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 4r 
 
 THE 
 
 LADIES' COMPLETE GUIDE 
 
 TO 
 
 Crochet, Fancy Knitting, and Needlework. 
 
 BY MRS. ANN S. STEPHENS. 
 
 Containing a complete Dictionary of the technical terms and characters used in descriptions of Crochet and Fancy Knitting 
 Patterns. In this work the terms are so clearly explained, that any person who can read, can in a Few hours learn to exe- 
 cute the most complicated and difficult patterns in Crochet and Knitting. This work also contains the clearest 
 elementary information hnd the fullest instructions for erery species of Needlework, with new and 
 beautiful edgings and insertions, in addition to the choicest specimens of Ladies' work. 
 
 NEW YORK : 
 
 DICK & FITZGEEALD, 
 
 IS A2JN STEEET. 
 
 
H 
 
 Entered according to Act of Congress, in the year 1S54, oy 
 
 GARRETT & CO., 
 
 In the Clerk's Office of the District Court of the United States 
 
 for the Southern District of New York. 
 
CONTENTS, 
 
 
 
 
 Page. 
 
 
 
 
 
 Pa^e. 
 
 Needlework and its History ... 5 
 
 Crochet Collar ... ... 61 
 
 Introduction . . . . 
 
 
 
 . 22 
 
 Mat with Border of Moss, &c. 
 
 
 
 62 
 
 Honiton Lace Collar . 
 
 
 
 24 
 
 Initials in Embroidery 
 
 
 
 
 . 63 
 
 Passion Flower in Chenille, . 
 
 
 
 . 26 
 
 Autour Boutons . 
 
 
 
 
 
 . 64 
 
 Card Basket in Crochet, 
 
 
 
 28 
 
 Pretty Carriage Bag 
 
 
 
 
 
 . 64 
 
 Border for a Quilt 
 
 
 
 29 
 
 D'Oyley in Square Crochet 
 
 
 
 
 
 . 65 
 
 Crochet Edging .... 
 
 
 
 30 
 
 Deep Point Lace . 
 
 
 
 
 
 . 66 
 
 Punch's Anti-Macassar 
 
 
 
 31 
 
 Crochet Edging . 
 
 
 
 
 
 . 67 
 
 Deep Lace in Crochet . 
 
 
 
 . 33 
 
 . . 
 
 
 
 
 
 . 68 
 
 Tatted Insertion .... 
 
 
 
 34 
 
 Insertion . 
 
 
 
 
 
 . 69 
 
 Anti-Macassar . . 
 
 
 
 35 
 
 Instructions in Embroidery 
 
 
 
 
 
 . 70 
 
 Net for the Hair . try^t, , 
 
 
 
 . 37 
 
 Heniton Crochet Collar 
 
 
 
 
 
 . 76 
 
 Berlin Work and Canvas Embroider)' 
 
 
 
 38 
 
 Knitted Basket . 
 
 
 
 
 
 . 77 
 
 Crochet Collar .... 
 
 
 
 . 44 
 
 Initial Letters 
 
 
 
 
 
 . 78 
 
 Knitted Lace Undersleeve . 
 
 
 
 . 46 
 
 Shamrock Leaf D'Oyley 
 
 
 
 
 
 . 79 
 
 Insertions in Embroidery 
 
 
 
 47 
 
 Pinafore 
 
 
 
 
 
 . 80 
 
 Table Mat 
 
 
 
 48 
 
 Neck Tie . 
 
 
 
 
 
 82 
 
 Gentlemen's Knitted Braces 
 
 
 
 49 
 
 Embroidery 
 
 
 
 
 
 82 
 
 Small Gimps in Crochet 
 
 
 
 49 
 
 Square D'Oyley . 
 
 
 
 
 
 83 
 
 Judy's Anti-Macassar . 
 
 
 
 , 50 
 
 Deep Lace in Crochet . 
 
 
 
 
 
 83 
 
 Crochet D'Oyley .... 
 
 
 
 53 
 
 Collars in Tatting 
 
 
 
 
 
 84 
 
 Point Lace Instructions 
 
 
 
 54 
 
 Crochet Insertion 
 
 
 
 
 
 85 
 
CONTENTS. 
 
 Knitting Instructions . - 
 
 Infant's Cap Crown Jt^? *<X&.4-, C^cC 
 
 Initials . . . / 
 
 Knitted Bag 
 
 Lacet Bag . . . " 
 D'Oyley in Square Crochet 
 Crochet Edging . 
 Lady's Chemisette 
 Anti-Macassar 
 Crochet Mat 
 Instructions in Tatting 
 
 " 
 
 Pa?e. 
 
 86 
 89 
 91 
 92 
 93 
 93 
 94 
 96 
 98 
 100 
 102 
 
 Embroidery on Cambric 
 Knitted Lace Collars . 
 Spanish Crochet Edging 
 Collar in Frivolite 
 
 Fish Cloth .... 
 
 Crochet Insertion, 
 
 Kfllhur Scarf S^JXcM- 
 
 Nightcap in Crochet . 
 Crochet Edging . 
 
 Pae 
 
 105 
 106 
 107 
 108 
 109 
 110 
 113 
 114 
 115 
 117 
 
LADIES' COMPLETE GUIDE TO CROCHET AND NEEDLE WORK. 
 
 •**«*A#^ ^^VW*- 
 
 NEEDLE WORK AND ITS HISTORY. 
 
 THE first step in education ever made by the 
 feminine mind was the art of Needlework. 
 Before women began to read, and when they 
 considered writing as a mystery only to be un- 
 dertaken by men of nobler parts, Needlework 
 became a sort of medium by which women 
 attempted to express their ideas and embody those 
 affectionate thoughts that must have some expres- 
 sion to keep the full heart from overflowing. 
 
 In olden times, when war and warlike fame 
 was the great object of every brave man, woman 
 first learned to write her love and all the myste- 
 rious faith which, with the educated or uneduca- 
 
 ted, is a portion of her being, in those war pen- 
 ants and embroidered scarfs that were worn by 
 the sterner sex as rewards of valor or expressions 
 of love. Taking a hint from the flowers, God's 
 own handwriting of love upon the bosom of the 
 earth, she began to symbol the deep feelings of 
 her nature in imperfect imitations, and this was 
 the first step made by woman in the progress of 
 mind. 
 
 How rude and uncouth these first attempts 
 were, matters little. They constituted the alpha- 
 bet of all the bright creations, whether of the 
 pencil or pen, which are the glory of the present 
 
NEEDLEWORK AND ITS HISTORY. 
 
 century. During the dark ages Needlework was 
 considered an aristocratic, nay, almost a regal 
 accomplishment, and queens vied with each other 
 in the gentle art as ardently as their husbands 
 struggled in the battle-field. 
 
 The Lady of a castle in those times made it a 
 
 land was softened more by this gentle occupation 
 of the hands, than by her literary or conver 
 Rational talent put together. The most touching 
 memento of this beautiful woman at Holyrood 
 Palace is the basket in which she placed those 
 pretty garments, enriched by her own skill, in- 
 
 portion of her duty to initiate the noble damsels tended for the infancy of her only son — that son 
 of her household in the mysteries of cross and 
 tent stitch, just as her lord held noble youths in 
 training for the battle-field. 
 
 The amount of Needlework done by the female 
 sovereigns of England and France is really won- 
 derful ! The wife of William the Conqueror 
 wrought whole suits of tapestry with her own 
 hand-:, and poor Mary Stewart has left scores of 
 mournful proofs how great a consolation this ac- 
 complishment is to the suffering and afflicted. 
 Her .solitude in the various prison castles of Eng- 
 
 who allowed her to remain a prisoner during his 
 entire youth, rather than endanger the friendship 
 of her royal murderess. Indeed one of the most 
 painful events of her life was connected with this 
 art. After a year of prison life, spent in embroi- 
 dering a robe for this pusillanimous son, after she 
 had woven as it were her anguish and her tears 
 in the rich fabric, she forwarded the garment to 
 Scotland, accompanied by a letter full of mater- 
 nal love. This letter was directed to James, 
 Prince of Scotland, not to the King. Holding 
 
NEEDLEWORK AND ITS HISTOR1. 
 
 rer own sovereign rights as sacred, how could she invention, and the facilities for thought which the 
 
 icknowledge those of another by her own hands, first step in any art creates. 
 
 James sent the robe back because of this omis- Probably the first progress which Knitting made 
 
 Hion It is easy to fancy, after this outrage, that toward a distinct art, was when yarn stockings 
 
 poor Mary Stewart might receive her death 
 warrant with comparative composure. 
 
 KNITTING. 
 
 "We should find it difficult to trace the origin 
 of this particular class of work-table employment, 
 of which our book treats, except as it sprang 
 from these intricate stitches first introduced into 
 old point lace. The transition from one needle 
 to more, and the weaving of thread into forms of 
 beauty, was a progress natural to the spirit of 
 
 were invented in Flanders. The stitch, as every 
 New England housewife knows, is simple enough. 
 But inventive genius has so adorned and varied 
 it, that stockings are easily enriched with lace- 
 work, and lace itself is abundantly manufactured 
 by a little thread and a pair of knitting needles. 
 There is no female accomplishment so universal 
 as this of knitting. The women of different na- 
 tions perform the simple stitches with a process 
 of their own, but the result is the same. In Ger- 
 many and Russia, the yarn is held in the left 
 hand, and wound in an intricate fashion among 
 the fingers of that hand, while with us it is sim- 
 ply folded over the front and little finger of the 
 
B 
 
 NEEDLEWORK AXD ITS HISTORY. 
 
 right hand. The author remembers well the 
 amazement and merry smiles of a Russian lady in 
 St. Petersburg, -when she exhibited this Ameri- 
 can method of producing the stitch the lady 
 h:id been forming in the continental fashion ; this 
 was but natural ; for the amusement was quite 
 mutual. Xothing could be droller than the way 
 in which she handled her needles. 
 
 All over Europe, ladies may be seen in their 
 balconies after dinner, grouped around their 
 work-baskets, while the gentlemen converse with 
 them, or silently watch the progress of their pret- 
 ty tasks. In the sitting-room of every mansion, 
 some one corner is rendered cozier than the rest, 
 by the well-used work-table, laden with pretty 
 boxes and baskets, crowned with a rainbow 
 wreath of Berlin wool. Fashionable as this 
 household accomplishment is getting among us, 
 
 American ladies devote themselves less to needle- 
 work than those of almost any other nation. 
 
 CROCHET WORK. 
 
 Crochet "Work proper is, in its pv^sent improv- 
 ed form, almost a modern invention. It has only 
 been introduced to any extent into th^ country 
 within the last twenty years, but now it is very 
 general, and our old-fashioned knitting work is 
 completely thrown into the back grwund by the 
 Crochet needle. The embroidered sheath and 
 chased silver needle-case have disappeared even 
 from the cherry-wood workstands of New Eng- 
 land, and a thousand beautiful designs for chairs, 
 cushions, toilets and wearing apparel, supply the 
 
NEEDLEWORK AND ITS HISTORY 
 
 place of the old-fashioned stocking basket with ground work, have been invented, and the most 
 
 its well mended contents. In England and Ire- intricate patterns are given with a boldness of 
 
 land, where the ladies are always industrious, effect only to be found in the ancient lace we have 
 
 Crochet work has arisen to, the dignity of an art. mentioned. 
 
 It is introduced into the national schools, and Thus it is pleasant to see that what was late 
 hundreds of poor are supported by the rich laces only a dainty accomplishment with which the 
 ana pretty collars produced there. gentlewoman idled away her time, promises to be- 
 lt is quite wonderful to what perfection this come a means of support to the working c. 
 art has reached in some districts of Ireland. In this country, Crochet work can only be de- 
 Every day develops r.yw improvements and con- nominated an accomplishment, but we must consid- 
 \jibutes some novel pattern to the world, which er it not merely as an elegant way of wileing away 
 promises to render this class of lace making more time, but as one of those gentle means by which 
 popular than even the English point, has been, women are kept feminine and lady-like in this fast 
 especially on this side the Atlantic. At the Crys- age. Masculine women of hard and coarse grained 
 *.al Palace this year, some specimens of Crochet natures, are seldom given to these pleasant house- 
 collars, sleeves, and even entire dresses, were ex- hold employments. AVe never hear that Elizabeth 
 hibited that had all the rich effect of old point amused herself with the needle, she was too busy 
 ^ace. Flowers, even raised in petals from the with her pen signing death warrants, or -with her 
 
10 
 
 NEEDLEWORK AND ITS HISTORY 
 
 tongue scolding her council, for any thoughts of 
 the graceful art which brightened the prison she 
 gave to her beautiful rival. Indeed, fancy work 
 in all its branches is always subservient to the 
 household spirit which attends every true woman. 
 There is a careless fashion among gentlemen, 
 of speaking lightly regarding those graceful ex- 
 hibitions of female industry, which pass under 
 the head of Fancy Work. Yet, to our mind, 
 there is no amusement more innocent and grace- 
 ful. One of the most distinguished literary ladies 
 of this country once told us that she cultivated a 
 love of her old-fashioned knitting, because it gave 
 employment for her hands, which were so used 
 to motion, that she really felt uncomfortable 
 when they were unemployed. Our friend is only 
 singular in the homeliness of her taste in knitting 
 u.suful stockings, instead of pretty ornaments. 
 
 The ladies of almost every country we have ever 
 seen appear most natural and charming when em- 
 ployed in some graceful task of needle-work or 
 knitting. 
 
 But a love of it is increasing, and still increas- 
 ing. Let gentlemen deride these pretty occupa- 
 tions if they please ; we know how much of a 
 soothing influence lies in the dreamy habit of 
 counting stitches, and how many bright faculties 
 are pleasantly exercised in arranging and match 
 ing colors. 
 
 On no occasion does a lady seem more lovely than 
 when half occupied with some feminine art which 
 keeps her fingers employed, and gives an excuse 
 for downcast eyes and gentle pre-occupation. 
 This sort of playing at work, and working at 
 play, sheds a home feeling around the guests 
 which no studied effort at hospitality can pro- 
 
NEEDLEWORK AND ITS HISTORY. 
 
 U 
 
 duce, and forms habits of usefulness which con- 
 sumes many an hour of idle time that might be 
 put to far more harmful uses. 
 
 There is an air of tranquility, and a proof of 
 innocent contentment in these domestic accom- 
 plishments, that have a beautiful significance in 
 the family circle. It is only in well regulated 
 households that leisure moments are thus gather- 
 ed up. It is only minds composed and serene in 
 their joy, or submissive in sorrow, that can con- 
 strain themselves to the gentle monotoDy of work 
 like this. 
 
 With a crotchet-needle in the hand, we join 
 more pleasantly in conversation ; the little imple- 
 ment fills up all embarrassing pauses: its use 
 gives a feminine and domestic air, which men 
 may smile at, but cannot condemn ; and, under 
 all circumstances, it is better than counting 
 
 beads, like the modern Greeks, or flirting fans, 
 like the Spanish belles — or flirting without fans, 
 as sometimes happens to ladies of all nations. 
 
 The time which any lady give-; to ornamental 
 needle-work is usually made up of those leisure 
 moments which would be lounged away on a sofa. 
 or in a rocking-chair ; and it is wonderful how 
 many pretty objects start into existence, that, but 
 for this taste, would be dreamed away into no- 
 thingness. 
 
 Of course, no person of well-regulated intellect 
 would make a business of this graceful accom- 
 plishment, unless compelled to exercise it for a sub- 
 sistence. We advocate it simply as an amuse- 
 ment, like all recreation, to be indulged in only 
 when the more serious duties of life are disposed 
 of. But it has advantages not always recogni- 
 zed. Many a fine eye for colors has been culti- 
 
12 
 
 NEEDLEWORK AND ITS HISTORY. 
 
 vated into artistic perfection, by the nice discrim- 
 ination necessary to assort the tints of a worsted 
 rose. Grouping may be learned from a close 
 study of patterns, and a thousand charming as- 
 sociations may be woven in with the forget-me- 
 not or heart's-ease, which we have wrought trem- 
 blingly into the canvass, which a beloved eye 
 was gazing upon. 
 
 Without a gift for needle-work, what should 
 we ladies do for appropriate mementoes for our 
 brothers, husbands, and friends, at Christmas 
 time, and when birthdays come round, sounding 
 their yearly remembrances upon our heart- 
 strings ? What should we do for wedding cush- 
 ions, and christening robes, when our favorite 
 cousins insist upon becoming heads of families, 
 and useful members of society? What excuse 
 ehould we have for casting down our eyes, when 
 
 other people's eyes become troublesome ? Every 
 lady knows how many heart-tremors can be car- 
 ried off in a vigorous twist of the crotchet-needle ; 
 how many pleasant words may be innocently 
 received in a sensitive heart, when all its defen- 
 sive faculties are busy counting stitches ? In 
 short, we persist in it, that a feminine character 
 cannot be quite perfect without a knowledge of 
 all sorts of needle-work, and a down-right hearty 
 love of it, too. For our part, we have buried 
 many a heart-ache in the growing leaves of a 
 silken rose, and blunted the sharp edge of pangs 
 that would not be wrestled with by the sweet, 
 calm monotony of a shining bit of steel. 
 
 The delightful art of netting produces not only 
 objects of beauty but of comfort so indispensable 
 in our severe winters, that the fair hand employ 
 ed in netting may be deemed useful as our grand- 
 
NEEDLEWORK AND ITS HISTORY. 13 
 
 mothers' were when they seamed enormous quan- at odd moments, from Berlin wool, by the fair 
 
 tities of yarn away in winter socks and stockings, hands of those who intend to present or wear 
 
 In our cold seasons, when parties most prevail, them. Besides, the fabrication of these articles is 
 
 sleeves, cuffs, rigolettes, and over-shoes of deli- a pretty accomplishment that possesses a social 
 
 cate Berlin wool, have saved many a fair form value, independent of time well employed, and 
 
 from colds and their consequent diseases, which, comfort secured. 
 
 without such eare, prove so fatal when heated Knitting, crochet work, and the manufactory of 
 rooms are exchanged for the biting cold of a lace are so connected and interwoven together 
 winter's night. With soft warm cuffs, or over- that the history of one would be incomplete with- 
 sleeves, to draw over the arms, a snowy web of out the other. "We therefore go on from our fa- 
 netting and tassels upon the head, and shoes thick- miliar and pleasant talk about needlework as an 
 ly wadded with silk, drawn over the satin slippers, accomplishment and give its history as a matter 
 added to the usual wrappers, no lady need ex- of trade. In this point of view, lace making is the 
 pose herself to cold though the atmosphere be at most important, and indeed so connected with the 
 Zero and her dress of gossamer, with low neck rest that we give concise history of its rise and 
 and short sleeves. It is not always that fashion progress in the world. 
 
 blends so gracefully with taste and comfort, as it We have already spoken of needlework in its 
 
 does in these charming little trifles manufactured first rude condition, when uncouth figures and a 
 
U NEEDLEWORK AND ITS HISTORY. 
 
 barbarian taste for gorgeousness prevailed with- age as in our own — the idea should have present 
 
 out those powers that create harmonious beauty, ed itself to some tasteful eye of relieving the pat 
 
 After these rude attempts at a first step in the tern of the fabric with occasional spaces, either 
 arts, it is not wonderful that improvements were left wholly vacant, or filled up with a web-like 
 made, almost unconsciously, and that the innate ground work ? This would, in reality, constitute 
 genius that existed then as now in the female lace, however much it might differ from the deli- 
 bosom found at all times some imperfect means of cate material known by that name in the present 
 expression through the needle, which ended at last day. Whether the introduction of lace is refer- 
 in those stitches, that have since been combined in- ible to the classic ages or not, certain it is that a 
 to the fabric called lace. very respectable degree of antiquity may be 
 
 It is certain that neither labor nor ingenuity claimed for it. 
 was spared in the production of the magnificent It must be borne in mind that real or hand- 
 
 borderings for robes, often worked in gold and made lace is divided into two distinct classes : 
 
 silver and various colors, which are associated in first, that worked with the needle, which has for 
 
 our minds with the ancients on better grounds ages been known by the name of point, and is but 
 
 than mere tradition "What, then, is more proba- transparent embroidery; and secondly that made 
 
 bie than that, in the search for novelty and vane- on a hard cushion or pillow, by the interweaving of 
 
 ty — a.-; much an object of desire, no doubt, in that numerous fine threads wound on wooden bobbins. 
 
NEEDLEWORK AND ITS HISTORY 
 
 15 
 
 The latter method of lace making is comparatively 
 of modern invention ; so that in the early history of 
 the fabric it must be understood as referring sole- 
 ly to the point. During the earlier periods at 
 which the existence of lace is generally recognis- 
 ed, it was exclusively worked in conventual in- 
 stitutions, and applied to the adornment of church- 
 furniture and the state-vestments of the priests. 
 Had it been made in populous towns, and formed 
 an article of commerce, more satisfactory infor- 
 mation would have been here and there discover- 
 ed; but of those old isolated convents in Spain 
 and Italy, and of the habits and pursuits of their 
 inhabitants, little beyond vague tradition has de- 
 scended to us. There is every reason to suppose, 
 that during the thirteenth, fourteenth, and two 
 following centuries, the making of lace occupied 
 the same important position in the daily employ- 
 
 ments of the nuns, as the arts of copying illtimm 
 ating manuscripts, amongst the monks and friars. 
 
 It is singular that, in later years, the E 
 connected with the manufacture of old point-lace 
 have been lost to us; and that, although ingenious 
 imitations are by no means rare, the authentic 
 method of making it is quite unknown. The sub- 
 stratum used, or ' foundation,' as it is called, 
 would appear to have been fine linen, though 
 scarcely a thread is visible to the eye, from the 
 heavy embroidery upon it, which here and there 
 stands out in complete relief. The pattern con- 
 sisted of small sections of fantastic and varying 
 outlines ; now a rather unnatural imitation of a 
 flower, now some quaint arabesque or mechanical 
 form, resembling nothing in the world but itself. 
 These being distinct from each other, were unit- 
 ed by delicate fibres made with the still common 
 
16 
 
 NEEDLEWORK AND ITS HISTORY. 
 
 button-hole stitch ; and it is not easy for mere de- 
 scription to render justice to the beauty of the ge- 
 neral effect. It seems wonderful that so perfect a 
 result could have been attained by following the 
 impulse of the moment ; but still more difficult to 
 believe that any design could have been invented 
 so strange and capricious in character. As for the 
 untiring patience displayed in the execution, we 
 can only rejoice that it was believed to be in a 
 good cause ; that the pious nuns could not fore- 
 see the desecration to which, in the course of some 
 few centuries, their cherished productions were 
 to be subjected. When accident or necessity by 
 degrees alienated the more valuable adornments 
 of church-furniture, they were applied to secular 
 purposes ; and no doubt many a modern belle 
 may have unconsciously displayed in a ball room 
 a lace flounce which has adorned an image of the 
 
 Virgin, or sought ineffectual protection from a, 
 draught by drawing around her a mantle of old 
 point, which has witnessed from the shoulders of 
 a cardinal many a grand and imposing ceremon} r . 
 There are, of course, comparatively few specimens 
 extant of this very antique lace, properly descri- 
 bed as Spanish point ; and these few have in 
 most cases.been handed down to their possessors 
 as valued heir-looms from generation to genera- 
 tion ; regarded with as much honest pride by the 
 ladies of the line, as the more valuable portion of 
 the family heritage by their matter-of-fact hus- 
 bands. As the supply of old point can never be 
 renewed, and competition can never affect it, its 
 value naturally increases ; and when it can be 
 bought at all, it is only at a price that would be 
 deemed extravagant by any other than a genuine 
 lace-fancier. 
 
NEEDLEWORK AND ITS HISTORY 
 
 17 
 
 It was not until the latter part of the fourteenth 
 century, that the world at large was indulged 
 with more than an occasional glimpse of the 
 beautiful fabric when displayed in the great fes- 
 tivals of the Church; but by that time some 
 knowledge of the art had crept out of its holy 
 hiding-places, and had found its way amongst the 
 merchants of one or two continental cities, to 
 whom its novelty and beauty could not fail to re- 
 commend it as a subject of extensive and profita- 
 ble commerce. It is true, we do not hear of it at 
 .once as being in general use ; but Rome was not 
 built in a day, neither was point-lace to be pro- 
 duced at a wish. The hands that made it had to 
 be carefully instructed and exercised in their em- 
 ployment before any degree of perfection could 
 be attained, and then long and unwearyingly had 
 they to pursue it before even the wealthier classes 
 
 of society, to whom alone it was attainable, cou\d 
 be adequately supplied. We meet with most 
 frequent allusion to Venice, that great bazaar of 
 the luxuries of the middle ages as the chief seat 
 of the point-lace manufacture in early times. As 
 this city certainly monopolised the most skilful 
 artisans in every branch of oi'namental handicraft, 
 and was the great emporium whence everything 
 beautiful and costly was spread over the world, 
 it is by no means extraordinary that the establish- 
 ment of lacemaking in other countries should be 
 generally referred back to some wandering band 
 from the city of the winged lion. 
 
