOLE BARS WITH PINNED PICOTS (figs. 697 and 698). After covering
+half, or a third of the bar with buttonhole stitches, pass the thread
+without making a loop, under the foundation threads, and fasten the loop
+with a pin, fig. 697, then slip the needle, horizontally from right to
+left, under the 3 threads and tighten the knot close to the last
+buttonhole stitch.
+
+[Illustration: FIG, 696. PLAIN BUTTONHOLE BAR.]
+
+[Illustration: FIG. 697. BUTTONHOLE BAR WITH PINNED PICOTS.]
+
+[Illustration: FIG. 698. BUTTONHOLE BAR WITH PINNED PICOTS.]
+
+[Illustration: FIG. 699. BAR WITH LACE PICOT.]
+
+Fig. 698 shows a picot made in the same manner, but with several
+buttonhole stitches inserted between the loop and the buttonholed bar.
+
+BAR WITH LACE PICOT (fig. 699).--Here the picot is made by bringing
+the thread out through the loop and beginning the buttonhole stitches, 4
+or 5 in number, according to the size of the thread, quite close to the
+pin, so that they entirely cover the loop. The pin must be stuck in the
+width of 4 stitches, distant from the bar, and the foundation threads
+should be completely hidden under the bar.
+
+BAR WITH PICOT MADE IN BULLION STITCH (fig. 700).--Put the needle
+halfway into the last buttonhole stitch, twist the thread ten or twelve
+times round it from left to right, draw it through and tighten the
+thread, so that the spiral on the thread form a semicircle, then
+continue the bar (see also for the bullion stitch figs. 179 and 661).
+
+BAR WITH BUTTONHOLE PICOT (fig. 701).--Cover rather more than half the
+bar with buttonhole stitches, carry the thread three times to the 6th
+stitch and back, then buttonhole these threads that are attached to the
+bar in the same way as the bar itself and finish the bar in the usual
+way.
+
+These buttonhole picots are generally used for edging lace; they may in
+their turn be adorned with small pinned picots to produce a richer
+effect.
+
+[Illustration: FIG. 700. BAR WITH PICOT MADE IN BULLION STITCH.]
+
+[Illustration: FIG. 701. BAR WITH BUTTONHOLE PICOT.]
+
+[Illustration: FIG. 702. BAR WITH TWO ROWS OF KNOTS.]
+
+BAR WITH TWO ROWS OF KNOTS (fig. 702).--Over two foundation threads,
+make double knots, far enough apart to leave room for the knots of the
+next row between.
+
+These double knots consist, in the first place, of one plain buttonhole
+stitch and then one reversed, that is, made by bringing the needle out
+in front of the thread and passing it under the loop; the result being
+that the thread will lie behind the thread and not before it, as in an
+ordinary buttonhole stitch.
+
+[Illustration: FIG. 703. BRANCHED BARS.]
+
+BRANCHED BARS (fig. 703).--Where you have a larger surface to cover
+with bars, you are generally obliged to make them with branches. For
+this purpose you prepare the threads as for an ordinary bar and cover
+them halfway with buttonhole stitches; then you carry on the foundation
+thread to the next bar, buttonhole it also halfway, lay the next
+foundation thread, and finally buttonhole all the half-covered bars till
+you reach the dotted line, from whence you lay the last foundation
+threads.
+
+The last bar is worked over 2 or 4 threads, so that the working thread
+can be taken back to the edge of the braid by means of the last
+buttonhole stitches.
+
+[Illustration: FIG. 704. PLAIN RUSSIAN STITCH.]
+
+PLAIN RUSSIAN STITCH (fig. 704).--Stitches of all kinds can be used,
+as well as bars, for joining braids together that run parallel to each
+other, and for filling up the spaces between. These stitches, which
+serve as an insertion, are some of them very elementary, whilst others
+require great skill and patience to execute.
+
+The simplest of all is the Russian stitch, which bears a great
+resemblance to the crossed stitch, shown in fig. 39, and the crossed
+back-stitch, fig. 176.
+
+You pass the needle from left to right, under the edge of the braid,
+then again from right to left under the opposite edge, taking care
+always to leave the thread in front of the needle.
+
+[Illustration: FIG. 705. TWISTED RUSSIAN STITCH.]
+
+TWISTED RUSSIAN STITCH (fig. 705).--Instead of passing the needle
+behind the thread, pass it before it and round it, so that the needle
+always comes out again beneath the thread, which will then be twice
+twisted.
+
+[Illustration: FIG. 706. COLUMN STITCH.]
+
+COLUMN STITCH (fig. 706).--At the bottom, the stitch is made like the
+plain Russian stitch, and at the top, like the one in fig. 705, with the
+difference that the second thread is passed three times round the first.
+
+[Illustration: FIG. 707. INSERTION OF SINGLE BUTTONHOLE STITCHES.]
+
+[Illustration: FIG. 708. INSERTION OF PLAIN BUTTONHOLE STITCHES.]
+
+INSERTION OF SINGLE BUTTONHOLE STITCHES (figs. 707 and 708).--Make
+very loose buttonhole stitches along both edges of the braid, all the
+same size and the same distance apart, and vertically, opposite to each
+other.
+
+When these two rows are finished, pick up each loop with Russian stitch,
+either single, fig. 704, or twisted, fig. 705. Fig. 708 shows the double
+Russian stitch made in each loop; it may be trebled or quadrupled,
+according to whether you wish your insertion to be very transparent or
+not.
+
+[Illustration: FIG. 709. INSERTION WITH BEAD STITCHES.]
+
+INSERTION WITH BEAD STITCHES (fig. 709).--Join the opposite rows of
+loops together by four stitches. The threads of these stitches must lie
+quite flat, side by side, and not one on the top of the other. After the
+fourth stitch, you wind the thread round the bottom loop and then carry
+it on to the next, whence you repeat the four stitches as above.
+
+CLUSTER INSERTION (fig. 710).--Over the middle of two finished plain
+bars and one half-finished one, a short distance apart, you make five
+buttonhole stitches and overcast the remainder of the third bar. The
+first bar of the next cluster must be set quite close to the last.
+
+INSERTION WITH BRANCHES (figs. 711 and 712).--Throw the thread across
+the middle of the space between two edges of braid, and lengthways,
+from one end to the other, pass the needle horizontally under four or
+five threads of the braid, across the insertion; then carry it in a
+similar manner, first to the left and then to the right, take up the
+same number of threads of the braid and connect the three loops together
+by a knot, as is clearly shown in fig. 711.
+
+[Illustration: FIG. 710. CLUSTER INSERTION.]
+
+[Illustration: FIG. 711. INSERTION WITH PLAIN BRANCHES.]
+
+[Illustration: FIG. 712. INSERTION WITH BRANCHES AND WHEELS.]
+
+Fig. 712 represents a similar beginning, and a similar interlacing of
+the threads, but ornamented this time with a wheel, added after the knot
+has been made over the loops.
+
+[Illustration: FIG. 713. INSERTION WITH LEAVES WORKED IN DARNING
+STITCH.]
+
+INSERTION WITH LEAVES IN DARNING STITCH (fig. 713).--Fasten on the
+thread where, according to the illustration, the first leaf in the
+insertion ought to come, carry it across to the opposite side, draw it
+through the edge of the braid and bring it back to the point whence it
+started, lay threads across to both sides, like in figs. 711 and 712,
+unite them by a knot, such as described in fig. 711, lay the thread once
+more round the middle leaf, and finish the leaf in darning stitch,
+working downwards from the top, as described in the preceding chapter in
+figs. 646 and 647. As may be seen from the second middle leaf, your
+darning stitches have to be made over five threads, subdivided into two
+and three.
+
+[Illustration: Fig. 714. INSERTION WITH SMALL WHEELS.]
+
+INSERTION WITH SMALL WHEELS (fig. 714).--Here, you have to make two
+rows of Russian stitches opposite each other and carry the thread to the
+point of intersection, then, you make a wheel over five threads and pass
+the needle under the completed wheel to reach the next point of
+intersection. Half wheels may also be added at the edge of the braid, as
+in figs. 658 and 659.
+
+[Illustration: Fig. 715. INSERTION WITH BIG WHEELS.]
+
+INSERTION WITH BIG WHEELS (fig. 715).--Carry the thread horizontally
+across the middle of the space intended for the insertion, to the
+opposite side, and then conduct it by means of overcasting stitches into
+the corner; thence make a loose loop over to the opposite corner, pass
+the needle under six or eight threads of the braid edge, slip it under
+the horizontal thread first laid and behind the loop, and finish the
+stitch on the other side in the edge of the braid.
+
+Throw the thread again across the empty space and over the first thread,
+bring your needle back to the middle, make a big wheel over four
+threads, passing each time under the same threads, then overcast the
+single thread, come back to the edge of the braid and make the second
+loop, bringing out the thread at the same place where the other stitches
+came out.
+
+INSERTION WITH CONES (figs. 716 and 717).--Over plain but very
+distended Russian stitch, make darning stitches backwards and forwards,
+beginning at the point and reaching to the middle, so as to form small
+cone-shaped figures.
+
+To reach the point of the next cone you overcast the thread of the
+Russian stitch several times.
+
+You may also, as in fig. 717, double the Russian stitch and make the
+darning stitches in such a manner that the points of the cones touch
+each other and their bases meet the edge of the braid. The same thing,
+worked the reverse way, that is, with the points turned outwards to the
+edge, produces a not less pretty effect.
+
+[Illustration: Fig. 716. INSERTION WITH CONES.]
+
+[Illustration: Fig. 717. INSERTION WITH CONES.]
+
+[Illustration: Fig. 718. INSERTION WITH EMBROIDERED SQUARES.]
+
+INSERTION WITH EMBROIDERED SQUARES (fig. 718).--After making rows of
+loose buttonhole stitches along the braid edges, as in figs. 707, 708,
+709, run a thread through the buttonhole stitches; this thread serves as
+the foundation to the Russian stitches by which the two edges are joined
+together. The empty square space left between the Russian stitches is
+then filled up with buttonhole stitches, like those in fig. 651, in the
+foregoing chapter.
+
+[Illustration: Fig. 719. INSERTION WITH HALF BARS.]
+
+INSERTION WITH HALF BARS (fig. 719).--Fasten on the thread in one of
+the corners of the braid and conduct it by means of overcasting stitches
+to the middle of the insertion, draw it through the edge of the braid on
+the right and make buttonhole stitches over it, to the middle of the
+space to be filled, then carry the thread to the left, draw it through
+the left edge, a little higher up than on the other side, and make the
+same number of stitches over it as over the first. You can vary this
+insertion with very good result by making more stitches on one side than
+on the other, but it should never be more than 10 or 12 stitches wide.
+
+[Illustration: FIG. 720. PLAIN NET STITCH. FIRST LACE STITCH.]
+
+PLAIN NET STITCH. FIRST LACE STITCH (fig. 720).--Make rows of
+buttonhole stitches to and fro, loose enough to form loops into which
+the stitches of each subsequent row are set. You must be careful to make
+the same number of stitches in all the spaces that are of the same size,
+and also, when you begin a row with a whole stitch, to begin the return
+row with a half, and so on, in regular rotation.
+
+The number of stitches should vary with the width of the pattern and the
+decreasing and increasing should always be done at the edge.
+
+The loops must be as many threads of the braid edge long, as they are
+wide.
+
+[Illustration: FIG. 721. DOUBLE NET STITCH. SECOND LACE STITCH.]
+
+DOUBLE NET STITCH. SECOND LACE STITCH (fig. 721).--You leave the same
+distance between the stitches here as in the preceding figure, but in
+each of the loops of the first row, you must make two buttonhole
+stitches close together. It is as well to round the loop a little less
+than is usually done in net stitch.
+
+[Illustration: FIG. 722. THIRD LACE STITCH.]
+
+THIRD LACE STITCH (fig. 722).--Here, you make three buttonhole
+stitches close together, joined to the next three by a loop of thread,
+just long enough to hold the three buttonhole stitches of the subsequent
+row.
+
+[Illustration: FIG. 723. FOURTH LACE STITCH.]
+
+FOURTH LACE STITCH (fig. 723).--Working from left to right, make two
+buttonhole stitches rather near together, and leave twice as long a loop
+between them and the next two stitches as between the two first.
+
+In the next row, which is worked from right to left, make one stitch in
+the loop between the two stitches that are close together and three or
+four in the long loop.
+
+[Illustration: FIG. 724. FIFTH LACE STITCH.]
+
+FIFTH LACE STITCH (fig. 724).--As in fig. 723, you begin this stitch
+from left to right, but making three stitches very close together with
+an intermediate loop as long as the three stitches in one.
+
+In the second row, you make one buttonhole stitch in each of the loops
+between the three stitches and six or eight in the long intermediate
+loop.
+
+[Illustration: FIG. 725. SIXTH LACE STITCH.]
+
+SIXTH LACE STITCH (fig. 725).--Over wide loops, made from left to
+right in the first row, make in the second, enough buttonhole stitches
+entirely to cover the thread.
+
+In the third row of stitches, put the needle into the small loop between
+two sets of buttonhole stitches, so that the close stitches shall form
+vertical lines across the surface they cover.
+
+This stitch admits of every sort of modification, such as, for instance,
+making the third row of stitches on the buttonhole stitches, in the
+middle of the ones on the small loop; or making one row of close
+stitches first, and then three open rows; in the former case you should
+always make an uneven number of buttonhole stitches, so that you have
+the same number on both sides of the needle, which you must put in
+between the two threads that form the middle buttonhole stitch.
+
+[Illustration: FIG. 726. SEVENTH LACE STITCH.]
+
+SEVENTH LACE STITCH (fig. 726).--Begin, working from right to left, by
+making one row of pairs of buttonhole stitches, a very short distance
+apart; in the second row you make one buttonhole stitch between each of
+these pairs, and in the third row, two buttonhole stitches in every long
+loop. Here, the stitches must not be crowded together but have a small
+gap left between them.
+
+[Illustration: FIG. 727. EIGHTH LACE STITCH.]
+
+EIGHTH LACE STITCH (fig. 727).--This stitch is generally known as the
+"pea-stitch" on account of the holes occasioned by the different
+distribution of the stitches.
+
+The first row consists of stitches, set rather closely together, and all
+the same distance apart. In the second row, you make one buttonhole
+stitch in the last stitch of the first row, then, missing two loops and
+three buttonhole stitches, you make two stitches in the next loops and
+so on. In the third row, you make three stitches in the big loop, and
+one in the loop between the stitches of the second row.
+
+[Illustration: FIG. 728. NINTH LACE STITCH.]
+
+[Illustration: FIG. 729. TENTH LACE STITCH.]
+
+NINTH, AND TENTH LACE STITCH (figs. 728 and 729).--Both, the small and
+the big pointed groups of stitches, begin with a row of close buttonhole
+stitches.
+
+Fig. 728 requires three rows; in the second you miss two stitches and
+make two in the next loops; in the third, only one stitch is introduced
+between the two loops of the lower row.
+
+Fig. 729 requires five rows. The stitches of the first must be set as
+closely together as possible; in the second row you make four stitches
+and miss two of the first row, in the third row you make three stitches,
+in the fourth, two and in the fifth, one only. The long loops of the
+last row must not be too slack so that the first stitches of the next
+scallop may quite cover them.
+
+[Illustration: FIG. 730. ELEVENTH LACE STITCH.]
+
+ELEVENTH LACE STITCH (fig. 730).--This stitch is not really more
+difficult to work than those we have been describing, but requires
+rather more attention to learn.
+
+The first row consists of plain net stitches; in the second, you have
+three buttonhole stitches in the middle net stitch; in the third, three
+buttonhole stitches in the whole loops on either side of the three
+buttonhole stitches of the second row, and one stitch in the half loops
+that precede and immediately follow them; the fourth row is similar to
+the second.
+
+In the fifth row the close stitches are changed. The three buttonhole
+stitches are made in the third whole loop, before and after those of the
+fourth row, so that between two groups of three stitches you have six
+single buttonhole stitches and seven loops.
+
+[Illustration: FIG. 731. TWELFTH LACE STITCH.]
+
+TWELFTH LACE STITCH (fig. 731).--Fasten on your thread, take it by
+overcasting stitches over the braid edge, half a c/m. from the corner,
+and make three buttonhole stitches downwards, quite close together. The
+next loops, over four or six threads of the braid, must be left long
+enough to be on a level with the first stitch reaching downwards from
+the edge.
+
+In the second row, you cover the long loops with three buttonhole
+stitches and draw the intervening thread quite tight.
+
+The third row is like the first, with the difference, that you put the
+needle in between the two threads of the buttonhole stitch, instead of
+through the loops.
+
+[Illustration: FIG. 732. THIRTEENTH LACE STITCH.]
+
+THIRTEENTH LACE STITCH (fig. 732).--The stitch here represented, as
+well as the two next ones are looped from left to right and then again
+from right to left.
+
+As it is more unusual to make the loops from left to right than the
+reverse way, the proper position of the needle and the course of the
+thread are shown in the illustrations.
+
+Fig. 732 requires, in the first place, two buttonhole stitches very
+close together in the edge of the braid, then a third stitch covering
+the two first stitches and set quite close to them; the connecting
+thread between these stitches must be tightly stretched so as to lie
+almost vertically, that the stitches may form straight lines.
+
+[Illustration: FIG. 733. FOURTEENTH LACE STITCH.]
+
+FOURTEENTH LACE STITCH (fig. 733).--This begins, likewise, with two
+buttonhole stitches, above which you make two buttonhole stitches
+instead of one, as in fig. 732, producing an open ground with vertical
+bars.
+
+[Illustration: FIG. 734. FIFTEENTH LACE STITCH.]
+
+FIFTEENTH LACE STITCH (fig. 734).--This resembles the two foregoing
+stitches and consists of three buttonhole stitches, made over the edge
+of the braid or the intermediate bars, and joined together afterwards
+under one transverse stitch.
+
+[Illustration: FIG. 735. SIXTEENTH LACE STITCH.]
+
+SIXTEENTH LACE STITCH (fig. 735).--You begin this by a row of net
+stitches worked from right to left, or as the engraving shows, by a row
+of stitches called "seed stitches".
+
+[Illustration: FIG. 736. SEVENTEENTH LACE STITCH.]
+
+The second row, worked from left to right, consists of short bars, set
+slanting and shaped like a seed, and made the same way as the picot in
+fig. 699. The first stitch is carried through the loop of the row below,
+the second over both threads and far enough from the loop to leave room
+for three other stitches. The first of the four buttonhole stitches of
+the next group must be set quite close to the last.
+
+SEVENTEENTH LACE STITCH (fig. 786).--Here we have the same pattern as
+the preceding one without the row of net stitches; the engraving shows
+us at the same time, the proper direction of the needle and thread for
+the row that is worked from right to left.
+
+[Illustration: FIG. 737. EIGHTEENTH LACE STITCH.]
+
+EIGHTEENTH LACE STITCH (fig. 737).--This is the first of a series of
+lace stitches, often met with in old Venetian lace, and which can
+therefore with perfect right be called, Venetian stitches.
+
+Owing to the manner and order in which the rows of stitches are
+connected and placed above one another, they form less transparent
+grounds than those we have hitherto described.
+
+In these grounds you begin by making the row of loops, then you throw a
+thread across on the same level and in coming back, pass the needle
+through the row of loops under the thread stretched across, and under
+the stitch of the previous row.
+
+[Illustration: FIG. 738. NINETEENTH LACE STITCH.]
+
+NINETEENTH LACE STITCH (fig. 738).--The close stitch here represented
+is more common in Venetian lace than the loose stitch given in fig.
+737.
+
+[Illustration: FIG. 739. TWENTIETH LACE STITCH.]
+
+TWENTIETH LACE STITCH (fig. 739).--By missing some loops of the close
+ground in one row and replacing them by the same number in the next,
+small gaps are formed, and by a regular and systematic missing and
+taking up of stitches, in this way, extremely pretty grounds can be
+produced.
+
+[Illustration: FIG. 740. TWENTY-FIRST LACE STITCH.]
+
+TWENTY-FIRST LACE STITCH (fig. 740).--These close lace stitches, can
+be varied in all sorts of other ways by embroidering the needle-made
+grounds.
+
+In fig. 740, you have little tufts in darning stitch, and in a less
+twisted material than the close stitches of the ground, worked upon the
+ground.
+
+If you use Fil a dentelle D.M.C (lace thread) for the ground, you should
+take either Coton a repriser D.M.C (darning cotton), or better still,
+Coton surfin D.M.C[A] for the tufts. The ground can also be ornamented
+with little rings of buttonholing, stars or flowerets in bullion or some
+other fancy stitch.
+
+[Illustration: FIG. 741. TWENTY-SECOND LACE STITCH.]
+
+TWENTY-SECOND LACE STITCH (fig. 741).--For the above three stitches
+and the three that follow, the work has to be held, so that the
+finished rows are turned to the worker and the needle points to the
+outside of the hand. In the first row, from left to right, take hold of
+the thread near the end that is in the braid, lay it from left to right
+under the point of the needle, and bring it back again to the right,
+over the same. Whilst twisting the thread in this way round the needle
+with the right hand, you must hold the eye of the needle under the left
+thumb.
+
+When you have laid the thread round draw the needle through the loops;
+the bars must stand straight and be of uniform length. Were they to
+slant or be at all uneven, we should consider the work badly done.
+
+In the row that is worked from left to right, the thread must be twisted
+round the needle, likewise from left to right.
+
+[Illustration: FIG. 742. TWENTY-THIRD LACE STITCH.]
+
+TWENTY-THIRD LACE STITCH (fig. 742).--This is begun with the same
+stitches as fig. 741, worked from right to left. You then take up every
+loop that comes between the vertical bars with an overcasting stitch,
+drawing the thread quite out, and tightening it as much as is necessary
+after each stitch. You cannot take several stitches on the needle at the
+same time and draw out the thread for them all at once, as this pulls
+the bars out of their place.
+
+[Illustration: FIG. 743. TWENTY-FOURTH LACE STITCH]
+
+TWENTY-FOURTH LACE STITCH (fig. 743).--This is often called the
+Sorrento stitch.
+
+Every group of three bars of stitches is separated from the next by a
+long loop, round which the thread is twisted in its backward course. In
+each of the succeeding rows you place the first bar between the first
+and second of the preceding row, and the third one in the long loop, so
+that the pattern advances, as it were in steps.
+
+[Illustration: FIG. 744. TWENTY-FIFTH LACE STITCH.]
