ENCYCLOPEDIA 
 
 OF 
 
 NEEDLEWORK 
 
 BY 
 THERESE DE DILIMONT 
 
 Art Needlework and Scotch Yarn Warehouse 
 
 THOMAS HUNTER 
 
 74, Northumberland Street - NEWCASTLE-ON-TYHE 
 
 Branch .110 Heaton Road 
 
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 Digitized by the Internet Archive 
 
 in 2012 with funding from 
 
 Sterling and Francine Clark Art Institute Library 
 
 http://archive.org/details/encyclopediaofneOOdill 
 
ENCYCLOPEDIA 
 
 OF 
 
 NEEDLEWORK 
 
 BY 
 
 THERESE de DILLMONT 
 
 ENGLISH EDITION 
 
 ALL RIGHTS RESERVED 
 
To be had : 
 
 of Th. de Dili. mom, Dornach, Alsace, 
 
 and at all booksellers, and embroidery shops. 
 
 Price, English bound with gilt edges : 
 
 English edition Sh. 3. — 
 
 French edition Fr. 3.75 
 
 German edition Mk. 3. 
 
Preface. 
 
 The absolute want of any comprehensive book on 
 needlework — such an one, as contains both verbal and 
 pictorial descriptions of everything included under the 
 name of needlework — has led me to put into the ser- 
 viceable form of an Encyclopedia, all the knowledge and 
 experience, which years of unceasing study and practice 
 have enabled me to accumulate on the subject, with the 
 hope that diligent female workers of all ages, may be able, 
 by its means to instruct themselves in every branch of 
 plain and fancy needlework. 
 
 All the patterns given, even the most insignificant, 
 were worked afresh for the purpose, and thus, not merely 
 faithful representations, but also lucid and intelligible 
 explanations of the same, are secured. 
 
 In order that my readers may have something besides 
 the dull theory, the work is enlivened by a number of 
 useful patterns, some new, some derived from the artistic 
 productions of such countries and epochs as have 
 become famous by special excellence in the domain of 
 needlework. 
 
 Though, at first sight, the reproduction of many of 
 these patterns may seem to present insuperable difficulties, 
 
PREFACE 
 
 they will, after a careful study of the text, and exact atten- 
 tion to the directions given, prove easy to carry out. 
 
 Many of these interesting designs are drawn from 
 private collections, whose owners, with great kindness, 
 placed their treasures at my disposal, to copy and borrow 
 from at discretion, for which I desire to take the present 
 opportunity, of tendering them my warmest thanks. 
 
 The choice of colours and material — a difficult matter 
 to many — my readers will rind rendered comparatively 
 easy to them by the notes affixed to the illustrations ; and 
 I mav point out, that most of the patterns were worked 
 with D.M.C cottons, which enjoy the well-earned reputa- 
 tion of being, the very best of their kind, in the market 
 of the world. 
 
 Experience has convinced me that, in many instances, 
 these cottons may with advantage take the place of wool, 
 linen thread, and even silk. 
 
 It this work meet with indulgent judges, and prove 
 really useful, I shall find ample reward in that fact for 
 the trouble and difficulties that have unavoidably attended 
 its completion. 
 
rfftfTwrtfmrfYr+r- 
 
 ^V-:|: : :|: : :: 
 
 
 Stripe showing running, stitching, button-holing, and herring-boning. 
 
 Plain Sewing. 
 
 Many, on opening the Encyclopedia of needlework will 
 be disposed to exclaim as they read the heading of this first 
 section : What is the use of describing all the old well-known 
 stitches, when machines have so nearly superseded the slower 
 process of hand-sewing ? To this our reply is that, of all 
 kinds of needlework, Plain Sewing needs to be most tho- 
 roughly learned, as being the foundation of all. Those who are 
 able to employ others to work for them, should at least know 
 how to distinguish good work from bad, and those who are in 
 less fortunate circumstances, have to be taught how to work for 
 themselves. 
 
 Position of the body and hands. — Before describing 
 the different kinds of stitches, a word should be said as to 
 the position of the body and hands when at work. Long expe- 
 rience has convinced me that no kind of needlework necessi- 
 tates a stooping or cramped attitude. To obviate which, see 
 that your chair and table suit each other in height, and that you 
 so hold your work as hardly to need to bend your head at all. 
 The practice of fastening the work to the knee, besides being 
 ungraceful, is injurious to the health. 
 
 Needles. — These should be of the best quality. To test 
 a needle, try to break it; if it resist, and then break clean in 
 
2 PLAINS E W IM; 
 
 two, the steel is good; if it bend without breaking, or break 
 without any resistance, it is bad. Never use a bent needle, it 
 makes ugly and irregular stitches, and see that the eye, whe- 
 ther round or egg-shaped, be well-drilled, that it may not fray 
 or cut the thread. Long or half-long needles are the best for 
 white work, long ones for dress-making, and longer ones still, 
 with long eyes, for darning. A stock of each, from N" 5 to 12, 
 is advertised. The needle should always be a little thicker than 
 the thread, to make an easy passage for it through the stuff. 
 
 To keep needles from rusting, strew a ittle stone alum in 
 the packets, and workers whose hands are apt to get damp, 
 should have a small box of it hand}-, to powder their fingers 
 with. Blackened needles can be made quite bright again by 
 drawing them through an emery cushion. 
 
 Scissors. — Scissors are a very important accessory of the 
 work-table, and two varieties are indispensable ; a pair of large 
 ones for cutting-out, with one point blunt and the other sharp, 
 the latter to be always held downwards; and a pair of smaller 
 ones with two sharp points. The handles should be large and 
 round; if at all tight, they tire and disfigure the hand. 
 
 Thimble. — Steel thimbles are the best; bone are very 
 liable to break, and silver ones are not deeply enough pitted, to 
 hold the needle. A thimble should be light, with a rounded 
 top and flat rim. 
 
 The thread. — Except for tacking, your thread should never 
 be more than from 40 to 5o c/m. long. (*) If the thread is 
 in skeins, it does not matter which end you begin with, but if 
 you use reeled cotton, thread your needle with the end that 
 points to the reel, when you cut it ; as the other end will split, 
 and unravel, when twisted from left to right, which is generally 
 done, to facilitate the process of threading. The cotton should 
 always be cut, as it is weakened by breaking. 
 
 Knotting: the thread into the needle (fig. 1). — When the 
 thread becomes inconveniently short, and you do not want to 
 take a fresh one, it may be knotted into the needle, thus ; 
 bring it round the forefinger close to the needle, cross it on the 
 inside next to the finger, hold the crossed threads fast, with the 
 
 (*) Our readers should be provided with a French metre, with the English 
 yard marked on the back for purposes of comparison. 
 
Fig. i . Knotting the thread into the needle 
 
 PLAIN SEWING 3 
 
 thumb, draw the needle out through the loop thus formed, 
 and tighten the loop round both ends. 
 
 Materials. — For tacking, use Goton a coudre D.M.C qualite 
 superieure (black and gold stamp) Nos. 2 to 6. (*) For hand-sewing, 
 Fil d'Alsace D.M.C Nos. 3o to 700, (*) and Fil a dentelle D.M.C, 
 balls or reels, Nos. 25 to 100 (*) will be found most useful. For 
 machine-work: Cable 6 fils pour machines D.M.C, Nos. 3o to 
 3oo,(*) black and 
 white, or white 
 and blue stamp. 
 These can also be 
 used for hand- 
 work. 
 
 Both these, 
 and the lace- 
 thread (Fil a den- 
 telle) on reels, are 
 superfine in qua- 
 lity. The medium 
 sizes are the most 
 useful ; but the 
 only suitable ones 
 for very fine and 
 delicate fabrics are 
 the Fil a dentelle 
 D.M.C, and Fil 
 d'Alsace, and the 
 latter only is ma- 
 nufactured in the 
 higher numbers. 
 
 All these threads are to be had, wound in balls, or on 
 reels, the buyer may make his own choice ; balls are apt to 
 get tangled, but the cotton preserves its roundness better than 
 when it is wound on reels. Linen is generally sewn with 
 linen-thread, but Fil a dentelle and the Fil d'Alsace are very 
 good substitutes. 
 
 Fig. 2. Position of the hands. 
 
 ' See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
4 PLAIN SEWING 
 
 Position of the hands (fig. 2). — The stuff, fastened to a 
 cushion, must be held with the left hand, which should neither 
 rest on the table, nor on the cushion, the needle must be held 
 between the thumb and forefinger, of the right hand, and 
 the middle finger, armed with the thimble, pushes the needle 
 tar enough through the stuff, for the other fingers to take hold 
 of it and draw it out ; the thread then comes to lie between the 
 fourth and fifth fingers in the form of a loop, which must be 
 tightened gradually to avoid its knotting. 
 
 Position of the hands without cushion (fig. 3). — When 
 
 the work cannot be 
 
 fastened to a cush- 
 
 ^_^_j^~&2', I „ [ ion it should be 
 
 •^.ILCJ- ' _^— — "*Q§ ne ^ between the 
 
 forefinger and the 
 
 VAP thumb and left 
 
 \ hanging down, over 
 
 the other fingers. 
 
 v ~ ' If it need to be 
 
 Fig. 3. Position of the hands without cushion. firmlv hplri 
 
 draw 7 it between the fourth and fifth fingers, which will pre- 
 vent it from getting puckered or dragged. 
 
 Stitches. — Plain-Sewing comprises 4 varieties of stitches, 
 (1) running, (2) back-stitching, (3) hemming and (4) top or 
 over-sewing. 
 
 (1) Running-stitch (fig. 4). — This is the simplest and 
 easiest of all. Pass the needle in and out of the material, at 
 
 regular intervals, in a horizontal direction, 
 taking up three or four threads at a time. 
 If the stuff allow, several stitches may- 
 be taken on the needle at once, before the 
 thread is drawn out. Running-stitch is used 
 Fig. 4. f or pi a i n S eams, for joining light materials, 
 
 Running-stitch. for making gathers and for hems. 
 
 (2) Back-stitch (fig. 5). — Insert the needle, and draw it out 
 six threads further on, carry your thread back, from left to 
 right, and insert the needle three threads back from the point 
 at which it was last drawn out, and bring it out six threads 
 
PLAIN SEWING 
 
 Fig. 5. Back-stitch. 
 
 Fig. 6. Stitching. 
 
 beyond. Stitching and back-stitching are better and more 
 quickly done b} T machine than by hand. 
 Stitching (fig. 6). — The production of 
 a row of back-stitches, that exactly meet 
 one another, constitutes what is called 
 stitching. Only one stitch can be made 
 at a time, and the needle must be put 
 in, exactly at the point where it was 
 drawn out to form the preceding back- 
 stitch, and brought out as many threads 
 further on as were covered by the last back- 
 stitch. The beauty of stitching depends 
 on the uniform length of the stitches, and 
 the straightness of the line formed, to 
 ensure which it is necessary to count the 
 threads for each stitch, and to draw a 
 thread to mark the line. If you have to 
 stitch in a slanting line across the stuff, Fig. 7. Stitched hem. 
 or the stuff be such as to render the 
 drawing of a thread impossible, a coloured 
 tacking thread should be run in first, to 
 serve as a guide. 
 
 Stitched hem (fig. 7). — Make a double 
 turning, as for a hem, draw a thread FlG> 8 - Hemm "^ stitc "- 
 two or three threads above the edge of the first turning, and 
 do your stitching through all three layers of stuff; the right 
 side will be that on which you' form your stitches. 
 
 (3) Hemming-stitch (fig. 8). — To make a good hem, 
 your stuff must be cut in the line of the thread. Highly dressed 
 stuffs, such as linen and calico, should be rubbed in the hand, 
 to soften them, before the hem is laid. Your first turning 
 should not be more than 2 m/m. wide ; turn down the whole 
 length of your hem, and then make the second turning of the 
 same width, so that the raw edge is enclosed between two 
 layers of stuff. 
 
 Narrow hems do not need to be tacked, but wide ones, where 
 the first turning should only be just wide enough to prevent 
 the edge from fraying, ought always to be. In hemming you 
 
O PLAIN SEW I \ G 
 
 insert the needle and thread directed in a slanting position 
 towards you, just below the edge of the hem, and push it 
 out two threads above, and so on to the end, setting the 
 stitches, two or three threads apart, in a continuous straight 
 line. To ensure the hem being straight, a thread may be 
 drawn to mark the line for the second turning, but it is not 
 a good plan, especially in shirt-making, as the edge of the 
 stuff, too apt in any case, to cut and fray, is, thereby, still 
 further weakened. Hems in woollen materials, which will not 
 take a bend, can only be laid and tacked, bit by bit. In making, 
 what are called rolled hems, the needle must be slipped in, so 
 as only to pierce the first turning, in order that the stitches 
 may not be visible on the outside. 
 
 Flat seam (fig. 9). — Lay your two edges, whether straight 
 or slanting, exactly even, tack them together with stitches 
 2 c/m. long, distant 1 to 2 c/m. from the edge, and then back- 
 stitch them by machine or by hand, follow- 
 ing the tacking-thread. Gut off half the inner 
 edge, turn the outer one in, as for a hem 
 and sew it down with hemming-stitches. 
 Smooth the seam underneath with the 
 Fig. 9. Flat seam. forefinger as you go, to make it lie quite 
 flat. Beginners should flatten down the seam with their 
 thimbles, or with the handle of the scissors, before they 
 begin to hem, as the outer and wider edge is very apt to get 
 pushed up and bulge over, in the sewing, which hides the 
 stitches. 
 
 Hounded seam. — Back-stitch your two edges together, as 
 above directed, then cut off the inner edge to a width of four 
 threads, and roll the outer one in, with the left thumb, till 
 the raw edge is quite hidden, hemming as you roll. This 
 kind of seam, on the wrong side, looks like a fine cord, laid 
 on, and is used ki making the finer qualities of under- 
 clothing. 
 
 Fastening threads off, and on (fig. 10). — Knots should be 
 avoided in white work. To fasten on, in hemming, turn the 
 needle backwards with the point up, take one stitch, and stroke 
 and work the end of the thread in, underneath the turning. 
 
PLAIN SEWING 
 
 Fig. io. 
 
 ng threads off 
 
 AND ON. 
 
 To fasten on, in back-stitching or running, make one stitch 
 with the new thread, then take both ends and lay them 
 down together to the left, and work over them, so that they 
 wind in, and out of the next few stitches. 
 
 (4) Top or over-sewing stitch (fig. 11). — This stitch is used 
 for joining selvedges together. To keep the 
 two pieces even, it is better, either to tack or 
 pin them together first. Insert the needle, 
 from right to left, under the first thread of 
 the selvedge, and through both edges, and 
 sew from right to left, setting your stitches fasteni 
 not more than three threads apart. The 
 thread must not be drawn too tightly, so 
 that when the seam is finished and flat- 
 tened with the thimble, the selvedges may 
 lie, side by side. 
 
 Another kind of sewing-stitch (fig. 
 12). — For dress-seams and patching; sew 
 from left to right, tacking or pinning the 
 edges together first, and holding them 
 tightly with the thumb and finger, to keep 
 them perfectly even. 
 
 Antique or old-German seam (figs. i3 
 
 and 14). — Tack or pin the selvedges toge- 
 ther as above, then, pointing your needle 
 upwards from below, insert it, two threads 
 from the selvedge, first on the wrong side, 
 then on the right, first through one sel- 
 vedge, then through the other, setting the 
 stitches two threads apart. In this manner, 
 the thread crosses itself, between the two 
 selvedges, and a perfectly flat seam is pro- 
 duced. Seams of this kind occur in old em- 
 broidered linen articles, where the stuff was 
 too narrow to allow for any other. A 
 similar stitch, fig. 14, only slanting, 
 instead of quite straight, as in fig. i3, is used in making 
 sheets. 
 
 Fig. 1 1. 
 Top or over-sewing 
 
 STITCH. 
 
 Fig. 12. 
 
 Another kind of 
 
 sewing-stitch. 
 
 Fig. i3. 
 Antique or old- 
 German seam. 
 
8 
 
 PLAIN SEWING 
 
 French double seam (fig. i5). — For joining such stuffs 
 as fray, use the so-called French-seam. 
 
 Run your two pieces of stuff together, the wrong sides 
 touching, and the edges perfectly even, then turn them round 
 just at the seam, so that the right sides come together inside, 
 
 and the two raw edges 
 arc enclosed between, 
 and run them together 
 again. See that no threads 
 are visible on the outside. 
 This seam is used chiefly 
 in dress -making, for 
 joining slight materials 
 together which cannot be 
 kept from fraying by any 
 other means. 
 
 Hemmed double- 
 seam (figs. 1 6 and 17). — 
 Turn in the two raw 
 edges, and lay them one 
 upon the other, so that 
 
 Fig. 14. 
 
 Antique or old 
 
 German seam. 
 
 Fig. i5. 
 French double- 
 seam. 
 
 Fig. 16. 
 Hemmed double- 
 seam. 
 
 Fig. 17. 
 Open hemmed double- 
 seam. 
 
 
 the one next the forefinger, lies slightly higher than the 
 one next the thumb. Insert the needle, not upwards from below 
 but first into the upper edge, and then, slightly slanting, into 
 
 the lower one. This seam is used 
 in dress-making , for fastening 
 down linings. Fig. 17 shows 
 another kind of double seam, where 
 the two edges are laid together, 
 turned in twice, and hemmed in 
 the ordinary manner, with the sole 
 difference, that the needle has to 
 pass through a sixfold layer of stuff". 
 Gathering (fig. 18). — Gathers are made with running- 
 stitches of perfectly equal length; take up and leave three or 
 four threads, alternately, and instead of holding the stuff fast 
 with your thumb, push it on to the needle as you go, and 
 draw up your thread after every four or five stitches. 
 
 Fig. 18. Gathering. 
 
PLAIN SEWING 
 
 Stroking gathers (fig. 19). — When you have run in your 
 gathering thread, draw it up tight, and make it fast round the 
 forefinger of your left hand, and then stroke down the gathers 
 
 
 Fig. 19. Stroking gathers. 
 
 with a strong needle, so that they lie evenly side by side, 
 pushing each gather, in strok- 
 ing it, under your left thumb, 
 whilst you support the stuff 
 at the back with your other 
 fingers. 
 
 Running in a second 
 gathering thread (fig. 20). — 
 This is to fix the gathers after 
 they have been stroked, and 
 should be run in 1 or 2 c/m. 
 belowthe first thread, according to the 
 kind of stuff, and the purpose it is in- 
 tended for : take up five or six gathers 
 at a time, and draw your two threads 
 perfectly even, that the gathers may 
 be straight to the line of the thread. 
 
 Sewing on gathers (fig. 21). — 
 To distribute the fulness equally, 
 divide the gathered portion of ma- 
 
 FlG. 20. 
 
 Running in a second gathering-thread. 
 
 Fig. 21. Sewing on gathers. 
 
IO 
 
 PLAIN SEWING 
 
 Fig. 22. Whipping. 
 
 \ 
 
 ^*"«».,. i -.. ,.-... ..-.,, 
 
 terial, and the band, or plain piece, on to which it is to be 
 sewn, into equal parts, and pin the two together at corre- 
 sponding distances, the gathered portion under the plain, and 
 hem each gather to the band or plain piece, sloping the needle 
 to make the thread slant, and slipping it through the upper 
 threads only of the gathers. 
 
 Whipping (fig. 22). — Whipping is another form of gathe- 
 ring, used for fine materials. 
 With the thumb and fore- 
 finger of the left hand, roll the 
 edge over towards you, into a 
 very tight thin roll, insert the 
 needle on the inside of the roll 
 next the thumb, and bring it 
 out on the outside next the 
 forefinger, at very regular dis- 
 tances, and draw up the thread 
 slightly, from time to time, to 
 form the gathers. 
 
 Ornamental hem (fig. 2 3 ). 
 For an ornamental hem, make a turning, 2 or 3 c/m. deep, and 
 run in a thread, with small running-stitches up and down, 
 as shown in fig. 23. By slightly drawing 
 the thread, the straight edge will be made 
 to look as if it were scalloped. 
 
 Sewing" on cord (fig. 24). — For sewing 
 on cord, use strong thread, either Fil 
 d'Alsace D.M.C, Fil a dentelle D.M.C or 
 
 Fig. 24. Sewing on cord, q^ g filg DMm Q No> ^ 3o? 35 or ^ f) 
 
 Be careful not to stretch the cord, but to hold it in, as 
 
 you sew it,. as it invariably 
 shrinks more than the 
 stuff in the first washing- 
 Fasten it with hemming 
 stitches to the edge of the 
 turning, taking care that 
 it does not get twisted. 
 
 (*) See at the enfl of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
 Fig. 23. Ornamental hem. 
 
 Fig. 25. Sewing on flaps. 
 
PLAIN SEWING 
 
 I I 
 
 | 
 
 Sewing on flaps (fig. 25). — These should be back-stitched 
 on to the right side of the article they are to be affixed to, quite 
 close to the edge, then folded over in half, and hemmed down on 
 the wrong side. Like the cord, the flap must, in the process, 
 be held in very firmly with the left hand. Though the back- 
 stitching could be more quickly done 
 by machine, hand-work is here pre- 
 ferable, as the holding in cannot be 
 done by machine. 
 
 Sewing on tape-loops (figs. 26 
 and 27). — These, in the case of the 
 coarser articles of household linen, 
 are generally fastened to the corners. 
 Lay the ends of your piece of tape, 
 which should be from, i5 to 17 
 c/m. long, side by side, turn in 
 and hem them down, on three sides: 
 the loop should be so folded as 
 to form a three-cornered point, 
 as shewn in the illustration. Join 
 the two edges of the tape together 
 in the middle w T ith a few cross- 
 stitches, and stitch the edge of _. 
 
 the hem Of the article tO the loop, Fig. 27. Sewing on tape-loops i 
 
 on the right side THE MIDDLE 0F THE article. 
 
 Fig. 27 shows how to sew on 
 a loop in the middle of an article, 
 the two ends separately, one on 
 one side, the other on the other. 
 
 Strings and loops for fine 
 under-linen (fig. 28). — Sew these 
 on, likewise, on the wrong side of 
 the article, hemming down the 
 ends, and fastening them on the 
 right side, with two rows of stitch- 
 ing crossing each other, and a third row along the edge. 
 
 Button-holes in linen (fig. 29). — Cut your hole perfectly 
 straight, and of exactly, the diameter of the button, having 
 
 — " : £3 
 
 Fig. 26. Sewing on 
 tape-loops to the corner. 
 
 
 pjw^t-v-Mty&s-j-v-f-e-etf^ 
 
 >e90&00&0i?0#0t> 
 
 v ■*■' 
 
 ?0f a- ('.000:6 $\ 
 
 Fig. 28. 
 
 Strings and loops on fine 
 
 under-linen. 
 
12 
 
 PLAIN SEWING 
 
 previously marked out the place for it, with two rows of running- 
 stitches, two or three threads apart. Put in your needle at the 
 
 back of the slit, and take up about 
 three threads, bring the working 
 thread round, from right to left, 
 under the point of the needle, and 
 draw the needle out through the loop, 
 so that the little knot comes at the 
 edge of the slit, and so on to the end, 
 working from the lower left-hand corner 
 to the right. Then make a bar of but- 
 ton-hole stitching across each end, the 
 
 Fig. 29. 
 Button-hoi.es in linen. 
 
 knotted edge towards the slit. 
 
 Fig. 3o. 
 Button-holes in dress- 
 materials. 
 
 Button holes in dress materials 
 
 (fig. 3o). — Mark out and cut them as 
 above described; if however, the mate- 
 rial be liable to fray, wet the slit as 
 soon as you have cut it, with liquid 
 gum, and lay a strand of strong thread 
 along the edge to make your stitches 
 over; one end of dress button-holes 
 must be round, the stitches diverging 
 like rays from the centre, and when 
 you have worked the second side, thread the needle with the 
 loose strand, and pull it slightly, to 
 straighten the edges ; then fasten off, and 
 close the button-hole with a straight bar of 
 stitches across the other end, as in fig. 29. 
 Sewing on buttons (figs. 3i and 32). — 
 To sew linen, or webbed buttons on to under- 
 clothing, fasten in your thread with a stitch 
 or two, at the place where the button is to 
 be; bring the needle out through the middle 
 of the button, and make eight stitches, diver- 
 ging from the centre like a star, and if 
 you like, encircle them by a row of stitch- 
 ing, as in fig. 32. This done, bring the 
 needle out between the stuff and the button, and twist the 
 
 i 
 
 Fig. 3i. Sewing on 
 
 linen buttons. 
 
 Fig. 32. Sewing on 
 webbed buttons. 
 
PLAIN SEWING 
 
 i3 
 
 Fig. 34. Binding slits 
 with piece on cross. 
 
 cotton six or seven times round it, then push the needle through 
 to the wrong side, and fasten off. 
 
 Binding slits (figs. 33, 34, 35, 36). — Nothing is more apt 
 to tear than a slit whether 
 it be hemmed or merely- 
 bound. To prevent this, 
 make a semicircle of but- 
 ton-hole stitches at the 
 bottom of the slit, and 
 above that, to connect the 
 two sides, a bridge of 
 several threads, covered 
 with button-hole stitch- 
 ing. 
 
 In fig. 33, we show a 
 hemmed slit, and in figs. 
 34 and 35, are two slits 
 backed the one with a 
 narrow, the other, with a 
 broad piece of the mate- 
 rial, cut on the cross. 
 
 In under-linen, it oft- 
 en so happens that two 
 selvedges meet at the slit, 
 which renders binding 
 unnecessary; in that case 
 take a small square of 
 stuff, turn in the raw 
 edges, top-sew it into the 
 slit on two sides, turn in the other two, fold over on the bias, 
 and hem them down over the 
 top-sewing, as shewn in fig. 36. 
 Such little squares of material, 
 inserted into a slit or seam, to 
 prevent its tearing, are called 
 gussets. 
 
 Sewing On piping (fig. 37). FlG - 3 7- Sewing on piping. 
 
 Piping is a border, consisting of a cord or bobbin, folded into 
 
 Fig. 33. Binding slits 
 
 WITH HEM. 
 
 Fig. 35. Binding slits 
 with broad eand. 
 
 Fig. 36. Strength- 
 ening slits with 
 gusset. 
 
i 4 
 
 PLAIN SEWING 
 
 a stripe of material, cut on the cross, and affixed to the edge 
 of an article to give it more strength and finish. It is a 
 — good substitute for a hem or binding on a 
 >g!^j bias edge, which by means of the cord, can be 
 held in, and prevented from stretching. Cut 
 your stripes diagonally, across the web of the 
 stuff, and very even ; run them together, lay 
 the cord or bobbin along the stripe, on the 
 wrong side, 5 m/m. from the edge, fold the 
 edge over, and tack the cord lightly in. Then 
 lay it on the raw edge of the article, with the 
 cord towards you, and with all the raw edges 
 turned away from you. Back-stitch the piping 
 to the edge, keeping close to the cord. Then 
 turn the article round, fold in the raw outside 
 edge over the others, and hem it down like 
 an ordinary hem. 
 
 Fixing whale-bones (fig. 38). — Before 
 
 slipping the whale-bone into its case or fold 
 
 of stuff, pierce holes in it, top and bottom, 
 
 with a red-hot stiletto. Through these holes, 
 
 make your stitches, diverging like 
 
 Fig. 38. 
 Fixing whale- bones 
 
 rays 
 
 or crossing each other as 
 
 Fig. 39. Herring-boning. 
 
 shown in fig. 38. 
 
 Herring - boning (fig. 39). — 
 This stitch is chiefly used for 
 seams in flannel, and for over- 
 casting dress-seams, and takes 
 the place of hemming, for fastening down the raw T edges of a 
 seam that has been run or stitched, without turning them in. 
 Herring-boning is done from left to right, and forms two rows 
 of stitches. Insert the needle from right to left, and make a 
 stitch first above, and then below the edge, the threads cross- 
 ing each other diagonally, as shewm in fig. 3g. 
 
; .. ■ 
 
 Specimens of pattern darns. 
 
 E^s^^^^^^&SK"*' 
 
 
 Mending. 
 
 The mending of wearing-apparel and house-linen, though 
 often an ungrateful task, is yet a very necessary one, to which 
 every female hand ought to be carefully trained. How best 
 to disguise and repair the wear and tear of use or accident 
 is quite as valuable an art, as that of making new things. 
 
 Under the head of mending, we include the strengthening 
 and replacing of the worn and broken threads of a fabric, and 
 the fitting in of new stuff in the place of that which is torn or 
 damaged. The former is called darning, the latter, patching. 
 
 Darning'. — When only a few of the warp or woof threads 
 are torn or missing, a darn will repair the mischief, provided 
 the surrounding parts be sound. When the damage is more 
 extensive, the piece must be cut out. 
 
 In some cases the warp of the stuff itself can be used for 
 darning, otherwise thread as much like the stuff as possible 
 should be chosen. 
 
 Materials suitable for mending". — Cotonarepriser D.M.G 
 is used for most kinds of darning. It can be had in 18 diffe- 
 rent sizes, from Nos. 8 to ioo, white and unbleached, and in 
 all the colours of the D.M.C colour-card in Nos. 12, 25 and 5o. 
 
 It is but very slightly twisted and can be split or used 
 double, if necessary, according to the material. For all the 
 coarser articles of house-linen, unbleached cotton is the best, 
 
i6 
 
 MENDING 
 
 and for the finer white fabrics, Coton surfin D.M.C Nos. 110, 
 120 and i5o (*). This cotton, which is not the least twisted, 
 and is to be had both white and unbleached, can be used, by 
 subdividing it, for darning the finest cambric. 
 
 Varieties of darning. — These are four, (i) Linen darning, 
 (2) Damask darning, (3) Satin or Twill darning, and (4) Invisible 
 darning, called also, Fine-drawing. 
 
 (1) Linen Darning (tigs. 40 and 41). — All darns should be 
 made on the wrong side of the stuff, excepting fig. 54, which it 
 is sometimes better to make on the right side. The longitu- 
 dinal running, to form the warp, must be made first. The 
 thread must not be drawn tightly in running your stitches 
 backwards and forwards, and be careful to leave loops at each 
 turning, to allow for the shrinking of the thread in the 
 washing, without its pulling the darn together. 
 
 ll 4>bU 
 
 " 1 ^ 1 ^ 1 3 
 
 a J J g ° a A 
 
 t_ 
 
 ] i "I J "1 J .'I j r , J ,, \i T U , t 
 
 Kip 
 
 Fig. 40. 
 
 Linen darning. Drawing in the 
 
 warp threads. 
 
 Fig. 41 . 
 
 Linen darning. Drawing in the 
 woof threads. 
 
 Run your needle in, about one c/m. above the damaged 
 part, take up one or two threads of the stuff and miss the same 
 number, working straight to a thread ; on reaching the hole, 
 carry your cotton straight across it, take up alternate threads 
 beyond, and proceed as before. Continue the rows backwards 
 and forwards, taking up in each row, the threads left in the 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MENDING 
 
 *7 
 
 preceding one. Turn the work round and do the same for the 
 woof ; alternately taking up and leaving the warp threads, 
 where the cotton crosses the hole. The threads must lie so 
 close both ways, that the darn, when completed, replaces the 
 original web. The threads are only drawn so far apart in the 
 illustrations, for the sake of clearness. 
 
 When the material to be darned does not admit of a fleecy 
 thread, such as Coton a repriser D.M.C, one that as nearly 
 as possible matches the material, should be chosen from 
 amongst the D.M.C cottons. (*) 
 
 Diagonal linen darning (fig. 42). — Darns are sometimes 
 begun from the corner, so as to form a diagonal web, but they 
 are then much more visible than when they are worked 
 straight to a thread, and therefore not advisable. 
 
 Fig. 42. 
 Diagonal linen darning. 
 
 Fig. 4'3. 
 Satin or twill darning. 
 
 (2] Satin or twill darning (fig. 43). — By twill darning, 
 the damaged web of any twilled or diagonal material can be 
 restored. It would be impossible to enumerate all the varieties 
 of twilled stuffs, but the illustrations and accompanying 
 directions will enable the worker to imitate them all. 
 
 Begin, as in ordinary darning by running in the warp 
 threads, then take up one thread, and miss three. In every 
 succeeding row, advance one thread in the same direction. Or, 
 miss one thread of the stuff and take up two, and as before, 
 
 * See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
l8 MENDING 
 
 advance, one thread in the same direction, every succeeding 
 
 ii^;::::::: 
 mi ::::::: 
 
 Fig. 44. 
 Damask darning. Wrong side. 
 
 Fig. 45. 
 Damask darning. Right side. 
 
 Fig. 46. 
 
 Damask darning. Covered 
 
 ground. 
 
 Fig. 47. 
 Damask darning on 
 needle-made ground. 
 
 Fig. 48. 
 Damask darning on 
 needle-made ground. 
 
 535*53 row. The order in which threads 
 
 ffipH should be missed and taken up, 
 
 IH| must depend on the web which 
 
 Ifjpg the darn is intended to imitate. 
 
 SIP When the original is a coloured 
 
 §5|| stuff, it is advisable to make a 
 
 "§ specimen darn first, on a larger 
 
 :H§i scale, so that you may be more 
 
 mll 1 -_^. sure of obtaining a correct copy of 
 
 BBBHpBBHB^Si SiBtfs i the original web. 
 
 fig. 49. Damask darning with (3) Damask darning (figs. 44) 
 
 coloured thread. 45, 46, 47, 48, 49). —A damask darn 
 
MENDING 
 
 i<9 
 
 is begun in the same way as all other darns are ;-j the pattern is 
 formed by the cross-runnings and will vary with the number 
 of warp threads taken up and missed, in each successive 
 running. The woven design which you are to copy with your 
 needle must therefore be carefully examined first, i 
 
 Figs. 44 and 45 show the wrong and right sides of a 
 damask darn, in process of being made. 
 
 Fig. 46 represents a completed one. In the case of coloured 
 webs, a light shade of cotton is generally used for the warp, 
 and one that matches the stuff, for the shot or woof. 
 
 Figs. 47 and 48, illustrate two specimens of darning, 
 formerly done in the convents, from which it will be seen, 
 that the warp and the woof were first drawn in with rather fine 
 thread, and the pattern then worked into this foundation with 
 coarser, or else, coloured thread. When this kind of darn is 
 made in two colours, take, for the 
 darker shade, Coton a broder 
 D.M.C, or Coton a repriser D.M.C, 
 which are both of them to be had 
 in all the bright and faded shades, 
 to match alike both old and new 
 
 
 Fig. 5o. 
 Darning lost in the ground. 
 
 linen. 
 
 Fig. 49, which is executed in 
 two colours, and is likewise copied 
 from an old work on darning, 
 shows you the manner in which a 
 dice-pattern is to be reproduced. 
 
 (4) Darning", lost in the ground 
 (fig. 5o). — A kind of darn used 
 for repairing rents, the edges of 
 which fit exactly into one another. 
 Neither the torn threads of the 
 material nor the rough edges 
 must be cut off; the torn part is to 
 be tacked upon a piece of oilcloth, wrong side uppermost, 
 and the edges, drawn together by a thread, run in backwards, 
 and forwards, across them. The stitches must be set as closely 
 together as possible, and regularly inverted, as in every other 
 
 Fig. 5i. Fine drawing. 
 
20 MENDING 
 
 darn. A much finer thread relatively than that of which the 
 material is composed should, in all cases be used for darning. 
 In this instance also, for the sake of greater distinctness, the 
 size of the thread has been magnified in the illustration. 
 Coton surfin D.M.C, will be found the best for darning both 
 calico and linen. 
 
 Fine drawing (fig. 5i). — The art of making invisible darns 
 in cloth, though such a useful one, is all but unknown. It is a 
 tedious process and one which, though easy enough to under- 
 stand, requires great care in the execution. 
 
 Use as fine a needle as possible and thread it with hair, 
 instead of silk, or any other kind of fibre. Red and white 
 hair is the strongest, and stronger than the ravellings of the 
 stuff. Of course the hair has first to be carefully cleansed from 
 grease. Pare the edges of the rent, on the right sides, quite 
 clean and even, with a razor, so that both rent and stitches 
 may be lost in the hairy surface of the cloth. Scissors do not 
 cut so closely, and are liable moreover, to disturb the nap, 
 and render the darn more visible. When this is done, fit the 
 edges exactly together, and overcast them. Then thread a 
 needle with a hair by the root, and slip it in, 2 or 3 m/m. 
 from the one edge and back again pointed towards you, 
 through the other, so that, neither needle nor hair, are visible 
 on either side. The stitches should be set slightly slanting and 
 must be quite lost in the thickness of the cloth. The needle 
 must always be put in, exactly at the place where it came 
 out, and the hair not be too tightly drawn. 
 
 When the darn is finished, lay the article on a bare table, 
 or ironing-board, cover it with a damp cloth, and iron it. The 
 sharpest eye will fail to detect a rent, when carefully darned 
 in this manner. 
 
 Patching. — As we have already said, when the defective 
 part is past darning, it must be cut out, and a new piece of 
 stuff inserted in its place. If the garment be no longer new, 
 it should be patched with a slighter material than that of 
 w ? hich it was originally made. The patch should be of the same 
 shape, and cut the same way of the stuff, as the piece it is to 
 replace, it should also be, just so much larger, as to allow for 
 
MENDING 
 
 21 
 
 3 G=> O ^ o fisi C3 & '-^> l±3a ti> 
 
 Fig. 52. 
 Back-stitching and felling in a patch. 
 
 .- s V*V^Vfc^^VVV^V^^VV ; ^! 1 <VVV*<V!»V>i. 
 
 the turnings in, and can either be top-sewn, or else, run and 
 felled in. 
 