 The character of the lace worn during the fif- 
 teenth and sixteenth centuries differed in some 
 respects from the conventual point, if it mav be 
 so termed. It was less massive, and although, 
 certainly, exhibiting no deficiency of work, did 
 
18 
 
 NEEDLEWORK AND ITS HISTORY. 
 
 not display that superabundance of adornment 
 which distinguished the chiefs-d'oeuvre of the holy 
 sisterhoods. This is easily accounted for by the 
 circumstance, that the one kind was made for 
 money by those whose bread depended on the 
 work of their hands, whilst the other was the 
 chosen occupation of leisure hours, and an out- 
 ward demonstration of heart-service. 
 
 Brussels, which has during several centuries 
 maintained a reputation wider and more extended 
 than any other place, may certainly in the pres- 
 ent day be said to support and, if possible, ex- 
 tend the renown of its lace ; of this there are two 
 distinct varieties, easily recognisable by the initia- 
 ted in such matters. The more valuable and 
 beautiful kind is that called pointe a V aiguille, 
 or, more commonly, Brussels point; it is worked 
 wholly with the needle, and is, as its name im- 
 
 plies, a very refined descendant of the ancient 
 family of the points. It was very much in 
 vogue among the wealthier classes in England 
 during the reigns of Charles I. and several sue 
 ceeding monarchs, and has been immortalised in 
 Vandyck's portraits of the martyr-king, under 
 the form of the beautiful pointed collar and cuffs 
 which were dignified by the name of the artist. 
 Fashion has, in this case, been more constant 
 than usual, since the taste for Brussels point has 
 continued so decidedly among us, that we still 
 monopolise a large proportion of the whole 
 quantity made ; the other variety, called Brussels 
 plait, being more extensively used in France 
 Spain, Russia, and other countries. In the latter 
 description of lace, the flowers for the pattern 
 are made separately on the pillow, and afterwards 
 attached to net. It differs, in fact, but little from 
 
NEEDLEWORK AND ITS HISTOR1. 
 
 '3 
 
 the best English Homton, ot wmcn i shall speak 
 hereatler. 
 
 In the lace called Mechlin, made at Malines 
 and Antwerp, there are some of those nice dis 
 tinctions which render an account of the various 
 productions of Brussels unavoidably rather com- 
 plicated. Mechlin lace is made entirely on the 
 pillow, and in one piece ; it can therefore be ap- 
 plied only to articles of limited size. Lappets or 
 trimmings are the forms under which we gener- 
 ally see it ; and in these the exquisite delicacy of 
 its texture can be thoroughly appreciated. The 
 chief peculiarity consists in the filmy lightness of 
 the ground, and in a thick plait-thread, as it is 
 called, following the outline of the pattern, and 
 
 * 
 
 giving the effect of embroidery. 
 The next class of Belgian lace, called generally 
 
 Valenciennes, will be familiar to most of our rea- 
 ders ; but they may be scarcely aware that the con- 
 tributions of each of the six towns in which it is 
 chiefly made offer some distinctive peculiarity, 
 which would enable a person accustomed to com- 
 pare them to decide with certainty upon their 
 birthplace. The finest description is that which 
 comes from Ypres. This town is acknowledged 
 to excel in laces of the finest square ground and 
 in the widest and most expensive kind ; its pro- 
 ductions have been known in some instances to 
 produce as much as L.50 the yard. 
 
 Although Caen and Bayeux were the princi 
 pal seats of the blonde manufacture in France, 
 a variety was originated at Chantilly, which was 
 brought to a higher perfection than any other, 
 and was proportionably higher in price. It was 
 
NEEDLEWORK AND ITS HISTORY. 
 
 extensively worn in England about thirty years 
 ago, but is now almost traditionary here. The 
 peculiarity of Chantilly blonde consisted of the 
 rich close pattern, which contrasted with the 
 filmy lightness of the ground. It was chiefly 
 woven for veils, which then differed a good deal 
 from our present idea of them : they were simply 
 squares surrounded by one of these deep heavy 
 borders of irregular outline, and also flowered 
 over in the centre, and were thrown over the bon- 
 net, completely enveloping the head and shoulders 
 of the wearer. This description may be recog- 
 nised by any one who has ' assisted,' as the 
 French say, at the bringing to light of those 
 treasures of by-gone days consigned by the chan- 
 ges in taste and fashion to the darkness and ob- 
 livion of a lumber-room. Among such articles 
 
 would be most likely included a Chantilly veil of 
 gigantic dimensions, or a collar of proportionate 
 magnitude. But although the general rage for 
 Chantilly has long past away, it is still used in 
 small quantities, and is made of exquisite beauty, 
 as if thereby to retain with the very fastidious 
 the favor it has lost among the great body of lace- 
 wearers. 
 
 We should be charmed to proceed with this 
 history of lace making, till the subject exhausts 
 itself, but our present book deals with it only 
 so far as it throws light upon and is connected 
 with the branch of art particularly under con- 
 sideration. Crochet work has now become a 
 branch of lace making to a considerable extent, 
 even in our country, where it has been exclusive- 
 ly held as an accomplishment. But however 
 
NEEDLEWORK AND ITS HISTORY. 
 
 21 
 
 charmed we may be with the subject, a regard 
 for space must prevent us running off into a dull 
 essay instead of giving the ways and means by 
 which this particular class under consideration is 
 to be fabricated — as a bad example to new -be- 
 
 ginners, for if they indulge in such deviations 
 among the stitches the workmanship will be a 
 failure, we can assure them. But now we begin 
 in sober earnest to explore the complicated mys 
 teries of Crochet work as an art. 
 
INTRODUCTION. 
 
 •IN commencing our instructions in Crochet- 
 J Work in all its variations, we supply what cer- 
 tainly is a great want in the American House- 
 hold, where some sort of fancy work is essential 
 to the completion of those domestic circles which 
 render an American home so cheerful. In giving 
 those general directions regarding terms and 
 stitches, which will, we trust, prove acceptable, 
 we have endeavored to be as concise and clear as 
 the nature of the subject will admit. 
 
 " The Ladies' Complete Guide to Crochet and 
 Needlework" may therefore be , regarded as a 
 compendium both of choice and accurate receipts 
 and of clear elementary instruction. 
 
 We will begin by giving those which are re- 
 quired for Crochet, and beg our fair readers to 
 re;V-r to them on any future occasion of doubt or 
 difficulty. 
 
 Chain Stitch (abbreviated into ch.) is the foun- 
 dation stitch in crochet. A loop of thread 
 
 made on the hook, and through this the thread 
 is drawn, forming the first chain stitch ; draw 
 the thread through this one, and a second is 
 formed. Continue the process until you have 
 done the required number. 
 
 Slip Stitch (si.) is a stitch chiefly used for the 
 veinings of leaves, and similar parts, in imitations 
 of Honiton lace. It serves, also, to cany the 
 thread from one part to another, without either 
 breaking it oflf or widening the work. Insert the 
 hook in the stitch nest to that already on the 
 needle (unless the directions particularly say, miss 
 so many,) and draw the thread at once through 
 both stitches. Repeat. 
 
 Single Crochet (sc.) — Insert the hook in the 
 chain, and draw the thread through it ; this 
 forms a second loop on the hook. Draw the 
 thread through these two by a single movement 
 aud the stitch will be completed. 
 
INTRODUCTION. 
 
 Double Crochet (dc.) — Raise the thread over 
 the hook, so as to pass it round, before inserting 
 the latter in the chain ; draw the thread through, 
 and you will find three loops on the hook ; bring 
 the cotton through two, which makes one instead 
 of those taken off. Thus two are still on the 
 needle ; nnish the stitch by drawing the thread 
 through these. 
 
 Treble Crochet (tc.) is a stitch precisely 
 similar to the last ; but as the thread is passed 
 twice round the hook before the insertion of the 
 latter in the chain, there will be four loops on, 
 when the thread is drawn through. Bring the 
 thread three times through two loops to finish 
 tile stitch. 
 
 Loxg Treble Crochet (1 tc.) has the thread 
 twisted three times round the hook, before it is 
 passed through the chain ; consequently, it will 
 require the thread to be drawn four times 
 through two loops to finish the stitch. 
 
 To work through a stitch, is to draw the thread 
 under instead of in it. This is stronger than the 
 usual method, but not so neat ; it is, therefore, 
 rarely used for anything but very open work. 
 
 Square Crochet is that which is made en- 
 
 tirely in small squares, those which form the 
 pattern being closely filled in, and the ground 
 open. Open squares are formed thus : 1 dc. 2 
 ch., miss 2, repeated. Close squares contain 
 three dc. stitches, thus : 1 c. 1 o., would 
 4 dc. 2 ch. Every pattern in square crochet 
 requires a foundation chain of stitches which can 
 be divided by three and leave one over ; as it - 
 obvious that if an open square were the last on 
 the pattern, a dc. stitch would be required to 
 form the square at the end. 
 
 Sometime? a very large piece of work ma 
 made in treble square crochet. In this work, a 
 close square of 4 tc. stitches; an open square, I 
 tc. 3 ch. miss 3. This style requires the pattern 
 to be divisible by four, with one stitch over. 
 
 The stars, dagsrers. and asterisks used in print- 
 ing knitting and crocket receipts signify that 
 any stitches given between two similar marks 
 are to be done as many times as dir ..us, 
 
 X 3 dc. 2 ch. X three times, means 3 dc 2 
 3 dc. 2 ch., 3 dc. 2 ch. 
 
 AVhen one repetition occurs within another 
 italics are used at each end of the part. * 1 p. 
 
24 
 
 HONITON LACE COLLAK. 
 
 2 k. 1 p. 1 k. (a) m. 1, k. 1 (a) 6 times * 8 times, 
 means that one complete pattern being finished, 
 when you have made 1, knitted 1, 6 times, 
 
 8 of those patterns, beginning again each time 
 at the first *, will be required tor the round 
 or row. 
 
 HOIITOI LACE COLLAR, 
 
 [Fig. 1.] 
 
 The same sprigs and edgings may be used for 
 a Bertha, or Veil, as they are complete in them- 
 selves, and only require to be tastefully grouped 
 and lightly sewed on Italian net, already cut into 
 the form required. 
 
 Materials. — Crochet cotton, No. 60 ; crochet 
 hook, No. 24 ; eagle cardboard guage. 
 
 For the Border. — Make a chain of the length 
 required, taking care that there are so many 
 sevens and two over. 2 so. on eh. X 5 ch., miss 
 5, 2 sc. on 2 ch. -j- repeat. 
 
 2nd Bow. — 2 sc. on the other side of the 
 chain, X 2 dc. 3 tc, 2 dc, in 5 ch., 2 sc. on same 
 2 ch. that were worked in the last row -f- repeat. 
 
 3rd Bow. — 2 slip on 2 sc. -f- 1 sc. 3 dc, 1 sc. 
 on 5 ch. 1 slip on sc. ; make a chain of 12, close 
 for a loop, and work round in sc, 1 slip on 
 second sc stitch -f- repeat. Do not make the loop 
 of 12 at the last pattern. 
 
 For the small Sprigs. — 16 ch. close in 5th 
 for a loop, leaving a stem of four ; work round 
 the loop in sc, 2 ch. in continuation of stem, 18 
 ch., close for loop, round which work thus : 3 ch., 
 miss 2, sc. on 3rd, 3 ch., miss 2, dc. on 3rd, X 3 
 ch., miss 1, dc on 2nd -j- twice, 3 ch., miss 2, dc. 
 on 3rd, 3 ch. miss 2, sc. on 3rd, 3 ch., miss 2, 
 slip stitch at the close of the loop ; work round 
 in dc and down the 6 ch. of the stem. 
 
HONITON LACE COLLAR. 
 
 25 
 
 The large Sprig. — 30 ch., close for a loop, 
 and work round it thus : 1 si., 2 sc. clc. all the 
 rest but 3; 2 sc, 1 slip. Turn the work on the 
 wrons 1 side ; 16 ch., miss 3, slip on 4th, -f- 4 slip 
 on the last 4 of the chain ; 16 ch., miss 4, slip on 
 5th, -\- 5 times ; 4 slip on last 4 of the 16 ; 12 ch., 
 miss 3, slip on closing stitch ; work all round 
 these loops in dc, except the first and last 
 stitches of each loop, which must be sc. This 
 completes the flower: 16 ch., on which work 
 back, 1 sc. -\- 2 dc. in one chain, -f- 4 times, 1 do, 
 9 ch., 1 sc, 7 dc on the 9 ; 1 dc. 1 to., in next 
 chain of 16; 1 dc, in next; 1 sc. in next; 1 
 slip in next; slip back on the last 3 stitches; 
 6 ch., on which I slip, 1 sc, 8 dc (the last of 
 which will come on the 16 ch.) ; 2 sc, 1 slip, 
 leaving 2 ch. for the stem, 8 ch. 
 
 Shamrock. — 21 ch., join in 7th for ioop, and 
 Blip 4 on the last 4 ; 11 ch., join to the stitch 
 which closed the loop; slip back 4 as before t 
 
 11 ch., join at the close of the loop, and work 
 round in sc, also 6 sc on stem ; 26 ch. flip 11 , 
 leaving 14 for stem; work round the 11 tl 9: 
 1 slip, 1 sc, 7dc, 1 sc. 1 slip, on each Bide, which 
 forms a close leaf; repeat leaf, with 8 ch. 
 for stem instead of 14 ; then another leaf c 
 to it; 8 sc. on 8 ch. of stem ; repeat the leaf* 
 7 sc on stem ; repeat the shamrock; 7 sc. on 
 stem; repeat the leaf, making a ch. of 1 4 inr 
 of 12 ; work in sc. to the base of the flower ; 
 fasten oft". 
 
 Honiton lace sprigs and edgings must be 
 finished by running the ends of thread at the 
 back with a fine sewing needle, and then cutting 
 them off. 
 
 To make hemstitch for the neck, make a 
 chain the required length, and work thus: 2 ch. 
 miss 1, 1 dc This gives the circular forna requi 
 «H.e for *he neck of a collar 
 
2G 
 
 PASSION FLOWER IN CHENILLE. 
 
 PASSION FLOWER IN CHENILLE 
 
 (Pig. 2.) 
 
 Materials. — One piece of green chenille, of a 
 medium tint ; one of a very delicate green ; one 
 of violet ditto ; and a small quantity of rather 
 stout liteaux. This last is a kind of fine wire, 
 used in making up flowers, &o. The chenille is 
 the fine kind termed chenille a brocler. Crochet 
 hook, No. 14. 
 
 Cut a piece of liteaux, about a quarter of a 
 yard long ; make a loop at one end of it, occupy- 
 ing an eighth of the whole length, and twist the 
 wire, to keep the round perfect; on this loop 
 work 16 dc. stitches with the lightest green or 
 white chenille, and on these another round of dc. 
 stitches. Repeat this seven times more ; so that 
 on the length of liteaux eight of these petals are 
 formed. When all are done, twist together the 
 ends of every two, and fasten them thus on a 
 
 piece of liteaux, as close together as possible. 
 Then prepare the stamens and pistil. Twist 
 some short pieces of liteaux, into a form as nearly 
 as possible resembling that of the natural pistil, 
 which, it will be remembered, has three branch- 
 ing arms. Cover this with pale green chenille. 
 The stamens are short pieces of liteaux, some 
 covered with violet, and some with green ohe- 
 mlle : they are to be made of different lengths, 
 and the ends to be twisted round that of the 
 pistil, so that they may surround it. Then make 
 a small ring of liteaux, put it round the stamens 
 and pistil, and cover it with violet chenille, 
 when the centre of the flower is completed. Put 
 round it the liteaux with the eight petals attached, 
 so that the ring of violet covers the joins. Work 
 on a small wire ring two rounds of dark green 
 chenille for the calyx, in which place the flower 
 
PASSION FLOWER IX CHEXILLE. 
 
 21 
 
 Twist the ends all together, to form a stem, and 
 cover it with chenille of the same color. 
 
 For the Bud. — "Work 20 tc. stitches with the 
 light green chenille on a bit of liteaux, laying in 
 another piece of wire at the edge. Draw the 
 stitches rather together, so as to form a cup, in 
 which put a morsel of cotton wool. Work on 
 another bit of liteaux 1 6 dc. stitches with dark 
 green chenille ; twist the ends together, drawing 
 the wire into the form of a leaf. Four of these 
 make the calyx which is to surround the bud. 
 Twist the ends together, and cover the stem so 
 formed with chenille. 
 
 The Leaves. — Twist a piece of liteaux large 
 enough to form the centre of a leaf, and work 
 
 round it in dc. with the darkest green chenille, 
 taking care to make your stitches very close 
 together. Work round this another row of the 
 same chenille, with a bit of very fine wire in the 
 edge. Do all in dc. except the first and last 
 stitches, which must be in sc. Twist the ends of 
 the wires for a stem, and cover with the same 
 shade of chenille. If these artificial dowers are 
 to be used for a head dress, four of them must be 
 made, and a sufficient number of leaves to form 
 a drooping branch on each side of the hair. For 
 a bonnet, they may be formed into a group. 
 
 To make a wreath of the present style, unite 
 the two sprays by either a coronet of leaves, or a 
 plait of lilac chenille. 
 
 For dark hair, make flowers of scarlet chenille 
 instead of lilac. 
 
23 
 
 CARD BASKET IN CROCHET. 
 
 CAKD BASKET IN CROCHET 
 
 [Fig. 3.1 
 
 Materials. — Rich blue Berlin wool, two 
 ounces; gold colour and scarlet filoselle, three- 
 quarters of an ounce each ; fine window cord ; 
 Bone crochet hook. 
 
 Burin with the cord as small a round as you 
 can for the commencement of the stand, and con- 
 tinue to work in it, round and round, until all 
 the fiat part of the basket is done, all in sc. 
 
 1st round. — 12 stitches, blue 
 
 2nd.— IS ditto 
 
 3rd. — 24 o'ltu. 
 
 
 
 4th.— 36 ditto. 
 
 
 
 5th. — 1 gold, 3 
 
 blue, 2 goid, 
 
 3 biue, 1 gold. 
 
 4 times. 
 
 
 
 6th.— 1 gold, 4 
 
 blue, 2 gold, 
 
 4 biue, 1 gold, 
 
 4 times. 
 
 
 
 7th.— 2 gold, 5 
 
 blue, 3 gold, 
 
 5 blue, 1 gold, 
 
 4 times. 
 
 
 
 8th. — 4 gold (the 1st on the 1st of last row,) 
 
 1 blue, 7 gold, 1 blue, 3 gold. 4 times. 
 
 9th. — 2 gold, 2 scarlet on 1 gold, 3 gold (the 
 centre on the single blue,) 2 scarlet on 1 gold, 
 
 3 gold on 3 gold, 2 scarlet on 1 gold, 3 gold, 
 
 2 scarlet on 1 gold, 1 gold. 4 times. 
 
 10th. — 1 gold on 1st gold of last row, 3 scar- 
 let on two stitches, 5 gold, 3 scarlet on 2, 1 gold 
 on centre of 3 gold, 3 scarlet as before, 5 gold, 
 
 3 scarlet. 4 times. 
 
 11th. — 2 gold on 1, 4 scarlet, 4 gold on 3, 
 
 4 scarlSt, 2 gold on 1, 4 scarlet, 4 gold on 3, 
 
 4 scarlet. 4 times. 
 
 12th.— 3 gold on 2, 4 scarlet, 3 gold on 2, 
 4 scarlet, 6 gold, 4 scarlet, 3 gold on 2, 4 scarlet, 
 3 gold on 2. 4 times. 
 
 Thus it will be perceived, the written instruc- 
 tions are for one exact quarter of each round. 
 
BORDER FOR A QUILT— KNITTED EMBROIDERY. 
 
 20 
 
 After having done the hist round, do one entirely 
 of scarlet ; cut off the cord at the end of the 
 round, and work a few stitches to conceal the 
 termination of it. 
 
 For the Sides of the Basket. — The rounds 
 alternately blue and gold. 
 
 1st Round. — 1 do., 3 ch., miss 1 ; repeat. 
 
 2nd — 1 dc. on centre of 3 ch., 3 ch., miss 3. 
 
 3rd. — As last, with 4 ch. between. 
 
 4th. — Repeat, with 5 ch. between. 
 
 5th.— As 4th. 
 
 6th. — 5 dc. on 5 ch., 1 ch., miss 1 ; repeat 
 
 7th. — Sc. all round, with cord in as in the first 
 part. 
 
 8th. — 3 sc. on 3 centre of 5, 9 ch., mi 
 repeat. 
 
 9th. — To be worked on the same row as the 
 last, 3 sc. on the 3 missed, 9 ch., miss 3 ; repeat 
 Work these two rows in different colours, and 
 form a band of wire, covered with ribbon or 
 crochet, to correspond ; conceal the fastening 
 with bows 
 
 #**/^# v*s/WW 
 
 BORDER FOR AN EMBROIDERED aUILT. 
 
 [Fig. 4.] 
 
 KNITTED EMBROIDERY. 
 
 Materials — Knitting cotton, white and ingrain 
 pinks, No. 12; knitting needles, No. 15; eagle 
 card-board guage. 
 
 Knitted Embroidery, of w 7 hich the engraving 
 shows a very simple specimen, is a very novel 
 and beautiful style of work. In w r ool, its effect 
 
 rivals that of the costly chenille, with the advan , 
 tage of being washable; and now that cottons 
 are dyed of such exquisite colors, they are also 
 very suitable for it. 
 
 With the white cotton cast on 16 stitches, and 
 purl a row. 
 
30 CROCHET EDGING 
 
 1st.— W. : k. 2, m. 1, k. 2 t, k. 3, X k. 1 P., 1 7th.— W. : k. 2, m. 1, k. 2 t., X k. 1 P., 1 W., 
 
 W., 1 P., X W. k. 4, m. 2, k. 2. 1 P., 3 W., 1 P., 1 W., 1 P., X W., k. 2 t., m. 
 
 2nd.— W. : k. 3, p. 1, k. 1, p. 3, X p. 1 P., 1 2, k. 2 t., k. 2 t. 
 
 W., 1 P., X white p. 3, k. 4. 8th.— W. : k. 3, p, 1, k. 1, X p. 3 P., 3 W., 3 
 
 3rd.— W. : k. 2, m. 1, k. 2 t., k. 5, X k. 3 P, P., X W., k. 4. 
 
 X k. 8 W. 9th.— W. : k. 2, m. 1, k. 2 t, k. 1, X k. 1 P., 
 
 4th.— W. : k. 2, m. 2, k. 2 t., k. 1, p. 4, X p. 1 5 W., 1 P., X W., k. 5. 
 
 P., X W., p. 4, k. 4. 10th.— All White : cast of 2, k. 2, p. 9, k. 4. 
 
 5th. — All white: k. 2, m, 1, k. 2 t, k. 12, p. 1, Repeat the pattern to the length required. 
 
 ' 6th.— W. : k. 6 X p. 1 P , 1 W 1 P , 3 W., • + + Between these marks only the colors intermix - 
 1 P., 1 W.," 1 P., X k. 4 W. "' 
 
 CROCHET EDGING- 
 
 [Fig. 5.] 
 
 Like all otnet crochet patterns, the size depends ommend Crochet cotton, No. 10, and steel croch- 
 
 wholly on the materials employed. For dress et hook, No. 14. 
 
 trimmings, No. 30 Crochet cotton, with crochet Make a chain of 15 stitches, and sc. into the 
 
 hook No. 19, will be suitable; or even tiner cotton 6th of these to make a loop. Work under the 
 
 may be used. But this pattern being particularly upper half of this loop 8 sc. ; 11 ch. 5 form this 
 
 suitable for trimming curtains and so forth, I rec- loop as before, leaving one chain between it and 
 
PUNCH'S ANTI-MACASSAR 
 
 31 
 
 the last ; work 8 sc. in it ; do three more with 1 > 
 ch., then one with 15, and so on throughout. 
 When sufficient is done for the piece required, 
 allowing for its diminishing by one-third, work 7 
 sc. on the other side of every round, and 1 sc. 
 between. On the live chain between every live 
 work 2 sc. 
 
