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.
For the Cherries.—Cut a number of rounds in card, each the diameter of a good-sized cherry. Cut a small hole in the middle of each take a needleful of Berlin wool, three times the length of your arm; thread it with a rug needle; pass the needle in the hole of the card, holding the end of the wool with the left hand; pass the wool; lay it on the edge of the card, as if you were going to wind it; pass the needle through the hole again; repeat this until the whole needleful of wool is used. Then make a little tuft of wool on the end of a rather fine wire; twist the wire tight and pass the ends into the hole of the card; take a pair of sharp-pointed scissors, cut the wool all round the card; with a bit of waxed thread, tie as tightly as possible the little bunch of wool in the hole of the card, tear the card off, and pare the wool as smooth as velvet; cover the ends of wire with green wool or silk, and each cherry is completed.
Leaves.—Make a cherry of 13 loops in green wool, and on them, miss 4, dc. in 5th, ✕2 ch., miss 2, dc. in 3rd, twice 1 ch., miss 1, slip on first of 13. Take a ✕piece of very fine wire and hold it in, while working round this open hem, leaving a short piece for a stem. Work all round in tc., except the 2 first and 2 last stitches which are to be 1 sc., 1 dc., and 1 dc., 1 sc., twist the two ends of wire together, cover them with wool. When sufficient leaves are done, form them into a wreath with the cherries, joining them by means of the ends of wire; insert them in the moss, and sew the border thus made round a mat of velvet, or work, lined with card-board, and with silk at the other side.
This border may be used for any crochet or knitted mat; the moss may be made more or less thick according to taste. A very full border would require six lengths.
INITIALS IN EMBROIDERY
[Fig. 3.]
Materials.—Ingrain red and white embroidery cotton, No. 70 for linen, No. 80 for cambric.
These Initials should be marked on the material, and then worked in the white cotton in raised satin stitch, after which a thread is to be run entirely round the work, and sewed over in red very closely indeed.
Every angle and point must be made with the utmost accuracy, as on this the beauty of the letters greatly depends.
AUTOUR BOUTONS.
[Fig. 4.]
Small pattern to surround shirt-studs; to be worked in embroidery cotton, No. 80. The small rounds in eyelet-holes to be made with a fine stiletto, and sewed over.
A VERY PRETTY CARRIAGE BAG.
[Fig. 5.]
Materials.—White and blue Berlin wool, half-an-ounce of each; two flat meshes, not quite a quarter of an inch broad, a piece of French canvas, No. 24, one-half the size the bag is desired; gros-de Naples, (the shade of the coloured wool), cord and tassels to match. With the blue wool work on the canvass, in common cross-stitch, a square of 6 stitches in every direction; miss an equal space and repeat. Thus the whole space of canvass must be prepared like a chess-board, the blue checks of one line coming between those of the previous, the third over those of the first line, and so on. Having completed this, take one of your meshes and a rug needle, threaded with white wool, work immediately over each blue square of the first line 6 stitches, thus:—Begin at the top of the stitch, lay the wool over the mesh, take two threads for the lower part of the stitch, pass the wool under the mesh, finish your stitch; repeat five times; leave the mesh on the stitches; take the second mesh, work a second row exactly alike over this; then, at the top, a third row of white stitches, four threads long, and two broad.
Turn the work, and in the space which is now over, but was first under the first row of blue squares, work with the white, the rows round the meshes, as before, and one of long white stitches.
Turn the work again, and work the next two rows of white stitches round the meshes.
Repeat the same operation over every other line of blue squares.
Now take the work cross-way, and work in white, as before, every space left; then cut the ends of the white wool.
Make up the bag with a top of silk, line it, add cords and tassels, and it is complete.
If preferred without silk, have canvass the full size for a carriage bag and work it all over.
D’OYLEY IN SQUARE CROCHET.
[Fig. 6.]
Materials.—Cotton, No. 16; crochet hook, No. 18. Eagle card-board gauge.
The size I have given for materials will make this d’oyley about 20 inches, as there are 88 squares, and 9 squares are equal to 2 inches. Of course, with finer cottons and hooks, the size will be diminished. Patterns given in square crochet are very pretty worked in two colours of wool. The open squares should be worked in one colour, and the close in the other; every square consisting of three dc. stitches. Mats of this description should be tacked on a stand previously formed of stout card or mill-board, covered with green calico or silk.
DEEP POINT LACE, FOR A HANDKERCHIEF OR VEIL.
[Fig. 8.]
Visitors to the London Exhibition, will recognise this pattern as one of those in the gallery of that wondrous palace: I presume, therefore, it will be very acceptable to my fair readers.
The pattern of the flowers is well adapted for the mandarin sleeves which everbody wears just now. To draw the pattern for that purpose, merely copy over and over again the two large flowers at the bottom of the page. Draw the pattern on colored paper, and use a fine sable brush, dipped in Indian ink for coloring the lines; paste the paper on linen, and when dry it will be fit to be worked. A little more management is required when a pattern for a handkerchief is to be made. Cut a square of tissue paper, rather larger than the handkerchief is to be,—double it twice, so as to mark the centre of each side, and trace the three divisions of the corner flower up to a on one side of this centre, leaving room for half of another division; fold the paper and trace a similar piece of the flower on the other side of the centre, and finish also the division in the middle. As it will be seen on referring to the plate, that there are three divisions and nearly half another up to the a, it will be evident that the centre flower will have seven divisions. On the right of this centre draw three of the flowers at the lower edge of the frontispiece, and at the corner another flower, exactly like the centre one, but turned so as to form a corner. Trace the left hand side of the centre from that already done, and you will have a perfect side with two corners. Draw the pattern on colored paper, from this one side, and line it with linen before working it.
You will observe that there are two straight lines of braid in the inner border; the one nearest to the flowers is only to be laid on when working the lace, and connected with the other: no edging is to be put to it until after the hemmed cambric is laid underneath, when it is to be run on, and then edged with Brussels edging.
a.—Sorrento edging. To be worked with Mecklenburgh thread, 120.
b.—Venice edging. Boar’s-head thread, No. 50.
c.—Brussels edge. Ditto.
d.—Bars of Venice Point. Mecklenburgh thread, 120.
e.—Rosettes worked on 4 threads: the centre ones gradually increasing in size, towards the outer edge of the flower; the others as small as the spots of English Point. Boar’s-head thread, No. 90.
f.—Open English lace. Ditto.
g.—Brussels lace. Ditto.
h.—English lace. Boar’s-head thread, No. 70.
i.—Sorrento bars. Mecklenburgh thread, No. 120.
j.—Rosettes. Thread No. 70.
k.—Bars in Alencon point. Ditto.