Chapter II: Part 2

FOR THE TATTING.—6 double stitches; make a picot with a fine pin; 3 double stitches, 1 picot, 3 double stitches, 1 picot, 6 double stitches. Draw this loop up, and leave a space as great as that indicated in the engraving before making the next. When a sufficient quantity of this is done, take a piece of colored paper, rather longer than you require the insertion to be, and on it rule two parallel lines, an inch apart, and another exactly between them. Take on the tatting, allowing it to touch, alternately, each outer line; then back again in the same manner, so that the threads cross at the centre line, and form a hexagonal space between every two tatted loops. Braid the outer lines and the ends; and if the piece be intended for a cuff, put a double line of braid at one end for the buttons, and also two braid loops at the other, for button-holes. A long needleful of Crochet, No. 70, must then be taken along the centre line, connecting the cross lines with a button-hole stitch wherever they occur. Then work a rosette of English lace in every space, and another when the four threads cross each other. The tatting edging is made without picots, and lightly sewed on the outer edges of the braid, both sides of which should then be finished with a row of Venetian edging.

ANTI-MACASSAR.
[FIG. 9.]

LAURESTINA LEAF PATTERN.

MATERIALS.—Crochet cotton, No. 8; knitting needles, No. 13.

Cast on any number of stitches you like, which can be divided by 16, and 6 over for the border. Knit three plain rows.

1st.—K. 3, + m. 1, k. 1, m. 1, k. 2, slip 1, k. t., pass the slip stitch over, k. 2, + twice for every pattern, k. 3.

2nd. and every alternate. Knit the three first and last stitches, and purl all the remainder.

3rd.—K. 3, + m. 1, k. 3, m. 1, k. 1, slip 1, k. 2 t. pass the slip stitch over k. 1. ✕ twice for each pattern, k. 3.

5th.—K. 3, + m. 1, k. 5, m. 1, slip 1, k. 2 t., pass slip stitch over; ✕ twice as before; repeat and k. 3.

7th.—K. 3, ✕ m. 1, k. 2, slip 1, k. 2 t., pass slip stitch over; k. 2, m. 1, k. 1. ✕ twice for each pattern, k. 3.

9th.—K. 3, ✕ k. 1, m. 1, k. 1, slip 1, k. 2 t., pass slip stitch over; k. 1, m. 1, k. 3, m. 1, k. 1, slip 1, k. 2 t., pass slip stitch over; k. 1, m. 1, k. 2 +; repeat to the last 3 k. 3.

11th.—K. 3, ✕ k. 2, m. 1, slip 1, k,. 2 t., pass slip stitch over; m. 1, r. 5, m. 1, slip 1, r. 2 t., pass slip stitch over; m. 1, k. 3, +; repeat to the last, 3, k. 3.

13th.—K. 3, ✕[1] k. 2 t., k. 1, m. 1, k. 1, m. 1, k. 2, k. 3 t., k. 2, m. 1, k. 1, m. 1, k. 2, k. 2 t. ✕. Repeat k. 3.

Footnote 1:

Instead of knitting two together at the beginning and end of the
pattern, in this and the following rows, the worker will find that she
must knit three together in the body of the Anti-Macassar and at the
beginning and end of the row, only as directed in the text.

15th.—K. 3, ✕ k. 2 t., m. 1, k. 3, m. 1, k. 1, k. 3 t., k. 1, m. 1, k. 3, m. 1, k. 1, k. 2 t., +; repeat, k. 3.

17th.—K. 2, k. 2 t., ✕ m. 1, k. 5; m. 1, k. 3 t., ✕. Repeat to the end of the row, when you will knit 3 together, and then 3 of the border.

Repeat from 7th to 18th rows inclusive, until sufficient is done; then knit 3 plain rows, and fasten off.

BORDER FOR ANTI-MACASSAR.—Same cotton and needles. Cast on 17 stitches.

1st.—Slip 1, k. 2, m. 1, slip 1, k. 2 t., pass slip stitch over; m. 1, k. 3, m. 1, k. 2 t., k. 1., m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1.

2nd.—K. 1, purl all but five, k. 5.

3rd.—Slip 1, k. 2, m. 1, k. 2 t., m. 1, k. 2 t., k. 1, k. 2 t., m. 1, k. 3, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1.

4th.—Like 2nd.

5th.—Slip 1, k. 2, m. 1, k. 2 t., k. 1, m. 1. slip 1, k. 2 t., pass slip stitch over, m. 1, k. 5, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1.

6th.—Like 2nd.

7th.—Slip 1, k. 2, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1, m. 1, k. 2 t., k. 5, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k 1.

8th.—Cast off 5, purl all the remainder, except the last five, which knit plain.

NET FOR THE HAIR.
[FIG. 10.]

MATERIALS.—Three good skeins of scarlet or blue netting silk; elastic ribbon and tassels to correspond; crochet hook, No. 12.

Make 6 chain, and form them into a round.

1st.—1 tc. into every chain, and 1 ch., after every tc., thus making 12 stitches in the round.

2nd.—1 tc. on one chain, 3 ch., miss tc. stitch. Repeat.

3rd.—✕ 1 tc. on the centre of the loop, 5 ch., ✕ repeat.

4th.—✕ 1 tc. on centre of loop, 7 ch. ✕ repeat.

5th to 10th rounds inclusive.—Like the last, increasing two chain at every round, so that 9 ch. are made in the 5th, and 19 in the 10th round.

11th.—3 tc., 3 ch., miss 3. Repeat.

12th.—✕ 3 tc. on 3 ch., 3 ch., miss 3, + repeat.

13th.—✕ 4 tc., 4 ch., miss 4, ✕ repeat.

14th.—+ 4 tc. on 4 ch., 5 ch., miss 4, + repeat.

The elastic ribbon is to be run in the 11th round, and tassels fastened to hang over the ear.

BERLIN WORK AND CANVAS EMBROIDERY.

It being one of the chief objects of the Proprietors of this little work, to present to the reader, in a very portable form, the clearest and most accurate elementary instructions for every kind of fashionable Needlework, I have selected BERLIN WORK or CANVAS EMBROIDERY as the subject for explanation in this part.