 3rd Row. — Begun at the same place as the 
 last. 3 sc. on the three centre stitches of the 
 first loop, 2 ch., 2 sc. on the centre stitches of 
 the next 3 loops, with 2 chain between, 3 sc. on 
 
 the lr,st of the live, and 4 chain between ; repeat. 
 
 4th. Worked the same way. 3 sc. on the 3 sc. 
 of last row, 13 ch., 3 sc. on 3 sc. of the filth loop, 
 4 sc. on 4 ch : repeat. 
 
 5th. — 1 dc, 1 ch., miss 1 ; repeat. 
 
 6th. — Sc. throughout. 
 
 When this is done, work with a common needle 
 and thread three bars of button-hole stitch, to 
 connect the three centre loops, us seen in the en- 
 graving. 
 
 WAV//AW«~ 
 
 PUNCH'S ANTI-MACASSAR. 
 
 [Fig. 6.] 
 
 Materials. — Crochet cotton, No. 10; crochet 
 hook, Nc. 15; eagle card-board guage; 136 ch. 
 The first four rows in open square crochet. 
 5th.— 19 o., 1 c, 25 o., 1 dc. 
 6th. — 16 o., 4 c, 7 o., 1 c, 17 o., 1 dc, 
 
 7th. — 16 o., 4 c, 4 o., 4 c, 17 o., 1 dc. 
 8th. — 17 o., 1 c, 1 o., 1 c, 4 o., 4 c, 17 o., 1 dc. 
 9th. — 18 o., 1 dc, 1 ch., 5 dc, 5 o., 1 dc, 1 ch., 
 6 dc, 1 ch., 17 o., 1 dc. 
 
 10th. — IS o., 3 c, 3 o., 4 c, 17 o., 1 dc. 
 
?J5 PUNCH'S ANTI-MACASSAR. 
 
 11th.— 13 o., 1 da, 1 ch., 6 da, 1 ch., 1 o., 28th.— 16 6., 47 do., 1 oh., 13 a, 1 Q. 
 
 1 dc, 1 ch., 11 dc, 2 ch., 2 ch., 1 dc, 1 dc, 29th.— Like 28th. 
 
 2 ch., 4 a, 17 a, 1 dc 30th.— 16 a, 48 dc, 2 ch., 12 a, 1 dc. 
 
 12th.— 13 o., 3 a, 2 o., 3c 2 a, 4 a, 18 o., 31st— 16 o., 1 dc, 1 ch., 29 dc, 2 ch., 16 c. 
 
 1 dc. 2 ch , 12 o., 1 dc 
 
 13th.— 12 o , 1 dc, 1 ch., 12 dc, 1 ch., 1 dc, 32nd.— 14 o., 35 dc, 1 ch., 1 o., 1 dc, 1 ch., 
 
 2 ch., 13 dc, 2 ch., 1 1 dc, 1 ch., 18 o., 1 dc 14 dc, 2 ch., 12 o., 1 dc. 
 
 14th.— 12 o., 1 dc. 1 ch., 41 dc, 2 ch., 18 o., 33rd.— 14 o., 34 dc, 2 ch., 2 o., 13 dc, 2 ch., 
 
 1 dc. 12 o., 1 dc. 
 
 15th.— As 14th. 34th.— 15 o., 31 dc, 2 ch., 2 o., 13 dc, 2 ch., 
 
 16th.— 13 a, 43 dc, 2 ch., 17 a, 1 dc 12 o., 1 dc 
 
 17th.— 14 a, 43 dc, 2 ch., 16 o., 1 dc. 35th.— 16 o.,'31 dc, 2 ch., 1 o., 13 dc, 2 ch., 
 
 18th. — 14 a, 46 dc, 2 ch., 15 o., 1 dc 12 o., 1 dc. 
 
 19th.— 14 o., 1 dc, 1 ch., 47 dc, 2 ch., 14 o., 36th.— 15 a, 37 dc, 2 ch-, 1 dc, 1 ch., 9 dc, 
 
 1 dc. 1 ch., 13 o., 1 dc 
 
 20th.— 15 a, 46 dc, 2 ch., 1 4 o. 1 dc 37th.— 12 o., 7 dc, 2 ch., 37 dc, 2 ch., 1 dc, 
 
 21st.— 15 o , I dc, 1 ch., 44 dc, 2 ch., 14 o., 2 ch., 7 dc, 2 ch., 13 a, 1 dc. 
 1 tic 38th. — 12 a, 34 dc, 2 ch., 1 dc, 2 ch., 5 dc, 
 
 22nd. — 1 1 o., 57 dc, 1 ch., 14 o., 1 dc. 1 ch., 2 o., 5 dc, 1 ch., 14 o., 1 dc. 
 
 23rd. — 15 o., 61 dc, 2 ch., 9 o., 1 dc 39th.— 12 o., 37 dc, 2 ch., 20 a, 1 dc. 
 
 24th.— 16 o., 46 dc, 2 ch., 13 a, 1 dc 40th.— 13 o., 34 dc, 2 ch., 20 o., 1 dc. 
 
 25th.— 16 o., 1 dc, 1 ch., 45 dc, 1 ch., 13 a, 41st.— 14 o., 10 dc, 2 ch., 16 dc. 2 ch., 21 c, 
 
 1 dc 1 dc. 
 
 26th.— 17 a, 44 dc, 1 ch., 13 a, 1 dc. 42nd,— 14 o., 1 dc, 1 ch., 35 dc, 2 ch., 18 o 
 
 27th.— 18 o., 41 dc, 1 ch., 13 o., 1 dc. 1 dc. 
 
DEEP LACE IN CROCHET. aZ 
 
 43rd. — 15 o., 32 dc, 1 cli., 19 o., 1 dc. 55th to 58th inclusive, in open square?. 
 
 44th.— 14 o., 34 dc, 2 ch., 19 o., 4 dc. 
 
 45th. — 15 o., 28 dc, 2 ch., 20 o., 1 dc. Border for the Anti-Macassar, which rrrust 
 
 46th. — 16 o., 25 dc, 2 ch., 20 o., 1 dc have a row of sc. up each side previously done 
 
 47th. — Like 46th. to fasten in the threads. 
 
 48th. — 17 o., 22 dc, 2 ch., 20 o., 1 dc. 1st, — 1 dc over dc, of the Anti-Maeapear, > 
 
 49th. — 18 o., 19 dc, 2 ch., 20 o., 1 dc. 2 ch., 7 dc. in nextdc, 3 ch., 1 dc in same stitch. 
 
 50th. — 18 o., 19 dc, 2 ch., 1 dc, 2 ch., 7 dc, X; repeat all round. 
 
 eh., 16 o., 1 dc 2nd. — Sc. in the centre of the 3 ch. of last 
 
 51st. — Like 50th. round, X 9 ch., sc in centre of the next, X ; re- 
 
 52nd. — 19 o., 16 dc, 2 ch., 1 dc 2 ch., 4 dc, peat. 
 
 ch., 17 o., 1 dc 3rd — X Sc on 1st of 9 ch-, 3 ch., miss 2, 1 dc 
 
 53rd. — 20 o., 19 dc, 2 ch., 18 o., I dc on 3rd, 4 ch., miss 1, 1 dc. on 2nd. 3 ch., miss 2, 
 
 54th. — 21 c, 13 dc, 2 ch.. 19 o., 1 do 1 sc. on the last of the 9, X; repeat. 
 
 DEEP LACE IN CROCHET. 
 
 [Fig. 7.] 
 
 for anti-macassars, etc 
 
 Materials. Crochet cotton, No. 12 ; crochet Make a chain the required length. 
 hook. No. 14 or 15. 1st Eow in sc. 
 
34 
 
 TATTED INSERTION 
 
 2nd.— 1 tc, 1 ch., miss 1 , repeat. 
 
 3rd. — 1 dc, 7 ch., miss 3, do. in 4th; repeat. 
 
 4th. — X Sc. in centre of 7 ch., 7 ch., X ; repeat. 
 
 5th, 6th, and 7th. — Like 4th. 
 
 8th. — f Sc. in centre of 7 ch., X; 9 ch., sc. in 
 same stitch, X twice 3 ch., miss 3, dc. on 4th. 
 3 ch, miss 3, f ; repeat. 
 
 9th. — Sc, miss every sc. stitch of last row. 
 
 10th. — X. sc. on point of the next loop, 3 ch., 
 sc. on point of the next loop, 7 ch., X repeat. 
 
 11th. — f Sc on cent-re of 7 ch., X. 9 ch., sc. .n 
 same stitch, *-|- twice 9 ch., f ; repeat. 
 
 12. — f 9 sc. on 9 ch. ; then, on the first 
 loop of 9, work 1 sc , 2 dc, 6 tc, 2 dc, 1 sc. : 
 then make the flower thus: 12 ch., slip in '6th 
 for a loop, X 5 ch., 1 sc. under loop, X 4 times; 
 work these 4 loops in sc, missing all the previous 
 sc. stitches, then the 5 ch. that were left of the 
 12 ; 1 sc, 2 dc, 6 tc. 1 sc on 2nd loop of 9, f ; 
 repeat. 
 
 **^J-*S* ^^yw*-~ 
 
 TATTED INSERTION. 
 
 |Fig. 8.] 
 
 SUITABLE FOR CUFFS, BANDS, ETC. 
 
 Materials. — White cotton braid, No. 9 ; Cro- this loop up, and leave a space as great as that 
 
 diet No 70, and tatting cotton, No. 3. indicated in the engraving before making the next. 
 
 For the Tatting — 6 double stitches: make a When a sufficient quantity of this is done, take 
 
 picot with a fine pin ; 3 double stitches, 1 picot, a piece of colored paper, rather longer than you 
 
 3 double stitches, 1 picot, 6 double stitches. Draw require the insertion to be, and on it rule two 
 
ANTI-MACASSAR. 
 
 3.', 
 
 parallel lines, an inch apart, and another exactly 
 between them. Take on the tatting 1 , allowing- it 
 to touch, alternately, each outer line ; then back 
 again in the same manner, so that the threads 
 cross at the centre lh_e, 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 fiu 
 ished with a row of Venetian edging. 
 
 *W>//////lWV«-. 
 
 ANTI-MACASSAR. 
 
 [Fig. 9.] 
 
 LAURESTINA LEAF PATTERN. 
 
 Materials — Crochet cotton, No. 8 ; knitting 
 needles, No. 1 3. 
 
 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, -f- m. 1, k. 1, m 1, k. 2, slip 1, k. , 
 t., pass the slip stitch over, k. 2, -f- twice for 
 every pattern, k. 3. 
 
 2nd. and every alternate. Knit the three first 
 and last stitches, and uud all the remaiuder. 
 
36 
 
 ANTI-MACASSAK. 
 
 3rd.— K. 3, + m. 1, k. 3, m. 1, k. 1, slip 1, k. 
 2 t. pass the slip stitch over k. 1. X twice for 
 each pattern, k. 3. 
 
 5th. — K. 3, + in. 1, k. 5, in. 1, slip 1, k. 2 t., 
 pass slip stitch over; X twice as before; repeat 
 and k. 3. . 
 
 7th.— K. 3, X m. 1, k. 2, slip 1, k. 2 t., pass 
 slip stitch over; k. 2, m. 1, k. 1.° X twice for 
 each pattern, k. 3. 
 
 9th.— K. 3, X k. 1, m. 1, k. 1, slip 1, k 2 t, 
 pass slip stitch over; k. I, m. 1, k. 3, m. 1, k. I, 
 slip 1, k. 2 t., pass slip eti+ch over; k. 1, m. 1, 
 k. 2 -f 5 repeat to tt ^t 3 k. 3. 
 
 11th.— K. 3, X k 2, in. 1, slip 1, k, 2 t., pass 
 slip stitch over; m. I, r. 5, in. 1, slip I, r. 2 t., 
 pass slip stitch over ; in. 1, k. 3, -f-; repeat to the 
 last, 3, k. 3. 
 
 13th.— K. 3, X* k. 2 t, k. 1, m. 1, k. 1, m. 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. 
 
 k. 2, k. 3 t, k. 2, m. 1, k. 1, m. 1, k. 2, k. 2 t 
 X. Repeat k. 3. 
 
 15th.— K 3, X 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. 2t.,+; 
 repeat, k. 3. 
 
 17th.— K. 2, k. 2 t., X m. 1, k. 5,-m. 1, k. 3 t, 
 X. 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, in. 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. 
 
NET FOB THE HAIR » 
 
 slip 1, k. 2 t, pass slip stitch over, m. 1, k. 5, m. 1, k. 1, m. 1, k. 2 t, k. 5, m. 1, k. 2 t., m. 1, 
 
 m. 1, k. 2 t, m. 1, k. 2"t., in. 1, k. 1. k. 2 t. m. 1. k 1. 
 
 6th. — Like 2nd. 8tb. — Cast off 5, purl all the remainder, except 
 
 7th. — Slip 1, k. 2, m. 1, k. 2 t., m. 1, k. 2 t., the last five, which knit plain. 
 
 NET FOR THE HAIR. 
 
 [Fig. 10.] 
 
 Materials. — Three good skeins of scarlet or 
 bkie 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. — X 1 tc. on the centre of the loop, 5 ch., 
 X repeat. 
 
 4th. — X 1 tc on centre of loop, 7 ch. X 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. Eepeat. 
 
 12th — X 3 tc on 3 ch., 3 ch., miss 3, + repeat. 
 
 13th — X 4 tc, 4 ch., miss 4, X repeat. 
 
 14th. — -f- 4 tc on 4 ch., 5 ch., miss 4, -f- repeat. 
 
 The elastic ribbon is to be run in the 11th 
 round, and tassels fastened to hang over the ear. 
 
 C 
 
 J . 
 
3* 
 
 BERLIN WORK AND CANVAS EMBROIDERY. 
 
 BERLIN WORK AND CANVAS EMBROIDERY- 
 
 It being: one of the chief objects of the Pro- 
 prietors 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 embroi- 
 dery 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 yreifer for all ordinary purpo.es 
 
 The open squares are very exact, and the threads 
 and selvage usually firm and strong. It is the 
 only kind tlBat is suitable for large pieces, or for 
 wreaths, or any tbin^ 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 
 tha' 1 ", of the faithful wife of Ulysses. As all trouble 
 of counting the threads is saved, it is very easy to 
 work on, but caa 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. 
 
BERLIN WORK AND CANVAS EMBROIDERY 
 
 39 
 
 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 co- 
 lored ones do not wear well. There are so many 
 diiferent 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 choser. according to its size, being 
 numbered much like cotton, according to the 
 number of threads in the inch. We seldom re- 
 quire a coarser size than No. 8, which contains 
 11 threads to the inch — 10 has 13, — and so onto 
 
 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, inter- 
 mingled 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 article? 
 floss silk is common, and chenille may be workec 
 on silk canvas with excellent effect, 
 
 Berlin wool may be used for almost any pur 
 pose ; for, if to 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. 
 
40 
 
 BERLIN WORK AND CANVAS EMBROIDERY. 
 
 Fleecy wool has been greatly inproved both in 
 texture and dye of late years, and may now be 
 ased 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 stron- 
 ger substance than Berlin; tne dark shades are 
 excellent for the ground of lar<re 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 ch.en.ille, 
 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 winch will 
 be defended by glass. The needle used for che- 
 nille should have round eyes, and be sufficiently 
 large to prepare a passage in the.satin or canvas 
 through which the chenille may pass without 
 •"jury 
 
 THE STITCHES USED IN BERLIN WORK. 
 
 There are but five stitches for canvas work, al 
 though 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 come* 
 and worked upwards. 
 
J 
 
BERLIN WORK AND CANVAS EMBROIDERY. 
 
 41 
 
 Four tent-stitches, just ocnpy the space of 
 one cross-stitch a tent-stitch being taken diagon- 
 ally from one space to the next above it to the left,. 
 
 Tent stitch and Cross Stitch are distin- 
 guished 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 irom one space to the next 
 diagonal one; in the second, one space is missed; 
 so that the stitches are alternately iong 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 pecu- 
 liarly fitted for delicate and beautiful picture 
 working; but the needle requires a really artistic 
 hand to direct it. in funning 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, remem- 
 bering 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 
 
42 
 
 BERLIN WORK AND CANVAS EMBROIDERY. 
 
 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 repeaat my previous caution not to at- 
 tempt Berlin patterns on German canvas. Figure 
 pieces especially, would suffer materially in the 
 effect from the want of squareness in the canvas. 
 Jt is not advisable to attempt reducing very ma- 
 terially a pa'Jtern 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 pro- 
 
 perly ; and if negligently arranged, it is certain 
 that the work will be distorted when complete. 
 
 Turn down the canvas and herringbone 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 em- 
 broidery appears on the solid material. Sonic 
 people draw out the threads of the canvas : this- 
 is not only very troublesome, but it also spoilt, 
 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 
 
BERLIN WORK AND CANVAS EMBROIDERY. 
 
 43 
 
 In framing cloth and canvas together, it must 
 be borne in mind that the former stretches con- 
 siderably 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 prac- 
 ticable. 
 
 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, espe- 
 cially for grounding. 
 
 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 poinis, and are used for working ou thicker 
 substances than canvas, — as cloth, &c. ; and short 
 long eyes, which are used for the same pur| - 
 and are like common needles, but very short, and 
 with long eyes. 
 
44 
 
 CROCHET COLLAR, 
 
 
 CROCHET COLLAR 
 
 [SEE FIG. I, FRONTISPIECE.] 
 
 Materials. — Crochet cotton, No. 30. Crochet 
 hook, No. 20, or 21. Make 320 chain. 
 
 1st. — X2 tc. in one chain, 1 ch., miss 1 X. 
 Eepeat. 
 
 2nd. — X 1 tc. under every chain, 3 ch., miss 2 
 tc. X. Eepeat. 
 
 3rd. — X Sc. in every alternative loop of 3 ch.,8 
 ch. X ; repeat. 
 
 4th and 5th. — X sc. through every loop with 8 
 ch. between X. Repeat. 
 
 6th. — dc. in every loop. 
 
 7th. — X 10 tc, 1 ch., 10 tc, without missing 
 any; 8 ch., miss G, 1, dc, 8 ch., miss 6X, 12 
 tunes, but ending with the 2nd 10 tc. 
 
 8th. — 10 tc. on first 10 of last row, 2 ch., miss 
 1, 9 tc, X 8 ch., 1 tc on dc, 8 ch., 9 tc, be- 
 ginning on the 2nd of 10, 2 ch., miss 1, 9 tc. X 10 
 times, 8 ch., 1 tc. on dc, 8 ch., 9 tc. (beginning 
 on the 2nd), 2ch.,miss 1, 10 tc. 
 
 9th.— 10 tc, 2 ch., miss 2, 8 tc X 6 ch., 1 tc. 
 on tc., 4 ch., 1 tc. on the same, 6 ch., 8 tc, be- 
 ginning on the 2nd of last row, 2 ch., miss 2, 8 
 tc X 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, X 6 ch., 1 
 tc. in loop, * 4 ch., I tc. in the same loop * twice, 
 6 ch., 5 tc. (beginning on 3rd), 3 ch., miss 2, 5 
 tc. X 10 times, 6 ch., 1 tc. into loop, f 4 ch., 
 1 tc. into same, f twice 6 ch., 5 tc. (beginning 
 on 3rd), 3 ch., miss 2, 10 tc. 
 
 1 1th. — 16 tc. in 16 successive stitches, X 6 ch., 
 1 tc. into first loop * 4 ch., 1 tc. into the same 
 loop, * twice, 1 tc. into the next loop, f 4 ch., 
 1 tc into same, f twice ; 6 ch., 9 tc. in 9 succes- 
 sive stitches, beginning on the 3rd of the pre- 
 vious row, X 10 times; 6 ch., 1 tc. into first 
 loop, If 4 ch., 1 tc into the same, ^] twice; 1 tc. 
 
CROCHET COLLAR. 
 
 45 
 
 rnto the next, (a) 4 ch„ 1 tc. into the same (a), 
 twice ; 6 ch , 16 tc. 
 
 12th— 14 tc. X 6 ch. ' tc. into first loop, 4 
 ch., I 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), X 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, X 6 ch., * 1 tc, 4 ch., * 10 
 times through the 10 ch. ; 6 ch., 3 tc, X 10 
 times ; 6 ch., f 1 tc, 4 ch. through 10 ch., f 10 
 times ; 6 ch., 12 tc. 
 
 14th.— 10 tc. X 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, X 10 times ; 6 ch., 1 tc. under 
 previous 6 ch., 4 ch., 1 tc in every loop as be- 
 fore ; 4 ch., I tc under 6 ch., 6 ch., 10 tc 
 
 15th. — 8c 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. X 4 ch., tc under 6 ch. 
 4 ch., 1 tc. into each loop, X repeat until you 
 come to the last 9 tc. stitches, when repeat back- 
 wards from before the 4 ch. to the commence- 
 ment 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 X 4 ch., sc. through 
 every loop, X 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 recom- 
 mended ; as the collar, to look well, should be 
 done very tightly. 
 
46 
 
 KNITTED LACE UNDER SLEEVE. 
 
 KNITTED LACE U N DEE, S L EE V E, 
 
 [Fig. 2.] 
 
 Materials. — Crochet cotton, No. 40 ; 2 steel 
 knitting needles, No. 20. Cast on 101 stitches. 
 Purl one row. 
 
 1st. — Knit 1, X m. i, slip 1, k. 2 t., pass the 
 slip stitch over, m. 1, k. 1 X, 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. 
 
 lbt— 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.l, in. 1, k. 2 t., k. 1, k. 2 t., m. 1, 
 k. 1, m. 1, k. 2 t., k. 2, rn. 1, k. 2 t. 
 
 5th.— K. 1, rn. 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, X m. 1, k. 2 t., X twice. 
 
 8th. — As 2nd, which completes the pattern. 
 
 Do as much of this as may be required for tho 
 wrists, allowing a few plain rows at the end to 
 set a button on ; and also two pieces to be in- 
 serted 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 under sleeve of sarsenet, made 
 of the same dimensions as the knitted one, and 
 tacked under it, will be found a very great im- 
 provement ', and if of a colour that will har- 
 monise with the dress, will be very becoming. 
 
KNITTED LACE UNDER SLEEVE. 4T 
 
 Knitted Lace Ruffle. — Cotton No. 50 ;. 7th. — K 2, rn. I, k. 2 t., k. 2 t, m. 1, k. 3, 
 
 Needles, No. 22. Cast on 17 stitches. m. 1, k. 2 t, k. 2, m. 2, slip 1, k. 3 t.. pass the 
 
 1st Eow. — Knit 2, m. 1, k. 2 t, k 1, m. 1, slip stitch over, m. 2, k. 2 t., k. 2 t. 
 
 k. 2 t., k. 1, slip 1, k. 1, pass the slip stitch over, 8th — K. 3, p. 1, k. 2, p. 1, k. 3, p. 5, k. 5, 
 
 rn. 1, k. 3, m. 2, k. 2 t., m. 2, k. 2. 9th.— Like 3rd. 
 
 2nd.— K. 3, p. 1, k. 2, p. 1, k. 3, p. 5, k. 5. 10th.— Cast off 3, k. 6, p. 2, m. 1, p. 2 t 
 
 3rd.— K. 2, in. 1, k. 2 t, k. 1, m. 1, k. 2 t, p. 1, k. 5. 
 k. 1, slip 1 k. 1, pass the slip stitch over, in. 1. 
 
 k. 10. This lace should be put on rather full ; and on 
 
 4th. — K 2, m. 2, k. 2 t, k. 1, k. 2 t., m. 2. no account should knitted articles be ironed by 
 
 k. 2 t., k. 2, p. 3, k. 6. the laundress. It is quite sufficient to pull them 
 
 5th. — K. 2, m. 1, k. 2 i, k. 2, m. 1, k. 3 t., into proper shape whilst they are drying at the 
 
 m 1, k. 4, p. 1, k. 4 p. 1, k. 2, fire. 
 
 6th — K. 12, p. 3 k. G. 
 
 ■+***>+* ^■^•vsw- 
 
 INSERTIONS IN EMBROIDERY. 
 
 [Figs. 7 & 8.] 
 
