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diff --git a/old/20776-8.txt b/old/20776-8.txt new file mode 100644 index 0000000..ff630e6 --- /dev/null +++ b/old/20776-8.txt @@ -0,0 +1,16745 @@ +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 + +*** END OF THIS PROJECT GUTENBERG EBOOK ENCYCLOPEDIA OF NEEDLEWORK *** + +***** This file should be named 20776-8.txt or 20776-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/0/7/7/20776/ + +Produced by Susan Skinner, Julie Barkley and the Online +Distributed Proofreading Team at http://www.pgdp.net. 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