Berlin work is the general term for what might perhaps be more properly termed embroidery on canvas; a material with which, doubtless, most of my readers are well acquainted, although they may not be familiar with the names of the different kinds and sizes.

THE FRENCH CANVAS, (sometimes called _Patent_) is the one which I prefer for all ordinary purposes. The open squares are very exact, and the threads and selvage usually firm and strong. It is the only kind that is suitable for large pieces, or for wreaths, or any thing else, in fact, in which squareness and strength are essential.

PENELOPE CANVAS has the threads placed two and two in both directions; and took its name, I presume, from the appearance it presents of having been worked, and the work picked out again, like that of the faithful wife of Ulysses. As all trouble of counting the threads is saved, it is very easy to work on, but can only be worked in cross-stitch.

GERMAN CANVAS differs from the French in having every tenth thread a different color, and not being so true a square in the mesh.

It is altogether inferior to the French (or patent); and, (amongst other disadvantages,) has that of showing the colored thread through any light wool. Still, as it obviates, in some degree, the trouble of counting, many people like to work on it.

SILK CANVAS is a very expensive article; but it saves much labor, as designs worked on it do not require to be grounded. I should never advise any but white silk canvas being used, as the colored ones do not wear well. There are so many different qualities of silk canvas, that none should be bought without careful examination, by laying something of an opposite tint underneath it, and thus detecting any irregularities, roughnesses, &c., good silk canvas should be perfectly even.

Canvas is made of almost every variety of width; the narrow silk canvas being the proper size for braces.

Canvas is chosen according to its size, being numbered much like cotton, according to the number of threads in the inch. We seldom require a coarser size than No. 8, which contains 11 threads to the inch—10 has 13,—and so on to 24, which has 27 threads. The next number, 30, has 31 threads, 40 has 35, and 50, 37. We seldom use any finer than this.

There are not so many sizes manufactured of either silk or Penelope canvas; and the former is never made so coarse as the cotton article.

The surface of canvas is covered by being worked with various substances, of which silks, wools, chenille, and beads, may be considered the principal. Beads are now very much used, intermingled with silks and wools. For grounding large articles a new and very beautiful kind of wool has lately been introduced, termed _filoselle_. It works in admirably, and imparts a very rich effect to a design. It is about the size of Berlin wool which is fresh and good. For finer articles floss silk is common, and chenille may be worked on silk canvas with excellent effect.

Berlin wool may be used for almost any purpose; for, if too coarse, it can be split without injury; and if the reverse, two or three threads may be worked together. It should never be wound, for however lightly done it is certain to be injured.

Fleecy wool has been greatly improved both in texture and dye of late years, and may now be used for groundings and those purposes for which, formerly, it would have been quite unsuitable. It is much cheaper than Berlin wool.

English, or Embroidery wool, is a much stronger substance than Berlin; the dark shades are excellent for the ground of large pieces, but the lighter tints are not equal to those in the Berlin wool.

The chenille used for embroidery is called _chenille a broder_, to distinguish it from the _chenille ordinaire_, which is much coarser. The effect of flowers, birds and butterflies, worked in _chenille_, is rich and beautiful in the extreme, but the pile so easily attracts dust, and is so liable to injury, that it should be used only for articles which will be defended by glass. The needle used for chenille should have round eyes, and be sufficiently large to prepare a passage in the satin or canvas through which the chenille may pass without injury.

THE STITCHES USED IN BERLIN WORK.

There are but five stitches for canvas work, although many others are enumerated; for they are but varieties of the following:

CROSS-STITCH,
TENT-STITCH,
IRISH-STITCH,
GERMAN-STITCH,
GOBELIN OR TAPESTRY STITCH.

CROSS-STITCH is worked by bringing up the needle on the left hand, crossing two straight and two perpendicular lines, and putting in the needle on the right; bring the needle up on the right again, in the space which forms a right angle with the two already occupied; cross the first thread, and bring the needle under on the left hand again.

When grounding is done in this stitch, take care to avoid all appearance of lines and joins by using unequal length of wool, finishing each stitch before the next is begun. Grounding should be begun at the left hand lower corner and worked upwards.

FOUR TENT-STITCHES, just occupy the space of one cross-stitch a tent-stitch being taken diagonally from one space to the next above it _to the left_.

TENT-STITCH and CROSS-STITCH are distinguished among the French by the names of _Petit point_ and _Gros point_.

IRISH-STITCH is extremely simple, and very rapidly done. It consists of a series of upright stitches which cross the horizontal lines, and are _worked between_ the perpendicular ones. For the first line, (beginning at the left hand corner,) bring up the needle in the lowest vacant space, and put it down in the fourth above it, allowing it to cover four bars of thread; bring up the needle on the line with the first stitch, with one upright thread between, and down on the third space, the wool covering two threads. Repeat these alternate short and long stitches, throughout the line. The next and following lines, _every stitch_ must cover four threads; and as you bring out the needle in the space in which you brought it down in the last row, the stitches are still alternately two threads higher than the intermediate ones.

GERMAN STITCH is very similar to the above; but the stitches are taken diagonally. The first stitch is taken from one space to the next diagonal one; in the second, one space is missed; so that the stitches are alternately long and short. All the following rows are worked like the first, care being taken that the long stitches of one row shall join the short, and _vice versa_. This stitch is only used for grounding.

GOBELIN STITCH is that which is more peculiarly fitted for delicate and beautiful picture working; but the needle requires a really artistic hand to direct it in forming patterns in this stitch. The wool crosses two threads in height, but only one in width; two tapestry stitches therefore, are equal to a cross-stitch, remembering that the square so formed is not a true one.

Some writers enumerate other stitches on canvas; but the best authors reckon the above named only, all others being merely varieties of them.

You will observe that any pattern may be made larger or smaller than the original when worked, simply by selecting the canvas that will effect the requisite alteration. When you choose your Berlin pattern, consider what size you will desire your work to be, and calculate by the scale I have already given you, what canvas will be needed; and also whether it will require to be worked in tent-stitch or in cross-stitch. If for the former you may reckon a thread of canvas for every square. For the most part, Berlin patterns are intended to be worked in tent-stitch; but some have each square in the more delicate parts divided into four. When this is the case, the mass _must_ be worked in cross, and the fine parts in tent-stitch; otherwise it is quite optional.