+
+[Illustration: FIG. 745. TWENTY-SIXTH LACE STITCH.]
+
+TWENTY-FIFTH AND TWENTY-SIXTH LACE STITCHES (figs. 744 and
+745).--These two figures show how the relative position of the groups
+of bars may be varied.
+
+Both consist of the same stitches as those described in fig. 741. The
+thread that connects the groups should be tightly stretched, so that the
+rows may form straight horizontal lines.
+
+[Illustration: FIG. 746. TWENTY-SEVENTH LACE STITCH.]
+
+TWENTY-SEVENTH LACE STITCH (fig. 746).--Begin by making two rows of
+net stitches, fig. 720, then two of close ones, fig. 738, and one row
+like those of fig. 741.
+
+If you want to lengthen the bars, twist the thread once or twice more
+round the needle. You can also make one row of bars surmounted by
+wheels, as shown in fig. 765, then one more row of bars and continue
+with close stitches.
+
+TWENTY-EIGHTH LACE STITCH (fig. 747).--Between every group of three
+bars, set close together, leave a space of a corresponding width; then
+bring the thread back over the bars, as in figs. 737, 738 and 739,
+without going through the loops. In the second row, you make three bars
+in the empty space, two over the three bars of the first row and again
+three in the next empty space. The third row is like the first.
+
+[Illustration: FIG. 747. TWENTY-EIGHTH LACE STITCH.]
+
+[Illustration: FIG. 748. TWENTY-NINTH LACE STITCH.]
+
+TWENTY-NINTH LACE STITCH (fig. 748).--This stitch, known as Greek net
+stitch, can be used instead of buttonhole bars for filling in large
+surfaces.
+
+Make bars from left to right, a little distance apart as in fig. 741,
+leaving the loops between rather slack, so that when they have been
+twice overcast by the returning thread, they may still be slightly
+rounded. In the next row, you make the bar in the middle of the loop and
+lift it up sufficiently with the needle, for the threads to form a
+hexagon like a net mesh.
+
+[Illustration: FIG. 749. THIRTIETH LACE STITCH.]
+
+THIRTIETH LACE STITCH (fig. 749). After a row of pairs of buttonhole
+stitches set closely together, with long loops between, as long as the
+space between the pairs, throw the thread across in a line with the
+extremities of the loops, fasten it to the edge of the braid and make
+pairs of buttonhole stitches, as in the first row above it.
+
+The loops must be perfectly regular, to facilitate which, guide lines
+may be traced across the pattern, and pins stuck in as shown in the
+figure, round which to carry the thread.
+
+[Illustration: FIG. 750. THIRTY-FIRST LACE STITCH.]
+
+THIRTY-FIRST LACE STITCH (fig. 750).--At first sight this stitch looks
+very much like the preceding one, but it differs entirely from it in the
+way in which the threads are knotted. You pass the needle under the loop
+and the laid thread, then stick in the pin at the right distance for
+making the long loop, bring the thread round behind the pin, make a loop
+round the point of the needle, as shows in the engraving, and pull up
+the knot.
+
+[Illustration: FIG. 751. THIRTY-SECOND LACE STITCH.]
+
+THIRTY-SECOND LACE STITCH (fig. 751).--To introduce a greater variety
+into lace stitches, netting can also be imitated with the needle. You
+begin with a loop in the corner of a square and work in diagonal lines.
+The loops are secured by means of the same stitch shown in fig. 750, and
+the regularity of the loops ensured, as it is there, by making them
+round a pin, stuck in at the proper distance. The squares or meshes must
+be made with the greatest accuracy; that being the case, most of the
+stitches described in the preceding chapter can be worked upon them, and
+the smallest spaces can be filled with delicate embroidery.
+
+THIRTY-THIRD LACE STITCH (fig. 752).--This stitch is frequently met
+with in the oldest Irish lace, especially in the kind where the braids
+are joined together by fillings not bars. At first sight, it looks
+merely like a close net stitch, the ground and filling all alike, so
+uniform is it in appearance, but on a closer observation it will be
+found to be quite a different stitch from any of those we have been
+describing.
+
+The first stitch is made like a plain net stitch, the second consists of
+a knot that ties up the loop of the first stitch. Fillings of this kind
+must be worked as compactly as possible, so that hardly any spaces are
+visible between the individual rows.
+
+[Illustration: FIG. 752. THIRTY-THIRD LACE STITCH.]
+
+[Illustration: FIG. 753. THIRTY-FOURTH LACE STITCH.]
+
+THIRTY-FOURTH LACE STITCH (fig. 753).--To fill in a surface with this
+stitch, known as the wheel or spider stitch, begin by laying double
+diagonal threads to and fro, at regular distances apart, so that they
+lie side by side and are not twisted. When the whole surface is covered
+with these double threads, throw a second similar series across them,
+the opposite way. The return thread, in making this second layer, must
+be conducted under the double threads of the first layer and over the
+single thread just laid, and wound two or three times round them,
+thereby forming little wheels or spiders, like those already described
+in the preceding chapter in figs. 653 and 654.
+
+THIRTY-FIFTH LACE STITCH (fig. 754).--Begin by making a very regular
+netted foundation, but without knots, where the two layers of threads
+intersect each other.
+
+Then, make a third layer of diagonal threads across the two first
+layers, so that all meet at the same points of intersection, thus
+forming six rays divergent from one centre. With the fourth and last
+thread, which forms the seventh and eighth ray, you make the wheel over
+seven threads, then slip the needle under it and carry it on to the
+point for the next wheel.
+
+[Illustration: FIG. 754. THIRTY-FIFTH LACE STITCH.]
+
+[Illustration: FIG. 755. THIRTY-SIXTH LACE STITCH.]
+
+THIRTY-SIXTH LACE STITCH (fig. 755).--After covering all the surface
+to be embroidered, with threads stretched in horizontal lines, you cover
+them with loops going from one to the other and joining themselves in
+the subsequent row to the preceding loops.
+
+The needle will thus have to pass underneath two threads. Then cover
+this needle-made canvas with cones worked in close darning stitches, as
+in figs. 648, 716 and 717.
+
+[Illustration: FIG. 756. THIRTY-SEVENTH LACE STITCH.]
+
+THIRTY-SEVENTH LACE STITCH (fig. 756).--Here, by means of the first
+threads that you lay, you make an imitation of the Penelope canvas used
+for tapestry work, covering the surface with double threads, a very
+little distance apart, stretched both ways. The second layer of threads
+must pass alternately under and over the first, where they cross each
+other, and the small squares thus left between, must be encircled
+several times with thread and then buttonholed; the thicker the
+foundation and the more raised and compact the buttonholing upon it is,
+the better the effect will be. Each of these little buttonholed rings
+should be begun and finished off independently of the others.
+
+THIRTY-EIGHTH LACE STITCH (fig. 757).--Plain net stitch being quicker
+to do than any other, one is tempted to use it more frequently; but as
+it is a little monotonous some openwork ornament upon it is a great
+improvement; such for instance as small buttonholed rings, worked all
+over the ground at regular intervals. Here again, as in the preceding
+figure the rings must be made independently of each other.
+
+[Illustration: FIG. 757. THIRTY-EIGHTH LACE STITCH.]
+
+[Illustration: FIG. 758. THIRTY-NINTH LACE STITCH.]
+
+THIRTY-NINTH LACE STITCH (fig. 758).--Corded bars, branching out into
+other bars, worked in overcasting stitches, may also serve as a lace
+ground.
+
+You lay five or six threads, according to the course the bars are to
+take; you overcast the branches up to the point of their junction with
+the principal line, thence you throw across the foundation threads for
+another branch, so that having reached a given point and coming back to
+finish the threads left uncovered in going, you will often have from six
+to eight short lengths of thread to overcast.
+
+Overcasting stitches are always worked from right to left.
+
+FORTIETH LACE STITCH (fig. 759).--Of all the different kinds of
+stitches here given, this, which terminates the series, is perhaps the
+one requiring the most patience. It was copied from a piece of very old
+and valuable Brabant lace, of which it formed the entire ground. Our
+figure of course represents it on a very magnified scale, the original
+being worked in the finest imaginable material, over a single foundation
+thread.
+
+In the first row, after the three usual foundation threads are laid, you
+make the buttonhole stitches to the number of eight or ten, up to the
+point from which the next branch issues, from the edge of the braid,
+that is, upwards.
+
+Then you bring the needle down again and buttonhole the second part of
+the bar, working from right to left.
+
+[Illustration: FIG. 759. FORTIETH LACE STITCH.]
+
+A picot, like the one described in fig. 701, marks the point where the
+bars join. More picots of the same kind may be added at discretion.
+
+[Illustration: FIG. 760. WHEEL COMPOSED OF BUTTONHOLE BARS. MAKING AND
+TAKING UP THE LOOPS.]
+
+[Illustration: FIG. 761. WHEEL COMPOSED OF BUTTONHOLE BARS. THE
+BUTTONHOLING BEGUN.]
+
+WHEEL COMPOSED OF BUTTONHOLE BARS (figs. 760, 761, 762, 763).--As we
+have already more than once given directions for making wheels, not only
+in the present chapter, but also in the one on netting, there is no need
+to enlarge on the kind of stitches to be used here, but we will explain
+the course of the thread in making wheels, composed of buttonhole bars
+in a square opening.
+
+Fig. 760 shows how the first eight loops which form the foundation of
+the bars are made.
+
+[Illustration: FIG. 762. WHEEL COMPOSED OF BUTTONHOLE BARS. PASSING FROM
+ONE BAR TO THE OTHER.]
+
+[Illustration: FIG. 763. WHEEL COMPOSED OF BUTTONHOLE BARS. BARS AND
+RING FINISHED.]
+
+In fig. 761 you will see that a thread has been passed through the
+loops, for the purpose of drawing them in and making a ring in addition
+to which, two threads added to the loop serve as padding for the
+buttonhole stitches; the latter should always be begun on the braid
+side. Fig. 762 represents the bar begun in fig. 761 completed, and the
+passage of the thread to the next bar, and fig. 763 the ring buttonholed
+after the completion of all the bars.
+
+[Illustration: FIG. 764. FILLING IN A ROUND SPACE WITH NET STITCH.]
+
+FILLING IN ROUND SPACES (figs. 764, 765, 766).--The stitches best
+adapted for filling in round spaces are those that can be drawn in and
+tightened to the required circumference, or those that admit of the
+number being reduced, regularly, in each round.
+
+In tacking braids on to circular patterns, the inside edges, as we
+pointed out at the beginning of this chapter, have to be drawn in with
+overcasting stitches in very fine thread.
+
+Fig. 764 shows how to fill in a round space with net stitches. It will
+be observed that the loop which begins the row, has the thread of the
+loop with which it terminates, wound round it, which thread then passes
+on to the second series of stitches. In the same manner you pass to the
+third row after which you pick up all the loops and fasten off the
+thread by working back to the braid edge over all the rows of loops,
+following the course indicated by the dotted line.
+
+[Illustration: FIG. 765. FILLING IN ROUND SPACES. FIRST CIRCLE OF WHEELS
+BEGUN.]
+
+[Illustration: FIG. 766. FILLING IN ROUND SPACES. THE TWO CIRCLES OF
+WHEELS FINISHED.]
+
+Fig. 765 shows how to finish a row of loops with wheels worked upon
+three threads only. In the first row, you make a wheel over each bar; in
+the second, you make a bar between every two wheels; in the third, the
+wheels are only made over every second bar; a fourth row of bars which
+you pick up with a thread completes the interior of the circle, then you
+work along the bars with overcasting stitches, fig. 766, to carry the
+thread back to the edge of the braid where you fasten it off.
+
+NEEDLE-MADE PICOTS (figs. 767, 768, 769).--The edges and outlines of
+Irish lace are generally bordered with picots, which as we have already
+said can be bought ready-made (see fig. 692). They are not however very
+strong and we cannot recommend them for lace that any one has taken the
+pains to make by hand.
+
+[Illustration: FIG. 767. CONNECTED NEEDLE-MADE PICOTS.]
+
+[Illustration: FIG. 768. ISOLATED NEEDLE-MADE PICOTS.]
+
+[Illustration: FIG. 769. BUTTONHOLE PICOTS WITH PICOTS IN BULLION
+STITCH.]
+
+In fig. 767, the way to make picots all joined together is described.
+You begin, as in fig. 762, by a knot, over which the thread is twisted
+as indicated in the engraving.
+
+It is needless to repeat that the loops should all be knotted in a line,
+all be of the same length and all the same distance apart.
+
+Fig. 768 represents the kind of needle-made picots which most resemble
+the machine-made ones, and fig. 769 show us the use of little scallops
+surmounted by picots, made in bullion stitch.
+
+One or two rows of lace stitch fig. 736, or the first rows of figs. 749,
+750, can also be used in the place of picots.
+
+IRISH LACE (fig. 770).--English braids or those braids which are
+indicated at the foot of the engraving must be tacked down on to the
+pattern and gathered on the inside edge, wherever the lines are curved,
+as explained in fig. 693; in cases however where only Lacet superfin
+D.M.C[A] is used, the needle should be slipped in underneath the outside
+threads, so that the thread with which you draw in the braid be hidden.
+
+The braids are joined together where they meet with a few overcasting
+stitches, as shown in the illustration.
+
+Here, we find one of the lace stitches used instead of picots; the first
+row of fig. 736 always makes a nice border for Irish lace.
+
+IRISH LACE (fig. 771).--This pattern, which is more complicated and
+takes more time and stitches than the preceding one, can also be
+executed with one or other of the braids mentioned at the beginning of
+the chapter; but it looks best made with a close braid.
+
+[Illustration: FIG. 770. IRISH LACE.]
+
+[Illustration: FIG. 771. IRISH LACE. MATERIALS: Lacet surfin D.M.C No.
+5, white or ecru and Fil d'Alsace D.M.C Nos. 40 to 150, or Fil a
+dentelle D.M.C Nos. 50 to 150.]
+
+The bars, which in the illustration are simply buttonholed may also be
+ornamented with picots of one kind or another; the interior spaces of
+the figure on the left can be filled, instead of with corded bars, with
+one of the lace stitches we have described, either fig. 720, 721, or
+732, any one of which is suitable for filling in small spaces like
+these.
+
+In the figure on the right, the ring of braid may be replaced by close
+buttonhole stitches, made over several foundation threads or over one
+thick thread, such as Fil a pointer D.M.C No. 10 or 20[A] to make them
+full and round.
+
+You begin the ring on the inside and increase the number of stitches as
+the circumference increases.
+
+[Illustration: FIG. 772. IRISH LACE. MATERIALS: English braid with open
+edge.--For the lattice work: Fil d'Alsace D.M.C in balls Nos. 50 to 100
+or Fil a dentelle D.M.C Nos. 50 to 100, white. For the cord: Cordonnet 6
+fils D.M.C No. 15, ecru.[A]]
+
+Any of the stitches, from fig. 720 to fig. 743, can be introduced here.
+
+IRISH LACE (fig. 772).--Here we find one of the fillings above alluded
+to, fig. 751, used as a ground for the flowers and leaves. For the
+design itself some of the closer stitches described in this chapter,
+should be selected. When the actual lace, is finished you sew upon the
+braid a thin cord, made of ecru Cordonnet 6 fils D.M.C, as described in
+the chapter on different kinds of fancy work. Cords of this kind can be
+had ready made, but the hand-made ones are much to be preferred, being
+far softer and more supple than the machine-made.
+
+[Illustration: FIG. 773. IRISH LACE. MATERIALS--For the cord: Cordonnet
+6 fils D.M.C Nos. 15 to 25. For the bars and lace stitches: Fil a
+dentelle D.M.C No. 200.[A]]
+
+IRISH LACE (fig. 773).--This lace, more troublesome than the preceding
+ones to make, is also much more valuable and effective. The ground is
+composed entirely of bars, like the ones described in fig. 761, the
+branches, true to the character of the work are worked in the close
+stitch represented in fig. 755, and the flowers in double net stitch,
+fig. 721.
+
+In working the above fillings, the thread must not, as in lace made with
+braid, be carried on from one point to the other by overcasting stitches
+along the braid edges, but should be drawn out horizontally through the
+cord and back again the same way, giving the needle in so doing a
+slightly slanting direction.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: VENETIAN LACE OF THE XVI CENTURY.]
+
+
+
+
+Laces of different kinds.
+
+
+In general, to the uninitiated, the word "lace" signifies exclusively
+the delicate and elaborate fabrics that owe their origin to Venice and
+the Netherlands and were thence imported into other countries. But
+besides Venetian, French, English, Chantilly, Brussels, Sedan point,
+names familiar to every one, there are all kinds of other laces,
+likewise of great antiquity, and named as the above are, after the
+country they belong to.
+
+As it would be impossible in these pages to give a comprehensive account
+of them all, we have restricted ourselves to such as seem more
+especially suited to the amateur, to whom needlework is a mere
+recreation and pastime.
+
+Worked like the above-named entirely with the needle, but much less
+elaborate and minute in character and workmanship, they are quicker and
+easier to make and we are sure that by the help of the directions that
+accompany the illustrations, any careful worker will be able to imitate
+them without difficulty.
+
+MATERIALS.--It will be observed that we do not bind ourselves in the
+following directions to one size of cotton, that as in point of fact,
+one and the same piece of work can be executed in either fine or coarse
+cotton, we have only indicated the most suitable kind of material to
+use: as for instance for Armenian lace, Fil a pointer D.M.C[A] or
+Cordonnet 6 fils D.M.C[A], for Smyrna or knotted lace, Fil a pointer
+D.M.C, Cordonnet 6 fils D.M.C and Fil a dentelle D.M.C[A], for Reticella
+and Venetian lace, Fil d'Alsace D.M.C[A], for Brussels lace, the finest
+numbers of Fil a dentelle and for pillow lace, any one of those
+enumerated, excepting Coton a broder surfin.
+
+PILLOW LACE AND THE NECESSARY ARTICLES FOR ITS MANUFACTURE.--Pillow
+lace derives its name from the cushion or pillow on which all bobbin
+lace is made, which distinguishes it from point lace, so-called because
+it consists of "points" or stitches made with a needle and thread.
+
+Various articles are required for the making of pillow lace; in the
+first place a cushion or pillow, then bobbins and a winder, parchment
+patterns, pins and a pricker.
+
+THE LACE PILLOW (figs. 774, 775, 776).--The pillows used for pillow
+lace are of different kinds and vary in shape with where the country,
+and the manner in which the lace is made.
+
+[Illustration: FIG. 774. THE LACE PILLOW.]
+
+Fig. 774 represents the shape in use in the mountains of Bohemia and
+Saxony, where pillow lace has always been one of the chief industries of
+the inhabitants. Any one can make a cushion of this kind themselves with
+a piece of stuff, 60 c/m. long and 40 wide. The long sides are firmly
+sewn together and the short ones turned in with a narrow hem through
+which you run a cord to draw them up. A disc of stout cardboard is put
+inside the case after you have gathered up the one end; you then stuff
+the case as full as possible with bran, sawdust or horsehair, lay a
+second disc of cardboard in at the top and draw up the other end.
+
+These pillows are then put into cardboard boxes with rather high sides,
+or into a kind of basket, weighted at the bottom, to keep it firm and
+steady. Pillows of this most primitive kind have the great advantage of
+being perfectly easy to make.
+
+[Illustration: FIG. 775. PILLOW WITH MOVABLE CYLINDER FOR MAKING LACE.]
+
+[Illustration: FIG. 776. POSITION OF THE BOBBINS AND THE WORK ON THE
+CUSHION FIG. 775.]
+
+Fig. 775 represents a pillow of a more complicated kind, which can be
+stood upon the table or mounted on a stand. The cylinder is movable so
+that you can go on working without interruption.
+
+The whole apparatus consists of a board or stand, 50 c/m. long and 40
+wide, resting upon two transverse pieces of wood, 31/2 c/m. high behind
+and 1 c/m. in front.
+
+The board should be covered, first with a very thick flannel or Bath
+coating and then with a fine dark green flannel or cloth.
+
+Two small supports are fixed on to the outside edge of the stand to hold
+the cylinder, which consists of two discs that revolve on a rod about 22
+c/m. long.
+
+This rod should be covered, in the first place with a thick layer of tow
+and then with flannel or cloth.
+
+On the left side of the cylinder is a cog-wheel and a metal spring is
+attached to the board, by means of which the wheel is prevented from
+turning the wrong way.
+
+Fig. 776 shows how the bobbins are placed upon the pillow. In Normandy a
+kind of stuffed box is used instead of a pillow. The board is 3 c/m.
+higher behind than in front and is deeply grooved to hold the cylinder,
+which is stuffed and shaped like the one represented in fig. 775.
+
+This cylinder scarcely projects above the stand, a second groove in the
+back edge receives the lace as it is worked off the cylinder.
+
+The pillows used for Valenciennes lace are of again a different
+construction, but as it is not our intention in the present work to
+describe the finer kinds of lace it appeared superfluous to give any
+illustration of the pillows on which they are made.
+
+[Illustration: FIG. 777. THE BOBBIN (Jamnig's patent).]
+
+THE BOBBINS (fig. 777).--A bobbin is a sort of little wooden spool
+with a handle to it; there are several varieties of them but we have
+confined ourselves to a representation of the kind considered best for
+beginners.
+
+As a considerable number are wanted for every pattern and they are apt
+to slip about and get entangled in inexperienced hands, they are now to
+be had with the handles weighted with lead to steady them and counteract
+any independent motion of their own. We cannot help again laying great
+stress on the importance of seeing that the size of the bobbins and the
+number of the cotton be well assorted to the kind of lace.
+
+THE WINDER (fig. 778).--Every one who means to take the work seriously
+should provide themselves with a winder, as here represented, which is
+affixed to a polished wooden stand.
+
+This stand has to be firmly screwed to the table and the bobbin is
+squeezed in between the two little rods fitted into the supports at the
+left end of the stand; one of these rods serves as the axle to the
+little wheel, the other can be drawn in and out and fitted to the length
+of the bobbin.
+
+[Illustration: FIG. 778. THE WINDER (Jamnig's patent).]
+
+When the bobbin is fixed in its place, you take the thread in the left
+hand and wind it round it, turning the wheel with the right hand from
+right to left in the direction indicated by the arrow.
+
+The thread is wound round the handles of the bobbins that are used for
+making very fine lace, and a wooden shield that is so contrived that you
+can slip it over the handle prevents the thread from getting soiled.