 Back-stitching and felling in a patch (fig. 52). — Tack 
 
 in the new piece , so that its , 
 
 edges over-lap the edges of the 
 hole. The back-stitching must be 
 done on the article itself, as this 
 renders it easier to do the cor- 
 ners neatly. The hem is turned 
 down on to the patch. Make 
 a little snip at the corners with 
 your scissors to prevent pucker- 
 ing. The back-stitching should 
 form a right angle at each 
 corner. 
 
 Top-sewing in a patch (fig. 
 53). — To do this, the edges of the 
 hole and of the patch, must first 
 be turned in, and either over- 
 cast or hemmed, to prevent their 
 fraying, after which, sew the two 
 edges together. The raw edges 
 may also be turned in with her- 
 ring-boning as in fig. 3g, putting 
 the needle, only through one 
 layer of stuff. 
 
 Drawing in a patch (fig. 
 
 54). — Take a square piece of the 
 original stuff, 5 or 6 c/m. larger 
 each way, than the hole it is to 
 fill, draw out threads on all the 
 four sides, till the piece exactly 
 matches the hole, and tack it 
 into its place. Thread a very fine 
 needle with the two ends of a 
 thread of silk or Fil d'Alsace 
 
 ^ ,_ .-, ,, . Fig. 34. Drawing in a patch. 
 
 D.M.L No. 700, run it in at the 
 
 corner of the stuff, and draw it out, leaving a loop behind. 
 
 Fig. 53. 
 Top-sewing in a patch. 
 
22 MENDING 
 
 Into this loop, slip the first of the threads, which as it were, 
 form a fringe to the patch, and tighten the loop round it, and 
 so on with each thread, alternately taking up and leaving 
 threads in the stuff, as in ordinary darning. 
 
 To put a patch into a thin material, in this manner, you 
 must darn in the threads, a good long way, into the material, 
 in order that the double layer of threads may be less visible. 
 

 
 
 
 Stripe of cut open-work on white linen. 
 
 Single and cut Open-work. 
 
 The above heading comprises every sort of needle-work, to 
 which the drawing out of threads is a preliminary. By sewing 
 over the single threads that remain, and drawing them together 
 in different ways, an infinite variety of patterns can be pro- 
 duced. Many pretty combinations also, can be made of open- 
 work, cross-stitch, and other kinds of embroidery. 
 
 Materials suitable for open-work. — For all the coarser 
 stuffs, such as Holbein-linen, Java and linen-canvas and the 
 like, now in such favour for the imitation of old needlework, 
 it will be best to use: Fil a pointer D.M.C, No. 3o (*) and Cor- 
 donnet 6 fils D.M.C, Nos. 10 to 20, (*) and for the finer stuffs, 
 such as antique-linen and linen-gauze ; Cordonnet 6 fils D.M.C 
 Nos. 5o to i5o, (*)Fild'Alsace D.M.C, Nos. 20 to 100, and Fil a 
 dentelle D.M.C, Nos. 25 to 80. 
 
 Coloured patterns can also be executed in open-work, with 
 Coton a broder D.M.C Nos. 16 to 35, and Coton a repriser 
 D.M.C, Nos. 25 to 5o (*). 
 
 The two different kinds of open-work. — The one is 
 called, single open-work, the Italian Punto tirato, in which 
 the first step is to draw out one layer of threads ; the other, 
 
 (*) Sec, at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
24 
 
 SINGLE AND CUT OPEN-WORK 
 
 Fig. 55. Singl 
 
 HEM-STITCH. 
 
 cut open-work, the Italian Punto tagliato, for which, both 
 the warp, and the woof threads, have to be drawn out. 
 
 Single open -work (Punto tirato). — This, in its simplest 
 form, is the ornamental latticed hem, in common use where 
 something rather more decorative than an ordinary hem (fig. 
 8) is required, and consists in drawing out one layer of threads, 
 either the warp or the woof. 
 
 Single hem-stitch (fig. 55). — Draw out, according to 
 the coarseness of the stuff, two or four threads, below the 
 edge of the turning, and tack your hem down to the line thus 
 
 drawn. Fasten your thread in 
 to the left, and work your hem 
 from right to left, taking up 
 three or four cross-threads at a 
 time, and inserting your needle, 
 immediately above, into the 
 folded hem, three or four threads from the edge, and then 
 drawing it out. 
 
 The same stitch is used for preventing the fringes, that 
 serve as a finish to so many articles of house-linen, from 
 ravelling. 
 
 Second hem-stitch (fig. 56). — Prepare, your hem as for fig. 
 55, and work from left to right ; with this difference, that after 
 
 drawing two or three cross- 
 threads together, from right to 
 left, you skip the same number 
 of perpendicular threads you 
 took up below, and insert )^our 
 needle downwards from above, 
 bringing it out at the bottom edge of the hem. 
 
 These stitches, which can 
 be used for the right side also, 
 1 form a kind of little tress, along 
 Sj3§ the edge of the hem. 
 
 Ladder stitch hem (fig. 57). 
 Complete the hem, as already 
 directed in fig. 55, then draw out three or five threads more, 
 turn the work round, and repeat the process, taking up the 
 
 Fig. 56. Second hem-stitch. 
 
 Fig. 5y. Ladder stitch hem. 
 
SINGLE AND CUT OPEN-WORK 
 
 2D 
 
 Fig. 58. 
 Double hem-stitch. 
 
 rfcn^H--. - .- 
 
 Fig. 5g. 
 
 Antique hem-stitch. 
 
 Wrong side. 
 
 same clusters of threads which you took up in the first row of 
 stitches, thus forming little perpendicular bars. 
 
 Double hem-stitch (fig. 58). 
 Begin as in fig. 55, forming your 
 clusters of an even number of 
 threads ; and then, in making 
 your second row of stitches, 
 draw half the threads of one 
 cluster, and half of the next 
 together, thereby making them 
 slant, first one way and then 
 the other. 
 
 Antique hem-stitch (figs. 59 
 and 60). — In the old, elaborate, 
 linen needlework, we often meet 
 with two kinds of hem-stitch- 
 ing, seldom found in modern 
 books on needle-work. Figs. 59 
 to 62 are magnified represen- 
 tations of the same. At the 
 necessary depth for forming a 
 narrow hem, a thread is drawn, 
 except in the case of very fine 
 textures, where the edge is 
 rolled, not laid ; then fasten in 
 the working thread at the left, 
 and work the stitches from 
 left to right. Passing your 
 needle, from right to left, under 
 three or four threads, draw the 
 thread round the cluster and 
 carry your needle on, through 
 as many threads of the upper 
 layer of stuff, as you took up 
 below, so that the stitch may 
 always emerge from the middle 
 of the cluster. 
 
 Antique hem-stitch (figs. 6 1 
 and 62). — These show, the right 
 
 Fig. 60. 
 
 Antique hem-stitch. 
 Right side. 
 
 Fig. 61. 
 
 Antique hem-stitch. 
 
 Wrong side. 
 
 
 -J-X--'----- r "-~' -'^iffll 
 
 
 
 ^:-?~" 
 
 _ 
 
 Fig. 62. 
 
 Antique hem-stitch. 
 
 Right side. 
 
26 
 
 SINGLE AND CUT OPEN-WORK 
 
 Fig. 63. 
 
 Slanting hem-stitch. 
 
 Wrong side. 
 
 1'lG. O4. 
 
 Slantinc hem-stitch. 
 Right side. 
 
 Fig. 65. 
 
 Double-rowed ornamental seam. 
 Wrong side. 
 
 Fig. 66. 
 
 Double-rowed ornamental seam. 
 
 Wrong side. 
 
 Fig. 67. 
 
 Double-rowed ornamental seam. 
 
 Right side. 
 
 this second line together, as sh 
 right side the stitch is straig 
 
 and wrong sides of the hem ; 
 here the rolled hem is prepared 
 as above, but the stitches are 
 worked from right to left, and 
 the thread is carried round the 
 little roll, so that, as shown in 
 fig. 62, it is visible on both 
 sides of the hem. The needle 
 does not enter the stuff, but is 
 carried back at once, from the 
 outside, and put in again be- 
 tween two clusters of threads. 
 
 Slanting hem-stitch (figs. 
 63 and 64). — Bring out your 
 needle and thread, two or three 
 threads above the edge of the 
 turning, between the first and 
 secondofthe three cross-threads 
 that compose the cluster, and 
 then slip it under the cluster, 
 from right to left. The loop 
 must lie in front of the needle, 
 ^'hen you have drawn up the 
 stitch, put the needle in, one 
 thread further on, and take up 
 two threads. Fig. 64 shows the 
 stitch on the right side. 
 
 Double-rowed ornamen- 
 tal seam (figs. 65, 66, 67). 
 — Begin with any one of the 
 hems already described, then 
 counting as many threads 
 downwards, as are clustered 
 together in the first row, draw 
 out a second thread, and cluster 
 the perpendicular threads in 
 own in figs. 65 and 66. On the 
 ht (fig. 67). Coloured cottons 
 
SINGLE AND CUT OPEN-WORK 
 
 2 7 
 
 should be used for all the above patterns of hem-stitch, when 
 they are to be introduced into coloured embroideries. 
 
 Single three-rowed open-work (fig. 68). — This, and 
 the following patterns, are suitable for the headings of hems, 
 and for connecting stripes of embroidery, and are also often 
 used instead of lace, and lace insertion. 
 
 Fig. 68 will be found specially useful, in cases where 
 the object is, to produce a good deal of effect, at the cost of 
 as little labour as possible. Make six rows of hem-stitching, as 
 in fig. 55 ; the first and sixth rows to serve as a finish, above 
 and below. 
 
 Fig. 68. Single three-rowed open-work. 
 
 The second and third, after drawing out six threads, the third 
 and fourth after drawing out eight. The clusters must all con- 
 sist of an even number of threads. The upper and the lower 
 band of open-work is to be copied from fig. 58, the centre 
 one, from fig. 57. Divide the threads of the perpendicular 
 clusters in two ; insert the needle, from left to right, under- 
 neath half the second cluster, turn the needle's eye, by a 
 second movement, from left to right, and take up the second 
 part of the first cluster, drawing it under, and at the same 
 time, in front of the first half of the second cluster. Be careful 
 not to draw your thread too tightly. 
 
28 
 
 SINGLE AND CUT OPEN-WORK 
 
 Open-work with two threads drawn through (fig. 69). — 
 One such wide lane of open-work, between two finishing rows 
 of stitches, may have two threads drawn through it. 
 
 Fig. 6 
 
 THREADS D 
 
 Open-work with three threads drawn through (fig. 70). 
 Overcast both edges with single stitches ; draw the clusters 
 together in the middle, as in fig. 68 ; then above and below 
 the middle thread, draw in first one thread and then a second, 
 straight above it, securing the latter with back-stitches, to 
 enclose the clusters between two threads. 
 
 It 
 
 "■rT 
 
 Fig. 70. Open-work with three threads drawn through. 
 
 Clustered open-work (fig. 71). — Draw out from sixteen 
 to eighteen threads, between two hem-stitched edges. Fasten 
 your thread in, 3 m/m. above the seam-edge, and wind it three 
 times round every two clusters, passing the needle, the third 
 time, under the two first rounds, to fasten the thread. The 
 thread, thus drawn through, must be left rather slack. A se- 
 cond row of stitches, similar to the first, and at the same 
 distance from the bottom edge, completes this pattern To 
 
SINGLE AND GUT OPEN-WORK 
 
 2 9 
 
 give it greater strength, you may if you like, work back over 
 the first thread, with a second, taking care to pass it under 
 the knot, which was formed by the first. 
 
 
 Fig. 71. Clustered open-work 
 
 \:// lii kU II 
 
 H 
 
 Iff V W 
 
 Fig. 72. Double-rowed cluster-open-work. 
 
 
 
 Double-rowed cluster-open-work (fig. 72). — A very good 
 effect can be obtained by making the above stitch in such a 
 manner, as to form groups of three clusters each, between hem- 
 stitched bands of the stuff. 
 
 Turkish cluster open-work (fig. 73). — After portioning 
 off, and sewing up the clusters on one side, draw out twelve or 
 fourteen threads, and make your connecting-stitch and hem, all 
 in one, as follows : bring out the thread before the cluster, and 
 pass it round it, then from right to left, over three horizontal 
 and under four perpendicular threads, again from left to right, 
 over the four threads just passed over, and out at the second 
 cluster ; laying it over this, you bring it out behind the first 
 
3o 
 
 SINGLE AND CUT OPEN-WORK 
 
 cluster, wind it round the middle of them both, and pass it 
 through, between the over-casting stitches, back to the hem ; 
 encircle the second cluster with a loop-stitch, and carry your 
 thread again over three horizontal and four perpendicular 
 threads, and upwards, slanting underneath the stulf, out in 
 front of the next cluster. 
 
 ^Hh-!--T-V-'~ -Jr. 
 
 ■ ^^:^-\-:-v;\ 
 
 
 Fig. 73. Turkish cluster open-wori 
 
 Fig. 74. Open-work with darning stitch. 
 
 Open-work -with darning stitch (fig. 74). — Draw out 
 from eight to twelve threads, according to the quality of the 
 stuff. Insert your needle and thread between two clusters, and 
 pass it, as if you were darning, backwards and forwards 
 over them, until they are encased half way down with 
 stitches. In so doing, work with the eye of the needle for- 
 ward, and the point towards your thimble. To pass to the 
 next cluster, take one stitch back, under the one just darned, 
 and bring your thread underneath the threads of the stuff, to 
 the second cluster. 
 
 Open-work in three colours (fig. j5). — This pattern 
 which is to be done in the same way as fig. 74, requires 
 the drawing out of, at least, eighteen threads. Every cross- 
 line of three clusters is to be worked in one colour. The 
 
SINGLE AND CUT OPEN-WORK 
 
 3l 
 
 colours may all be different, or. you may if you prefer, take 
 three shades of the same colour. 
 
 fir-' - r — 
 
 Fig. y5. Open-work in three colours. 
 
 Colours : Bleu-Indigo 3n, 322, 334, Brun-Caroubier 354, 3o3, 357, or 
 
 Rouge-Geranium 349, 35 1, 352. (*) 
 
 Fig. 76. Open-work insertion. 
 
 Fig. 77. Open-work insertion. 
 
 Open-work insertion (figs. 76 and 77). — For both these, 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
32 
 
 SINGLE AND CUT OPEN-WORK 
 
 the edges are to be overcast, and the darning-stitches packed 
 sufficiently closely together, for the threads of the stuff to be 
 entirely covered. 
 
 Fig. 76 requires the drawing out of eighteen threads, 
 fig. 77, of thirty. Both admit of several colours being used. 
 
 Fig. 78. Oi'en-work insertion. 
 
 Fig. 7Q- Oi 
 
 Open-work insertion (fig. 78). — After drawing out sixteen 
 or eighteen threads, bind both sides with stitches made over 
 four horizontal and four perpendicular threads, as follows ; 
 make one back-stitch over four disengaged threads, then 
 bring up your thread from right to left, over four horizontal 
 and under four perpendicular threads, back over the four last 
 threads, and draw it out beside the next cluster. The clusters, 
 as they now stand, are bound together in the middle, three 
 by three, with darning-stitches. The thread must be fastened 
 in and cut off, after each group is finished. 
 
 Open-work insertion (fig. 79). — First bind the two edges 
 with stitches, in the ordinary way. At the last stitch intro- 
 
SINGLE AND CUT OPEN-WORK 
 
 33 
 
 duce the thread slanting, according to the dotted line, pass it 
 under four horizontal and three perpendicular threads of the 
 stuff and draw it out ; then over three threads from right to 
 left, and back under the same, from left to right, and out 
 again ; over four horizontal threads, and under and again 
 over, three perpendicular ones; for the next stitch, you again 
 follow the dotted slanting line. 
 
 Then make the darning stitch over nine threads, or three 
 clusters. At half their length, you leave out three threads, first 
 on the right, then on the left, whilst in the other half, you, 
 in a similar manner, take in three ; so that you have two 
 darned and two undarned clusters, standing opposite each 
 other. Finally, you overcast the single clusters, and connect 
 every two with a lock-stitch, as shown in the accompanying 
 illustration. 
 
 Fig. 80. Open-work insertion 
 
 
 Open-work insertion (fig. 80). — Draw out twenty threads, 
 overcast both edges with stitches, made over three threads. 
 Then, make slanting stitches, proceeding out from these, over 
 three, six and nine threads respectively, all three terminating 
 in a perpendicular line, one below the other. 
 
 For the open-work, twist the thread five times, quite tightly 
 round and round one cluster, bring it to the edge, between 
 the second and third clusters, and connect these by means 
 of six darning-stitches to and fro : join the first and second 
 clusters in the same way by twelve stitches, and finish, by 
 twisting the thread five times round the remaining length 
 of the first cluster. The second half of the open-work figure is 
 
34 
 
 SINGLE AND CUT OPEN-WORK 
 
 carried out in a similar manner over the third and fourth 
 clusters. 
 
 Fig. 8i. Open-work insertion in folk colours. 
 
 Materials : Coton a broder D.M.C No. 20, or Cordonner G (ilsD.M.C Nos. i5 to 3o.(*) 
 
 Colours: Rouge-Turc 3 j 1 , Blcu-Indigo 3 1 2, 334, Noir grand Teint 3io.(*) 
 
 Open-work insertion in four colours (fig. 81). — Draw 
 out, from twenty-five to thirty threads. The outside figures are 
 executed over six clusters, of three threads each, in a dark 
 and light shade alternately of the same colour. Each of the 
 middle figures combines three clusters of the two figures above 
 it, and may be executed, either in a different colour altogether, 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
SINGLE AND CUT OPEN-WORK 
 
 35 
 
 or in a lighter shade of the one employed in the top row. 
 The little star in the centre should be worked in dark red, 
 or black. 
 
 Open-work insertions (figs. 82, 83, 84). — For each of 
 
 Fig. 83. Open-work insertion. 
 
 ■^y^^m^ 
 
 sife 
 
 Fig. 84. Open-work insertion. 
 
 these draw out forty threads. Fig. 82 worked in white, and 
 Rouge-Grenat clair 3og, comprises fourteen clusters, of four 
 threads each. Begin at the top of the big pyramid, so that the 
 threads which you run in, can be more closely crowded 
 together. 
 
 In fig. 83, the two rows of short clusters are worked in 
 
36 
 
 SINGLE AND CUT OPEN-WORK 
 
 Gris-Tilleul moyen, and, Gris-Tilleul clair, 392 and 33o ; (*) 
 the pyramid of steps, in Brun-Chamois moyen, 324; (*) the 
 three inner clusters in Brun-Chamois tres clair, 418. One figure 
 consists of fourteen clusters, of three threads each. 
 
 Fig. 84 also is to be worked in three colours; the light 
 squares in unbleached cotton, the middle figure in Bleu- 
 Indigo tres clair, 334, tric large squares on either side in 
 Brun-Cuir clair 432. Each figure contains eighteen clusters, 
 of three threads each. 
 
 Fig. 86. Three-rowed open-work. 
 
 Open-work insertion with spiders (fig. 85). — The edges 
 are to be herring-boned, as described in fig. 39. In the middle, 
 the so-called spiders are made, over every group of four 
 clusters. The thread that runs out from the spider, passes 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
SINGLE AND CUT OPEN-WORK 
 
 3? 
 
 over two clusters and under one, and then three or four 
 times, over and under the clusters, as in darning, and so 
 back, under the spider, at the place at which it was drawn in, 
 and then on, to the next four strands of thread. 
 
 Three-rowed open-work (fig. 86). — Draw out five threads 
 for the narrow stripe, and from fourteen to sixteen for 
 the wide one. Each Cluster should consist of four threads. 
 The narrow bands between, are to be herring-boned on 
 either side. The dotted line shows the course of the thread, 
 on the wrong side. Then unite each separate cluster in the 
 middle, with a back-stitch, as shown in the illustration, and 
 finally, join every group of four clusters together, with three 
 stitches, and make a spider in the middle of the open-work, 
 at the point where the threads intersect each other. 
 
 Fig. 87. Open-work insertion with rings. 
 
 Open-work insertion with rings (fig. 87). — ' Bind the 
 edges on both sides, with straight, two-sided, stitches. Take, 
 for this, Coton a broder D.M.G, No. 3o, (embroidery cotton), 
 using it double. Draw out, from twenty-four to thirty threads. 
 Wind your thread six or seven times round the middle of each 
 cluster of nine threads, and then make darning-stitches, above 
 and below, to a length of 3 m/m. When you have completed 
 two clusters, join them together, by four interlocked stitches ; 
 wind your thread three times round the jingle thread, and sew 
 it over with close stitches. 
 
 Open-work insertion with spiders (fig. 88). — Draw out 
 twenty-four threads. Ornament the two edges with half-spiders. 
 
38 
 
 SINGLE AND CUT OPEN-WORK 
 
 You begin these over two threads, and go on taking in others, 
 to the number of eight. The whole spider in the middle, is 
 made as above described. 
 
 f.'iST'.'U L-.'ljfrl.'-Jil 
 
 t^^MMim^ 
 
 Fig. 88. Open-work insertion with spiders. 
 
 Fig. 89. Open-work insertion. 
 
 Open-work insertion (figs. 89 and 90). — The beauty of this 
 otherwise simple pattern, lies in the peculiar knot, with which 
 the edges of the stuff are ornamented. 
 
 Carry the working thread, .as shown in fig. 90, from right 
 to left, (see the description of the right side) over and under 
 four threads ; then bring the needle back, under the thread 
 which lies slanting, form a loop with the forefinger of the 
 left hand, slip it on to the needle, and draw it up close to 
 the first stitch ; pull the needle through the knot, and proceed 
 to the next stitch. 
 
 The illustration explains how the open-work in the middle 
 should be carried out. 
 
 Open-work with winding stitch (fig. 91). — For this 
 pattern, which is a very laborious one to work, draw out 
 twenty-eight threads. Bind the edges with two-sided stitches, 
 
SINGLE AND CUT OPEN-WORK 
 
 3 9 
 
 over two, three, four and five threads, respectively. For the 
 middle figures, you must reckon four threads for the clusters, 
 round which the working thread is tightly twisted, eight for 
 the darned clusters, ornamented with picots (see fig. i65), and 
 sixteen for the rectangular rosettes, in two colours. 
 
 Make a loose spider over the threads, as a background for 
 the rosette. Work the picots in a different colour from the 
 cluster, and the rosettes, likewise, in two colours. The connect- 
 ing loops between the figures should be made as you go along, 
 the thread being always carried back into the loop just made. 
 
 5tK 
 
 ■J ■!—. fcti* i— HM ~ h t **S 
 
 Fig. qo. Explanation of the stitch for fig. 8q. 
 
 WITH WINDING STITCH. 
 
 Cutting out threads at the corners (figs. 92, 93, 94, 95). 
 If you want to carry a latticed-hem or a simple open-work 
 pattern, round a corner, you must cut and loosen the threads, 
 on both sides, about one c/m. from the edge of the hem, as 
 seen in fig. 92. The loose threads can be pushed into the 
 turning, and the edge button-holed, as in fig. 93. 
 
 If however, on the other hand, the stitching be continued 
 without interruption, as indicated in the upper part of fig. 94, 
 the loose threads must be brought to the wrong side, and 
 
4 o 
 
 SINGLE AND CUT OPHN-WORK 
 
 as represented in the lower part of fig. 94, fastened down with 
 a few stitches. 
 
 mm 
 
 
 - 
 
 Fi< 
 
 The cutting and loosening of 
 the threads at the 
 
 CORNERS. 
 
 Fig. 94. 
 
 Bordering the disengaged edge with 
 
 hem-stitching, the threads being 
 
 turned oyer 
 
 
 
 .TJ-i^-LS?- 
 
 1 1 1 • 1 
 
 ~-!l.'-|- l -rJ_-l 
 
 -- i- i_ i_ L i_ '*■■ 
 
 i_ l_ i_ 
 
 L, i_ i_ L 1 LTL 
 
 - 1_ i — <_ i — 1 — i_ •_ i_ i_ i_ i_l _ i_ i_ i-TZJ 
 - I_ c_ U I- L, l__ 1_ i_ L I- 
 
 Fig. g3. 
 
 The over casting of the disengaged 
 
 edge at the corner, the threads being 
 
 turned in within the hem. 
 
 
 / A 
 
 
 wwmm 
 
 Fig. 95. 
 
 Filling in the corner with a spider, 
 and continuation of the lattice- 
 work thence. 
 
 Cut open-work (Punto tagliato). — For cut open-work, 
 threads have to be drawn out both ways, the number of 
 course to depend on the pattern. Threads, left between others 
 that have been cut out, serve as a foundation on which a great 
 variety of stitches can be worked. Stuffs, equally coarse in the 
 warp and w r oof, should be chosen for all cut open-work, for 
 
SINGLE AND CUT OPEN-WORK 
 
 41 
 
 then the empty spaces that remain, where threads have been 
 drawn out both ways, will be perfectly square. 
 
 Drawing out threads both ways (fig. 96). — The same 
 number of threads must be drawn out each way; most patterns 
 require the same number of threads to be left as are drawn out. 
 In fig. 96, three threads have been drawn out and three left. 
 
 Fig. 96. 
 
 Drawing out threads both ways, 
 
 without regard to the edges. 
 
 Fig. 97. p 
 
 Cutting out threads, 
 
 in the middle of the stuff. 
 
 Cutting out threads (fig. 97). — We often meet with 
 cut open-work patterns, set in another kind of embroidery. 
 In such cases, the threads that are to be cut out, must be cut 
 
 Fig. 
 
 button-holing the raw edges 
 of cut open-work. 
 
 Fig. 99. 
 Overcasting the raw edges 
 of cut open-work. 
 
 a few millimetres within the edge, and then drawn out, so 
 that there may be a frame of the stuff left intact outside. 
 Button-holing 1 the raw edges (fig. 98). — In very fine 
 
42 
 
 SINGLE AND CUT OPEN-WORK 
 
 linen textures, the threads can simply be cut out, but in the 
 case of coarser stuffs, and when a pattern ends in steps as in 
 figs. io3, 104, io5, the raw edges must be button-holed as 
 in fig. 98, or 99. 
 
 Overcasting- the raw edges (fig. 99). — Cording the raw 
 edges, is even better than button-holing them. Count the 
 number of threads carefully that have to be cut out, run in a 
 thread to mark the pattern, and then only, cut the threads 
 through, at least two threads within the line. 
 
 Overcasting the trellised ground (fig. 100). — If you 
 only have a small surface to embroider, you can draw out all 
 
 the threads at once. But in the case 
 of a large piece of work it is better to 
 begin by removing the threads in one 
 direction only, and completing all the 
 little bars, one way first ; after which 
 you draw out the threads the other 
 way and embroider those you leave. 
 In this way you will secure greater 
 equality and finish in your work. 
 
 Ground for square, fig. 105 (figs. 
 101 and 102). — Finish the first row of 
 bars along the edge completely, to 
 begin with. In the second row, over- 
 cast the bar, down to half its length, then carry your thread 
 over two empty spaces, see the letter a, come back to the bar, 
 overcasting the thread which you threw across first, and passing 
 the needle under the bars of the stuff. In the second rows 
 that intersect the first, marked by letter b, the threads meet 
 in the middle of the empty space. 
 
 In fig. 102, finish the bars, overcast both ways first, and 
 then fill in the ground with interlaced threads, worked row 
 by row, throwing the thread from one square to the other as 
 you go, and doubling it, as you return. For the bars, see, the 
 chapters on net embroidery, and Irish lace. 
 
 Lattice-ground and damask stitch for square, fig. 105 
 
 (fig. io3). — Our illustration shows a third kind of open- 
 
 FlG. 100. 
 
 Overcasting the trellised 
 ground. 
 
SINGLE AND CUT OPEN-WORK 
 
 43 
 
 ■■■■ 
 
 ffinHB 
 
 BBBBI- 
 JgBKSff®** 
 
 m 
 
 Fig. 10 i. Lattice-ground for square 
 
 in fig. i05, showing the course 
 
 of the stitches. 
 
 Fig. 102. Lattice-ground for square 
 in fig. io5. 
 
 Fig. io3. Lattice-ground with a portion of square, fig. io5. 
 
44 
 
 SINGLE AND CUT OPEN-WORK 
 
 work ground with one corner in damask stitch, of the square 
 represenied in fig. io5. The little bars which intersect each 
 square crossways, are made in two divisions, by carrying the 
 
 thread to the opposite 
 bar and back. In the 
 same way, the second 
 thread is carried over 
 the first. The damask 
 stitches are described in 
 the next chapter, in figs. 
 143 and 144. 
 
 Lattice-ground and 
 damask stitches for 
 square, fig. 105 (fig. 104). 
 — Damask, or gobelin 
 stitches, are given in figs. 
 1 52, 1 53, 1 54. The ground 
 of this part of the square 
 (fig. 104) is adorned with 
 narrow bars, worked in 
 darning stitch. From the 
 centre of one bar, pro- 
 ceed three bars made on 
 three foundation-threads, 
 and a fourth made on 
 two, on account of the 
 passage to the next bar. 
 Quarter of the square in single and cut open-work, 
 and damask-stitch (fig. io5). — Original size 48 c/m. square. 
 This handsome square is worked in unbleached cotton on 
 a white ground; it may also be worked in colours. A very 
 good effect is produced by using Chine d'or D.M.C (*) red, 
 blue, or green for the gobelin stitch, and a uniform pale tint 
 for the cut open-work. 
 
 Figs. 1 01, 102, io3, 104 illustrate in detail, one quarter of 
 the square, which is represented here one third of the original 
 
 Fig. 104. 
 
 Lattice-ground and damask stitch for 
 
 square, fig. iod. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
SINGLE AND CUT OPEN-WORK 
 
 45 
 
 Fig. io5. Quarter of the square in single and cut open-work, 
 
 and damask stitch. 
 
 Original size 48 c/m. square. 
 
 Materials suitable for Holbein linen: Fil a pointer D.M.C No. i5 or 20, and Coton 
 
 a repriser D.M.C No. 25.(*) 
 
 For antique linen : Fil a dentelle D.M.C No. 25 or 3o, or Cordonnet 6 fills D.M.C 
 
 No. 5o, 60, or 70, and Coton a repriser D.M.C No. 5o or, in place of the latter, 
 
 Coton a broder surnn D.M.C No. 100. (*) 
 
 size. The centre piece (fig. 104) is bordered by four stripes, 
 two long and two short ; the former containing two lozenge- 
 
 '* See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
4 6 
 
 SINGLE AND CUT OPEN-WORK 
 
 shaped open-work figures, separated and finished off by damask 
 stitches; the latter, only one such figure. For the insertion in 
 single open-work, that recurs three times, you will find a 
 variety of designs in figs. 81, 82, 83, 84, 87, 88.- 
 
 Drawing in the pattern(fig. 106). — Darning in the threads, 
 as you do into a net foundation is a slower process and one 
 that requires greater skill than drawing them in. 1 he illustra- 
 
 
 
 (Explanation of fig. 108) 
 
 Xirat, ul,'. 
 
 Fig. 107. Darning in the threads 
 (Explanation of fig. 109). 
 
 tion shows the 
 proper order and 
 direction of the 
 stitches for fig. 
 108. In this case 
 likewise, the little 
 bars must be 
 finished, before 
 the actual pat- 
 tern is filled in. 
 Darning in 
 the threads (fig. 
 107). — In old 
 needle-work we 
 often find the 
 pattern reserved, 
 that is, left blank 
 and outlined by 
 the grounding. 
 As it is difficult, 
 o^feiJ^^E J especially in exe- 
 cuting minute, 
 and delicate fig- 
 ures, to withdraw 
 the threads par- 
 tially, without in- 
 juring the linen 
 foundation, they 
 
 are withdrawn throughout, and new ones drawn in, to form 
 the pattern. To explain this more clearly, the original threads 
 of the material are represented in a lighter shade than the new r 
 
SINGLE AND CUT OPEN-WORK 
 BB 
 
 47 
 
 Fig. ioS. Broad insertion in cut open-work, with pattern drawn in. 
 
 Fig. 109. Insertion in cut open-work, with pattern darned in. 
 
 Materials — For Holbein linen : Fil a pointer D.M.C No. 1 5 or 20, Cordonnet 6 fils 
 D.M.C No. 8, 10 or i5 for the bars. — Coton a tricoter D.M.C No. 16 or Coton a 
 
 repriser D.M.C No. 12 or 25 for darning or drawing in the pattern. 
 For finer linens: Fil a dentelle D.M.C Nos. 25 to 3o, or Cordonnet 6 fils D.M.C 
 Nos. 25 to 40 for the bars and Coton a repriser D.M.C No. 5o for darning or 
 
 drawing in the pattern. 
 
4 8 
 
 SINGLE AND CUT OPEN-WORK 
 
 
 ones that are drawn in ; the course of the stitches is indicated 
 in a darker shade. 
 
 Broad insertion in cut open-work, with the pattern 
 drawn in (tig. 108). — This insertion, suitable according to the 
 foundation it is worked on, for the decoration either of curtains, 
 table-covers, bed-linen or underclothing, is made as shown 
 in fig. 1 06. If intended for the decoration of any article made 
 
 of white linen, we recommend 
 unbleached materials for the 
 lattice- work, and bleached 
 for the pattern, to bring it 
 out in strong relief. 
 
 Insertion in cut open- 
 work, with pattern darned 
 
 in (fig. 109). — This inser- 
 tion can be introduced into 
 p any kind of linen material, 
 and used for ornamenting 
 towels, aprons, bed-linen 
 and table-linen. When it is 
 used to connect bands of 
 cross-stitch embroidery, the 
 open-work should be of the 
 same colour as the embroi- 
 dery, and the pattern worked 
 in white or unbleached cot- 
 ton, to correspond with the 
 foundation. In fig. 109, the 
 pattern is half as large again 
 as in the original. 
 Cut open-work pattern (figs. 1 1 o and 1 1 1). — This pattern, 
 more of the nature of lace than any of the former, is well 
 adapted for trimming, not only household articles but also 
 church furniture, altar-cloths and the like, which are required 
 to wash, as it can be worked in any width. 
 
 Fig. no, a magnified representation of the work in process 
 of execution, shows alternately, ten threads withdrawn each 
 way and six left, with open spaces between. The arcs are 
 
 
 Fig. 1 10. 
 
 Cut open-work pattern. 
 
 Fig. 1 1 1 in process of execution. 
 
SINGLE AND CUT OPEN-WORK 
 
 49 
 
 Fig. iii. Cut open-work pattern. 
 
 Materials : Fil a pointer D.M.C No. 20 or 3o, Cordonnet 6 fils D.M.C Nos. i5 to 
 
 5o or Fil a dentelle D.M.C Nos. 25 to 5o. 
 
 Fig. 1 1 2. Greek cut open-work pattern. 
 
 Materials: Cordonnet 6 fils D.M.C Nos. 25 to 5o, Fil d'Alsace D.M.C Nos. 20 to 
 
 100 or Fil a dentelle D.M.C Nos. 25 to 5o. 
 
5o single! and cut open-work 
 
 worked over three carefully laid threads, carried across from 
 the middle of one bar to the middle of the bar at right angles 
 to it, the wheels on the other hand are begun and finished at 
 the same corner. Overcast the cut edges, and hem-stitch the 
 outside layer of stuff (figs. 61 and 62). 
 
 Greek cut open-work pattern (fig. 1 12). — After the fore- 
 going explanations, no difficulty will be found in copying the 
 beautiful Greek cut open-work pattern, illustrated in fig. 112. 
 Here, we have in the original, 48 threads drawn out in the 
 middle, both ways, from one straight bar to another, 
 (these bars being darned) with open spaces between ; and 
 in the lower and narrower division, 21 threads drawn out 
 each way. The cut edges, from bar to bar, are hem-stitched 
 on both sides, leaving four threads of the stuff between. 
 
 The long bars, in the second figure, are button holed on 
 both sides, those with the picots, on one side only. 
 
Net stripe, in imitation of Brussels lace. 
 
 Net and damask stitches. 
 
 Many net embroidery patterns and damask stitches consist 
 of a combination of ordinary running and darning, others of 
 chain, stem and cross stitch. 
 
 Net embroidery. — All these kinds of stitches can be 
 worked on the coarse Greek net, as it is called, as well as on 
 the finest quality of real Brussels net. 
 
 Stripes of net, finished off with button-hole edging, and 
 ornamented with one or other of the following patterns, make 
 very pretty washing laces and the like ; net laid upon Irish 
 point and converted by needlework into a lace ground, makes 
 an excellent substitute for a hand-made ground, which demands 
 much labour and time. 
 
 Materials suitable for net embroidery. — The choice of 
 material must be determined by the quality of the net and the 
 effect to be produced. For a coarse make of net and a very 
 marked pattern, the lowest numbers of D.M.C cottons, or the 
 narrowest braids, such as Soutache D.M.C Nos. i, 2, 3 should 
 be used ; if the net be fine and the pattern a delicate one, 
 then the higher numbers of the following are preferable : Goton 
 a tricoter D.M.C Nos. 8 to 20, Coton a repriser D.M.C Nos. 25 
 to 70, Coton a broder D.M.C Nos. 16 to 5o, Fil a dentelle 
 D.M.C Nos. 25 to 5o, Coton a broder surfin D.M.C Nos. 100, 
 « 20, i5o. The latter must be adjusted to the required size 
 
52 
 
 NET AND DAMASK STITCHES 
 
 before being used, that is to say as many strands of it 
 removed, as is necessary in order to reduce it to the proper 
 thickness. 
 
 Tracing -with running stitches (fig. ii3). — Have your 
 pattern traced on linen or paper; tack the net upon it, and copy 
 it carefully on the net with running stitches. As in darning, 
 
 Fig. i i 3. Tracing with running STITCHES. 
 
 the stitches must run first above and then beneath, alternating 
 in each succeeding row. At the turn of the lines, the stitches 
 
 cross each other, as shown in 
 the illustration. 
 