I must repeat my previous caution not to attempt Berlin patterns on German canvas. Figure pieces especially, would suffer materially in the effect from the want of squareness in the canvas. It is not advisable to attempt reducing very materially a pattern crowded with subjects; nor, on the other hand, to enlarge one that has few. The reason of this is obvious.

TO FRAME CANVAS.

There is considerable art in doing this properly; and if negligently arranged, it is certain that the work will be distorted when complete.

Turn down the canvas and herring-bone it at each raw edge: then sew it to the webbing of the frame, thread by thread. When the first end is sewed, take care that the other end shall be as nearly as possible opposite it. If too large for the frame, wrap some clean silver paper several times round the roller, before the canvas goes round it.

The part where the pattern is to be begun is the only part to be exposed in the frame. The sides must then be tightly braced with fine twine; and the canvas is then ready for the work. Berlin work is often done on canvas, with cloth, satin or velvet underneath it: this saves the labor of grounding, as the pattern being worked, the superfluous canvas is cut away, and the embroidery appears on the solid material. Some people draw out the threads of the canvas: this is not only very troublesome, but it also spoils the effect of the work. Small intermediate spaces of canvas, not covered with embroidery, are usually grounded with wool exactly the color of the cloth.

In framing cloth and canvas together, it must be borne in mind that the former stretches considerably more than the latter. If therefore, they are intended to be the same size, the cloth must be cut rather narrower, and (the edges being turned in,) must be firmly tacked to the selvages of the canvas. This will, of course, render the edges thicker than the centre; and to equalize the height, paper should be wrapt round the roller.

All patterns should be commenced at the left hand corner, unless they are intended for a _centre_; when the work must be begun on the centre stitch.

Delicate grounds should never be attempted on any but perfectly white canvas; and black grounds should always be avoided, if practicable.

The last direction I can give is to ensure a proper quantity of wool to begin with; as there is often great difficulty in matching shades, especially for grounding.

NEEDLES.

The needles principally used are _tapestry needles_, which are thick and blunt and have a long open eye,—_Sharps_, which are similar needles with sharp points, and are used for working on thicker substances than canvas,—as cloth, &c.; and _short long eyes_, which are used for the same purpose, and are like common needles, but very short, and with long eyes.

CROCHET COLLAR.
[SEE FIG. 1, FRONTISPIECE.]

MATERIALS.—Crochet cotton, No. 30. Crochet hook, No. 20, or 21. Make 320 chain.

1st.—✕ 2 tc. in one chain, 1 ch., miss 1 ✕. Repeat.

2nd.—✕ 1 tc. under every chain, 3 ch., miss 2 tc. ✕. Repeat.

3rd.—✕ Sc. in every alternative loop of 3 ch., 8 ch. ✕; repeat.

4th and 5th.—✕ sc. through every loop with 8 ch. between ✕. Repeat.

6th.—dc. in every loop.

7th.—✕ 10 tc., 1 ch., 10 tc., without missing any; 8 ch., miss 6, 1 dc., 8 ch., miss 6 ✕, 12 times, but ending with the 2nd 10 tc.

8th.—10 tc. on first 10 of last row, 2 ch., miss 1, 9 tc., ✕ 8 ch., 1 tc. on dc., 8 ch., 9 tc., beginning on the 2nd of 10, 2 ch., miss 1, 9 tc. ✕ 10 times, 8 ch., 1 tc. on dc., 8 ch., 9 tc. (beginning on the 2nd), 2 ch., miss 1, 10 tc.

9th.—10 tc., 2 ch., miss 2, 8 tc. ✕ 6 ch., 1 tc. on tc., 4 ch., 1 tc. on the same, 6 ch., 8 tc., beginning on the 2nd of last row, 2 ch., miss 2, 8 tc. ✕ 10 times; 6 ch., 1 tc. on tc., 4 ch., 1 tc. on same, 6 ch., 8 tc. (beginning on 2nd of last row), 2 ch., miss 2, 10 tc.

10th.—10 tc., miss 2, 3 ch., 5 tc., ✕ 6 ch., 1 tc. in loop, * 4 ch., 1 tc. in the same loop * twice, 6 ch., 5 tc. (beginning on 3rd), 3 ch., miss 2, 5 tc. ✕ 10 times, 6 ch., 1 tc. into loop, † 4 ch., 1 tc. into same, † twice, 6 ch., 5 tc. (beginning on 3rd), 3 ch., miss 2, 10 tc.

11th.—16 tc. in 16 successive stitches, ✕ 6 ch., 1 tc. into first loop * 4 ch., 1 tc. into the same loop, * twice, 1 tc. into the next loop, † 4 ch., 1 tc. into same, † twice; 6 ch., 9 tc. in 9 successive stitches, beginning on the 3rd of the previous row, ✕ 10 times; 6 ch., 1 tc. into first loop, ¶ 4 ch., 1 tc. into the same, ¶ twice; 1 tc. into the next, (_a_) 4 ch., 1 tc. into the same (_a_), twice; 6 ch., 16 tc.

12th.—14 tc. ✕ 6 ch., tc. into first loop, 4 ch., 1 tc., into the same; 10 ch., 1 tc. into the last loop, 4 ch., 1 tc. into the same, 6 ch., 5 tc. (beginning on 3rd), ✕ 10 times; 6 ch., 1 tc. into 1st loop, 4 ch. 1 tc. into the same, 10 ch., 1 tc. into the last loop, 4 ch., 1 tc. into the same, 6 ch., 14 tc.

13th.—12 tc., ✕ 6 ch., * 1 tc., 4 ch., * 10 times through the 10 ch.; 6 ch., 3 tc., ✕ 10 times; 6 ch., † 1 tc., 4 ch. through 10 ch., † 10 times; 6 ch., 12 tc.

14th.—10 tc. ✕ 6 ch., 1 tc. under the 6 ch. of the last row; 4 ch., 1 tc.; repeat into each loop; 4 ch., 1 tc. under the 6 ch., 6 ch., 1 dc. on centre of 3 tc., ✕ 10 times; 6 ch., 1 tc. under previous 6 ch., 4 ch., 1 tc. in every loop as before; 4 ch., 1 tc. under 6 ch., 6 ch., 10 tc.