 Suitable for the fronts of shirts, and for of the leaves and cups of the flowers may be 
 other purposes; to be worked in satin stitch, done in very small eyelet-holes. The stalks 
 with embroidery cotton, No. 80. The centres sewn over with extreme neatness. 
 
48 
 
 TABLE MAT 
 
 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 Eound. — 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. 
 
 Gth. — 9 ch. worked as before. 
 
 7th. — 12 ch. worked as before : fasten off the 
 scm-let 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 -f ; repeat. 
 
 11th. — -j" 1 tc, or tc of last round, 4 ch. X ; 
 repeat 
 
 -j- Dc. on 4 ch. of last round, 1 ch. X ; 
 tc on 4 dc. of last 
 
 12th. 
 repeat. 
 
 13th. — ("Scarlet wool,] 4 
 round, 1 ch. ; repeat. 
 
 14th — -f- 9 dc. on 9 stitches, of last round, 9 
 ch., dc. into same stitch as the last -f- ; repeat. 
 
 15th. — 6 ch., sc. in 3rd dc of last round ; re- 
 peat 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. m centre loop of 8 ch. in scallop; 
 1 ch., sc into centre loop of 8 ch. in next scal- 
 lop, 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. 
 
 ■\? 
 
 GENTLEMEN'S KNITTED BRACES. 
 
 [Fig. 4.] 
 
 Materials. — Pich, dark blue, or crimson cro- 
 chet silk ; two knitting needles, No. 14. Cast 
 on 19 stitches. 
 
 1st. Row. — K. 2, m. 1, k. 1, slip l,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, in- 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. 2t, 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, pa?s 
 the slip stitch over, m. 1, k. 5, m. 1, k. 2. 
 
 8th.— Purled. 
 
 Kepeat 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 rib- 
 bon, and finished with white kid trimmings. 
 
 wv,AA,A ^VS/^»*v--~-. 
 
 [Fig. 5.] 
 
 SMALL GIMPS IN CROCHET 
 
 Materials. — Crochet cotton, No. 6; crochet No.— 1. — Make a chain the length required and 
 took, No. 18. then work back in dc. This is a very neat little 
 
50 jrrors anti-mac assail 
 
 trimming for children's dresses; and if required on the skirt of a dress, as the wools of which it 
 
 to be made of silk and purse twist be used, will should then be made, can be procured of any 
 
 be found to answer every purpose for which a shade whatever, which the braid itself cannot, 
 
 narrow gimp may be required. It forms also an No. 2. — Make a chain of the length required, 
 
 excllent substitute for the braid wmch is run and on it work 1 dc. 1 ch. miss 1. 
 
 Aiv//it .y^vN^**-*" 
 
 JUDY'S ANTI-MACASSAR. 
 
 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 1G 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. 
 
 Sth and 9th — The same. 
 
 10th. — 11 os., 1 dc, 1 ch., miss 1, 54 dc, 1 ch., 
 misfj 1, 14 os., 1 dc 
 
 .6.] 
 
 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. 
 
 15 th.— Like 14 th. 
 
 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 
 
 1 Sth. — 12 os., 7 dc, 1 ch., miss 1, 1 1 dc, 1 ch., 
 miss 1, IS dc, 1 ch.,miss 1, 11 dc, 1 ch., miss 1, 
 
 15 os. 1 dc 
 
JUDY'S ANTI-MACASSAR. 
 
 SI 
 
 10th.— 12 os., 7 da, 1 ch.. miss 1,13 da, 1 ch., 29th.— 16 os., 1 da, 1 ch., miss 1, 11 da, 1 ch., 
 miss 1, 16 da, 1 ch., miss 1, 10 da, 2 ch.,miss2, miss 1, 11 da, 1 ch., miss 1, 5 da, 2 ch., mis- . 
 
 15 os., 1 da 
 
 20th. — 12 os., 1 da, I ch., miss 1, 7 da, 1 ch., 
 miss 1, 11 da, 1 ch., miss 1, 16 da, 1 ch., miss 1, 
 
 8 da, 1 ch., miss 1, 16 os., 1 da 
 
 21st. — 12 os., 1 da, 1 ch., miss 1, 7 da, 1 ch., 
 miss 1, 11 da, 1 ch., miss 1, 14 da, 1 ch., miss 1, 
 
 9 da, 2 ch. miss 2, 16 os. 3, 1, da 
 
 22nd. — 13 os., 7 da, 1 ch., miss 1, 12 da 1 ch., 
 miss 1, 12 da, 1 ch., miss 1, 7 da, 1 ch., miss 1, 
 17 os., 1 da 
 
 23rd. — 13 os., 1 da, 1 ch., miss 1, 7 da, I ch., 
 
 3 os., 1 da, 1 ch., miss 1,3 da, 1 ch.,missl, 12 os, 
 1 da 
 
 30th. — 15 os., 1 da, 1 eh., miss 1, 12 da, 1 ch., 
 miss 1. 1 1 da, 1 ch., miss 1, 7 da, 2 ch., miss 2, 
 17 os., 1 da 
 
 31st. — 15 os., 1 da, 1 ch., miss 1, 10 da, 1 ch., 
 miss 1, 11 da, 1 ch., miss 1, 10 da, 1 ch., miss 1, 
 17 os., 1 da 
 
 32nd. — 15 os., 23 da. 1 ch , miss 1, 13 da,2ch., 
 miss 2, 16 os., 1 da 
 
 33rd. — 15 os., 21 da, 1 ch., miss 1,15 da, 2 ch., 
 
 miss 1,10 da, 1 ch., miss 1,10 da, 1 ch., miss 1, miss 2, 16 os., 1 da 
 
 8 da, 2 ch., miss 2, 17 os. 1 da 34th. — 15 os., 19 da, 1 ch., miss 1, 15 da, 1 ch., 
 
 24th. — 14 os., 35 da, 1 ch., miss 1, 18 os., 1 da miss 1,17 os., 1 da 
 
 25th — 15 os., 40 da 2 ch., miss 2, 15 os., 1 da 35th. — 15 os., 1 da, 1 ch., miss 1, 32 da 2 ch., 
 
 26th. — 17 os., 1 da. 1 ch., miss 1, 41 da, 2 eh., miss 2, 17 os., 1 da 
 miss 2, 12 os., 1 da 36th. — 16 os., 28 da. 2 ch.. miss 2. IS os., 1 da 
 
 27th. — 1 os., 1 da, 1 ch., miss 1, 12 da, 1 ch., 37th. — 16 os., 1 dc 1 ch., miss 1, 29 da, 2 ch., 
 
 miss 1, 11 da, 1 ch., miss 1, 16 da, 2 ch., miss 2, miss 2, 17 os., 1 da 
 12 os., 1 da 33th — l t 6 os., I da, 1 ch.. miss 1, 30 da, 1 ch.. 
 
 28th. — 17 os., 12 da, 1 ch.,miss 1, 10 da, 1 ch., miss 1, 17 os., 1 da 
 miss 1, 2 da, 1 ch., miss 1, I os., 13 da, 2 ch., 39th. — 17 os., 25 da, 1 ch-, miss 1, 3 da, 1 ch., 
 
 miss 2, 12 os., 1 dc. miss 1, 17 os., 1 da 
 
JUDY'S ANTI-MACASSAR. 
 
 ss 1, 17 os., 1 dc. 
 
 45th. — 14 os., 20 do., 1 ch., mil 
 ch., miss 2, 17 os., 1 dc. 
 
 46th. — 1 3 os., 23 dc, 1 ch., miss 
 miss 2, 4 dc., 2 ch 
 
 47th. — 12 oa.. 1 
 
 ! os., 23 dc, 1 ch., miss 1, 7 dc, 
 j., 2 ch., miss 2, 18 os., l dc. 
 47th. — 12 os., I dc, 1 ch., miss 1, 8 dc, 
 muss l, 29 dc, 2 ch., miss 2, 18 os., l dc 
 
 2ch., 
 2 ch, 
 2ch., 
 1 ch., 
 1 ch., 
 dc, 2 
 2ch., 
 1 ch., 
 
 48th — 13 os., 35 dc, l ch., miss l 19 os., 
 1 dc 
 
 49th. — 13 os., 1 dc., l ch., miss 1, 30 dc, 1 ch., 
 miss 1 20 os., l dc. 
 
 50th — 13 os., 1 dc, 1 ch., miss 1, 15 dc, 1 ch., 
 miss 1, l dc, 1 ch., miss i, 12 dc, 1 ch., miss l, 
 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 do., 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 he the same as that given for 
 Punch's Anti-Macassar, in part I. of this book. 
 
CROCHET D'OYLEY. 
 
 ft* 
 
 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. — 8c. 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 
 game 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 — X Sc, 6 ch., miss 2, X. Repeat. 
 
 10th. — X Sc. on centre of 6 ch., 9 CD, X ; 
 
 Repeat. 
 
 11th. — X Sc. on centre of 9 ch., 12 ch., X ; 
 repeat. 
 
 12th. — X Sc on centre of 12 ch., 9 ch., X ; re- 
 peat. 
 
 1 3th.— Dc. 
 
 14th. — Dc, working two stitches into even- 
 one. 
 
 15th. — Sc. on the centre of one of the spaces. 
 X 12 ch., sc. in same stitch three times, 12 ch., sc 
 on centre of next space. And repeat from X. 
 
 16th — Dc all round. 
 
 17th. — Sc, X 5 ch., miss 2, sc. in 3rd X. Re- 
 peat all round, and fasten off. 
 
 £ 2- 
 
Vi 
 
 ■fit* 
 
 Point Lace 
 is now so fash- 
 ionable that ve- 
 ry few are unac- 
 quainted with 
 its appearance; 
 but perhaps 
 some of my rea- 
 ders will be sur- 
 prised when told 
 that the whole 
 of the genuine 
 1'oint Lace is 
 the production 
 of the needle ; 
 not merely the 
 -lose and heavy 
 parts are so 
 made, but the 
 most exquisite- 
 ly delicate nets, 
 of which, of late i 
 years, we have I! 
 
 POINT LACE STITCHES. 
 
 POINT LACE STITCHES. 
 
 had imitations 
 from the loom, 
 are all alike pro- 
 duced by the 
 common cswiig 
 needle. 
 
 The work of 
 which we treat 
 here may be re- 
 garded not as 
 an imitation of 
 the valuable and 
 i beautiful work 
 of ancient times, 
 but rather as an 
 actual revival 
 of an art which 
 has unfortunate- 
 ly been suffer- 
 ed to sink in- 
 to oblivion. Of 
 course, at pres- 
 out, I content 
 
POINT LACE STITCHES. 
 
 55 
 
 myself with giving very Pimple Point Lace pat- 
 terns ; but, as my fair readers advance in know- 
 ledge, 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 de- 
 pends 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 se- 
 lected 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, beuin to braid it, by laying on 
 the braid, and running it on the paper with a 
 fine needle and cotton, Xo. 50. The stitches are 
 to be taken through the paper, and not very . \ - - 
 ly 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 Btit 
 ches 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 
 
50 
 
 POINT LACE STITCHES. 
 
 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 stitch- 
 es 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. 
 
 Veneiian Edging (No. 2). — The first stitch is 
 taktn 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 Bepeat. 
 
 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, unti 1 
 the part is completed. In working the last 
 row, run the needle through the braid after every 
 stitch. 
 
 Venetian Lace (No. 5). — The beautiful close- 
 ly-dotted appearance, characteristic of this lace, 
 is obtained by working consecutive rows of Ven- 
 etian edging, not backward and forwards, but 
 always from left to right, fastening off after com- 
 pleting 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 tised principally to 
 fill up large open spaces. Make a series of di- 
 agonal bars across the space to be filled up, se- 
 curing the tightness of each thread by working a 
 button hole stitch on the braid, before slipping 
 the needle to the nest place ; cross these bars by 
 others, in the contrary direction, and at the same 
 
POINT LACE STITCHES. 
 
 57 
 
 distance (one eighth of an inch) apart. "Wher- 
 ever 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 nest cross, and repeat until a 
 spot is made at every one. Observe, that in 
 crossing the first bars you slip the needle alter- 
 nately 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 beauti- 
 ful style of English point. It is a kind of spot, 
 which looks like the miniature of the rosette on a 
 baby's oap, whence its name is derived. A single 
 spo' ; s 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 ro- 
 sette 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 oft'. 
 
 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 eft'ect amply re] 
 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 oppo- 
 site 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 circie seen in the engraving. 
 This is to be covered with button-hole stitch; 
 
M 
 
 POINT LACE STITCHES 
 
 aud 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 
 ot" 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 he so tilled up has a number 
 of radiating threads, meeting, in a common centre, 
 to be very closely darned with extremely line 
 thread. 
 
 Henriquez Lace (No. 11), is, on the con- 
 trary, a very light and delicate stitch. It must 
 nevet be done with Coarser thread than Evans's 
 boar's head, 120. With this make a diagonal 
 line across the space to be so tilled in, and return 
 your needle to the point you begun from, by twist- 
 ing 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 yon 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 pre- 
 ceding, 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 form- 
 ing; a diamond of four holes. 
 
POINT LACE STITCHES. 
 
 CONNECTING- BAES are stitches used in 
 .'he 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, fasten- 
 ing 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 Alenoon Point (No. 14). — This is 
 almost the same as ous common herringbone 
 stitch, but the needle is passed under the last 
 thread after every stitch before taking another, 
 which twists the two together. Where the spaceia 
 more than half- an-ineh 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 Bru.-s. .-'.- 
 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 .-tit 
 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 ■■ 
 
 English Bars (Xo. 15) are used to connect 
 two lines of edging. Pass the needle backwai - 
 and forwards between two opposite stitches four 
 t^mes each way, always putting the needle in the 
 ■under Bide of the edge. Sometimes these bars 
 are radtuitd, 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 s-;t>;: stitch, v.ith 
 which parts are ornamented. It is verv much 
 raised, and afterwards worked in buttonhole 
 stitch with fine linen Mecklenburgh thread. 
 
 Continuous rows of Sorrento ed^es worked 
 backwards and forwards, like Brussels Lace, form 
 
60 
 
 POINT LACE STITCHES. 
 
 a variety represented in a corner of the En- 
 graving. 
 
 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 de- 
 tach the lace from the paper ; the threads may 
 
 then be picked out and the article is com- 
 plete. 
 
 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 sub- 
 stances. 
 
CROCHET COLLAR. 
 
 61 
 
 Oc^ 
 
 k 
 
 CROCHET COLLAR 
 
 [Fig. 1.] 
 
 Materials. — Cotton, No. 30. Crotchet hook, 
 No. 22 ; eagle card-board guage. 
 
 Chain of 180 stitches, on which work a row 
 of dc. 
 
 2nd.— ■+■ 3 tc, 3 ch., miss 3, +. Eepeat. Fin- 
 ish with 3 tc. 
 
 3rd. — -f- 3 dc. on 3 tc, 3 ch., -|-. Eepeat. 
 
 4th. — -f- sc. on 1st dc, 6 ch., miss 5, sc. on 
 6th, -f-. Eepeat. 
 
 5th. — Sc. on the centre of first loop, -f-, 7 ch., 
 sc. on centre of next loop, -j-. Eepeat. 
 
 6th. — Sc. on centre of first loop, -f- 6 ch., sc. on 
 centre of next loop, -j - . Eepeat. 
 
 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, -j-. Eepeat. 
 
 9th. — Sc. on the point of the leaf of 9, 4 ch., 
 -j-, sc on point of large leaf, 15 ch., -\~. Eepeat. 
 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. 
 
 1 lth. — -f- 2 dc, 3 ch., miss 3, -f- until you come 
 to the stitch over the large leaf, then make a 
 loop of 6 ch., dc. into the same stitch. Ee- 
 peat. 
 
 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-f-. Eepeat, but without missing 
 any on the loops. 
 
 16th. — Sc. on first chain of the foundation, and 
 
r.2 
 
 MAT WITH BORDER OF MOSS CHERRIES, AND LEAVES. 
 
 up the side work 4 ch., miss 2, 8 sc., sc. on every 2nd, repeat to the sc. stitches, then -f- 5 cb. miss 
 stitch of the last row, and do. the other end of 2, sc. on 3rd, -f- to the end, which work like thv 
 the collar like the first. 
 
 17th. — Sc. under first loop, 5 ch., sc. under 
 
 beginning:. 
 
 ~~*^sA^*#*/Vw*r. 
 
 MAT WITH BORDER OF MOSS, CHERRIES, AND LEAVES. 
 
 [Fig. 2.] 
 
 Materials. — Halfan-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 Shet- 
 land 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 ueedle 
 
INITIALS IN EMBROIDERY. 
 
 63 
 
 through tho dole 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 pos- 
 sible 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, X 2 ch., 
 miss 2, dc. in 3rd, X twice 1 ch., miss I, slip on 
 first of 13. Take a piece of very fine wire and 
 
 hold it in, while worktng round this open hen, 
 leaving a short piece for a stem. "Work all roun * 
 in tc, except the 2 first and 2 last 8 til 
 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 e.'ds 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. J 
 
 Materials. — Ingrain red and white embroi- 
 dery cotton, No. 70 for linen, No. 80 for cam- 
 bric. 
 
 These Initials should be marked on the mate- 
 rial, and then worked in the white cotton in 
 raised satin stitch, after which a thread is to be 
 
64 
 
 AUTOUR BOUTONS.— CARRIAGE BAG. 
 
 run entirely round the work, and sewed over in 
 red very closely indeed. 
 
 Every angle and point must be made with th,a 
 
 utmost accuracy, as on this the beauty of the 
 letters greatly depends. 
 
 ^////#/^*» 
 
 ATJTOTJR BOTTTONS. 
 
 [Fig. 4.] 
 
 Small pattern to surround shirt-studs ; to be small rounds in eyelet-holes to be made with a 
 worked in embroidery cotton, No. 80. The fine stilleto, and sewed over. 
 
 W//////W 
 
 A VERY PRETTY CARRIAGE BAG. 
 
 [Fig. 5.] 
 
 Materials. — White and blue Berlin wool, 
 halfan-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 stitch^ .n eve~y direc- 
 
 tion ; 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 com 
 pleted this, take one of your meshes and a rug 
 needle, threaded with white wool, work imme- 
 diately over each blue square of tto first line 6 
 
D'OYLEY IN SQUARE CROCHET. 
 
 C5 
 
 stitches, thus : — Begin at tne top ot 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 j 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 th>d row of white stitches, four 
 threads long, and twc* hroad. 
 
 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 guage. 
 
 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 shonld be tacked on a stand pre- 
 viously formed of stout card or mill-board, 
 covered with green calico or silk. 
 
60 
 
 DEEP POINT LACE. FOR A HANDKERCHIEF OR VEIL. 
 
 DEEF POINT LACE, FOR A HANDKERCHIEF OR VEIL. 
 
 [Fig. 8,] 
 
 Visitors to the London Exhibition, will re- 
 cognise 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 
 lit 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 hand kerchief 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 mid- 
 dle. 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 cor- 
 ner 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 near- 
 est to the flowers in only to be laid on when work- 
 
CROCHET EDGING. 
 
 «7 
 
 ing 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 
 Mecklenburgb thread, 120. 
 
 b. — Venice edging. Boar's-head thread, No. 
 50. 
 
 c. — Brussels edge. Ditto. 
 
 d. — Bars of Venice Point. Mecklenburgh 
 thread, 120. 
 
 e. — Kosettes worked on 4 threads : the cen- 
 
 tre 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. 
 
 / — Open English lace. Ditto. 
 
 g. — Brussels lace. Ditto. 
 
 h. — English lace. Boars-head thread, No. 
 70. 
 
 i. — Sorrento bars. Mecklenburgh thread, No. 
 120. 
 
 j. — Eosettes. Thread No. 70. 
 
 k. — Bars in Alencon point. Ditto. 
 
 J 
 
 CROCHET EDGING 
 
 Materials. — Cctton, No. 30. Crochet hook, 
 No. 20. 
 
 Make a chain of the required length, and work 
 on it one row of dc. 
 
 2nd. — X 1 dc, 2 ch., miss 2 X ; repeat. 
 
 3rd.— Dc. 
 
 4th. — X 1 1 tc, 6 ch. miss 6 X ; repeat. 
 
 5th. — X 9 tc. (beginning on the 2nd of last 
 row) ; 5 ch., 1 tc. under 6 ch. ; 5 ch. X ; re- 
 peat. 
 
68 
 
 CROCHET EDGING, 
 
 6th. — X 7 tc, commencing on 2nd, 6 ch., 1 tc. 6 ch., tc. in loop * to the next tc. stitches, -j-j 
 
 in first loop, 6 ch., 1 tc. in 2nd, 6 ch. X ; re- repeat, 
 
 peat. 8th. — -f- tc. on 2nd of 3 of last row, * 6 ch., tc 
 
 7th. — -f- 3 tc. commencing on 3rd of last row,* in loop * to next tc. -j- ; repeat. 
 
 CROCHET EDGING 
 
 Materials. — Cotton, No. 40, crochet hook, 
 No. 22, eagle card-board guage. 
 
 This edging will be found very pretty for 
 children's dresses and similar articles. 
 
 Make a chain of the length required. 
 
 1st. row. — 1 dc 1 ch., miss 1 ; repeat. 
 
 2nd. — X 1 dc, under a loop, 6 ch., miss 1 
 loop, dc under 2nd., 6 ch., miss 1 X; repeat. 
 
 3rd. — X 7 dc under 1 loop ; 3 ch., 2 dc under 
 next loop, 3 ch. X; repeat. 
 
 4th. — X6 dc over 7, 4 ch. j 2 dc. over 2, 4 ch. 
 X; repeat. 
 
 5th. — X 4 dc. over 6, 4 ch. ; 3 sc over 2, 4 ch. 
 X ; repeat. 
 
 6th. — X 3 dc over 4, 4 ch. ; 1 dc. before 3 sc, 
 5 ch. ; 1 dc. after sc, 4 ch. X ; repeat. 
 
 7th. — X 2 dc over 3, 5 ch. ; 6 dc. under the 
 5 ch., 5 ch., X ; repeat. 
 
 8th. — X 1 dc. between 2 dc, 5 ch., 1 dc. after 
 first of 6 dc, 3 ch; dc after 2nd-, 3 ch. dc. after 
 3rd, 3 ch. dc after 4th, 3 ch. dc after 5th, 5 
 ch. X ; repeat. 
 
CROCHET INSERTION. 
 
 09 
 
 CROCHET INSERTION. 
 
 Materials. — Cotton, No. 30 or 34. 
 
 Very suitable for shirt fronts and similar 
 articles. 
 
 Make a chain of the required length and work 
 one row of dc. 
 
 2nd. — 1 tc. 1 ch., miss 1 ; repeat. 
 
 3rd. — Dc. throughout. 
 
 4th. — A row of eyelet holes, thus — 8 ch., close 
 in a round in the second ch. ; work 3 dc. in the 
 round thus made, drop the loop on the needle, 
 insert the needle in both sides of 5th dc. of last 
 row, counting from the top of the row, pick up 
 the dropped loop, finish a stitch of dc, work three 
 
 more crochet in ch. in the round ; repeat rrom 
 the beginning of the row, joining in every fifth 
 stitch. 
 
 5th. — (The second side of the eyelet-holes) — 7 
 dc. in each eyelet hole, 1 ch. between every 2. 
 
 6th. — 4 ch., dc. in 4th on the 2nd side of the 
 first eyelet-hole ; repeat. 
 
 7th. — dc. 
 
 8th. — 1 tc, 1 ch. miss 1 ; repeat. 
 
 9th.— dc. 
 
 This insertion is remarkably strong, and very 
 pretty, made of silk, for trimming dresses, >kc. 
 
70 
 
 ELEMENTARY INSTRUCTIONS IN EMBROIDERY. 
 
 ELEMENTARY INSTRUCTIONS IN EMBROIDERY. 
 
 UNDOUBTEDLY the most artistic style of 
 needlework is that termed Embroidery ; not 
 the canvas embroidery of which I treated in 
 Part II. of this work but the yet higher kind 
 of needlework-painting, which aims at producing 
 really pictorial effect, without the mechanical 
 assistance which canvass gives in counting stitches 
 and determining shades. 
 
 In embroidery much is left to the eye, and 
 stiil more to the taste. A few words, therefore, 
 on. the subject of selecting colors and harmo- 
 nizing tints, as well as on the mere stitches 
 employed, will probably be acceptable. 
 
 TO MARK PATTERNS. 
 