 Net pattern (fig. 114). — 
 Here too the pattern is traced 
 with running stitches, which 
 are run in on both sides of 
 each row of meshes. The 
 thread is carried first to the 
 right , and then to the left, 
 under every alternate bar of 
 the net and out again. Between 
 the first and second rows, one 
 thread of the foundation must 
 be left uncovered. In the next 
 row, the thread is carried back again, so that it encircles each 
 mesh. In the third row, the thread passes under the same bar 
 
 Fig. 114. Net pattern. 
 
NET AND DAMASK STITCHES 
 
 53 
 
 of net as in the second, the threads touching each other. The 
 fourth row is a repetition of the first. 
 
 Net pattern (fig. ii3). — This consists of two rows of 
 stitches. In the first, the single stitches run diagonally from 
 left to right, over and under a mesh ; in the second row the 
 triple stitches, also carried diagonally across a mesh, lie from 
 right to left. 
 
 Net pattern (fig. 116). — Begin with a double row, as in 
 fig. 114; this is followed by a row of cross-stitch, touching 
 the others, for which the thread has to be carried, first under 
 
 Fig. 1 1 5. Net pattern. 
 
 one of the straight bars of the 
 mesh and then diagonally, 
 across it. A second, similar row 
 of stitches backwards , com- 
 pletes the crosses. This can be 
 further varied by the introduc- 
 tion of a row of triple stitches, 
 after the double row, as in fig. 
 1 1 5, and the repetition of the 
 two first only. 
 
 These rows can also be 
 worked in two colours, or in 
 white thread and washing gold. 
 
 Fig. 116. Net pattern. 
 
 17. Net pattern. 
 
 Net pattern (fig. 117). — Begin at the top, carrying the 
 
54 
 
 NET AND DAMASK STITCHES 
 
 thread, first under and then over two bars and a mesh, and 
 then underneath as before. In the second as in the first row, 
 the threads must be drawn in, so that 4 threads always meet 
 in one mesh, and two run parallel to each other through the 
 same mesh. 
 
 Net pattern (fig. 118). — This pattern, which resembles 
 fig. 117 in the execution, is thickened by triple stitches. Above, 
 where in the preceding row three threads were laid, the thread 
 should be single. 
 
 Very pretty varieties are to be obtained by the introduction 
 of several colours. Take white, for instance, for the first row 
 and different shades of the same colour for the second, third, 
 fourth and fifth rows ; such as, Bleu-Lapis 345, 344, 343, 333, 
 342, (*) or Rouge-Cardinal 348, 3o5, 304, 347, 346, (*) or 
 Rouge-Geranium, Brun-Caroubier or any other colour that is 
 absolutely fast. 
 
 MJ^J&JJ 
 
 v^CsftL^^^w 
 
 ?:• 
 
 
 MlN 
 
 
 bjeM^ms 
 
 
 i 
 
 
 «^^f^*v5*feAft 
 
 
 Fig. 118. Net pattern. 
 
 Fig. 119. Net pattern. 
 
 Net pattern (fig. 119). — After one row of cross-stitch, such 
 as was described in fig. 116, add a second, carrying the thread 
 under the bar that lies between the first stitches, so that the 
 two rows only cover-three threads of the net. The close bands 
 of cross-stitch must be divided from each other by one row of 
 net bars. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
NET AND DAMASK STITCHES 
 
 55 
 
 Net pattern (tig. 120). — Draw the thread twice backwards 
 and forwards, as in darning, through one row of meshes. In 
 the next, make four stitches over one mesh and two bars. 
 After the fourth stitch, the thread is carried forward under 
 two bars to the next group. The meshes filled in thus are 
 divided from each other by two double rows of darning 
 
 Fig. 120. Net pattern. 
 
 Fig. 121. Net pattern. 
 
 stitches. Here you may introduce a variety in the colour, using 
 either white and unbleached, or unbleached and pale blue, or 
 some other combination of the kind. 
 
 Net pattern (fig. 121). — 
 Make three diagonal stitches 
 over three bars and two meshes, 
 then returning to the mesh 
 out of which the first stitches 
 come, make three more in the 
 opposite direction. In the se- 
 cond row, the stitches meet in 
 the same mesh as those of 
 the first. 
 
 Net pattern (fig. 122), — 
 Carry the thread upwards from 
 below, over a bar of the net, then pass it horizontally under 
 another bar and carrying it downwards, pass it under a diago- 
 nal bar and cover the other three. In the second row, your 
 
 Fig. 122. Net pattern. 
 
56 
 
 NET AND DAMASK STITCHES 
 
 loops must be turned the opposite way. When the whole 
 foundation is finished, run a thread over the whole surface 
 and overcast it. A good elfcct is produced by using white and 
 unbleached cottons, in alternate rows. 
 
 Net pattern (fig. i 23). — This pattern consists of one row 
 of overcasting, one of stitches like those described in fig. 114, 
 and one of cross-stitch, as in fig. 3q, running diagonally across 
 the stufT. Besides the cottons already mentioned, washing gold 
 thread (Or fin D.M.C pour la broderie), may be used for the 
 overcasting. Dead gold introduced into simple needlework of 
 this kind enlivens it extremely. 
 
 Fig. 123. Net pattern. 
 
 Fig. 124. Net pattern. 
 
 Net pattern (fig. 124J. — Three kinds of stitches are re- 
 quired for this pattern. In the first row the stitch lies cros- 
 sed underneath the net ; in the second, 3 stitches are made 
 over one mesh, the first and the last of which are carried 
 across three meshes. In the third row, button-hole stitches 
 are carried from right to left over two diagonal bars, in such 
 a manner that the thread is drawn through the mesh facing 
 the loops, and the next stitch comes out under the loop of 
 the preceding one. 
 
 Net pattern (fig. 125). — Fill in every other diagonal row 
 of meshes with chain stitch, inserting the needle into the same 
 mesh it came out of, so that the thread lies in front of the needle, 
 in a loop. The rows of chain stitch may be made with two or 
 
NET AND DAMASK STITCHES 
 
 5? 
 
 three rows of meshes between them. Even the diagonal lines 
 by themselves, make a very pretty foundation for other stitches. 
 Net pattern (fig. 126). — The first row worked from left 
 to right, consists of three loop stitches upwards and three 
 downwards, each over one bar. In the second row r , divided 
 
 Fig. 12b. Net pattern. 
 
 Fig. 126. Net pattern. 
 
 Fig. 127. Net insertion. 
 
 Fig. 128. Net insertion. 
 
 from the first by one row of stitches, the inner loops must be 
 turned towards each other; in the third, the outer ones. Any of 
 the stitches, already described, can be introduced into this 
 pattern to enliven it. 
 
 Net insertions figs. 127 and 128). — These two, as well as 
 the subsequent patterns, are most of them worked in darning 
 stitch and simple overcasting. 
 
 The scallops in fig. 127 are formed of darning stitches, 
 
58 
 
 NET AND DAMASK STITCHKS 
 
 over 4, 3, 2 and i mesh, respectively. In the intervening space, 
 which is five meshes wide, the stitch shown in fig. \ iS, may 
 be introduced. 
 
 In repeating the pattern, the stitches forming the scallops, 
 must be made to run in the opposite direction. Instead of the 
 thread, simply drawn through the middle, little stars like 
 those described in fig. 1 34, have a very pretty efl'ect. 
 
 In fig. 128, the thread is first carried round one mesh and 
 then on to the next scallop. In the second scallop, which turns 
 the opposite way, the thread is carried once more round 
 
 the last mesh after the 
 pyramid is completed, and 
 then on, to the next figure. 
 Net pattern (fig. 129). 
 — This checked pattern is 
 also worked in darning 
 stitch. Garry the thread, as 
 in fig. 125, through every 
 second row of meshes. When 
 the bottom rows are all 
 finished, the upper ones are 
 worked across them in the 
 same way. Here the stitches 
 may, if preferred, be dis- 
 tributed more sparingly. But 
 if they are set wider apart, 
 the spaces between should be 
 filled up in some way. Little 
 dots, made of Coton a re- 
 repriser D.M.C, will answer the purpose best. 
 
 Net insertions (figs. 1 3o, 1 3 1 , 
 1 32). — These three patterns are 
 specially suitable, for inser- 
 tions, neck-tie lappets and the 
 like, in the place of crochet, 
 pillow, and other kinds of lace. 
 Both design and stitch are clearly 
 Fig. i3o. Net insertion. enough represented in the sub- 
 
 Fig. 129. Net pattern. 
 
NET AND DAMASK STITCHES 
 
 5 9 
 
 joined figure for further explanation to be unnecessary. All 
 three should be worked with rather coarse cotton, and Soutache 
 D.M.C (*) (braid) drawn in, produces an excellent effect. 
 
 Fig. 1 33. Net pattern. 
 
 Fig. 134. Net pattern. 
 
 Net pattern (fig. 1 33). — These delicate little figures can 
 be worked into a close pattern, or can be strewn singly over 
 the surface. The closer you set the stitches, the more clear and 
 distinct the stars will be. The thread must be drawn in to the 
 centre mesh from without, so as to be invisible if possible, and 
 then back again to the outside when the stitches are finished. 
 
 Net pattern (fig. 134). — These flowerets have a very pretty 
 effect, set either singly, or in double or triple rows, and are 
 very useful for filling up gaps or supplementing rows. 
 
 [*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
()0 
 
 NET AND DAMASK STITCHES 
 
 Net pattern (fig. 1 35). — These star-shaped figures, their 
 longest stitch covering three straight bars and two meshes, 
 the shortest, three diagonal bars and two meshes, may like 
 the above fiowerets, be ranged closely together in rows, so that 
 
 four stitches, two horizontal 
 
 and two vertical ones, meet in 
 one mesh. Cottons of two 
 colours should be used, in 
 order that the figures may 
 be distinct from each other: 
 white and unbleached are the 
 in cases where bright 
 
 J 
 
 599 best , 
 
 
 j 35. Net pattern. 
 
 MM colours would be unsuitable 
 
 Net insertion (fig. i 36). — 
 
 These diamonds make a very 
 
 pretty grounding either set se- 
 
 ; I§§5S P arate b'> or in a continuous 
 
 i#VW pattern. The design is slight, 
 
 nevertheless, when it is worked 
 in coarse cotton, the effect is ex- 
 ceedingly handsome, especially if 
 the inside, in addition 
 to-the star here given, 
 be enriched with or- 
 dinary darning-stitch- 
 es, worked in fine gold 
 thread, as we have 
 already mentioned. 
 
 Net tracery with 
 border (fig. 1 37). — 
 In order to bring out 
 the pattern and the 
 colours, use instead 
 of cotton, Soutache 
 D.M.C, or Lacets 
 surfins D.M.C. Both 
 
 Fig. 1 36. Net insertion. 
 
 are to be had in all the colours, given in the list of colours of 
 the D.M.C threads and cottons. The little border can be used in 
 conjunction with any of the preceding patterns, but care must 
 
NET AND DAMASK STITCHES 
 
 6l 
 
 Fig. 137. Net tracery with braids. 
 Materials: Soutache D.M.C No. 2 in Bleu-Indigo 33.x and Rouge-Turc 32 1. 
 
 Fig. 1 38. Broad net lace tracery. 
 
 Materials : Coton a broder D.M.C No. 3o, 35 or 40. — Colours *. Rouge-Turc 32 1, 
 
 Rouge-Cardinal 346, Bleu-Indigo 322, Gris-Tilleul 3g3 and Vert-Pistache 36o,. 
 
62 
 
 NET AND DAMASK STITCHES 
 
 be taken not to let it get twisted in the working. To prevent 
 this, slip a coarse needle under the last stitch, and draw the 
 braid flat over it. 
 
 Broad net lace tracery (tig. 1 38). — The pattern of this 
 pretty lace must first be transferred to stout paper, or oil-cloth. 
 All the leaves and stalks, and the buttonholing round the 
 open centres of the flowers, are worked in a pale green, the 
 two bottom flowers in Turkey red, the star-shaped one in 
 blue, the calvx in which the stalks unite, in dark red, and the 
 little bells, in the lightest green. 
 
 Net darning'. — We conclude with some directions for 
 darning net, a valuable art, by means of which many a curious 
 piece of old needlework is preserved. Coarse and fine net are 
 all darned in the same way. 
 
 Fig. i3q. Net darning. 
 Laying the first thread. 
 
 Fig. 140. Net darning. 
 Laying the second thread. 
 
 Laying the first thread (fig. 139). — Tack the net which 
 is to be darned, closely to the defective part, upon either 
 oil-cloth or coloured paper and cut the edges straight to the 
 thread. Your thread must be of exactly the same size, as that 
 of which the net is made. It takes three rows of stitches to 
 imitate the net ground ; in the first place, as shown in fig. 
 139, cross-threads must be laid from side to side, carried as 
 in darning, a little beyond the edges of the hole and so as to 
 surround each mesh with a slanting stitch. 
 
NET AND DAMASK STITCHES 
 
 63 
 
 Laying the second thread (fig. 140). — Secondly, beginning 
 from one corner, threads are laid diagonal^ across the first 
 layer. The cross-threads of the foundation are encircled by a 
 stitch, made from right to left, the needle is then carried 
 under the next horizontal bar, and the first layer of threads 
 is overcast with similar stitches. 
 
 Laying the third thread (fig. 141). — Thirdly, threads 
 are carried across the second 
 and first layers. They must 
 start, far enough from the edge, 
 for the second layer of threads 
 to be overcast at the same time, 
 so that there may be no loose 
 threads left on the wrong side. 
 In this third journey, every 
 diagonal thread of the founda- 
 tion is to be encircled with a 
 stitch, taken upwards from 
 below, the cut edges being 
 strengthened in the same way. 
 Then, to form the little cross in 
 the fabric, the thread must be 
 conducted by means of a second stitch, under the single hori- 
 zontal thread, outwards, to the next diagonal thread. 
 
 In places where the net is worn, it can be strengthened in the 
 same manner, the stitches being made the way of the stuff. 
 
 Damask stitches. — As a rule the pattern is simply out- 
 lined with stem and cord stitch, and the inside spaces are left 
 plain. In spite of the time this simple tracing takes to do, the 
 effect is rather poor and scanty. If however, the inside of the 
 leaves and flowers, be filled in with damask stitch, the result 
 is very handsome. 
 
 Not only can the following stitches, which are suitable for any 
 linen coarse or fine, be used for this kind of embroidery, but 
 most of the net and lace patterns too, and these combined 
 with buttonholing and flat stitch produce charming effects. 
 
 Materials suitable for damask stitches. — All the threads 
 and cottons used for* net work can also be used for damask 
 
 Fig. 141. Net darning. 
 Laying the third thread. 
 
64 
 
 NET AND DAMASK STITCHES 
 
 stitches, according to the material and the kind of work. We will 
 enumerate them once more: Coton a tricoter D.M.C Nos. 8 
 to 20, Coton a repriser D.M.C Nos. 25 to 70, Coton a broder 
 D.M.C Nos. 16 to 5o, Fil a dentelle D.M.C Nos. 25 to 5o, 
 Coton a broder surfin D.M.C Nos. 100, 120, i5o. (*) 
 
 This kind of embroidery is generally done with a very 
 coarse needle, to press the threads of the stuff closely together 
 and make the light spaces between, which appear in many of 
 
 the following illustrations. 
 
 First pattern (fig. 142). 
 — Carry the needle in a 
 slanting direction over three 
 threads and bring it out, 
 from right to left, under 
 three perpendicular ones, 
 then again slanting, over 
 three threads, from left to 
 right, and out again under- 
 I neath three horizontal ones, 
 I dowmwards from above. 
 
 n^liitrri'-B: un.na.i 
 
 Fig. 142. 
 
 H| Thus the first stitch lies 
 
 across, from right to left, 
 
 the second, lengthways. On 
 
 the wrong side, the stitch forms 
 
 a regular succession of steps. 
 
 Second pattern (fig. 143). 
 
 |P — This is worked exactly in the 
 
 m same manner as fig. 142, only 
 
 that the second row of stitches 
 
 I touches the first, so that two 
 
 I threads enter and issue from 
 
 ssM the same hole. 
 
 Third pattern (fig. 144). 
 WS^^mPl — Though at first sight, this 
 
 Fig. 143. Second pattern. 
 
 stitch is very like the Holbein 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M C threads and cottons. 
 
NET AND DAMASK STITCHES 
 
 65 
 
 or stroke stitch, it is very different in the execution. It is 
 worked in two rows, to and fro ; in the first, you make all 
 the vertical stitches side by side in the width of the stuff, 
 drawing your thread very tightly ; in the second, coming 
 back, you make the hori- 
 zontal stitches in a straight 
 line, at right angles to the 
 first stitches. On the wrong 
 side the stitches are cros- 
 sed ; they in thin stuffs, 
 show through, and quite 
 alter the appearance of the 
 right side. 
 
 Fourth pattern (fig. 
 145). — In the first row, the 
 thread is carried slanting 
 upwards from right to left, 
 over two threads, then 
 downwards under two. 
 Coming back, the stitches must be set the opposite way, so 
 that four threads meet in one hole. 
 
 Fig. 144. Third pattei 
 
 ^^ h ^^r^pir:«^^lT^rll^ 
 
 mm 
 
 
 iMmm 
 
 Fig. 145. Fourth pattern. 
 
 Fig. 146. Fifth pattern. 
 
 Fifth pattern (fig. 146). — This is worked like fig. 
 only that the stitches must cover three threads each way 
 the second row, you take up one thread on the right and 
 on the left, to form your stitches. 
 
 145, 
 
 . In 
 
 two 
 
66 
 
 NET AND DAMASK STITCHKS 
 
 Sixth pattern (tig. 147). — Here, the stitches form a 
 chess-board pattern. You begin with a diagonal stitch over 
 two threads and bring your needle up again into the same line 
 it started from. The second stitch covers three threads, the 
 third six, the fourth eight ; the next three decrease, succes- 
 sively in length, in the same proportion. 
 
 Fig. 147. Sixth 
 
 Fig. 1 48. Seventh pattern. 
 
 Seventh pattern (tig. 148). — Two kinds of cotton have 
 to be used for this pattern, one of them soft and flat, like 
 Coton a repriser D.M.C (*) (darning cotton) or Coton a tricoter 
 iffliraa^raimn-crs-nii^'-inn- ■■■mi- D.M.C (knitting cotton) (*) for 
 H@MHMi ^ flat •*«** and the other 
 
 ll strongly twisted, like Cordonnet 
 
 ml 
 
 l! 
 
 j 6 fils D.M.C No. 8, 10, 12 or 
 
 p§| 1 5, (*) for the cross stitches. 
 
 The five flat stitches cover 
 p three threads in width and six 
 2&g in height, and lie from right to 
 i left and from left to right. In 
 
 jB^ltfiWr : ■ ; !iWfil» : 3 the second row, which must be 
 l ;,; ^vW41f:iiify?' i: liiil?3QSHs 1 j «• r 1 
 
 ti UWm 1 lW6^l ; Ill*$y two threads distant from the 
 
 I first, the stitches must lie in 
 the contrary direction. In the 
 
 Fig. 149. Eighth pattern. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
NET AND DAMASK STITCHES 
 
 67 
 
 lozenge-shaped space between, make four cross stitches, 
 over four threads in height and two in diULIlLJLii 
 width. So 
 
 Eighth pattern (figs. 149 and i5o). — 
 Make five stitches over 8 horizontal threads, 
 miss 6 threads and make another 5 stitches, ssf^ 
 The groups of long stitches above and MIL 
 beneath the first row, encroach over two T|j|HfaTr 
 threads of the first group, so that a space FlG . l5o ExPLANATION 
 of only four threads remains between two of the rococo 
 groups. The stitch between these groups stitch in fig. 149. 
 is generally known as the rococo Sf^^^pfSgi^^^H 
 
 stitch. 
 
 ft 
 
 w£M 
 
 Bring out your needle be- Si 
 tween the third and fourth of SJ 
 these threads, and insert it ||[; 
 again above, drawing it out U 
 afterwards between the second ^-; 
 and third horizontal thread, |p 
 and securing the first stitch §£; 
 with a back stitch. Make the Ig; 
 three remaining stitches, as ||| 
 explained in fig. i5o. ^ 
 
 Ninth pattern (fig. i5i). — 
 This consists of straight bands 
 of flat stitches, covering three 
 threads each way, with spaces ] 
 8 threads wide between , orna- Is^T 
 mented with a small pattern in fffjjffjg 
 stroke stitch 
 
 see chapter on t||||jl|n 
 Tapestry and Linen embroidery). 
 
 Damask stitch for figs. 103 
 and 105 (fig. i52). — The stitches, 
 here represented on a large scale, 
 form the border to the square in 
 cut open-work in fig. io5. The long diagonal stitches, on 
 either side, can be made to look fuller and more distinct, by 
 using a soft, coarse cotton. 
 
 Fig. 1 52. Damask stitch for 
 
 FIGS. 103 AND Io5. 
 
68 
 
 NET AND DAMASK STITCHES 
 
 Tenth and eleventh patterns (figs. 1 53 and 154). — The 
 former of these is used for filling in the shott stripe in fig. 
 io5, the second for the long inside one. Fig. 1 53 is clear 
 
 enough to need no explanation ; 
 with reference to fig. 154, it is 
 however as well to point out that 
 the shortest stitch should cover 
 4 threads and the longest 12, 
 the rest is easily learnt from the 
 illustration. This is a very suitable 
 design for the decoration of large 
 surfaces and combines well with 
 any running diagonal pattern, 
 when it can be made to form a 
 Fig. i53. large star which can be worked 
 
 Tenth pattern. Damask stitch for as a separate figure. 
 
 FIGS. IOA AND 105. m ,„,- , c - C \ 
 
 Twelfth pattern fig. 1 55). — 
 gi^;::::- |§ In cases where this and the 
 
 following stitches are to be 
 executed on alight, transparent 
 stuff, it is best to use a very 
 strongly twisted thread, such 
 as Fil d'Alsace D.M.C f) or, Fil 
 a dentelle D.M.C (*) instead of 
 a softer and looser material. A 
 stiff thread compresses the 
 threads of the stuff better and 
 the open spaces, thus made in 
 it, are rendered more visible. 
 Count 6 threads vertically, 
 put in the needle and draw 
 it through from right to left, 
 underneath 3 diagonal threads. For the next stitch, carry it 
 upwards over 6 threads, and back under 3. The second row is 
 worked back over the first in the same way. Leave 6 threads 
 between each row. 
 
 IMP 
 
 Fig. 154. 
 
 Eleventh pattern. Damask stitch 
 
 for fig. io5. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
NET AND DAMASK STITCHES 
 
 6 9 
 
 Thirteenth pattern (fig. i56). — Carry the thread, from 
 right to left over four vertical threads, and under the same 
 number of horizontal ones. The second row of stitches touches 
 the first, so that the thread it is worked with seems to be 
 drawn through under the same threads of the stuff, as the one 
 the first row was worked with. 
 
 f-x^W- -2R *>r. <r ~h ?h Jf. JJe: m 
 
 cm 'M 
 
 Twelfth pattern 
 
 
 Fig. 1 56. Thirteenth pattern. 
 
 
 Fig. 07. Fourteenth pattern. 
 
 Fig. 1 58. Fifteenth pattern. 
 
 Fourteenth pattern (fig. 157). — Here, the stitches, con- 
 trary to those in fig. 147, are set vertically. The first stitch 
 covers 2 threads, the second 6, the third 10, the fourth 14, the 
 fifth 18. The longest stitches of two checks always meet in the 
 bame hole. 
 
70 NET AND DAMASK STITCHES 
 
 Fifteenth pattern (fig. i58). — Cover the whole expanse 
 with rows of stitches, such as are described in fig. i 55, with 
 intervals of 12 threads between them. 
 
 These rows are intersected by others, to which the thread 
 is passed, from between the sixth and seventh of the 12 threads 
 between the first rows. Where the stitches of the two rows 
 meet, the working thread of the second row must be drawn 
 through, under that of the first. 
 
 Fig. i5g. Sixteenth pattern. Seventeenth pattern. 
 
 Sixteenth pattern (fig. i5g). — Between every two rows of 
 cross-stitch, leave an interval of 6 threads, counting those on 
 each side of the rows. Over these 6 threads work 2 rows, as 
 shown in fig. 148, but so, that in the second, the lower 
 stitch of the first row and the upper one of the second, cover 
 the same threads. 
 
 Seventeenth pattern (fig. 160). — This consists of stripes, 
 4 stitches wide, like those of fig. 1 55, with 3 threads between, 
 which are overcast in the ordinary manner. 
 
 Eighteenth pattern (fig. 161). — Small squares of 7 
 stitches, inclined alternately, to the right and left, and so 
 formed, that the longest stitch of one square is crossed by the 
 first short stitch of the next, so that a space only 6 threads 
 wide and 4 long, remains uncovered. The intervening stripes 
 are filled with 3 rows of overcasting stitches, covering 2 
 threads each way. 
 
NET AND DAMASK STITCHES 
 
 7 1 
 
 Nineteenth pattern (fig. 162). — The steps formed by 
 this pattern are 1 1 stitches high, and 1 1 wide, and each stitch 
 covers 4 threads. 
 
 Eight threads intervene between each row of steps, which 
 are covered at the bend, by a square of stitches, from the last 
 of which, the thread is carried on at once, to the four single 
 stitches. 
 
 yV 
 
 
 
 
 Fig. 161. Eighteenth pattern. 
 
 Fig. 162. Nineteenth pattern. 
 
 Fig. 10:. Twentieth pattern. 
 
 
 Fig. 104.. Twenty-first pattern. 
 
 Twentieth pattern (fig. i63). — The 4 squares set opposite 
 to each other, with 2 threads between, are edged all round by 
 3 rows of overcasting. 
 
 Twenty-first pattern (fig. 1 64). — Begin by rows of stitches, 
 
7 2 
 
 NET AND DAMASK STITCHES 
 
 like those described in fig. 1 55, over 4 and 2 threads, with 
 4 threads between, not counting those covered with cross- 
 stitch. Between the two rows of cross-stitch, join 6 threads 
 together by a back-stitch, and carry your thread over the two 
 last of the 6, to the 2 first of the next cluster. The narrow 
 diagonal stripes are separated by 24 threads, exclusive of those 
 covered by the cross-stitches. These spaces are filled in with 
 squares, 10 threads wide and 10 long, formed by back-stitches 
 
 crossed on the wrong side. 
 
 mmmmim 
 
 > m* >#• h'k ->■ s y 
 
 4m whm^ 
 
 Fig. i 65. Twenty-second pattern. 
 
 "'."■•'.' - '••' '■.'.' '.';; >"> '[!'■"' 1 L ■, 1 '\ ■' 
 
 
 >:^ 
 
 S'S&'t ?'*£ 
 
 Fig. 166. Twenty-third pattern. 
 
 Fig. 167. Twenty-fourth pattern. Fig. 168. Twenty-fifth pattern. 
 
 Twenty-second pattern (fig. i65). — In the closer stuffs, 
 of a coarse texture, the threads of which do not admit of being 
 drawn together, as you can those, of a loose thin stuff, where, 
 
NET AND DAMASK STITCHES 
 
 73 
 
 by simply pulling your thread a little tighter you get open 
 
 spaces, you must begin by cutting out every fourth or fifth 
 
 thread. After which, you overcast all the rows, first one way, 
 
 and then the other, with stitches 
 
 covering 4 threads, each way. 
 
 On this foundation with strong, 
 
 loosely-twisted cotton, Coton 
 
 a broder D.M.G or Coton a 
 
 tricoter D.M.C No. 25, 3o, 35, 
 
 or 40, make long stitches, as 
 
 indicated in the illustration. 
 
 Twenty-third pattern (fig. 
 166.) — From the point where || 
 the thread comes out of the 
 stuff, make 16 stitches, four Hi 
 
 times Over, all Coming OUt of FlG " l6 9- Twenty-sixth pattern. 
 
 the same hole, over 8, 6, 4 and 6 threads, thus forming a 
 
 Fig. 170. Twenty-seventh pattern. 
 
 star. Leave an interval of four threads between the stars, and 
 unite the intervening threads by cross-stitches one way, and 
 whip-stitches, the other. 
 
74 NET AND DAMASK STITCH I s 
 
 Twenty-fourth pattern (fig. 167). — Make a succession 
 of diagonal stitches, increasing in length, and advancing one 
 thread at a time, until the seventh stitch covers seven threads, 
 and completes the triangle. Then begin a second triangle on 
 the nearest, adjacent thread. 
 
 Twenty-fifth pattern (fig. 168). — Cover your whole sur- 
 face with squares of 10 stitches, as in fig. 147, and fill in the 
 intervening squares with 23 stitches, all radiating from one- 
 centre. 
 
 Twenty-sixth pattern (fig. 169). — Diagonal trellised 
 stripes, made as indicated in fig. i65, and overcast, form the 
 ground. Twelve threads are to be left between the stripes, upon 
 which, work six-cornered, lozenge-shaped groups of stitches, 
 set at right angles to each other, in diagonal rows. 
 
 Twenty- seventh pattern (fig. 170). — We conclude our 
 chapter with a circular design, which combines a variety of 
 stitches, and introduces our workers to two new patterns, as 
 well as to an advantageous way of hiding the junction of 
 several kinds of stitches by semicircles of button-hole stitching. 
 
Stripe in flat and raised satin stitch, and madeira embroidery. 
 
 White Embroidery. 
 
 We have retained the familiar term, white embroidery, 
 for this kind of needlewoork, for convenience sake, in spite of 
 its inaccuracy, now that coloured materials are quite as much 
 used for it as white. 
 
 It is executed, either on a backing of oil-cloth, or in an 
 embroidery frame, called « tambour-frame ». Only skilful 
 workers can dispense with these, for an untrained hand can 
 hardly avoid puckering. If you work without a foundation, the 
 material must be held, quite smoothly over the forefinger, so 
 that the threads lie perfectly straight, otherwise, the pattern 
 is very apt to get pulled out of shape in the working. With 
 your three other fingers you hold the material fast, the thumb 
 resting on the work itself, beyond the outline of the pattern, 
 which must be turned towards the worker. It is always the 
 outside line of a pattern that is drawn in double lines, that 
 should be turned towards the palm of the hand. 
 
 Tracing patterns. — Patterns are generally to be had ready 
 traced, but as it is often necessary to repeat, enlarge, or 
 reduce them, descriptions of several modes of doing so, will 
 be found at the end of the concluding chapter. 
 
 Materials. — A loose, soft make of cotton, the looser the 
 better, and very little twisted, is the best material for embroi- 
 dery. We recommend for white embroidery in general, Coton 
 
7 6 
 
 WHITE EMBROIDERY 
 
 a broder D.M.G Nos. 16 to i5o; for monograms on cambric, 
 Coton a broder surfin D.M.C Nos. ioo, 120, i5o; (*) and 
 for English or Madeira embroidery , Coton Madeira D.M.C 
 Nos. 40, 5o, 60; (*) for padding, or raising the embroidery, 
 all the different kinds of Coton a repriser D.M.C (*) can be used. 
 Outlining: and padding:. — The outlining of a pattern is 
 a very important preliminary. A want of precision in the ulti- 
 mate effect is often due, merely to careless outlining. This 
 part of the work should be done with rather a coarser cotton 
 than the embroidery itself. Fasten in the thread by a few 
 running stitches, never with a knot, a rule to be observed also 
 in embroidering, except in very rare cases. Finish off your 
 thread by drawing it through the tracing stitches, or through 
 some part of the pattern that is already finished. Fill in the 
 spaces between the lines with a padding of run threads, run 
 loosely, and so that they lie thickly and solidly in the centre, 
 
 and shade off on both sides. The full- 
 ness, and roundness of embroidery, 
 depends on the firmness of this sub- 
 stratum of threads. The outlining and 
 the padding of the different rounded 
 and pointed scallops, as well as of other 
 figures that occur in white embroidery, 
 are illustrated in figs. 181, 182, 1 83, 
 184, i85, 187, 189, 190 and 191. 
 
 Blanket, or button-hole stitch 
 (fig. 171). — Work from left to right; 
 run in a foundation line, hold down the 
 working thread below the run line 
 with the right thumb ; insert the needle 
 above and bring it out below the run 
 line but above the working thread ; 
 tighten the loop thus formed, without 
 drawing up the stuff, and continue in 
 this manner, setting your stitches closely and regularly, side 
 by side. 
 
 
 
 
 
 Fig. 171. Blanket, or 
 button-hole stitch. 
 
 Fig. 172. 
 Straight stem stitch. 
 
 (*) See at the end of the concluding chapter, the table of numbers and 
 sizes and the list of colours of the D.M.G threads and cottons. 
 
 Th. de Dillmont, Encyclopedia of Needlework. In 8°. English bound, gilt edges. — Price : 3 sh. 
 
WHITE EMBROIDERY 
 
 77 
 
 ^SSSSSSSi^SSSSii 
 
 Fig. 173. Sloping stem stitch. 
 
 y 
 
 Fig. 
 
 174. 
 
 SACK-STITCHING. 
 
 Straight stem stitch (fig. 172). — Work from left to right. 
 The needle must always be inserted above the run thread 
 and brought out underneath it. In the case of a very delicate 
 pattern, take up only just as much stuff as the run thread 
 covers. 
 
 Sloping stem stitch (fig. 173). — Work without a run 
 thread ; insert the needle from right 
 to left in a slanting direction, 
 under 1 or 2 horizontal threads, 
 and 5 or 6 perpendicular ones ; 
 so that each stitch reaches half-way 
 back to the last. 
 
 This kind of stem stitch is chiefly 
 used for the fine up-strokes of 
 letters and numbers, and for linen 
 embroidery. 
 
 Back - stitching (fig. 174). — 
 Back-stitching, that is small, even 
 stitches set closely together, is done 
 from right to left, along a straight 
 line, and is chiefly used for filling 
 in the centres of letters, leaves and 
 flowers. 
 
 Crossed back-stitch (figs. 175 
 and 176). — Used, generally speak- 
 ing, only for very transparent ma- 
 terials ; it forms a close seam of cross- 
 stitch, on the wrong side, and two 
 straight rows of back-stitching on 
 the right. To work, insert the 
 needle as if for an ordinary back- 
 stitch , pass it under the stuff, 
 sloping it a little towards the se- 
 cond outline of the pattern, and 
 draw it out almost in front of the 
 
 first stitch. After making a back-stitch, pass the needle up 
 again under the stuff and bring it out at the spot where the 
 next stitch is to be. 
 
 Fig. 
 
 75. Crossed back-stitch. 
 Right side. 
 
 Si 
 
 ■f \ 
 
 w 
 
 Fig. 176. Crossed back-stitch. 
 Wrong side. 
 
78 
 
 WHITE EMBROIDERY 
 
 Fig. 177. 
 
 SlNPLE KNOT STITCH. 
 
 Fig. 178. 
 Twisted knot stitch. 
 
 Fig. 176 shows the interlacing of the stitches on the wrong 
 side, and the way in which this stitch, when it is used for 
 
 filling in centres, can be worked on 
 the right side. 
 
 Simple knot stitch fig. 177). 
 This consists of two back-stitches, 
 side by side, covering the same 
 threads ; it is chiefly used for 
 filling in leaves, embroidered on 
 very thin materials, or in conjunc- 
 tion with flat stitch. 
 
 Twisted knot stitch, (fig. 178). 
 To work hold the working thread 
 down with the thumb close to the 
 spot where you first brought it out, 
 twist it twice round the needle, 
 turn the needle round from left to 
 right, following the direction in- 
 dicated by the arrow, pass it through 
 the fabric at the place which is 
 marked by a dot, and draw it out 
 at the place where the next stitch 
 is to be. 
 
 Post stitch (fig. 179). — Some- 
 thing like knot stitch and much used 
 for patterns, composed of small 
 HLML ^^^ \\J^ I flowers and leaves, where it often 
 
 takes the place of raised satin stitch. 
 The illustration represents five 
 leaves finished, and the sixth in 
 process of being worked. 
 To work, bring the needle up from the back and twist 
 the thread round it as many times as the length of the stitch 
 requires, hold the left thumb on the species of curl thus 
 formed, and passing the needle and thread through it, insert 
 it at the end of the leaf where it first came out, and draw- 
 it out at the right place for the next stitch. 
 
 Button-hole bars (fig. 180).— When a pattern is orna- 
 
 J 
 
 
 Fig. 
 
 179. Post stitch. 
 
 ^ 
 
 ?m-n^^ 
 
 tea eTrrr* tnTP* ^ \\\ \ | j7TuTjlV4\ grr^- 
 
 - rr ,..^ 
 
 Fig. 180. 
 Button-hole bars. 
 
WHITE EMBROIDERY 
 
 79 
 
 merited with open-work bars, begin by tracing the outside 
 parallel lines. Then button-hole the whole lower line and 
 the upper one, till you come to the place where the first bar 
 is to be; then you carry your thread across and bring up 
 the needle from below through one of the loops, as shown 
 in the figure ; lay three threads in this manner, inserting your 
 needle the third time one loop further on. Then cover the 
 three threads thickly with button-holing. 
 
 Fig. 181. Round, button-holed scallops. 
 
 Different kinds of scallops (figs. 181, 182, 1 83). — The 
 outlining, padding and button-holing of these scallops is exe- 
 cuted in the manner already described. Be careful to adapt the 
 length of the stitches to the shape and size of the scallops. If 
 they are pointed (figs. 
 182, i83), the stitches 
 will have to be set 
 very closely together 
 on the inner line, and 
 a little play allowed 
 them on the outer, to 
 come exactly to the FlG - ^2. Larc 
 
 point, which should p — ~ 
 
 be very sharply de- .:" 
 fined. 
 