15th.—Sc. on end of the first row, 9 ch., sc. on 3rd row, 9 ch., sc. on 5th row, 9 ch., sc. on 8th row, 9 ch., sc. on 10th row, 9 ch., sc. on 12th row, 10 ch., sc. on first tc. stitch of last row, 10 ch., sc. on 8th tc. ✕ 4 ch., tc. under 6 ch. 4 ch., 1 tc. into each loop, ✕ repeat until you come to the last 9 tc. stitches, then repeat _backwards_ from before the 4 ch. to the commencement of the row.

16th.—Sc. 10 ch., sc. into every loop, until you come to the one of 4 ch.; then work 5 dc. into every loop, 10 ch. to the last 4 ch. End as you began.

17th.—Sc. 11 ch., sc. in every loop until you come to the 5 dc.; then ✕ 4 ch., sc. through every loop, ✕ to the last 5 dc. Make the second end to correspond with the first.

Those who crochet very loosely should use a hook still smaller than the one I have recommended; as the collar, to look well, should be done very tightly.

KNITTED LACE UNDERSLEEVE.
[FIG. 2.]

MATERIALS.—Crochet cotton, No. 40; 2 steel knitting needles, No. 20. Cast on 101 stitches. Purl one row.

1st.—Knit 1, ✕ m. 1, slip 1, k. 2 t., pass the slip stitch over, m. 1, k. 1 ✕, repeat.

2nd.—Purled.

Knit from 50 to 60 rows in this manner, and cast off. This forms one puffing; and, of course, for a pair of sleeves, you will require four.

FOR THE INSERTION.—Cast on 13 stitches; knit one row, purl 1, knit 1, purl 1; then begin the pattern.

1st.—K. 1, m. 1, k. 2 t., k. 3, m. 1, k. 2 t., k. 3, m. 1, k. 2 t.

2nd, and every alternate row.—K. 3, p. 7, k. 3.

3rd.—K. 1, m. 1, k. 2 t., k. 1, k. 2 t., m. 1, k. 1, m. 1, k. 2 t., k. 2, m. 1, k. 2 t.

5th.—K. 1, m. 1, k. 2 t., k. 2 t., m. 1, k. 3, m. 1, k. 2 t., k. 1, m. 1, k. 2 t.

7th.—K. 1, m. 1, slip 1, k. 2 t., pass the slip stitch over, m. 1, k. 5, ✕ m. 1, k. 2 t., ✕ twice.

8th.—As 2nd, which completes the pattern.

Do as much of this as may be required for the wrists, allowing a few plain rows at the end to set a button on; and also two pieces to be inserted between the puffs, which must be put rather full into the bands. At the top of the upper puff, sew on a muslin band, which may be tacked in the dress.

According to the present style of sleeves, the ruffle should not fall over the hand, but should be sewed at the other edge of the wristband with the puff, on which it must fall back. For cold weather, an undersleeve of sarsenet, made of the same dimensions as the knitted one, and tacked under it, will be found a very great improvement, and if of a colour that will harmonise with the dress, will be very becoming.

KNITTED LACE RUFFLE.—Cotton No. 50; Needles, No. 22. Cast on 17 stitches.

1st Row.—Knit 2, m. 1, k. 2 t., k. 1, m. 1, k. 2 t., k. 1, slip 1, k. 1, pass the slip stitch over, m. 1, k. 3, m. 2, k. 2 t., m. 2, k. 2.

2nd.—K. 3, p. 1, k. 2, p. 1, k. 3, p. 5, k. 5.

3rd.—K. 2, m. 1, k. 2 t., k. 1, m. 1, k. 2 t., k. 1, slip 1, k. 1, pass the slip stitch over, m. 1., k. 10.

4th.—K. 2, m. 2, k. 2 t., k. 1, k. 2 t., m. 2., k. 2 t., k. 2, p. 3, k. 6.

5th.—K. 2, m. 1, k. 2 t., k. 2, m. 1, k. 3 t., m. 1, k. 4, p. 1, k. 4, p. 1, k. 2.

6th.—K. 12, p. 3, k. 6.

7th.—K. 2, m. 1, k. 2 t., k. 2 t., m. 1, k. 3, m. 1, k. 2 t., k. 2, m. 2, slip 1, k. 3 t., pass the slip stitch over, m. 2, k. 2 t., k. 2 t.

8th.—K. 3, p. 1, k. 2, p. 1, k. 3, p. 5, k. 5.

9th.—Like 3rd.

10th.—Cast off 3, k. 6, p. 2, m. 1, p. 2 t., p. 1, k. 5.

This lace should be put on rather full; and on no account should knitted articles be ironed by the laundress. It is quite sufficient to pull them into proper shape whilst they are drying at the fire.

INSERTIONS IN EMBROIDERY.
[FIGS. 7 & 8.]

Suitable for the fronts of shirts, and for other purposes; to be worked in satin stitch, with embroidery cotton, No. 80. The centres of the leaves and cups of the flowers may be done in very small eyelet-holes. The stalks sewn over with extreme neatness.

TABLE MAT.
[FIG. 3.]

MATERIALS.—Shaded green and scarlet 8 thread Berlin wool; bone crochet hook. Make a chain of six and form it into a round.

1st Round.—12 dc.

2nd.—4 ch., miss 1 sc. in 2nd. stitch; repeat all round.

3rd.—Like 2nd.

4.—Scarlet wool; 6 ch., sc. under the loop of 4 ch.; repeat.

5th.—7 ch., sc. under 6 ch. of former round; repeat.

6th.—9 ch. worked as before.

7th.—12 ch. worked as before: fasten off the scarlet and begin with the green wool once more.

8th.—12 tc. on 12 ch. of last round, miss sc. stitch; repeat.

9th.—Sc. on 2nd. stitch, 2 ch., miss 1; repeat.

10th.—+ 1 tc., 3 ch., miss 3 +; repeat.

11th.—+ 1 tc., on tc. of last round, 4 ch. +; repeat.