+
+[Illustration: FIG. 779. STOPPAGE OF THE THREAD AT THE END OF THE
+BOBBIN.]
+
+STOPPAGE OF THE THREAD AT THE END OF THE BOBBIN (fig. 779).--After
+cutting off the thread, you make a loop close to the top of the bobbin
+to prevent it from unwinding too easily. This loop is formed by taking
+the bobbin in the right hand, the thread between the fourth and fifth
+fingers of the left hand and laying it away from you round the left
+thumb; then lifting up the bottom thread with the second finger of the
+left hand you pass the bobbin upwards from below through the loop on the
+left hand.
+
+MACHINE FOR CROSSING THE THREADS (fig. 780).--This ingenious little
+machine is of great assistance in making straight running patterns and
+Irish lace braids, and is particularly useful for Russian lace and braid
+lace of all kinds.
+
+It renders the even crossing of the threads in those parts of a pattern
+that imitate linen in texture comparatively easy.
+
+Two implements like combs, fitting into one another, and movable, are
+mounted at two thirds of their length on a steel axle. The long teeth
+have holes bored through the ends, from the sides to the middle of the
+points and through these holes the threads from the bobbins are passed.
+
+[Illustration: FIG. 780. MACHINE FOR CROSSING THE THREADS (Jamnig's
+patent).]
+
+The short teeth also are pierced with transverse holes, through which a
+needle with the threads threaded in the long teeth resting upon it, is
+passed. The points of the short teeth are covered with a hollow metal
+cylinder, split through from end to end, which can be removed when new
+threads have to be added.
+
+When the threads are all on, a small spring is fixed to the two ends of
+the axle, which is independent of the machine, and the two ends of the
+spring are introduced into the hollow of the cylinder.
+
+By the pressure you exercise on the teeth in the cylinder, the long
+teeth change their position, the lower ones rise and the upper ones fall
+and the threads cross each other, as in a loom. After each movement of
+the machine, the bobbin that makes the woof must be passed between the
+crossed threads; the edges are made like those of any other kind of
+lace.
+
+Fig. 781 explains how the bobbins are passed between the threads that
+are held between the teeth of the machine.
+
+[Illustration: FIG. 781. PASSAGE OF THE BOBBINS THROUGH THE MACHINE.]
+
+THE PATTERN.--The pattern is one of the most important things in
+making pillow lace.
+
+The outlines must be clear and exact, as upon that in great measure the
+perfection of the lace depends.
+
+The drawing transferred to parchment, paper or cardboard, usually of a
+yellowish tint, should be lined with a very thin stuff such as muslin to
+prevent its tearing.
+
+[Illustration: FIG. 782. PRICKER AND HOLDER.]
+
+A stripe of quadrille, or point paper as it is called, should be laid
+upon the pattern and then holes pricked with a medium-sized needle at
+every intersection of the lines.
+
+All the curved long lines of the pattern must first be traced upon the
+point paper with ink and then pricked.
+
+The pattern should be adapted to the thickness of the thread the lace is
+to be made of; for a coarse lace large point paper should be used and
+small, for the finer kinds of lace. The pricking of the pattern
+beforehand is particularly important in the case of the common torchon
+lace, where the real beauty of the design consists in its regularity; in
+the case of fine close patterns the pricking can only be done as you
+proceed.
+
+Prickers and holders of the kind represented in fig. 782 or very much
+resembling it, are to be had at every stationer's shop.
+
+[Illustration: FIG. 783. POSITION AND MOVEMENTS OF THE HANDS.]
+
+The holes made by the prickers are to receive the pins, stuck in as you
+go along, round which you form and by which these are kept in their
+place.
+
+The pins must be long, with round heads and of a size suited to the
+thread. When your pattern is ready fasten it to the pillow or cylinder
+as the case may be, stretching it as smoothly as possible and being
+careful in so doing to fit the lines of the pattern together. If it be
+too long it must be cut to the required length or you may make the
+cylinder bigger by wrapping several folds of flannel round it.
+
+The value of lace depends not only on the work but on the thread it is
+made of; all the D.M.C cottons[A] can be recommended for lace-making and
+coloured laces of all kinds are greatly improved by the addition of a
+little Chine d'or D.M.C or Or fin D.M.C pour la broderie.[A]
+
+POSITION AND MOVEMENTS OF THE HANDS (fig. 783).--Pillow lace is always
+made with two pairs of bobbins at once and the "stitches" are formed by
+the different ways of passing, plaiting, crossing and twisting the
+threads.
+
+To begin with the simplest operation, making a plait, hang 2 pairs of
+bobbins to a pin, take 2 bobbins in each hand and lay the right bobbin
+of each pair over its left fellow and draw up the threads slightly. Then
+take the bobbins in the 2nd, 3rd and 4th fingers of the right hand and
+with the same fingers of the left, lay the 2nd bobbin over the 3rd with
+the 2nd and 3rd fingers of the left, so that the two middle bobbins are
+crossed, then take the 4th bobbin in the 2nd and 3rd fingers of the
+right hand and the bobbin that is now the 2nd, in the 3rd and 4th
+fingers of the left hand and lay the former over the 3rd, the latter
+over the 1st. This constitutes a "half passing".
+
+The plait, fig. 784, is formed by the repetition of the half passing.
+Two half passings make a whole or "double passing".
+
+On the kind of lace you are making, depends how many pairs of bobbins
+you will have to use. But as one part of the lace is often made before
+the other, or you have to put on supernumerary bobbins, you fasten up
+those not in use on one side with pins, as shown in fig. 783.
+
+[Illustration: FIG. 784. PASSING WITH TWO PAIRS OF BOBBINS.]
+
+NET PATTERN OR GROUND (figs. 785 and 786).--This consists of half
+passings, worked in rows to and fro; the pins are stuck in at the end of
+each row.
+
+The pattern, fig. 785, is fastened upon the pillow and 6 pins are stuck
+in at the top, at regular intervals from each other; hang one pair of
+bobbins on every pin and lay the second bobbin of each pair over its
+fellow, so that the threads cross each other.
+
+[Illustration: FIG, 785. PATTERN FOR NET PASSINGS.]
+
+1 half passing with the 1st and 2nd pair = lay the 1st pair aside = 1
+half passing with the 2nd and 3rd pair = lay the 2nd pair aside = 1 half
+passing with the 3rd and 4th pair = lay the 3rd pair aside = 1 half
+passing with the 4th and 5th pair = lay the 4th pair aside = 1 half
+passing with the 5th and 6th pair = stick in a pin at point 2, then work
+back from right to left = surround the pin with a half passing made with
+the 5th and 6th pair = lay the 6th pair aside = 1 half passing with the
+5th and 4th pair = lay the 5th pair aside = 1 half passing with the 4th
+and 3rd pairs = lay the 4th pair aside = 1 half passing with the 3rd and
+2nd pair = lay the 3rd pair aside = 1 half passing with the 2nd and 1st
+pair = stick in a pin at point 3 and repeat from the beginning.
+
+Fig. 786 shows the net ground completed; the thread that runs to and
+fro, to make it more clear, is represented in a darker shade than the
+others.
+
+Before proceeding further, it is as well to prepare our readers for the
+many trials they will have to make, even with the help of the most
+minute explanations, before they succeed in carrying out the directions;
+for the whole art of making pillow lace lies in a manual dexterity, only
+attainable by practice.
+
+[Illustration: FIG. 786. NET GROUND. COMPLETED.]
+
+Even copying the patterns from description is only possible at first in
+a qualified sense; the surest way of attaining a satisfactory result is
+by constantly comparing the drawing and the work in progress and
+wherever the latter does not correspond with the former, trying at once
+to rectify the difference.
+
+LINEN OR CLOTH GROUND.--The pattern used for net passing can also be
+used for linen passing or ground but 7 pins, instead of 6, have to be
+stuck in at the top first. As in net passing, you work first from left
+to right, running 2 threads to and fro in perfectly horizontal lines, so
+as to produce a ground resembling linen in its texture.
+
+The threads that run to and fro are held at the edge with pins and
+changed by a half passing, so that the one that was first in going, is
+first also in returning.
+
+[Illustration: FIG. 787. PATTERN FOR PLAIN HOLE GROUND.]
+
+[Illustration: FIG. 788. PLAIN HOLE GROUND.]
+
+The use of the machine for crossing the threads is especially to be
+recommended in working linen ground; by pressing the short branches of
+the machine, the position of the threads is changed and the bobbin is
+pushed through; by a second pressure the second bobbin is driven
+through, the pin is stuck in for the picot or the cord, when the
+bobbins are taken back again, four movements being thus all that is
+required.
+
+[Illustration: FIG. 789. WHEEL BEGUN IN HOLE GROUND.]
+
+[Illustration: FIG. 790. WHEEL IN HOLE GROUND COMPLETED.]
+
+PLAIN HOLE GROUND (figs. 787 and 788).--Hole ground can be worked in
+various ways; we will begin by describing the plain hole ground, which
+as a rule forms the ground of all torchon laces. After fixing the
+pattern, as represented in fig. 787, upon the pillow, stick in 5 pins,
+hang 2 pairs of bobbins on to each and throw the 2nd bobbin of each pair
+over its fellow = 1 half passing with the 2nd and 3rd pairs = put up a
+pin at point 1 = 1 half passing with the same pair = this encloses the
+pin = lay the 3rd pair aside = 1 half passing with the 2nd and 1st pair
+= put up a pin at point 2 = enclose it with the same pairs = 1 half
+passing with the 5th and 4th pair = put up a pin at point 3 = enclose it
+with the same pairs = lay the 5th pair aside = 1 half passing the 4th
+and 3rd pair = put up the pin at point 4 = enclose the same = lay the
+4th pair aside = work on in the same way over points 5 and 6 = 1 half
+passing with the 6th and 7th pair = put up the pin at point 7 = enclose
+the same = work on in the same way over points 8, 9, 10, 11 and 12 = 1
+half passing with the 8th and 9th pair = put up the pin at point 31 =
+enclose the same = work on over points 14, 15, 16, 17, 18, 19 and 20 = 1
+half passing with the 9th and 10th pair = put up the pin at point 21 =
+enclose the same and proceed as in the preceding rows, from point 22 to
+29.
+
+[Illustration: FIG. 791. PATTERN FOR ROSE GROUND.]
+
+[Illustration: FIG. 792. ROSE GROUND.]
+
+Hole ground with twisted thread is made in the same way we have just
+been describing, only that after every half passing enclosing the pin,
+each pair of bobbins is twisted once. A ground which is worked in this
+way is stronger than the other. Twisted hole ground is seen again in
+figs. 792 and 794.
+
+WHEELS IN HOLE GROUND (figs. 789 and 790).--For the wheels, which are
+often worked on pillow-made grounds, 4, 6, 8 pairs of bobbins, sometimes
+even more are used (see likewise fig. 801).
+
+In fig. 789, the wheel is worked with the 4 middle pairs of bobbins.
+Each pair has first to be twisted once = 1 linen passing with the 3rd
+and 2nd pair = lay aside the 3rd pair = 1 linen passing with the 2nd
+and 4th pair = lay both pairs aside = 1 linen passing with the 4th and
+3rd pair = lay aside the 4th pair = 1 linen passing with the 3rd and 2nd
+pair = put up the pin at the next point and between the 2nd and 3rd pair
+= 1 linen passing with the 3rd and 2nd pair = lay aside the 3rd pair = 1
+linen passing with the 2nd and 1st pair = lay both pairs aside = 1 linen
+passing with the 4th and 3rd pair = lay the 4th pair aside = 1 linen
+passing with the 3rd and 2nd pair = the last passing completes the
+wheel, such as it is represented in fig. 790.
+
+Twist the pairs of bobbins again as you did before beginning the wheel
+and then proceed with the plain ground.
+
+ROSE GROUND (figs. 791 and 792).--After preparing the pattern, as in
+fig. 791, put up pins at _a_, _b_, _c_, _d_, _e_, _f_, _g_, _h_ and _i_
+and hang on 2 pairs of bobbins to the first pin, and one pair to each of
+the other 8 = 1 half passing with the 1st and 2nd pair = twist each pair
+once = take out the pin at point _a_ and put it up again at the same
+point between the pairs = enclose the pin with 1 half passing = twist
+the pair once = lay the 1st pair aside = 1 half passing with the 2nd and
+3rd pair = twist the pair again = take out the pin at _b_, put it in
+again at the same point between the pair = enclose the pin = twist the
+pairs again = lay the 2nd pair aside = 1 half passing with the 3rd and
+4th pair = twist the pair again = take out the needle at _c_ and put it
+in again at the same point between the pairs = enclose the pin = twist
+the pair again = 1 half passing with the 3rd and 2nd pair = twist the
+pair again = put up a pin at point 1 = enclose the pin = twist the pair
+again = 1 half passing with the 2nd and 1st pair = twist the pair again
+= put up a pin at point 2 = enclose the pin = work point 2 and 1 with
+the 3rd and 2nd pair = 1 half passing with the 4th and 5th pair = twist
+the pairs again = take out the pin at _d_ and put it in again at the
+same point between the pair = work point _e_ exactly like point _d_ with
+the 5th and 6th pair = work point 4 like point 3 with the 4th and 5th
+pair = work points 5, 6 and 7 in a slanting direction from right to left
+= carry out point 8 with the 5th and 4th pair = lay both pairs aside =
+work point 9 with the 3rd and 2nd pair = work point _f_ like point _e_
+with the 6th and 7th pair = work point _g_ like point _f_ with the 7th
+and 8th pair = then work points 10 to 15 with the 6th and 7th pair =
+point 16 with the 7th and 6th pair = point 17 with the 5th and 4th pair
+= point 18 with the 3rd and 2nd pair = point _h_ like point _g_ with the
+8th and 9th pair = point _i_ with the 9th and 10th pair = points 19 to
+26 with the 9th and 10th pair = point 27 with the 9th and 8th pair =
+point 28 with the 7th and 6th pair = point 29 with the 5th and 4th pair
+= point 30 with the 3rd and 2nd pair. Proceed in this manner until the
+whole ground be finished.
+
+[Illustration: FIG. 793. PATTERN FOR FIG. 794]
+
+[Illustration: FIG. 794. DOUBLE OR ORNAMENTAL GROUND.]
+
+DOUBLE OR ORNAMENTAL GROUND (figs. 793 and 794).--This ground should be
+worked in a comparatively fine material; we should recommend Fil a
+dentelle D.M.C Nos. 30 to 100. Put up pins at points _a_ and _g_ in the
+pattern and hang on a pair of bobbins = put up pins likewise at _b_,
+_c_, _d_, _e_ and _f_ and hang on a pair of bobbins to each = 1 half
+passing with the 2nd and 3rd pair = take out the pin at point _b_ and
+put it in again between the pair at the same place = enclose the pin
+with a half passing = 1 half passing with the 2nd and 1st pair = put up
+a pin at point 1 = enclose the pin = 1 half passing with the 4th and 5th
+pair = take out the pin at point _l_ and put it in again between the
+pairs at the same place = enclose the needle = 1 half passing with the
+4th and 3rd pair = put up a pin at point 2 = enclose the needle = 1 half
+passing with the 3rd and 2nd pair = put up a pin at point 3 = enclose
+the needle = 1 half passing with the 3rd and 4th pair = 1 half passing
+with the 2nd and 1st pair = put up a needle at point 4 = enclose the
+needle = work point _d_ like point _c_ with the 6th and 7th pair = 1
+half passing with the 6th and 5th pair = put up a pin at point 5 =
+enclose the pin = work over point _e_ like point _d_ with the 7th and
+8th pair = 1 half passing with the 7th and 6th pair = put up a pin at
+point 6 = enclose the pin = 1 half passing with the 6th and 5th pair =
+put up a pin at point 7 = enclose the pin = 1 half passing with the 6th
+and 7th pair = lay the 2 pairs aside = 1 half passing with the 5th and
+4th pair, by which the threads are made to cross each other in the
+square = work over point _f_ as over point _e_ with the 10th and 11th
+pair = work over points 17 to 19 as over points 5 to 7 = when the square
+is finished 1 half passing with the 10th and 11th pair = half passings
+between all the squares.
+
+[Illustration: FIG. 795. TULLE GROUND.]
+
+TULLE GROUND (fig. 795).--Prepare your pattern for the ground
+represented here on a magnified scale, by pricking holes at regular
+distances so as to form diagonal lines intersecting each other, as shown
+in the engraving, and set more or less closely together, according to
+the thickness of the thread you use.
+
+1 half passing = put up the pin at the next point, twist both pairs
+twice, but without enclosing the pin, and pass the inner left thread
+over the inner left one = twist the two pairs again = cross as before
+and so on.
+
+VALENCIENNES GROUND (fig. 796).--The Valenciennes ground is formed of
+little plaits for which 2 pairs of bobbins are used. These plaits are
+often used in other kinds of lace as well, as may be seen for instance
+in figs. 801, 802 and 806 which are not Valenciennes patterns.
+
+[Illustration: FIG. 796. VALENCIENNES GROUND.]
+
+[Illustration: FIG. 797. BRUSSELS GROUND.]
+
+According to the size of the squares the plaits are made with either 4, 6
+or 8 half passings, 2 pairs of bobbins being invariably used. The plaits
+are joined by a half passing, made with the last pair of the left plait
+and the first of the right = stick the pin into the hole = enclose the
+pin by a half passing and work the next plait on the left with the two
+left pairs and the next plait on the right with the two right pairs.
+
+BRUSSELS GROUND (fig. 797).--For the sake of greater clearness, this
+ground too has been worked and reproduced here on a magnified scale.
+
+It is worked in diagonal lines, as follows: 1 double passing with 2
+pairs of bobbins = put up a pin at the next point = enclose the pin with
+a double passing, twist both pairs each time once and so on. This
+ground, when it is worked by the hand in very fine thread, takes a long
+time to do and is therefore often made by machinery.
+
+[Illustration: FIG. 798. ETERNELLE WITH TWO ROWS OF HOLES.]
+
+ETERNELLE WITH TWO ROWS OF HOLES (fig. 798).--The so-called
+"eternelle" laces have no definite pattern; they can be made of any
+width, in the form of insertions or edgings.
+
+For a single row of holes, you want 6 pairs of bobbins; for two rows, 7;
+for three, 9, adding two pairs of bobbins for every additional row of
+holes. The upper part of fig. 798 shows how the points are distributed;
+here 7 pairs of bobbins are used.
+
+Put up a pin at the topmost point = hang on 2 pairs of bobbins = 1
+double passing = take out the pin and put it in again between the two
+pairs = tighten the pair = hang on 1 pair of bobbins again on the left =
+1 double passing with the 1st pair of the bobbins you hung on first and
+with the new pair = push the double passing close to the pin = twist the
+first pair once and then lay it aside = 1 double passing with the 2nd
+and 3rd pair that enclose the pin = hang on 2 pairs of bobbins in the
+middle = 1 double passing with both pairs = lay the 5th pair aside = 1
+double passing with the 4th and 3rd pair = lay the 4th pair aside = 1
+double passing with the 2nd and 1st pair = twist the 1st pair once and
+lay it aside = 1 double passing with the 2nd and 3rd pair that enclose
+the pin = put up 1 pin at the 3rd lower point, hang on 2 pairs of
+bobbins = 1 double passing with these bobbins = lay the 7th pair aside =
+* 1 double passing with the 6th and 5th pair = lay the 6th pair aside =
+1 double passing with the 5th and 4th pair = lay the 5th pair aside = 1
+double passing with the 4th and 3rd pair = lay the 4th pair aside = 1
+double passing with the 3rd and 2nd pair = put up a pin at the next
+point = 1 double passing with the 2nd and 1st pair = twist the 1st pair
+once = 1 double passing with the 2nd and 3rd pair, to enclose the pin =
+lay the 3 first pairs aside = 1 double stitch with the 4th and 5th pair
+= lay the last two pairs aside = 1 double passing with the 6th and 7th
+pair = put up a pin at the next point = enclose the pin with the last
+pairs = repeat from *.
+
+[Illustration: FIG. 799. LACE WITH TORCHON GROUND AND EDGE IN NET
+GROUND. MATERIALS: Fil a pointer D.M.C No. 30. Cordonnet 6 fils D.M.C
+Nos. 20 to 100, or Fil a dentelle D.M.C Nos. 25 to 150, white or
+ecru.[A]]
+
+LACE WITH TORCHON GROUND AND EDGE IN NET GROUND (fig. 799).--Worked
+with 10 pairs of bobbins.
+
+Put up a pin at * = make net passings, fig. 786, to point 1 = put up a
+pin at point 1 = enclose the pin with the two last pairs on the right =
+net passings to point 2 = put up a pin at point 2 = lay one pair of
+bobbins aside = net passings to point 3 = put up a pin at point 3 =
+enclose the pin = net passings to point 4 = put up a pin at point 4 =
+lay one pair of bobbins aside = net passings to point 5 = put up a pin
+at point 5 = net passings, back to point 6 = put up a pin at point 6 =
+take up the bobbins on the left again = 1 half passing with the 1st pair
+on the left = put up a pin at point 7 = work the torchon ground, at the
+top of the lace, as in fig. 788, with the 2nd and 3rd pair = 1 half
+passing with the 3rd and 4th pair = put up a pin at point 8 = twist the
+1st and 2nd pair = 1 double passing with the 1st and 2nd pair = put up a
+pin at point 9 = 1 double passing with the 2nd and 3rd pair = lay the
+2nd pair aside = make hole or torchon stitch, fig. 788, with the 3rd and
+4th pair = put up a pin at point 10 = work on to point 11 in hole ground
+= put up a pin at point 11 = cross the 1st and 2nd pair on the left =
+put up a pin at point 12 = enclose the pin = lay 5 pairs of bobbins
+aside on the left = take up 5 pairs on the right = put up a pin at point
+13 = net passings with the 5 pairs on the right = take up, in addition,
+the 6th pair on the left = hole ground with the 5th and 6th pair = put
+up a pin at point 14 = net passings to point 15 with 5 pairs of bobbins
+= put up a pin at point 15 = net passings with 6 pairs of bobbins = take
+up a 7th pair of bobbins in addition = hole ground with the 6th and 7th
+pair = put up a pin at point 16 = net passings with 6 pairs of bobbins =
+put up a pin at point 17 = net passings with 6 pairs of bobbins = put up
+a pin at point 18 and then repeat from the first point * on the left.