 Rose scallops figs. 
 184 and i85). — These 
 are, large button-holed 
 
 ,, • 1 • 1 1 Fig. 1 83. Small, pointed, button-holed scallops. 
 
 scallops with indented 
 
 edges, in the one case, rounded at the top and sharply pointed 
 at the join ; in the other, pointed at the top, and joined at 
 the bottom by a straight bar of button-holing. 
 
 jtton-hol 
 
 It 1 
 
8o 
 
 WHITE EMBROIDERY 
 
 Eyelet holes (figs. 186,187, 188). — Outline the eyelet holes 
 very carefully first by running a thread round them, then 
 cut out the enclosed stuff with a sharp pair of finely pointed 
 scissors, and edge the hole with plain overcasting stitches, 
 worked from left to right. 
 
 When you have a long row of eyelet holes to make, outline 
 the upper and lower halves alternately, first on one side and 
 
 Fig. 184. Rounded rose scallops. 
 
 Fig. i85. Pointed rose scallops. 
 
 then on the other, using two threads, and then overcast them 
 in the same w T ay. The double crossing of the working threads 
 between the eyelet holes makes them much stronger, than if 
 each hole were finished off separately, and the thread passed 
 
 underneath from one to 
 the other. 
 
 The lower halves of 
 shaded eyelet holes, (see 
 figs. 187 and 188), are 
 worked with very short 
 stitches, and the upper 
 halves with long ones ; they 
 may be edged entirely, either with button-holing or overcasting, 
 or half with one and half with the other. 
 
 Six leaves in raised satin stitch (fig. 189). — Raised satin 
 stitch is chiefly used for w r orking flowers, leaves, petals, dots, 
 
 Fig. 186. Overcast eyelet holes. 
 
WHITE EMBROIDERY 8l 
 
 initials and monograms. After tracing the outline of the design, 
 fill in the centres with a padding of long, close stitches 
 for which you can again take Coton a repriser D.M.G (*) 
 and then, beginning always at the point of the leaf, see letter A, 
 cover it with flat, perfectly even stitches, worked from right to 
 left. B illustrates a leaf, divided through the middle by a line of 
 overcasting ; C, one with a corded vein ; D, a divided leaf 
 worked in sloping satin stitch ; E, a leaf, with a corded vein 
 and framed in sloping satin stitch ; F, a leaf worked half in 
 satin stitch, half in back-stitch and straight stem stitch. 
 
 Leaves and flowers of all descriptions, can be executed in 
 any of these stitches, and in different combinations of the same. 
 
 Fig. 187. Button-holed shaded eyelet holes. 
 
 Fig. 188. Shaded eyelet holes half overcast, half button-holed. 
 
 Six ways of making dots (fig. 190). — Dots, when they 
 are well made, are exceedingly effective in white embroi- 
 dery, particularly if they are worked in a variety of stitches. 
 Dot A is worked in raised satin stitch ; B, in raised satin 
 stitch, framed in back stitch ; C, in raised satin stitch, framed 
 in twisted knot stitch ; D is composed of several post stitches 
 of different lengths, set in a frame of stem stitches ; E is wor- 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
Si 
 
 WHITE EMBROIDERY 
 
 ked in back-stitch, and F consists of a small eyelet hole, with 
 a corded setting, which forms the centre. 
 
 Venetian embroidery (fig. 191). — Scallops, worked in 
 very high relief, called Venetian embroidery, are an imitation 
 on stuff of Venetian lace. 
 
 Real Venetian point is entirely needle-made ; in the em- 
 broidered imitations of it, the stuff takes the place of the 
 needle-made lace foundation. To make it more like the original, 
 however, the ground is seldom left plain, but is covered with 
 fancy stitches, such as are represented in the illustration, or 
 with one or other of the damask stitches in figs. 145 to 170. 
 
 b c d E 
 
 Fig. 180. Six leaves in raised satin stitch. 
 
 C D 
 
 Fig. 190. Six ways of making dots. 
 
 The button-hole bars may be made with or without picots. 
 A full description of the latter will be found in the chapters 
 on net embroidery, and Irish lace. The space to be button- 
 holed, must be well padded, for thereon depends the roundness 
 of the embroidery. For this purpose take 6 or 8 threads of 
 Goton a repriser D.M.C No. 25, (*) and fasten them down on to 
 the pattern with loose stitches, laying on extra threads, and 
 cutting them gradually away, according to the width the line 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
WHITE EMBROIDERY 
 
 83 
 
 Fig. 191. Venetian embroidery. 
 
 Fir-. uj2. Renaissance embroidery. 
 
84 
 
 WHITE EMBROIDERY 
 
 is to be. The stuff underneath the bars should only be cut 
 away when the embroidery is quite finished. 
 
 Renaissance embroidery (figs. 192 and io,3). — This is the 
 term applied, more especially in France, to embroidery 
 
 Fig. 194. Richelieu embroidery. 
 
 patterns, which are worked entirely in button-holing, and 
 connected by button-hole bars without picots, as shewn in the 
 two accompanying figures. The outside edge in fig. io,3, is em- 
 bellished with picots, described in the chapters just referred to. 
 
WHITE EMBROIDERY 85 
 
 Richelieu embroidery (fig. 194). — The name given to 
 embroidery of a similar kind to the former, but in which the 
 connecting bars, instead of being left plain as they are in the 
 Renaissance embroidery, are ornamented with picots. 
 
 Fig. 195. Madeira work. 
 
 Fig. 196. Madeira work. 
 
 Materials : Coton Madeira D.M.C No. 40, 5o or 60. (Special cotton 
 
 for Madeira work) (*) 
 
 Madeira work (figs. 195, 196, 197). — This kind of embroi- 
 dery, which consists chiefly of eyelet holes, and is distin- 
 
 ' See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
86 
 
 WHITE EMBROIDERY 
 
 guished for the excellence of its workmanship used to be 
 known as English, but is now generally called Madeira work, 
 from the island where it originated. The scallops in figs. io,5 
 and 197, are bordered with shaded eyelet holes, worked half 
 in button-hole stitch, half in overcasting; the finely scalloped 
 edge, in fig. 196, is entirely button-holed. In working eyelet 
 holes, the material must always be turned in, up to the 
 inside line, and completely worked in, underneath the stitches, 
 in order that no loose threads may be visible on the wrong side. 
 
 B" ^w. wB y& Vf .^ 
 
 
 s 
 
 
 K ^8iP^ 
 
 ^•^•^ A 
 
 
 »^i 4&.Qr<f!b toh»%m ^8 
 
 
 
 
 
 Fig. 197. Madeira-work. 
 Materials : Colon Madeira D.M.C No. 40, 5o or 60. (Special cotton for 
 
 Madeira-work). 
 
 Swiss embroidery frame (fig. 198). — Letters, mono- 
 grams, coronets and the like, require extreme care in the 
 working, and can only be really well done in a frame. The 
 round Swiss frame , or tambour frame , is the one most 
 commonly used. It consists of two wooden hoops , fitting 
 loosely into each other ; the inner one, fastened to a support 
 with a wooden screw let into the lower part of it, with which 
 to fasten the frame to the table. The outside hoop is loose. 
 
 Place the fabric to be embroidered over the smaller hoop, 
 the pattern in the middle, and press the other down over it so 
 that it is tightly stretched and fixed between the two hoops. 
 
 A leathern strap with holes and a buckle, sometimes takes 
 the place of the second hoop. 
 
WHITE EMBROIDERY 
 
 8? 
 
 Ordinary embroidery frame (fig. 199). — Tambour frames 
 can only be used for embroidering pocket-handkerchiefs, 
 and other small articles ; all larger work has to be done in 
 an ordinary frame. Sew a piece of strong stuff into the 
 
 Fig. 199. Ordinary embroidery frame. 
 
 frame, stretch it as tightly and evenly as possible, and cut 
 out a square in the middle to the size of the pattern. Then 
 tack your work in underneath, straight to the thread, dividing 
 it out carefully with pins first, to ensure its being set in 
 perfectly evenly. Roll or fold up the rest of the stuff over the 
 
WHITE EMBROIDERY 
 
 Fig. 200. Alphabets for monograms. Outside letters A to H. 
 
WHITE EMBROIDERY 
 
 Fig. 201. Alphabets for monograms. Outside letters J to Q. 
 
<)0 
 
 WHITE EMBROIDERY 
 
 Fig. 202. Alphabets for monograms. Outside letters R to Y. 
 
WHITE EMBROIDERY 
 
 91 
 
 Fig. 2o3. Alphabets for monograms. Inside letters A to L. 
 
9 2 
 
 WHITE EMBROIDERY 
 
 Fig. 204. Alphabets for monograms. Inside letters M to X. 
 
WHITE EMBROIDERY 
 
 93 
 
 Fig. 2o5. Alphabets for monograms. Last inside and outside letters. 
 
 edges of the frame, and secure it with a few stitches or pins, 
 to keep it out of the way of your hand as you work. 
 
 Alphabets for monograms (figs. 200 to 2o5). — On account 
 of the difficulty of devising a good monogram for marking under- 
 linen, we subjoin two alphabets, by the aid of which our 
 workers will be able to compose their own. 
 
 The letters are of a good medium size, which can be magni- 
 fied or reduced according to the worker's own taste. 
 
 For any such modifications, we would again draw our 
 reader's attention to the directions given in the concluding 
 chapter. The three first plates represent large wide letters, 
 intended to contain or encompass the more elongated ones, 
 represented in the fourth and fifth plates, figs. 2o3 and 204. 
 
 The interlacing of the letters requires to be carefully done, 
 and our workers should study the following specimens, so 
 as to learn the stitches also, which are most suitable for this 
 branch of embroidery. 
 
 Monogram composed of letters A and D (fig. 206).— 
 Here, letter A is worked in flat satin stitch, in Bleu-Indigo 3 12, 
 and set in stem stitch, worked in Rouge-Turc 021. D as a con- 
 trast to A, is embroidered in transverse bars, the left part in 
 pale blue and white, the right in pale blue and dark blue. The 
 
94 
 
 WHITE EMBROIDERY 
 
 little ornaments may be worked according to fancy, either in 
 white, or in one of the given colours. 
 
 •a 
 
 Fig. 206. 
 Monogram composed of letters A and 
 
 D DRAWN FROM THE ALPHABKTS OF 
 MONOGRAMS. 
 
 Materials : Coton a broder D.M.C 
 Nos. 100 to i5o. 
 Colours : Bleu-Indigo 334, Rouge-Turc 
 32i and white. * 
 
 Fig. 207. 
 
 Monogram composed of letters V wi> 
 
 S DRAWN FROM THE ALPHABETS OF 
 MONOGRAMS. 
 
 Materials: Coton a broder D.M.C 
 No 120. 
 Colours : White and Rouge- 
 Cardinal 3o5. ' 
 
 Fig. 208. 
 
 Monogram composed of letters R and 
 
 C drawn from the alphabets of 
 
 monograms. 
 
 Materials . Fil a dentelle D.M.C 
 
 No- i5o. 
 
 Colours : Gris-Cendre 3i8 and Noir 
 
 grand Teint 3 10. 
 
 Fig. 209. 
 Monogram composed of letters G and- 
 
 E DRAWN FROM THE ALPHABETS OF 
 MONOGRAMS. 
 
 Materials : Coton a broder D.M.C 
 No. 120 white 
 and Coton surfin D.M.C N° 120, 
 unbleached. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
WHITE EMBROIDERY 
 
 9 5 
 
 Monogram composed of letters V and S (fig. 207). — 
 The flat satin stitch in both letters is worked in white ; the 
 setting, is in red, in short stem stitch, or if preferred, in 
 knotted back stitch. 
 
 Monogram composed of letters R and C (fig. 208). — 
 These are worked in black and grey, for mourning ; the 
 way C is divided, admits of a variety in the stitch ; for in- 
 stance, the back-stitches, in the illustration, may be replaced 
 by very small eyelet holes. 
 
 Monogram composed of letters G and E (fig. 209). — 
 The flat satin stitching and back-stitching in E, and the stem- 
 stitched edges of G are worked in white Coton a broder 
 D.M.C ; the inside of G in ivory white Coton surfin D.M.C. 
 
 Fig. 210. Border in Gobelin stitch. 
 
 Materials : Coton a broder D.M.C No. 35 in two different colours such as : 
 
 Bleu-Indigo 3i2 and Rouge-Cardinal 304, Rouge-Grenat 358 and 3og or, 
 
 Gris-Tilleul 3g3 and Rouge-Cardinal 3o5. (*) 
 
 Border in Gobelin stitch (fig. 210). — Gobelin embroidery 
 is merely raised satin stitch, worked directly upon the pattern, 
 without any foundation, or padding. The effectiveness of this 
 kind of embroidery, which appears so complicated and is 
 really so easy, and the many ways in which it can be utilised, 
 soon brought it into favour. It can be worked on the article 
 itself, or on stripes, laid on afterwards, with a hem-stitch 
 bordering. The original of fig. 210 was in blue and red; Bleu 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
g6 
 
 WHITE EMBROIDERY 
 
 Indigo 3 12 for the grounding, Rouge-Turc 32 1, for the setting 
 in stem-stitch. The herringboning along the edges of the 
 pattern, top and bottom, is also in red. / 
 
 Should a different selection of colours be made, it is im- 
 
 
 / r 
 
 
 
 1 
 
 
 
 
 Fig. 2ii. Alphabet left blank and outlined by the grounding. Letters A to N. 
 
WHITE EMBROIDERY 
 
 97 
 
 portant to remember that in all cases a sharp contrast is 
 desirable. 
 
 Alphabet and numerals, left blank, and outlined by 
 the grounding, worked in Gobelin stitch (figs. 211 to 21 5). 
 
 Fig. 212. Alphabet left blantc and outlined by the grounding. Letters O to Z. 
 
98 
 
 WHITE EMBROIDERY 
 
 The border worked in Go- 
 belin stitch, illustrated in 
 fig. 210, suggested to us the 
 idea of an alphabet and 
 numerals, to be executed 
 in a similar style, left blank, 
 that is to say, and outlined 
 by a grounding in Gobelin 
 stitch, which are better suit- 
 ed to embroideries of the 
 kind than those generally 
 used. Our limited space pre- 
 vents us from giving all the 
 letters in the diagonal posi- 
 tion they are intended to 
 
 Fig. 214. Numerals left blank and outlined by the grounding. 
 
 occupy on the article itself. 
 O and W only, are repre- 
 sented in the right position. 
 No difficulty will be found 
 in copying the other letters, 
 in giving them the proper 
 direction. 
 
 In order to economize 
 room, J and H are represent- 
 ed in one square, but they 
 are easily distinguishable 
 from each other. 
 
 Fig. 214 represents the 
 
 Fig. 21 5. Letter W, from the alphabet , , . , 
 
 given in fig. 2ii and 212. numerals, executed in the 
 
WHITE EMBROIDERY 
 
 Fig. 216. Border, outlined by the grounding worked in Gobelin B 
 
 and stem stitch. First part. 
 
 B Fig. 216. Second part. 
 
 Materials: Coton a broder D.M.C No. 5o. — Colours: Rouge-Turc 32i and Noir 
 
 grand Teint 3io. {* ) 
 
 '*, See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C. threads and cottons. 
 
lOO 
 
 WHITE E M B R O I D E R V 
 
 Fig. 217. Flo\vi:r-garland in different kinds of stitches. First part. B 
 
 Fig. 217. Second part. 
 
 Materials : Coton a broder D.M.C No. 40. 
 
 Colours: Rouge-Grenat 326 and 335, Bleu-Indigo 3i2 and 334, Vert-Pistachc 
 
 319 and 32o, Vert-de-gris 474 and 475, Brun-Acajou 3oi, Jaune-Citron 446. 
 
WHITE EMBROIDERY 
 
 101 
 
 same way. We should like to draw our readers attention to 
 a few other ways in which letters and numerals may be 
 outlined by the back-ground; for example, the solid parts 
 can be worked either in plain or twisted knot stitch (figs. 177 
 and 178); in very fine 
 chain stitch ; in old 
 German knot or bead 
 stitch (fig. 873), or even 
 in pique embroidery 
 (fig- 877). 
 
 Border, outlined 
 by grounding, work- 
 ed in Gobelin and 
 stem stitch (fig. 2 1 6). 
 The grounding of this 
 pattern is worked on stiff white linen, and entirely in Rouge- 
 Turc 32i, and the outlining in Noir grand Teint 3 10. The same 
 
 Fig. 218. Showing the working of the outside 
 stitches in fig. 217. 
 
 Fig. 219. Insertion in Gobelin and stem stitch. 
 
 Materials : Coton a broder D.M.C No. 35. — Colours : Rouge-Cardinal 347 and 
 
 Rouge-Geranium 352 with Gris-Tilleul 3g2 and 33i, or Bleu-Indigo 3i2 and 
 
 334 with Vert-Mousse 469 and 471, or Violet-Mauve 375 and 376 with 
 
 Jaune-Rouille 364 and 365. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C. threads and cottons. 
 
102 WHITE EMBROIDERY 
 
 pattern can equally well be worked on gauzes and other trans- 
 parent stuffs, but with Coton a repriser, instead of Goton a 
 broder D.M.C, tor the solid parts. Two shades of Rouge-Grenat, 
 one dark and one very light, may be taken instead, or two of 
 Jaune-Rouille, or of Violet-Mauve, employing always the lighter 
 shade for the grounding and the darker for the setting. 
 
 Be careful, in the grounding, not to make the red stitches 
 near the edge, longer than they are represented in the illustra- 
 tion and to set the black stem stitches as close as possible to 
 the grounding. 
 
 The pattern, which could only be reproduced in the ori- 
 ginal size, had to be divided in two, to fit the page. In copying 
 it, join the A and B of the first part to the A and B of the 
 second; the same in fig. 217, each time the pattern is repeated, 
 the flowers are to droop from the -\- as seen from the posi- 
 tion of the buds in the first part, at the beginning of the 
 drawing. 
 
 Flower garland in different kinds of stitches (figs. 217 
 and 218). — Most of the stitches, described at the beginning of 
 this chapter, will be found in this graceful garland, in the exe- 
 cution of which a considerable variety of colours can be intro- 
 duced. The rose-buds may be worked in two shades of Vert- 
 Pistache and of Rouge-Grenat, in the stitches described in 
 figs. 173, 177, 189 A; the forget-me-nots, in two or even 
 three shades of Bleu-Indigo, in raised satin stitch and knotted 
 stitch ; the slender green leaves in Vert-de-gris, or Gris-Tilleul, 
 the stamens in Jaune-Citron, and the stalks of the roses in 
 Brun-Acajou. 
 
 The border that completes this charming pattern, consists 
 of four rows of button holing, worked in four colours. The 
 first row in our illustration is worked in pale pink, followed 
 by three shades of green, the palest of which is used for the 
 second row of stitches. 
 
 When these rows are worked upon a satine or cambric foun- 
 dation, it is advisable to begin by making a small drawing, in 
 which the height of the stitches and the distance between them 
 is accurately marked out, then prick the pattern through and 
 pounce it upon the material beneath. 
 
WHITE EMBROIDERY 
 
 io3 
 
 Fig. 220. Stripes of embroidery with insertion between. 
 
 When they are worked on a material, the threads of which 
 can be counted no such precaution is necessary. 
 
 Insertion in Gobelin and stem stitch (fig. 219). — Owing 
 to the shortness of the stitches, this pattern is easier to work 
 than the foregoing ones. The little flowers are embroidered 
 alternately in dark and light red ; the setting varies to corres- 
 pond, the light red flower being set in dark red, and vice versa. 
 The interior of the leaves is in light green and the setting, 
 as well as the connecting bars, in dark green. 
 
104 WHITE EMBROIDERY 
 
 Stripes of embroidery with lace insertion between (fig. 
 ■220 . — We conclude this chapter, by showing how stripes of 
 embroidery can be used alone, or in conjunction, either with 
 bands of open-work, or lace, crochet, or net insertion. Such 
 combinations are useful for ornamenting aprons, table-cloths, 
 curtains etc. , every description in short of household linen 
 and of children's garments. One great advantage, moreover, 
 which stripes of this kind, have over larger pieces of embroi- 
 dery is that they require neither frame nor pillow, nor weari- 
 some counting of stitches, but can be worked in the hand, at 
 all times and places. 
 
Stripe of gold embroidery in gold thread, purl, and flattened gold wire. 
 
 Flat stitch and Gold embroidery. 
 
 The terms, flat stitch and gold embroidery, suggest as a 
 rule, needle-work upon rich materials, such as velvet, brocade, 
 plush and the like. 
 
 Nevertheless, a great deal of beautiful embroidery is to be 
 met with, in silk and gold thread upon quite common stuffs ; 
 Persian and Moorish embroidery for instance, both remarkable 
 for their delicacy and minuteness, and executed upon ordinary 
 linen, or cotton fabrics. 
 
 As a fact, the material is quite a secondary matter; almost 
 any will do equally well as a foundation, for the stitches 
 described in these pages. Flat stitch, and some of the other 
 stitches used in gold embroidery, can be worked with any kind 
 of thread, but best of all with the D.M.G cottons. 
 
 Flat stitch embroidery. — Decorative designs, and con- 
 ventional flowers, are the most suitable for flat stitch 
 embroidery ; a faithful representation of natural flowers should 
 not be attempted, unless it be so well executed, as to produce 
 the effect of a painting and thus possess real artistic merit. 
 
 Encroaching- flat stitch (fig. 221). — Small delicate flowers, 
 leaves, and arabesques, should in preference, be worked either 
 in straight flat stitch (figs. 189 and 190) or in encroaching flat 
 stitch. The stitches should all be of equal length, the length 
 
io6 
 
 FLAT STITCH AND GOLD EMBROIDERY 
 
 to be determined by the quality of the thread; a fine thread 
 necessitating short, and a coarse one, long stitches. The 
 stitches should run, one into the other, as shown in the illus- 
 I . — -i tration. They are worked in 
 
 rows, those of the second 
 i row encroaching on those of 
 the first , and fitting into 
 one another. 
 
 Work your tlowers and 
 leaves from the point, never 
 from the calyx or stalk. If 
 they are to be shaded, begin 
 by choosing the right shade 
 for the outside edge, varying 
 the depth according to the 
 light in which the object is supposed to be placed. The stitches 
 should always follow the direction of the drawing. 
 
 Fig. 221 . 
 Encroaching satin stitch. 
 
 Fig. 222. Oriental stitch. 
 
 Fig. 223. Oriental stitch. 
 
 Oriental stitch (figs. 222, 223,224). — The three following 
 stitches, which we have grouped under one heading, are known 
 also, under the name of Renaissance or Arabic stitches. We 
 have used the term Oriental, because thejr.are to be met with 
 in almost all Oriental needlework and probably derive their 
 origin from Asia, whose inhabitants have, at all times, been 
 renowned for the beauty of their embroideries. 
 
 These kind of stitches are only suitable for large , bold 
 designs. Draw in the vertical threads first; in working with a 
 
 Th. dk Dillmont, Encyclopedia of Needlework. In 8°. English bound, gilt edges. — Price: 3 sh. 
 
FLAT STITCH AND' GOLD EMBROIDERY 
 
 IO7 
 
 soft, silky material, to economise thread, and prevent the em- 
 broidery from becoming too heavy, you can begin your second 
 stitch close to where the first ended. 
 
 But if the thread be one that is liable to twist, take it back 
 underneath the stuff and begin your next stitch in a line 
 with the first, so that all the stitches of the first layer, which 
 
 Fig. 224. Oriental stitch. 
 
 Fig. 225. Plaited stitch. 
 
 
 form the grounding, are carried from the top to the bottom 
 The same directions apply to figs. 223, 224* and 226. 
 
 When you have laid your ver- 
 tical threads, stretch threads jj|| 
 horizontally across, and fasten I 
 them down with isolated stitches, 
 set six vertical threads apart. 
 The position of these fastening 
 stitches on the transverse threads 
 must alternate in each row, as 
 indicated in fig. 222. 
 
 For fig. 223, make a similar 
 grounding to the one above de- 
 scribed, laying the horizontal threads a little closer together, 
 and making the fastening stitches over two threads. 
 
 In fig. 224, the second threads are carried diagonally across 
 the foundation-threads, and the fastening stitches are given a 
 similar direction. 
 
 For these stitches, use either one material only, a fleecy 
 thread like Coton a repriser D.M.C for instance, or else two, 
 
 sxiwiiiiixioL 
 
 L'lIiU'UlL'tjijd^i 
 
 Fig. 226. Mosaic stitch. 
 
ioS 
 
 FLAT STITCH AND GOLD EMBROIDERY 
 
 Colours 
 
 such as Coton a repriser D.M.C for 
 the grounding, and a material with a 
 strong twist like Cordonnet 6 fils 
 D.M.C or Fil a pointer D.M.C for 
 the stem stitch. 
 
 Plaited stitch (fig. 225). — When 
 the vertical stitches are laid, a kind 
 of plait is formed in the following 
 way. Pass the thread three times, 
 alternately under and over three foun- 
 dation threads. To do this very 
 accurately, you must take the thread 
 back, underneath, to its starting-point ; 
 and consequently, always make your 
 stitch from right to left. 
 
 If you have chosen a washing 
 material, and D.M.C cottons to work 
 with, use one colour of cotton for the 
 foundation , and Chine d'or D.M.C 
 No. 3o, for the plaited stitch. 
 
 Mosaic stitch (fig. 226). — In old 
 embroideries we often find this stitch, 
 employed as a substitute for plush or 
 other costly stuffs, appliqued on to 
 the foundation. It is executed in the 
 same manner as the four preceding 
 stitches, but can only be done in thick 
 twist, such as Cordonnet 6 fils D.M.C, 
 or Ganse turque D.M.C. 
 
 Each stitch should be made se- 
 parately, and must pass underneath 
 the foundation, so that the threads 
 which form the pattern are not flat, 
 as they are in the preceding examples, 
 but slightly rounded. 
 
 Fig. 227. Border in Persian stitch. 
 Materials : Cordonnet 6 fils D.M.C No. 14, i5, 20 or 25. 
 Noir grand Teint 3 10, Vert-Mousse 469 and 471, Rouge-Cardinal 346, 
 Jaune-vieil-Or 680, Violet-Mauve 3i5 and 3 16. 
 
FLAT STITCH AND GOLD EMBROIDERY 
 
 ioq 
 
 Border in Persian stitch (fig. 227). — This stitch, of 
 Persian origin, resembles the one represented in fig. 175. 
 Instead of bringing the needle out, however, as indicated in 
 fig. 176, take it back as 3^011 see in the illustration, to the 
 space between the outlines of the drawing, and behind the 
 thread that forms the next stitch. Before filling in the pattern, 
 outline it with short stem stitches, or a fine cord, laid on, 
 and secured with invisible stitches. 
 
 This graceful design which can be utilised in various ways 
 is formed of leaves of 7 lobes, worked alternately in dark and 
 light green ; of flowers of 3 petals, worked in red and the 
 centres in yellow, and of small leaves in violet. The setting, 
 throughout, is worked either in black or in dark brown. 
 
 Fig. 228. Stripe worked in flat stitch. 
 
 Materials — According to the stuff : Fil a dentelle D.M.C, Cordonnet 6 nls 
 
 D.M.C or Coton a repriser D.M.C. (*) 
 
 Colours — For the flowers: Rouge-Geranium 35 1 and 352. — For the knot stitch: 
 Jaune-Rouille 3o8. — For the foliage : Vert-de-gris 474 and 475. (*) 
 
 Stripe worked in flat stitch (fig. 228). — This pattern, 
 simple as it is, will be found both useful and effective for the 
 trimming of all kinds of articles of dress. The bottom edge 
 should be finished off with rounded scallops or toothed van- 
 dykes worked in button-hole stitch. The flowers in flat stitch, 
 
 [*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
I 10 
 
 FLAT STITCH AND GOLD EMBROIDERY 
 
 are worked alternately, in Rouge-Geranium 35 1 and 352, and 
 the leaves alternately, in Vert-de-gris 474 and 475 ; the centres 
 of the flowers are worked in knot stitch, in Jaune-Rouille 3oN. 
 Bouquet in straight and encroaching* flat stitch (tig. 229). 
 As we have already observed, it is by no means easy to 
 arrange the colours in an embroidery of this kind, so as to 
 obtain a really artistic effect. Whether the design be a conven- 
 tional one or not, the great point is to put in the lights and 
 shadows at the right place. If you want to make a faithful 
 copy of a natural flower, take the flower itself, or a coloured 
 
 Fig. 229. Bouquet in straight and encroaching flat stitch. 
 
 Materials : Coton a repriser D.M.C No. 5o. 
 
 Colours — For the forget-me nots : Bleu-Indigo 3i2, 322 and 334. — For the 
 
 other flowers; Jaune-Rouille 365 and 366, Violet-Mauve 376, 3i6 and 377, Vert- 
 
 Pistache 36q. — For the foliage: Vert-de-Gris 474, Vert-Mousse 468, 469, 471 
 
 and 472. — For the stalks : Brun-Havane 455 and 457. (*) 
 
 botanical drawing of it, and if possible, a good black and white 
 drawing of the same, match the colours in 6 or 7 shades, by the 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
FLAT STITCH AND GOLD EMBROIDERY 
 
 I I I 
 
 flower itself, keeping them all rather paler in tone, and take 
 the black and white drawing as a guide for the lights and 
 shadows. The colours for the leaves and petals, which should 
 always be worked from the outside, should be chosen with 
 a view to their blending well together. The stamens and 
 the centres of the flowers should be left to the last, but the 
 veins and ribs of the leaves, should always be put in before 
 the grounding. 
 
 For embroideries of this kind, suitable materials must be 
 selected ; the more delicate and minute the design, and the 
 more varied the colouring, the softer and finer should be the 
 quality of the material employed. Specially to be recommended, 
 as adapted to every form of stitch and as being each of them 
 capable of being subdivided, \ ■ . 
 
 are Filoselle, Marseille, open 
 Chinese silk and Coton a 
 repriser D.M.C. (*) 
 
 Flowers embroidered in 
 the Chinese manner (fig. 
 23o). — All Chinese embroi- 
 ders* displays undoubted ori- 
 ginality and wonderful skill 
 and judgment in the choice of 
 material and colour. It excels 
 particularly, in the represen- 
 tation of figures, flowers, and 
 animals, but differs from Eu- 
 ropean work in this, that instead ol using flat stitch and 
 making the colours blend together as we do, the Chinese put 
 them, side by side, without intermediate tones, or they some- 
 times work the whole pattern in knot stitch. The little knots, 
 formed by this stitch are generally set in gold thread. 
 
 Often too, instead of combining a number of colours, as 
 we do, the Chinese fill in the whole leaf with long stitches and 
 upon this foundation, draw the veins in a different stitch and 
 colour. Even the flowers, they embroider in the same way, in 
 
 • See at the end of the concluding chapter, the table of numbers and sizes 
 the list of colours of the D.M.C threads and cottons. 
 
 -i«l§ 
 
 Fig. 23o. 
 Flowers embroidered in the Chinese 
 
 MANNER. 
 
I 12 
 
 FLAT STITCH AND GOLD I.M KRoi DLK Y 
 
 very fine thread, rilling in the whole ground first, with stitches 
 set very closely together and marking in the seed vessels after- 
 wards, by very diminutive knots, wide apart. 
 
 Chinese encroaching 1 flat stitch (fig. 23 i). — Another easy 
 kind of embroidery, common in China, is done in encroaching 
 flat stitch. The branch represented in our drawing, taken from 
 a large design, is executed in three shades of yellow, resembling 
 those of the Jaune-Rouille series on the D.M.C colour card. (*) 
 
 Fig. 2? i. Chinese encroaching flat stitch. 
 
 Materials ; Cordonnet 6 fils D.M.C Nos. 20 to 5o or Chine d'or D.M.C. 
 
 Colours — For the cotton: Jaune-Rouille 363, 3o8, 366. — For Chine d'or: 
 
 Red and gold, blue and gold, green and gold. (*) 
 
 The stitches of the different rows encroach upon one ano- 
 ther, as the working detail shows, and the three shades 
 alternate in regular succession. Flowers, butterflies and birds 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
FLAT STITCH AND GOLD EMBROIDERY 
 
 u3 
 
 are represented in Chinese embroidery, executed in this manner. 
 It is a style, that is adapted to stuffs of all kinds, washing 
 materials as well as others, and can be worked in the hand 
 and with any of the D.M.G threads and cottons. (*) 
 
 Raised embroidery (figs. 232 and 233). — Raised embroi- 
 dery worked in colours, must be stuffed or padded first, like the 
 white embroidery in fig. 191. If you outline your design with 
 a cord, secure it on the right side with invisible stitches, un- 
 twisting the cord slightly as you insert your needle and thread, 
 that the stitch may be hidden between the strands. Use Goton 
 a repriser D.M.G No. 25, for the padding. These cottons are 
 to be had in all the colours, 
 indicated in the D.M.C 
 colour card, and are the 
 most suitable for the kind 
 of work. 
 
 Use Coton a broder 
 D.M.C for the transverse 
 stitches and over the smooth 
 surface which is thus for- 
 med, work close lines of 
 satin stitch in silk or cotton ; 
 the effect produced, will 
 bear more resemblance to 
 applique work than to em- 
 broidery. The centres of 
 the flowers are filled in with 
 knot stitches, which are 
 either set directly on the 
 stuff or on an embroidered 
 ground. 
 
 Embroidery in the 
 Turkish style (figs. 234 
 and 235). — This again is a 
 style of embroidery different 
 from any we are accustomed to. The solid raised parts are 
 
 Fig. 232. Raised embroidery. 
 Preparatory work. 
 
 Fig. 233. Raised embroidery. 
 Work completed. 
 
 ', .->ee at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
ii4 
 
 FLAT STITCH AND GOLD EMBROIDERY 
 
 first padded with common coarse cotton and then worked over 
 with gold, silver, or silk thread. 
 
 Contrary to what is noticeable in the real Turkish embroi- 
 der)'', the preparatory work here is very carefully done, with 
 several threads of Coton a repriser D.M.C used as one. A 
 rope of five threads is laid down, and carried from right to 
 left and from left to right, accross the width of the pattern. 
 After laying it across to the right, as explained in fig. 234, 
 bring the needle out a little beyond the space occupied by 
 the threads, insert it behind them and passing it under the 
 
 stuff, draw it out at the 
 spot indicated by the arrow. 
 The stitch that secures the 
 threads , should be suffi- 
 ciently long to give them a 
 little play, so that they 
 may lie perfectly parallel, 
 side by side, over the whole 
 width of the pattern. 
 
 This kind of work can 
 be done on wollen or cotton 
 materials, and generally 
 speaking, with D.M.C cot- 
 tons, and gold thread shot 
 with colour (Chine d'or 
 D.M.C.) 
 
 Very pretty effects can 
 be obtained, by a combi- 
 nation of three shades of 
 Rouge-Cardinal 347, 346 
 and 304, with Chine d'or 
 gold and dark blue or with 
 Chine d'or, gold and light 
 blue. (*) 
 
 This kind of embroidery may be regarded as the transition 
 from satin stitch to gold embroidery. 
 
 "v ^' 
 
 Ml 
 
 """(^ 
 
 1 
 
 
 m-%^- 
 
 
 i£ 
 
 
 \ 
 
 
 
 ^y^N.- 
 
 ^Js 
 
 
 // 
 
 \ 
 
 
 
 Fig. 234. Embroidery in the Turkish style. 
 Preparatory work. 
 
 Fig. 235. Embroidery in the Turkish style. 
 Work completed.. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
FLAT STITCH AND GOLD EMBROIDERY 
 
 1 1 5 
 
 Gold embroidery. — Up to the present time, dating from 
 the end of the eighteenth century, gold embroidery has been 
 almost exclusively confined to those who made it a profession ; 
 amateurs have seldom attempted what, it was commonly sup- 
 posed, required an apprenticeship of nine years to attain any 
 proficiency in. 
 
 But now, when it is the fashion to decorate every kind of 
 fancy article, whether of leather, plush, or velvet, with mono- 
 grams and ingenious devices of all descriptions, the art of 
 gold embroidery has revived and is being taken up and prac- 
 tised with success, even by those to whom needlework is 
 nothing more than an agreable recreation. 
 
 We trust that the following directions and illustrations 
 will enable our readers to dispense with the five years training, 
 which even now, experts in the art consider necessar}''. 
 
 Fig- 236. Embroidery frame for gold embroidery. 
 
 Implements and materials. — The first and needful re- 
 quisites for gold embroidery, are a strong frame, a spindle, 
 two pressers, one flat and the other convex, a curved knife, a 
 pricker or stiletto, and a tray, to contain the materials. 
 
Ill) 
 
 FLAT STITCH AND GOLD EMBROIDERY 
 
 Embroidery frame (fig. 236). — The frame, represented 
 here, is only suitable for small pieces of embroidery, for larger 
 ones, which have to be done piece by piece, round bars on 
 which to roll up the stutf, are desirable, as sharp wooden 
 edges are so apt to mark the stuff. 
 
 Every gold embroidery, on whatever material it may be 
 executed, requires a stout foundation, which has to be sewn 
 into the frame, in doing which, hold the webbing loosely, 
 almost in folds, and stretch the stuff very tightly. Sew on a 
 
 Fig. 238. 
 Convex presser, for pressing 
 the stuff on the wrong side. 
 