12th.—+ Dc. on 4 ch. of last round, 1 ch. +; repeat.

13th.—[Scarlet wool,] 4 tc. on 4 dc. of last round, 1 ch.; repeat.

14th—+ 9 dc. on 9 stitches, of last round, 9 ch., dc. into same stitch as the last +; repeat.

15th.—6 ch., sc. in 3rd dc. of last round; repeat this twice more; 8 ch., unite into the loop formed by 9 ch. in last round; three times more, then repeat from the commencement of the 15th round.

16th.—Sc. in centre loop of 8 ch. in scallop; 1 ch., sc. into centre loop of 8 ch. in next scallop, 11 ch.; repeat.

17th.—12 ch., sc. in third stitch; repeat.

18th.—12 dc. through every chain of 12 in last round.

19th.—5 ch. unite with sc. on the point of the loop; repeat.

20th—Dc. all round, and fasten off.

GENTLEMEN’S KNITTED BRACES.
[FIG. 4.]

MATERIALS.—Rich, dark blue, or crimson crochet silk; two knitting needles, No. 14. Cast on 19 stitches.

1st. Row.—K. 2, m. 1, k. 1, slip 1, k. 1, pass the slip stitch over, p. 1, k. 2 t., k. 1, p. 1, k. 1, slip 1, k. 1, pass the slip stitch over, p. 1, k. 2 t., k. 1, m,. 1, k. 2.

2nd.—P. 5, k. 1, p. 2, k. 1, p. 2, k. 1, p. 5.

3rd.—K. 2, m. 1, k. 1, m. 1, slip 1, k. 1, pass the slip stitch over, p. 1, k. 2 t., p. 1, slip 1, k. 1, pass the slip stitch over, m. 1, k. 1, m. 1, k. 2.

4th.—P. 6, k. 1, p. 1, k. 1, p. 1, k. 1, p. 6.

5th.—K,. 2, m. 1, k. 3, m. 1, slip 1, k. 2 t., pass the slip stitch over, p. 1, slip 1, k. 2 t., pass the slip stitch over, m. 1, k. 3, m. 1, k. 2.

6th.—P. 8, k. 1, p. 8.

7th.—K. 2, m. 1, k. 5, m. 1, slip 1, k,. 2 t., pass the slip stitch over, m. 1, k. 5, m. 1, k. 2.

8th.—Purled.

Repeat this pattern until you have done the length required for one half of the braces. Then cast on, and do another length. When made up, they should be lined with white Petersham ribbon, and finished with white kid trimmings.

SMALL GIMPS IN CROCHET
[FIG. 5.]

MATERIALS.—Crochet cotton, No. 6; crochet hook, No. 18.

No.—1.—Make a chain the length required and then work back in dc. This is a very neat little trimming for children’s dresses; and if required to be made of silk and purse twist be used, will be found to answer every purpose for which a narrow gimp may be required. It forms also an excellent substitute for the braid which is run on the skirt of a dress, as the wools of which it should then be made, can be procured of any shade whatever, which the braid itself cannot.

No. 2.—Make a chain of the length required, and on it work 1 dc., 1 ch, miss 1.

JUDY’S ANTI-MACASSAR.
[FIG. 6.]

MATERIALS.—Crochet cotton, No. 10; crochet hook, No. 16. 133 ch.

Four rows of open square crochet.

5th.—20 os., 4 dc., 3 ch., miss 3, 12 dc., 2 ch., 17 os., 1 dc.

6th.—10 os., 1 dc., 1 ch., miss 1, 16 dc., 2 ch., miss 2, 3 os., 9 dc., 1 ch., miss 1, 21 os., 1 dc.

7th.—10 os., 1 dc., 1 ch., miss 1, 59 dc., 2 ch., miss 2, 13 os., 1 dc.

8th and 9th.—The same.

10th.—11 os., 1 dc., 1 ch., miss 1, 54 dc., 1 ch., miss 1, 14 os., 1 dc.

11th, 12th, and 13th.—Like 10th.

14th.—12 os., 20 dc., 1 ch., miss 1, 32 dc., 1 ch., miss 1, 14 os., 1 dc.

15th.—Like 14th.

16th.—12 os., 20 dc., 1 ch., miss 1, 17 dc., 1 ch., miss 1, 14 dc., 1 ch., miss 1, 14 os., 1 dc.

17th.—12 os., 7 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 18 dc., 1 ch., miss 1, 13 dc., 2 ch., miss 2, 14 os., 1 dc.

18th.—12 os., 7 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 18 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 15 os., 1 dc.

19th.—12 os., 7 dc., 1 ch., miss 1, 13 dc., 1 ch., miss 1, 16 dc., 1 ch., miss 1, 10 dc., 2 ch., miss 2, 15 os., 1 dc.

20th.—12 os., 1 dc., 1 ch., miss 1, 7 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 16 dc., 1 ch., miss 1, 8 dc., 1 ch., miss 1, 16 os., 1 dc.

21st.—12 os., 1 dc., 1 ch., miss 1, 7 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 14 dc., 1 ch., miss 1, 9 dc., 2 ch., miss 2, 16 os., 3, 1, dc.

22nd.—13 os., 7 dc., 1 ch., miss 1, 12 dc., 1 ch., miss 1, 12 dc., 1 ch., miss 1, 7 dc., 1 ch., miss 1, 17 os., 1 dc.

23rd.—13 os., 1 dc., 1 ch., miss 1, 7 dc., 1 ch., miss 1, 10 dc., 1 ch., miss 1, 10 dc., 1 ch., miss 1, 8 dc., 2 ch., miss 2, 17 os., 1 dc.

24th.—14 os., 35 dc., 1 ch., miss 1, 18 os., 1 dc.

25th—15 os., 40 dc., 2 ch., miss 2, 15 os., 1 dc.

26th.—17 os., 1 dc., 1 ch., miss 1, 41 dc., 2 ch., miss 2, 12 os., 1 dc.

27th.—17 os., 1 dc., 1 ch., miss 1, 12 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 16 dc., 2 ch., miss 2, 12 os., 1 dc.