+
+PILLOW LACE (figs. 800, 801, 802).--We here give as an example the
+same pattern of lace worked in two thicknesses of thread; fig. 801 in
+Cordonnet 6 fils D.M.C No. 25[A], fig. 802 in Fil a pointer D.M.C No.
+30[A], which is of course much thicker. As this pattern is especially
+suitable for trimming household articles, made of unbleached linen, such
+for instance as table-covers, curtains and hangings of all kinds, we
+prefer it made in the thicker thread; even then it looks very well as a
+trimming for articles of dress.
+
+It is worked with 40 pairs of bobbins = hang them on one after the other
+in a row = put up a pin at point 1 = twisted linen passing = work all
+the pairs to point 2 with linen passing = put up the pin at the last
+pair = go back through 3 pairs with linen passing = twist 2 pairs once =
+go back with linen passing through all the pairs to point 3 = twist each
+pair separately = at point 4 twist the 2 pairs and put up the pin =
+twist the last pair twice and so on and coming back to point 5 = put up
+the pin = come back again to point 6 = return to point 7 = put up the
+pins at the two points.
+
+[Illustration: FIG. 800. PATTERN FOR THE PILLOW LACE FIGS. 801 AND 802.]
+
+Divide the 30 other pairs into twos = put up a pin between every set of
+two pairs = linen passing. The ground is all worked alike: twist the
+pairs twice = linen passing = put up the pins = linen passing to points
+6 and 7 = twist the threads in taking them through = make a plait, fig.
+796, for the scallop point 8 = put up a pin at the point marked for the
+picot = pass the thread of the outside bobbin from right to left, round
+the pin, to form the picot = continue the plait to the next picot = put
+up a pin = form the picot = continue the plait to point 9 = connect the
+plait with the bobbins of points 9 and 7 = make 4 linen passings with 3
+pairs = continue the plait = carry the last pair to point 10 = twist the
+threads = make 1 linen passing = put up a pin and enclose it = go on in
+this manner to point 12 = make the wheel, as in figs. 789 and 790, with
+6 pairs of bobbins, hanging on 4 new pairs at point 12 = work with
+twisted linen passing = twist the 4 pairs once and cross with linen
+passing = take the last pair out from the middle to point 13, join it to
+the first pair of the scallop = make all the wheels before continuing
+the ground = then go back from point 13 to 14 = cross the pairs again =
+at point 12 twist 4 pairs = 2 twisted linen passings right and left with
+the bobbins of points 14 and 15 = 1 twisted linen passing = put up the
+pins and work all the spiders alike.
+
+[Illustration: FIG. 801. PILLOW LACE.
+
+MATERIAL: Cordonnet 6 fils D.M.C No. 30.[A]]
+
+PILLOW LACE INSERTION (figs. 803 and 804).--Hang on 12 pairs of
+bobbins.
+
+Divide the bobbins and put 2 pairs at point 1 = put up a pin = twist
+once = 2 linen passings = from point 2 to point 8 = 5 twisted linen
+passings = add one pair of bobbins = put up a pin = add one pair of
+bobbins = put up a pin = lay one pair of bobbins aside = twist = 2
+linen passings = 5 twisted linen passings to point 10 = 2 linen passings
+= twist the 2 last pairs = go back with linen passing through 2 pairs =
+join together with the two pairs and the first pair by means of a
+twisted stitch = put up the pin = lozenge stitch (for lozenge stitch in
+which the lozenges or close leaves are made, you take 4 or 6 threads; in
+the execution it resembles the darning stitch represented in figs. 646
+and 647) to point 11 = twist at point 12 = take 2 pairs from point 10 =
+plait to point 13 = twist with the bobbins of point 1 = double passing =
+plait on the right, twist on the left = put up the pin = tie up as
+described.
+
+[Illustration: FIG. 802. PILLOW LACE.
+
+MATERIAL: Fil a pointer D.M.C No. 30.[A]]
+
+Take the second pair at points 13 and 15 = put up the pin = 2 twisted
+double passings on the right = 2 linen passings = twist the 2 latter =
+put up the pin = at point 16 lay one pair of bobbins aside = with simple
+passing go back through 2 linen passings = join the latter and the
+former with linen passing = put up the pin at point 17 = lozenge stitch
+with the bobbins of points 15 and 17 to point 18 = connect the same at
+point 11 = carry on the lozenge stitch to points 19, 20 and 21 = put up
+a pin at each number and enclose with a linen passing = with the first
+pair of bobbins of point 21, 2 linen passings to the left and 2 twisted
+linen passings, that is to say, crossing the threads = put up the pin at
+point 22.
+
+[Illustration: FIG. 803. PATTERN FOR PILLOW LACE INSERTION FIG. 804.]
+
+[Illustration: FIG. 804. PILLOW LACE INSERTION. MATERIALS: Cordonnet 6
+fils D.M.C Nos. 25 to 50, or Fil a dentelle D.M.C Nos. 25 to 100.[A]]
+
+Twist the threads from point 16 to point 23 = make a plait from point 15
+to point 23 = then join the two parts together by half passings = put up
+a pin = twist the threads and make plaits to point 24 = join the threads
+as at point 23.
+
+On the left and with the first pair of point 19, 2 linen passings = with
+the 2 latter 1 twisted passing = put up the pin at point 25 = returning,
+2 linen passings to point 26 = 2 linen passings to the left = with the 2
+latter pairs 2 double passings and put up the pin.
+
+PILLOW LACE (figs. 805 and 806).--Hang on 14 pairs of bobbins.
+
+[Illustration: FIG. 805. PATTERN FOR PILLOW LACE FIG. 806.]
+
+[Illustration: FIG. 806. PILLOW LACE.
+
+MATERIAL: Cordonnet 6 fils D.M.C No. 25.[A]]
+
+These are divided into 3 groups = 3 pairs at point 1 = put up a pin =
+twisted linen passing = twist both pairs once = put up the pin at point
+3 = add on 5 pairs at point 2 = put up the pin = go back through 3 pairs
+= twist the 2 last pairs = linen passing = put up the pin at point 3 =
+twist both pairs = linen passings, as seen in the illustration, to the
+right and left as far as point 11 = at point 13 intervert 6 pairs by a
+twisted linen passing = make a plait at point 14 = put up a pin in the
+middle of the same = pass through 2 pairs of bobbins with twisted linen
+passing = put 1 pair of bobbins aside at point 22 = put up a pin at the
+2 first pairs at point 15 = work the leaf in lozenge stitch = put up a
+pin at point 16 near the first pair = twist both pairs once = linen
+passing = put up the pin at point 17 = go back in the same manner = work
+on in the same way to point 21 = put up the pin at point 22 = twisted
+linen passing to point 11 = tie up the first pair of the scallop with
+the bobbins of point 11 = bring the last pair back and work as at point
+1 = then repeat and proceed in the same way to point 27 = twist the 2
+pairs up to point 26 = put up the pin = make one lozenge stitch and join
+the plait, stitch to point 28 = continue the lozenge stitch to point 29
+= join the bobbins of point 29 to those of point 21 by a plait = put up
+the pin = linen passing = twist the two last pairs once = put up the pin
+= linen passing = put up the pin at point 31 = twist both pairs once = 2
+linen passings = put up the pin at point 82 = 2 linen passings = tie up
+the bobbins of point 33 with those of point 29 = plait stitch = put up
+the pin = join to point 34 with lozenge stitch = with the bobbins at
+point 28 make lozenge stitch to point 27 = put up a pin = twist 3 pairs
+once = make 2 linen passings = join with linen passing = continue the
+scallop according to the preceding description, from point 27 to point
+35.
+
+At point 34 make a leaf in lozenge stitch = put up the pin = continue
+from point 33 to point 36 with twisted linen passings = carry the first
+pair of bobbins of the lozenge to point 35 by means of 2 twisted linen
+passings = put up a pin in the middle of the 2 pairs = make a plait to
+point 37 = cross the pairs again as at point 13, in the beginning.
+
+PILLOW LACE (figs. 807 and 808).--Worked with 30 pairs of
+bobbins.--These are divided: 14 pairs at point 1 = put up a pin on the
+left and right = with the last pairs make plaits to point 12 = add 2
+pairs = make a double passing as for a plait = put up a pin in the
+middle of the pairs = plait with 2 pairs of bobbins to point 3 = add 2
+pairs of bobbins = make a double passing as for the plait = put up a pin
+in the middle of the pairs = then go on in the same manner to point 4 =
+add 4 pairs of bobbins = put up the pin = at point 5, add 2 pairs of
+bobbins = make a plait = put up a pin and join to point 4 by a double
+passing.
+
+[Illustration: FIG. 807. PATTERN FOR PILLOW LACE FIG. 808.]
+
+[Illustration: FIG. 808. PILLOW LACE.
+
+MATERIAL: Fil a dentelle D.M.C No. 50.[A]]
+
+At point 1, lay the two last pairs to the right = put up a pin = make a
+plait to point 6 = add 2 pairs of bobbins = 1 double passing = put up a
+pin = make a plait to point 7 with a pairs of bobbins = add 2 pairs of
+bobbins = 1 double passing = put up the pin = make a plait to point 8 =
+add 4 pairs of bobbins = 5 linen passings = put up a pin at the last
+passing = at point 9 add 2 pairs of bobbins = make a plait = put up a
+pin = join to point 8 with linen passing = make plaits from point 9 to
+point 10 = put up a pin = leave the pairs hanging = 5 linen passings
+with the bobbins of point 10 = put up the pin at point 11 = go back to
+point 10 with 5 passings = put up the pin = make a plait and tie up the
+bobbins at point 6 = leave these bobbins hanging down.
+
+With the two first pairs at point 11, make a plait to point 12 = 1 linen
+passing at point 7 and join to point 12 by a plait = plait stitch = put
+up a pin = then plait stitch to point 13 and make the same connection as
+at points 12 and 7 = continue to plait to point 14 = put up the pin at
+the first pair = 7 linen passings = leave these bobbins hanging down =
+tie up the plait of point 5 with the 1st pair of point 4 = make a plait
+on the left = put up a pin at point 15 = make 5 linen passings on the
+right and put up the pin at point 16 = make a plait to point 17 = make
+the same connection as at point 7 and 12 = the same connection also at
+point 18 = make a plait to point 19 = put up the pin = make a plaited
+lozenge with one pair = leave 2 pairs hanging at point 20, left and
+right = continue to point 21 = leave 2 pairs hanging, left and right =
+make a plait to point 22 = begin again at point 17 and make a leaf in
+lozenge stitch to point 23 = make a second leaf from point 16 to point
+23 = join the leaves at point 23 = make a plait with the first pair of
+point 16 to point 24 = put up a pin = enclose it with a double passing
+and make a plait = tie up the bobbins at point 15 = continue the edge to
+point 26 = make a leaf in lozenge stitch from point 32 to point 26 = tie
+up the bobbins at point 26 and make linen passings with the united
+bobbins to point 27 = with the bobbins of point 18 and point 20,
+therefore with 4 pairs, make a square in lozenge stitch = join the 3
+leaves at point 23 = from point 23 to point 28 make a plait with the two
+first pairs of bobbins = put up a pin at point 28 = make a plait with
+picots to point 29 = lozenge stitch from point 32 to point 22 and point
+33 = join to point 30 by a plait = plait to point 22 = work from point
+34 to 35 in the same way as from point 1 to point 33 = at point 22 and
+point 35 the pairs cross each other.
+
+PILLOW LACE (figs. 809 and 810).--Hang on 28 pairs of bobbins. Begin
+at point 1 with a plait, fig. 790 = put up a pin = * hang on 5 pairs at
+point 2 and put up a pin at the last pair = with the last pair make a
+plait to point 3 * = hang on a pair of bobbins = 1 linen passing = hang
+on a pair of bobbins = 1 linen passing = hang on 3 pairs of bobbins = 1
+linen passing = 3 linen passings = put up a pin = 1 leaf in lozenge
+stitch to point 4 = hang on 2 pairs of bobbins = 2 plait stitches = put
+up a pin = make a leaf to point 5 = hang on 2 pairs of bobbins = 1 plait
+stitch = put up a pin = repeat in the reverse order to point 3.
+
+[Illustration: FIG. 809. PATTERN FOR THE LACE FIG. 810.]
+
+[Illustration: FIG. 810. PILLOW LACE. MATERIAL: Fil a dentelle D.M.C No.
+50. ([A])]
+
+Put up a pin at point 9 = hang on a pair of bobbins = 1 linen passing =
+hang on a pair of bobbins = 1 linen passing = hang on a pair of bobbins
+= make a plait to point 11 = put up a pin = hang on 2 pairs of bobbins
+at point 12 = make a plait and tie the threads together with those of
+point 11 = on the left with 2 pairs, on the right with 3 pairs to point
+13 for the edge = put up 2 pins and continue the edge with linen
+passings to point 14.
+
+Return to point 15 and make a plait = put up a pin = divide the bobbins
+and put one pair on the right, the other on the left = take the bobbins
+at point 5 and 7 and make plaits to points 16 and 17 = make linen
+passings with the two pairs to point 18 = put up a pin and make a plait
+to point 21.
+
+Make leaves in lozenge stitch from points 4 and 8 to points 19 and 20 =
+one leaf from point 16 to point 19 = make another leaf to point 22 and
+one to point 21 = make the same leaves on the left to points 20, 21 and
+23 = cross the bobbins at point 21 = make leaves from point 21 to points
+24, 26 and 26.
+
+Make lozenge stitch with picots, with 3 pairs of bobbins from points 9
+and 10 to point 22 = join the bobbins to leaf 22 = carry on the braid to
+point 26 = join 2 pairs of bobbins to the leaf = leave the 2 pairs at
+point 28 hanging down = carry on the braid to point 25.
+
+Make a leaf at point 27 to point 14 = tie the threads together as at
+point 10 = carry on the edge to point 29 = put up a pin = make a plait
+with picots to point 30 = tie up the threads with those of leaf 28 =
+make a leaf to point 31 = introduce the threads into the edge = put up a
+pin = tie the threads together.
+
+Make a plait on the left = leave 4 pairs of bobbins hanging down on the
+right, 2 pairs for the plait and 2 for the leaf = carry on the edge to
+point 32 = leave 2 pairs hanging for another leaf = continue the edge to
+point 33. Make a plait from point 21 to point 34.
+
+Begin again on the left at points 1 and 2 and work, as on the right, to
+point 35 = cross the threads at point 25 = linen passing = distribute
+the pairs to point 36 = 2 pairs at point 37 = 2 at point 38 = 3 pairs
+at point 34 = plait to point 37 = join to point 38 = continue the plait
+and join to points 36, 35, 39 = at points 35, 36, 37 lozenge stitch with
+every 2 pairs of bobbins to point 40 = then join the next 6 pairs
+together = and work on with lozenge stitch to point 41 = work exactly in
+the same manner at points 31, 32, 34, 35, 39, 42 as at points 36, 37,
+38, 40 to 41 = at point 41, all the threads are interwoven, and then
+divided into 3 sets = continue the leaves to points 45, 46 and 47. Then
+repeat in the reverse order from points 31, 38, 25, 32 and 39.
+
+[Illustration: FIG. 811. ARMENIAN LACE. MATERIALS: Fil a pointer D.M.C
+Nos. 10 to 30, Cordonnet 6 fils D.M.C Nos. 15 to 40 or Fil a dentelle
+D.M.C Nos. 25 to 70. COLOURS: Ecru and Brun-Caroubier 303.[A]]
+
+[Illustration: FIG. 812. WORKING DETAIL OF FIG. 811.]
+
+ARMENIAN LACE (figs. 811 and 812).--The dresses of the Turkish women
+are often ornamented with flowers and leaves, executed in needlework
+which take the place of fringe and braid trimmings and are often even
+employed as adornments for the neck and arms instead of necklets and
+bracelets in metal work; though, as such, they do not always accord with
+our Western notions of good taste, the Armenian work is in itself, both
+sufficiently interesting and easy of execution, to deserve description
+here amongst other kinds of needlework that are adaptable to use. It may
+be imitated with capital effect in strong stiff washing materials, such
+as those indicated in our illustration, either upon a linen or cotton
+foundation or upon plush or silk.
+
+The thread is first drawn into the edge of the stuff; you then carry it
+from right to left, determine the length of the squares, and working
+from left to right make on this first thread as many knots as you have
+room for.
+
+Fig. 812 shows the formation of the knot, the manner in which the
+thread, passing from left to right, forms a loop, and how to pass your
+needle under the straightly extended thread and through the loop. You
+leave a space of one or two m/m. between the knots, according to the
+thickness of the thread you are using. Having covered the first thread
+with knots, you return to the edge for the next row of knots, but
+passing your needle this time under three threads.
+
+The number of knots should be the same in each row, and the four sides
+of the square should be all equal.
+
+When the squares are finished they are edged with picots on the two
+lower sides, as shown in fig. 812.
+
+Thread of two colours was used for fig. 811, the squares being worked
+alternately in Ecru and Brun-Caroubier and the picots, all in the latter
+colour.
+
+LACE AND INSERTION IN KNOTTED STITCH (fig. 813).--Excepting in the
+case of the returning thread, the same stitches are used for the pretty
+border and insertion given in fig. 813, as for the Armenian lace.
+
+The stitches that form the insertion are attached, on both sides, to an
+English braid, something of the nature of Rhodes linen, which is
+open-worked before the knotted work upon it is begun.
+
+As in the preceding figure, two colours are used alternately, the change
+from one to the other is distinctly marked in the engraving.
+
+The outside edge consists of light scallops, formed by the regular
+increase and decrease of the stitches. The original piece of work from
+which our drawing was taken, forms the border of a dark blue plush
+carpet; the red and ecru hues of the lace harmonize exceedingly well
+with the soft colour of the plush.
+
+[Illustration: FIG. 813. LACE AND INSERTION IN KNOTTED STITCH.
+MATERIALS: Fil a pointer D.M.C Nos. 10 to 30, Cordonnet 6 fils D.M.C
+Nos. 10 to 25, or Fil a dentelle D.M.C Nos. 25 to 50. COLOURS: Ecru and
+Rouge-Cardinal 46.[A]]
+
+INSERTION IN KNOTTED STITCH (figs. 814 and 815).--This kind of work,
+similarly composed of knotted stitches, can be used instead of crochet
+insertion or single and cut openwork in linen. It looks exceedingly well
+as a trimming for bed and table linen and is executed on foundation
+threads or cords, which connect the different figures together, with
+closely connected rows of knots between.
+
+[Illustration: FIG. 814. INSERTION IN KNOTTED STITCH. MATERIALS: Fil a
+pointer D.M.C No. 30, Cordonnet 6 fils D.M.C Nos. 15 to 30, or Fil a
+dentelle D.M.C Nos. 25 to 50.[A]]
+
+[Illustration: FIG. 815. WORKING DETAIL OF FIG. 814.]
+
+INSERTION IN KNOTTED STITCH (figs. 816 and 817).--The mode of making
+the insertion in knotted stitch, which is represented in the two
+accompanying engravings, is supposed to be of Italian origin, but we
+have met with quite as perfect specimens of work done in the same way,
+which were the products of Persia and Asia Minor. We have called it by
+the same name as the preceding patterns, for even the way in which the
+stitch is worked is almost the same. Through some slight difference
+however in the interlacing of the threads, shown by the open loops in
+fig. 817, the stitches lie closer together and are alike on both sides
+of the work.
+
+[Illustration: FIG. 816. INSERTION IN KNOTTED STITCH. MATERIALS: The
+same as for fig. 814.[A]]
+
+[Illustration: FIG. 817. WORKING DETAIL OF FIG. 816.]
+
+No difficulty will be found in making out the course of the rows; it is
+best to begin by the two rows of stitches that form the perpendicular
+bars and make the stitches, that compose the 4 staves between the bars
+next. For the little picots see fig. 700.
+
+[Illustration: FIG. 818. LACE IN KNOTTED STITCH. MATERIALS: Cordonnet 6
+fils D.M.C Nos. 10 to 25 or Fil a dentelle D.M.C Nos. 25 to 50.[A]]
+
+[Illustration: FIG. 819. WORKING DETAIL OF FIG. 818.]
+
+[Illustration: FIG. 820. RETICELLA LACE. MATERIALS--For the open-work:
+Cordonnet 6 fils D.M.C Nos. 10 to 100, or Fil a dentelle D.M.C Nos. 25
+to 150, white or ecru. For the bars: Lacets superfins D.M.C Nos. 3 to
+8.[A]]
+
+LACE IN KNOTTED STITCH (figs. 818 and 819).--This charming little
+lace, which is of Italian origin, was taken from a cushion cover, used
+for church purposes. The stitches, made in the order indicated in the
+working detail, fig. 819, are overcast at the last with a fleecy thread,
+such as Coton a repriser D.M.C, of a rather sober colour, such for
+instance as Bleu-Indigo 334, Rouge-Geranium 352, or Jaune-Rouille 363.
+
+You overcast the slanting bars and pass over the stitches that connect
+the two picots.
+
+[Illustration: FIG. 821. WORKING DETAIL OF FIG. 820.]
+
+RETICELLA LACE (figs. 820 and 821).--The Reticella laces are generally
+made on a design traced upon parchment, similar to those required for
+the laces described later on. But as the manner of working has been
+modified in the lace represented here, we thought it as well to adopt
+the same simplification, often used in beautiful pieces of old
+needlework, which consists in substituting a braid made upon a pillow,
+for the bars made with the needle.
+
+[Illustration: FIG. 822. VENETIAN LACE.]
+
+[Illustration: FIG. 823. VENETIAN LACE.]
+
+You begin by laying and fastening down the braid by means of very small
+stitches upon the lines of the pattern, which should be traced upon
+black paper; you next proceed to make the centre bars, covered with
+plain buttonhole stitches, on which you mount a row of stitches, like
+those of fig. 755; these are followed by another bar, to make which, you
+pick up the loop of the stitches of the preceding row and by another row
+like the second, finished off with picots, like those illustrated in
+fig. 700. The bases of the pyramids likewise consist of bars,
+buttonholed on both sides and edged on the inside with picots.
+
+The stitches of the first row should not be too close together, that
+there may be room for those of the second row between, as we have
+already explained in fig. 702, in the chapter on Irish lace.
+
+The inside of the pyramids is worked in the stitch represented in fig.
+755, the picots round them are like the ones in fig. 599.
+
+[Illustration: FIG. 824. VENETIAN LACE.]
+
+[Illustration: FIG. 825. VENETIAN LACE.]