 Fig. 237. The spindle. 
 
 stout cord to the edges of the foundation, which are nearest 
 the stretchers, setting the stitches, 3 or 4 c/m. apart. Then 
 put the frame together and stretch the material laterally to its 
 
 fullest extent, by passing a piece of 
 twine, in and out. through the cord 
 at the edge and over the stretchers. 
 Draw up the bracing until the foun- 
 dation is strained evenly and tightly. 
 Upon this firm foundation lay the 
 stuff which you are going to embroi- 
 der, and hem or herring- 
 bone it down, taking care 
 to keep it perfectly even 
 with the thread of the 
 foundation and, if pos- 
 sible, more tightly stretch- 
 ed, to prevent it from 
 being wrinkled orpuckered 
 when you come to take it off the backing. For directions how to 
 transfer the pattern to your stuff, and prepare the paste with 
 which the embroidery has to be stiffened before it is taken out 
 of the frame, see the concluding chapter in the book. 
 
 The spindle (fig. 237). — The spindle to wind the gold 
 thread upon, should be 20 c/m. long and made of hard wood. 
 Cover the round stalk and part of the prongs with a double 
 
 Fig. 239. 
 Flat presser for laying on the pattern. 
 
FLAT STITCH AND GOLD EMBROIDERY 
 
 1I 7 
 
 Fig. 240. The knife. Reduced scale. 
 
 thread of Coton a broder D.M.G No. 16, or pale yellow Cor- 
 donnet D.M.C No. 25, and terminate this covering with a 
 loop, to which you fasten the gold thread that you wind 
 round the stalk. 
 
 The pressors (figs. 238 and 239). — • These, so called 'pres- 
 sers', are small rectangular boards with a handle in the middle. 
 The convex one, fig. 238, should be i5 c/m. long by 9 broad; 
 the other, fig. 239, which is quite flat, should be 32 c/m. by 20. 
 
 Having cut out your 
 pattern in cartridge paper, 
 lay it down, on the wrong 
 side, upon a board thinly 
 spread with embroidery 
 paste, let it get thoroughly 
 impregnated with the paste 
 and then transfer it carefully 
 to its proper place on the stuff; press it closely down with 
 the large presser, and with the little convex one rub the stuff 
 firmly from be- 
 
 neath , to make \ 
 it adhere closely | 
 to the pasted < 
 pattern ; small 
 pointed leaves and < 
 flowers will be 
 found to need sew- 
 ing down be- 
 sides, as you will 
 observe in fig. 
 242, where each 
 point is secured 
 by stitches. The 
 embroidery should not be begun untill the paste is perfectly 
 ■ehy, and the pattern adheres firmly to the stuff. 
 
 The knife (fig. 240). — Most gold embroideries require a 
 foundation of stout cartridge paper, and, in the case of very 
 delicate designs, the paper should further be covered with kid, 
 pasted upon it. 
 
 Fig. 241. Tray to contain the materials. 
 
n8 
 
 FLAT STITCH AND GOLD EMBROIDERY 
 
 Transfer the design on to the paper or kid, in the 
 manner described in the concluding chapter, and cut it out 
 with the knife. 
 You can only 
 make very 
 
 short incisions 
 with this tool, 
 which should 
 be kept ex- 
 tremely sharp 
 and held, in 
 cutting, with 
 the point out- 
 wards, and the 
 rounded part 
 towards you, 
 as shown in 
 the drawing. 
 
 Tray to 
 contain the 
 materials (fig. 
 
 241). — Cut out as many divisions in a thin board, or 
 sheet of stout cardboard, as you will require materials for 
 your embroidery ; these include not only gold thread 
 of all kinds, 
 but likewise 
 beads and 
 spangles of all 
 sortsand sizes 
 as well as 
 bright and 
 dead gold and 
 silver purl, or 
 bullion, as it 
 is also called. 
 
 Fig. 243. Embroidery with gold purl. 
 
 For the pieces of purl alone, which should be cut ready to 
 hand, you should have several divisions, in order that the 
 different lengths may be kept separate. 
 
FLAT STITCH AND GOLD EMBROIDERY 
 
 1 [Q 
 
 Use of the spindle (fig. 242). — Gold embroidery thread 
 should be wound double upon the spindle. It is laid back- 
 wards and forwards and secured with two stitches at each 
 turn, as described in fig. 284. Small holes where the stitches 
 are to come, have first to be pierced in the material with the 
 pricker, from the right side,, for the needle to pass through. 
 In soft stuffs, this is unnecessary, but in brocaded materials, 
 and in plush and leather, where every prick shows and would 
 often spoil the whole effect, it is indispensable. 
 
 Gold thread which is stiff and difficult to work with, can 
 be rendered soft and pliable by putting it into the oven, or 
 any other warm place, for a short time. 
 
 Embroidery with gold purl (fig. 243). — Embroidery 
 with gold purl is the easiest kind of gold embroidery ; you 
 have only to thread the little pieces of purl, cut into the 
 required lengths beforehand, like beads on your needle, and 
 fasten them down upon the foundation like the beads in bead- 
 work. Smooth and crimped gold purl, or silver and gold purl 
 used together, look exceedingly well, particularly where the 
 pattern requires effects of light and shade to be reproduced. 
 
 Embroidery in diamond stitch (fig. 244). — The diamond 
 stitch is a charming novelty in gold embroi- 
 dery. Short lengths of purl, not more than 
 1 V J m/m. long, are threaded on the 
 needle, and the needle is pat in and drawn 
 out at the same hole. These stitches which 
 resemble knot stitches, form so many little 
 glittering knots, turned alternately to the 
 right and left, and look like seed-diamonds 
 in appearance, more especially, when they 
 are made in silver purl. The shorter the 
 pieces are, and the more closely you set the 
 knots together, the handsomer and richer 
 the effect will be. 
 
 Chinese gold embroidery (figs. 245 
 and 246). — We recommend the imitation ot Chinese gold 
 embroidery to our readers as an easy and grateful recreation. 
 It consists simply in laying down a gold thread, on a deli- 
 
 Fig. 244. 
 Diamond stitch. 
 
120 FLAT STITCH AND GOLD EMBROIDERY 
 
 Fig. 243. Chinese gold embroidery. First part 
 
 Fig. 246. Chinese gold embroidery. First part. 
 
FLAT STITCH AND GOLD EMBROIDERY 
 
 121 
 
 Fig. 246. Second pa 
 
I 2 2 
 
 FLAT STITCH AND GOLD EN4BROIDERY 
 
 cately outlined pattern and securing it by stitches. It can be done 
 on any material, washing or other, the costliest as well as the 
 most ordinary. 
 
 For a washing material use, Or fin D.M.C pour la broderie, 
 
 No. 20, 3o or 40 (*), 
 which, as it washes 
 perfectly, is well adap- 
 ted lor the embroidery 
 of wearing apparel, 
 and household linen. 
 Plain gold thread and 
 Hold thread with a 
 thread of coloured silk 
 twisted round it, are 
 very effective used to- 
 gether. 
 
 Thus in fig. 246, 
 the trees, foliage and 
 flowers, are worked in 
 plain gold, the grasses, 
 in gold shot with green, 
 the butterflies in gold 
 with red, the two birds 
 in gold with dark blue, 
 and gold with light blue. 
 Two threads of gold 
 should be laid down 
 side by side and se- 
 cured by small catching 
 stitches, set at regular 
 intervals from one an- 
 other, and worked in 
 Fil d'Alsace D.M.C No. 200, (*) of the same colour. Where the 
 design requires it, you may separate the gold threads, and 
 work with one alone. 
 
 The second specimen oi Chinese embroidery, fig. 246, 
 
 Fig. 247. Stripe worked in various stitches. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sires 
 and the list of colours of the D.M.C threads and cottons. 
 
FLAT STITCH AND GOLD EMBROIDERY 123 
 
 resembles the first, as far as materials and execution are con- 
 cerned, but the design is different. The grotesque animals, 
 flowers and shells it represents, can be worked separately, or 
 connected together so as to form a running pattern. 
 
 Stripe worked in various stitches (fig. 247). — All the 
 designs described thus far, are worked in the same way, but 
 the stripe now presented to our readers introduces them to 
 several kinds of gold thread, and a variety of stitches. The 
 small, turned-back petals of the flowers are worked in plain 
 gold thread, and outlined with crimped; the rest of the petals 
 are worked in darning stitch, with plain gold thread. The 
 latticed leaves are edged with picots, worked with bright 
 purl. The other parts of the design are all worked with a 
 double gold thread, the stalks in dead gold, the leaves in 
 crimped. The gold thread is secured by overcasting stitches 
 in gold-coloured thread, Jaune d'or 667, but it looks very well 
 if you use black or red thread for fastening the crimped gold 
 and dark or light green for the leaves and tendrils. 
 
 Gold embroidery on a foundation of cords (fig. 248). — 
 In the old ecclesiastical embroideries, especially those repre- 
 senting the figures of saints, we often find thick whip cords 
 used as a foundation, instead of cardboard, lor the good reason 
 that the stiff cardboard does not give such soft and rounded con- 
 tours as a cord foundation, which will readily take every bend 
 and turn that you give to it. In the following illustrations, we 
 have adhered strictly to the originals, as far as the manner of 
 working the surface is concerned, but have substituted for 
 the cord, which in their case has been used for the found- 
 ation, Cordonnet 6 fils D.M.C No. 1, which is better for 
 padding than the grey whip cord, as it can be had in white or 
 yellow, according to whether it is intented to serve as a. 
 foundation to silver or gold work. 
 
 Lay down as many cords as are necessary to give the design 
 the requisite thickness, in many cases up to 8 or 10 m/m. in 
 height, taking care to lay them closely and solidly in the centre, 
 and graduate them down at the sides and ends. When you 
 have finished the foundation, edge it with a thick gold cord, 
 such as Cordonnet d'or D.M.C No. 6 and then only begin the 
 
I2 4 
 
 ' r STITCH AND GOLD KMBROIDERY 
 
 actual embroidery, all the directions just given, applying merely 
 to the preparatory work. 
 
 Onlv four of the many stitches that are already in use and 
 
 Embroidery in flattened gold 
 wire and purl. 
 
 FiG. 24<j. 
 
 Plaited stitch in gold 
 purl on a cord foundation. 
 
 might be devised are described here. For the pattern, repre- 
 sented in fig. 24b, flattened gold or silver wire is necessary, 
 which should be cut into pieces, long enough to be turned in 
 
 at the ends so as to form a little 
 loop through which the thread 
 that fastens them down is passed. 
 Over each length of gold or silver 
 wire small lengths of purl are 
 laid at regular intervals, close 
 enough just to leave room for the 
 next stitch, the pieces of one row, 
 alternating in position with those 
 of the preceding one. 
 
 Plaited stitch in gold purl 
 on a cord foundation (fig. 249 . 
 
 — Distribute the stitches as in 
 the previous figure, substituting 
 purl, for the flattened gold wire, 
 and covering the purl with short lengths of gold thread of 
 the same kind. All these stitches may be worked in gold and 
 silver thread, mixed or in the one, or the other alone. 
 
 Fig. 25o. 
 Scale stitch m gold thread 
 
 AND PURL OS A CCRD FOUN- 
 DATION. 
 
FLAT STITCH AND GOLD EMBROIDERY 
 
 125 
 
 Scale stitch, worked in gold thread and purl on a cord 
 foundation (fig. 25o). — Begin by covering the whole padded 
 surface with gold or silver thread, then sew on short lengths 
 of purl, long enough to cover six or eight threads, 2 or 3 m/m. 
 apart, as shown in the engraving. These stitches in dead gold 
 purl are then surrounded by shining or crimped purl. 
 
 You bring out the working thread to the left of the purl 
 stitch, which you take on your needle, put the needle in on the 
 other side, draw it out above the little stroke, and secure 
 the crimped purl with an invisible stitch. 
 
 Conventional flower worked on a cord foundation 
 'rig. 2? 1). — The half finished flower, represented here, was 
 
 Fig. 25 1. Conventional flower worked on a cord foundation 
 Materials. — For padding : Cordonnet 6 rils D.M.C Nos. i to 5 or 
 Fil a pointer D.M.C No. 10. — For sewing on the gold thread and purl: 
 Soie de coton D.M.C No. 5o or 70, Fil a dentelle D.M.C on reels Nos. 20 to 5o. 
 
 ' See at the end of the concluding chapter, the table of numbers and - 
 and the list of colours of the D.M.C threads and cottons. 
 
126 FLAT STITCH AND GOLD EMBROIDERY 
 
 copied from a handsome piece of ecclesiastical embroidery 
 enriched with ornament of this kind. The three foregoing 
 stitches and a fourth, are employed in its composition. The 
 finished portions on the left hand side, are executed in silver 
 and gold purl, whilst the egg-shaped heart of the flower is 
 tormed of transverse threads, carried over the first padding, 
 and secured by a stitch between the two cords. In the subse- 
 quent row, the catching stitch is set between the cords, over 
 which the first gold threads were carried. 
 
 The heavier the design is, the thicker your padding should 
 be, and cords a good deal thicker than those which are repre- 
 sented in the drawing should be used, as the more light and 
 shade you can introduce into embroidery of this kind, the 
 greater will be its beauty and value. 
 
Insertion in cross stitch, alike on both sides, the pattern left blank. 
 
 Tapestry and Linen Embroidery. 
 
 Tapestry is one of the oldest kinds ot needlework and 
 one which has always been popular every where. 
 
 There are two distinct sorts of canvas in use for tapes- 
 try, called respectively, 'plain (single thread) canvas', and 
 'Penelope (double thread) canvas'. The latter is generally pre- 
 ferred, because it is easier to count the stitches upon it, but 
 both make an equally good foundation for the embroidery, as 
 the following examples will show. 
 
 Besides canvas, other fabrics bearing a close resemblance 
 to it. are often used, especially Java linen, the close texture ol 
 which renders grounding unnecessary. 
 
 Cloth, velvet or plush can also be overlaid w r ith canvas, 
 the threads of which are pulled away after the pattern is 
 finished. For work of this kind, w T e however prefer a material 
 with less dressing, such as a twisted tammy, or Colbert linen, 
 because the pulling out of the harsh rough threads of the can- 
 vas is very apt to injure the material beneath. 
 
 Stitches, worked upon two stuffs, must be drawn very tight, 
 or they will look loose and untidy when the auxiliary fabric 
 is taken away. 
 
 Tapestry can be done either in a frame, or in the hand ; in 
 the latter case, the ends of the piece of canvas should be 
 weighted with stones or lead, to prevent its puckering. 
 
128 
 
 TAPESTRY AND LINEN EMBROIDERY 
 
 The stitches, which ought completely to hide the canvas, 
 should all lean one way and the underneath ones always from 
 left to right, as the letters in writing. 
 
 Marking out the embroidery ground (fig. 252). — Before 
 beginning a piece of canvas work and tacking on the auxiliary 
 fabric, count how many stitches it will contain, and mark them 
 out in tens, with a coloured thread, as shown in fig. 252, along 
 two sides at least, in the length and breadth. Having ascertained 
 the number of stitches both ways, divide them in two, and 
 
 starting each time 
 from the middle 
 stitch, trace two 
 lines, one horizontal, 
 the other vertical, 
 right across the can- 
 vas. The point ot 
 intersection will be 
 the centre. This 
 sort of ground-plan 
 will be found most 
 useful, and should 
 not be pulled out 
 until, at least, half 
 the work be finish- 
 ed. If moreover, 
 you have corners 
 to work, or a pat- 
 tern to reverse, in the angle of a piece of embroidery, trace a 
 diagonal line besides, from the corner to the centre. 
 
 Materials suitable for tapestry. — Hitherto, wool and silk, 
 were the materials chiefly used for canvas work ; a very thick 
 wool for carpets, as being warmer and more durable. Silk is 
 too delicate a fibre to resist much wear and tear, and cannot 
 therefore be recommended for articles that are intended for 
 constant use, and wool, though stronger, is subject to the 
 destructive agency of moths ; whereas cotton, which is cheaper 
 than both, and quite as brilliant, is free from all these disad- 
 vantages and is extremely easy to clean. 
 
 Fig. 252. Marking out the embroidery ground. 
 
 Th. de Dillmont, Encyclopedia of Needlework. In 8°. English bound, gilt edges. — Price : 3 sh. 
 
TAPESTRY AND LINEN EMBROIDERY 
 
 I29 
 
 For most kinds of tapestry we can therefore with perfect 
 confidence, recommend the use of Goton a tricoter D.M.C 
 Nos. 6 to 20, Cordonnet 6 fils D.M.C Nos. 3 to i5, and even 
 Coton a repriser D.M.C No. 25. (*) 
 
 Cross stitch (fig. 253). — Cross stitch is the foundation of 
 every other stitch, and the one in most common use. It is also 
 called marking-stitch, being used for marking linen. It is 
 worked in two lines. In the first, the thread is carried diago- 
 nally from left to right across a square of threads, and then, 
 downwards, underneath the two horizontal threads ; in the 
 
 Fig. 253. 
 Cross stitch. 
 
 Fig. 254. 
 Half cross stitch. 
 
 iybd3i±i±i±i±ESi 
 
 Fig. 255. 
 Gobelin stitch. 
 
 
 Fig. 256. 
 
 Gobelin stitch on pene- 
 
 lope canvas. 
 
 Bag 
 
 Fig. 257. 
 Reps stitch. 
 
 Fig. 258. 
 Tent stitch. 
 
 second, the stitches are carried from the right-hand lower 
 corner of the square to the upper left-hand corner, so that 
 the four points of the two stitches form a perfect square. 
 
 Half cross stitch, (fig. ,254). — If the cotton is too coarse, 
 or the canvas too fine, to make the double stitch, carry the 
 thread back along the whole line and make the half-stitches 
 
 " See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
i3o 
 
 TAPESTRY AND LINEN EMBROIDERY 
 
 across it, from left to right ; the same in the case of a piece of 
 work, which you buy with a part of the pattern ready-worked. 
 Gobelin stitch on plain canvas (fig. 2 55). — This is 
 worked over two horizontal threads and one perpendicular. In 
 a frame, you can -work the second row, from right to left, 
 otherwise, you must turn the work round, and bring out your 
 needle behind the last-made stitch. 
 
 Gobelin stitch on Penelope canvas (fig. 256). — For the 
 same stitch on Penelope canvas, you need rather a coarse 
 needle, which will make its way easily between the threads of 
 the canvas. 
 
 Fig. 259. 
 Wide Gobelin stitch. 
 
 1 — .- 1- 1- 1- 1-'- 1- 1- 1- 1 
 
 ■-pi 
 
 Fig. 260. 
 Broad cross stitch. 
 
 'I — I— I— F^H— RHI^f— 
 
 Fig. 261. 
 
 Double stitch. 
 
 Fig. 262. 
 Rice stitch. 
 
 Fig. 263. 
 Double stitch set two ways. 
 
 Fig. 264. 
 Plait stitch. 
 
 Reps stitch (fig. 257). — Contrary to Gobelin stitch, this 
 stitch which is an imitation of reps, is worked in vertical lines, 
 over two vertical threads and one horizontal one. 
 
 Tent stitch (fig. 258). — This stitch is simply the first half 
 of a cross or-marking stitch, worked over a single thread each 
 way. The illustration shows the working of a row, from right 
 to left, the thread being carried forw T ard, underneath the verti- 
 cal threads. Tent stitch is used for the most part, in con- 
 
TAPESTRY AND LINEN EMBROIDERY I 3 1 
 
 junction with cross stitch, for the more delicate lines and the 
 shaded parts of flowers and figures. 
 
 Wide Gobelin stitch (fig. 2 5g). — This stitch covers two 
 vertical and two horizontal threads, and advances one thread at 
 a time. 
 
 Broad cross stitch (fig. 260). — Worked over two vertical 
 and four horizontal threads, and very useful for filling in large 
 surfaces as it can be done twice as quickly as the ordinary 
 cross stitch. It may be varied by turning the crosses first one 
 way and then the other. 
 
 Double stitch (fig. 261). — Begin with a simple cross stitch 
 over every alternate intersection of the threads then make a 
 second row of stitches between those of the first, but in this 
 case, over two and six threads, so that they extend beyond the 
 first each way. In the subsequent rows, a square stitch should 
 be opposed to a long one and a long stitch to a square one. 
 
 Rice stitch (fig. 262). — Fill in the whole ground first, with 
 large cross stitches, over four threads each way, then upon 
 these, make the so-called rice stitches. These cross the four 
 points of the large cross stitches, and meet in the space be- 
 tween, where they form another cross. The large cross stitches 
 should be worked in rather coarse cotton, the rice stitches in 
 one of a finer quality. 
 
 Double stitch, set two ways (fig. 263). — This consists oi 
 diagonal and upright cross stitches, alternately. Work from left 
 to right, and carry the thread over four vertical threads and 
 downwards, under two horizontal ones, then diagonally up- 
 wards, over four threads and downwards under two, then again 
 over four vertical threads, and so on. Coming back, you cross 
 the first threads, and pass the working thread each time in a 
 straight line, underneath the two threads of the canvas. The 
 stitches of the third and fourth rows are set, as the illustration 
 shows, the opposite way to those of the two first, the thread 
 being laid the contrary way. Gold thread is generally used for 
 this second set of stitches ; Or fin D.M.C pour la broderie, or 
 Chine' d'or D.M.C will be found to be the most suitable for the 
 purpose. 
 
132 
 
 TAPESTRY AND LINEN EMBROIDERY 
 
 Plait stitch (fig. 264). — It requires great attention to work 
 this stitch, to and fro; the easier way is to carry the thread 
 back each time, to the starting point. 
 
 Carry the thread from left to right, over two horizontal 
 threads, and downwards under four perpendicular ones, then 
 under two threads, from right to left, as the figure indicates. 
 
 Stem stitch (fig. 265). — Here, the stitches are worked in 
 separate rows, over four threads each way. The working 
 thread passes first under the two middle threads, from right to 
 left, and then under the two upper ones. 
 
 
 
 I 
 
 ^^^R 
 
 f2T£? 
 
 ™. 
 
 Fig. 265. 
 Stem stitch. 
 
 Fig. 266. 
 Leaf stitch. 
 
 Fig. 267. 
 Fish-bone stitch. 
 
 Fig. 268. 
 Diagonal web stitch. 
 
 Fig. 269. 
 Cashmere stitch. 
 
 Fig. 270. 
 Florentine stitch. 
 
 Leaf stitch (fig. 266). — Carry the thread diagonally over 
 two double threads each way, and back under one double 
 thread, to the row whence the stitch started. Make rows of 
 back-stitches in a different colour between the row r s of long ones. 
 
 Fish-bone stitch (fig. 267). — The difference between this 
 and the preceding stitch is, that the working thread after 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
TAPESTRY AND LINEN EMBROIDERY 1 33 
 
 passing over three perpendicular and three horizontal threads, 
 is secured by a back-stitch over the last intersection of the 
 canvas threads. These back-stitches lean to the right or left, 
 according to the direction of the long stitches. 
 
 Diagonal web stitch (fig. 268). — Stretch diagonal threads 
 across the whole surface you are going to embroider, and secure 
 them with rows of overcasting stitches, set, if you are working 
 on Penelope canvas, between the double threads of the canvas. 
 In the next rows the stitches must be set the opposite way, 
 which produces the effect of diagonal or twilled cloth. 
 
 Cashmere stitch (fig. 269). — To imitate this texture in 
 needlework, first make one stitch over one crossing of the 
 canvas threads, and then two stitches over two crossings. 
 
 Florentine stitch (fig. 270). — Florentine stitch is worked 
 in slanting lines, the thread being carried, diagonally first over 
 one and then over two double threads of the canvas. 
 
 Mosaic stitch (fig. 271). — The first row consists of one short 
 and one long stitch, alternately: the second, of short stitches 
 only, set between the long stitches of the first row; the third 
 row is a repetition of the first, and so on. 
 
 Knotted stitch (fig. 272). — Carry the working thread over 
 two threads in width and six in height, bring the needle back, 
 four threads lower down, in front of the double threads, and 
 insert it behind the preceding stitch, and over the middle 
 threads, and then carry it down to the line of the stitches. In 
 the subsequent rows , the stitches extend over four threads 
 and encroach on two of the previous row, so that the stitches 
 of the second row lie between those of the first. 
 
 Star, or Smyrna stitch (fig. 273). — Make a plain cross 
 stitch over four threads, each way, and then over that, another 
 cross stitch, standing upright. The same stitch can be made 
 over six or seven threads ; if you work over more than four 
 threads, it follows that you increase the number of stitches 
 accordingly. 
 
 Rococo stitch (rigs. 274, 276, 276,. — After fastening in your 
 thread, lay it over four single or two double threads, as the 
 case may be, and carry the needle through to the left, under one 
 double thread ; then, as fig. 274 shows, bring it back over the 
 
1 3 4 
 
 TAPESTRY AND LINEN EMBROIDERY 
 
 first stitch, put it in by the side of it, and bring it out below, 
 under half the horizontal threads covered by the first stitch. 
 Then make a stitch to the right, similar to the one just made 
 to the left. 
 
 When you have finished one stitch, carry the needle under 
 one thread, in an oblique line, to the next stitch, see fig. 273. 
 The whole pattern is worked in diagonal lines. 
 
 mi 
 
 8m 
 
 £r_ritnir_$L. 
 
 Fig. 271. 
 Mosaic stitch. 
 
 r i_(-;l— I— |_ t— ,-: I- ,_, 
 
 U-.' 
 
 Fig. 272. 
 Knotted stitch. 
 
 Fig. 273. 
 Star, or Smyrna stitch. 
 
 Fig. 274. 
 
 Rococo stitch. 
 
 First stitches on the 
 
 wrong side. 
 
 Fig. 275. 
 
 Rococo stitch. 
 
 Stitches on the richt 
 
 side. 
 
 Fig. 276. 
 
 Rococo stitch. 
 Completed. 
 
 Parisian stitch (fig. 277). — This stitch, though it is gene- 
 rally worked on silk canvas, can also be worked on the different 
 cotton and linen materials already referred to more than once in 
 this Encyclopedia. It makes a very good grounding in cases 
 where the material is not intended to be completely hidden. 
 It consists of a long stitch over three threads, and a short 
 stitch over one thread, alternately. 
 
 Greek stitch (fig. 278). — This, differs from the ordinary 
 cross stitch, in the oblique inclination given to the threads, and 
 the manner in which it is begun. Instead of taking up the two 
 threads that follow the first stitch, you bring your needle back 
 from right to left, under the vertical threads of the first stitch, 
 
TAPESTRY AND LINEN EMBROIDERY 
 
 135 
 
 carry it downwards, and then from right to left, to a distance of 
 four threads beyond the first stitch. The next stitch is made like 
 the first. The rows may be joined together, either by the short 
 or the long stitches, but } r ou must follow one rule throughout. 
 This stitch is much used in Slavonic countries, for the adorn- 
 ment of linen garments, and there we have observed that the 
 short stitches are generally made to encounter the long ones. A 
 coarse material that covers the ground well, such as, Coton a 
 tricoter D.M.C Nos. 6 to 12, is the best one to use for this stitch. 
 
 MBBmBM 
 
 Fig. 277. 
 Parisian stitch. 
 
 Fig. 278. 
 Greek stitch. 
 
 Fig. 279. 
 Scotch stitch. 
 
 iiiffi 
 
 Fig. 280. 
 Moorish stitch. 
 
 Fig. 281. 
 Oriental stitch. 
 
 Fig. 282. 
 Shell stitch. 
 
 Scotch stitch, (fig. 279). — Squares, composed of slanting 
 stitches, made over one, three, five, three threads respectively, 
 and then again over one thread, and separated from each 
 other by rows of Gobelin stitches, constitute what is ordinarily 
 known by the name of Scotch stitch. 
 
 Moorish stitch (fig. 280). — For this stitch, instead of sur- 
 rounding squares of stitches, made in the way we have just 
 described, with Gobelin stitch, the squares are made to touch, 
 rising like steps one above the other, and bordered only at the 
 sides by Gobelin stitch. 
 
1 36 TAPESTRY AND LINEN EMBROIDERY 
 
 Oriental stitch (fig. 281). — Here, you make four diagonal 
 stitches over one, two, three and four double threads respec- 
 tively ; which four stitches form so many triangles, one above 
 the other. The empty spaces between are filled up with Gobelin 
 stitches covering two threads. 
 
 Shell stitoh (fig. 282). — Carry your thread upwards over 
 six horizontal threads, then from right to left, under one verti- 
 cal thread and downwards over six horizontal ones. When you 
 have made four vertical stitches in this way, bring the needle 
 out behind the third double thread, counted lengthways, and 
 between the third and fourth, counted across, and fasten the 
 four long stitches together with a back-stitch, to the middle 
 thread of the canvas. Draw a thread of a different colour twice 
 through these back-stitches, so as to form small knots like 
 shells, and then fill in the ground between the rows of long 
 stitches, with back-stitches. 
 
 Jacquard stitch fig. 283). — If you have a large plain sur- 
 face to cover, you should choose a stitch that forms a pattern 
 in itself. Jacquard stitch and others which we shall describe 
 later on, will be found to produce the effect of brocaded stuff. To 
 work Jacquard stitch, make six stitches underneath one another, 
 over two double threads, and six by the side of one another, 
 from left to right, over tw T o double threads. The second row 
 consists of the same number of stitches , similarly worked 
 downwards and to the side, but over one double thread only. 
 
 Byzantine stitch (fig. 284). — Here, you make the same 
 number of stitches as in the preceding figure but with this 
 difference, that the two rows of stitches are made either over 
 two, or four threads. 
 
 Milanese stitch (fig. 285). — In the first row, the back-stitch 
 is made alternately, first over four diagonal crosses and then 
 over one ; in the second row, over three and two ; in the third, 
 over two and three, in the fourth, over one and four. The last 
 long stitches should come under the last short ones and the 
 short ones, in the middle of the last long ones. 
 
 Plush stitch (fig. 286). — This stitch, also called Astrachan 
 stitch, by means of which a very good imitation of an Oriental 
 
TAPESTRY AND LINEN EMBROIDERY 
 
 I 87 
 
 rug can be produced, consists of loops, each secured by a cross 
 stitch ; the best way to ensure these loops being even and 
 regular is to make them over a narrow wooden ruler, or a piece 
 of whalebone. 
 
 The effect can be varied by cutting the loops, which gives 
 the surface the appearance of velvet. 
 
 ■tB&,l=l=PL=iF&=-i-l=-^&SBi 
 
 ^kkk-kh-k 
 /--k-skkbbrl 
 
 - ; r - .- M-i- I 
 
 &£■&££-§■! 
 ti- -i=i=i=bi 
 
 III 
 
 Fig. 283. Jacquard stitch. 
 
 Fig. 284. Byzantine stitch. 
 
 Fig. 285. Milanese stitch. 
 
 Fig. 286. Plush stitch. 
 
 The illustration represents the middle loops only, as cut, for 
 the cut and the uncut stitch can both be introduced into the 
 same piece of embroidery. For example, the borders in 
 figs. 290, and 291, are worked in open or cut plush stitch, 
 whilst in the centres, the stitch is left uncut. Two stitches 
 of a similar kind, called Smyrna and Malta stitch, suitable for 
 making rugs or carpets, are described in the last chapter but 
 one in the book. 
 
i38 
 
 TAPESTRY AND LINEN EMBROIDERY 
 
 Chain stitch (fig. 287). — Generally speaking, this stitch is 
 only used for the adornment of under-linen or small articles of 
 fancy-work but it can also be employed in copying cross stitch 
 patterns. In old coMections we often meet with very interesting 
 pieces of needlework, which were used for hangings or screens, 
 where the figure-subjects, are executed in chain stitch. Patterns 
 
 in many colours, gain im- 
 mensely by being work- 
 ed in this stitch , the 
 colours blend together 
 better than in any other, 
 and even the shape of 
 the stitch contributes to 
 soften the contrasts of 
 colour. 
 
 Chain stitch cannot, 
 like other stitches , be 
 worked to and fro, nor 
 can all the stitches of 
 one row be finished first, 
 as is generally possible 
 in cross stitch work, each 
 row must be begun separately, and always from the same 
 side, and a different needle should be used for each colour, 
 as the material has often to be changed. 
 
 The stitch is worked as follows; after fastening in your 
 thread, insert the needle at the same hole it came out of, 
 and bring it out two threads lower down. Keep the loop, 
 formed by the working thread, under the point of the needle. 
 The thread should not be drawn up tightly but left to 
 form a rather loose, round loop. For the next stitches, insert 
 the needle close to the thread that issues from the last loop. 
 Pattern for borders or grounding (fig. 288). — This simple 
 but most effective design, copied from one of the most beautiful 
 of Oriental carpets, can be executed in, either cross stitch, 
 plush stitch, or chain stitch. To make a wider border still, the 
 diagonal lines that divide the figures shaped like an S, have 
 only to be prolonged, and the figures repeated. 
 
 Fig. 287. Chain stitch. 
 
TAPESTRY AND LINEN EMBROIDERY 
 
 i3q 
 
 The colours have been chosen with the view of reproducing 
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 Fig. 288. Pattern for borders or groundings. 
 
 Materials : Coton a broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 
 
 3 to 1 5, Fil a pointer D.M.C Nos. 10 to 3o, or Coton a repriser D.M.C No. 25. 
 
 Explanation of the signs prefixed to the colours : h Rouge-Cardinal 346, 
 
 x Rouge-Cornouille 449, a Bleu-Indigo 3 1 1 , and n Bleu-Indigo 322, 
 
 B Gris-Cendre 414, & Bronze dore 585 and n Vert-Mousse 470. (*) 
 
 Pattern for grounding (fig. 289). — Diagonal lines, inter- 
 sected by balls, serve here as a setting for quaintly shaped 
 flowers and leaves. The outlines are all worked in cross stitch, 
 and the solid parts, in either tent stitch or Gobelin stitch. 
 
 Part of a design, suitable for carpets (figs. 290 and 291). 
 Our space will not admit of our reproducing more than a 
 quarter of this design. Colours of the softest shades should 
 be selected for it. A black line divides the pattern into four 
 quarters. The upper quarter on the right, and the lower one, 
 on the left, should be worked in blue, and the upper one 
 on the left, copied from fig. 290. 
 
 The narrow border, in red, blue and green, is to be repeated 
 
 ' See at the end of the concluding chapter, the table ot numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
140 
 
 TAPESTRY AND LINEN EMBROIDERY 
 
 after the broad band, which is represented in fig. 291, has been 
 added to the grounding. A very good effect is obtained, if in the 
 broad border, fig. 291, you vary the background of the different 
 subjects. 
 
 3 DO 
 
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 Fig. 2^9. Pattern for grounding. 
 
 Materials : Coton a tricoter D.M.C Nos. 6 to 16, Cordonnct 6 tils D.M.C 
 Nos. 5 to 1 5 or Coton a broder D.M.C No. 16. (*) 
 
 Explanation of the signs prefixed to the colours :«Noir grand Teint 3io, a Jaune 
 
 d'Ocre 676, s Violet-Mauve 3 1 5, £ Rouge-Geranium 349, 110 Rouge- Aurore 36o, 
 
 K Bleu-Indigo 3 12, h Bleu pale 668, □ Rouge-Cornouille 449, a Vert-de-gris 474, 
 
 E Vert-de-gris 475, a Grounding. (*) 
 
 Linen embroidery. — The stitches used in linen embroi- 
 dery are very similar to those used in canvas work. The ordi- 
 nary cross stitch, as represented in fig. 253, is the one most 
 commonly used, but it is not so effective as the two-sided 
 stitches, which in the beautiful old needlework of the i5th, 
 1 6th and 17th centuries, have always excited our wonder and 
 admiration. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
TAPESTRY AND LINEN EMBROIDERY 
 
 141 
 
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 xxxgg ■ bxxxxb^:;::b • ■ • b::::bxxxxxb b 
 
 laaaxxxxxi 
 
 IKBXXXXXI 
 
 BBBBBBB 
 
 b::::::b::::::**b 
 
 . b::::::h::::::^>b 
 
 b::::::b::::::*.*b 
 
 b:::::.::b::::::»Vb 
 
 b::::::::::b:::i:c«|b 
 
 ■ *•">"■"■ vv m'i^ks^m 
 = 
 
 SB 
 
 vy/yy./ / gggggggxxxxxxx 
 
 ■ <XXGGGGGGGXXXXXXX 
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 c<xxxxxxaGGGaaaxxxxxxx : x 
 
 XXXXXXXGGGGGaaXXXXXXX-XX:: 
 
 XXXXXXXGGGGGGaXXXXXXX: : ■ 
 
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 : XXXXXXXXQC 
 
 xxxx»^p 
 
 XXX 
 
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 Fig. 200. Part of a design suitable for carpets. 
 
 Materials : Fil a pointer D.M.C Nos. 10 to 3o, Coton a tricoter D.xVl.C Nos. G 
 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton a repriser D.M.C No. 12. 
 
 Explanation of the signs prefixed to the colours : ■ Noir grand Teint 3 10, 
 Rouge-Grenat 358, s Rouge-Cornouille 45o, 5 Bleu-Indigo 3n and ^ Bleu- 
 Indigo 322, d Vert rr.etallique 466, s Gris-Noiseue 424. 
 
 IO 
 
! 4 2 
 
 TAPESTRY AND LINEN EMBROIDERY 
 
 Stuffs suitable for linen embroidery. — Most embroidery 
 of this kind, and more especially the Italian, is done on very 
 fine linen. Such fine work however, requires more time and 
 patience than people, in these days, are as a rule disposed to 
 bestow on work intended merely for pleasure and recreation. 
 To meet the requirements of the day, therefore, in addition 
 to the finer kinds of linen, a great variety of textures, are 
 now manufactured, the threads of which, being thick and 
 round, can be easily counted. The cross stitches that are worked 
 on Cuba, Ceylon or Batavia linen, are large and coarse, those 
 on linen-canvas, Russian linen, twisted tammy, and Rhodes 
 linen, small and fine. 
 