28th.—17 os., 12 dc., 1 ch., miss 1, 10 dc., 1 ch., miss 1, 2 dc., 1 ch., miss 1, 1 os., 13 dc., 2 ch., miss 2, 12 os., 1 dc.

29th.—16 os., 1 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 5 dc., 2 ch., miss 2, 3 os., 1 dc., 1 ch., miss 1, 3 dc., 1 ch., miss 1, 12 os., 1 dc.

30th.—15 os., 1 dc., 1 ch., miss 1, 12 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 7 dc., 2 ch., miss 2, 17 os., 1 dc.

31st.—15 os., 1 dc., 1 ch., miss 1, 10 dc., 1 ch., miss 1, 11 dc., 1 ch., miss 1, 10 dc., 1 ch., miss 1, 17 os., 1 dc.

32nd.—15 os., 23 dc., 1 ch., miss 1, 13 dc., 2 ch., miss 2, 16 os., 1 dc.

33rd.—15 os., 21 dc., 1 ch., miss 1, 15 dc., 2 ch., miss 2, 16 os., 1 dc.

34th.—15 os., 19 dc., 1 ch., miss 1, 15 dc., 1 ch., miss 1, 17 os., 1 dc.

35th.—15 os., 1 dc., 1 ch., miss 1, 32 dc., 2 ch., miss 2, 17 os., 1 dc.

36th.—16 os., 28 dc., 2 ch., miss 2, 18 os., 1 dc.

37th.—16 os., 1 dc., 1 ch., miss 1, 29 dc., 2 ch., miss 2, 17 os., 1 dc.

38th.—16 os., 1 dc., 1 ch., miss 1, 30 dc., 1 ch., miss 1, 17 os., 1 dc.

39th.—17 os., 25 dc., 1 ch., miss 1, 3 dc., 1 ch., miss 1, 17 os., 1 dc.

40th.—15 os., 10 dc., 1 ch., miss 1, 17 dc., 2 ch., miss 2, 19 os., 1 dc.

41st.—14 os., 14 dc., 2 ch., miss 2, 18 dc., 2 ch., miss 2, 18 os., 1 dc.

42nd.—14 os., 15 dc., 1 ch., miss 1, 17 dc., 2 ch., miss 2, 5 dc., 1 ch., miss 1, 16 os., 1 dc.

43rd.—14 os., 1 dc., 1 ch., miss 1, 16 dc., 1 ch., miss 1, 22 dc., 1 ch., miss 1, 16 os., 1 dc.

44th.—15 os., 17 dc., 1 ch., miss 1, 17 dc., 1 ch., miss 1, 17 os., 1 dc.

45th.—14 os., 20 dc., 1 ch., miss 1, 16 dc., 2 ch., miss 2, 17 os., 1 dc.

46th.—13 os., 23 dc., 1 ch., miss 1, 7 dc., 2 ch., miss 2, 4 dc., 2 ch., miss 2, 18 os., 1 dc.

47th.—12 os., 1 dc., 1 ch., miss 1, 8 dc., 1 ch., miss 1, 29 dc., 2 ch., miss 2, 18 os., 1 dc.

48th.—13 os., 35 dc., 1 ch., miss 1, 19 os., 1 dc.

49th.—13 os., 1 dc., 1 ch., miss 1, 30 dc., 1 ch., miss 1, 20 os., 1 dc.

50th.—13 os., 1 dc., 1 ch., miss 1, 15 dc., 1 ch., miss 1, 1 dc., 1 ch., miss 1, 12 dc., 1 ch., miss 1, 20 os., 1 dc.

51st.—14 os., 13 dc., 2 ch., miss 2, 1 dc., 2 ch., miss 2, 1 dc., 1 ch., miss 1, 8 dc., 2 ch., miss 2, 20 os., 1 dc.

52nd.—14 os., 10 dc., 2 ch., miss 2, 3 os., 5 dc., 1 ch., miss 1, 21 os., 1 dc.

53rd.—15 os., 6 dc., 2 ch., miss 2, 26 os., 1 dc.

54th to 57th inclusive.—In open square crochet.

The border to be the same as that given for Punch’s Anti-Macassar, in part I. of this book.

CROCHET D’OYLEY.
[FIG. 9.]

MATERIALS.—7 shades of Berlin wool; bone hook.

Make a chain of 9, and form it into a round.

1st.—Dc., increasing 3 in the round.

2nd.—6 ch., 1 tc., miss 3. Repeat.

3rd.—Sc. on centre of 6 ch., 9 ch. Repeat.

4th.—Sc. on centre of 9 ch., 12 ch. Repeat.

5th. Sc. on centre of 12 ch., 15 ch., sc. on same stitch, and work 1 sc., 2 dc., 14 tc., 2 dc., 1 sc. in the loop thus formed. Fasten off, and repeat in the centre of every 12 ch.

6th.—Begin on the point of the leaf with a sc. stitch; 15 ch., sc. on point of next leaf, and so on.

7th and 8th.—Dc. all round.

9th.—✕ Sc., 6 ch., miss 2, ✕. Repeat.

10th.—✕ Sc. on centre of 6 ch., 9 ch., ✕; repeat.

11th.—✕ Sc. on centre of 9 ch., 12 ch., ✕; repeat.

12th.—✕ Sc. on centre of 12 ch., 9 ch., ✕; repeat.

13th.—Dc.

14th.—Dc., working two stitches into every one.

15th.—Sc. on the centre of one of the spaces. ✕ 12 ch., sc. in same stitch three times, 12 ch., sc on centre of next space. And repeat from ✕.

16th.—Dc. all round.

17th.—Sc., ✕ 5 ch., miss 2, sc. in 3rd ✕. Repeat all round, and fasten off.

POINT LACE STITCHES.

Point Lace is now so fashionable that very few are unacquainted with its appearance; but perhaps some of my readers will be surprised when told that the whole of the genuine Point Lace is the production of the needle; not merely the close and heavy parts are so made, but the most exquisitely delicate nets, of which, of late years, we have had imitations from the loom, are all alike produced by the common sewing needle.

The work of which we treat here may be regarded not as an _imitation_ of the valuable and beautiful work of ancient times, but rather as an actual revival of an art which has unfortunately been suffered to sink into oblivion. Of course, at present, I content myself with giving very simple Point Lace patterns; but, as my fair readers advance in knowledge, I shall give them specimens which will still more exercise their skill and patience.