 Designs are invariably marked on satin, cloth, 
 or velvet, by means of 'what are termed pounced 
 
 patterns. These are prepared in the following 
 manner : — The design is carefully traced on 
 rather thick writing paper ; then, with a fine 
 stiletto it is marked in holes, distant from each 
 other not more than the eighth of an inch : from 
 the pattern thus prepared, any number almost 
 may be marked. The material to be embroidered 
 is then laid on the table, and the pattern placed 
 in the proper position over it, and kept there by 
 means of leaden weights. A little pounce, or 
 powdered flake white must then be rubbed over 
 the paper, with a large and flat stump, and, on 
 the paper being raised, the design appears accu- 
 rately marked on the cloth. It requires to be 
 afterwards re-marked with a fine sable brush, 
 dipped in a mixture of flake white and milk, or 
 an artist's color, contrasting with the material, 
 
ELEMENTARY INSTRUCTIONS IN EMBROIDERY. 
 
 71 
 
 mixed up with a few drops of spirits of tur- 
 pentine. 
 
 White satin, or any very light color on which 
 white would not show may be pounced with very 
 finely powdered charcoal, and then marked with 
 a solution of Indian ink. 
 
 For drawing a pattern on any washing mate- 
 rial a still simpler plan may be adopted. Scrape 
 some red or blue chalk ; brush it lightly over a 
 sheet of thin tissue paper, shake off the loose 
 grains, lay the chalked side of the paper on the 
 muslin, and over it the pattern, which you will 
 trace with a hard sharp pointed pencil, and the 
 design will be clearly marked, and require no 
 further trouble. 
 
 When any parts of a pattern are repeated — 
 as the quarters of a cushion or a handkerchief, 
 or the scallops of a flounce — have only the 
 pounced pattern of one quarter or section, and 
 mark all from that one. It will be found a 
 much more accurate mode than that of making 
 the whole paper pattern perfect. 
 
 The next step is to put the material in a frame, 
 two or three inches wider than the work it is 
 
 to receive. I must refer to my Instructions in 
 Berlin Canvas Work, Part II. of this book 
 for the directions for this very important part of 
 the process. The needles used are technically 
 called short-long- eyes and strands. The latter 
 are like common needles, but unusuallv long, 
 It injures the work to use too fine a needle. 
 as the small eye frays the silk ; on the other hand 
 a needle that is too large makes holes in the cloth. 
 
 The materials chiefly used for embroidery are 
 wools, chenille, and silks : there are great varieties 
 of the last-mentioned article, the principal being 
 Mitorse, Dacca, Berlin, fiue and coarse flas, 
 crochet, and netting silks. Of the netting silks 
 there are many sizes, which may be used accord- 
 ing to the delicacy of the work. 
 
 Initials intended to be in gold, for sachets, 
 &c, are almost as effective if rich gold-colored 
 twisted silk be used instead ; and the silk wili 
 wear for ever, whilst it is almost impossible to 
 obtain gold thread which \\ ill not tarnish in a 
 few months. 
 
 STITCH RS. 
 
 The common stitch used in embroidery ra 
 
72 
 
 ELEMENTARY INSTRUCTIONS IN EMBROIDERY. 
 
 termed long-stitch. It closely resembles the Irish 
 stitch of canvass work,* only without its regu- 
 larity. The stitches are taken closely together 
 and of uneven lengths ; the second shade is 
 blended with the first by filling up the vacant 
 spaces of the short stitch ; the nest shade, in the 
 same way, unites with that one, and so on in an 
 irregular form, the outline only presenting, 
 a regular line of stitches, exactly within the 
 limits of the marked pattern. The shading 
 must, of course, be done with artistic accuracy. 
 
 The veinings of leaves are worked in silk 
 rather coarser than that used for the rest of the 
 work. Sometimes this silk is considerably 
 thicker ; it is then laid on, and sewed over with 
 very fine silk of the same shade, the ends being 
 drawn through the material. Leaves are fre- 
 quently veined with gold thread in a similar man- 
 ner. 
 
 Large leaves should be worked from the j wnts 
 to the veins ; small ones seldom require to be 
 veined at all. Like stems they are formed of a 
 
 • See Tart IL 
 
 succession of slanting stitches very evenly laid 
 on, forming curves and lines of the width and 
 dimensions of the patterns, and forming accurate 
 outlines. 
 
 "When gold bullion is employed in embroidery, 
 it is cut into short lengths, which are then laid 
 on with fine silk of the same hue. Gold thread 
 is sewed over, and the ends brought through the 
 cloth and so passed from one part to another. 
 
 The Chinese emplo} r , in their most elaborate 
 embroidery, a very pretty stitch termed, by us, 
 the French Knot. It is made thus : — Bring the 
 needleful of silk to the right side of the work, in 
 the exact spot where the stitch is to be. Hold 
 the needle in the right hand, and with the left 
 take up the silk, at an inch or two from the 
 cloth. Twist the needle twice round the silk, 
 insert it in the same spot you drew it through 
 before, and, with the right hand, draw the needle 
 to the under side, gradually tightening the silk 
 with the left hand. When quite drawn through 
 the knot is formed. The great art in this work 
 is to make the stitches all lie perfectly even. 
 We seldom use the French Knot for anything 
 
ELEMENTARY INSTRUCTIONS IN EMBROIDERY 
 
 73 
 
 but the seeds, stamen, or pistils of flowers ; but 
 the Chinese execute whole pieces in this stitch, 
 shading them most exquisitely, and only using a 
 coarse white silk or gold thread as an outline to 
 the whole. In bead embroidery, every stitch is 
 generally put on separately, and in its own place; 
 but a very beautiful effect may be obtained in 
 pearl beads imitating grapes, by stringing them 
 with white silk, and letting them cross each other in 
 various directions, still preserving the outline of 
 the cluster. 
 
 A very pretty and effective style of embroidery 
 is that done with gold braid and wool on 
 canvass. It is very suitable for slippers, 
 cushions, the bands of smoking caps, blotting 
 cases, and many other things. An outline design 
 in arabesque, or anything else that may appear 
 suitable for two colors, should be drawn on 
 paper of the proper dimensions and then marked 
 on the canvass. The gold braid must be cut into 
 pieces of the proper lengths, and laid on piece by 
 piece, the spaces between the pattern being filled 
 with wool of some well-contrasting color — as 
 bright blue, green, or claret — so that the pattern 
 
 appears in gold on a ground of wool. "When 
 leaves are so worked, a rich silk, of a deeper gold 
 colour than the braid, should be used afterwards 
 to vein it. 
 
 Having spoken of cushions, it may be well to 
 tell my fair readers how to make them up most 
 comfortably : — Cut some good strong calico bias 
 of the proper size; line it with two or three 
 thicknesses of good wadding, well fastened to it 
 in every direction ; and stuff the base thus made 
 with down; the pillow to be afterwards covered 
 in any manner that may be desire i. Pi I 
 made in this way are not only much softer than 
 others, but they also keep their shape much I 
 ter, and are not liable to sink after a little wear. 
 
 Waistcoats and other articles are now much 
 embroidered in sole ombre, that is. - ; 
 in varieties of one colour. I cannot say It':, 
 it so pretty as the variety of natural colors, or 
 even a single self-shade." It is however, 
 ionable. 
 
 The Choice of Colof.s. — I will con. 
 my instructions for embroidery with a tew hints 
 on the choice of suitable colors ; as Dogberry 
 
ELEMENTARY INSTRUCTIONS IN EMBROIDERY. 
 
 observes, that <: reading and writing come by 
 nature," so I may be excused for asserting that 
 the axiom is (in part, at least) correct, as re- 
 gards the power of discriminating colors. In a 
 »reat measure it is a natural gift; still it may- 
 be cultivated, nay almost created. 
 
 Selecting the necessary wools, silks, &c. is 
 technically called, sorting a pattern. To a sort a 
 pattern well, it is requisite to consider the capa- 
 bilities of the various materials. Wools and 
 silks, silks in flox, and twisted, — though dipped in 
 the same vat, would be found to vary materially 
 m the shade of color when dved. Hence it is 
 important to select such materials as will blend 
 well together, and also wear well when worked. 
 
 The following colors may be said to harmo- 
 nize perfectly : — 
 
 Blue works well with the warmer tints of 
 drab, stone, and fawn. 
 
 Yellow with the richest and darkest shades of 
 drab. 
 
 Pink with soft stone, fawn, and grey. 
 
 Lilac with the cold green tints of the same 
 colors. 
 
 Lilac with some greens. 
 
 Maize and salmon with green. 
 
 Scarlet with a slate tint. 
 
 Blue with rich dark claret brown. 
 
 Maize with blue. 
 
 White with oilve green. 
 
 Green and blue do not harmonize, whatever 
 the votaries of the present fashion my declare 
 to the contrary. Even green leaves do not look 
 well in the vicinity of blue flowers, unless they 
 partake of the rich autumn tints of olive, yellow, 
 and brown. Then the primitive colors, scarlet 
 and yellow, kill each other; they give color, but 
 not coloring; and yellow and green, scarlet 
 and brown, or scarlet and lilac, are all equally 
 injurious. 
 
 It must be remembered that strong contrasts 
 do not of themselves produce beauty ; it is 
 rather the delicate adjustment of the various 
 shades. There are numberless varieties of every 
 leading color — greens, whites, and reds especi- 
 ally. The following list may be serviceable : — 
 
 White Flowers. — These may be shaded in 
 any of the following colors: green, pure white, 
 
ELEMENTARY INSTRUCTIONS LN EMBROIDERY. 
 
 "' 
 
 grey or slate. The choice depends on the color 
 to be worked, the Fleur de lis requiring, for in- 
 stance, to be shaded into green. In all the 
 shades, however, the greatest softness it impera- 
 tive. All sudden contrasts must be avoided.. 
 
 Damask roses are worked in at least six 
 shades; from black to a pure rose pink; the 
 gradations include deep claret, lighter ditto, 
 scarlet, and a medium shade between the last. 
 
 Ordinary roses are shaded from deep scarlet 
 to bright ponceau, and various shades of pink. 
 
 The shades of green, for leaves, are quite in- 
 numerable. 
 
 It is never in good taste to have a group of 
 flowers on a liyht ground without some one in 
 
 the group to correspond with it. N t Q at it 
 should be a prominent object, but that it softens 
 the whole. 
 
 Finally, I may be permitted to observe that, 
 as " good wine needs no bush," so good needle- 
 work requires not very gaudy or striking mi 
 ings- A well designed portfeuille or cushion 
 does not look at all better for being so extrava- 
 gantly finished off. that the eye rests on the 
 fittings rather than the work. Let cords, 1 -- - 
 linings &c, be as good as possible ; let them . 
 be as plain as possible. These are but the firai 
 the work is the picture ; and the valuable . 
 should be also the most attractive. 
 
HONITON CROCHET COLLAR. 
 
 HONITON CROCHET COLLAR. 
 
 [Fig. J.] 
 
 This crochet collar, in imitation of Honiton 
 lace, is composed of sprigs and edging in crochet 
 sewed on Italian or Brussels net. It is a very 
 simple style of collar, and may be made very 
 rapidly. 
 
 Materials — Cotton, No. 70. Crochet hook, 
 No. 24, eagle card-board gauge. 
 
 TnE Edging 16 ch. close in the 6 for a 
 
 loop, in which work -f- 5 ch., miss 1, sc. in 2nd -f- 
 4 times ; 5 ch., sc. on the close of the loop. 
 Turn the work on the wrong side, and do under 
 every chain of five 2 sc, 5 dc; 2 sc. ; repeat from 
 the 16 chain as often as may be required for 
 the length. 
 
 For the Sprig. — Make a chain of 10, form it 
 into a loop, in whicn work * 5 ch. ; miss 1, sc. in 
 2nd * 5 times, joining into the close of the 
 loop at the last ; turn on the wrong side, and 
 this forms the flower. 12 ch. for stem; miss I, 
 
 7 dc, turn the work -+- 6ch., miss 1, sc. on 2nd 
 dc. stitch, -j- all round this centre of the leaf; 
 work all these loops in sc. ; 9 ch., miss i, 7 dc. 
 for centre of another leaf; work as before ; 6 ch. 
 work sc. all along the stem, and fasten off. 
 
 Open-hem. — Make a chain of the required 
 length, and in it work -\- 2 ch., miss l, l dc. -f- ; 
 repeat to the end. 
 
 To make up crochet Honiton lace for collars, 
 or any other purpose : — Cut out a pattern of the 
 article required in coloured paper, slightly larger 
 than is requisite ; then a similar one^ in Italian 
 or Brussels net. A very narrow roll or hem must 
 be made round this net, and it must then be 
 tacked on the paper. Then arrange on it the 
 crochet work, beginning with the edo-'mo- and 
 sprigs, and tack them lightly in their places. Run 
 them round with very fine cotton ; put the opeu- 
 work in every loop 1 so, 1 dc, 3 to, 1 do, 1 se 
 
KNITTED BASKET. 
 
 hem round the neck, fasten it on ; and, round 
 the outer edge, lay some of the very best pearl 
 edging. 
 
 The collar given in the engraving is formed 
 
 in scallops, in each of which one sprig - 
 In future, when giving receipts for Honitoa 
 lace, I shall refer to this number of our book 
 for the mode of making up, &c. 
 
 KNITTED BASKET. 
 
 [Fig. 2 ] 
 
 Materials. — Six shades of ,4-thread Berlin 
 wool, in scarlet or any other colour, and 4 bone 
 pins No. 8. 
 
 With the lightest shade of wool cast on 13 
 stitches. 
 
 1st Eow. — Slip 1, knit 1, , Xmake 1, knit 2 
 together, X 3 times, f make 2, knit 2 together, 
 f twice, knit 1. 
 
 2nd.— Knit 3, purl 1, knit 2, purl 1, knit 1, 
 X, make 1, knit 2 together, X 3 times, knit 1. 
 
 3rd. — Slip 1. knit 1, X, make 1, knit 2 toge- 
 ther, X 3 times, knit 2, make 2, knit 2 together, 
 make 2, knit 2 together, knit 1- 
 
 4th.— Knit 3, purl 1, knit 2, purl 1, knit 3, 
 X, make 1, knit 2 together, X 3 times, knit 1. 
 
 5th. — Slip 1, knit 1, X, make 1, knit -2 toge- 
 ther, X 3 times, knit 4, f, make 2, knit 2 toge- 
 ther, f twice, knit 1. 
 
 6th. — Knit, 3, purl 1, knit 2, purl 1, knit 5, 
 X, make 1, knit 2 together, X 3 times, knit 1. 
 
 7th. — Slip 1, knit" 1. X, make 1, knit 2 to- 
 gether, X 3 times, knit 6, f, make 2, knit 2 to- 
 gether, f twice, knit 1- 
 
 8th.— Cast off 8, knit 5. X, make 1, knit 2 
 together, X 3 times, knit 1. 
 
 This completes one pattern ; join on the next 
 
75 
 
 INITIAL LETTERS IN EMBROIDERY. 
 
 shade of wool for another, and so on, changing 
 the shade with every repetition of the pattern. 
 The seventh pattern will be done again with the 
 lightest shade; and 12 patterns will be found 
 sufficient for the edging. 
 
 Sew the sides up, and on each of the three 
 needles take up 33 stitches, from the straight side 
 of the edging; knit 2 rounds plain, then knit 1, 
 knit 2 together, knit to within 3 of the end of 
 the needle, knit 2 together, knit 1 ; repeat this 
 
 on the other two needles; knit one plain round 
 and one decreasing one alternately, until only 4 
 stitches are left on each needle. Draw up the 
 opening, and fasten the wool with a coarse em- 
 broidery needle. Make a handle of 3 or 4 pieces 
 of fine wire covered with wool or ribbon ; and 
 put a round, similarly covered, at the top and 
 bottom of the three rows of open hem to keep the 
 basket in shape. 
 
 INITIAL LETTERS IN EMBROIDERY. 
 
 [Fig. 3.] 
 
 The C and E here represented are given in a 
 style more suitable for marking household linen 
 and large articles than for embroidering delicate 
 handkerchiefs. 
 
 Materials. — Ingrain Turkey red, and white 
 embroidery cotton, No. 70 for linen, and 80 for 
 cambric. 
 
 The letters are to be worked in raised satin 
 
 stitch, with white cotton, and the w r hole surroun- 
 ded by a single thread of red, sewed closely over; 
 this throws the letters into strong relief, and has 
 a very chaste and beautiful eftect. 
 
 In future numbers we shall give other and 
 more decorative styles of letters, for handker- 
 chiefs, &c. 
 
SHAMROCK-LEAF D'OYLEY. 
 
 79 
 
 SHAMROCK-LEAF D'OYLEY. 
 
 [Fig. 4.] 
 
 MATEPaALS. — Cotton No. 16. Crochet book, 
 No. 17. Eagle card-board guage. 8 ch., close 
 for a round. 
 
 1st— 16 dc. 
 
 2nd. — X 7 ch., miss 1, sc. on 2nd, X 8 times. 
 
 3rd. — X 6 ch., sc, on the centre of 7 ch., X: 
 repeat all round. 
 
 4th. — Dc. all round, increasing 1 in every other 
 stitch. 
 
 5th. — 7 ch., miss 2, dc. into 3rd ; turn the 
 work, 5 ch., miss 2, dc. into 3rd, X 5 times, turn 
 the work, and repeat from the beginning of the 
 row. 
 
 6th. — X sc. on the point of a scallop ; 6 ch., 
 sc. on centre of next scallop, 9 ch., X; repeat. 
 
 7th. — 7 tc. on 6 ch., 13 eh., X 7 tc. on next 6 
 eh., 13 ch., X all round. 
 
 8th. — X sc on centie of 13 ch., 26 ch., X 
 sc. on centre of next 13, 26 ch., X; repeat all 
 round. 
 
 9th. — Dc. all round, increasing even- other 
 stitch. 
 
 10th. — 7 ch., sc into the same stitch, turn the 
 work, 2 dc, 7 tc, 2 dc, in loop of 7, turn again, 
 miss 8 ; repeat. 
 
 11th. — Commence with sc on the point of the 
 leaf, make 7 ch., sc on the point of the next leaf, 
 and so on all round. 
 
 12th. — X sc. on centre of 7 ch., 9 ch., X , re- 
 peat. 
 
 13. — X sc on centre of 9 ch., 7 ch., ; X re- 
 peat. 
 
 14th. — Sc. on centre of the chain of 7, S ch., 
 slip stitch into the same, 12 ch., slip into the 
 same, 8 ch., slip into the same ; turn the work ; 
 work under the 8 ch., 1 sc. 2 dc, 6 tc. 2 dc-. 1 
 sc. ; the loop of 12 work in the siime way with 
 12 tc, the loop of 8, with 6 tc ; fasien off; 
 miss 2 chains of 7, sc on 3rd., 10 ch., miss 5, 
 dc on the 6th., 1 ch., miss 1., sc. on 2nd , 1 
 
r::"^j:-z, 
 
 ch~ bsbI e t> on first of 10. work all round 
 m '- - rz.r.: ±e frs: :.:: ...-: srl:. ..r« :r, s:-. : 
 
 -- - i:?5 i - : ~ _:._ :r v .: :: ::_ 
 
 : - r x; _ : :le r: i : 
 
 15th. — X so. on the point of the single leaf, 
 15 ch.. se. on point of the shamrock. 15 ch. X ; 
 repeat. 
 
 16th- — De. all round, increasing in every other 
 
 17th. — X sc. in one stitch, 7 ch., miss 2, — ; 
 repeat. 
 
 .— X Be. 
 
 in :ri::r of 7 :i . 9 eh, X ; 
 
 in Benfcre of S en.. 9 ch. X ; 
 
 ler 9 e '- . ■ : : : izder the same, 
 ' the next 9 ch, X ; nep^: 
 r crochet, work, this pattern may 
 ased by the use of coarser mate- 
 with Evanses boars-head cotton, 
 •ok proportionably large, it .. 
 make a very pretty couvrette for a musie-stooL 
 
 19flu_ X 
 
 rr i: 
 
 
 **++ *■+*" 
 
 PUTATOEI 
 
 ifore or House is made of very fine 
 hoUand. trimmed with worsted braid. There are 
 two ways of making it ; the first is that given in 
 the ez. the second, which has much the 
 
 same effect, was brought into this country 
 Busian family of tfc- It* - made 
 
 of the richest crims with gold braid and 
 
 Tz~ Fmsi Pattekm — l- r -:s:ve the length 
 from the child's knee to the top of the shouJ ier ; 
 and cut out in holland. a perfect round, exactly 
 double the width of the length you have t 
 and two nails over, thus — if it be halfa-yard from 
 the child's knee to the shoulder, the circle must 
 be one yard and two l: la Id the exact 
 
 centre of tide eat - . .it. large enough for 
 

 the neefc, and on each Bide of i! " :: " 
 
 inches.) az. rtbex hole : . the arm. A (fit 
 
 from toe ieck :ir s:r.:ai: ~ --ay :•: :.-r -: -~ 
 
 are then put in the small holes, and two fines of 
 wonted braid go down them from the centre of 
 
 :: : :::; jl :.V_. ;-.de : :;: _i_- ±. s — - z 
 
 with braid, the neck and slit are hemmed, and 
 trimmed in the same way. and buttons and loops 
 
 c d I- i : : : : l ~.z. r slit. A :::_. zz... ': : . . i 
 is made all round the outer edgi: :: '.zi circle, 
 
 ar.1 :r:ia:_c:; ..£r ~.z- z-~- 7__r l.:::t .- ::r: 
 complete, being merely confined with a broad 
 
 ji.r a: :xe V . - 
 
 pattera :s still :r,:re s v ; i_:.ir 
 
 i e - :>e :..i -ate: - A5 it ": ili 
 
 ce ":es: ; e it Jr-ati taerit; I".. _.--.. :e 
 
 it in that material — two jraras :e ~ re 
 
 tcui ej:':;: ua.es5 :ir ____ :s .::;....-" ~. .. . 
 Cu: :z ;. vara -:: :1:t-../._ ; : ; - ---. 
 
 them " 
 
 re of the width about 
 aps twelTe : and make a sfit of 
 r ri :::."- ie .;. tl.e - :■:- 
 1 .: : . - - 
 
 e a hem, which trim with braid, 
 plait up die fcl- 
 
 ::' :_ - -\-_a 
 
 1 1 r : : ! : a 
 € the nee 
 
 :: __ .: .. «■ ~ :ta 
 
 - 
 -i :z 
 
 - 
 
KS EMBROIDERY. 
 
 NECK TIE. 
 
 [Fig. 6.] 
 
 Materials. Two shades of croehet purse Continue these 2 rows until about a yard and a 
 
 twist, any color that may be desired. Croehet quarter is done, when work a row thus : — sc. on 
 
 hook. No. 16. Eagle card-board guage. Make centre of 6 ch., 3 ch., sc. in centre of nextj finish 
 
 a chain of the required length ; work one row of so. with a row of sc. 
 
 2nd. Sc. on 1st, 6 ch, miss 3, sc. on 4th: repeat. A ring, covered with silk, and two silk tassels, 
 
 3rd.— Turn the work, 6 ch., sc. under hrst loop, complete the neck-tie. 
 6 ch., sc. under next ; repeat. 
 
 ^VsA/-/ ///Av-* 
 
 EMBROIDERY. 
 
 [Fig. 7.] 
 
 suitable for the half of a handkerchief corner, or any other purpose. 
 
 ■ For a handkerchief I should recommend the ementary Instructions," in this number. The 
 fashionable mixture of scarlet and white embroi- libres and tendrils are run, and sewed over with 
 dery cotton. No. bO. The large leaves may be the greatest nicety. The broad veinings of the 
 worked merely in outline, being buttonhole stitoh- upper and lower leaf would be improved by he- 
 ed in one color, whilst the veinings are done in ing very delicately worked in small eyelet holes, 
 another. The specks on the larga leaf are small made with a coarse needle rather than a stiletto. 
 French knots, wnicb 1 have described in the " El- 
 
DEEP LACE IN CROCHET. 
 
 M 
 
 SQUARE D'OYLEY IN CROCHET. 
 
 [Fig. 8 ] 
 
 The materials suitable for Table D'oyleys will crochet edging, which will be found at the end of 
 
 be Cotton, No. 24 or 30, and crochet hook, No. this book. To increase or diminish the - 
 
 20. The D'oyley is to be worked from the En- D'oyleys, use cotton proportionably courier <t 
 
 graving, and afterwards finished witn a narrow finer. 
 