 .. xbbbxxx xxxbbbbbbb bxxxxxxw- s^ ■ bxx 
 
 :<xxxxbbxxx xxxxxxxb:::: bxxxbxxb bxx xxi 
 
 xx'xxbxxx xxxxxxb :: ■■■::::• n • axxxr 
 
 xx xb«xxx xxxxxxxb bxxbxxxb ■••••• bxb • 
 
 xx"xb»»xxx xxx«»»»«bb b bxxxxxxb ■ • ■•■■■■ 
 
 xx xax»»xxxxx»« bxb bb bxxx xxm~ 
 
 xx • xbxx* «xxx bxxb 3 bxx xxb ■'•■:■:• :: • 
 
 <XXXBXXX»»X*» • BBXXB BXX XXXB •■ 333 ■ 
 
 : xxx ■ xbxxxx • • • . • • • »bs3Xxb :: BXXXXXXI 
 
 <XXBXXX«»X«« • I 
 X ■ XBXX« ->XXX» • •••••! 
 
 <• XBX«»XXXXX»» 
 <XXB»»XXX XXX»«»»«I 
 ■••■•XXX XXXXXXX1 
 > XXBXXX XXXXXXI 
 ■ • XB3XXX XXXXXXXI 
 
 i. -xbbbxxx xxxbbbbbi 
 i •::•:: ibbxxxxi 
 
 jxxb: 
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 • • ■ ■ BXXXBX 
 
 • ■ ■ bxxxxxx 
 
 ■ • BXX XXXB 
 ■ BXX XXB 
 BXXX XXB 
 
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 ■XXX XXI 
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 BXXXB<XB 
 
 ■■■•-■ :■::•: •: ■:■ :: 
 ■ ■ b <:xb •; <xb :: 
 
 ■ • B- i BXXXXXXB 
 XXX ■»■••»■ XBXXXBB <33 <3 <XX <B ■■ 33 ■ • BXXX X <B 
 v : XX ■ • • XBXXXX333XX333BBB < •:■ ■" • 3 ■ • ■ BXX XXB 
 
 x^txx • • ■ xbx> ■. <xbbxxs bxx xxxl 
 
 SEt£SS<~*-xmy. <:■:■■:■ ■ ■::;.::::::::::■:::;■:■:■ -•• bxxxxxx_ 
 aVB&ck x ■ ■ xbxbbxxxxx:::- ■:■:■■ • ::: >: • •:■ • • bxxxbxx: 
 
 H3S353BEXBBBXXX XXXBBBBBBXXXXXXB- ••• • BXXBBXX' 
 
 SOXXXX XXXB3XXX XXXXXXXBBXXX XXB " : BXX3XX 
 
 XX XXBXXX XXXXXXB BXX XXB 3- .BXXX: 
 
 XX-XB»XXX XXXXXX<B BXX XXXB • . • 33 ■ fl ■: < 
 
 XXXB*»XXX XXX»»»»»BB BXXX<XXS B B< 
 
 XXXBXXB- BXXBXXX 
 
 BXXBBXXB BXXBBXXB 
 
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 3 BXXX X XXXB 3 
 
 3 BXX XXB 3 
 
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 xxxbx»»xxxxx< 
 xxxbxx*»xxx»»»»«»»b :: 
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 ~XX r ^BXXX»»X»* * BXB 33 
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 ~XXXB¥XXX XXXXXXXBXBXXXB 
 * XXBXXX XXXXXXBXXXXXXI 
 
 _XB3XXX XXXXXXXBBXXX XXB 
 
 33**ZXB33XXX XXXB3BBBB^BXX XXB 
 ~n*«~XBX3BXXXXXBBXXXXB~BXX _XXXI 
 
 xbbxxb r • 
 
 IXX3XXXB ■ 
 BXXXXXXI 
 BXXX XXB 7 • 
 BXX XXB ■:' ;_E 
 BXX XXXB - 
 B BXXXXXXB — 
 
 ss bxxxb -:.-:b ■ 
 
 1XX3BXXI 
 
 BXXXXXXB • ■ 
 BXXBXXXB- •.• 
 
 B<XBBXXB ■■'■'• 
 
 b •:■:■:>: -'B BX 
 
 BXXXXXXB • • • IB 
 
 BXX XXXB ■_ ■ 33 ■ • BXB 
 
 BXX XXB- B BXXB X 
 
 _XXX XXB BXXBBXX 
 
 _XXXX <vB ■-.-■■ bxxbbbxx 
 XXBX-CXB •• B <XXBXBX I 
 XXB3XXB •■••».;•■ <XXXXXB I 
 
 xbxxxb <>:a bxx xxxbb 
 
 <xxxxxxb ■•:•:■•• bxx xxa a x 
 xxb "33 bxxx xxb bxx 
 b ■ • bxxxxxxb bbxx 
 • ■ bxxbxxxb ::::bx 
 bxxbbxxb :: B 
 
 BXXXBXXB 
 . IXXXXXXB 3 BB X 
 • BXX XXXB 33 BXBXX 
 
 ■ "-"BXX XXB 3 BXXBXX 
 — BXXX XXB BXXBBX . 
 
 ■ 'XXXI B BXXBBB : 
 
 JxxBx.xxB bb bxxxbxb 
 
 IXXXBXXB B BXXXXXXB JS 
 
 H BXX XXXBBXS 
 
 3 BXX XXB" BXX 
 
 33 BXXX XXB_^BX.. 
 
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 } BXXXXXXXXXXXB 
 S3 BXXX X XXXB 
 
 Fig. 291. Outer border of the design for carpets fig. 290. 
 Materials: Fil a pointer D.M.C Nos. 10 to 3o, Coton a tricoter D.M.C Nos. 
 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton a repriser D.M.C No. 12. (*) 
 
 Explanation of the signs prefixed to the colours : ■ Noir grand Teint 3 10, 
 
 s Rouge-Grenat 358, * Bleu-Indigo 3n, H Vert meiallique 465, a Jaune-vieil-Or 
 
 679, a Gris-Noisette 424, g Rouge-Cornouille 450. (*) 
 
 Linen fabrics are either white, unbleached or cream-colour- 
 ed. All three are used for embroider}^ but the coloured cottons 
 show up best on the cream ground ; on the white, they look 
 hard and crude, and on the unbleached, dull and faded. 
 
 [*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
TAPESTRY AND LINEN" EMBROIDERY 143 
 
 Materials suitable for linen embroidery — As most linen 
 embroidery is executed on articles that are subjected to fre- 
 quent washing, the D.M.C cottons, which are to be had in 
 every shade and colour, are the best for the purpose. For 
 coarse stuffs, coarse cotton should be used, such as knitting 
 cotton, Coton a tricoter D.M.C Nos. 6, 8, 10, 12 and 14, (*) 
 which will be found a very good substitute for wool ; or six- 
 cord crochet cotton (Cordonnet 6 flls D.M.C) Nos. 3, 4, 5, 10 
 and 1 5, (*) which gives quite as full and brilliant a stitch, as 
 silk-twist. Finer cottons should be used jb 
 for the finer stuffs, such as embroidery cot- 
 ton (CotonabroderD.M.C) Nos. 6to 200, (*) 
 and lace thread Til a dentelle D.M.C Nos. Ippl^^&ip.'jt 
 3o to i5o.(*) In many cases, even darning PP-Efc^^^^Ep 
 cotton (Coton a repriser D.M.C) can be ■ 
 used, as like Algerian silk, it can be - 
 split or taken double, to suit the stuff. FlG 
 
 Plain cross stitch on auxiliary can- Plaiv cross stitch on 
 
 in \ ni • ^'^ U AUXILIARY CANVAS. 
 
 vas (fig. 292;. — Plain cross stitch, com- 
 monly called marking stitch, has already been described in fig. 
 2 53. But it may be well to observe, that when an auxiliary 
 material is used, it should be most carefully tacked upon the 
 stuff following the thread of the same, and a sufficient margin 
 left to allow of the drawing out of the canvas threads, when 
 the work is finished. 
 
 Two-3ided cross stitch, worked, in four rows of 
 stitches (figs. 293, 294, 295). — Straight lines of cross stitch, 
 alike on both sides, can be worked in two journeys to and fro. 
 Working from left to right, begin by fastening in your thread, 
 never with a knot, but by two or three little running stitches, 
 which are hidden afterwards by your first cross stitch. Direct- 
 ing your needle to the right, pass it diagonally over a double 
 cross of the warp and woof of the canvas, and so on to the 
 end of the line. 
 
 Having reached the last stitch, draw out your thread in 
 the middle of it, make an auxiliary diagonal stitch downwards 
 
 * See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads aid cottons. 
 
144 
 
 TAPESTRY AND LINEN EMBROIDERY 
 
 
 i±rJri±i±i±dxlxEr±r±drdxrL!^^ 
 
 Fig. 2q3. 
 
 First half of the first journev and auxiliary stitch 
 
 for returning. 
 
 to the right, bring the needle up in the middle of the last 
 stitch, take it thence, upwards to the left, across two threads, 
 and begin the return journey, from right to left, crossing and 
 thus completing the first rcw of stitches. In the auxiliary 
 stitch with which you begin the backward journey, the thread 
 
 lies double on 
 both sides. Fig. 
 295 shows how to 
 pass down to the 
 next row. 
 
 Two-sided, 
 marking stitch 
 
 (figs. 296 and 297). 
 The above mode 
 of working two- 
 sided cross stitch 
 cannot be applied 
 to letters, or pat- 
 terns in broken 
 lines, which both 
 consist chiefly of 
 isolated stitches. 
 Figs. 296 and 297 
 ^-tfpj explain the course 
 1 01 the stitches in 
 embroidery of this 
 kind. 
 
 The working 
 detail A, Fig. 
 296, indicates the 
 spot for the thread 
 to enter the stuff, and the position of the needle for the 
 first and second stitches; B, the first two stitches completed, 
 with an auxiliary stitch to the right, the thread drawn out on 
 the right, and the position of the needle for the fifth stitch 
 that completes the cross ; C shows the completion of the stitch 
 begun at B and the position of the needle for a second stitch 
 to the right ; D, one cross stitch completed and another begun, 
 
 ms 
 
 -msk 
 
 feffirifiKFEa 
 
 Fig. 294. 
 One journey and first half of the second finished, 
 and auxiliary stitch leading to the second return. 
 
 Fig. 2q5. 
 
 The two journeys to and fro, completing one row 
 
 of cross stitch, both sides alike. 
 
TAPESTRY AND LINEN EMBROIDERY 
 
 14b 
 
 immediately beneath A. In fig. 297, E shows how to work 
 stitches to the left ; F, an auxiliary stitch to reach an isolated 
 cross stitch on the right, G, auxiliary stitches between two 
 isolated cro.ss stitches, and H, a second and last auxiliary 
 stitch to complete the cross. 
 
 It requires both practice and care to do this two-sided 
 marking stitch, so as not to disfigure the stuff by superfluous 
 stitches. 
 
 A BCD 
 
 Fig. 2q6. Two-sided marking stitch. Different positions of the needle. 
 
 PF=f.|^.l=7F=TF=TI=fl=Tl=iit 
 
 iSIMiSSatElteEBlSWIl 
 
 
 
 E F G H 
 
 Fig. 207. Two-sided marking stitch. Different positions of the needle. 
 
 Cross stitch forming* a square at the back (figs. 298 and 
 299). — Many of the alphabets we so admire in old samplers 
 are worked in cross stitch, that forms a square at the back. 
 Each stitch has to be finished off before another is begun ; 
 if you carefully examine figs. 298 and 299, which show 
 severally the right and the wrong sides of the stitch, you will 
 find no difficulty in mastering it. Letter A, fig. 296, shows the 
 entrance of the thread, the position of the needle for half the 
 cross stitch on the right side, and the second side of the 
 square at the back, as shown in fig. 299, A. Letter B, fig. 298, 
 shows the cross stitch finished, and the position of the needle 
 for the third side of the square on the wrong side, indicated 
 by the same letter in fig. 299. C, in both figures, indicates a stitch 
 
146 
 
 TAPESTRY AND LINEN EMBROIDERY 
 
 which is double on the right side, and on the wrong side 
 forms the fourth side of the square, whilst letter D, explains 
 how to continue the stitches. 
 
 A B C D 
 
 Fig. 298. Right side of the cross stitch, forming a square at the back. 
 
 
 E F G H 
 
 Fig. 299. Square stitch forming the back of the cross stitch. 
 
 Two-sided Italian stitch (figs. 3oo, 3oi, 3o2, 3o3\ — Two- 
 sided Italian stitch consists of cross stitches, alike on both sides, 
 divided from each other by horizontal and vertical stitches. 
 The upper and lower stitches should all slope one way, as 
 in plain cross stitch. 
 
 Italian stitch is worked in one journey, to and fro. Fig. 3oo 
 shows how to fasten in the thread, and place the needle for 
 the first stitch, from right to left; fig. 3oi, the position of the 
 needle from left to right, to form the cross at the back, and 
 the vertical stitch to the left, on the right side ; fig. 3o2, the 
 position of the needle, for a two-sided horizontal stitch at the 
 bottom of the cross, where upon you proceed as in fig. 3oo. 
 Fig. 3o3 explains the return of the thread, which completes 
 the double crosses and the lines between. 
 
 The horizontal lines, not made on the first journey, are 
 added on the way back. In conclusion, pass the needle back, 
 
TAPESTRY AND LINEN EMBROIDERY 
 
 147 
 
 Introduction of the 
 
 thread and position of 
 
 the needle for the 
 
 first stitch. 
 
 horizontal^, from left to right, to make the final stitch over 
 the cross, and then make the stitch be- 
 tween, as shown in fig. 3o3. On a thin 
 stuff, this stitch produces an extremely 
 pretty effect, resembling lattice-work, pro- 
 vided the thread be tightly drawn in the 
 working. 
 
 Montenegrin cross stitch (figs. 3 04, 
 3o5, 3 06). — The Slavonic tribes of the 
 southern districts of E. Europe, especially Two-sided Italian stitch 
 the Montenegrins, have a great partiality 
 for this stitch, which has been rareh 
 noticed, hitherto, in books on needlework. 
 The right side shows cross 
 stitches with a double 
 thread underneath, and 
 divided by vertical stitches ; 
 the wrong side, regular 
 cross stitches, also divided 
 by vertical stitches. Coarse 
 cotton should be used for 
 this stitch ; it produces a j5j=£pffij5pES 
 richer effect and not only &^fcrJ^^H' 
 covers the stuff better, but fig. 3oi. 
 
 also the underneath Stitch, Two-sided Italian 
 
 l • u «.u ci • stitch. Position 
 
 which in the Slavonic 
 
 OF THE NEEDLE FOR POSITION OF THE NEEDLE 
 
 work, is entirely hidden TH e 2nd and 3rd for the 4th and 5th 
 by the cross stitches. stitches. 
 
 Begin, as letter A indicates, ^^==^3,; 
 with a long, slanting stitch, across f^g^^^^^^ 
 
 4 and 8 threads, then, bringing pggn^gHplggp 
 
 vour needle back from right to ^Ji\ihitd^^k:M^Mr_ 
 
 Fig. 3o2. 
 
 Two-sided Italian 
 
 stitch. 
 
 stitches. 
 
 left, under four threads, draw it 
 out, carry it over the first long 
 stitch, and insert it again from 
 left to right, under the first four 
 threads of the canvas. These four 
 stitches finished, proceed to the 
 
 JpsfflP 
 
 Fig. 3o3. Two-sided Italian stitch. 
 
 Return journey, which 
 
 completes the cross stitch. 
 
'48 
 
 TAPESTRY AND LINEN KM BROIDERY 
 
 fifth and sixth, which as B shows, cross the first four, then 
 repeat the first stitch. 
 
 The threads that form the stitches on the wrong side, 
 
 ; 04. 
 Montenegrin cross stitch. 
 1st. 2nd, 3rd, 4th and 5th stitch 
 and transversal stitch. 
 
 A B 
 
 I i . 3o5. 
 
 MONTENEGRIN CROSS STITCH. 
 
 POSITION OF THE STITCHES ON THE 
 
 WRONG SIDE. 
 
 Fig. 3o6. 
 
 Montenegrin cross stitch. 
 
 A row of stitches finished. 
 
 ^g should always be opposed to 
 ^jH each other, that is, one cross 
 ^tj should lean to the right, the 
 5 other to the left, as shown in 
 fig. 3o5. This variation in 
 the inclination of the stitches, 
 which is regarded as a fault in 
 plain cross stitch, is indis- 
 pensable here, and produces 
 a charming effect on the wrong 
 side. 
 
 Plaited Algerian stitch 
 (fig. Soy). — The distinguishing 
 feature of this stitch is, that it 
 only advances one thread at 
 a time. It should be begun 
 on an uneven number of 
 threads, and like the Montenegrin stitch, should be worked 
 with coarse cotton. The rows may touch, either at the top 
 or at the bottom of the stitch, so long as you keep to one plan 
 throughout. 
 
 Fig. 807. 
 Plaited Algerian stitch. 
 
TAPESTRY AND LINEN EMBROIDERY 
 
 H9 
 
 Two-sided Spanish plaited stitch, (figs. 3o8 and 309). — This 
 stitch has the advantage of being, not only very effective, but 
 also very quickly executed. It is worked in two rows, for- 
 wards and backwards. All cross stitch patterns can be worked 
 in Spanish stitch. The gaps, which are occasioned by the long 
 stitches, have to be filled in with short ones. In itself, the 
 stitch consists o* slanting stitches, three threads a part, alike 
 on both sides, and advances three threads at a time, as shown 
 in figs. 3o8 and 009. 
 
 Fig. 3o8. 
 Two-sided plaited Spanish stitch. 
 
 FlG.^OQ. 
 
 Two-sided plaited Spanish stitch. 
 
 
 ffifefeEffitffi^ 
 
 ^SffifflittSH 
 
 Fig. 3io. 
 
 Two-sided line stitch. 
 
 Forward row. 
 
 fcffiS 
 tffi 
 
 Fig. 3 1 1 . 
 
 Two-sided line stitch. 
 
 Backward row. 
 
 S§ 
 
 Two-sided line stitch (figs. 3io and 3 11). — Square stitch, 
 Holbein stitch, line, or stroke stitch, as it is sometimes called, 
 and setting stitch, are all worked on one principle. Though 
 all these two-sided stitches are related to each other, and by 
 no means difficult of execution, those new to the work will 
 find a little practice necessary, to make the stitches follow in 
 their proper order. Fig. 3 10 explains how the needle has to 
 pass, alternately, step by step, over and under the threads ot 
 
i 5o 
 
 TAPESTRY AND LINEN EMBROIDERY 
 
 Fig. 3 i 2. 
 
 Two-sided insertion. 
 
 First detail. 
 
 the stuff, and fg. 3 1 1 , how the threads, left blank the first 
 time, are covered on the way back. The great difficulty is how 
 to place your first row of stitches so as to 
 ensure an unbroken course back. It is as 
 I well before setting out, to ascertain 
 PtH clearly the most direct course back, so 
 ^Trl that you may not come to a stand-still, 
 |£gg or be obliged to make unnecessary 
 
 slIeeei stitches on the wrong side. If you have 
 to pass obliquely across the stuff, as in 
 patterns figs. 326, 327,328, 329, 33 1 and 
 333, proceed in the same way as though 
 you were covering the straight threads 
 of a fabric. 
 
 Two-sided insertion tigs. 3 12, 3i3, 
 314, 3 1 5, 3 16, 317, 3 1 8). — We conclude 
 this series of stitches with a description 
 of a pretty, two-sided insertion, suitable 
 for joining stripes of work of different 
 widths together. In pieces of old needle- 
 work, we often find handsome, coloured 
 patterns, joined together by a piece of lace or some quite diffe- 
 rent kind of work. The insertion represented in fig. 317, is a 
 verv good substitute for either. Fig. 3 1 2 explains the first stitch 
 
 Fig. 3 1 3. 
 
 Two-sided insertion. 
 
 Second detail. 
 
 Fig. 314. 
 
 Two-sided insertion. 
 
 Third detail. 
 
 Fig 3 1 5. 
 
 Two-sided insertion. 
 Fourth detail. 
 
 Fig. 3 16. 
 
 Two-sided insertion. 
 
 Fifth detail. 
 
 and the course of the second, from left to right, under 3 ver- 
 tical and 3 horizontal threads ; the 3rd stitch to the left, over 
 6 vertical threads, and the beginning of the 4th stitch. 
 Fig. 3 1 3 shows the 4th stitch completed, and the direc- 
 
CANVAS AND LINEN EMBROIDERY 
 
 l5l 
 
 tion the 5th and 6th stitches have to take ; fig. 314, the 6th 
 completed, and the position of the needle for the 7th and 8th ; 
 fig. 3 1 5, the 9th lower, horizontal stitch, over 6 vertical threads, 
 the 10th backward stitch, and the position of the needle for 
 the nth and last stitch. Fig. 317 represents a whole series 
 of stitches, and fig. 3 18, the back of the work, which though 
 quite a different pattern, will combine very well with any two- 
 sided embroidery. 
 
 These insertions can be worked on any stuff, but the stitches, 
 must be done, both ways, on a number of threads, divisible by 
 3. Thus, the first stitch may cover 6, 9, or 12 threads, but 
 never 8, 10, 12 or 14. 
 
 Fig. 317. Two-sided insertion. Row of stitches finished. 
 
 Fig. 3 i S. Two-sided insertion. Showing the back of fig. 3 17. 
 
 Gothic borders in Gobelin and cross stitch (figs. 3 19 and 
 32o). — We are indebted for both these pretty patterns, which 
 are quite Gothic in their character, to a visit we paid to the 
 national museum at Munich, where we discovered them 
 amongst a heap of other old valuables, lying un-heeded in a 
 remote corner. Their simple graceful outlines render them 
 peculiarly suitable for the decoration of table-cloths, counter- 
 panes, curtains, etc. All embroideries of this kind should be 
 finished off with a deep fringe, made in the stuff itself, or 
 knotted on to it or may be trimmed with a heavy thread lace, 
 of a wide width, corresponding with the work in character. 
 
1 52 
 
 CANVAS AND LINEN EMBROIDERY 
 
 The design may be worked either in one shade, as in fig. 
 319, or in two, as in fig. 320, where all the outside stitches 
 are worked in the darker shade of the given colours. 
 
 < . .,,. 
 
 i:.-L. . - 
 
 o 10 20 40 50 60 70 
 
 Fig. 3 1 9. Gothic border in cross stitch. 
 
 Materials: Coton a tricoter D.M.C Nos. 6 to 12, Coton a broder D.M.C Nos. 
 
 16 to 35, or Cordonnet 6 fils D.M.C Nos. 3 to i5. (*) 
 
 Colours: Rouge-Turc ?2i, or two shades of Bleu-Indigo, 3ii and 334, or 
 
 two shades of Rouge-Grenat, 358 and 359 or two shades of Brun-Acajou, 
 
 3oo and 402. (*) 
 
 Powdering and border. Albanian subjects (figs. 32 1 and 
 322). — The arrangement of colours for these charming patterns, 
 of Albanian origin, should be as follows ; the dark-coloured 
 crosses, red, the lighter ones, alternately blue and green, the 
 lightest, yellow. 
 
 In fig. 32i, most ot the stitches in every other diagonal 
 row, are worked in red, the others in green or blue ; in the 
 intermediate rows the flowers are worked alternately, in green 
 and red, or blue and red, and throughout, the centre of each 
 figure should consist of 4 stitches in yellow. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CANVAS AND LINEN EMBROIDERY 
 
 i53 
 
 In fig. 32i, which serves as a border to the above, only the 
 stalks of the 4 conventional pinks, which, with the cross in 
 their middle, form a square, are in brown. 
 
 These squares are separated from the bottom border by an 
 insertion, in Gobelin stitch, worked over 6 threads, in red, 
 
 
 >::::< MO? 
 
 1 x**?x >c^ 
 
 
 ^p^P^ 1 
 
 
 JxxxSx 
 
 40 5C 60 70 
 
 Fig. 320. Gothic border in cross stitch. 
 Materials : Coton a tricoter D.M.C Nos. 16 to 35. 
 
 Colours: Bleu-Indigo 3ii and 334, or Rouge-Cardinal 346 and Rouge- Geranium 
 335, or Gris-Tilleul 3qi and 33i. (*) 
 
 blue, green and yellow, from 20 to 26 stitches of each. This 
 band is edged on both sides with a row of stem stitches, 
 worked in yellow over 4 threads. The Holbein stitches that 
 border the band, can be made in whichever colour the worker 
 prefers, or else in red and gold thread. 
 
 Borders in stroke stitch, 'figs. 323, 324, 325). — These three 
 patterns will give our readers an opportunity of perfecting 
 
 ' See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
i5 4 
 
 CANVAS AND LINEN EMBROIDERY 
 
 
 
 X XX 
 
 
 
 
 
 
 
 20* 
 
 !§li 
 
 
 
 
 w 
 
 10- 
 
 
 ?§5 
 
 TfcCC 
 
 SsX,* 
 
 
 
 t$ 
 
 Fig. 32i. Powdering. Albanian subject. 
 
 Materials : Coton a tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 
 
 3 to 25 or Coton a repriser D.M.C No. 12, 25 or 5o. (*) 
 
 Materials: Rouge-Cardinal 347, Bleu-Indigo 322, Vert me'tallique 465, 
 
 Jaune-Orange 444, Gris-Brun 409. (*) 
 
 themselves in two-sided, square stitch (see figs. 3io and 3ii), 
 also called stroke, or line stitch, according as it is worked, in 
 oblique, or straight rows. 
 
 We again recommend our readers, to begin by ascertaining 
 the course the stitches should take, in order to avoid all unne- 
 cessary stitches and be sure of finding their way back accord- 
 ing to the prescribed rule. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CANVAS AND LINEN EMBROIDERY 
 
 I 55 
 
 30 40 50 
 
 Fig. 322. Albanian subject. 
 
 7° 
 
 Materials : Coton a tricoter D.M.C Nos. 6 to 12, Coton a broder D.M 
 16 to 35 or Cordonnet 6 fils D.M.C Nos. 3 to 25. {*) 
 
 Colours: Rouge-Cardinal 347, Bleu-Indigo 3i2, Jaune-Orange 444, 
 metallique 465, Gris-Brun 409. (*) 
 
 C Nos. 
 Vert 
 
 Corners in stroke stitch (figs. 326 and 327). — These pretty 
 little patterns are suitable for the decoration of ladies' and 
 children's collars, fine pocket-handkerchiefs and finger napkins, 
 and can be worked in one or two colours, as preferred. If two 
 colours be used, the darker should be taken for the interior, the 
 lighter for the narrow outside edge. 
 
 Stripe in stroke stitch (fig. 328). — This is copied from a 
 piece of Italian work, though from a resemblance in the dif- 
 ferent subjects to the rose, thistle and shamrock, if might have 
 been supposed to be of English origin. The original work was 
 
 ^ee at the end of the concluding chapter, the tabie of numbers and sizes 
 he list of colours of the D.M.C threads and cottons. 
 
i 56 
 
 CANVAS AND LINEN EMBROIDERY 
 
 executed in a most brilliant purple red which time has toned 
 down to the colour of Jaune-Rouille 3o8, or Brun-Cuir 43-2, 
 one or other of which we recommend, as being the only colours 
 
 
 "* c7^K~c7)k c/x c/^ c^k c'x c/x c/x ex c' 
 
 4 c ; ■ 
 
 Fig. 323. Border in stroke stitch. 
 .Materials : Coton a marquer D.M.C Nos. 5 to 200. (*) 
 Colours: Rouge-Turc 32 1 or Bleu-Indigo 3 1 2. (*) 
 
 ^ 4^=.^ ^ ^ an^p^p ^p up. up at. 
 
 * -ra si a _a a x -.^. zzii . 
 
 .111, 1 1 >T ' t~>j • 1 xjiT7 _nn < JuLL * < \r _ rw • ni V^ 
 
 
 rf c^F c^F J>F c/»S= c/K= c^F c/lV J' 
 
 zc -?o 40 5c 6 a 
 
 Fig. 324. Border in stroke stitch. 
 Materials : Coton a repriser D.M.C No. 5o. (*) 
 Colours: Vert-Pistache 3 19, or Vert-Mousse 470. {*) 
 
 \s \ \s\y\s -\y-\y\s. 
 J r '\e s ky = . , \y\s . 
 
 \y\y . \s\s 
 
 1 
 
 x> 
 
 kjK/ 
 
 y\y- 
 
 '\y\y^y\y\y:\ys^ 
 
 /VNA/w 
 
 v^•00^^•^\•^yv/^ J > , ^,'^./'•>../\.< r v>^yv/ , 
 
 ^y\y\y\y\y\y\y\y^ysy\y\y\y\y\y\y\y\y\y\y\y^ 
 r\ss*rssSy\j^s\sSuy\s\y^y\s\y\y\*\y\y\y\s\s\s 
 * ./\ >v v\ yv >"n •n *"\ s\ y\ yv 
 ^\ v/ s\s\ ■sy y\y\. -\y s\s\ \s s\s\ \y s^ss 
 <s y\ ss\y y\ vv y\ -^^y\y y^ ss\s •% ^y\y 
 
 \y 
 
 Ss ss 
 
 \y 
 
 \y ss 
 
 V/ i S*\ 
 
 1 10 20 30 4c 50 or -c 
 
 Fig. 325. Insertion in stroke stitch. 
 ♦ Materials : Coton a broder D.M.C Nos. 16 to 60. (*) 
 
 Colours: Rouge-Turc 32i, or Rouge-Grenat 309, or Bleu-Indigo 3n. (*) 
 
 (*) See at the end ot the concluding chapter, the table ot numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CANVAS AND LINEN EMBROIDERY 
 
 I 57 
 
 with which any thing approaching the refined distinguished 
 look of the old embroidery, can be given to the new. 
 
 >- 
 >- 
 
 > 
 
 > 
 > 
 >■ 
 >- 
 >- 
 
 
 
 ( IV."' \XV \ 
 
 I) i i I I I I I I I I...LJJJ.JJ M.I I i I I U.j,.U.I,M 
 
 j>L ^v. cS-o v/„> _rrx, nL cs^o 
 Zs\3 O?-, ^UjT ,4 ^ C>iV ^ 7-?Ujr 
 
 *><3©-0* 
 
 ^S3xR^ ; * 
 
 /)) K/llfWI IN'/iT 
 
 ^-L.' 
 
 
 5GP\ 
 
 -< 
 
 
 Fig. 326. Fig. 327. 
 
 Corners in line stitch. 
 
 ■ Materials : Coton a broder D.M.C 
 
 Nos. 35 to 200 orFil a dcntelle D.M.C 
 
 Nos. 25 to 70. (*) 
 
 Colours: Bleu-Indigo, or Rouge- 
 Cardinal, or Brun-Caroubier, or Violet-Lie-de-vin. (*) 
 
 j-jsT-* ?— -;■■ 
 
 I— ~ .?3 
 
 "fcid 
 
 • • X ■• ■•'■! 
 
 -XL jvi. f _2l?f J . \ SiJiwfcJ ; 
 : : : S/: : liT /x [®M; : *3?Ov 
 
 V:jill I..1 i iC 
 
 1 
 
 • : v • • •.• n/v /\\ Asc- \ n^>- /ss : > v' • ' v.' : ./ > . : . ; ; ^>". ' : 
 
 
 
 m 
 
 60 
 
 70 
 
 10 20 30 40 SO 
 
 Fig. 328. Stripe in stroke stitch. 
 
 Materials: Cordonnet 6 fils D.M.C Nos. i5 to 5o, Coton a broder D.M.C 
 
 Nos. 16 to 35, or Coton a repriser D.M.C No. 12, 25 or 5o. (*) 
 
 Colours: Jaune-Rouille 3o8, or Jaune-vieil-Or 680. (*) 
 
 Grounding in diagonal lines (fig. 329). — This pattern 
 can be worked, in any of the previous stitches, or in back- 
 
 ' See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
 I I 
 
1 58 
 
 CANVAS AND LINEN EMBROIDERY 
 
 . _. > » 
 
 §0m 
 
 ^^msm^^m 
 
 '°^\ f$iS^ 4fe!Sh lias* K Sa 
 
 f^^^J^^I^, 
 
 3^ 
 
 *o 
 
 Fig. 32Q. Grounding in diagonal lines. 
 
 Materials: Coton a tricoter D.M.C Nos. 6 to 16, or Coton a broder D.M.C 
 
 Nos. 1 6 to 100. 
 Colours : Bleu-Indigo 322, or Rouge-Cardinal 347. 
 
 stitch. It is only suitable for large surfaces, on account of the 
 diagonal lines, and should be worked, all in one colour. It can 
 be varied by adding sprays to the upper sides of the slanting 
 stalks, like those on the lower sides, turned either the same 
 way, or upwards. Skilled workers will readily contrive the 
 middles for themselves, by combining the different subjects 
 and putting them together in various positions, either diagonally 
 or at right angles to each other, with the help of the Penelope 
 mirror. H 
 
 (*) See, the directions for its use, given in the concluding chapter. 
 
CANVAS AND LINEN EMBROIDERY 
 
 I 5g 
 
 Powdering in cross, stroke and. star stitch (fig. 33o). — 
 This charming combination of cross, stroke and star stitches, 
 can be made use of wherever embroidery is available as a 
 means of decoration. 
 
 The cross stitches, in which the solid parts of the pattern 
 are w T orked, should be in one colour only, the stroke and star 
 stitches, in Chine d'or D.M.C. (*) 
 
 Border in Greek stitch (fig. 33 1). — All the darker lines 
 here, should be worked in black, colour 473, the leaves in the 
 
 
 s~\ 
 
 
 
 
 * 
 
 < '••■' 
 
 
 
 S\ 
 
 1 
 
 
 xxpoz 
 
 
 / V 
 
 
 4, 
 
 A f 
 
 „/ 
 
 
 V/l 
 
 A/, 
 
 \/ 
 
 •/•. 
 
 
 Fig. 33o. Powdering in cross, stroke and star stitch. 
 
 Materials : Coton a repriser D.M.C No. 5o and Chine d'or D.M.C. (*) 
 
 Colours — For the Cotton : Rouge-Grenat 326. — For the Chine : 
 
 Bleu-Indigo and gold. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C. threads and cottons. 
 
i6o 
 
 CANVAS AND LINEN EMBROIDERY 
 
 form of steps, alternately in light and dark red up to the stalks, 
 the line of demarcation being indicated by the ditfercnt direction 
 of the stitches, so that two light leaves, and two dark leaves, 
 should ahvavs face each other. 
 
 Fig. 33 i. Border m Greek stitch. 
 Materials : Coton a broder D.M.C Nos. 16 to 25, or Coton a repriser D.M.C 
 
 i 2 to 5o. 
 Colours: Rouge-Geranium 349 and 35 1 , Jaune-Rouille 364, Bleu de France 341, 
 Bleu pale 60S, Noir-Vert j.-.-. Or fin D.M.C pour la broderie No. 3o and 
 Chine d'or D.M.C No. 3o. 
 
 In the original, the cross bars that unite the leaves, are in 
 yellow, whilst the detached figures that separate them, are 
 worked, those that come between the light red leaves, in pale 
 blue, and those between the dark red ones, in gold thread. 
 The exterior pan of the figure is filled in with the different 
 colours, indicated above ; with the exception of the small squares 
 in Gobelin stitch, which should all be worked in plain gold, 
 or Chine' d'or D.M.C, green and gold. The SS in the narrow 
 outside border, should be worked in two shades of blue ; 
 the outside stitches in colour 341 and the solid parts in colour 
 668. The little figures with the transverse bars that unite the 
 SS, should be set in black, and filled in, alternately, in light 
 and dark red, and in yellow. 
 
CANVAS AND LINEN EMBROIDERY l6l 
 
 Grounding 1 'fig. 332. — This grounding was copied from 
 
 a beautiful old cushion- 
 
 cover and will be found j ^ j c . ft \ ^ ! ',«) Q>\wV&:ft\9g\ 
 
 particularly useful in the \ >s. : Kg %.< c> <^K^: *?ti>1 
 
 confection of small embroi- . . ^ ^J^^. o> /-\ J*^- > ■ 
 
 dered articles, because the -£-\ ^ V ■■ — f-\ /l "i 
 
 pattern will alwavs forma LSLjt^ ^l. v . U^ n/1... .'■ ^ " r L23 
 
 centre point in itself. A ^JV 1 - M?^*/^:^ M 
 
 light, brilliant red. such as 
 
 either of the two colours 
 
 indicated beneath the „,^/^,y^ 
 
 figure, will best reproduce /^.^l^Yk> 
 
 the tone of the original. 
 
 In making the little 
 stars that connect the dif- ^ .,„ _ 
 
 ric oo2. Grounding. 
 
 ferent squares, the mode m AT ekials: Coton a tricoter D.M.C Nos. 6 to 
 
 We recommended for Work- J 6, or CotonabroderD.M.C Nos. r6 to ioo. '*] 
 ing Stroke Stitch should Colours : Rouge-Cardinal 304, or Rouge- 
 be adopted, that is, begin- Cornouiiie 4 5o. (*) 
 ning, by bringing the needle out in the middle, making ~ 
 stitches, and at the eighth, carrying the needle back under 
 the first, to the spot whence you started. The stitches will 
 then be alike on both sides. 
 
 Wallachian border ^fig. 333). — A piece of "Wallachian 
 needlework, executed on rough linen, and uncommon, both in 
 colour and design, suggested the charming embroidery, here re- 
 presented. In place of the somewhat violent colours, which indi- 
 cate an undeveloped taste, we have substituted softer and more 
 refined ones. All the stroke stitches of the middle stripe and 
 of the two border stripes, top and bottom, as well as the 
 darker portions of the small dice, subdivided into eight, in 
 the bottom border, and of the small diagonal squares in the 
 top border, worked in Gobelin stitch, are in red, colour 3^.6. 
 The setting of upright stroke stitches round the large centre 
 figures, as well as the straight lines that divide these same 
 
 * See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
162 
 
 CANVAS AND LINEN EMBROIDERY 
 
 Fig. 333. Wallachian border. 
 Gobelin stitch, stroke stitch and Spanish half-stitch. 
 