Point Lace stitches are worked on a foundation of braid or tape; or, sometimes, cambric. At present, I chiefly use braid, it being the more comeatable material, and answering extremely well for delicate articles. It is the kind termed French white cotton braid, being very closely and evenly plaited. That used for large patterns is No. 9; for delicate work, a still narrower braid may be employed.

Very much of the beauty of Point Lace depends of course, on the skill of the workers; but it would not be exaggeration to assert that even more is the result of the adaptation of the materials. A very great variety of cotton and linen thread is absolutely necessary; not less than nine different kinds entering frequently into the composition of one single collar: those I use are termed Evans’s Point Lace Cottons, manufactured by Messrs. Walter Evans and Co., of Derby; and they are as superior to all others that I have tried as it is possible to imagine. They are sold selected and arranged properly for this kind of work.

The pattern being drawn in outline, on colored paper, is to be then pasted on calico or linen; when quite dry, begin to braid it, by laying on the braid, and running it on the paper with a fine needle and cotton, No. 50. The stitches are to be taken through the paper, and not very closely together, except where points of leaves and other angularities occur. In these places the braid is sewed at each end of the pattern and turned back; this is termed mitreing. The stitches must be taken across the braid, as it is not liable then to become wider.

The stitches which are used in the specimens I have hitherto made in point lace are the following, which may be divided into three kinds: edgings, laces, and connecting bars.

The use of the _edgings_ is sufficiently obvious: they form narrow borderings to the braid or other material which is the foundation of the lace.

The _lace_ stitches are used to fill up open parts in the design, such as the leaves, flowers, or fruit, the mere outlines of which are made in the braid.

Finally, the _connecting stitches_ unite the several parts into one perfect mass of work.

EDGES.—BRUSSELS EDGING (No. 1).—This is merely the common button-hole stitch, or (as it is sometimes called) glove stitch. It is worked nearly at the edge of the braid, and differs only from the ordinary button-hole because the stitches are taken at the distance of the fourteenth part of an inch apart, and, as the thread is not drawn tightly, each stitch forms a small loop. It is worked from left to right.

VENETIAN EDGING (No. 2).—The first stitch is taken as in Brussels edging, and in the loop thus formed, four tight button-hole stitches are worked.

SORRENTINE EDGING (No. 3).—Make a stitch as in Brussels edging, but the eighth of an inch long; work _one_ button-hole stitch in the loop; repeat at the distance of the sixteenth of an inch; two stitches are thus formed, one of which is half the length of the other. Repeat.

LACES.—BRUSSELS LACE (No. 4) is worked by doing a line of Brussels edging in the space to be filled up, and then another line, from right to left, putting the needle, at every stitch, through one of the loops of the first row. These lines are to be repeated, backwards and forwards, until the part is completed. In working the last row, run the needle through the braid after every stitch.

VENETIAN LACE (No. 5).—The beautiful closely-dotted appearance, characteristic of this lace, is obtained by working consecutive rows of Venetian edging, not backward and forwards, but always from left to right, fastening off after completing each line; or, if the space be very small, running the needle in the braid back to the place where the next line is to be begun.

ENGLISH LACE (No. 6) is used principally to fill up large open spaces. Make a series of diagonal bars across the space to be filled up, securing the tightness of each thread by working a button-hole stitch on the braid, before slipping the needle to the next place; cross these bars by others, in the contrary direction, and at the same distance (one-eighth of an inch) apart. Wherever the bars cross each other, work a small spot, by passing the needle alternately under and over the threads, five or six times round. Twist the threads twice round each other in bringing the needle to the next cross, and repeat until a spot is made at every one. Observe, that in crossing the first bars you slip the needle alternately under and over them.

OPEN ENGLISH LACE (No. 7) is commenced like the preceding, but when the two lines of diagonal bars are made, a line of perpendicular and one of horizontal threads must be added. The spot will thus be worked on eight threads instead of four. The lines to be at the rate of five to an inch.

ENGLISH ROSETTES (No. 8).—Another beautiful style of English point. It is a kind of spot, which looks like the miniature of the rosette on a baby’s cap, whence its name is derived. A single spot is only used in one space, and the size is to be suited to it. The open space is crossed with four, six or eight twisted threads; the last thread to be twisted only to the centre, where all are to be firmly joined by working one or two tight button-hole stitches. Make the rosette by passing the needle round one thread and under the next, then round that and under the succeeding; continue until you have made a rosette as large as the space requires, working from four to ten times round. Stop at the single thread, twist round it, and fasten off.

MECHLIN LACE (No. 9).—This is one of the most beautiful, and at the same time, complicated stitches in the list. Those who have worked it, however, all confess that the effect amply repays the trouble. It is worked thus: A number of diagonal bars, each of a single thread, cross each other in the space to be filled up, at the distance of one quarter of an inch from each other. Then all the bars in one direction are to be covered with button-hole stitch. Begin in the opposite direction, in the same way, and work it nearly to the crossing of the two. Pass the thread loosely round the cross twice, slipping the needle under one and over another thread, so as to form the small circle seen in the engraving. This is to be covered with button-hole stitch; and as, from the looseness of the thread, it is otherwise somewhat troublesome to work it, pin it down on the paper with a second needle. In the middle of each quarter of every alternate round, a dot is to be worked thus: instead of drawing the thread tight, as usual, put in the loop a pin, which is to keep it about the eighth of an inch in length. On this loop work three button-hole stitches; and withdraw the pin, and continue the round.

VALENCIENNES LACE (No. 20,) has a very heavy appearance, and contrasts admirably with lighter stitches. A space to be so filled up has a number of radiating threads, meeting, in a common centre, to be very closely darned with extremely fine thread.