 DEEP LACE IN CROCHET. 
 
 [Fig. 9.] 
 
 Materials. — Cotton, No. 40. Crochet hook, 
 No. 22. 
 
 Make a chain the requisite length. 
 st. — -f- 7 ch., miss 5, so. on 6th -f-. Repeat. 
 
 2nd. — Sc. on centre of 7 ch., 7 ch. Repeat. 
 
 3rd to 7th rows. Like the 2nd. 
 
 They may all be worked backwards and forwards. 
 
 8th — -f- so. on centre of 7 ch., 5 ch., -f-. Repeat. 
 
 9th. — X sc on centre of 5, X 3 ch, miss 2 r sc 
 on 3rd ch., miss 1, sc. on 2nd, X. Repeat. 
 
 10th. — Sc. on the beginning of the ch., (a.) -\~o 
 ch., miss 2, sc. on 3rd, -f- twice, G ch., slip on 
 same stitch, 6 ch., slip on same stitch, (a.) Repeat. 
 
 llth. — Sc. on centre of G ch., G ch., sc in cen- 
 tre of next 6 ch., 5 oh., sc. on centre of 3 ch., 5 
 ch. 7 sc. on centre of next 3 ch. Repeat. 
 
 12th. — X 3 to. under 6 ch., 3 tc under next 6 
 ch., 12 ch., -f-. Repeat. 
 
 13th — -f" 6 dc, on 6 tc, * 3 ch., sc. in 3rd ch., 
 * 4 times, X. Then repeat from the beginning. 
 
 14th — X G dc. in 6 of last row, * 5 ch., sc. under 
 3 ch., * 5 times, X. Then repeat from the I _ 
 ning. 
 
 15th. — X, 6 dc. into the last G, * G ch. sc un- 
 der 5 oh. of last row, * 4 times, -f-. Repeat to the 
 end, and fasten off. 
 
M 
 
 ANOTHER COLLAR IN FRIVOLITE. 
 
 COLLAR IN TATTING OR FRIVOLITE 
 
 [Fig. 10] 
 
 Materials. — Cotton, No. 3 ; Italian net. 
 
 I may observe, en passant, that this cotton is the 
 only one which has been manufactured expressly 
 for Tatting, and is really suited for that work. 
 
 Work the ovals and loops as seen in the En- 
 graving, leaving threads wherever they appear 
 to be required ; draw the pattern on colored 
 paper, from the engraving ; lay the net on, and 
 tack the various parts of them in their places, 
 
 according to the design ; sew over the threads, 
 centres, &o», with the same cotton, and cut out 
 the net ; till in the centre of each flower with a 
 rosette of English Point (see Part III.), work- 
 ed in Evans's Meckleuburgh, 100; the other 
 open parts might also every effectively be filled 
 in like manner. A muslin band must be sewed 
 round the neck. 
 
 ANOTHER COLLAR IN FRIVOLITE. 
 [Fig. 11.] 
 
 Materials. — Tatting cotton, No. 3. Make 13 
 large trefoils without the pearl edge, and 14 
 smaller ones, leaving the length of thread shown 
 in the engraving between every two 
 
 Make also 75 ovals with pearl edge, and two 
 larger ones for the corners. 
 
 Make up the collar like the last, sewing over 
 all the threads closely in a button-hole stitch,. 
 
 CaAjLb 
 
 ~~'*-* ' 
 
CROCHET INSERTION. 
 
 M 
 
 CROCHET INSERTION. 
 
 WORKED THE SHORT WAY. 
 
 Materials. — Cotton, No. 60, for children's 
 dresses, &c, 
 
 1st — 26 ch., miss 7, dc. on 8th., X 2 ch., miss 
 2, dc. on 3rd., X to the end.* 
 
 2nd. — Slip up the side of the last dc, stitch 5 
 ch., dc. over dc, X 2 ch., miss 2, dc. over dc. to 
 the end. 
 
 3rd. — Slip up the side- 5 ch., dc. over dc, X 2 
 ch., misss 2, 1 dc, X 3 times, 3 dc, * 2 ch., miss 
 2, 1 dc, * to the end. 
 
 4th. — Slip as before, 5 ch., dc. over dc, 2 ch., 
 miss 2, 1 dc, 2 ch., miss 2, 7 dc, X 2 ch., miss 
 2, 1 dc, X twice. 
 
 5th. — Slip as before 5 ch., dc. over dc, 2 ch., 
 miss 2, 1 dc, 2 ch., miss 2, 4 dc, -+- 2 ch., miss 2, 
 1 dc. -f- 3 times. 
 
 6th. — Slip as before, 5 ch., miss 2, dc. on dc, 
 -\- 2 ch., miss 2, 4 dc, -j- twice, * 2 ch., mi— . 
 dc. * twice. 
 
 7th. — Slip as before, 5 ch., miss 2, 7 dc, 2 ch., 
 miss 2, 7 dc, 2 ch. miss 2, 1 do. 
 
 3th. — Slip as before, 5 ch., 1 dc on last of 7 
 X 2 ch., miss 2, 1 dc, 2 ch., miss 2/4 dc X 2ch., 
 miss 2, 1 dc, to the end. 
 
 9th.— Like 7th. 
 
 10th.— Like 6th. 
 
 This completes the pattern. 
 
 This insertion is of so delicate a texture that to 
 appreciate it, it ought to be seen, lined with 
 ribbon : done in courier materials, it would be 
 found equally pretty and useful for many articles 
 of the lady's toilette. 
 
 Turn the work at the end of every row. 
 
fc(i 
 
 KNITTING INSTRUCTIONS. 
 
 KNITTING INSTRUCTIONS. 
 
 Whatever other arts may become popular 
 among ladies, that of Knitting will ever he held 
 in high estimation, not merely from the elegance 
 of the articles produced by an accomplished 
 
 knitter, but from the great facility it offers for the 
 employment of the invalid, the aged, and the. 
 blind. The dexterity the last named acquire, is 
 too well known to need comment, nor would 1 
 
KNITTING INSTRUCTIONS. 
 
 8/ 
 
 remark on it but for the sake of convincing 
 those who possess the blessing of sight, that 
 there is no good reason for a piece of simple 
 knitting so absorbing eyes, ears, and thoughts, 
 as to render them the mere knitting machines 
 they usually are. To see young ladies stooping, 
 with rounded shoulders and contracted chest, 
 over a simple piece of knitting, no one would im- 
 agine that they were exercising an art in 
 which the blind are the greatest adepts. The 
 fact is, that the blind exercise their sense of 
 touch as well as their memory, until the most, 
 elaborate pattern is produced in a manner 
 perfectly mechanical; why then should we not 
 be able, in the same manner, to use our fingers, 
 whilst our thoughts, tongues, and eyes, are at 
 liberty for the enjoyment of more intellectual 
 pleasures ? A few hints will very soon enable 
 knitters to pursue their favorite occupation 
 whilst reading, studying, or conversing ; and 
 although it may appear a matter of little or no 
 consequence to be able to knit by touch, none 
 of us can tell how soon sickness or weak sight 
 may compel us to abandon all employment which 
 requires strong light or exertion of thought. 
 
 The sense of touch appears to be most acute 
 at the extreme points of the fingers; and it is 
 desirable so to hold our work as to avail our- 
 selves of this power. The needles are to be I 
 in the following manner : — 
 
 The work being held in the left hand, the 
 needle must be held closely pressed between the 
 palm and the third and fourth fingers, whilst 
 the foremost stitches are kept near the point 
 by the thumb and second linger; the first 
 is thus left free to assist in knitting, slip- 
 ping the stitches forward, shortening the point 
 of the needle, &c. The usual mode of knittintr, 
 is to hold the stitch between the thumb and the 
 first finger; and those who have been ace is- 
 tomed to this method, and will try mine, will be 
 astonished at the rapidity with wnioh the delicate 
 point of the fore finger distinguishes between 
 one kind of stitch and another ; the other needie 
 is held between the thumb and first finger of the 
 right hand, and rests on the hand. The thread 
 is passed loosely round the little finger, under the 
 second and third, and over the tip of the first, 
 which is quite close to the needle. The thumb 
 should be quite quiet — the jerking motion, so ob- 
 
88 
 
 
 KNITTING INSTRUCTIONS. 
 
 servable in some knitters, being both inelegant 
 and detrimental to the work. 
 
 Knitting needles should have no sharp points. 
 The needles should gradually taper to a rounded, 
 smooth end, halt" an inch, at least, being thus 
 gradually diminished. I have, as yet, only found 
 one make of this description ; but in no manu- 
 factured article is there a greater difference than 
 between good and bad knitting needles. 
 
 Some patterns have a much better effect woven 
 than knitted, principally from the superior method 
 of diminishing; of that, and the best mode of 
 casting on, I have given diagrams. 
 
 Fig. 1. — This gives the first process in casting 
 on with two needles, (by far the best method.) 
 ]\Iake a loop with your finger and thumb, slip 
 the needle in, and with the thread (a) knit in the 
 ordinary way. This forms the first loop. You 
 will now hold the needle in the left-hand ; take 
 another in the right, and slip it into the last 
 loop. With the point of the fingei, carry the 
 thread between the two needles, and bring the 
 point of the right hand needle in front, (tig. 2,) 
 when the stitch is completed. It must then be 
 
 slipped on to the left-hand needle, and the process 
 repeated. 
 
 Fig. 3. — Purling, (or pearling,) is generally 
 known. The right-hand needle is inserted in 
 front of the stitch, the thread passed round it, 
 and then the point pushed backwards, and drawn 
 out behind. 
 
 Fig. 4. — Represents the woven method of 
 knitting three together, which should always be 
 employed where the centre stitch is intended for 
 the uppermost one. The usual mode is this : — 
 slip 1, knit 2 together, pass the slip stitch over 
 the knitted. The best way is to slip two together 
 off the needle, knit the third, and slip the two 
 over. The centre of the three stitches will then 
 be the front one. If a stitch is to be made be- 
 fore and after, you will merely bring the thread 
 in front on each occasion. 
 
 Figs. 5 and 6. — Show the manner of purling 
 three together in the back rows, to correspond 
 with the knitted ones. We will suppose an open 
 hem to be on each side, as seen in fig. 7. Put 
 the thread round the needle, immediately before 
 the loose stitch c\ then insert the point of the 
 

 
 
 
 
 
 
 BoKofflSBSSySl^l?^ 
 
 
 
 
 
 
 
 
 SjySffiffiif 
 
 i' ) r i'r 
 
 
 
 
 
 
 
 
 
 
 
 S^C^^g 
 
 ^$ 
 
 
 
 
 
 
 
 
 m 
 
 IpsBSoi 
 
 
 ij|f^f'DICK& FITZGERALD. NEW-YORKfc 
 
 mm 
 
SB 
 
INFANT'S CAP CROWN. 
 
 b'J 
 
 right-hr.nd needle in b c, taking both off the 
 left-hand. Purl a and slip the others over 
 them. 
 
 In working from knitting receipts it is neces- 
 sary to remember that no two people knit alike, 
 and therefore, the needles which suit one person 
 admirably, will be too large, or tot) small for 
 another. I give the sizes which suit an ordinary 
 worker ; but those who are conscious of being 
 
 very light, or very loose knitter- 
 use needles one or two - i >».-r or finer. 
 
 I trust that the above observations 
 able every reader to understand j 
 receipts for various choice and beautiful patterns 
 in knitting, which I shall introduce, from time 
 to time, in our pages. I therefore ;. 
 at once, to the articles represented in trie E..- 
 ffravinar. 
 
 "///^ ///^/™- 
 
 u 
 
 INFANT'S CAP CROWN 
 
 TFig. J.] 
 
 Materials. — Cotton Nos. 70 and 90. Crochet 
 hook, No 22, eagle cardboard guage, and a line 
 sewing needle. 
 
 This cap crown is formed by a very pretty 
 admixture of crochet with point lace stitches. 
 
 The sprig, which forms the centre as well as 
 the border, is made in crochet, in a Houiton lace 
 pattern. The mode of engraving, with figures to 
 indicate the number of stitches in every part, is 
 one invented by myself, already familiar to many 
 
 of our readers, to whom it has been found ex- 
 tremely useful. 
 
 Work the crochet with Xo. 70 cotton. Begin 
 the sprig at the end of the stem (a,) work up the 
 two-leaved side, then the flower, and down the 
 other side of the stem, beginning where you. leit 
 off: 10 ch. for the stem. 
 
 Leaf, 30 ch., join in the first to form a loop ; 
 work the first and last stitches in se. and ail 
 the rest in dc, three stitches being made in 
 
90 
 
 INFANT'S CAP CROWN. 
 
 the centre o.iain ; slip 1 at the joining of the loop; 
 16 ch. for stem; repeat the leaf with 20 ch. in- 
 stead of 30; 10 ch. for stem. 
 
 Flower — This is worked round and round, 
 the right side being always uppermost, and the 
 thread being passed under the stem at every 
 round. The inner circle is made first; 18 ch., 
 join into a loop, and work all round in sc. X 5 
 ch., 1 dc through every 3rd of last round, X 5 
 times, 5 ch.. slip 1 at the stem. Work round 
 these in sc. * 13 ch., 1 sc through dc. of last 
 round * 5 times 13 ch., slip 1 on the stem. Sc. 
 all round, working on the chain stitches only. 
 Make u slip stitch at the stem to close the flower 
 well ; sc. on the 10 ch ; then make a leaf of 20 
 ch. opposite to the last ; 8 sc. on chain. 
 
 Bud. — 22 oil., 1 dc. on the 18th, X 2 ch., miss 
 2, 1 dc, X twice, 2 ch., miss 2, slip 1. This forms 
 the open part of the bad. Work round it, 1 sc, 1 
 dc, 5 tc, 2 dc, 1 sc, 4 ch., 3 sc. on 4, 2 slip, 4 
 ch., 3 sc on 4, 1 sc, 2 dc, 5 tc, 1 dc 1 slip. 
 Sip down the stem of the bud, sc 8 on the flow- 
 er stern, make a leaf opposite the first, work 
 down the stern, and fasten off. 
 
 Take a line needle^ and run a few stitches on 
 
 the wrong side with each end, when you may cut 
 them off closely. 
 
 The Border, which would serve very well for 
 a collar, or any other article, is made thus : — 
 32 ch. for each pattern, or 256 for the round. 
 Close, to form it into a circle, and on one side of 
 the chain work thus : — 
 
 1st round. — X slip 2, 2 ch., miss 2, 1 dc. * 
 2 ch., miss 2, 1 tc, * twice ; 2 ch., miss 2, 1 dc, 
 2 ch., miss 2, slip 2, 20 ch., miss 14, slip 2, X 8 
 times. 
 
 2nd, or outer round. — (To be worked on the 
 other side of the chain.) X 2 slip on 2 slip, 1 sc, 
 1 dc, 1 tc, 8 long tc, 1 tc, 1 dc. 1 sc, X 16 
 times. 
 
 3rd or inner round. — (To be worked on the 
 first, beginning at the open hem.) X 2 slip on 2 
 slip, 1 sc, 2 dc, 8 tc, 2 dc. 1 sc. 2 slip ; then on 
 the 20 ch., 1 sc, 7 dc, 1 sc, 1 slip, 12 ch. ; form 
 these into a loop, work round them in sc, then 
 continue on the 20, 1 slip, 1 sc, 7 dc, 1 sc, X 8 
 times. Fasten oil', and put on the pearl edging 
 with the ends of thread. 
 
 To make up the crown, draw a circle the size 
 of the copy, on mounted paper, tack the crochet 
 
INITIALS. SI 
 
 on it, and connect all the parts with open English Those who prefer it, may sew the crochet on a 
 
 lace worked in Evans's boar's-head, No. 90. round of Brussels net, us is so generally d 
 
 (Eor the Point-Lace Stitches, see Part III. of this with real Honiton lace, 
 work.) 
 
 INITIALS. 
 
 [Fig. 2.] 
 
 Materials. — Embroidery cotton, No. 70, stitch, with the white cotton, and then every port 
 
 white, and ingrain scarlet. These letters are par- should have a fine scarlet thread run on each side 
 
 ticularly suitable for marking linen, and similar of it, surrounding the raised part, and sewed 
 
 heavy articles. They should be done in satin- closely over with the same ingrain scarlet cotton. 
 
 [Fig. 3.] 
 
 White embroidery cotton, No. 80. The work point of a stilletto would make them too large, 
 of these letters should be very delicately done, These letters are suitable for handkerchief?. 
 the eyelet holes made with a coarse needle ; the 
 
52 
 
 KNITTED BAG. 
 
 KNITTED BAG. 
 
 [Fig 4.] 
 
 Materials. — 7 shades of pink, blue, or green 
 German wool, 2 yards of silk cord to match, and 
 10 silver rings ; bone needles, No. 8. Cast on 90 
 stitches with the darkest shade. 
 
 1st. — Slip 1, Xmake 1, knit 2 together, knit 2 
 together, make 1, knit 1, X ; repeat to the end. 
 
 2nd row. — Plain knitting. Do two rows in 
 every shade progressively, until you come to the 
 lightest, when you will knit four, then two of 
 every shade back to the darkest, with which you 
 will fasten off. Sew up the side. 
 
 For the foundation use four needles, No. 20. 
 Pick up 30 stitches on each of three needles, and 
 knit 3 plain rounds with the darkest shade but 
 one. 
 
 4th round. — Make 1, k. 2 t., repeat. 
 
 5th. — (With the next lightest shade, continuing 
 to change the wool every fourth round,) knit 12, 
 knit 2 t., repeat. 
 
 6th. — Knit 11, knit 2 t., repeat. 
 
 7th — Knit 10, knit 2 t., repeat. 
 
 8th. — Plain knitting. 
 
 9th.— Make 1, knit 2 t., repeat. 
 1 0th.— Knit 2 t, k. 9, repeat. 
 11th.— Knit 2 t., k. 8„ repeat. 
 12th.— Knit 2 t., k. 7, repeat. 
 13th. — Plain knitting. 
 14th.— Make 1, k. 2 t., repeat. 
 15th.— K. 8, k. 2 t, repeat. 
 16th.— K. 7, k. 2 t, repeat. 
 17th— K. 6, k. 2 t., repeat. 
 18th to 22nd. — Like the last 5. 
 23rd. — Plain knitting. 
 24th.— M. 1, k. 2. ty.repeat. 
 25th. — K. 2 t., k. 5, repeat. 
 26th.— K. 2 t., k. 4, repeat. 
 27th. — K. 2 t., k. 3, repeat. 
 Take up the remaining stitches and sew up the 
 centre, on the wrung side, with an embroiderv 
 needle. 
 
LACET BAG.— D'OYLEY IN SQUARE CROCHET. 
 
 93 
 
 LACET 
 
 [Fig. 
 
 This bag is made, as its name implies, of B?riid, 
 (that is, Lacet) ; it is done very much in the 
 manner of point-lace. 
 
 Draw the pattern on colored paper, of the pro- 
 per dimensions for the bag; paste a calico lining 
 on the wrong side of the paper, and with color- 
 ed silk braid go over all the black lines, fastening 
 the ends of braid very neatly and securely to each 
 other. Then all the double lines seen are to be 
 worked in Venetian bars, and the single ones in 
 Sorrento bars, with sewing-silk exactly the color 
 
 BAG. 
 
 5.] 
 
 of the braid. Work the Venetian bars on three 
 or four threads, and run the needle in the braid 
 from one to the next. 
 
 When complete, it must be removed from the 
 paper, and another side done. The baa: must 
 then be made of silk that will harmonize well 
 with the color of the braid, as green with 
 violet, orange gold color, with maroon or 
 purple, and so on. A steel clasp and tassels 
 complete this elegant bag. 
 
 ^v//y///^^* 
 
 D'OYLEY IN SftUAEE CROCHET. 
 [Fig. 6.] 
 
 For. full directions for Square Crochet, see 
 Part I. this work. 
 
 Materials. — Cotton, No 36, with crochet 
 hook, No. vJ2, eagle card-board guage, will make 
 this D'oyley a proper size tor dessert. 
 
 For other purposes, coarser or finer materials 
 may be used A pretty edging should De 
 worked all round it. One of the most suitable 
 is that termed the Ivy-leaf Edging, m the 
 " Home Circle," No. 101, Vol T IV., or Fig. 
 
04 
 
 CROCHET EDGING. 
 
 8. on the frontispiece of this number, will do 
 a3 well. I may here give a hint for which, 
 doubtless, many of my readers will thank me. 
 All the designs given for D'oyleys and Anti- 
 Macassars in square crochet may be equally 
 well worked in square netting, the pattern 
 befog darned in afterwards. The material used 
 for Anti Macassars should be good and strong 
 knitting cotton, Evans's Nos. 8 or 12 ; but 
 D'oyleys look best done in Evans's Mechlenburgh 
 thread, Nos. 7 or 8, the design being darned in 
 Meeklenburgh, No. 12. 
 
 Square Netting is done in the following 
 manner : 
 
 Begin with one stitch only, and net backwards 
 
 and forwards, increasing one stitch at the end of 
 every row until as many squares are made as 
 may be required, reckoning from the point up 
 one side. Then decrease, in the same manner, 
 until only one stitch is left. When stretched 
 out, this forms a perfect square, every stitch 
 being true. Should an oblong piece be required, 
 (as for a Bread-basket D'oyley,) work to the 
 widest part as already directed, then continue to 
 increase at one side, leaving a stitch at the 
 other, until as much more is done as may be 
 necessary for the entire length. Finish as in the 
 perfect square. Crests and coats of arms are par- 
 ticularly suitable for working in square netting 
 
 **s*^*sA ^«Pt/S/W*- 
 
 CROCHET EDGING. 
 
 [WORKED THE LONG W T AY.j 
 
 [Fig. 7.] 
 
 Materials. —For Anti-Macassars, use cotton or 20. Make a chain of the length required ; or, 
 No. 8 ; crochet hook, No. 1G. For trimming to trim an Anti-Macassar, work a row of sc. all 
 petticoats, cotton, No. 30 ; crochet hook, No. 19 round. 
 
CROCHET EDGING. 
 
 tf> 
 
 1st. row. — Do. 
 
 2nd. — 1 dc, 1 ch., miss 1. Repeat. 
 
 3rd. — -+- 7 sc , 5 ch., miss 1, 1 dc., 6 ch., miss 
 1, 1 dc, 7 ch , miss 1, 1 dc, 6 ch, miss 1, 1 dc. 
 5 ch., miss 1, -f-. Repeat. (In working an Anti- 
 Macassar, do not miss any at the corners in this 
 row, and take care that the 7 chain comes exactly 
 at the corner. This will allow a sufficient 
 fulness for the shell to lie flat.) ' 
 
 4th. — -+- 5 sc (beginning on the second of 
 5,) 5 ch., sc. under th'e first loop ; * 6 ch., sc, 7 
 7 sc. in last row,) 5 ch, sc. under first loop, 
 * 6 ch, sc. under next loop, * 4 times, 5 ch., -j-. 
 Repeat. 
 
 [worked the 
 
 This Edging being more suitable for trimming 
 articles of the lady's wardrobe than Anti-Macas- 
 sars and D'oyleys, should be worked with Evans's 
 boar's-head, No. 30, crochet-hook No. 20 ; or 
 for children's dresses, cotton, No. 40, crochet 
 hook, No. 22, eagle card-board guage. 
 
 Make a chain of 17. Miss 7, dc. in 8th, 2 ch.; 
 miss 2, dc. in 3rd, 5 ch., miss 5, dc. in last. 
 
 2nd. — Turn the work. — 3 ch., 5 dc. on 5 ch., 
 
 nth. — X 3 sc., (beginning on the 2nd of the 
 5,) 5 ch., sc, under the first loop; * 6 ch. - 7 
 under next loop, * 6 times, 5 ch., -f-. Repeat. 
 
 Gth. — -f- 1 sc. on centre of 3 in last row, 4 ch., 
 sc. under first loop, * 5 ch., sc. under next. * 
 twice, -f- G ch. sc. under next, -f- twice, f 5 ch., 
 sc under next, f twice, 4 ch., -f-. Repeat. 
 
 7th. — Begin on the sc. st.ifch, -f- 4 bc'., 4 ch., 
 slip the needle in the threads of the last sc 
 stitch, and draw the thread through, -(-. con- 
 tinue thus all round. Work every stitch of the 
 last row ; the appearance is that a strong and 
 solid edge, with dots at equal distances. 
 
 SHORT WAY.] 
 