+
+The lace, represented in fig. 820 in its original size, was worked in
+Fil a dentelle D.M.C No. 80, whilst the second engraving, representing
+the same subject, shows us how perfectly well it can also be made in
+heavier and coarser materials, these being in this instance, Lacets
+superfins D.M.C No. 4 and Cordonnet 6 fils D.M.C No. 20.
+
+VENETIAN LACES (figs. 822, 823, 824, 825, 826, 827, 828).--Under the
+name of "Venetian point" are comprised, not only certain kinds of pillow
+lace, but even more generally, the beautiful needle-made lace, the
+outlines of which are bordered with handsome scallops in high relief.
+
+We shall confine our attention in the present instance to the
+needle-made Venetian lace as the other can be learnt without any great
+difficulty by following the instructions already given for the making of
+pillow lace.
+
+[Illustration: FIG. 826. VENETIAN LACE.]
+
+[Illustration: FIG. 827. VENETIAN LACE.]
+
+The preparation of the pattern, in most kinds of needlework, is a most
+important matter and one requiring the greatest care, but in the case of
+needlemade lace and pillow lace the processes are different.
+
+The paper on which the design is traced must first be backed or lined
+with unglazed black paper (made specially for this purpose). Prick holes
+all along the lines of the pattern, at exactly the same distance from
+each other, remove the tracing and tack the black paper upon rather
+coarse linen.
+
+This done, you take from three to five lengths of the thread of which
+the lace is to be made, lay them down together upon the lines marked by
+the prickings and secure them at each hole by a stitch made over the
+threads.
+
+Fig. 822, with the others of the same series in their natural size, show
+the proper distance that should be left between the prickings, and the
+laying down of the threads begun; whilst in fig. 823, we have the
+threads laid down throughout, even for the little eyelet holes, which
+are to be openworked afterwards.
+
+[Illustration: Fig. 828. VENETIAN LACE. MATERIALS--For the open
+stitches: Fil a dentelle D.M.C Nos. 100 to 200. For the outlining and
+for the padding: Coton surfin D.M.C Nos. 120 to 150.[A]]
+
+When all this preliminary work is finished, the pattern is ready for the
+lace stitches that are to form the filling in, between the raised
+outlines. In order to keep your work perfectly clean and preserve it
+from unnecessary contact with your fingers, cover all those parts of the
+pattern you are not immediately engaged on, with a piece of blue paper
+with a hole, about the size of a pea, cut in it. This you move along as
+you go, working only at the part of the pattern which is visible through
+the hole, keeping all the rest carefully covered up and sewing paper
+over each part as soon as it is finished; this should not be removed
+until you are ready to join all the separate parts together with bars or
+latticed ground and work the buttonhole edges.
+
+All the different lace stitches that are used as fillings must be begun
+and fastened off at the outline threads, which you must be careful not
+to drag out of their place.
+
+We again remark, for the benefit of those of our readers who may not
+have read the preceding chapter attentively, that in working all the
+finer lace stitches, the needle should be held with the eye towards the
+worker and the point turned outwards. All the inside portions of the
+pattern have to be worked in separately; (for a choice of stitches to
+serve as fillings see figs. 720 to 762) until all the spaces are filled,
+as represented in figs. 825 and 826. The stitches should be selected as
+far as possible, to suit the style of the design. Flowers look best
+worked in an open or lattice stitch, leaves on the other hand in a thick
+close stitch.
+
+When all the insides are done, the edges and outlines have to be closely
+buttonholed.
+
+The old Venetian laces are bordered with scallops in high relief, worked
+over a thick pad of laid threads, as described on p. 83, fig. 191,
+relating to Venetian embroidery.
+
+[Illustration: Fig. 829. VENETIAN LACE WITH NET GROUND.
+
+MATERIALS--For the open stitches: Fil a dentelle D.M.C Nos. 100 to
+200.--For the outlining: Coton surfin D.M.C Nos. 120 to 150.]
+
+VENETIAN LACE WITH NET GROUND (fig. 829).--The outlining of the
+figures with several strands of Coton surfin D.M.C, should, in the case
+of detached pieces of lace, be done at once, but where the figures are
+connected by bars or by a net ground as in fig. 825, the buttonholed
+outlines should be done last. Thus in making the lace, fig. 829, you
+should begin by working all the insides of the flowers and foliage, then
+the net ground which may be replaced by bars with picots and then only
+proceed to the outside buttonholing and the scallops.
+
+As all this kind of lace-work is very laborious and takes a long time to
+do, we advise our readers to use thread that is slightly tinted; in the
+first place it does not turn yellow as white thread is liable to do and
+secondly, being softer and less twisted it takes every bend and turn
+more readily than the stiffer white material does.
+
+Of all the different kinds of thread, so frequently alluded to in these
+pages, the higher numbers of Fil d'Alsace D.M.C and Fil a dentelle D.M.C
+are the best for the finer kinds of lace, and they all have the soft
+ivory tint, we so admire in the old needlework.
+
+[Illustration: FIG. 830. SPRAY IN NEEDLE-POINT. MATERIALS--For the open
+stitches: Fil a dentelle D.M.C No. 200.--For the outlining: Coton surfin
+D.M.C Nos. 120 to 150.[A]]
+
+SPRAY IN NEEDLE-POINT (fig. 830).--Needle-point lace, also called
+Brussels lace, requires the same preparatory work as Venetian lace; but
+it seldom contains such a variety of stitches and openwork as the
+latter.
+
+The flowers are generally worked in one of the stitches, represented in
+figs. 720 and 740; the outlines are less thickly buttonholed and the
+stitches, set everywhere less closely.
+
+Here also, the finished parts should be carefully covered with paper to
+keep them from getting soiled.
+
+The needle-point lace designs are ordinarily speaking more realistic and
+as regards the composition, less artistic and severe than the Venetian
+point ones.
+
+The spray, represented in our engraving, is a specimen of an ordinary
+Brussels lace pattern and of the stitches it is worked in.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: APPLIQUE WORK ON SATIN SET WITH FINE CORD.]
+
+
+
+
+Miscellaneous fancy work.
+
+
+As the plan on which this book was constructed rendered a systematic
+classification of the different subjects it treats of necessary, a
+certain amount of miscellaneous fancy work, which does not come under
+any of the previous headings remains to be dealt with in the present
+chapter. In most cases the illustrations and the accompanying directions
+are but an application to a practical use of the different kinds of
+stitches already described in previous chapters and those who are
+familiar with all these various branches of needlework will have no
+difficulty in understanding what follows.
+
+KNOTTED CORD (figs. 831, 832, 833, 834, 835).--The knotted cord
+referred to in the letter press belonging to figs. 772 and 773 in the
+chapter on Irish lace, comes under the present heading: in making it,
+the fingers take the place of a crochet needle.
+
+You tie two ends of thread or braid together, take one thread in the
+left hand fig. 831, and with the forefinger of the right, pull out a
+loop long enough for the left forefinger to pass through and hold the
+end of the thread tight with the little finger of the right hand.
+
+Then draw the left forefinger backwards through the loop and behind the
+thread that is round the loop and lies in the left hand, fig. 832. As
+you lay the thread round the left forefinger, you must pass the knot
+and the ends of thread as well, over into the left hand, and with the
+right hand pull the thread that lies on the right and draw up the loop,
+fig. 833.
+
+[Illustration: FIG. 831. KNOTTED CORD. FIRST POSITION OF THE HANDS.]
+
+[Illustration: FIG. 832. KNOTTED CORD. SECOND POSITION OF THE HANDS.]
+
+[Illustration: FIG. 833. KNOTTED CORD. THIRD POSITION OF THE HANDS.]
+
+In fig. 834, representing the fourth position of the hands, you are
+shown how the forefinger of the right hand lifts up the thread and
+passes through the loop on the left hand; the end will consequently also
+pass immediately into the right hand and the left hand will tighten the
+knot.
+
+It is by thus drawing up first a loop on the right and then one on the
+left that this pretty cord is produced.
+
+Skilful hands will soon learn to make a cord of the same kind with four
+threads, as follows: knot the four ends of thread together, make a few
+knots, using two threads as one, then dropping the loop on your
+forefinger, put the next one upon it and draw up the knot, passing
+however the threads over those that you dropped. Then drop the loop you
+have on your finger again and take up the first loops.
+
+[Illustration: FIG. 834. KNOTTED CORD. FOURTH POSITION OF THE HANDS.]
+
+For the cord made with double threads, represented in fig. 835 on a
+magnified scale, use Cordonnet 6 fils D.M.C or one of the other
+materials mentioned at the foot of the illustration. Soutache D.M.C will
+always be found to be very suitable for this purpose.
+
+BALLS FOR TRIMMINGS (figs. 836, 837, 838, 839, 840, 841).--Amongst the
+crochet patterns are two that are finished off with balls; to make
+these, begin by cutting a number of rounds of cardboard, two for every
+ball, with holes in the middle, fig. 836.
+
+[Illustration: FIG. 835. KNOTTED CORD.
+MATERIALS: Fil a pointer D.M.C Nos. 10 to 30, Coton a tricoter D.M.C
+Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or Soutache D.M.C Nos.
+1 to 3.[A]]
+
+If you have a great many balls to make it is well worth your while
+providing yourself with a metal die of the proper size, to cut the
+rounds with.
+
+[Illustration: FIG. 836. BALLS FOR TRIMMINGS. CIRCLE OF CARDBOARD.]
+
+[Illustration: FIG. 837. BALLS FOR TRIMMINGS. OVERCASTING THE CIRCLE OF
+CARDBOARD.]
+
+[Illustration: FIG. 838. BALLS FOR TRIMMINGS. CUTTING THE STITCHES ROUND
+THE EDGE.]
+
+[Illustration: FIG. 839. BALLS FOR TRIMMINGS. PUTTING IN THE LOOP.]
+
+[Illustration: FIG. 840. BALLS FOR TRIMMINGS. CUTTING OUT THE
+CARDBOARD.]
+
+[Illustration: FIG. 841. BALL COMPLETED WITH LOOP ATTACHED.]
+
+Lay two of these rounds together and cover them closely with stitches,
+fig. 837, using for this purpose Coton a tricoter D.M.C (knitting
+cotton) or Coton a repriser D.M.C (darning cotton).[A]
+
+When the round is entirely covered, put the scissors in between the two
+circles of cardboard and cut open the stitches all round the outer edge,
+fig. 838; then draw a piece of thread between the two circles and knot
+it firmly round the stitches that meet in the centre hole, fig. 839;
+leave sufficiently long ends of thread hanging to form a loop by which
+the ball can afterwards be fastened to the heading of the fringe; when
+the stitches are knotted together you cut and pull out the cardboard,
+fig. 840, and snip the thread with your scissors until it becomes quite
+fluffy and the ball is perfectly round, as shown in fig. 841.
+
+TAMBOUR WORK (figs. 842, 843, 844, 845).--Since the introduction of
+the sewing machine, by means of which this charming kind of embroidery
+can be so quickly and easily executed, it has somewhat gone out of
+favour. As however, the fine patterns with a good deal of shading in
+them, can be far more accurately worked by hand than by machine,
+tambouring, which is in point of fact merely a form of crochet, has
+lately been revived. The piece of stuff on which the tambour work is to
+be done must be mounted on a frame.
+
+[Illustration: FIG. 842. THIMBLE FOR TAMBOURING.]
+
+[Illustration: FIG. 843. TAMBOUR NEEDLE.]
+
+The loops which are made with a small hook, called a tambour needle,
+form a fine chain stitch and must be regular and even; to facilitate
+this a sort of thimble, fig. 842, is worn on the forefinger of the right
+hand, formed of a small plate of sheet brass, rolled up but not joined,
+so as to fit any finger; it is open at the top like a tailor's thimble
+and has a little notch on the side which is placed above the nail, and
+in which you lay the tambour needle whilst you work. From the thimble
+being cut slightly slanting at the top, it follows that the inside where
+the two ends meet is a little shorter than the outside.
+
+The thread is drawn through in a loop to the front of the work by means
+of the hook, whilst it is held at the back in the left hand, and when
+the needle is put downwards through the stuff, laid round it. The needle
+in its downward and upward passage, should be kept in the notch in the
+thimble and the stuff pressed down with the thimble, as the needle is
+drawn up to the surface of the work, fig. 844.
+
+[Illustration: FIG. 844. POSITION OF THE HANDS IN TAMBOURING.]
+
+A little practice is necessary to acquire the right action of the hands,
+there being always a tendency, the same as in tatting and macrame, to
+confuse the movements of the two. As soon as you realize that the upward
+drawing of the needle and the downward pressure of the stuff with the
+thimble must be simultaneous, you will find that you can work with
+great rapidity and with admirable results. Thread with a very strong
+twist, which the hook will not split, is the only suitable kind for
+tambouring. Of the D.M.C materials, Fil d'Alsace[A] and Fil a
+dentelle[A] are the most to be recommended.
+
+Numbers of patterns, originally intended for other kinds of embroidery
+can be executed in tambour work; amongst those contained in this
+Encyclopedia, figs. 192, 210, 216, 219, and 227 are the ones that are
+best adapted to the purpose.
+
+[Illustration: FIG. 845. DRAWING OUT THE THREAD WITH THE NEEDLE.]
+
+SMYRNA STITCH WORKED WITH A CROCHET-NEEDLE (figs. 846, 847, 848,
+849).--In the chapter on tapestry, p. 137 we remarked that Oriental
+carpets and mats could be worked in different other ways, to be
+subsequently alluded to at greater length.
+
+[Illustration: FIG. 846. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
+FIRST DETAIL.]
+
+[Illustration: FIG. 847. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
+SECOND DETAIL.]
+
+[Illustration: FIG. 848. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
+APPEARANCE OF THE KNOTS UNDERNEATH.]
+
+[Illustration: FIG. 849. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE.
+APPEARANCE OF THE WORK WHEN FINISHED.]
+
+Smyrna stitch requires only a crochet needle and is worked on very
+coarse canvas or Java linen. You take a coarse mesh of cotton, such as
+Nos. 6, 8 or 10 of Colon a tricoter D.M.C (knitting cotton), cut it into
+lengths of 8 c/m., fold two lengths together in half, stick in the
+crochet needle from above, under two threads of the canvas, take hold of
+the loop with the hook, fig. 846, and draw it in; then push out the
+hook to seize the ends of the cotton and draw them through the loop
+which is on the needle, as indicated by the little arrow in fig. 847.
+The stitches or tassels should be two or three double threads of the
+canvas apart. As you finish each row, comb the ends of the tassels out
+carefully with a fine metal comb. When the whole piece of work is
+finished shear the entire surface, quite even, with a pair of sharp
+scissors. Fig. 849 shows a square of the work completed, presenting that
+warm velvety appearance which distinguishes the Smyrna carpets.
+
+[Illustration: FIG. 850. MALTA STITCH. FIRST DETAIL.]
+
+[Illustration: FIG. 851. MALTA STITCH. SECOND DETAIL.]
+
+[Illustration: FIG. 852. MALTA STITCH. THIRD DETAIL.]
+
+[Illustration: FIG. 853. MALTA STITCH. FOURTH DETAIL.]
+
+MALTA STITCH (figs. 850, 851, 852, 853, 854).--This stitch is much
+used by the Maltese; it is the same as the "point tricot" excepting that
+in the latter, the loops formed by the return of the thread are open and
+the stitches packed very closely together, whereas in the Maltese work
+there is always one close loop and two open tassels.
+
+[Illustration: FIG. 854. MALTA EMBROIDERY. MATERIALS: Coton a repriser
+D.M.C No. 25.[A] COLOURS: Jaune-vieil-Or 680, Vert-Mousse 469,
+Bleu-Indigo 311 and Rouge-Cornouille 449.[A]]
+
+It is worked as follows: take a thick bunch of lengths of Coton a
+repriser D.M.C, pass it under two vertical threads of the stuff, from
+right to left, fig. 850, leaving an end, 1 or 2 c/m. long, lying on the
+surface of the work; put the needle in again under the two threads that
+are in front of the first stitch and leave the tassel, formed by the
+first stitch, above the one by which you bring the needle back between
+the two stitches.
+
+The needle must now follow the same course it took for the first stitch
+and the thread must be drawn out far enough to form a loop as long as
+the tassel; you then repeat the second stitch, carrying back the working
+thread however this time above the loop, after which you cut the two
+open ends the same length as the loop. In the Maltese work, three times
+as many threads have to be left between the tassels as are covered by
+the stitch.
+
+Thus if your stitch cover 4 threads of the foundation, you should leave
+12 threads between the tassels, and if it cover 6, you should leave an
+interval of 18 threads, that the stuff may always be visible between the
+little tassels or balls.
+
+Fig. 854 represents a portion of a curtain, embroidered on Flemish linen
+in the colours indicated at the foot of the engraving; these may be
+arranged according to the taste of the worker.
+
+Malta embroidery is mostly done on coarse coloured linen fabrics or on
+single thread canvas.
+
+TRIANGULAR TURKISH STITCH (figs. 855, 856, 857, 858, 859). Amongst the
+many pretty stitches for which Turkish embroideries are distinguished,
+there is one in particular, which though apparently very difficult, is
+in reality quite the reverse; it resembles line stitch upon straight
+threads, only that in the East it is generally worked in diagonal lines,
+each row requiring two journeys to and fro.
+
+In the first, fig. 855, the needle must always be carried, first over,
+then under two threads in a diagonal line and so on to the end of the
+row.
+
+Coming back, you pass the needle under the stuff and the stitch on the
+right side, and bring it out at the bottom of the stitch; then you make
+a back stitch over two horizontal and two vertical threads, pass the
+needle over two straight threads, put it in behind the same, bring it
+out again near the upper stitch and then insert it near the bottom
+vertical stitch; after this you carry it to the second stitch lower down
+and pass it over the same. Four threads should meet in every hole which
+the needle makes. The third and fourth row should be worked in a colour
+that forms a sharp contrast with the one in which the two first rows are
+worked and constitute with these one complete row of stitches, fig. 856.
+
+Figs. 857, 858 and 859 show how the same stitch can be worked in
+straight, instead of in diagonal rows.
+
+[Illustration: FIG. 855. TRIANGULAR TURKISH STITCH WORKED DIAGONALLY.
+FIRST JOURNEY COMPLETED AND SECOND BACK, BEGUN.]
+
+[Illustration: FIG. 856. TRIANGULAR TURKISH STITCH WORKED DIAGONALLY.
+TWO JOURNEYS TO AND FRO FORMING THE COMPLETE ROW.]
+
+The dark shade in fig. 859 shows the first row of stitches, the light,
+the second, or rather the third and fourth, as four rows of stitches are
+required to make one complete row of triangular Turkish stitch.
+
+[Illustration: FIG. 857. TRIANGULAR TURKISH STITCH WORKED HORIZONTALLY.
+FIRST JOURNEY.]
+
+[Illustration: FIG. 858. TRIANGULAR TURKISH STITCH WORKED HORIZONTALLY.
+FIRST JOURNEY BACK.]
+
+PATTERN WORKED IN TRIANGULAR TURKISH STITCH AND GOBELIN STITCH (fig.
+860).--The diagonal lines are all worked with Chine gold and blue, and
+gold and red. The stitch we have just described is most effective in
+conjunction with other kinds of embroidery, as illustrated in fig. 860,
+where it is combined with Gobelin stitch.
+
+[Illustration: FIG. 859. TRIANGULAR TURKISH STITCH WORKED HORIZONTALLY.
+SECOND JOURNEY BACK.]
+
+The running foundation is divided into slanting squares; the diagonal
+lines are all worked in gold and red. The squares number 9 stitches
+inside, these are followed by a tenth which is covered by the first
+stitch of the next square. Where two kinds of coloured gold thread are
+used, one square will be framed on all sides by one kind, say, gold and
+blue for instance, the next by the other, gold and red.
+
+[Illustration: FIG. 860. PATTERN WORKED IN TRIANGULAR TURKISH STITCH.
+MATERIALS: Chine d'or D.M.C. COLOURS: Gold and red, gold and dark blue,
+gold and light blue, gold and green.]
+
+The stalk that divides the two little leaves and has a small lozenge at
+the top, is begun above the fifth of the 9 stitches; you make 5
+stitches, but in such a manner as to end at the top of these 5 with the
+stitch that runs in a diagonal direction over the threads, turned to the
+inside of the stalk, so that the last stitch of the first row may form
+with the first stitch of the second row, a triangle at the top of the
+stalk, which is surmounted by the aforesaid lozenge.
+
+The lozenges in Chine gold and light blue, of which there are three in
+each of the half squares, besides those that terminate the stalk,
+consist of 9 stitches, the first, extending over 3 threads, the second
+over 5, the third over 7, the fourth over 9 and the fifth over 11; the
+four next decreasing in a similar manner. The leaves in Chine gold and
+green, on either side of the stalk, also begin with a stitch over 3
+threads of the stuff, followed by 8, each increasing in length by one
+thread on the side of the stalk, but all equal on the other, the last
+extending over 12 threads of the stuff. After these 9, the subsequent 8
+must decrease in the same manner by one thread on the opposite side;
+then you make 4 more extending over only 3 threads and set the contrary
+way to the others.
+
+The zig-zag border and the small squares of 5 stitches within it are
+worked entirely in Chine gold and red.
+
+[Illustration: FIG. 861. TURKISH EMBROIDERY. MATERIALS: Chine d'or D.M.C
+No. 30 and Coton a broder D.M.C No. 40.[A] COLOURS--For the Chine: Gold
+and red, gold and dark blue and gold and green. For the Coton a broder:
+Noir grand-teint 310.[A]]
+
+TURKISH EMBROIDERY (fig. 861).--The powdering of flowers and also the
+border are worked like the preceding pattern in two-sided Gobelin
+stitch. Embroidery of this kind looks best on Algerian linen, which is
+exactly like the Turkish stuff. It is not absolutely necessary to count
+the threads for the little flowers and stalks, but it is as well to do
+so for the border, that you may be sure to get the zig-zags perfectly
+regular.
+
+The petals of the flowers are worked alternately in Chine gold and red,
+and gold and blue, the centre in Or fin D.M.C pour la broderie and the
+leaves and stalks in Chine gold and green. The petals are set with stem
+stitch in fine black Coton a broder and if the embroidery is to be the
+same on both sides this setting must be repeated at the back.
+
+The distribution of colours in the border is left to the taste of the
+worker, but we should recommend for the zig-zags Chine gold and red, as
+being the most effective.