 Materials. — For Rhodes linen No. i : Cordonnet6 fils D.M.C No. i5, and Or fin 
 D.M.C pour la broderie No. 3o. — For other stuffs : Goton a tricoter D.M.C Nos. 
 
 6 to 16, or Coton a repriser D.M.C No. 12, 25 or 5o and Or fin D.M.C. (*) 
 Colours : Rouge-Cardinal 346, Rouge-Geranium 326, Vert-Pistache 3ig and 
 
 Jaune-vieil-Or 680. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CANVAS AND LINEN EMBROIDERY 
 
 I 63 
 
 figures into four, are 
 worked in yellow, colour 
 680. 
 
 The squares and the 
 half-squares are worked in 
 colour 826, green 319, and 
 gold thread : colour 326 
 is indicated in the illus- 
 tration by the darkest 
 shade, green 319, by the 
 medium shade, and the 
 gold thread by the lightest 
 shade. 
 
 The stitches in the 
 right bottom quarter and 
 top left one, incline up- 
 wards from left to right, 
 in the two other quarters 
 they incline the contrary 
 way. The Spanish half- 
 stitch as shown in fig. 309, 
 can only be done over 4 
 and 2 threads and worked 
 one way, not to and fro. 
 
 The general effect is 
 very much heightened by 
 the introduction of one 
 or two rows of stitches, 
 worked in gold thread, 
 into the straight lines on 
 either side of the stripes ; 
 all the light parts of the 
 design moreover, should 
 be worked in gold thread. 
 
 Fig. 334. Border in several shades of one colour. 
 
 Materials : Coton a tricoter D.M.C Nos. 12 to 20, Goton a broder D.M.C Nos. 
 
 16 to 35 or Coton a repriser No. 12, 25 or 5o. 
 
 Colours : Three shades of either Bleu-Indigo, Rouge-Grenat, 
 
 or Violet-Mauve etc. etc. 
 
;o 8o 
 
 Fig. 335. Border in 
 
 
 
 
 '_^£8ggg& 
 
 Fig. 336. Border in Greek stt 
 
I IO I 20 
 
 DES OF ONE COLOUR. 
 
 150 160 170 rSo 190 
 
 fX * s Hie »* Jf^^^^llsk ^^ 
 
 ^s«sae33a^ss*«««assa3»aa»aia^>»i^ 
 
 HO I20 130 140 150 160 I' 
 
 TPOSED OF ERANCHES. 
 
I 66 CANVAS AND LINEN EMBROIDERY 
 
 Borders in several shades of one colour (figs. 334 ar >d 
 335). In some beautifully embroidered Chinese hangings, that 
 latterly came under our notice, the principal subject was the 
 figure of a mandarin, in a very richly decorated dress. The 
 
 pretty pattern, given in fig. 334, was 
 ^KJIi^K^JK" 5(C Ml 5K copied from the collar and cuffs of 
 (^(j?) J j j,k™ this dress. We should advise working 
 it in several shades of pink or red, 
 or in a single one of the colours indi- 
 cated above. 
 
 The border of these hangings 
 furnished us with pattern 335, which 
 lli7&. will be found to look best, worked 
 in three very distinct shades of 
 
 Fig. 33 7 . blue> 
 
 Small detached subject The grotesque heads of anima l s 
 
 OF FIG. 340. n 7 
 
 and the flowers and branches which 
 break the running pattern, and are a Chinese speciality, 
 distinguish this design from the more conventional patterns 
 of the present day. 
 
 We recommend these two pretty patterns, to our readers 
 notice, as likewise adaptable by transposition, to centres, or by 
 repetition, to broad stripes. With very little trouble they 
 can be converted, into a variety of subjects, such as it is 
 often difficult to find ready made, and exactly suited to the 
 purpose in hand. 
 
 Border in Greek stitch with a footing, composed of 
 branches (fig. 336). — This design can be worked in Greek, 
 Slavonic, Montenegrin, or plaited Algerian stitch. Our illus- 
 tration worked in Greek stitch, shows how one stitch en- 
 croaches upon another, and how the thread is carried from one 
 isolated stitch, to another. 
 
 It will be found to be an improvement if the stitches are so 
 made as to follow the direction of the lines. The central subject 
 may be repeated two or three times, according to the width of 
 border required. The edging is the same throughout. The use 
 of the 'Penelope mirror' for repeating patterns is described 
 in the concluding chapter of the book. 
 
CANVAS AND LINEN EMBROIDERY 167 
 
 Table-cover in Gobelin and stroke stitch (figs. 337, 338, 
 33g, 340). — This tasteful little table-cover provides excellent 
 practice in working two sided, square stitch. The square 
 represented in fig. 339, forms the middle of the cloth. The 
 Gobelin stitches, set very closely, unite and form a star in the 
 centre of the principal subject. They begin in the corners, in 
 red and continue in green, violet and blue, successively ; the 
 little branches in stroke stitch, on each side of the Gobelin 
 
 T^.uTi j~Luj ~3fji) 3i-CP -**=£P- ^£LuD. 3rLcp 3=~J33 .-3uLdb'' 3~!J"P 5»UjP 3C3fe>3Elijb . : 
 
 ^D ' tJ~ V ^ . ,.,x "\s .A. \ 
 
 v4^0v^cn_£™iw^L£idE^ 
 
 , " w s v h^fei ! k v '<^ ' v ^Vs w> v -.^fei 1 kSxY- vaV/> 
 
 - Co -. RT ^ rh *-^ "-R ■"- — ; > z - Covr..!C? X v*V ijD " CD 
 x A <D} CrpV 'IN CD /TV W^P'C/^ <01 Cu* ^ -O CD :0 ijtiTXQ ) c> A C 
 T3 i D^v ~ J^» \y -A, x/ i£_ ^T'v'^u » CT v~; Jjj) -v y\ \./ ^ :r v u j O 
 
 
 .if X/ *£~ \~s 
 \ i s \ ^ 
 
 vr_ 7Tjo\ \/ . 
 
 ? ' /> iCS IT* fS pZ : -'1\ /\ • V^> i\ S^s^ 1 / '^ -'i x ' ^ ^^ iv^, 
 
 tu j- ClTjC CPijC &(T~jZ QTjZ 'uJ .^ uj j^ 'JjtjL t|T,i "!o». Cp~X i 
 
 20 30 40 5 c 60 70 
 
 Fig. 338. Outer border of fig. 340. 
 
 stitches, correspond with them in colour, and the small figures, 
 that form the border of the square, may be worked, indiscrim- 
 inately, in any of the colours used for the Gobelin stitches of 
 the centre. Four branches run inwards from the corners of the 
 square, and four more advance to meet, and pass them, from 
 the inner angles of the wide border. Four figures, copied from 
 the outside border, fig. 339, and worked in yellow, and the 
 little star, fig. 337, besides the little subjects, borrowed from 
 the outside border, fig. 338, are strewn lightly over the founda- 
 tion, interspersed between the branches. In fig. 340, never- 
 theless, which represents the whole table-cover, the edge is 
 formed of the small subjects contained in the wide border and 
 
i68 
 
 CANVAS AND LINEN EMBROIDERY 
 
 not of the little stars. The Gobelin stitches in the centre of 
 fig. 33y, are in dark green, the star stitches and the stroke 
 stitches on the outside in red. The wide border consists of 
 stars, every other row of which, is worked in red; the inter- 
 mediate rows, successively, in blue, green, and yellow. The 
 corners are composed of four detached stars, framed by a row 
 
 W&M&M&W&M& 
 
 S^'^* 3 ^*^ 
 
 sUto 
 
 w 
 
 
 C-v.O kin 7K "c 
 ■7r u A u V. 
 
 UCV^ 
 
 56® 
 
 S5«KW 
 
 
 #!T^ #«^#y& **^ W^ *$«*■ 
 
 50 
 
 60 
 
 Fig. 33q. Middle of fig. 340. 
 
 of stroke stitches, one red and one blue, alternately. This line 
 skirts both sides of the border, and forms the base to the 
 quaint figures, that terminate the design and which can be 
 worked in all the colours used for the inside. 
 
 The original of our illustration, which is on fine Rhodes 
 linen, in Goton a broder D.M.C No. 25, is only a small table- 
 
CANVAS AND LINEN EMBROIDERY 
 
 169 
 
 Mimmk^MMm^MMm g^ 
 
 mmmmmmmwmn 
 
 Fig. 340. Table-cover in Gobelin and stroke stitch. 
 
 Materials. — According to the stuft : Coton a tricoter D.M.C Nos. 6 to 16, Coton 
 
 a broder D.M.C Nos. 16 to 35, Coton a repriser D.M.C Nos. 12, 25, 5o, Fil a 
 
 pointer D.M.C Nos. 10 to 3o, or Cordonnet 6 fils D.M.C Nos. 3 to 20. (*) 
 
 Colours : Rouge-Cornouille 450, Vert-Pistache 3ig, Violet-Lie-de-vin 372, 
 Jaune-Rouille 364, Bleu-Indigo 322. (*) 
 
 * See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
I 7 CANVAS AND LINEN EMBROIDERY 
 
 cover; for a larger one, if you wish strictly to adhere to the 
 pattern, Java or Ceylon linen will be the best material to 
 select, with Coton a tricoter D.M.C No. 12, for the stroke 
 stitches and Coton a repriser No. ib for the Gobelin stitches. 
 
Insertion. — Plain stitches and overs. 
 
 Knitting. 
 
 Knitting is one of the earliest forms of needlework, and 
 one, which has been carried to the highest perfection. It would 
 be difficult to invent new stitches or patterns and, we shall 
 therefore confine ourselves to describing the stitches in general 
 use, and reproducing those of the old patterns we consider 
 the most useful, that our readers may make their own selection. 
 
 In former days, knitting served mainly for the manufacture 
 of stockings, and even now, in spite of machines, handknit 
 stockings, and numberless other useful and ornamental articles, 
 such as shawls, counterpanes, cradle-coverings, gloves, laces 
 etc. are in great request. 
 
 Besides its practical use, knitting is an easy and pleasant 
 pastime that can be taken up at odd minutes and even carried 
 on, whilst talking, or reading. 
 
 Knitting consists of loops, or stitches, as they are generally 
 called, formed by means of a thread and two needles. 
 
 In round knitting, four, or five needles are necessary for 
 the better handling of the work. 
 
 Through the loops formed in knitting, being connected 
 together in unbroken continuity, a very elastic fabric is pro- 
 duced, which is specially suitable for making warm, and 
 closey-fitting wearing-apparel. 
 
KNITTING 
 
 I72 
 
 Materials. — Threads with a slight twist, such as Coton a 
 tricoter D.M.C, are the best. With regard to the thickness of 
 the needles, whether they be of steel, wood, or bone, your 
 choice must be determined by the quality of the thread used. 
 
 The accompanying table is intended to help inexperienced 
 knitters to match their needles and thread, we advisedly say, 
 help, as it is impossible exactly to determine the numbers that 
 will correspond, because every hand knits differently, and a 
 loose knitter has to use finer needles than a tight knitter. 
 
 Other materials are enumerated here, besides, what is 
 properly speaking, called knitting-cotton, as for caps, lace 
 edgings, insertions and so forth, finer kinds of thread and 
 threads with a stronger twist which show up the pattern better, 
 should be used. 
 
 Table of the approximate relation of the D.M.C threads 
 and cottons to the numbers of the knitting- needles. 
 
 Numbers 
 of the needles 
 
 
 
 
 1 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 11 
 
 
 
 
 ■ 
 
 
 I 
 
 
 
 
 8 
 
 ] 
 
 
 
 
 Ll 
 
 1 
 
 2 
 
 ] 
 
 3 
 
 16 18 
 
 Coton a tricoter 
 Coton p r crochet 
 Cordonnet 6 rils 
 Fil a pointer . . 
 Fil d'Alsace . . 
 Fil a dentelle. . 
 
 Nos. 
 
 Nos. 
 
 . 6—8 
 
 8—10 
 
 6 
 
 8 
 
 . 3—4 
 
 ■4—5 
 
 . 10 
 
 15 
 
 '1 
 
 
 
 No?. 
 
 Nos. 
 
 10—12 
 
 14—16 
 
 10 
 
 10—12 
 
 4—5 
 
 25 
 
 20—30 
 
 5—10 
 
 
 
 25 
 
 Nos. I Nos. Nos. Nos. Nos. 
 18—20 ' 20—25 I 25—30 30—35 40—50 
 
 12—16 16—18 
 10—15 20—25 
 
 30 30 
 25—30 30—35 
 
 18—20 30 40 
 25—30 40—50 50—70 
 
 35 40—50 50—70 
 5—40 40—50 i 50—70 
 
 Position of the hands in knitting (fig. 341.) — Lay the 
 thread over the fifth finger of the right hand, and twist it 
 round it, then carry it over the forefinger, which should be 
 kept close to the work, the work being held between the third 
 finger and the thumb. The left hand remains more or less 
 
 {*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
 Th. de Dillmont, Encyclopedia of Needlework. In 8°. English bound, gilt edges. — Price: 3 sh. 
 
KNITTING 
 
 I 7 3 
 
 inactive, having merely, by a slight movement of the forefinger 
 to pass the loops, in succession, on to the needle in the right 
 hand, which forms the stitches. This position of the hands, 
 which is the one usually adopted in England and France, is 
 the one represented in our illustration. The Germans on the 
 contrary, lay the thread over the left hand, and can move the 
 hands much more quickly, in consequence. There are some 
 ways of casting on, which can only be done in the German 
 fashion. 
 
 To prevent the irregularity in stitches, the needles should 
 never be allowed to protrude more than 1 or 1 V 3 c/m. from 
 the work. All exaggerated movement of the arms, which ren- 
 ders knitting a very tiring occupation, should be avoided. 
 
 Fig. 341. Position of the hands in knitting. 
 
 Casting on. — Casting, or, setting on, as it is sometimes 
 called, is the formation of the first row of stitches which are 
 to constitute the foundation of the work. 
 
 There are four methods of casting on: (1) crossed casting 
 on, done in four different ways; (2) knitting on ; (3) slipping 
 on, also done in two ways ; (4) casting on with picots. 
 
 (1) Crossed casting on -with a single thread (fig. 342). 
 Lay the thread over your fingers, as though you were beginning 
 a chain of plain stitches, fig. 403, leaving a long end, sufficient 
 to make the number of stitches required, lying within the palm 
 of the hand. Put the needle in from below, into the loop on 
 
 12 
 
174 
 
 KNITTING 
 
 the thumb, and pass it from right to left under that part ot 
 the thread which lies between the forefinger and the thumb. 
 Then bring the thread through the loop on the thumb, draw 
 the thumb out, and lay the loop on the needle. In making the 
 next stitches, lay the thread over the thumb, so that the end 
 lies outside. Put in the needle under the front thread and 
 complete the stitch as before. This method of casting on is 
 generally done over two needles, one of them being drawn out 
 before the knitting-off is begun, to ensure a loose edge. 
 
 Fig. 342. Crossed casting on with a single thread. 
 
 Crossed casting on with a threefold thread. — This me- 
 tnod is similar to the last, only that the thread is taken threefold 
 and is drawn by the needle through the loop, which is formed 
 
 Fig. 343. Double crossed casting on. 
 
 at the bend of the thread. Then you pass the single thread 
 over the left hand, and the triple one over the thumb, as shown 
 
KNITTING 
 
 i 7 5 
 
 in fig. 342, and make the same stitches, as above. The three- 
 fold thread makes a broad chain at the bottom of the loops. 
 
 Double crossed casting on (fig. 343). — This can be done 
 either with a single or a threefold thread. In our drawing it is 
 done with the latter. The first stitch is made as we have already- 
 described, only that you have to keep the loop on your thumb, 
 put the needle into it a second time, lay hold of the thread behind, 
 cast on a second stitch, and then only, withdraw your thumb. 
 In this manner two loops are made at once, close together. 
 
 Fig. 344. Crossed casting on, forming a chain. 
 
 Crossed casting on, forming a chain (fig. 344.) — Begin by 
 making - one such stitch, as we have described in fig. 341; for 
 the second and following stitches, bring the end of the thread 
 to the inside of the palm of the hand, so that it lies between 
 the thumb and the forefinger. 
 
 (2) Knitting on stitches (fig. 345). — Begin with a plain 
 crossed stitch ; then take the thread and the needle in the left 
 hand, a second needle in the right, and catch it into the stitch 
 on the left needle, lay the thread under the right needle and 
 draw it through in a loop, through the loop on the left needle. 
 Then transfer it as a fresh stitch to the left needle ; catch the 
 needle into this second stitch, and draw the thread through 
 it, to form the third, and so on. 
 
 This method of casting on is used for articles, that are 
 to have a double edge, (see figs. 355, 356), because stitches, 
 made in this way, are easier to pick up than the tighter ones; 
 
176 
 
 KNITTING 
 
 but it should not be used, where it will form the actual edge, 
 as the loops are always too open. 
 
 Fig. 345. Knitting on stitches. 
 
 (3) Casting on with slip loops (fig. 346). — Begin by casting 
 on one loop in the ordinary way, next, lay the thread, as in 
 German knitting, over the left hand, twisting it once onlv 
 round the forefinger, then put the needle in, upwards from 
 
 Fig. 346. Casting on with slip loops. 
 
 below, under the thread that lies on the outside of the fore- 
 linger ; draw out the finger from the loop, put the loop on the 
 needle to the right, take the thread on the forefinger again, 
 and so on. 
 
KNITTING 
 
 l 77 
 
 Casting on with double slip loops (fig. 347). — Begin by 
 casting on a stitch in the ordinary way, then lay the thread 
 over the forefinger, the reverse way, so that it crosses between, 
 not outside the hand and the body of the knitter. Pass the 
 needle upwards from below, under the inside thread, and slip 
 
 Fig. ?4j. Casting on with double slip loops. 
 
 this thread as a loop on to the needle. Continue to cast on, 
 inserting the needle under the front and back threads alternately. 
 This method is specially suitable for open patterns, where 
 you have to increase several times, in succession. 
 
 Fig. 348. Casting on with picots. 
 
 (4] Casting on with picots (fig. 348). — Cast on two stitch- 
 es in the ordinary way and turn the work. Lay the thread 
 
KNITTING 
 
 over the needle, put the needle into the first stitch, from right 
 to left, and slip it on to the right needle, knit off the second 
 stitch plain, and draw the slipped one over it. 
 
 Cast on as many stitches as you want in this manner and 
 then pick up the picots thus formed, with an auxiliary needle, 
 and knit them off like ordinary stitches. 
 
 Fig. 34<j. Plun stitch. 
 
 Fig. ?5o. Back or seam-stitch. 
 
 Fig. 35 i . Plain stitch taken from behind. 
 
 This method of casting on may be varied thus in the follo- 
 wing manner : having cast on the stitches as in fig. 348, throw 
 the thread over the needle and knit two stitches together. 
 
 Plain stitch (fig. 349). — This is the easiest stitch and the 
 first which a knitter has to learn. It is executed as follows : 
 Put the right-hand needle in, upwards from below, under 
 the front part of the first stitch on the left-hand needle, lay 
 
KNITTING 
 
 J 79 
 
 the thread from right to left under the needle, draw it through 
 the loop, and drop the loop off the left needle. 
 
 Plain knitting is employed wherever a perfectly smooth, 
 even surface is required. It looks quite differently on the 
 wrong side from what it does on the right where it presents 
 the appearance of vertical rows of plaiting. 
 
 Fig. 352. Back or seam-stitch taken from behind. 
 
 Fig. 353. Overs. 
 
 Fig. 354. Knot stitch. 
 
 Back, or seam-stitch (fig. 35o). — You may intentionally 
 knit the wrong side of plain knitting. This is called purling and 
 is done, in the following way : lay the thread over the left 
 needle, and put the right one, downwards from above, behind 
 the thread, into the loop on the left needle, lay the thread 
 upwards from below, over the right needle, draw it through 
 the loop, and drop the loop off the left needle. This stitch is 
 
l8o KNITTING 
 
 used in knitting patterns, and for marking horizontal lines in 
 smooth surfaces, such as the seam of a stocking, for instance. 
 
 Plain stitch taken from behind (fig. 35 1). — Put the 
 needle in from right to left, under the back part of the stitch ; 
 leave the thread behind the needle, then pass it from right to 
 left over the needle and draw it through the stitch. 
 
 Back, or seam-stitch taken from behind (fig. 352). — Put 
 the needle into the second part of the stitch, upwards from 
 below, and knit it as a back or seam-stitch. 
 
 In plain stitch, taken from behind, the two threads of the 
 loop are crossed, instead of lying side by side, as they do in 
 plain knitting. 
 
 Back-stitch taken from behind , is only used for certain 
 open-work patterns. 
 
 Overs (fig. 353). — These form holes in plain knitting, and 
 are used for open-work patterns and for increasing. 
 
 To make an over, lay the thread over the needle, and in 
 the next row, knit this loop like any other stitch. 
 
 Each over adds one to the existing number of stitches. In 
 cases, therefore, where the number is to remain the same, you 
 have to make as many intakes as overs. Overs can only be 
 used in conjunction with other stitches. 
 
 Knot stitch (fig. 354). — This forms a raised spot in plain 
 knitting and is executed as follows : knit i , and leave it on the 
 left-hand needle; put the stitch you have made with the right 
 needle back on the left, and knit it off. Make 4 or 5 similar 
 stitches, all issuing from the same stitch on the left needle, so 
 that you have 4 or 5 loops on the right needle ; then drop the 
 stitch off the left needle, and pull the 4first loops over the last one. 
 
 Cable or chain stitch. — Chain stitches are used for strength- 
 ening and equalizing the edges of articles that are made in 
 stripes. They can be made in two ways ; either, you knit off all 
 the stitches on one needle, turn the work, put the needle into 
 the first stitch, as if you were going to knit it from the back, 
 and take it off the left needle without knitting it, the thread 
 to lie behind the needle ; or, you knit off all the stitches on 
 one needle, turn the work, and knit off the first stitch. 
 
KNITTING l8l 
 
 The names of the stitches. — Out of the stitches that have 
 been already described, other stitches are formed, which, as 
 they are frequently alluded to in knitting directions, we shall 
 here enumerate, explaining all the terms, usually employed 
 in such directions. 
 
 Over, or increase. — Explained in fig. 353. 
 
 Throwing the thread once over the right needle. 
 
 Double over, or two increases. — Throwing the thread 
 twice over the needle. 
 
 Plain intake. — Knitting two stitches together plain. This 
 is done when the intake is to lie from left to right. 
 
 Purled, intake. — ■ Purling two stitches together. This is 
 done to make the stitches, that are knitted together, visible; or 
 in the case of a piece of work composed of stripes, on the 
 wrong side, when the intake is to lean to the right, on the 
 right side. 
 
 Plain decrease, taken from behind. — Knitting off two 
 stitches together, plain from behind. This is done when the 
 intake is to lie to the left. 
 
 Purled decrease , taken from behind. — Purling two 
 stitches together, from behind. This is done when, in articles 
 composed of stripes, the decrease has to be made on the wrong 
 side, and is to lie to the left on the right side. 
 
 Pulling over. — Slipping a stitch from the left needle to 
 the right without knitting it, knitting the next plain, and 
 pulling the slipped stitch over the knitted one. In this manner 
 two or three stitches can be pulled over the knitted one. 
 
 Casting off. — To prevent the stitches from unravelling 
 they are finished off in the following manner. Knit off two 
 plain, pull the first over the second and drop it, so that 
 only one remains on the needle. Knit the next stitch, and pull 
 the one behind over it, and so on. This chain of stitches, must 
 neither be too tight, nor too loose, but just as elastic as the 
 rest of the work. 
 
 Materials for stockings. — Stockings can be made of silk, 
 wool or cotton, entirely according to fancy, but for coloured 
 stockings, we cannot too highly recommend the D.M.G knit- 
 
Ib2 KNITTING 
 
 ting cottons, as more durable, in all respects, than either silk 
 or wool. They are manufactured in 36o different shades, 
 whereas, wool and silk are only to be had in a very limited 
 assortment of colours. For hand-knit stockings, Nos. 25, 3o, 
 35 (*) are the best, for machine-knit, Nos. 40 and 5o. 
 
 Stocking* knitting". — A stocking consists of five parts: 
 (1) the top, (2) the knee, (3) the leg, (4) the heel, (5) the foot. 
 
 (1). The top may be either ribbed, or knitted in an open- 
 work stitch of same kind or with a double-toothed edge, 
 
 fig. 356. 
 
 (2) and (3). The knee, and the leg down to the heel, are 
 generally plain knitted ; it is only childrens' stocking that are 
 fancy knitted. 
 
 (4). The heel, is worked as straight knitting backwards 
 and forwards; by knitting first one row plain and then turning 
 back and knitting it purl. It is shaped to the foot by the intakes 
 at the top. 
 
 (5). The foot is knitted plain, with intakes from the heel 
 onwards, to get rid of the superfluous stitches. Then knit a 
 plain piece, without a seam-stitch, till you begin to decrease 
 for the toe, which can be worked in several different ways. 
 
 To ensure the right proportions between the several parts 
 of a stocking, the following directions should be attended to. 
 An ornamental top must never be taken into account, in mea- 
 suring the length of the leg. When the top part is finished, 
 you make the seam, at the beginning of the first needle of the 
 round, of one, or two purled stitches, or sometimes, a narrow 
 pattern of purled stitches. This marks the middle of the 
 stocking. For ordinary-sized stockings, knit plain from the top- 
 band, till the knitted piece, forms a square. 
 
 For stockings that are to cover the knee, knit half as much 
 again, that is one and a half times the width of the stocking. 
 This brings you to the calf of the leg. Pull the third stitch 
 after the seam, over the second, and knit together the two last 
 but one before the seam. There should be 12 rounds between 
 each of the first 3 or 4 intakes, and after that 8, until this part 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
KNITTING l83 
 
 is one and a half times the width of the knee in length, and a 
 quarter narrower. 
 
 For the ankle, knit a plain piece, half the width of the knee 
 in length, without intakes. 
 
 For the heel, count the stitches on the four needles, exclu- 
 sive of the seam, and put two stitches more than the quarter 
 of the whole number on to the needles, to the right and left 
 of the seam. 
 
 For a heel to fit well, it should be as long as it is wide. In 
 order that they should wear better, the heel and the toe are 
 often knitted with double thread. Coton a feutrer D.M.C (*) is 
 made expressly for that purpose, and should be wound round 
 the thread of which the whole stocking is made. For the 
 instep, the part between the heel and toe, you must go on 
 decreasing from the heel, until you have 2 stitches less on 
 
 Coton a tricoter D.M.C 
 
 Number of stitches to 
 
 Number of stitches to 
 
 
 
 Numbers to be used 
 
 be cast on one needle for 
 stocking ordinary-sized 
 
 be cast on one needle foi 
 
 stockings that are to reach 
 
 above the knee 
 
 25 
 
 32 
 
 36 
 
 3o 
 
 34 
 
 38 
 
 35 
 
 36 
 
 42 
 
 40 
 
 40 
 
 46 
 
 DO 
 
 42 
 
 DO 
 
 each needle, than you had at the ankle. Then knit the plain 
 part of the foot, which should be as wide as the ankle, after 
 which proceed to decrease for the toe, which should be a 
 quarter the length of the whole foot. In spite of this careful 
 subdivision, it is always well to count the stitches, to ensure 
 perfect regularity. The number of stitches cast on, at the 
 outset, for the same-sized stockings, must depend upon the size 
 of the wool or cotton ; we can only give the numbers approxi- 
 mately. Our calculation is based on the use of 5 needles; the 
 given number has therefore to be cast on four times. 
 
 Scalloped edge (figs. 355 and 356). — This is the simplest 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
1 84 
 
 KNITTING 
 
 and strongest edge you can have for a stocking, and is called, 
 the cat's-teeth edge. 
 
 Having cast on the stitches, knit (3 to 10 rounds plain, 
 according to the size of the cotton, then one round of alternate 
 intakes and overs. Knit as many plain rounds as before, and 
 
 il i 
 
 mmm 
 
 ii i § 
 
 Fig. '^?5. 
 
 Scalloped stocking edge. 
 
 Edge open. 
 
 Fig. 356. 
 
 Scalloped stocking edge. 
 
 Edge folded together. 
 
 with a sixth needle take up as many of the cast on stitches, 
 as you have stitches on one of the upper needles. Turn this 
 
 needle inwards, and 
 place it against the out- 
 side needle and knit off 
 both needles together. 
 See that you knit the 
 corresponding stitches 
 off together, otherwise 
 the scallops that form 
 the edge will be crooked. 
 Common heel (fig. 
 357). — This is the 
 simplest form of heei, 
 and can be knitted 
 either with or without 
 an outside seam. Divide 
 the stitches into four, 
 and put two more on 
 each of the heel needles than on the others, then make, ac- 
 cording to the size of the cotton, from i5 to 20 seams; knit 
 
 Fig. 35y. Common heel. 
 
KNITTING 
 
 I 85 
 
 off all the stitches on the right needle and a third of those on 
 the left. Supposing that you have 24 stitches, knit off 8, then 
 slip 1, knit 1, and pull the slipped stitch over, knit 2 plain, 
 turn the work, slip the first, and purl the next 8 stitches of the 
 second needle; purl the 9th and 10th together, purl 2, turn 
 the work to the right side, and slip the first stitch on to the 
 right needle. By means of these successive intakes after the 8 
 stitches, the knitting forms a plait on both sides of the heel. 
 
 In all heels that are made after this pattern, the intakes 
 must begin on the right side and the last one must be made 
 on the wrong, so that once the heel is finished and the work 
 turned, you can go on knitting plain. 
 
 When you have finished the stitches of the two heel needles 
 up to the outside seams, take up the stitches on the sides of 
 the heel with a spare needle and knit them on to the left heel 
 needle, then knit the stitches reserved for the instep, take up 
 the stitches on the right side of the heel again and knit them 
 on to the fourth needle. 
 
 In the next round, knit all the stitches of the first needle plain, 
 excepting the 4 last; 
 knit the first and second 
 of these together and 
 the two last plain. Knit 
 the two first stitches of 
 the fourth needle plain, 
 slip the third, knit the 
 fourth and pull the 
 slipped stitch over. 
 
 Heel in steps (fig. 
 358). — After dividing 
 the stitches, make from 
 12 to 14 seams. Then 
 knit as many stitches 
 of the first needle as 
 you have seams at the 
 
 • Fig. 5b6. Heel in steps. 
 
 side ; turn the work, 
 
 and begin the needle with the seam you made first. Knit oft 
 
 as manv stitches from the second needle as from the first. 
 

 [TTING 
 
 e the same number of seams, as for the first part of the 
 
 When the seams are finished, take up the chain stitches, 
 
 both sides, make a decrease by knitting the last stitch of 
 
 k -mall part and the first of the _ together; knit two; 
 
 'k : slip the first s: .it to the second side, 
 
 and decrease as in the 
 
 : part. 
 
 When you have de- 
 creased all the stitches 
 up to the last, take up 
 the slipped stitches of 
 the first part, and begin 
 the intakes for the instep 
 in the ordinary way. 
 
 There is not more 
 work in this pattern of 
 heel than in any other ; 
 it fits closely and con- 
 sequently wears well. 
 
 Plain heel ngs.35q 
 and 36o). — Those who 
 are not fond of purling 
 will appreciate this and 
 the following pattern for 
 a plain heel. 
 
 Knit off the stitch- 
 es of the first needle 
 after the seam; then 
 on to two spare needles, 
 cast on, 8 more stitch- 
 es than you had on one 
 needle after dividing 
 the stitches ; put the 
 stitches of the third and 
 fourth needles together, 
 and knit the first round 
 plain. 
 2nd round — knit together the ist and 2nd, and the 9th 
 
 : : r.i:: _: " 
 
 :- S. -j n i 
 
KNITTIN I 187 
 
 and 10th of the first auxiliary needle; and the 10th and ::; 
 and 2nd and 1st of the second. 
 
 3rd round — plain. 
 
 •4th round — knit together the 1st and 2nd and the 7th 
 and Sth of the first needle. 
 
 5th round — plain. 
 
 6th round — knit together the 1st and 2nd and the 3th 
 and 6th of the first auxiliary needle ; and the 6th and 7th 
 and the last but one and the las:, of the second. 
 
 7th, 10th. nth, i3th, 14th, 16th, 17th. 19th, 20th 
 rounds all plain. 
 
 th round — knit together the ist and 2nd, and the 3rd 
 and 4th of the first auxiliary needle, and the 4th and 3rd. 
 and the last stitch but one and the last, of the second. 
 
 oth round — After the two last intakes, purl together the 
 4th and 3rd stitches before the end of the ist and 3rd needle. 
 and the 3rd and 4th at the beginning of the 2nd and 4th 
 neec 
 
 1 2th. 1 5th, and 1 Sth rounds — Decrease, the same as in the 
 9th round. 
 
 2 1 st round — knit 2 plain, a: the beginning of the ist and 
 3rd needles ; knit the next 2 together ; knit together the 4th 
 and 3rd, before the end of the 2nd and 4th needles; knit the 
 tches plain; go on decreasing in this way until the 
 purled stitches meet. After the plain round over the intakes, 
 add four plain rounds, divide the stitches that remain for the 
 sole, on two needles and cast otf on the wrong side. 
 
 Now take up the auxiliary stitches, and in the first 3 plain 
 rounds, knit together the la ; : and the first of the ist and 2nd 
 needles, and the last and the first of the 3rd and 4th. 
 
 With the rest of the extra stitches make purled intake s 
 knitting two plain rounds after each round with an intake. 
 
 For the other kind of plain heel also ffig. 36o), auxiliary 
 
 stitches are required. Supposing that you have 20 stitches on 
 
 needle, you must cast on : I stitc les on to each auxiliary 
 
 teedle; knit together the 4th and 3rd stitches at the end o: 
 
 st and 3rd needles, and the 3rd and 4th of the 2nd and 
 
 3rd needles, so that you may have 4 plain stitches bet 
 
88 
 
 KNITTING 
 
 both intakes. Go on decreasing, knitting 2 plain rounds after 
 each round with an intake, until you have 6 stitches left on 
 each needle. Then knit together the first and last stitches of 
 each needle, one plain round over it, and finish with a chain 
 on the wrong side of the heel. Then take up the auxiliary 
 stitches and knit the instep. 
 
 Italian stocking- (fig. 36i). — The heel, sole and toe of a 
 stocking always wear out before the instep. The Italians and 
 Greeks economise time and material and facilitate the renewal 
 of those parts that wear out, by knitting the upper part of the 
 foot in two pieces. After knitting the heel in one or other of 
 the above ways, work the foot as straight knitting with the 
 two upper needles only, until you have the necessary length. 
 Then knit the underneath part separately, in the same way. 
 You must keep a chain along all the edges and a narrow seam, 
 of one or two stitches. In the sole, which you make after finish- 
 ing the upper part, your intakes must come directly after and 
 before the seam. When you have got the same number of 
 rounds in each piece, join them together and begin the toe. 
 
 Fig. 36 1. Italian stocking. 
 
 Sew up the slits left open on either side, with a needle and 
 thread taking care to fit the corresponding stitches together. 
 In this manner, when one part wears out, you have only to 
 
KNITTING 
 
 I8 9 
 
 unpick these side-seams and re-sole or re-heel the stocking, as 
 the case may be. 
 
 Toe (fig. 362). — To begin as before, with the simplest and 
 most ordinary way of making this part of the stocking, divide 
 the stitches equally on to the 4 needles ; knit together the 4th 
 and 3rd stitches before the end of the 1st and 3rd needles, 
 knit the 2 last and 2 first stitches of the 2nd and 4th needles 
 plain, and make an intake by 
 slipping the 3rd stitch, knit- 
 ting the 4th, and pulling the 
 slipped stitch over. Begin by 
 knitting 2 plain rounds after 
 each of the first 4 rounds with 
 an intake, and afterwards only 
 one. When you have only 4 
 stitches left on each needle, 
 collect them on two, and knit 
 them together, two and two, 
 on the wrong side of the 
 stocking. 
 
 Toe (fig. 363). — Here, be- 
 fore beginning to decrease, 
 divide the stitches by 8, 10, or 
 12. Supposing that they have 
 been divided by 10, knit 8 
 plain; knit the 9th and 10th 
 together, 8 plain, knit two 
 together, and so on, the whole 
 way round. Then knit as 
 many plain rounds as there 
 are plain stitches between 
 2 intakes. In the next rounds 
 with intakes, you will have 
 one stitch less between each 
 intake, in the second therefore, there should be 7 plain stitches 
 between each intake, and you knit 7 plain rounds ; and so 
 on to the 7th round, when 2 stitches will remain, followed 
 by 2 plain rounds ; when there are only 4 stitches left on 
 
 Fig. 362. Toe. 
 
 Fig. 363. Toe. 
 
 i3 
 
190 
 
 KNITTING 
 
 vi, "'iii'u/ l<(J"lii , .«*i''(ii\j\iiiV 1 M , l'iVhiiAi 
 
 the needles, turn them in to the wrong side of the stocking, 
 and finish off with a chain. 
 
 Toe (fig. 364). — Begin the intakes with the two first stitches 
 of each needle, by the slip and pull over process, knit one 
 plain round after each round with an intake. In the following 
 rounds, make the intake in the 2nd round with the 3rd and 
 4th stitches, in the 3rd, with the 5th and 6th stitches, in the 4th, 
 
 with the 7th and 8th stitches, 
 so that when finished the 
 intakes form a kind of spiral. 
 Finish off in the ordinary way. 
 Toe (fig. 365). — We will 
 describe one other kind of toe, 
 quite as shapely and easy to 
 make as the others. 
 