 3 ch., miss 2, 1 dc, -f- 3 ch., miss 1, 1 dc, -+■ 
 twice, 4 ch., miss none, 1 dc. 
 
 3rd. — Turn the work. 5 ch., dc. under first 
 loop, 3 ch., dc under the second, 3 ch., 4 dc, (the 
 1st on 1st ch. of the next loop,) 2 ch., miss 2, 
 1 dc. on the chain immediately after 5 dc, 5 ch., 
 miss 5 dc, dc on third of the 3 ch. at the edge. 
 
 Repeat the 2nd and 3rd rows until the re- 
 quired quantity is completed. 
 
!H3 
 
 LADY'S CHEMISETTE. 
 
 LADY'S CHEMISETTE. 
 
 Materials. — Cotton Xo. 
 •10. crochet hook, Xo. 22, 
 eagle card-board guage. 
 
 Make a chain of 36 
 stitcl 
 
 Ist.—Dc. 
 
 2nd. — Open square cro- 
 chet. 
 
 3rd.— Dc. 
 
 4th. — Open square cro- 
 chet. 
 
 5th.— Dc. 
 
 6th. — 10 sc., 10 ch., miss 
 4. 1 dc. under 5th ch., 16 ch., 
 ",.1 dc. under 6th, 10 
 ch., rniss 4, 1 dc. under 5th. 
 Turn, and work the three 
 loop-, in sc; turn again, 
 and work Ihem in dc ; turn 
 again, and work three scal- 
 lops in the first large one, 
 
 iiniist»»9iia>iiiMt«tit •*«»ViiiV«, 
 lit aaaacata «>•:«>••••»*•»•■ •itVaiViiV 
 £i t » • * a • • r » u • • • • ' % > i • t • . . • « . \V.\ V.V.' 
 
 wa^uvav/;.v.v.v,v.v.v.v.v 
 
 il)IIM(IIIMH<l<UIIIUUIIII 
 
 thus : X 1 sc, 1 dc in one 
 stitch, 3 tc. in the next, 1 
 dc, 1 sc in tire next, X 3 
 times ; then, on the large 
 oop work six times in the 
 same way, and on the other 
 small, three times ; finish the 
 row in sc. 
 
 7th. — Turn the work ; 
 make 15 ch., 2 sc on the 
 5th and 6th of the loop of 
 10, 7 ch., 2 sc. at the back 
 of the second loop, in the 
 eighth and ninth of the 
 chain of 16; 7 ch., 2 sc. 
 on fifth and sixth of the 
 first loop of 10; 15 ch., 2 
 sc. on the last two stitches 
 at the end of the row. 
 
 8th. — Turn the work, and 
 do a row of sc 
 
 
LADY'S CHEMISETTE. 
 
 r 
 
 9th. — Turn ; 15 ch., 2 dc. over the middle 
 loops of the first scallop, 1 5 ch., 2 dc. in the 
 middle of the second scallop, 15 ch, 2 dc. in the 
 third scallop, 15 ch. ; sc. on the last stitch of 
 the row. 
 
 10th. — Turn and work a row of dc. 
 
 11th. — Turn and work a row of open square 
 crochet. 
 
 12th.— Like tenth. 
 
 13th. — Like eleventh. 
 
 14th.— Like tenth. 
 
 Then repeat from the sixth row, observing 
 that as the first lace row has only one scallop 
 and this has two, you must count the number of" 
 stitches in the last row, and leaving three from 
 the centre for half of the space between the two 
 flowers, and sixteen for the three loops, so that 
 you will work in sc from the beginning of the 
 row to within nineteen of the centre ; then the 
 chain of ten, of sixteen, and of ten again, as 
 
 directed in row 6, and six sc. stitches in the 
 centre; the remainder of the row to correspond 
 
 with the first part. 
 
 The rest of the Chemisette is (o be worked 
 according to the directions already given, ob- 
 serving, that as the number of stitches i-radually 
 increases, an extra scallop must be made in every 
 new pattern, and care must be taken that they 
 fall regularly between those of the previous 
 row. 
 
 When a different depth is done, to come up to 
 the neck, leave a space of two patterns or so, in 
 the centre, and continue working at eac: 
 not increasing at the outer edge, and diminishing 
 every row at the inner one, in order to fit the 
 neck. 
 
 It is to be set in a habit-shirt of net or Mali 
 muslin, and two rows of crochet-lace put round 
 the neck. 
 
96 
 
 ANTI-MACASSAR. 
 
 ANTI-MACASSAR. 
 
 [Fig 8 ] 
 
 Matepjals. — Cotton, No. 12. Crochet hook, 
 No. 14. Eagle card-board guage. 
 
 Make a chain of 9. Close in the 3rd for a 
 round, leaving 2 chain. Work under this round 
 12 dc. 
 
 ■f- Sc. on 1st dc, 5 ch. miss 1, -f- 6 times. 
 
 -f- Sc. on 1st stitch of the 1st chain of 5, 3 
 dc. on three next, sc. on 5th, slip on sc, -f- 3 
 times ; repeat from the beginning until as many 
 are done as may be required for the length of 
 an Anti-Macassar, without a border. Turn, and 
 work the three loops left in each flower, like the 
 6rst three, with a single crochet stitch on the 
 chain which connects them. Break off your 
 cotton. 5 ch., dc. under each side of the centre 
 stitch of the second loop, 9 ch., dc. in the same 
 place of the next flower, and continue so to the 
 end, leaving off with 5 chain Work on this a 
 
 row of dc, then an open row, thus : — 1 tc, 1 ch., 
 miss 1. Repeat. 
 
 The next row in dc 
 
 Make another length of flowers, and join them 
 to the last row, thus : — in working the second 
 side of the flowers, join the middle loop to the 
 last row of dc, at the same intervals as the pre- 
 vious row of flowers is united. 
 
 Repeat alternately the open hem and the 
 flowers, until the Anti-Macassar is sufficiently 
 wide, finishing with the three rows which form 
 the open hem. Work an open hem at the other 
 side, and at both ends, carrying the dc all round. 
 Beyond this is a round of small eyelet-holes 
 which are thus worked: — X, make a chain of 9, 
 close in 7th for a loop, under which work 2 dc ; 
 drop the loop off your hook, take up a loop of 
 the edge of the Anti-Macassar, then the dropped 
 
ANTI-MACASSAR. 
 
 99 
 
 loop and make 3 more dc. under the chain, 
 reckoning as one thread the dropped loop and 
 that of the border, -f- repeat, — joining such eyelet- 
 nole to every fifth chain of the Anti-Macassar. 
 Work the 2nd side of the eyelet-holes at each 
 corner, make a chain all round connecting it with 
 the eyelet-holes in every fifth stitch. Next 
 round, 1 dc in the middle ioop of the 2nd side 
 of the e} 7 elet-holes, 4 ch., repeat throughout the 
 round with 5 ch. at the corners, dc. all round, 
 working three stitches in one at the corners. 
 
 Next round, X 1 tc, 1 ch., miss 1, X all round, 
 not missing any at the corners. 
 
 Next round, dc , with three in one at the 
 corners. 
 
 Next, X 5 dc. 5 ch., miss 1, 1 dc, 7 ch., miss 
 1, 1 dc, 5 ch., miss 1 X, repeat all round, taking 
 care that the 7 ch. come exactly at each COr- 
 DfJ. 
 
 Next, sc on each side of the 3rd dc, X 3 ch., 
 sc in the loop of 5, 3 ch., sc. in the centre of the 
 loop of 7, 3 ch., sc in the 2nd loop of 5, 3 ch., 
 sc. on each side of the 3rd of the 5 dc. 
 
 Next, sc. on a loop, -f- 3 ch., sc. on next. X. 
 repeat all round, but with 5 ch. at the top of 
 each Vandyke, and three chains of 5 at each 
 corner. 
 
 This is one of the patterns which look ex- 
 tremely well when formed by an intermixture 
 of cotton and wool, or colored and white cot- 
 tons. A rich scarlet, green, or cerise wool may 
 be used for all the eyelet-holes and the edge: 
 the open-hems, throughout, in white cotton ; or 
 pink and drab cottons wash and wear extremeiy 
 well, and possess the additional advantage of not 
 being 60 soon soiled as white inevitably is, par- 
 ticularly in London. 
 
iOO 
 
 CROCHET MAT 
 
 CROCHET MAT. 
 
 Materials. — Berlin wool 
 — 3 shades of brown, 3 of 
 green, 1 of violet, and 1 of 
 yellow. 
 
 Make the eyelet-hole in 
 the centre, with the lightest 
 brown ; 9 ch., form into a 
 round, and work under it 
 18 sc. stitches. 
 
 Take the medium shade 
 of brown and make 6 sim- 
 ilar eyelet holes, which are 
 to be joined to each other, 
 and to the centre one, by 
 sewing them at the back with 
 a rug needle. 
 
 With the darkest brown, 
 make 12 more eyelet holes, 
 and having worked them all 
 
 round in sc, join them to 
 the 6, (2 to each) as seen in 
 the Engraving. 
 
 Twelve heartsease must 
 then be worked, thus : with 
 violet wool make a chain 
 of 5, close into a round, -f- 
 11 ch., sc. under the loop, 
 -f" twice, 3 ch., slip at the 
 back of the loops, work in 
 dc. round the two loops, miss- 
 ing the last stitch of the 
 first loop, and the first of the 
 second, and working toge- 
 ther the two stitches at the 
 joining of the two loops. 
 End with a sc. under the 
 chain of five. 
 
CROCHET MAT. 
 
 IOJ 
 
 Take the yei.ow, sc. unaer the chain of 5, 9 
 ch., sc. under same, 1 1 ch., sc. under same, 9 ch., 
 sc. under the same. 
 
 Slip on the round to the beginning of the 
 yellow, and dc. the third violet and second yellow 
 chain together; dc. all round the 9 ch., connect 
 it to the 1 1 by two stitches, and then dc. round 
 the 1 1 ; join the second 9 to the 1 1 by two 
 stitches, and, at the last two, connect with the 
 first violet petal. Fasten off, and sew the twelve 
 hearts-ease round the eyelet-holes. 
 
 Take the middle shade of green, X sc. on the 
 left side yellow petal of the first heartsease, 12 
 ch., sc. on the right side yellow petal of the sec- 
 ond, 9 ch., slip across the back of the flower, X ; 
 repeat all round 
 
 With the same shade of green — X 7 dc. on the 
 top of the violet petals of the first heartsease, 3 
 
 cb., 2 dc. on the centre loops of the 12 ch., V \ 
 peat all round. 
 
 Dark green, 5 sc. X 4 ch., miss 1, sc. the other 
 three, 5 sc, 6 ch., miss I, sc. 5 of them, 5 sc, 4 
 ch., sc. 3 of them, 10 sc. X; repeat all round, 
 ending with 5 sc. The chains form veinings for 
 leaves. 
 
 Second shade of green — sc. on sc, and I 
 round all the veinings, working two in one at ev- 
 ery point. 
 
 Take the lightest green, and repeat the pre- 
 ceding round, working three in the two at the 
 point of each vein, and catching the 6ides to- 
 gether. 
 
 With the same shade, work the scallops all 
 round, -f- dc. in 1 stitch, 3 tc. in next, 1 dc. in 
 next X : repeat. 
 
 uSo^t^L 
 
102 
 
 ELEMENTARY INSTRUCTIONS IN TATTING OR FRIVOLITE 
 
 ELEMENTARY INSTRUCTIONS IN TATTING OR FRIVOLITE. 
 
 For a considerable period the art of Tatting, 
 long disused in this country, has been revived in 
 the fashionable world ; and like many other things 
 which have disappeared for a time, has acquired 
 greater lustre and beauty than it ever before pos- 
 sessed. 
 
 The exercise of the art of Tatting as known to 
 our grandmothers, was merely an elegant apology 
 for exhibiting a pretty hand and brilliant rings ; 
 the actual production was never more elaborate 
 than a neat, but rather substantial edging for a 
 child's dress or a lady's frill. No wonder that 
 our friends on the other side of the Channel chris- 
 tined this apology for a lady's idleness pre-emi- 
 nently by the appropriate term Frivolite. At the 
 late French Exposition of Industry, however, 
 some very beautiful and elaborate specimens hav- 
 ing been exhibited, this kind of work again be- 
 
 came the rage, both in France and England ; and 
 doubtless the elegant pieces of Tatting which may 
 be seen in our own Exhibition, will tend yet fur- 
 ther to keep the work popular. 
 
 The only necessary instruments are the shuttle, 
 or short netting-needle, and a gilt pin and ring, 
 united by a chain. The thread used for Frivolite 
 should be strong and soft ; something like knit- 
 ting-cotton. 
 
 The first point to be attended to in Tatting, is 
 the mode of holding the hands. The shuttle, fill- 
 ed with thread in the manner of a netting-needle, 
 should be held between the thumb and the first 
 and second fingers of the right hand, about half- 
 a-yard of the thread being unwound. Take up 
 this thread two or three inches from the end, be- 
 tween the thumb and first finger of the left hand, 
 letting the end fall in the palm of the hand ; pass 
 
ELEMENTARY INSTRUCTIONS IN TATTING OR FRIVOLITE. 
 
 10; 
 
 the thread round the other fingers of the ri^ht 
 hand, keeping them rather apart from each other, 
 mid bring it again between the thumb and fore- 
 finger, thus making a circle round the extended 
 fingers. 
 
 Two stitches only are used in Tatting, and it 
 is usual to do each alternately, as a prettier edg- 
 ing is thus formed than can be made in any other 
 way. This is, therefore, called the double stitch. 
 
 The first stitch to be learned is termed the En- 
 glish Stitch. This is made in the following man- 
 ner : — 
 
 Let the thread between the right hand and the 
 left fall towards you, (as will be seen in the En- 
 graving), slip the shuttle under the thread between 
 the first and second fingers, and draw it out to 
 the right rather quickly, keeping it in a horizon- 
 tal line with the left hand. It will be found that 
 a slipping-loop is formed on this thread with that 
 which went round the fingers. 
 
 Hold the shuttle steadily, with the thread 
 stretched tightly out, whilst with the second fin- 
 ger of the left hand, you slip the loop thus made 
 under the thumb. 
 
 I may here remark that when Tatting will not 
 draw up, it is because the operation is reversed ; 
 and instead of the loop being formed by the 
 thread round the fingers, it is formed by that 
 connected with the shuttle. This is usually caused 
 by the worker letting the thread from the shuttle 
 hang loosely instead of drawing it out, and hold 
 ing it at full stretch. 
 
 There is very little difference between tlie 
 Prench and the English stitch. It simply consists 
 in throwing the thread in a loop over the left, and 
 inserting the shuttle uvteards under the cir-Je 
 
104 
 
 ELEMENTARY INSTRUCTIONS IN TATTING OR FRIYOLITE. 
 
 round the fingers, instead of downwards, as in the 
 English stitch. 
 
 The accompanying Engraving gives a clear 
 idea of the manner in which this is to be done. 
 The shuttle is drawn out, and the stitch formed 
 exactly in the same manner as in the previous 
 6titch 
 
 The two stitches thus made form one double 
 stitch ; and when as many are done, and drawn 
 dose to each other, as may be directed, the stitch- 
 es are held between the first finger and thumb 
 
 and the other fingers are withdrawn from the 
 circle of thread, which is gradually diminished by 
 drawing out the shuttle until the loop of Tatting 
 is nearly or entirely closed The tatted loops 
 should be quite close to each other, unless par- 
 ticular directions to the contrary are given. 
 
 Sometimes Tatting is ornamented by a suc- 
 cession of tiny loops, something like pearl-edg- 
 ing; these are made with the pin previously 
 spoken of. 
 
 Slip the ring on the left hand thumb, that the 
 pin, being attached to the chain, may be ready for 
 use. Make as many double stitches as the direc- 
 tions prescribe, twist the pin in the circle of thread, 
 and hold it between the fore-finger and thumb 
 whilst making more stitches ; repeat. 
 
 Tatting should always be done with a very 
 cool, dry hand. 
 
 Common Tatting is merely a length of tatted 
 loops, with or without picots. 
 
 Trefoil Tatting is done by drawing up tightly 
 three loops, made quite close together, and then 
 leaving a short space before making more. The 
 Trefoil is sewed into shape afterwards with a 
 common sewing-needle, 
 
EMBROIDERY ON CAMBRIC. 
 
 3 J 
 
 A pretty variety may be made by trimming a 
 number of large loops with others very much 
 smaller, which should be sewed round them. In 
 this case a little distance must r be allowed between 
 all the large loops. 
 
 I should always advise learners to use coarse 
 crochet silk for their first attempts in Tatting, 
 
 as it is very much easier to do with this material 
 than with any other. 
 
 Tatting is usually sewed on net, for collars, 
 &c. I, however, greatly prefer the effect when 
 the Tatting is formed into a solid mass by the aid 
 of Point-lace stitches. Diagrams of all these may 
 be found in Part III. of this work. 
 
 ****** <*/vw* 
 
 EMBROIDERY ON CAMBRIC. 
 
 [Fig. 1.] 
 suitable for the corner of a handkerchief. 
 
 i- 
 
 fht 
 
 — — , 
 
 Materials. — mgram red and white embroidery 
 cotton, No. 80. 
 
 The design may be traced on the cambric from 
 that given in the Engraving, and then worked in 
 
 raised satin-stitch; the flowers (excepting the 
 calyxes) in red cotton, and the leaves, stems, and 
 calyxes in white. The little dots in the Flowers 
 are raised. 
 
 [Fig. 2.] 
 
 TO CONTAIN INITIALS. 
 
 Materials. — Either the same as in the pre- 
 ceeding, or white embroidery cotton only. For 
 a morning handkerchief, it would look very well 
 
 in scarlet, the initials only being in white. The 
 little rounds in this design are eyelet-holes very 
 neatly sewed over. 
 
106 
 
 KNITTED LACE COLLAR. 
 
 KNITTED LACE COLLAR. 
 
 [Fig. 3.] 
 
 Materials. — Cotton, No. 40 ; needles, No. 24. 
 Cast on fifteen stitches. 
 
 1st Row.— Knit 2, m. 1, k. 1, m. 1, k. 2, slip 
 1, k. 2 t., pass the slip-stitch over, k. 2, m. 1, 
 k. 1, ra. 1, k. 2, slip 1, k. 1, pass the slip-stitch 
 over. 
 
 2nd, and every alternate row. — Purl all but 
 two, and knit them plain. 
 
 3rd.— Knit 2, m. 1, k, 3, m. 1, k. 1, slip 1, 
 k. 2 t., pass the slip-stitch over the knitted, k. 1, 
 rn. 1, k. 3, m. 1, k. 1, slip 1, k. 1, pass the slip- 
 stitch over. 
 
 5th.— Knit 2. m. 1, k. 5, m. 1, slip 1, k. 2 t, 
 pas3 the slip stitch over, m. l,k. 5, ra. 1, slip 1, 
 k. 1, pass the slip-stitch over. 
 
 7th. — Knit 4, slip 1, k. 2 t., pass the slip- 
 stitch over, k. 2, tn. 1, k. 1. m. 1, k. 2, slip 
 1, k. 2 t., pass the slip-stitch over, k. 2 m. 1, 
 K. 1. 
 
 9th. — Knit 3, slip 1, k. 2 t., pass the slip- 
 
 stitch over, k. 1, m. 1, k. 3, m. 1, k. 1, slip 1 k. 
 2 t., pass the slip-stitch over, k. 1, m. 1, k. 2. 
 
 11th — Knit 2, slip 1, k. 2 t., pass the slip- 
 stitch over, m. 1, k. 5, m. 1 slip 1, k. 2 1, pass 
 the slip-stitch over, m. 1, k. 3. 
 
 12th. — As 2nd. Repeat until sufficient is 
 done, then trim it with lace. Take up the 
 stitches at the neck. Knit one row, taking two 
 together every ten. Knit a few rows more and 
 cast off. 
 
 For the edging, the same materials. Cast on 
 sixteen stitches, and knit one plain row. 
 
 1st.— Knit 2, X m. 1, k. 2 t., X twice, k. 2, 
 
 * m. 1, k. 2 t, * 3 times, m. 1, k. 2. 
 
 2nd.— Pearl ll,k. 6. 
 
 3rd.— Knit 2, X m. 1, k. 2 t, X twice, k. 3, 
 
 * m. 1, k. 2 t., * 3 times, m. 1, k. 2. 
 
 4th.— Pearl 12, k. 6. 
 
 5th.— Knit 2, X m. 1, k. 2 t, ■+■ twice, k. 2, 
 m. 1, k. 2, * m. 1, k. 2 t, * 3 times, m. 1, k 2 
 
SPANISH CKOCHET EDGING. 
 
 107 
 
 6th.— Pearl 14, k. 6 
 
 7th.— Knit 2, + m. 1, k. 2 t , -f- twice, k. 2 t, 
 m. 1, k. 1, m. 1 k. 2 t, k. 1, * ra. 1, k. 2 t, * 3 
 times, m. 1, k. 2. 
 
 8th.— Pearl 15, k. 6. 
 
 9th. — Knit 2, -j- in. 1, k. 2 t, -f- twice, k. 1, m. 
 1, k. 3, m. 1, k. 2t, k. 1, * m. 1, k., 2 t., * 3 
 times, m. 1, k. 2. 
 
 10th.— Pearl 16, k. 6. 
 
 11th.— Knit 2, -f- m. 1. k. 2 t, + twice, k. 1, 
 m. 1, k. 2 t., k. 1, k. 2 t., m. 1, k. 2 t., k. 9. 
 
 12th.— Knit 1, X, k. 2 t., m. 1, X 4 times, p. 
 7, k. 6. 
 
 13th.— Knit 2, X m. 1, k. 2, X twice, k. 2^ 
 m.l, k. 3 t, m. 1, k. 11. 
 
 14th.— Knit 1, k. 2 1, X m. 1, k. 2 t, X 4 
 times, p. 5, k. 6. 
 
 15th.— Knit 2, ■+- m. 1, k. 2 t., X twice, k. I, 
 k. 2. t., m. 1, k. 2 t, k. 10. 
 
 16th.— Knit 1, k. 2 t, X m. 1, k. 2 t, X 4 
 times, p. 3, k. 6. 
 
 17th.— Knit 2, X m. 1, k. 2 L, X twice, k. 13. 
 
 18th.— Like 16th, but purl 2. 
 
 19th.— Knit 2, + m. 1, k. 2 t., X twice, k. 2 
 t., k. 10. 
 
 20th. — Like 16th, without purling any. 
 
 21st.— Knit 2, X m. 1, k. 2 t., X twice, k. 10. 
 
 22nd. — Plain knitting. 
 
 Repeat as often as may be required. 
 
 I may observe that this Edging is well suited 
 #for the trimming of a counterpane, or any simi- 
 lar large piece of work. It should, of course, 
 be knitted in suitable materials. 
 
 wvW^^ +W^r~~ 
 
 SPANISH CROCHET EDGING 
 
 [Fig. 4.] 
 
 Materials. — Cotton, No. 16; crochet hook, No. same stitches, X 7 ch., miss 4, ec. in 5th, 5 ch., 
 18 ; eagle card-board guage. slip into the same, X twice, 7 ch., sc. in 1st ch. 
 
 29 ch., turn, sc in 15th, 5 ch., slip into the 
 
108 
 
 COLLAR IN FRIVOLITE. 
 
 — this forms the foundation. You will now 
 begin to work the pattern. 
 
 1st. — Turn the work, 7 ch.,sc. under last 7, 
 5 ch., slip on the sc stitch, X 7 ch., sc under 
 next loop, 5 ch., slip on the sc stitch, X 3 times, 
 5 ch., sc under the same loop. 
 
 2nd. — Turn the work, and slip 3 on 3 of the 
 last 5 ch., -f- 7 ch., sc. under the next loop, 5 ch., 
 slip on sc. stitch, -+- 3 times, 7 ch., sc. under last 
 loop. 
 
 3rd. — Turn the work, X 7 ch., sc, under the 
 next loop, 5 ch., slip on sc. stitch, X 4 times, 4 
 ch., 3 dc. under the same loop, 3 ch., i dc. in the 
 last of the 3 slip of the preceding row, 4 ch., !*• 
 dc in the first of the 3 slip, 3 ch., 2 dc and 1 
 sc. in the first loop of the foundation. 
 