+
+APPLIQUE WORK (fig. 862).--Applique work means the laying on of pieces
+of one kind of stuff on to a foundation of a different kind, so as to
+form a pattern--these pieces of stuff of various shapes and sizes,
+taking the place of solid needlemade embroidery.
+
+Applique work may be done on linen, silk, velvet, plush and leather. The
+stuff out of which the pattern is cut has, in most cases, to be backed
+first with very fine tissue paper.
+
+This is done in the following manner with starch paste, which dries
+quicker than any other. Spread the paste on the paper with a brush,
+carefully removing all the little lumps; it should only be just liquid
+enough to make the stuff and the paper adhere perfectly together and
+above all must never penetrate to the right side of the stuff. When the
+paper has been evenly spread with the paste, lay your stuff upon it and
+smooth and press it down with a clean cloth, stroking it out carefully
+in the line of the thread to prevent its becoming in the least dragged
+or puckered, or any air remaining between it and the paper.
+
+You next lay several sheets of paper without a mark or a fold in them,
+on a perfectly smooth flat board, and upon these, your paper-lined
+stuff, covered in its turn with several loose sheets of paper, all being
+kept in their place by another board with several stones or heavy
+weights laid upon it to act as a press. Leave the stuff in the press
+until it be quite dry. You will find that any kind of fabric, even the
+slightest, can be rendered available in this manner for applique work,
+not even plush or velvet being in the least injured by the process.
+
+You then transfer the whole pattern on to the foundation, whatever it
+happen to be, but only the detached figures on to the paper-lined stuff,
+carefully cutting out the latter with a very sharp pair of scissors so
+as to avoid unravelling the threads along the edges.
+
+The foundation, stretched in a frame, as described on page 115, fig.
+236, is to be placed on a board or table in such a manner that only the
+stuff rests upon it, whilst the frame projects on all four sides.
+
+Then cover the cut-out figures with paste on the wrong side and fit them
+into their proper places upon the foundation. In larger pieces of work
+especially, this should be done as quickly as possible so that a board
+with weights upon it, to serve as a press, may be laid over them all at
+once.
+
+The board must not be removed until the paste be dry; then you can begin
+the needlework, fastening down the applique figures and finishing them
+off round the edges by laying down a fine round, cord, or by flat
+stitches.
+
+[Illustration: FIG. 862. APPLIQUE WORK.]
+
+You either sew on the cord with invisible stitches, opening it a little
+at each stitch so as to slip the needle and thread in between the twist,
+or else with ordinary overcasting stitches.
+
+[Illustration: FIG. 863. MOROCCO EMBROIDERY. MATERIALS--According to the
+stuff: Fil a pointer D.M.C, Cordonnet 6 fils D.M.C, Coton a broder D.M.C
+or Coton a repriser D.M.C[A]. COLOUR: Rouge-Cardinal 346[A].]
+
+In either case it must be so laid on as completely to hide the cut edges
+and keep them from fraying.
+
+Should you wish to frame the applique figures with flat embroidery, you
+must bring your needle out close to the cut edge and enter it, 1 or 2
+m/m. within the edge from above.
+
+Both, cord and flat stitch setting, should be of a subdued shade and if
+possible, of a colour to match the foundation.
+
+MOROCCO EMBROIDERY (figs. 863, 864, 865, 866).--This work named after
+the country where it was originated, belongs both to the class of darned
+and damask embroidery.
+
+[Illustration: FIG. 864. MOROCCO EMBROIDERY. QUARTER OF THE SUBJECTS OF
+FIG. 863.]
+
+In fig. 864, the stitches are formed by passing over 5 threads and
+taking up the sixth. Coming back you take up the third of the 5 threads
+first missed and proceed in the same manner over the whole surface of
+the work, unless the lines of the pattern require you to depart from
+this rule; as, for instance, in certain parts of fig. 864, where you
+will notice stitches, carried over 7 or 8 threads; also in the borders,
+fig. 865 and 866, where the stitches are arranged in a rather arbitrary
+manner, in order to bring out the pattern more clearly.
+
+Fig. 864 represents the fourth part of one of the subjects that make up
+the design fig. 863; that is, four such, joined together, form one of
+the squares of fig. 863.
+
+[Illustration: FIG. 865. MOROCCO EMBROIDERY. SMALL OUTER BORDER OF FIG.
+863.]
+
+Figs. 865 and 866 are patterns of two little borders and an insertion,
+suitable as a finish to fig. 863, which can be enlarged to any size by
+the addition of other squares to those that are represented here.
+
+[Illustration: FIG. 866. MOROCCO EMBROIDERY. BORDER AND INSERTION
+SUITABLE FOR FIG. 863.]
+
+Most of the stuffs, already so frequently alluded to in this work, can
+be used as a foundation for this kind of embroidery, provided the right
+working materials to go with it are chosen; Coton a tricoter or Fil a
+pointer should only be used for the coarser stuffs, such as Rhodes linen
+No. 1, or Russian linen and the different kinds of tammy cloth, whereas
+the other kinds of D.M.C threads and cottons and especially the finer
+numbers, are best adapted for embroidery on fine stuffs, such as Rhodes
+linen No. 2, and Spanish or Algerian linen.
+
+SPANISH EMBROIDERY (figs. 867 and 868).--Spanish embroidery consists
+almost exclusively of buttonhole stitch, fig. 171, and flat stitch, fig.
+221.
+
+[Illustration: FIG. 867. SQUARE OF SPANISH EMBROIDERY. MATERIALS: Or fin
+D.M.C pour la broderie No. 40, Coton a broder D.M.C Nos. 50 and 100, or
+Fil a dentelle D.M.C No. 80.[A] COLOURS: Bleu-Indigo 312, 322, 334 and
+Bleu pale 668.[A]]
+
+The buttonhole stitches, for which the more subdued shade of the colours
+indicated should always be taken, or else yellow, dark or pale, to match
+the gold thread, are made over two threads of gold and follow the
+outlines of the pattern, which should be more or less appropriate to
+this style of embroidery. One of the gold threads always keeps the
+inside of the line and follows it throughout in an unbroken course,
+whilst with the second, the outside one, you form picots, folding the
+gold thread over from right to left and catching down the loop by a
+buttonhole stitch, which is introduced into the loop itself and carried
+over the combined gold threads, as shown in the left corner of fig. 868,
+representing one quarter of the whole design, where the position of the
+needle and the way in which the picot is secured are plainly indicated.
+
+For the scallops, a round material with rather a strong twist should be
+used, such as Soie de coton D.M.C No. 100[A] or Fil a dentelle D.M.C
+Nos. 70 to 100[A], wound on reels.
+
+[Illustration: FIG. 868. QUARTER OF THE PATTERN FOR FIG. 867, IN THE
+NATURAL SIZE.]
+
+Where the picots have to fill up empty spaces of a larger size, you can
+join several together by connecting them each in turn with the first.
+
+When you have bordered all the outlines with buttonhole stitches and
+picots, fill up the spaces enclosed within the lines, which properly
+speaking form the pattern, with flat stitch embroidery, worked in Coton
+a broder or Coton a repriser; after which the whole surface is sewn over
+with fine little spangles which give the sparkling look that constitutes
+the peculiar charm of this kind of embroidery. The flowers are covered
+with a fancy stitch that forms regular little lozenges, and every second
+row of stitches is hidden under a spangle.
+
+With regard to the colours indicated at the foot of fig. 867, this is
+how they were distributed in the original, from which our engraving was
+taken; all the outlines in buttonhole stitch, in Bleu pale 668; the tops
+of the flowers in Bleu-Indigo 334; the bottom parts in Bleu-Indigo 332,
+and all three shades of blue so blended together in the solid parts of
+the design as to be undistinguishable from each other. It is not
+absolutely necessary to keep to the colours here indicated; there is no
+reason whatever why a greater variety should not be introduced, but in
+every case the more subdued shades should be selected; a pale red, for
+instance, for the flowers, a green and a brown for the arabesques, will
+always be found to produce a very pretty and harmonious effect.
+
+When all the needlework is finished, you cut away the stuff underneath
+the network formed by the picots, with a pair of sharp scissors.
+
+A word remains to be said with regard to the copying of fig. 868.
+
+Our readers will notice that in fig. 867 the flowers and arabesques
+succeed and grow out of each other; that whilst the four quarters are
+symmetrical, yet at the same time, the curves in each quarter take a
+different inclination.
+
+You cannot therefore simply repeat the subject four times; when you have
+copied the one quarter, given in fig. 868, you must lay this first
+quarter on again at the cross + on the left side; when the second
+quarter is finished, you again turn the copy to the left and tack it on
+at the +; when you come to the fourth quarter the lines of the first
+quarter must exactly meet those of the last. We beg here to draw
+attention to the directions, relative to the copying of patterns, given
+in the subsequent chapter.
+
+BASKET STITCH ON LINEN (fig. 869).--This stitch has some resemblance
+with the Greek stitch, fig. 278, and the Montenegrin, fig. 306, only
+that it is not crossed like the latter.
+
+[Illustration: FIG. 869. BASKET STITCH ON LINEN.]
+
+Basket stitch can be worked on all kinds of stuffs, on counted threads
+or on a wide or narrow tracing, with fine or coarse thread, and more or
+less closely, according to the taste of the worker.
+
+You insert the needle from right, and pass it under, from 3 to 6 threads
+of the foundation, according to the stuff and the material you are
+using, then downwards from left to right, and over, from 6 to 8 threads,
+into the stuff again from right to left; then you push it under the
+stuff in an upward direction and bring it out on the left in the middle
+of the space left between the last stitch and the top of the second. The
+dotted line in the engraving indicates the course of the stitches.
+
+[Illustration: FIG. 870. OLD GERMAN KNOTTED STITCH.]
+
+OLD GERMAN KNOTTED STITCH (fig. 870).--This is a stitch often met with
+in old church and house linen embroidery. A beautiful design worked in
+this way is given further on.
+
+Contrary to most stitches, this is worked upwards; the needle is put in
+horizontally under the stuff, the thread tightly drawn, then laid from
+left to right and drawn through underneath the first stitch and a tight
+knot made. We find the same stitch, worked in a variety of ways,
+according to the taste and skill of the worker; for instance the knots
+may be set slanting, as in fig. 870, or else straight and very close
+together, as in fig. 873, where they present the appearance of a close
+string of beads, or again wide apart, as they are in fig. 876.
+
+All these ways are admissible but care should be taken in each case, to
+make the stitches perfectly regular; it is the direction which is given
+to the stitch and the number of threads taken up with the needle that
+changes the appearance of the stitch.
+
+[Illustration: FIG. 871. RAISED STEM STITCH.]
+
+[Illustration: FIG. 872. ANOTHER KIND OF RAISED STEM STITCH.]
+
+RAISED STEM STITCH (figs. 871, 872).--Take a very thick thread, such
+as Fil a pointer D.M.C No. 10 or 20, or one of the coarser numbers of
+Cordonnet 6 fils D.M.C, lay it as a foundation thread along the line of
+your pattern and work over it wide stem stitches, as represented in
+figs. 172 and 173, either in the same number of thread used for the
+foundation thread, or a finer, according to the stuff you are
+embroidering upon.
+
+You may overcast the same stitch in the manner indicated in fig. 872,
+using a different colour for the second layer of stitches to produce an
+agreeable variety.
+
+BORDER IN DIFFERENT KINDS OF STITCHES (fig. 873).--The straight lines
+of this border are all worked in old German knotted stitch in ecru
+thread, forming a thick round cord which stands out from the surface in
+high relief; the flatter outlining of the outside figures is done in
+basket stitch in soft blue knitting cotton. The little oblong figures
+within the two inner lines of the border are worked in Gobelin stitch,
+in red embroidery cotton, and the filling of the figures, outlined in
+basket stitch, in one or other of the Irish lace stitches, worked in
+white lace thread, either so that all the stitches enter the stuff, or
+form a network over it.
+
+The work may be simplified by sewing Soutache D.M.C or Lacet superfin
+D.M.C along the straight lines instead of embroidering them in basket
+stitch.
+
+[Illustration: FIG. 873. BORDER IN DIFFERENT KINDS OF STITCHES.
+MATERIALS--For the old German knotted stitch: Cordonnet 6 fils D.M.C No.
+2, ecru--For the basket stitch: Coton a tricoter D.M.C No. 16,
+Bleu-Indigo 312--For the Gobelin stitches: Coton a broder D.M.C No. 20,
+Rouge-Turc 321--For the lace stitches: Fil a dentelle D.M.C No. 40,
+white.]
+
+ROUMANIAN STITCH (figs. 874, 875).--This consists of stitches that are
+worked in the width of the stuff, intersected by back-stitches set
+slightly slanting.
+
+Though the engraving is so clear as to render it hardly necessary, we
+subjoin an exact description of the way the stitches run.
+
+Bring out the needle on the left, 2 or 6 threads beyond the line your
+embroidery is to follow; with regard to the number of threads you take
+up, you must be guided by the quality of the stuff and the material you
+have selected: put the needle in on the right, the same distance in
+advance of the line as before and bring it out in the middle of the
+stitch; then passing the needle over the first stitch, put it in again
+one or two threads in advance of the point where it came out, and draw
+it out close to where the first stitch began.
+
+The border, represented in fig. 875, is worked in great part in
+Roumanian stitch.
+
+[Illustration: FIG. 874. ROUMANIAN STITCH.]
+
+The original, still very well preserved, notwithstanding its age, is
+worked in silk of a brilliant red on a stiff stuff which has been
+coloured by time and use.
+
+Willems satin, Rhodes linen No. 2 and Algerian linen, make very suitable
+foundations for this kind of embroidery and have that soft tint which is
+almost indispensable to a satisfactory imitation of old needlework.
+
+Any one of the shades of red named at the foot of the illustration, will
+be found to be a good match for the original colours.
+
+Roumanian stitch is used wherever the lines of the pattern are widest;
+there where they narrow, in the indentures of the leaves and the twists
+of the stalks, flat stitch is used instead.
+
+By the repetition of the detached subject, this pattern may be made to
+serve either for a stripe or for a grounding; if you use it for a
+stripe, the centre flower of the principal subject with the stalks
+lengthened, will look very well worked as a separate subject between the
+large bouquets. Worked in a double row, base to base, on any stuff and
+in any material, these large figures form a very handsome border which
+makes an effective trimming for furniture and curtains.
+
+PATTERN FOR PIQUE EMBROIDERY (fig. 876).--The stuff, called pique,
+such as it is now manufactured, is simply an imitation of an old kind of
+needlework, almost unknown in these days, but very popular in the
+fifteenth and sixteenth century in Italy, for making coverlets and more
+especially curtains and blinds; the latter being highly esteemed,
+because without intercepting the light altogether, they tempered it
+agreeably.
+
+A similar kind of work was common in Bohemia until a recent date for the
+making of caps. It is done on two layers of stuff, of different kinds,
+the upper one fine and transparent, the lower, more substantial.
+
+The pattern is drawn upon the fine stuff, because on that side the
+different kinds of stitches are made.
+
+[Illustration: FIG. 875. BORDER IN ROUMANIAN STITCH. MATERIALS: Coton a
+broder D.M.C No. 16, Coton a repriser D.M.C No. 50, or Cordonnet 6 fils
+D.M.C No. 20.[A] COLOURS: Rouge-Cardinal 346, Rouge-Grenat 358,
+Brun-Caroubier 355, Rouge Maroquin 3327 et 3328, or Rouge-Cerise 3317 et
+3318.[A]]
+
+You then tack the two stuffs together and work all the outlines of the
+pattern in Old German knotted stitch with ecru Fil a pointer D.M.C No.
+20; that done, thread a tapestry needle with white Cordonnet 6 fils
+D.M.C No. 1 or 2, slip it in between the two layers of stuff and secure
+the end by two or three stitches; then push the twist quite close to
+the knotted stitch and fasten it in between the two layers of stuff,
+with small and very regular running stitches, in a fine pliable
+material, such as Fil d'Alsace D.M.C on reels.
+
+[Illustration: FIG. 876. PATTERN FOR PIQUE EMBROIDERY. MATERIALS:
+Cordonnet 6 fils D.M.C Nos. 1 and 25, Fil d'Alsace D.M.C No. 100, Fil a
+pointer D.M.C No. 30 and Fil a dentelle D.M.C No. 30.[A]]
+
+Fill up in this manner all the ground of the pattern, leaving the
+arabesques and the ornaments plain, or embellishing them with some kind
+of lace or embroidery stitch.
+
+When these stripes are intended for blinds, you can produce pretty
+transparent effects in them by cutting away the underneath stuff, in
+places.
+
+ALPHABET IN SOUTACHE (braid) (figs. 877, 878, 879, 880, 881,
+882).--This alphabet, which is one of the best of its kind, was taken
+from a work published in Venice in 1662, by Giovan' Antonio Tagliente,
+secretary and calligraphist to the Republic.
+
+The letters lend themselves, better than any we know, to being executed
+in Soutache D.M.C.
+
+[Illustration: FIG. 877. LETTER T OF THE SOUTACHE ALPHABET. MODE OF
+INTERLACING THE SOUTACHE.]
+
+The sewing on of the braid is done with very small running stitches and
+the interlacing with a tapestry needle, into which the braid is
+threaded; both operations are shown in figs. 877 and 880. The embroidery
+of the connecting bars, and the small leaves and tendrils that complete
+the letter are explained in fig. 881, whilst fig. 882 represents the
+letter A in its finished state.
+
+For sewing on the braid, a fine soft material is the best, such as Soie
+de coton D.M.C[A] and for embroidering the small accessories, Coton a
+broder D.M.C No. 50[A].
+
+[Illustration: FIG. 878. ALPHABET IN SOUTACHE. LETTERS A TO N.]
+
+[Illustration: FIG. 879. ALPHABET IN SOUTACHE. LETTERS O TO Z.]
+
+For the ears of corn in fig. 883, use either Soutache ecru, or
+Jaune-d'Ocre 677 No. 2; for the marguerites, white Soutache No. 21/2 and
+for the corn flowers, Soutache Bleu-Indigo 322 No. 2. Nothing could be
+simpler than the mode of working these flowers.
+
+[Illustration: FIG. 880. LETTER M OF THE ALPHABET IN SOUTACHE. MODE OF
+SEWING ON THE SOUTACHE.]
+
+[Illustration: FIG. 881. LETTER W OF THE ALPHABET IN SOUTACHE. MODE OF
+PLACING THE BARS AND EMBROIDERING THE LEAVES.]
+
+[Illustration: FIG. 882. LETTER A OF THE ALPHABET IN SOUTACHE IN ITS
+FINISHED STATE.]
+
+FLOWERS EXECUTED IN SOUTACHE AND EMBROIDERY (fig. 883). Flowers and
+sprays, such as here represented, make a charming trimming for summer
+dresses, sunshades, aprons etc. and can be executed with admirable
+effect in the D.M.C Soutache, now to be had in all the colours of the
+D.M.C colour card. A very pretty running pattern can be formed out of
+the spray, fig. 883, by turning the flowers first to the right and then
+to the left and making the stalks come out underneath the ears of corn.
+In order to reverse the position of the flowers thus, you will have to
+make two tracings of the spray, one negative and one positive.
+
+Thread a tapestry needle with the Soutache and draw it into the stuff,
+and then pass it through from the right side to the wrong at the bottom
+of one of the petals of the flowers, secure it on the wrong side by two
+or three stitches and then bring the working thread, which should be of
+the same colour as the Soutache, out again at the point of the petal,
+then carry the Soutache back to the bottom of the petal and fasten it
+down, like the gold threads in fig. 242, by a stitch rather wider than
+the Soutache, fold the Soutache over again to the starting point, and
+secure it by a stitch, and so on. In order to give a different character
+to the flowers, use Soutache of different widths, fold it over more or
+less closely and lay it down in shorter or longer lengths, as required.
+The natural irregularity of the petals of a flower can be very
+faithfully imitated in this manner. Fig. 883 shows the way in which, for
+the ears of corn, the braid is folded back upon itself and fastened
+down, whilst in the white flowers the two layers of the braid that form
+each petal are separated at the bottom.
+
+The stamens of the marguerites are worked in knot stitch with yellow
+cotton and those of the cornflowers with dark blue.
+
+The other little details are executed in flat and stem stitch in the
+colours indicated at the foot of the engraving. With the pattern to go
+by, the distribution of the colours for the different parts can present
+no possible difficulty.
+
+[Illustration: FIG. 883. FLOWERS EXECUTED IN SOUTACHE AND EMBROIDERY.
+MATERIALS: Soutache D.M.C Nos. 1 to 3 and Coton a broder D.M.C No.
+35.[A] COLOURS--For the Soutache: White, ecru or Jaune d'Ocre 677, and
+Bleu-Indigo 322.--For the Coton a broder: Ecru, Jaune-Orange 444,
+Bleu-Indigo 311, Gris-Tilleul 391 and 330, Vert-Pistache 319, 320 and
+369, Rouge-Cardinal 348.[A]]
+
+We need only point out that Rouge-Cardinal 348 is intended for the
+little knot that connects the stalks of the flowers.
+
+CHINESE SUBJECT (fig. 884).--This quaint and graceful composition,
+copied from an interesting piece of Chinese embroidery, gives our
+readers the opportunity of turning the different damask stitches,
+already described in these pages, to quite a new use.
+
+The kind of gauze which forms the foundation of the original work can be
+replaced either by Spanish or Rhodes linen No. 2, by any stuff, in fact,
+the threads of which can be counted.
+
+The drawing has to be transferred to the stuff, and the different parts
+are filled in with the stitches, clearly indicated in the illustration.
+
+[Illustration: FIG. 884. CHINESE SUBJECT. MATERIALS: Coton a repriser
+D.M.C No. 50, Or fin D.M.C pour la broderie No. 40 and Chine d'or
+D.M.C[A].]
+
+By the introduction of several colours, this pattern is capable of being
+infinitely varied.
+
+Thus, in the model before us, the neck and bulb of the flask, the
+leaves it stands upon and those attached to the flowers in it, are
+worked in Vert-Pistache 367, the handles, the ornament on the bottle,
+and the triangular figure in the centre are in white; the little flower
+on the left, the second on the right, the straight staff, the upper
+wings of the butterfly, as well as the three leaves underneath the
+triangle are in Bleu-Indigo 334; the first flower on the right of the
+flask, the knot above the triangle, the lower wings of the butterfly and
+the middle part of the bottom subject on the right of the engraving are
+in Gris-Amadou 383; and Violet-lie-de-vin and Brun-Caroubier 357
+alternate in the pointed leaves that support the flask; the former
+colour recurs in the ornaments of the staff, and Rouge-Cardinal 347,
+black and Gris-Tilleul alternate in the other details of the drawing.