HENRIQUEZ LACE (No. 11), is, on the contrary, a very light and delicate stitch. It must never be done with coarser thread than Evans’s boar’s head, 120. With this make a diagonal line across the space to be so filled in, and return your needle to the point you began from, by twisting the thread back again. Make another line, parallel with this one, and not more than the tenth of an inch from it. Twist it over four times, then on the single and double thread form a spot, by darning the three backwards and forwards about sixteen times. To do this, you must separate the two threads twisted together whenever you make a spot. Continue twisting your needle round the single thread, for the space of one quarter of an inch, when you will form another dot. Repeat until this line is finished. Make similar ones at one quarter of an inch apart in the entire space; and then cross them with others, worked in precisely the same manner, in exactly the opposite direction. Take care that where the lines cross each other the thread is twisted between the first bar and the second, that a small, clear square may be maintained.

CORDOVAN LACE (No. 12), is similar to the preceding, but less delicate and less troublesome. Two twisted bars are made the tenth of an inch apart, and a third single one, in going back on which the spots are worked on two twisted threads and the single one. They are also crossed by similar ones, the crossing of the threads forming a diamond of four holes.

CONNECTING BARS are stitches used in the various kinds of point lace, to unite different parts. The most simple is the

SORRENTO BAR (No. 13), which is made by passing a thread from one part to another, fastening it by a tight stitch, and twisting the thread back on the bar thus formed; pass the thread round until it appears as much twisted as a rope.

BARS IN ALENCON POINT (No. 14).—This is almost the same as our common herring bone stitch, but the needle is passed under the last thread after every stitch before taking another, which twists the two together. Where the space is more than half-an-inch wide, it is requisite to pass the needle more than once under after every stitch.

VENETIAN BARS (No. 15).—Pass the needle backwards and forwards two or three times, and work the bar thus formed in close button-hole stitch. If it be a cross bar, work the button-hole stitch half the length; make the bar in the opposite direction, work that; and if another is required, do the same before finishing the first bar.

EDGED VENETIAN BARS (No. 16) are merely the above edged on each side with Brussels or Sorrento edging.

DOTTED VENETIAN BARS (No. 17.)—To make these bars, pass the thread across the space two or three times, and make four button-hole stitches on the bar thus formed; put a needle in the fourth, and draw it out until it will allow of three or four button-hole stitches being worked on it; continue the bar in the same way.

ENGLISH BARS (No. 18) are used to connect two lines of edging. Pass the needle backwards and forwards between two opposite stitches four times each way, always putting the needle in the _under_ side of the edge. Sometimes these bars are _radiated_, by missing a stitch more on one side than on the other.

The marked characteristic of SPANISH POINT (No. 19) is a kind of heavy satin stitch, with which parts are ornamented. It is very much raised, and afterwards worked in button-hole stitch with fine linen Mecklenburgh thread.

Continuous rows of Sorrento edges worked backwards and forwards, like Brussels Lace, form a variety represented in a corner of the Engraving.

The lower line of edging in the Engraving is termed Little Venetian. It is worked like the other, but with only one button-hole stitch.

When, by means of these different stitches, the pattern is formed into a solid mass of work, the stitches at the back are to be cut, to detach the lace from the paper; the threads may then be picked out and the article is complete.

To join point lace on to cambric or muslin, make an extremely narrow hem on either, and lay the inner line of braiding on that. Join them together by running on the middle of the braid through the cambric, and then working a line of Brussels edge on to the inner part of the braid, taking every stitch through both substances.

CROCHET COLLAR
[FIG. 1.]

MATERIALS.—Cotton, No. 30. Crotchet hook, No. 22; eagle card-board gauge.

Chain of 180 stitches, on which work a row of dc.

2nd.—+ 3 tc., 3 ch., miss 3, +. Repeat. Finish with 3 tc.

3rd.—+ 3 dc. on 3 tc., 3 ch., +. Repeat.

4th.—+ sc. on 1st dc., 6 ch., miss 5, sc. on 6th, +. Repeat.

5th.—Sc. on the centre of first loop, +, 7 ch., sc. on centre of next loop, +. Repeat.

6th.—Sc. on centre of first loop, + 6 ch., sc. on centre of next loop, +. Repeat.

7th row.—Dc. on all the chain, missing every sc. stitch.

8th.—Sc. on first stitch, 9 ch., sc. on same stitch, 12 ch., sc. on same stitch, 9 ch., sc. on same stitch, turn the work, dc. in every chain of the 3 loops just formed, turn again, and work dc. on the previous dc. except the first 5, 7 ch., miss 5 stitches of the 7th row, 6 dc. on the next 6, +. Repeat.

9th.—Sc. on the point of the leaf of 9, 4 ch., + sc. on point of large leaf, 15 ch., +. Repeat. Finish the row with 4 ch., sc. on point of last small leaf.

10th.—Dc. in every stitch of the last row working 2 in every 4th.

11th.—+ 2 dc., 3 ch., miss 3, + until you come to the stitch over the large leaf, then make a loop of 6 ch., dc. into the same stitch. Repeat.

12th.—Dc. on all the rest of the line, working every loop thus—1 sc., 4 dc., 1 sc.

15th.—Dc. in first dc. of last row, + 3 ch., miss 2, dc. in 3rd +. Repeat, _but without missing any on the loops_.

16th.—Sc. on first chain of the foundation, and up the side work 4 ch., miss 2, 8 sc., sc. on every stitch of the last row, and dc. the other end of the collar like the first.

17th.—Sc. under first loop, 5 ch., sc. under 2nd, repeat to the sc. stitches, then + 5 ch. miss 2, sc. on 3rd, + to the end, which work like the beginning.

MAT WITH BORDER OF MOSS, CHERRIES, AND LEAVES.
[FIG. 2.]

MATERIALS.—Half-an-ounce of bright cherry-coloured Berlin wool; two shades of green ditto, or of _chenille a broder_, two skeins of the best green fleecy of different shades, or shaded Shetland will do as well.

FOR THE MOSS.—If fleecy wool be used, it must be split, and a thread of each shade taken, by using Pyrenees wool this trouble is obviated. Take a pair of very fine knitting needles; cast on 16 to 20 stitches: knit a piece as tightly as possible, four times the length required: wet, and bake or dry it before the fire. When it is quite dry, cut off one edge throughout the whole length, and unravel all the stitches but two at the other edge. (Take care to begin to unravel at the end you left off knitting, or the wool will get entangled.) Fold it in four, and sew the edges together. This will make a very full moss fringe.