 4th. — Turn the work, 3 ch , 3 dc. under first 
 loop, 3 ch., 4 dc. under next, 3 ch., 3 dc under 
 next, 3 ch., 1 sc. under next, -+• 7 ch., sc under 
 next loop, 5 ch., slip through sc. stitch, X 3 
 times, 7 ch., sc. under the last loop. 
 
 As Dentelles de Laine are at present such fash- 
 ionable trimmings for aprons, dresses, and man- 
 tles, our friends would find such an edging as the 
 above, done in black or colored Pyrenees wool, 
 far more beautiful and economical than anything 
 they can purchase. It may also be done in cro- 
 chet, or netting silks, and would then be a most 
 elegant trimming for the Mandarin sleeves, and 
 berthes of dresses. 
 
 "When fine cotton edging is desired use No. 30, 
 and crochet-hook 20 or 21. 
 
 COLLAR IN FRIVOLITE. 
 
 [Fig. 5.] 
 
 Materials. — Bobbinet and fancy ditto, for 
 the foundation of the collar. For the Frivolite, 
 use Tatting-cotton, No. 3. 
 
 Cut out two collars, one in each kind of net, 
 
 and connect them by a line of close button -hole 
 stitch at the distance of an inch-and-a-quarter 
 from the outer edge and ends. Then cut off 
 the inner part of the fancy net and the outer of 
 
COLLAR IN FRIYOLITE. 
 
 Iu3 
 
 the plain, leaving thus one complete collar com- 
 posed of two kinds of net. 
 
 Make in Frivolite twenty-five stars of eight 
 loops each, all drawn up as closely as possible. 
 The loops should consist of about twenty double 
 stitches each ; make also twenty-four eyelet- 
 holes in Tatting ; sew the stars and eyelet-holes 
 alternate on the line of button-hole stitch, 
 beginning and ending with a star. Then make 
 as many loops (all at a distance from each 
 other) as may be necessary to cover the plain 
 net in the manner seen in the Engraving ; sew 
 them on alonar the lines of thread. 
 
 For the border, do a length of Tattin:; «n 
 alternate single and trefoil loops, with a 
 piece of .thread between each ; and, after whip- 
 ping the net, sew the Tatting on. The corner 
 trefoils should be larger than the others. 
 
 A narrow band of net may be put on the neck. 
 
 Ladies who prefer Crochet to Tatting, may 
 work any pattern given for Frivolite in their 
 favorite manner, by substituting dc. stitches 
 instead of the double tatting stitches. 
 
 For working eyelet-holes in Crochet, I refer 
 my readers to the instructions for the Anti-Ma- 
 cassar, in Part V- of this work. 
 
 C O L L A'R IN FRIVOLITE. 
 
 [Fig. 6.] 
 
 Materials. — Tatting-cotton, No. 3 ; shuttle 
 and pin. 
 
 Make 22 trefoils thus : 18 double stitches 
 for each loop, which must be drawn up quite 
 tightly ; three of these form a trefoil. 
 
 Make 22 trefoils, of 15 double stitches, in the 
 same manner for the nest row ; and then a 
 
 similar set of 12, 9, and 6 double stitches in 
 each loop Sew the trefoil of a collar of funcy 
 net ; put on 2 rows of tatted purled edging, as 
 indicated in the Engraving, finish last line of 
 Trefoils with a tatted round, and sew a niuslin 
 band round the neck. 
 
xlO 
 
 FISH CLOTH. 
 
 FISH CLOTH 
 
 [Fig. 7.] 
 
 Materials. — Cotton of the following colors : 
 two reels white, two green, one dark blue, one 
 light blue, one black, one lemon color. The colors 
 will be indicated throughout by their respective 
 initials. The cotton should be Nos. 10 or 12, and 
 a very small quantity of Evans's boars-head, No. 
 40; hooks, Nos. 10 and 20; eagle card-board 
 guage. 
 
 Jic^in by making the lemon slices thus : — 
 with cotton, No. 40 ; hook, No. 20, make l 
 chain of 12 ; close it into a loop, and work it 
 all round in dc, taking the stitches under the 
 chain. Do this four times, when all the pips 
 will be made. With the yellow cotton, work a 
 chain, connecting all these from point to point, 
 in a circle. Work a round of white in the 
 yellow, with two tc. stitches in every chain 
 Ihen a round of tc. in yellow on the white, with 
 two stitches in every alternate one. This com- 
 pletes one lernon slice. Four of them must be 
 
 made and sewed on the corners of the fish cloth 
 after it is completed. The pips only are to be 
 done with a fine needle and fine cotton. 
 
 With the coarse white cotton, and hook, No. 
 10, make a chain of 116; work eight rows in 
 open square crochet. 
 
 9th. — 17 os. in white, 1 dc. in dark blue, 3 dc. 
 in light blue, 2ch. in white, 2 dc. light blue, 
 18 open squares in white, 
 future rows the colors will 
 their respective initials. 
 
 10th.— 17 os. w, 1 dc. d. b., 
 w, 3 dc. 1. b., 18 os w. 
 
 11th.— 17 os. w.,2 dc. d. b. 3 
 w., dc. 1. b., 17 os. w. 
 
 12th.— 16 os. w., 3 dc. d., 
 
 Observe that l 
 be indicated by 
 
 b., (to 
 OS. w. 
 
 13th.— 16 os. w., 4 dc, 
 dc. w., 5 dc. 1. b., 17 os. w. 
 
 4 dc. 1. b. 
 
 , 2 ch. 
 
 dc. 1 1. b2,. 
 
 2 dc. 
 
 2dc. 1. b., 
 
 2 dc 
 
 , 4 dc. 1. 
 
 b., 17 
 
 form the eye), dc. w., 
 
 d. b., 3 dc. 1. b., 4 
 
FISH CLOTH. 
 
 Ill 
 
 14. — 16 os. w., 4 do. d. b., 4 dc. 1- b., 4 
 dc. w., 5 do. 1. b., 1G os vv. 
 
 15th. — 15 os. w., 4 dc. d. b., 4 dc. 1. b., 5 
 dc. w., 4 dc. 1. b., 1 dc. d. b., 15 os. os, w, 
 
 16th,— 1 5 os. w.j 4 dc, d, b., 3 dc. 1. b., 6 dc. 
 w., 2 dc, 1. b„ 1 dc. d. b,, 3 dc. 1. b., 1 ch, w. ; 
 open squares in white to the end, 
 
 17th.— 15 os. w., 4 dc. d. b., 4 dc. 1. b., 6 dc. 
 w., 1 dc. 1. b., 6 dc. 1. b. ; open squares in 
 white to the end. 
 
 18th. — 14 os. w., ending with one chain, 4 dc. 
 d. b., 4 dc. 1. b., dc. w., 2 dc. d. b., 1 dc. w., 
 6 dc. 1. b., ; finish with os. in white. 
 
 19th.— 14 os. w., 4 dc. d. b., 4 dc 1. b., 11 
 dc. w., 6 dc 1. b. ; open squares to the end in 
 white. 
 
 20th — 14 os. w., 4 dc d. b., 4 del. b., 13 
 dc. w., G cic i. b- ; finish with open squares in 
 white. 
 
 21st and 22nd.— Like 20. 
 
 23rd, — 13 os. w., 1 ch, w,, 3 dc. d, b,, 5 dc. 
 1, b.j 15 dc. w., 7 dc, 1, b, ; open squares in 
 white to the end. 
 
 24th.— 13 os. w., 3 dc, d. b., 5 dc, 1. b., 17 
 dc. w., 6 dc. 1, b. ; finish with white in os. 
 
 25th. — Begin on the first, leaving out the 
 open squares. 3 dc. d. b., 5 dc. 1. b., 19 dc 
 w., 5 dc 1. 1). 
 
 26th to 31st inclusive. — The same. Now turn 
 back to tho twenty-fifth row, and be^in a chain 
 in the last stitch of the light blue for the tin; 
 let the chain be composed of twelve stitches ; on 
 that chain, work 2 sc, 3 dc, 7 tc : turn, and 
 work 7 dc, 2 sc, which will make it even with 
 the row above, if the three hist stitches are 
 missed along this ; work a row of sc to unite 
 it to the fish, as in the Engraving. Then work 
 open squares in white from tWb row you first 
 missed, then to the last, that is, the thirty-first 
 row. Do the same on tlie other side of tho 
 fish, taking care that the lower fin rerches a 
 little lower than tho upper one. Begin the 
 second fin on tho twenty-sixth row. 
 
 32nd. — 13 os. w., 1 ch. w., 4 dc d. b., 5 <\c. 
 1. b., 17 dc. w., 5 dc. 1. b ; finish with open 
 squares in white. 
 
 33rd.— 13 os. w., 2 eh.'w., 4 dc. d. b., 5 dc. 
 1. b., 15 d.c w., 5 do. 1. b; finish as before. 
 
 34th.— 14 os. w., 3 dc. d. b., 5 dc. 1. b., 13 dc. 
 w., 5 dc 1. b. ; finish as before. 
 
 
T12 
 
 FISH CLOTH. 
 
 35th — 14 os. w., 3 dc, d. b ., 5 dc. 1. b., 11 dc. 
 w., 5 dc. 1. b. : fiuish as before. 
 
 36th. — 14 os. w., 1 ch. w., 3 dc. d. b., 5 dc. 1 
 b., 9 dc. w., 5 dc, 1. b. ; finish with white os. 
 
 37th. — 15 os. w., 3 dc. d. b., 5 dc. 1. b., 7 dc. w., 
 5 dc. 1. b.; finish with white open squares. 
 
 38th. — 15 os., w., 1 ch. w., 3 dc. d. b., 5 dc. 1. 
 b., 5 dc. w., 5 dc. 1 b- ; finish with white os. 
 
 39th. — The same. 
 
 40th.— 15 os. w., 2 ch. w., 3 dc. d. b., 4 dc. 1 
 b., 5 dc. w., 3 dc. 1. b., 2 dc. 2 ch. w. ; open 
 squares in white to the end. 
 
 41st. — 16 os.- w., 2 dc. d. b., 4 dc. 1. b., 5 dc. 
 w., 2 dc 1 b., 2 ch. ; open squares in white to the 
 end. 
 
 42nd. — 15 os. w., 1 ch. w., 2 dc d. b., 4 dc. 1. 
 b., 7 dc. w., 2 dc. 1. b. ; open squares in white to 
 the end. 
 
 43rd — 15 os. w. 2 dc. d. b., 4 dc. 1. b., 9 dc. 
 w., 2 dc 1. b. ; finish with open squares to the 
 end. 
 
 44th — 14 open squares in white, 2 dc. d. b., 4. 
 dc. 1. b., 4 dc. w., 2 dc. 1. b., 5 dc w., 2 dc 1. 
 b. ; open squares in white at the end. 
 
 45th. — 14 open squares in white, 2 dc. d. b., 3 
 
 dc 1 b., 5 dc. w., 1 dc 1. b., 2 ch. w. ; 1 dc. 1. b., 
 6 dc. w., 1 dc 1. b., 1 ch. ; and open squares to 
 the end in white. 
 
 46th.— 14 os. w., 2 dc. d. b., 3 dc 1. b., 4 dc 
 w., dc 1. b., 1 ch., 1 dc, 2 ch., 1 dc, 1 ch., all 
 in white, 1 dc. 1 b., 4 dc. w., 1 dc. 1. b., 1 ch. 
 and os. in white. 
 
 47th — 14 os. w., 1 ch. w., 2 dc d. b., 1 dc. 1. 
 b-, 3 dc w., 1 dc. 1. b., 2 ch., 1. dc 2 ch., 1 dc. 2 
 ch., all in white, 1 dc. 1 b., 2 dc w., 1 dc 1 b., 2 
 ch. and open squares to the end in white. 
 
 48th. — 14 os. w., 1 ch. w., 2 dc. d b., 1 dc 1. 
 b., 1 dc. w., 1 dc. 1. b. 3 X 2 ch., 1 dc. X 4 times, 
 and 2 ch., w., 1 dc. 1. b., 2 dc. w., 1 dc 1 b., 1 
 ch., and open squares to the end in white. Fin- 
 ish with eight rows of open squares in white cot- 
 ton. 
 
 For the border, for which the green cotton is 
 to be used : 
 
 Make a chain of 16, turn, miss 2, 2 sc, 3 dc, 4 
 to., 3 dc, 2 sc, 1 ch., turn; work the same on 
 the other side of the chain of 16, and fasten off. 
 
 This completes one leaf; let as many be done 
 as may be required to go all round the D'oyley, 
 
 i 
 
CROCHET INSERTION 
 
 113 
 
 rather more than twice. Then, with fine green 
 cotton, sew the points of some, at regular inter- 
 vals, round the Fish Cloth. Make a chain all 
 round, connecting the base of the leaves at regu- 
 lar intervals. On the chain, work a row of sc, 
 
 connecting the ends of the remaining learee for 
 the outer row. 
 
 Or the leaves might be made with a chain of 
 5 between each ; the second row of leaves being 
 worked on the other side. 
 
 Mlff^M ^*WS~- 
 
 CROCHET INSERTION. 
 
 WORKED THE SHORT WAY. 
 
 Materials. — Cotton, No. 80. Crochet hook, 
 No. 22. 
 
 Make 32 chain 
 
 1st — Miss 3, 2 dc, f2 ch., miss 2, 1 dc, f, 
 twice, 2 ch., miss 2, 7 dc, * 2 ch., miss 2, 1 dc. 
 * 3 times, 2 dc. 
 
 2nd — Turn the work ; and, in this and the 
 other alternate rows, take up the side of the 
 stitch nearest to you, whilst in the intermediate 
 you take up the side farthest from you. 3 ch.,' 
 twist them, miss 1, 2 dc, * 2 ch., miss 2, 1 dc -f- 
 5 times, 3 dc, 2 ch., miss 2, 1 dc, 2 ch. miss 2, 
 3dc 
 
 3rd — (Turn the work.) 3 ch., twist, miss 1, 2 
 3c on dc, 2 ch., miss 2, 4 dc, 2 ch., miss 2, I 
 Ic.j 2 ch., miss 2, 7 dc, 2 ch., miss 2, 1 dc, 2 cb., 
 niss 2 3 dc 
 
 4th. — (Turn.) 3 ch., twist, miss 1, 2 dc. 2 ch., 
 miss 2, 4 dc, ° 
 
 A /\ r* t - 4-TTfi r 
 
 ch. 
 5 ac. 
 4th. — (Turn.) 3 ch., twist, miss 1, 2 dc. 2 ch., 
 niss 2, 4 dc, 2 ch., miss 2, 1 dc, -f- 2 ch., miss 2, 
 : dc, -f- twice 2 ch., miss 2, 3 dc. 
 
 5th. — (Turn.) 3 ch., twist, miss 1, 2 dc 2 ch., 
 miss 2, 4 dc, 2 ch., miss 2, 1 dc -f-, 2 ch. miss '2, 
 4 dc, + twice, 2 ch., miss 2, 3 dc 
 
 6th.— (Turn.) 3 ch., twist, miss 1, 2 dc. 
 \ ch.. miss 2, 4 dc, 2 ch., miss 2. 1 cu., 2 ch. 
 
 4 dc, -\- twice, 2 ch., miss 2, 3 dc 
 
 6th.— (Turn.) 3 ch., twist, miss 1, 2 dc. 
 2 ch., miss 2, 4 dc, 2 ch., miss 2, 1 du., 2 ch. 
 miss 2, 7 dc, 2 cb., miss 2, 1 dc, 2 ch., miss 2, 3 dc 
 
114 
 
 NETTED SCARF. 
 
 7th. — (Turn.) 3 ch., twist, miss 1, 2 dc, X 2 
 cb., miss 2, 1 dc. -f- 6 times, 3 dc, 2 ch, miss 2, 3 dc. 
 
 8th.— (Turn.) 3 ch., twist, miss 1, 1 dc, X 2 
 ch., miss 2, 1 dc, X twice, 3 dc, * 2 ch., miss 2, 
 1 dc. * 4 times, 2 ch., miss 2, 3 dc. 
 
 Eepeat until sufficient is done for the purpose 
 required. 
 
 It may be necessary to explain the meaning 
 
 of the word twist. In working a crochet pat- 
 tern backwards and forwards, or in carrying the 
 thread from one round to another, ivithout join- 
 ing, in a round crochet pattern, the neatest way 
 is to make three chain, and then twist them, let- 
 ting the loop drop off the needle for the purpose 
 and resuming it ; this looks quite sufficiently like 
 a dc. stitch for all ordinary purposes. 
 
 N ETTE D SCARF. 
 
 Materials — 6 oz. light blue filoselle, 1 oz. 
 each of white and of claret ditto. "When wind- 
 ing the skeins, split them in half and the threads 
 will then be quite sufficiently thick. Begin with 
 the border. Take a round mesh, No. 4, [the size 
 of a common pen-holder,] make 1 stitch. 
 
 2nd.— Net 2 in 1. 
 
 3rd and succeeding rows. — Add one stitch 
 at the end of every row until you have thirty 
 one stitches in the row, when you will net two as 
 one. The next row, you will increase one at the 
 end ; the following one you will diminish until 
 you have done fifty rows in this manner, Lhen 
 
 decrease at the end of every row until one stitch 
 only remains. 
 
 This being done in white filoselle, may be 
 darned in a handsome pattern with the claret. 
 A second piece must be done in the same way.. 
 Then two bands, each half the width of this, 
 must be made in light blue, to one side of which 
 a handsome fringe must be sewed, and to the 
 other the white netting. The body of the scarf 
 must also be done in the blue filoseile. 
 
 Any handsome scroll or pattern for square cro- 
 chet, which is not more than thirty squares wide, 
 may be used for darning the border of the scarf 
 
NIGHT CAP IN CROCHET. 
 
 IVL A T E R 1 A L S. 
 
 —Cotton, No. 12; 
 crochet hook, No. 
 1 6 ; eagle card- 
 board guage; 184 
 chain. This pat- 
 tern is worked 
 principally in close 
 and open sqares. 
 
 1st. — 4 o., + 1 
 c, 1 o., 1 c, 7 o., 
 *+- 5 times, 1 c. 
 1 o., 1 c, 4 o., 
 
 1 dc. 
 
 2nd.— 3 o., -f- 2 
 c, 1 o., 2 c, 5 o., 
 -j- 5 times, 2 c, 1 
 o., 2 c, 3 o., 1 dc. 
 
 3rd.— 5 o., -f- 1 
 c , 9 o., -f- 5 times. 
 i c, 5 o., 1 dc. 
 
 4th. — 1 slip, 3 
 ch., miss 2, 2 o., -J- 
 
 2 c, 1 o., 2 c, 5 o, 
 -J- 5 times, 2 c, 
 
 ■is 
 
 1 o., 2 c, 2 
 
 ch., miss 2, 1 slip. 
 
 5th. — 1 slip, 3 
 ch., miss 2 to 2 o 
 1 c., 1 o., 1 c, 7 o.. 
 -+- 5 times, 1 c, 1 
 o., 1 c, 2 o., 3 ch.. 
 1 slip on the dc. of 
 last row. 
 
 6th. — 1 slip on 
 the first dc. of the 
 last row, 3 ch, miss 
 2, open squares to 
 the last ; then 3 ch, 
 miss 2, slip 1 on 
 the last dc. 
 
 7th.— I dc. on 
 the last of ti 
 ch. of the preced- 
 ing row, 1 dc. on 
 the dc. of the 
 row, 6 o., f i c , 
 1 o., 1 c, 7 o., f 4 
 times. 1 c 1 o., 1 
 c, 6 o., 2 dc. 
 
lie 
 
 NIGHT CAP IN CROCHET. 
 
 8th. — 2 dc, + 5 o., 2 c, 1 o., 2e.,f 5 times 
 5 o. 2 dc 
 
 9th.— 2 dc, 7 o., -f- 1 c, 9o.,f4 times, 1 c, 7 
 o., 2 dc. 
 
 10th.— 2 dc, f 5 o., 2 c. , 1 o., 2 c, -f- 5 times, 
 5 o., 2 dc 
 
 11th.— 2 dc, 6o.,+ 1 c, 1 o., 1 c, 7 o, + 4 
 times, 1 c, 1 o., 1 c, 6 o., 2 dc. 
 
 12th. — dc. ; open squares to the two last 
 stitches, 2 dc 
 
 13th — 2 dc, 1 o., + 1 c, 1 o.; 1 c, 7 o., + 5, 
 times, 1 c, 1 o., 1 c, 1 o., 2 dc. 
 
 14th. — 1 dc, -f- 2 c, 1 o., 2 c, 5 o., -f- 5 times, 
 2 c, 1 o., 2 c ., 1 dc 
 
 15th.— 2 dc, 2o.,flc. 9 o., -f- 5 times, 1 c 
 2 o., 2 dc. 
 
 16th— Like 14th. 
 
 17th.— Like 13tb. 
 
 18th.— Like 12th. 
 
 19th.— 2 dc, 6o,+ 1 c, 1 o, 1 c , 7 o., X 5 
 times, 1 c, 1 o., 1 c, 6 o.,2 dc. 
 
 20th.— Like 19th. 
 
 21st.— Like 9th. 
 
 22nd.— Like 10th. 
 
 23rd —Like 11th. 
 
 24th and 25th. — Like 12th. 
 
 26th. — Forms half the band at the back, -f-2 
 dc, 5 o, (a) turn ; 5 ch., miss 2, 4 o., 2 dc, -f- 4 
 times between the crosses, and then to (a) once, 
 Slip down the upper side to the top of the last dc 
 stitch, in the twentieth row ; so the first row of 
 the follow point is merely a continuation of the 
 twenty-sixth row. 
 
 1st. — Triangular Point : 2 ch., miss 2, 8 o., 1, 
 dc., turn, 3 ch., miss 2, 8 o. , (taking care that the 
 dc. stitches come over those of the previous row), 
 1 dc, turn, 3 ch., miss 2, 7 o., 1 dc. on dc, turn, 
 3 ch., miss 2, 6 o., 1 dc. on dc, turn, 3 ch., miss 
 2, 5 o., 1 dc- on dc, turn, 3 dc, miss 2, 4 o., 1 dc, 
 on dc, turn» 3 ch., miss 2, 3 o, 1 dc on dc, turn, 
 3 cb, miss 2, 2 o., 1 dc, on dc, turn, 3 ch., miss 
 2, 1 o., 1 dc on dc, turn, 5 ch., miss 3. dc, on dc ; 
 slip stitch up the side of this point to the twenty- 
 sixth row again, which is thus entirely formed by 
 the first rows of the points. Work five points 
 and you will have stitches enough left for five 
 open squares at the end, which are to be work- 
 ed to correspond with the other half of the band 
 at the back of the neck. Sew the ends of the 
 bands together, leaving the Vandyke loose 
 
CROCHET EDGING. 
 
 11? 
 
 "Work round the inside of the band and round 
 the Vandyke, thus : — 
 
 1st round. — 5 ch., miss 2, 1 sc. 
 
 2nd. — 1 sc. under the chain, 6 ch. ; repeat. 
 
 It will then be necessary to put a border to 
 the cap itself; and either any pretty one may be 
 worked on that is already given in this work, or, 
 if a narrow one be preferred, the following may 
 be adopted : — 
 
 1st. — X 1 dc, 2 ch., miss 2, X ; repeat all round 
 
 except mat at tne corners you will work. • 1 dc, 
 2 ch., miss none, * three consecutive times. 
 
 2nd. — 1 sc. 5 ch., miss 3 all round. 
 
 3rd. — X 1 sc, 3 dc, 1 sc, under the loop made 
 by one chain of five of the last round, 3 ch., 1 sc. 
 under the next loop of 5, 3 ch. X; repeat. 
 
 Plait a cord of narrow braid, and make tase U 
 of the same; run them through the top of the 
 band at the back, when the ends are sewed to- 
 gether, and through the point of each Vandyke, 
 and draw it up when on the head. 
 
 CROCHET EDGING. 
 
 [worked the short way.] 
 
 Materials. — Cotton, No. 20. Chain of 20 3rd — 5 ch., 1 dc in large loop, -f- 1 ch«, 1 dc- 
 
 stitches; form into a loop. in same, -f- 6 times, 2 ch., 1 dc in next loop. 2 
 
 1st. — 5 ch, -f- miss 1, 1 dc, 2 ch., -\- 5 times, 1 ch., 1 dc. in next. 
 
 dc Turn the work, and repeat the 2nd and 3rd 
 
 2nd. — 9 ch., 1 dc. into loop +2 ch, 1 dc in rows until sufficient is done, 
 next, -j- three times, 7 ch., 1 dc in last. 
 
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