+
+For the setting it will be best to take Or fin D.M.C pour la broderie or
+else Chine d'or D.M.C, used either double or single, according to
+whichever the drawing seems to require.
+
+FOOTNOTES:
+
+[A] See at the end of the concluding chapter, the table of numbers and
+sizes and the list of colours of the D.M.C threads and cottons.
+
+
+
+
+
+[Illustration: ORNAMENT AFTER HOLBEIN.]
+
+
+
+
+Practical directions.
+
+
+Hitherto we have been chiefly occupied with descriptions and
+explanations of the different kinds of needlework; to render these
+complete, it remains for us to give a few practical directions with
+regard to the copying, adjustment and transposition of the patterns, as
+well as to the different processes, often so essential to the ultimate
+success of a piece of needlework. For this success will soon be found
+not to depend on the stitches only but very largely on the proper
+adaptation of the design to the space it is intended to fill.
+
+Then, in the case of new lace, it is necessary to know the amount of
+dressing it will require to give it the right stiffness and when this
+dressing has worn off how to renew it; whilst in the case of applique
+work more especially, it is indispensable to know exactly what the
+ingredients are, of which the paste should be composed and how to make
+and lay it on in the proper manner.
+
+TRACING PATTERNS AGAINST A WINDOW PANE.--In order to copy a pattern in
+this way, the first step is to tack or pin the piece of stuff or paper
+on which the copy is to be made upon the pattern. In the case of a small
+pattern, the tacking or pinning may be dispensed with and the two
+sheets held firmly pressed against the window pane with the left hand,
+whilst the right hand does the tracing, but even then it is safer to pin
+or gum the four corners of the two sheets together, in case of
+interruption, as it is difficult to fit them together again exactly.
+
+The tracing may be done with a pencil, or better still, with a brush
+dipped in Indian ink or water-colour paint.
+
+The process of tracing is easy enough, so long as the hand does not get
+tired but as this generally comes to pass very soon it is best, if the
+pattern be a large and complicated one, to stick the sheets to the pane
+with strong gum or suspend them on a string, fastened across the pane by
+pins stuck into the window frame on either side.
+
+TO TAKE OFF A PATTERN BY RUBBING.--If you want to take a pattern of a
+piece of embroidery direct from the work itself, lay it, the right side
+up, flat upon a board or table and cover it with letter or tissue paper.
+
+The paper should be of a good medium thickness, if it be too thick it
+will not take a clear impression of the pattern, and if very thin it is
+apt to tear.
+
+Fasten the paper down upon the embroidery with drawing-pins and rub off
+the pattern with drawing-wax. In default of the right kind of wax, the
+bowl or handle of a spoon, or a large silver coin will serve the purpose
+equally well, as will also some powdered graphite or charcoal. The
+outlines will not of course, in any case, be very clearly defined upon
+the paper and will have to be gone over and carefully supplemented
+afterwards with a pencil.
+
+Taking off the pattern with charcoal or graphite is less injurious to
+the embroidery than rubbing it off with wax or metal, as the pressure
+required in the latter case flattens the needle-work very considerably.
+As soon as you have fixed the lines of the pattern by drawing them over
+with ink, it is ready for use.
+
+TO TRANSFER A PATTERN DIRECT ON TO THE STUFF.--Patterns cannot be
+copied by either of the above methods direct on to the stuff and can
+only be used when the stuff on which the embroidery is to be executed
+is transparent; in the case of thick close fabrics the drawing must be
+made on the stuff itself. The following is the simplest way of
+transferring a pattern on to a transparent stuff; begin by going over
+all the lines of the drawing with Indian ink so as to make them quite
+thick and distinct, and tacking the paper with large stitches on to the
+back of the stuff. Then, mix some very dark powdered indigo diluted with
+water, in a glass with a small pinch of sugar and powdered gum arabic,
+and using this as ink and a fine pen very slightly split, trace the
+pattern that shines through on the stuff.
+
+The tracing must be very slight, for if the embroidery be not done till
+some time afterwards the lines get so firmly fixed in the stuff that one
+washing will not obliterate them; the tracing ink moreover makes the
+work unpleasantly sticky.
+
+TO COPY WITH OILED PAPER.--Another rather expeditious mode of
+transferring patterns on to thin and more especially smooth glossy
+stuffs, is by means of a special kind of tinted paper, called
+autographic paper, which is impregnated with a coloured oily substance
+and is to be had at any stationer's shop. This you place between the
+pattern and the stuff, having previously fastened the stuff, perfectly
+straight by the line of the thread, to a board, with drawing-pins. When
+you have fitted the two papers likewise exactly together, you go over
+all the lines of the pattern with a blunt pencil, or with, what is
+better still, the point of a bone crochet needle or the edge of a
+folder. You must be careful not to press so heavily upon the pattern
+paper as to tear it; by the pressure exercised on the two sheets of
+paper, the oily substance of the blue paper discharges itself on to the
+stuff, so that when it is removed all the lines you have traced are
+imprinted upon the stuff.
+
+This blue tracing paper is however only available for the reproduction
+of patterns on washing stuffs, as satin and all other silky textures are
+discoloured by it.
+
+TO POUNCE PATTERNS UPON STUFFS.--The modes of copying, hitherto
+described, cannot be indiscriminately used for all kinds of stuff; for
+cloth, velvet and plush, for instance, they are not available and
+pouncing is the only way that answers.
+
+The patterns, after having been transferred to straw or parchment paper,
+have to be pricked through. To do this you lay the paper upon cloth or
+felt and prick out all the lines of the drawing, making the holes, which
+should be clear and round, all exactly the same distance apart.
+
+The closer and more complicated the pattern is, the finer and closer the
+holes should be. Every line of the outline must be carefully pricked
+out.
+
+If the paper be sufficiently thin, several pouncings can be pricked at
+the same time, and a symmetrical design can be folded together into four
+and all pricked at once.
+
+The pricked pattern has next to be tacked upon the material, the side
+from which the pricking was done next to the stuff and the little
+funnel-shaped holes uppermost. Paper and stuff must be firmly fastened
+down and kept in position by drawing pins, so that neither of them may
+move during the process, otherwise you will have double lines on the
+stuff which you will find very confusing afterwards.
+
+For the pouncing, use either powdered chalk or charcoal, according to
+whether the stuff be dark or light in colour. Dip the pouncing
+implement, a thing like a small drum-stick, stuffed and covered with
+cloth, into the powder and rub it lightly over the whole surface of the
+pricked pattern, so that the powder penetrates through the pin-holes to
+the stuff. In default of a proper pouncing implement take a small stripe
+of cloth, roll it up round a stick and wind a string round, and dip this
+into the powder.
+
+When the powder has penetrated to the stuff, remove the paper and if the
+pattern is to be repeated, lay it on again further on, taking care to
+make the lines meet exactly so that the join may not be seen.
+
+When you have finished the pouncing and taken off the paper, you proceed
+to draw or rather paint in the pattern with water-colour paints:
+Ackermann's are the best for the purpose; no others, as far as our
+experience has proved, adhere so well to even the roughest fabrics or so
+little affect the brilliancy of the embroidery thread. Four paints,
+blue, black, yellow and white are sufficient for all purposes, whatever
+the colour of the stuff may be.
+
+On a smooth surface the tracing may be done with a pen but a small
+sable-hair brush is preferable under all circumstances.
+
+The rougher and more hairy the surface, the finer the brush ought to be,
+in order that the colour may sink well in between the fibres.
+
+Before beginning to paint in the pattern, gently blow away all the
+superfluous powder from the surface. This process may be objected to as
+being an old one which has been superseded by new inventions; a resinous
+powder for instance, by the use of which patterns can be fixed, as soon
+as they have been pounced, by passing a hot iron over the stuff, a sheet
+of paper having first been laid upon it to protect it; or else a mixture
+of gum and powder which can be dissolved on the stuff itself by the
+steam of spirits-of-wine, and various other processes needless to
+mention here, as some are only useful in tracing patterns on a large
+scale, whilst others require a variety of appliances, not as a rule,
+within the reach of those to whom needle-work is a simple recreation.
+
+THE PREPARATION OF THE STUFFS AND THE SUBDIVISION OF THE
+PATTERNS.--Long years of experience and practice have brought us in
+contact with a good many designers, many of them artists in their way,
+so long as it was only a question of putting their own compositions on
+paper but who yet found themselves confronted by real difficulties the
+moment they were called upon to transfer them to stuff.
+
+We shall, as far as possible, point out to our readers the precautions
+to be taken in tracing patterns and must for that purpose go back to one
+of the first operations, namely that of pricking.
+
+To begin with, the paper on which the pattern is should always be large
+enough for there to be a clear margin of from 4 to 5 c/m. all round the
+pattern, so that the pouncing instrument may never come in contact with
+the stuff beneath.
+
+In transferring patterns to stuff, no lines of division should ever be
+made directly upon it either with lead, chalk or charcoal, as it is
+hardly ever possible entirely to obliterate them and they often become
+very confusing afterwards.
+
+Before beginning the tracing, divide your stuff into four, then decide
+what the width of the border outside the pattern is to be; it is quite
+an exceptional thing to carry a pattern right up to the edge. Stuffs
+that will take a bend, such as all linen and cotton textures, can be
+folded in four, like the paper, the folds ought then to be pinched and
+pressed down so that the lines may remain clear and distinct until the
+tracing be finished.
+
+After dividing it into four, mark out the diagonal lines; these are
+absolutely necessary in order to get the corner figures rightly placed.
+
+Though most of our readers know how to make these lines on paper with a
+pencil and ruler, few, easy as it is, know how to make them upon stuff.
+You have only to fold over the corner of your piece of stuff so that the
+outside thread of the warp or cut edge run parallel with the woof edge
+which marks the angle of the fold-over.
+
+This double folding over divides the ground into 8 parts. To arrange for
+the outside border or margin, is easy enough if the stuff and the kind
+of work you are going to do upon it admit of the drawing out of threads,
+as then a thread drawn out each way serves as a guide for tracing the
+pattern, straight to the line of the stuff. It is often better however,
+not to draw out the threads for an open-work border till the pattern be
+traced. If you do not wish or are not able to draw out threads to mark
+the pattern and you are working on a stuff of which the threads can be
+counted, follow the directions given on page 128, and explained in fig.
+252.
+
+You cannot mark cloth, silk stuffs or plush by folding them in the above
+way, cloth and some kinds of silken textures will not take a bend and
+others that will would be spoiled by it.
+
+All such stuffs should be mounted in a frame, before the pattern be
+traced and the ground be then divided out in the following way: take a
+strong thread, make a knot at one end, stick a pin into it and tighten
+the knot round it; with a pair of compasses, divide one of the sides
+into two equal parts, stick the pin with the knot round it in at the
+middle and the same on the opposite side, putting in a second pin by
+means of which you stretch the thread; carry other threads across in a
+similar way, in the width of the stuff and from corner to corner and you
+will have your ground correctly marked out, in such a manner as to leave
+no marks when, after pouncing in the pattern, you remove the threads.
+Before finishing the pouncing of a pattern, see that it is the right
+size for the purpose it is intended for.
+
+Supposing that you are tracing a border with a corner, you should
+measure the length it will occupy and then by a very light pouncing, you
+can mark the points from which the pattern will have to be repeated. It
+may be that a gap will be left in the middle, which, if not too large,
+can be got rid of without altering the pattern by pushing the whole
+thing a little further in and so shortening the distance between the two
+corners.
+
+Should the gap however be too large for this, you will have to make a
+supplementary design to fill up the place. The same thing would be
+necessary in the case of your having to shorten a pattern.
+
+TO TRANSPOSE AND REPEAT PATTERNS BY MEANS OF LOOKING-GLASSES (fig.
+885).--We have referred to the necessity that often occurs of adapting
+patterns to certain given proportions; this can in most cases be done
+easily enough without the help of a draughtsman, especially in the case
+of cross stitch embroideries, by means of two unframed looking-glasses
+(Penelope mirrors, as they are called) used in the following manner.
+
+If you want to utilize a piece only of a straight border, or after
+repeating it several times, to form a corner with it, you place the
+mirror in the first instance across it at right angles, at the place
+from which the pattern is to be repeated, and then exactly diagonally
+inwards.
+
+To make a square out of a straight pattern, you take two mirrors and so
+place them that they touch at the point where the diagonal lines meet,
+as represented in fig. 885, and you have your square at once.
+
+This is all easy enough, but before beginning any large piece of work it
+is necessary to consider carefully which parts of the drawing will best
+fill the centre and which are best suited to form the corners, as it is
+not every part of a straight pattern that is adapted for repetition.
+
+A few preliminary trials with the help of the mirrors will better show
+the importance of these explanations than anything further we can say on
+the subject.
+
+[Illustration: FIG. 885. TO TRANSPOSE AND REPEAT A STRAIGHT PATTERN BY
+MEANS OF LOOKING GLASSES.]
+
+TO ALTER THE PROPORTIONS OF A PATTERN BY DIVIDING THE GROUND INTO
+SQUARES (figs. 886 and 887).--Cases will occur where it will be found
+necessary to subject the pattern to greater modifications still than
+those we have hitherto been dealing with.
+
+You want, for example, to embroider a rather large running ground
+pattern on a piece of stuff, that is relatively too small for the
+subject; or a small and rather minute pattern on a large surface on
+which it is likely to look, either too insignificant, or too crowded and
+confused and the chances are, if you do not know how to draw, you will
+either think it necessary to get a draughtsman to help you or you will
+give up the piece of work altogether, deterred by the difficulties that
+confront you. You need not do either if you will follow the directions
+here given.
+
+Take a sheet of large-sized quadrille paper which if necessary you can
+prepare for yourself; trace your pattern upon it, or rule the squares
+direct upon the drawing, as shown in fig. 886.
+
+[Illustration: FIG. 886. DIVIDING THE GROUND INTO SQUARES BEFORE
+COPYING.]
+
+On a second sheet of vegetable paper, rule squares, a fourth, a third or
+half as small again as those on the first sheet. Thus, if the sides of
+the first squares be 15 m/m. long and you want to reduce your pattern by
+one fifth, the sides of your new squares should measure only 12 m/m.
+
+If, on the contrary, you want to enlarge the pattern by one fifth, make
+the sides of your squares 18 m/m. long.
+
+Then you follow, square by square, the lines of the drawing, extending
+or contracting them, according to whether the pattern is to be enlarged
+or diminished.
+
+To copy a pattern directly from a piece of embroidery and enlarge or
+diminish it at the same time, proceed as follows: fix the embroidery on
+a board, stretching it equally in every direction; then measure the
+length of the drawing, divide the centimetres by the number of units
+corresponding to whatever the proportions of your copy are to be, and if
+there be any fractions of centimetres over, subdivide them into
+millimetres, if necessary, into half millimetres and make your division
+by whatever measure you have adopted; take a pair of compasses with dry
+points, open them sufficiently for the opening to correspond to the
+number and the distance obtained by the division; plant a pin with a
+thread fastened to it, at the point indicated by the point of the
+compasses and repeat the last operation all along one side of the
+embroidery and, if possible a little beyond it, so that it may not be
+defaced by the marks of the pins. All you now have to do is to pull the
+threads in perfectly straight lines to the opposite side and carry other
+threads across them in a similar manner so that the whole surface be
+divided into squares.
+
+[Illustration: FIG. 887. PATTERN REDUCED BY MARKING OUT THE GROUND IN
+SMALL SQUARES.]
+
+It is needless to say that if you have to trace a pattern from a mounted
+piece of work you cannot stretch it on a board; with a little invention
+however some way can always be found of planting the pins so as not to
+injure the work.
+
+[Illustration: FIG. 888. PATTERN IN SOUTACHE. Original size.]
+
+[Illustration: FIG. 889. PATTERN IN FIG. 888 DRAWN OUT IN THE WIDTH.]
+
+[Illustration: FIG. 890. PATTERN IN FIG. 888 COMPRESSED IN THE WIDTH.]
+
+TO ALTER THE WIDTH OF A PATTERN RETAINING THE ORIGINAL HEIGHT (figs.
+888, 889, 890).--Sometimes it is necessary to lengthen out a pattern
+without however altering its height. In this case you modify the shape
+of the square and make long or narrow squares, according to the general
+shape of the design you wish to reproduce. Fig. 888 represents a
+pattern in Soutache D.M.C, marked out in squares; in fig. 889 the
+squares are lengthened out a third beyond their original size and the
+pattern is expanded; in fig. 890, the squares are compressed to a third
+less than their original size.
+
+This method of subdividing patterns greatly facilitates the alterations
+they have so often to undergo and we are sure that there are few amongst
+those who have any real aptitude for needlework, who cannot draw enough
+to be able to copy the contents of a square.
+
+TO PREPARE THE PASTE FOR APPLIQUE WORK.--It may seem strange to devote
+a separate paragraph to such an apparently simple operation; but in
+applique work it is a most important one, as not only the stuff on which
+the work is done but all the expensive accessories are liable to be
+spoilt by paste that has been badly prepared.
+
+Put some wheaten (not rice) starch into a vessel with a rounded bottom,
+pour on just enough water to dissolve the starch and stir it with a
+wooden spoon till it becomes perfectly smooth.
+
+In the meantime put about 1/4 of a pint of clean water on the fire to
+boil and when it boils add to it a little powdered pitch or carpenter's
+glue, in quantity about the size of a pea and pour in the starch,
+stirring it the whole time. When the mixture has boiled up several times
+take it off the fire and go on stirring it till it gets cold, otherwise
+lumps will form in it, which as we specially pointed out in the
+preceding chapter, must never be allowed to get in between the stuff and
+the paper.
+
+This kind of paste makes no spots and does not injure even the most
+delicate colours as it contains no acid. In winter it will keep for
+several days, but in hot weather it very soon begins to ferment and
+should then on no account be used.
+
+Gum arabic ought never to be used for applique work, as it becomes so
+hard that it is impossible to get the needle through, whilst the
+saccharine it contains almost always causes ugly spots to appear in the
+stuff when it dries.
+
+When the work is finished it is a good plan to spread a very thin layer
+of paste over the entire back of it with a fine brush made of hog's
+bristles, and not to take it out of the frame until it is perfectly dry.
+
+TO STIFFEN NEW NEEDLEWORK.--In the chapter on Irish lace, page 441,
+we said that new needlework of that kind had to be ironed; this should
+be done in the following manner: when the lace has been taken off its
+foundation, lay it, face downwards, on a piece of fine white flannel;
+then dip a piece of very stiff new organdie muslin into water, take it
+out again almost immediately and wring it slightly, so that no drops may
+fall from it, and then dab the wrong side of the lace all over with this
+pad of damp muslin and iron it with a hot iron which should be moved
+slowly forwards so that the moisture which the organdie has imparted to
+the lace may evaporate slowly. Not until you are quite sure that the
+lace is dry should it be taken off the board.
+
+There is no better way than this of giving new lace that almost
+imperceptible degree of stiffness by which alone it is often to be
+distinguished from old. Water only does not stiffen the thread
+sufficiently and it is difficult with starch to hit upon exactly the
+right consistency, whereas the organdie muslin supplies just the needful
+quantity.
+
+Embroidered network can be stiffened in the same manner and should be
+damped in the frame on the wrong side and not taken off until it is
+quite dry.
+
+We even recommend embroidery on linen being treated in the same way but
+when the linen is very creased, cover it with a damp cloth and iron upon
+that first, then take the cloth away and iron the embroidery itself so
+as to dry it completely.
+
+TO WASH ORDINARY LACE.--Wind it round a bottle the same width top and
+bottom and cover it entirely with muslin, fastened to the lace by a few
+stitches. Fill the bottle half full of sand, so that it may not get
+knocked about too violently when the water boils.
+
+Immerse the bottle in a saucepan of cold water with a piece of soap the
+size of a nut in it, and if the lace be very dirty, a small pinch of
+salt, and let it boil for about an hour pouring off the water as it gets
+dirty and adding clean.
+
+When all the dirt has been boiled out of the lace, which you will know
+to be the case when the water remains perfectly clear, rinse out the
+soap before you take the lace off the bottle, by plunging it into cold
+water.
+
+TO WASH REAL LACE.--The process is the same as the above, but as real
+lace is so seldom washed and is generally very yellow and fragile,
+particularly if it has been roughly used, it is rather difficult to
+clean.
+
+If stained or greasy, it should be left to soak for some hours or even
+days, in good olive oil. This restores to the thread that softness and
+smoothness which use and bad washing had impaired. After the oil bath it
+should be washed on a bottle in the manner already described.
+
+TO STIFFEN LACE.--Dip the lace when perfectly dry in thin starch
+prepared as follows.
+
+Take as much fine wheaten starch, as you think you will require, divide
+it into two portions and dissolve both in cold water. Boil the one
+portion and when it has so far cooled as to have ceased to steam, stir
+the cold starch into it and dilute the whole with cold water to the
+consistency of thick cream. If the lace is to be slightly coloured, add
+a few drops of black coffee, or dilute the starch with weak tea or
+guimauve water; the coffee will give it a dark cream colour, either of
+the latter a pale greenish hue.
+
+Dip the lace in the mixture and squeeze it out gently without wringing
+it to get rid of all the superfluous liquid, then lay it flat on the
+left hand and beat it for a few minutes with the right to work the
+starch well in; repeat the whole process twice, then roll the lace in
+fine linen and leave it there till you are ready to iron or pin it out,
+as the case may be.
+
+TO IRON LACE.--After the lace has lain for an hour or two in the
+cloth, iron it if it be machine-made and if it be Irish Guipure or real
+point lace of any sort, pin it out.
+
+Before you begin to iron, hold the lace tight in your left hand by the
+footing and with the right hand pull out all the picots, along the edge
+of the lace, to an equal length, then lay it out flat upon a board
+covered with white flannel and iron it with a moderately hot iron,
+passing the iron backwards and forwards over it until it be quite dry.
+
+If creases should come in the ironing where they ought not to be, dab
+them over lightly with a sponge moistened with water and a few drops of
+starch and pass the iron over them again.
+
+After ironing the whole length of lace, pull it out crossways from left
+to right, and from right to left and iron it all over once more. This
+does away with the artificial stiffness and gives it the agreeable
+softness and pliancy of new lace.
+
+TO PIN OUT LACE.--In order to pin out lace in a thoroughly
+satisfactory manner, you should provide yourself with a wooden drum,
+about 30 c/m. high and from 50 to 60 c/m. in diameter, large enough to
+rest upon the knees.
+
+The outside circumference of the wood should be padded and covered with
+grey or white ticking.
+
+The pins must be exactly the size of the picots they are to pin down;
+you will require extremely fine ones for Valenciennes and coarser for
+other kinds of lace: steel pins are of no use whatever, because of their
+liability to rust. Cover the cylinder with blue paper (less trying for
+the eyes than any other) and take only just as much lace out of the damp
+cloth as you are likely to be able to pin out before it gets dry,
+keeping the remainder covered up.
+
+Lay the lace upon the drum and pin the footing down first in a straight
+line, sticking the pins in pretty closely and at regular distances
+apart; then pin down each picot separately, taking care not to open them
+if they have kept their original shape and to shut them up by twisting
+them if they have got untwisted.
+
+If you find the pinning out troublesome and cannot get it all done
+before the lace dries, damp the picots with a sponge as you proceed.
+
+Lace should never be pinned out when it is dry as the threads of the
+picots are then very apt to break and torn picots destroy the value of
+even the choicest lace.
+
+Raised lace has to be stamped out from the wrong side with a lace awl or
+kind of pricker of bone made for the purpose. Some professional
+lace-cleaners use this implement even for Valenciennes lace but we
+cannot recommend it, seeing that it is a lace that is by nature
+perfectly flat.
+
+Let the length of lace you have pinned out remain on the drum till it be
+quite dry; if you have several yards to pin out, wind it round and round
+the cylinder. Cover up the lace as you proceed and put each length away
+as soon as it is ready in a blue paper bag, so as to keep the whole
+perfectly clean.
+
+In conclusion we may remark that the cleaning of lace should only be
+undertaken when you are fairly sure of not being interrupted, as more
+especially the pinning requires to be finished off as quickly as
+possible.
+
+TO WASH COLOURED COTTONS AND WORK DONE WITH THE SAME.--In order to
+test the fastness of the dyes, untie the skeins and pour boiling water
+upon them, leave them to soak for about a quarter of an hour, soap and
+rub them lightly with the hand from end to end and rinse them out
+thoroughly in as many changes of cold water as may be found necessary,
+until the water remain perfectly colourless.
+
+Squeeze out all the water you can and let them dry quickly without
+exposing them to the sun.
+
+Coloured cottons are often washed in vinegar, because it is supposed to
+affect the colour less than water does. We have come to the conclusion
+after several trials that this is a delusion, for the good dyes keep
+their colour without the aid of vinegar and the bad ones wash out in
+spite of it.
+
+The fast colours lose none of their beauty in the process nor does it
+affect the quality of the cotton; any excess of colouring matter which
+the fibres of the cotton may have absorbed in the process of dyeing is
+got rid of by this means.
+
+If a piece of work has been done with unwashed cottons and the colours
+run in the first washing, you have only to rinse it out in several
+changes of tepid water to restore it to its original freshness and if
+you want to give it a yellowish tinge, it should be dipped it in weak
+tea or coffee.
+
+MATERIALS.--It was stated in the preface that our readers would find
+the choice of colours and material rendered comparatively easy to them
+by the notes affixed to the illustrations, but these notes, in spite of
+all the care bestowed upon them must still have remained very incomplete
+had it not been for the following tables which we were fortunately
+enabled to append to our work and which will help every one to choose
+their own materials without having them actually before them. The
+strokes that are affixed to each number indicate the exact size of the
+thread, so that to find out the number you want to buy you have but to
+lay your pattern thread, stretching it slightly, on the strokes, in
+succession, till you come to the one that matches it in size.
+
+With regard to the colours, the names and shades of which have been
+classed in the second table with the greatest care, and of which our
+workers have no less than 460 to choose from ([3]), all those referred
+to in connection with our illustrations are quite fast dyes ([4]), save
+in a few instances in which we were forced to make an exception in
+favour of a doubtful colour to secure a harmonious effect.
+
+A complete table of colours must of necessity include certain more or
+less staring shades, which though they may not be to every one's taste
+cannot on that account be left out.
+
+We conclude our work with the well-meant and by no means useless
+recommendation to our readers, never to begin a piece of work of any
+considerable size without first making sure that the colours they intend
+to use are fast and providing themselves with a larger supply of
+materials than even on a close calculation they think they are likely to
+require, lest they should find themselves under the disagreeable
+necessity of having either to leave their work unfinished or finish it
+with materials that do not match. There is generally a slight difference
+in tone between cottons that have been bought at different times, and
+there is also a reasonable likelihood, considering their great variety,
+of some mistake being made in the number by either buyer or seller in
+ordering a fresh supply.
+
+[Illustration: All of the above articles, excepting those marked with an
+asterisk, are contained in the D.M.C colour card.]
+
+[Illustration: Made in all numbers in ecru, white, black and the 450
+shades names of the colours, see next page.]
+
+
+
+|-----------------------------------------------------------------------+
+|   Alphabetical list of the names and the numbers of the 450 shades    |
+|          D.M.C Alsace Thread, Sewing and Embroidery Cottons,          |
+|    contained in the D.M.C colour-card, in any of which shades the     |
+|       knitting Cotton, Soutaches and Braids etc. are to be had.       |
+|--------------------+------------+-------+--------+-------+------------+
+| Couleurs           | Tres-fonce | Fonce | Moyen  | Clair | Tres-clair |
+| Colours            | Very dark  | Dark  | Medium | Light | Very light |
+|--------------------+------------+-------+--------+-------+------------+
+| Bleu d'Azur        |            |       |        | 3325  |            |
+| Bleu-Canard        | 3395       | 3306  | 3307   | 3308  | 3309       |
+| Bleu cendre        |            |       |  448   |       |            |
+| Bleu de Ciel       |  515       |  516  |  517   |  518  |  519       |
+| Bleu-Fayence       |  481       |  482  |  483   |  484  |  485       |
+| Bleu de France     |  337       |  338  |  339   |  340  |  341       |
+| Bleu-Gentiane      |  476       |  477  |  478   |  479  |  480       |
+| Bleu-Gris          | 3300       | 3301  | 3302   | 3303  | 3304       |
+| Bleu-Indigo        |  336       |  311  |  312   |  322  |  334       |
+| Bleu-Lapis         |  342       |  333  |  343   |  344  |  345       |
+| Bleu-Marin         |  505       |  506  |  507   |  508  |  509       |
+| Bleu-Outremer      |            |  682  |  683   |       |            |
+| Bleu pale          |            |       |        |  668  |            |
+| Bleu-Prunelle      |  486       |  487  |  488   |  489  |  490       |
+| Bleu tendre        |            |       |        |       |  709       |
+| Bleu vert          |  525       |  526  |  527   |  528  |  529       |
+| Bleu violace       |            |  674  |  675   |       |            |
+| -----              |            |       |        |       |            |
+| Bronze dore        |  585       |  586  |  587   |  588  |  589       |
+| -----              |            |       |        |       |            |
+| Brun-Acajou        |  300       |  400  |  301   |  401  |  402       |
+| Brun-Cachou        |  433       |  434  |  435   |  436  |  437       |
+| Brun-Cannelle      |  660       |  661  |  662   |  663  |  664       |
+| Brun-Caroubier     |  354       |  355  |  303   |  356  |  357       |
+| Brun-Chamois       |  416       |  417  |  324   |  418  |  419       |
+| Brun-Cuir          |  430       |  431  |  302   |  432  |  325       |
+| Brun-Feuille-morte |  615       |  616  |  617   |  618  |  619       |
+| Brun-Havane        |  454       |  455  |  456   |  457  |  458       |
+| Brun-Loutre        |  438       |  439  |  440   |  441  |  442       |
+| Brun-Marron        |  403       |  404  |  405   |  406  |  407       |
+| Brun-Myrthe        |            |       |  463   |       |            |
+| Brun-Puce          |  459       |       |        |       |            |
+| Brun-Rouille       | 3310       | 3311  | 3312   | 3313  | 3314       |
+| -----              |            |       |        |       |            |
+| Gris-Acier         |  650       |  651  |  652   |  653  |  654       |
+| Gris-Amadou        |  329       |  383  |  384   |  385  |  386       |
+| Gris d'Argent      |            |       |  719   |       |            |
+| Gris-Bleu          |  590       |  591  |  592   |  593  |  594       |
+| Gris-Bois          |  610       |  611  |  612   |  613  |  614       |
+| Gris-Brun          |  408       |  409  |  410   |  411  |  412       |
+| Gris-Castor        |  645       |  646  |  647   |  648  |  649       |
+| Gris-Cendre        |  413       |  317  |  414   |  318  |  415       |
+| Gris-Coutil        |  387       |  388  |  323   |  389  |  390       |
+| Gris-Deuil         |  655       |  656  |  657   |  658  |  659       |
+| Gris-Ecru          |            |  704  |  705   |  706  |            |
+| Gris-Etoupe        |            |  707  |  708   |       |            |
+| Gris de Fer        |  600       |  601  |  602   |  603  |  604       |
+| Gris-Feutre        |  635       |  636  |  637   |  638  |  639       |
+| Gris-Ficelle       |            |  460  |  461   |  462  |            |
+| Gris-Foin          |  520       |  521  |  522   |  523  |  524       |
+| Gris-Fumee         |  640       |  641  |  642   |  643  |  644       |
+| Gris-Lin           |            |       |  716   |  717  |            |
+| Gris-Mastic        |            |       |  718   |       |            |
+| Gris neutre        |  620       |  621  |  622   |  623  |  624       |
+| Gris-Noisette      |  420       |  421  |  422   |  423  |  424       |
+| Gris-Perle         |  625       |  626  |  627   |  628  |  629       |
+| Gris de Plomb      |  378       |  379  |  380   |  381  |  382       |
+| Gris-Poussiere     |  630       |  631  |  632   |  633  |  634       |
+| Gris-Souris        |  425       |  426  |  427   |  428  |  429       |
+| Gris-Tilleul       |  391       |  392  |  393   |  330  |  331       |
+| Gris verdatre      |  595       |  596  |  597   |  598  |  599       |
+|--------------------+------------+-------+--------+-------+------------+
+| Couleurs           | Tres-fonce | Fonce | Moyen  | Clair | Tres-clair |
+| Colours            | Very dark  | Dark  | Medium | Light | Very light |
+|--------------------+------------+-------+--------+-------+------------+
+| Jaune-Citron       |            |  307  |  445   |  446  |            |
+| Jaune-Creme        |            |       |  711   |  712  |            |
+| Jaune-Mais         |  575       |  576  |  577   |  678  |  579       |
+| Jaune d'Ocre       |            |       |  676   |  677  |            |
+| Jaune-Orange       |            |       |  443   |  444  |            |
+| Jaune-Rouille      |  363       |  364  |  308   |  365  |  366       |
+| Jaune d'Or         |            |       |  667   |       |            |
+| Jaune-vieil-Or     |  678       |  679  |  680   |       |            |
+| -----              |            |       |        |       |            |
+| Lilas gris         |  313       |  398  |  314   |  328  |  399       |
+| -----              |            |       |        |       |            |
+| Noir grand-teint   |  310       |       |        |       |            |
+| Noir-Jais          |  681       |       |        |       |            |
+| Noir vert          |  473       |       |        |       |            |
+| -----              |            |       |        |       |            |
+| Rose-Eglantine     |  570       |  571  |  572   |  573  |  574       |
+| Rose tendre        |            |       |        |       |  3326      |
+| Rose vif           |  565       |  566  |  567   |  568  |  569       |
+| -----              |            |       |        |       |            |
+| Rouge-Aurore       |  360       |  306  |  361   |  332  |  362       |
+| Rouge-Bordeaux     |  496       |  497  |        |       |            |
+| Rouge-Cardinal     |  346       |  347  |  304   |  305  |  348       |
+| Rouge-Cerise       | 3315       | 3316  | 3317   | 3318  | 3319       |
+| Rouge-Corinthe     |            |       |  447   |       |            |
+| Rouge-Cornouille   |            |  449  |  450   |       |            |
+| Rouge-Ecarlate     |            |  498  |  464   |       |            |
+| Rouge-Framboise    |  684       |  685  |  686   |  687  |  688       |
+| Rouge-Geranium     |  349       |  350  |  351   |  352  |  353       |
+| Rouge-Grenat       |  358       |  359  |  326   |  309  |  335       |
+| Rouge-Groseille    |  605       |  606  |  607   |  608  |  609       |
+| Rouge-Maroquin     |            |       | 3327   | 3328  | 3329       |
+| Rouge-Turc         |            |       |  321   |       |            |
+| Rouge-Vermillon    |            |       |  666   |       |            |
+| -----              |            |       |        |       |            |
+| Vert-Bouteille     |  491       |  492  |  493   |  494  |  495       |
+| Vert-Bronze        |  669       |  670  |  671   |  672  |  673       |
+| Vert-Canard        |  545       |  546  |  547   |  548  |  549       |
+| Vert-Corbeau       |  665       |       |        |       |            |
+| Vert dore          |  580       |  581  |  582   |  583  |  584       |
+| Vert d'Eau         |            |       |  713   |  714  |  715       |
+| Vert-de-gris       |            |  474  |  475   |       |            |
+| Vert-Emeraude      |  555       |  556  |  557   |  558  |  559       |
+| Vert-Fauve         |  689       |  690  |  691   |  692  |  693       |
+| Vert-Lierre        |  500       |  501  |  502   |  503  |  504       |
+| Vert-Madeira       |            |       |        |  710  |            |
+| Vert-Malachite     |  560       |  561  |  562   |  563  |  564       |
+| Vert metallique    |  465       |  466  |  467   |       |            |
+| Vert-Mousse        |  468       |  469  |  470   |  471  |  472       |
+| Vert-Myrthe        |  535       |  536  |  537   |  538  |  539       |
+| Vert-Olive         |  510       |  511  |  512   |  513  |  514       |
+| Vert-Perroquet     |  694       |  695  |  696   |  697  |  698       |
+| Vert-Pistache      |  319       |  367  |  320   |  368  |  369       |
+| Vert-Pre           |  699       |  700  |  701   |  702  |  703       |
+| Vert russe         |            |  499  |        |       |            |
+| -----              |            |       |        |       |            |
+| Violet-Amethyste   | 3320       | 3321  | 3322   | 3323  | 3324       |
+| Violet-Eveque      |  451       |  452  |  453   |       |            |
+| Violet-Lie-de-vin  |  370       |  371  |  372   |  373  |  374       |
+| Violet-Mauve       |  375       |  315  |  376   |  316  |  377       |
+| Violet-de-Parme    |  540       |  541  |  542   |  543  |  544       |
+| Violet-Pensee      |  530       |  531  |  532   |  533  |  534       |
+| Violet-Prune       |  550       |  551  |  552   |  553  |  554       |
+| Violet-Scabieuse   |  394       |  327  |  395   |  396  |  397       |
+|--------------------+------------+-------+--------+-------+------------+
+| Couleurs           | Tres-fonce | Fonce | Moyen  | Clair | Tres-clair |
+| Colours            | Very dark  | Dark  | Medium | Light | Very light |
+|--------------------+------------+-------+--------+-------+------------+
+
+To avoid mistakes the public is urgently requested to designate the
+colours by the number, never by name.
+
+The colours whose numbers begin with 3 or 4 are the fastest.
+
+
+       *       *       *       *       *
+
+
+Further information respecting mode of execution, materials and so forth
+may be had by applying to the firm of
+
+TH. DE DILLMONT, DORNACH (ALSACE).
+
+FOOTNOTES:
+
+[3] The D.M.C colour-card consists of 450 shades about half of which are
+fast dyes. See the list of names on pp. 572 and 573.
+
+[4] By fast (bon-teint) colours are meant those which will bear ordinary
+and repeated washing. There are only very few which are really fast, or
+grand-teint, that is to say, which will resist the action of chemical
+agents, amongst of these, the black, Noir 310, is quite indestructible.
+
+
+
+
+TABLE OF CONTENTS.
+
+
+PREFACE.                                                            Page
+
+PLAIN SEWING
+  Stitches
+  Seams
+  Gathering
+  Sewing on cord and flaps                                            10
+  Button-holes                                                        11
+  Sewing on buttons                                                   12
+  Binding slits                                                       13
+  Sewing on piping                                                    13
+  Fixing whale-bones--Herring-boning                                  14
+
+MENDING                                                               15
+  Linen darning                                                       16
+  Satin or twill darning                                              17
+  Damask darning                                                      18
+  Fine-drawing                                                        20
+  Patching                                                            20
+
+SINGLE AND CUT OPEN-WORK                                              23
+  Hem-stitching                                                       24
+  Open-work patterns                                                  27
+  Cutting out threads at the corners                                  39
+  Cut open-work                                                       40
+  Patterns for cut open-work                                          42
+
+NET AND DAMASK STITCHES                                               51
+  Net embroidery                                                      51
+  Net patterns                                                        52
+  Net darning                                                         62
+  Damask stitches                                                     63
+
+WHITE EMBROIDERY                                                      76
+  Stitches                                                            77
+  Different kinds of scallops                                         79
+  Eyelet holes                                                        80
+  Six ways of making dots                                             81
+  Venetian embroidery                                                 82
+  Patterns and alphabets                                              83
+
+FLAT STITCH AND GOLD EMBROIDERY                                      105
+  Encroaching satin stitch                                           105
+  Oriental stitch                                                    106
+  Plaited stitch and mosaic stitch                                   108
+  Persian stitch                                                     109
+  Straight and encroaching flat stitch patterns                      110
+  Chinese embroidery                                                 111
+  Raised embroidery                                                  113
+  Turkish embroidery                                                 113
+  Implements and materials for gold embroidery                       115
+  Stitches used in gold embroidery                                   119
+  Patterns for gold embroidery                                       120
+
+TAPESTRY AND LINEN EMBROIDERY                                        127
+  Marking out the embroidery ground                                  128
+  Tapestry stitches                                                  129
+  Tapestry patterns                                                  138
+  Stitches for linen embroidery                                      143
+  Patterns for linen embroidery                                      152
+
+KNITTING                                                             171
+  Position of the hands                                              172
+  Casting on                                                         173
+  Stitches                                                           178
+  Stocking knitting                                                  182
+  Scalloped edge                                                     183
+  Heels                                                              184
+  Toes                                                               189
+  Mending knitting                                                   190
+  Pique patterns                                                     195
+  Patent knitting                                                    201
+  Turkish stitch                                                     201
+  Knitting patterns                                                  203
+
+CROCHET WORK                                                         221
+  Position of the hands                                              223
+  Stitches                                                           223
+  Method for copying tapestry patterns in crochet                    238
+  Crochet with soutache or lacet                                     239
+  Crochet square, hexagon and star                                   240
+  Tunisian crochet                                                   241
+  Hairpin crochet                                                    243
+  Patterns for hairpin crochet                                       245
+  Crochet lace patterns                                              249
+  Crochet counterpanes                                               284
+  Crochet stars                                                      300
+  Crochet collar                                                     304
+  Crochet chair-back                                                 316
+
+TATTING                                                              325
+  Position of the hands                                              326
+  Knots                                                              328
+  Patterns of scallops and medallions                                331
+
+MACRAME                                                              343
+  Materials and implements                                           344
+  Formation of the knots                                             345
+  Macrame shuttles                                                   360
+  Macrame patterns                                                   361
+
+NETTING                                                              395
+  Implements and materials                                           395
+  Stitches                                                           397
+  Patterns produced in netting                                       400
+  Mounting the netting on the frame                                  410
+  Stars and wheels                                                   414
+  Grounds and lace                                                   423
+  Embroidery on netting                                              434
+  Netted insertion                                                   438
+
+IRISH LACE                                                           439
+  Materials                                                          439
+  Tacking down the braids                                            440
+  Bars of different kinds                                            442
+  Insertion stitches                                                 445
+  Lace stitches                                                      450
+  Needle-made picots                                                 467
+  Irish lace patterns                                                468
+
+LACES OF DIFFERENT KINDS                                             473
+  Pillow lace and the implements for its manufacture                 474
+  "Stitches" or passings                                             481
+  Patterns or grounds                                                481
+  Armenian lace                                                      503
+  Laces in knotted stitch                                            505
+  Reticella-lace                                                     508
+  Venetian-lace                                                      510
+  Brussels-lace                                                      515
+
+MISCELLANEOUS FANCY WORK                                             517
+  Knotted cord                                                       518
+  Balls for trimmings                                                519
+  Tambour work                                                       521
+  Smyrna stitch                                                      523
+  Malta stitch                                                       525
+  Triangular Turkish stitch                                          526
+  Turkish embroidery                                                 530
+  Applique-work                                                      531
+  Morocco embroidery                                                 535
+
+Spanish embroidery                                                   536
+  Different kinds of linen stitches                                  540
+  Pattern for linen stitches                                         541
+  Pattern for Roumanian stitch                                       544
+  Pattern for Pique embroidery                                       546
+  Embroideries with Soutache                                         546
+  Chinese subject                                                    551
+
+PRACTICAL DIRECTIONS                                                 553
+  Tracing and drawing the designs                                    553
+  The preparation of the stuffs and the subdivision of the patterns  557
+  To transpose and repeat patterns by means of looking glasses       559
+  To alter the proportions of a pattern by dividing the ground into
+  squares                                                            560
+  To prepare the paste for applique work                             564
+  To stiffen new needlework                                          565
+  To wash ordinary lace                                              565
+  To wash real lace                                                  566
+  To stiffen lace                                                    566
+  To iron lace                                                       566
+  To pin out lace                                                    567
+  To wash coloured cottons and work done with the same               568
+  Materials                                                          569
+
+
+
+
+By the same Author
+
+ALBUM DE BRODERIES
+
+AU POINT DE CROIX.
+
+(Album of cross-stitch embroidery)
+
+BY TH. DE DILLMONT
+
+32 Plates with 278 Designs, and a complete treatise on the embroidery
+itself.
+
+Quarto; artistic boards, price 1_s._ 6_d._
+
+[Illustration: FIG. 153.]
+
+_To be had by applying to the Author and Editor TH. DE DILLMONT,
+DORNACH, Alsace, and at all the leading booksellers and Embroidery
+shops._
+
+
+
+
+[Illustration]
+
+PRINTED BY BRUSTLEIN & Co.,
+
+MULHOUSE (Alsace)
+
+
+
+
+
+
+End of Project Gutenberg's Encyclopedia of Needlework, by Therese de Dillmont
+
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