 1st round — purl the first 
 2 stitches on each needle toge- 
 ther. 
 
 2nd and 3rd, 5th and 6th, 
 8th and qth, 11th and 12th, 
 14th and 1 5th, 17th and 1 8th 
 rounds — plain. 
 
 4th round — 1 plain , 1 
 intake with the 2nd and 3rd 
 stitches, and with the last 2 
 on each needle. 
 
 7th round — knit the 2 first 
 plain, make 1 intake with the 
 3rd and 4th stitches, and 1 
 with the 2 last. 
 
 In each of the next rounds 
 with intakes, knit 1 plain stitch 
 more. 
 
 When the two seams meet, 
 pull the last stitch on each needle over the first of the next ; 
 knit the stitches between the intakes plain. Continue to de- 
 crease in this manner until the last stitches are reached. 
 
 Mending knitting. — Knitted articles are repaired by 
 
 Fig. 364. Toe. 
 
 Fig. 365. Toe. 
 
KNITTING 
 
 I 9 I 
 
 reconstructing the web with a needle and thread. When 
 the stitches are not actually broken, they can be strength- 
 ened by new ones made over them, by means of a needle 
 and thread. 
 
 Materials for darning stockings. — The thread used for 
 darning a stocking should be a little finer than that of which it 
 is made. Coton arepriser D.M.C (*) is the best, for as it consists 
 of several strands it can be subdivided as occasion requires. 
 
 Strengthening the stitches (figs. 366 and 367). — This 
 can be done in two ways. In fig. 366, the thread is brought 
 out between two horizontal bars, passed upwards over a per- 
 pendicular bar, put in by the side of the same and brought 
 out between the next horizontal bars. 
 
 Work the second row of stitches backwards ; take up two 
 threads on the left, pass downwards to the right, over one 
 thread, take up the thread you passed over, and so on. 
 
 Jill 
 
 111 
 
 Fig. 366. 
 
 Strengthening the loops. 
 
 First way. 
 
 Fig. 367. 
 
 Strengthening the loops. 
 
 Second way. 
 
 The other way, fig. 36 7, is, when you have brought out 
 your needle, to carry it over one thread to the right and 
 upwards over two, take up the next two threads on the 
 left, pass downwards over two horizontal threads, and over one 
 thread to the right, and put in the needle where it first came 
 out ; then working from right to left, take up two threads, pass 
 over one to the right, and downwards over two horizontal ones, 
 
 " See at the end of the coucluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
192 
 
 KNITTING 
 
 and so on. In the next row, hold your work, the finished part 
 uppermost, carry the needle downwards over one horizontal 
 thread, bring it out beetween two threads that lie separately 
 and take it downwards again over two horizontal threads, pick 
 up two threads, working from right to left, pass upwards over 
 two threads and over one to the right, take up two to the left, 
 and so on. 
 
 Repairing plain knitting (fig. 368). — When a broken 
 piece of stocking web requires to be replaced by new, draw 
 the new and the old pieces together with a needle and thread, 
 using the same thread the stocking is made of. 
 
 Fig. 368. 
 Repairing plain knitting. 
 
 Fig. 36g. 
 Repairing purled knitting. 
 
 For this purpose, you must clear the loops, by ravelling 
 them out top and bottom, and slip them on to knitting needles. 
 The loops that are to be connected must lie exactly opposite 
 to each other. Enter your threaded needle upwards from below 
 through the first disengaged upper loop, and slip it off the 
 knitting needle, then enter the needle, downwards from above 
 through the first lower loop, and upwards from below through 
 the next, and draw out just enough thread to make the new 
 loop the same size as the old ones. Then enter the needle, 
 dowmwards from above, through the same upper loop you 
 took up before, taking up also the one next to it, and passing 
 your needle through it from underneath ; draw out the thread 
 to form the new loop and descend again to the next, and so on. 
 
 Repairing purled knitting (fig. 369). — To repair ribbed 
 surfaces consisting of alternate rows of plain and purl, proceed 
 as follows : hold the article so that the row of purled stitches 
 is exactly opposite the upper part. Enter your needle upwards 
 
KNITTING 
 
 l 9$ 
 
 from below, through the first loop of the upper part ; join the 
 two lower loops together as in fig. 368 ; carry the needle 
 upwards again, and enter it upwards from below through the 
 first loop of the upper part and downwards from above, 
 through the loop next it. Join the lower loops again, as in plain 
 knitting. 
 
 Disengaging the loops for darning (fig. 370). — Where 
 the threads are broken, new loops 
 have to be made, and the broken 
 ones ravelled out and cut, so that 
 the horizontal loops may stand out 
 clear and distinct. Cut the threads 
 on the vertical sides so that the 
 loops form an edge and the hole is 
 square, clear two or four loops in 
 the corners of the hole, fold them 
 in and fasten them off at the back 
 
 by a Stitch or tWO. The dams We Fig. 370. Disengaging the loops 
 
 are next going to describe should be FOR DARNING - 
 
 made upon a ball to prevent drawing the threads too tightly. 
 
 Darning on threads stretched horizontally (figs. 371 and 
 372). — Carry a horizontal thread across on the wrong side, in 
 the place of each broken thread, securing it in the sound part 
 of the stocking, about two threads from the edge of the hole. 
 
 TO 
 
 
 llfl 
 
 raH 
 
 Fig. 3ji. 
 
 Darning on threads stretched 
 horizontally. 
 Position of the horizontal threads. 
 
 Fig. 372. 
 Darning on threads stretched 
 horizontally. 
 How to cover the horizontal threads. 
 
194 
 
 KNITTING 
 
 When you have made this foundation, put the needle in on 
 the right side near the stitch that is nearest to the sound part 
 on the left, fig. 371. 
 
 Then descending, pick up the nearest horizontal thread 
 from below, so that the working thread lies to the right of the 
 needle, and cover all the horizontal threads you have laid in 
 this manner. 
 
 When you have taken up the last thread, pass the needle 
 downwards from above, through the nearest loop, and bring 
 it back through the one at which you entered it. 
 
 To make, in reascending, the second half of the loop, you 
 must lay your thread to the right of the needle, fig. 372. 
 
 When you have reached the last thread, enter the needle 
 at the loop, opposite the one it came out of. 
 
 Fig. 373. 
 Darning on threads stretched 
 obliquely across. 
 Position of the threads. 
 
 Fig. 374. 
 
 Darning on threads stretched 
 
 obliquely across. 
 
 How TO cover the oblique threads. 
 
 Darning on threads stretched obliquely across (figs. 373 
 and 374). — As the illustration shows, you have to pick up all the 
 cleared loops, besides two or three on either side of the empty 
 space. The number and length of the threads which you carry 
 across, must correspond with those of the threads you have to 
 replace. 
 
 Fasten in, from the right side, a rather finer thread than the 
 one the original web is made of, and make a few stitches over 
 the existing ones, in the row you are about to complete. 
 
 Enter the needle upwards from below, through the first 
 
KNITTING 
 
 195 
 
 disengaged loop, pass it under two threads issuing from one loop, 
 and then bring it 
 back again into 
 the same loop be- 
 tween the two 
 slanting threads, 
 drawing it out 
 again upwards 
 
 from below, 
 through the next 
 loop, and so on. 
 The new loop 
 must be just equal 
 to the old ones in 
 size. Make in the 
 same manner as 
 at the beginning, 
 two or three stitch- 
 es at the end of 
 the row, within 
 the edge of the 
 hole. Work back 
 in a similar way, 
 with this diffe- 
 rence only, that 
 you turn your 
 work round. 
 
 Pique pattern 
 
 (fig. 3y5). — The 
 following patterns 
 are suitable for 
 making counter- 
 panes, petticoats, 
 vests and other ar- FlG 3 _ 6 . PlQUt PATTERN . 
 
 tides of Clothing. Materials: Coton a tricoter D.M.C Nos. 6 to 3o, 
 
 Select a Suitable or Coton pour crochet 4 fils D.M.C Nos. 4 to 20. (*) 
 
 Fig. 375. Pique pattern. 
 Materials : Coton a tricoter D.M.C Nos. 6 to 3o. 
 
 * See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
ig6 
 
 KNITTING 
 
 number of Coton a tricoter D.M.C. Cast on a number of 
 stitches divisible by 7, and begin by 6 rows of 5 plain stitches 
 and 1 purled, taken from behind. 
 
 7th row — purl from behind the 3rd of the 5 plain, and 
 knit 5 plain more and so on. 
 
 Pique pattern (fig. 3y6). — Cast on a number of stitches 
 divisible by 14. 
 
 1 st and 2nd row — * purl 7, knit 1, purl 1, knit 1, purl 1, 
 knit 1, purl 1. knit 1 ; repeat from *. 
 
 3rd and 4th row — * knit 7, purl 1, knit 1, purl 1, knit 1, 
 purl 1, knit 1, purl 1 ; repeat from *. 
 
 Repeat the whole from the 1st row. 
 
 Pique pattern (fig. 377). — Cast on a 
 
 Fig. 877. Pique pattern. 
 Materials : The same as for fig. 371. 
 
 number of stitches 
 divisible by 4. 
 
 The 8 first 
 rows — knit 2, 
 purl 2. 
 
 9th and 10th 
 row — knit 2 over 
 the 2 purled, purl 
 2 over the 2 knit- 
 ted of the 8th row. 
 
 1 ith and 12th 
 rows — the same 
 as the first 8 
 rows. 
 
 1 3th and 14th 
 row — the same 
 as the 9th and 
 10th row. 
 
 1 5th to the 23rd — the same as the first 8 rows. 
 
 Stripes for counterpanes (fig. 378). — This pattern is to be 
 worked in stripes, of two colours ; we may here take occasion 
 to mention that in choosing two colours, one dark and one 
 light, for a piece of work, the dark cotton should always be 
 one or two numbers finer than the light, because the dark dyes 
 thicken the cotton more than the light ones do. The blue, red 
 
KNITTING 
 
 x 97 
 
 and dark brown dyes sink into the cotton more and cause it 
 to swell, whereas the lighter dyes do not affect its thickness. 
 
 Hence it comes, that for the stripes, here described, we 
 were obliged to take No. 8 of the red cotton and No. 6 of the 
 green, in order that the same number of stitches should make 
 the same length of stripe. 
 
 Cast on 28 stitches : 
 
 1st needle — slip 1, knit 2, over, knit 1, knit 1 from behind, 
 purl 1 from behind, knit 1 from behind, purl 2, knit 5, purl 2, 
 knit 1 from behind, purl 1 from behind, knit 1 from behind, 
 purl 1 from behind, knit 1 from behind, purl 1 from behind, 
 knit 1 from behind, purl 1 from behind, knit 1, over, knit 3, 
 1 chain stitch. 
 
 Fig. 378. Stripes for counterpanes. 
 
 Materials: Coton a tricotcr D.M.G No. 6, 8, 10 or 12. 
 
 Colours : Rouge-Turc 32 1 and Gris-Tilleul 391. (*) 
 
 2nd needle — wrong side: slip i, purl 2, purl 2 together, 
 purl 1 from behind, knit 1 from behind, purl 1 from behind, 
 knit 1 from behind, purl 1 from behind, knit 1 from behind, 
 purl 1 from behind, knit 2, purl 5, knit 2, purl 1 from behind, 
 knit 1 from behind, knit 2 together, purl 2, 1 chain stitch. 
 
 3rd needle — right side: slip 1, knit 2, over, knit 1, knit 1 
 from behind, purl 1 from behind, knit 1 from behind, purl 1 
 from behind, knit 1 from behind, purl 2, knit 5, purl 2, knit 
 
 *, See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
1 98 KNITTING 
 
 1 from behind, purl 1 from behind, knit 1 from behind, purl 
 1 from behind, knit 1 from behind, purl i from behind, knit 
 1, over, knit 2, 1 chain stitch. 
 
 4th needle — .wrong side: slip 1, purl 2, purl 2 together, 
 purl 1 from behind, knit 1 from behind, purl 1 from behind, 
 knit 1 from behind, purl 1 from behind, knit 2, purl 5, knit 2, 
 purl 1 from behind, knit 1 from behind, purl 1 from behind, 
 knit 1 from behind, purl 1 from behind, knit 1 from behind, 
 purl 2 together, purl 2, 1 chain stitch. 
 
 5th needle — on the right side: slip 1, knit 2, over, knit 1, 
 knit 1 from behind, purl 1 from behind, knit 1 from behind, 
 purl 1 from behind, knit 1 from behind, purl 1 from behind, 
 knit 1 from behind, purl 2, knit 5, purl 2, knit 1 from behind, 
 purl 1 from behind, knit 1 from behind, purl 1 from behind, 
 knit 1, over, knit 2, 1 chain stitch. 
 
 6th needle — on the wrong side: slip 1, purl 2, purl 2 
 together, purl 1 from behind, knit 1 from behind, purl 1 from 
 behind, knit 2, purl 5, knit 2, purl 1 from behind, knit 1 from 
 behind, purl 1 from behind, knit 1 from behind, purl 1 from 
 behind, knit 1 from behind, purl 1 from behind, knit 1 from 
 behind, purl 2 together, purl 2, 1 chain stitch. 
 
 7th needle like the 5th, 8th needle like the 4th, 9th needle 
 like the 3rd, 10th needle like the 2nd, 11th needle like the 1st. 
 Five plain stitches form a zigzag in the middle of the stripe. 
 
 Join the stripes with crochet stitches ; of which several 
 kinds are described in the next chapter. 
 
 Knitted square (fig. 379). — Cast on 2 stitches on to each 
 of the 4 needles. Repeat always 3 times after the asterisk. 
 
 1st row — over, knit 1, over, knit 1 *. 
 
 2nd row — knit 1, over, knit 1, over, knit 2 *. 
 
 3rd row T — knit 1, purl 1, over, knit 1, over, purl 2, knit 2*. 
 
 4th row — knit 1, purl 2, over, knit 1, over, purl 2, knit 2*. 
 
 5th row — knit 1, purl 3, over, knit 1, over, purl 3, knit 2*. 
 
 6th row — knit 1, purl 4, over, knit 1, over, purl 4, knit 2*. 
 
 7th row — knit 1, purl 5, over, knit 1, over, purl 5, knit 2*. 
 
 8th row — knit 1, purl 4, knit 2, over, knit 2, over, knit 1, 
 purl 4, knit 2 *. 
 
 9th row — knit 1, purl 3, knit 4, over, knit 1, over, knit 4, 
 purl 3, knit 2 *. 
 
KNITTING 199 
 
 i oth row — knit 1, purl 2, knit 6, over, knit 1, over, knit 
 6, purl 2, knit 2 *. 
 
 nth row — knit 1, purl 1, knit 8, over, knit 1, over, knit 
 8, purl 1, knit 2 #. 
 
 Fig. 379. Knitted square. 
 Materials : Coton a tricoter D.M.C No. 8 or Fil a pointer D.M.C No. 20. 
 
 1 2th row — knit i, purl 2, knit 5, cross 2 stitches (that is, 
 first knit off the second stitch plain and then the first), knit 1, 
 over, knit 1, over, knit 1, cross 2, knit 5, purl 2, knit 2 #. 
 
 1 3th row — knit 1, purl 3, knit 8, purl 1, over, knit 1, over, 
 purl 1, knit 8, purl 3, knit 2 *. 
 
 14th row — knit 1, purl 4, knit 4, cross 2, knit 1, purl 2, 
 over, knit 1 , over, purl 2, knit 1 , cross 2, knit 4, purl 4, knit 2 *. 
 
200 KNITTING 
 
 1 5th row — knit i , purl 5, knit 6, purl 3, over, knit i , over, 
 purl 3, knit 6, purl 5, knit i *. 
 
 i6th row — knit i, purl 4, knit 3, cross 2, knit 1, purl 4, 
 over, knit 1, over, purl 4, knit 1, cross 2, knit 3, purl 4, 
 knit 2 *. 
 
 17th row — knit 1, purl 3, knit 7, purl 5, over, knit 1, 
 over, purl 5, knit 7, purl 3, knit 2 *. 
 
 1 8th row — knit 1, purl 2, knit 5, cross 2, knit 1, purl 4, 
 knit 2, over, knit 1, over, knit 2, purl 4, knit 1, cross 2, knit 
 5, purl 2, knit 2 *. 
 
 19th row — knit 1, purl 1, knit 9, purl 3, knit 4, over, knit 
 1, over, knit 4, purl 3, knit 9, purl 1, knit 2 *. 
 
 20th row — knit 1, purl 2, knit 5, cross 2, knit 1, purl 2, 
 knit 6, over, knit 1, over, knit 6, purl 2, knit 1, cross 2, knit 
 5, purl 2, knit 2 *. 
 
 2 1 st row — knit 1, purl 3, knit 7, purl 1, knit 8, over, 
 knit 1, over, knit 8, purl 1, knit 7, purl 3, knit 2 *. 
 
 22nd row — knit 1, purl 4, knit 3, cross 2, knit 1, purl 2, 
 knit 6, cross 2, knit 1, purl 2, knit 5, cross 2, knit 1, over, 
 knit 1, cross 2, knit 5, purl 2, knit 1, cross 2, knit 3, purl 4, 
 knit 2 *. 
 
 23rd row r — knit 1, purl 5, knit 3, purl 3, knit 7, purl 1, 
 over, knit 1, over, purl 1, knit 7, purl 3, knit 5, purl 5, knit 2 #. 
 
 24th row — knit 1, purl 4. knit 3, cross 2, knit 1, purl 4, 
 knit 3, cross 2, knit 1, purl 2, over, knit 1, over, purl 2, knit 
 
 1, cross 2, knit 3, purl 4, knit 1, cross 2, knit 3, purl 4, 
 knit 2 *. 
 
 25th row — knit 1, purl 3, knit 8, purl 5, knit 5, purl 3, 
 
 over, knit 1, over, purl 3, knit 5, purl 5, knit 5, purl 3, 
 knit 2 *. 
 
 26th row — knit 1, purl 2, knit 5, cross 2, knit 1, purl 4, 
 
 knit 3, cross 2, knit 1, purl 4, over, knit 1, over, purl 4, 
 
 knit 1, cross 2, knit 3, purl 4, knit 1, cross 2, knit 5, purl 
 
 2, knit 2 *. 
 
 27th round — knit 1, purl 1, knit 9, purl 3, knit 7, purl 5, 
 over, knit 1, over, purl 5, knit 7, purl 3, knit 9, purl 1, 
 knit 2 *. 
 
 Finish the square with several rows of purl and a chain. 
 
KNITTING 
 
 201 
 
 Fig. 38o. 
 Plain patent knitting, or brioche pattern. 
 
 Plain patent knitting, or brioche pattern (fig. 38o). — 
 This easy and extremely elastic stitch is used for all sorts of 
 articles of clothing, and is worked in two rows. 
 
 Cast on a number of stitches that divides by 3, with 4 extra 
 for the edge. 
 
 1st row — slip 1, knit 1, * over, put the needle into the 
 next stitch, as if to purl it, 
 slip the stitch from the left 
 needle to the right, knit 1, 
 repeat from *, and finish 
 with 2 plain. 
 
 2nd row — begin with 1 
 chain, knit 1, knit the slip- 
 ped stitch and the over to- 
 gether, over, slip the single 
 stitch that remains, from 
 the left needle to the right. 
 When the knitting is round, you purl and knit the intake 
 alternately. 
 
 Double patent knitting" (fig. 38 1 ). — Begin on the wrong side. 
 
 1st row — like the 1st row of fig. 38o. 
 
 2nd row — knit all the stitches, pass the over by putting 
 the needle into it from right to left. 
 
 3rd row — like the second row of fig. 38o. Now, it is only 
 the second and third row 
 that should alternate. 
 
 Patent knitting has a 
 charming effect, done in 
 two colours, by working 
 them alternately back- 
 wards and forwards. 
 
 - This kind of stitch is 
 worked in stripes, which, 
 for scarves, counterpanes, etc., are generally joined together 
 with stripes of plain knitting. For counterpanes, the lower 
 numbers of D.M.C cottons are most suitable, for smaller 
 articles the higher numbers. Plaited stitch is formed by cross- 
 
 Fig. 38i. Double patent knitting. 
 
202 
 
 KNITTING 
 
 Fig. 382. Plaited stitch. 
 
 Materials: Coton a tricoter D.M.C Nos. 8 to 20, or 
 
 Cordonnet 6 tils D.M.C Nos. 10 to 3o. 
 
 ing the stitches, that is, by knitting the second stitch on the 
 left needle to begin with, and then the first stitch. 
 
 If you cross two or more stitches in a few successive rows 
 without slipping them, the stitches will be seen by degrees, to 
 
 form a plait, as 
 shown in fig. 382. 
 1st row — purl 
 4, cast on 3 stitch- 
 es on to an auxi- 
 liary needle, and 
 leave it hanging 
 on theinsideofthe 
 work ; knit 3 and 
 then knit the 3 
 stitches on the 
 extra needle, purl 
 
 4- 
 
 Then follow 5 
 rows, in which 
 you purl all the purled stitches and knit all the plain ones. 
 After which 5 rows you repeat from the beginning. 
 
 Turkish stitch (fig. 383). — ist row — slip i, knit i, over, 
 
 knit 2 together, over, 
 knit 2 together, and so 
 on to the 2 last stitches, 
 which you knit plain. 
 2nd row — slip the 
 ist, knit the 2nd and 
 the 3rd plain, the lat- 
 ter having been for- 
 med by the last over 
 on the ist needle; 1 
 over, 1 intake with the stitch and the over, 1 over, 1 intake 
 and so on. 
 
 Turkish stitch with beads (fig. 384). — String the beads 
 on the thread before you begin to knit. When you only use 
 one kind of bead, thread a needle with your knitting cotton 
 and run it through the thread on which the beads are strung. 
 
 Fig. 383. Turkish stitch. 
 
KNITTING 
 
 2o3 
 
 Fig. 384. Turkish stitch with beads. 
 
 which represents 
 
 stitch 
 
 When you use several kinds, you must count and thread 
 them on in the required order. Beaded knitting is little in 
 request now, excepting for tobacco pouches and purses ; for 
 which you should use Cordonnet 6 fils D.M.C Nos. 35, in any 
 colour, and small beads. 
 
 For close beaded knit- 
 ting, plain stitch is the best. 
 Run the beads down singly 
 at each stitch. The beads 
 will fall on the reverse side 
 of the work so that in knit- 
 ting with beads, remember 
 that the reverse side will be 
 the right side. 
 
 To work fig. 
 fig. 383, you run 
 down 2 or some 
 times 3 beads be- 
 fore knitting each 
 stitch. 
 
 Knitting pat- 
 tern with two 
 kinds of cotton 
 
 (fig. 385). —A va- 
 riety of pretty 
 things, such as 
 open-work stock- 
 ings, shawls, cur- 
 tains etc. can be 
 made in this pat- 
 tern, worked with 
 two sizes of 
 thread. To give 
 it its full effect it 
 ought to be knitted with coarse needles, Nos. 10, 11, or 12. 
 
 Fig. 385. 
 Knitting pattern with two kinds of cotton. 
 Materials : Fil a pointer D.M.C No. 20 or 3o, and Cor- 
 donnet G fils D.M.C No. 60 or 80, e"cru. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
204 
 
 KNITTING 
 
 Cast on a number of stitches that divides by 8. Take the 
 coarse thread to begin with. 
 
 i st and 2nd row — purl. 
 
 3rd row — purl 5, i overs, purl 5. 
 
 4th row — with the fine thread : over, knit 2 together, slip 
 the next stitch of the previous row, drop the double over, slip 
 the next stitch, i over, knit i together. 
 
 5th row — over, knit 2 together, over, knit 2 together, and 
 so on. 
 
 6th row — like the last. See that the 2 slipped stitches, in 
 the coarse thread, always come on the right side of the work. 
 
 7th row — with 
 the coarse thread : 
 purl 4, purl the 2 
 slipped stitches of 
 the 3rd row toge- 
 ther, then repeat 
 from the 1st row. 
 See that in the 
 3rd row the 2 
 overs come be- 
 tween the stitches 
 formed by the 2 
 stitches that were 
 formed by the 1st 
 over, and the 2 
 stitches of the 6th 
 row, that were 
 knitted together. 
 
 Knitting' pattern with two kinds of thread (fig. 386). — 
 Cast on a number of stitches that divides by 4. 
 
 1st row — with coarse thread : purl. 
 
 2nd row — plain. 
 
 3rd row — with fine thread : over, 1 intake, knit 2. 
 
 4th row — plain. 
 
 5th row — knit 1 , over, 1 intake, knit 1 . 
 
 6th row — plain. 
 
 7th row — knit 2, over, 1 intake. 
 
 Fig. 386. 
 
 Knitting pattern with two kinds of thread. 
 
 Materials : Fil a pointer D.M.C Nos. 25 to 3o and 
 
 Cordonnet 6 tils D. M.C No. 60 or 80. 
 
KNITTING 
 
 205 
 
 8th row — plain. 
 
 9th and 10th row — with the coarse thread: purl. 
 
 1 ith row — plain. 
 
 12th row — with the fine thread: over, knit 2 together. 
 
 1 3th row — plain. 
 
 14th row — purl. Then repeat from the 1st row. 
 
 Knitting pattern with dropped stitches (fig. 387). — Cast 
 
 on a number of 
 stitches that di- 
 vides by 9. 
 
 1 st row — 
 over, slip 3, knit 
 1, 2 overs, knit 
 3, 2 overs, knit 1. 
 
 2nd row — 
 knit 3, slip the 
 next, drop the 
 2 overs, knit 4, 
 turn the work, 
 purl 4, turn the 
 work, knit 4, 
 drop the 2 overs, 
 slip the next 
 stitch. 
 
 3rd row — 
 over, slip 2, knit 
 1, pull slipped stitches over, drop the first of the 4 stitches, 
 knit first the stitch that follows the second double over, then 
 the 4 others plain, and lastly, take up the dropped stitch and 
 knit it plain on the right side of the work. 
 
 4th row — knit plain. 
 
 5th row — over, slip 3, over, knit 6. 
 
 6th row — knit plain, and repeat from the 1st row. 
 
 Knitting pattern (fig. 388). — This pattern may be worked 
 with any one of the D.M.C cottons recommended for fig. 387, 
 but in the case of anything that is not wearing apparel, Fil a 
 pointer D.M.C will be found more suitable. Cast on a number 
 of stitches that divides bv 18. 
 
 Fig. 387. Knitting pattern with dropped stitches. 
 
 Materials : Coton a tricoter D.M.C Nos. 16 to 3o, 
 
 Coton pour crochet D.M.C Nos. 6 to 3o, or Fil a pointer 
 
 D.M.C Nos. 10 to 3o. 
 
 Id 
 
206 
 
 KNITTING 
 
 i st row — over, knit 2 together, over, knit 2 together, over, 
 knit 2 together, over, knit 4, knit 2 together, over, slip 2, knit 
 I, pull slipped stitches over, over, knit 3. 
 
 Each row marked by an even number is to be knitted plain 
 throughout. 
 
 3rd row — knit 1, over, knit 2 together, over, knit 2 toge- 
 ther, over, knit 2 together, over, slip 1, knit 1, pull slipped 
 stitch over, knit 2, knit 2 together, over, knit 3, over, slip 1, 
 knit 1, pull slipped stitch over, knit 1. 
 
 5th row — knit 2, over, knit 2 together, over, knit 2 toge- 
 ther, over, knit 2 together, over, slip 1, knit 1, pull slipped 
 stitch over, knit 2 together, over, knit 5, over, knit 2 together. 
 
 7th row — knit 
 
 3, over, knit 2 to- 
 gether, over, knit 2 
 together, over, knit 
 2 together, over, 
 slip 1, knit 1, pull 
 slipped stitch over, 
 knit 1, over, slip 1, 
 knit 1, pull slipped 
 stitch over, knit 
 1, knit 2 together, 
 over, knit 2. 
 
 9th row — knit 
 
 4, over, knit 2 toge- 
 ther, over, knit 2 
 together, over, knit 
 
 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 1, 
 over, slip 2, knit 1, pull slipped stitches over, over, knit 2. 
 
 nth row — knit 5, over, knit 2 together, over, knit 2 toge- 
 ther, over, knit 2 together, over, knit 2 together, over, slip 1, 
 knit 1, pull slipped stitch over, knit 6. 
 
 1 3th row — knit 7, over, knit 2 together, over, purl 2 toge- 
 ther, over, slip 1, knit 1, pull slipped stitch over, knit 5. 
 
 Repeat from the beginning. 
 
 Knitting pattern (fig. 389). — Cast on a number of stitches 
 that divides by 9. 
 
 Fig. 388. Knitting pattern. 
 
KNITTING 
 
 207 
 
 1st row — 2 overs, slip 1, knit 1, pull slipped stitch over, 
 knit 5, knit 2 together. 
 
 2nd row — 2 overs, slip the first over on to the right needle, 
 knit the second over, slip 1, knit 1, pull slipped stitch over, 
 knit 3, knit 2 together. 
 
 3rd row — 2 overs, slip the overs of the two first rows on 
 to the right need- 
 le, slip 1, knit 1, 
 pull slipped stitch 
 over, knit 1, knit 
 2 together. 
 
 4th row — 
 drop the overs of 
 the 3 first rows 
 and knit 8 double 
 stitches, that is, 
 knit 1 stitch on the 
 over, slip it on to 
 the left needle 
 and knit it again. 
 
 These 8 stitch- 
 es finished, make Fig. 38o. Knitting pattern. 
 2 Overs and slip Materials : Cordonnet 6 filsD.M.C, or Fil a pointer D.M.C 
 
 3, knit i, pull slipped stitches over. Repeat from the beginning. 
 
 Each time you repeat the 4th row, make double stitches on 
 4 overs, that is, on 4 threads. 
 
 Knitting pattern (fig. 390). — This pattern is suitable for 
 children's braces. For Coton a repriser D.M.C Nos. 6 to 20, 
 which is the best for the purpose, you will require fine bone 
 needles. 
 
 Cast on a number of stitches that divides by 4. 
 
 1 st row — over, slip 1, knit 1, pull slipped stitch over, knit 2. 
 
 2nd row — knit 1, over, slip 1, knit 1, pull slipped stitch 
 over, knit 1. 
 
 3rd row — knit 2, over, slip 1 , knit 1 , pull slipped stitch over. 
 
 4th row — slip 1, knit 1, pull slipped stitch over, knit 2, 
 over. 
 
208 
 
 KNITTING 
 
 Fig. 390. Knitting pattern. 
 Materials : Coton & repriser D.M.C Nos. 5 to 
 
 5th row — 
 knit 2 together, 
 over, knit 2. 
 
 6th row — 
 knit 1, knit 2 
 together, over, 
 knit 1. 
 
 7th row — 
 knit 2 together, 
 over, knit 2. 
 
 8th row — 
 knit 2, knit 2 
 together, over. 
 Repeat from 
 the beginning. 
 Knitting pat- 
 tern (fig. 391). 
 — The patterns 
 shown in figs. 
 3<)i and 392, 
 are more parti- 
 culary useful 
 for comforters, 
 shawls, hoods 
 and the like. The 
 needles, which 
 may be either of 
 bone or steel 
 must match the 
 cotton in size ; 
 steel needles are 
 the best for any 
 thing finer than 
 No.i6,ofD.M.C 
 Coton a tricoter. 
 Cast on a number of stitches that divides by 3. 
 1 st row — over, slip 1 stitch on to the right needle, knit 
 the 2 next stitches, and draw the first stitch over them. 
 2nd row and 4th row — knit plain. 
 
 Fig. 391. Knitting pattern. 
 
KNITTING 
 
 209 
 
 3rd row — like the first, but note, that the stitch that was 
 the third in the first row, will be the first here. 
 Repeat from the beginning. 
 
 Knitting: pattern (fig. 392). — Cast on a number of stitches 
 that divides by 3. 
 
 1st row — over, 
 knit the 2 first to- 
 gether, draw the 
 3rd stitch through 
 the stitch formed 
 by the intake and 
 knit it off plain, 
 then knit the 
 stitch that was 
 pulled over it. 
 
 2nd and 4th 
 row — knit plain. 
 
 3rd row — like 
 the first ; the third 
 stitch here is the 
 same that was 
 drawn through 
 the third stitch in 
 the first row. 
 
 Knitting pat- 
 tern (fig. 393). - 
 Cast on a number 
 of stitches that 
 divides by 14. 
 
 istrow — over, 
 knit 1, over, knit 
 2, purl 3, knit 3 
 together, purl 3, 
 knit 2. 
 
 2nd row — knit 
 5, purl 7, knit 2. 
 
 3rd row — over, 
 knit 3, over, knit 2, purl 
 
 Fig. 3q2. Knitting pattern. 
 
 Fig. 3g3. Knitting pattern. 
 
 knit 3 together, purl 2, knit 2. 
 
2IO 
 
 KNITTING 
 
 4th row — knit 7, purl 5, knit 2. 
 
 5th row — over, knit 5, over, knit 2, purl 1 , knit 3 together, 
 purl 1 , knit 2. 
 
 6th row —knit 9, purl 3, knit 2. 
 
 7th row — over, knit 7, over, knit 2, knit 3 together, knit 2. 
 
 8th row — knit 11, purl 1, knit 1. 
 
 Repeat from the beginning but in the reverse order, that is, 
 purling the knitted stitches and knitting the purled. 
 
 ti&m 
 
 2SS 
 
 ■--rs 
 
 Hi 
 
 WWftAVAVAV«V«W4i' 
 
 C4i 
 
 &&jsSH2S£^@a 
 
 Fig. 394. Knitted lace. 
 
 Materials : Cordonnet 6 tils D.M.C Nos. 25 to 60, Fil a dentelle D.M.C 
 
 Nos. 25 to 70. (*) 
 
 Fig. 3g5. Knitted lace. 
 
 Materials: Goton a tricoter D.M.C Nos. 25 to 5o, Fil a pointer D.M.C Nos. 10 
 
 to 3o, Cordonnet 6 fils D.M.C Nos. 10 to 3o. (*) 
 
 Knitted lace (fig. 394). — Knitted lace looks best, made 
 of a smooth, silky thread which shows up the pattern better 
 than any other material. As a knitted edging makes a very 
 pretty finish to almost any kind of knitted article, we give a 
 selection of some of the easiest and most effective patterns that 
 we consider suitable for the purpose. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
KNITTING 211 
 
 Cast on 8 stitches. 
 
 ist needle — i chain, knit 2, over, knit 2 together, knit 2, 
 2 overs, knit 2. 
 
 2nd needle — knit 3, purl 1, knit 4, over, knit 2 together, 
 1 chain. 
 
 3rd needle — 1 chain, knit 2, over, knit 2 together, knit 6. 
 
 4th needle — 2 chain, knit 5, over, knit 2 together, 1 chain. 
 
 Repeat from the first needle. 
 
 Knitt ed lace (fig. 3g5). — Cast on 10 stitches. 
 
 1 st needle — knit 2 together, 2 overs, knit 2 together, 2 
 overs, knit 3, over, knit 2 together, 1 chain. 
 
 2nd needle — 1 chain, knit 2, knit 2 together, knit 2, purl 
 1, knit 2, purl 1, knit 1. 
 
 3rd needle — knit 2 together, 2 overs, knit 2 together, 2 
 overs, knit 4, over, knit 2 together, 1 chain. 
 
 4th needle — 1 chain, knit 2, knit 2 together, knit 3, purl 1, 
 knit 2, purl 1, knit 1. 
 
 5th needle — knit 2 together, 2 overs, knit 2 together, 2 
 overs, knit 5, over, knit 2 together, 1 chain. 
 
 6th needle— 1 chain, knit 2, knit 2 together, knit 4, purl 
 1, knit 2, purl 1, knit 1. 
 
 7th needle — knit 10, over, knit 2 together, 1 chain. 
 
 8th needle — 1 chain, knit 2, knit 2 together, knit 8. 
 
 9th needle — 4 chain, 2 overs, knit 2 together, 2 overs, 
 knit 3, over, knit 2 together, 1 chain. 
 
 Repeat from the second needle. 
 
 Knitted lace (fig. 396). — Cast on i3 stitches. 
 
 1 st needle — 1 chain, purl 1, purl 2 together, over, knit 8, 
 1 chain. 
 
 2nd needle — 1 chain, knit 8, over, knit 2, knit 1 from 
 behind, 1 chain. 
 
 3rd needle — 1 chain, purl 1, over, purl 2 together, over, 
 knit 8, 1 chain. 
 
 4th needle — 1 chain, knit 8, over, knit 2 together, over, 
 knit 2, knit 1 from behind, 1 chain. 
 
 5th needle — 1 chain, purl 2, over, purl 2 together, over, 
 purl 2 together, over, knit 8, 1 chain. 
 
212 
 
 KNITTING 
 
 6th needle — i chain, knit 8, over, knit 2 together, over, 
 knit 2 together, over, knit 2, knit i from behind, i chain. 
 
 7th needle — 1 chain, purl 2, over, purl 2 together, over, 
 purl 2 together, over, purl 2 together, over, knit 8, 1 chain. 
 
 8th needle— 1 chain, knit 8, over, knit 2 together, over, 
 knit 2 together, over, knit 2 together, over, knit 2, knit 1 from 
 behind, 1 chain. 
 
 9th needle — 1 chain, purl 2, over, purl 2 together, over, 
 purl 2 together, over, purl 2 together, over, purl 2 together, 
 over, knit 8, 1 chain. 
 
 10th needle — 8 chain, knit 10, knit 1 from behind, 1 chain. 
 
 Repeat from the first needle. 
 
 Fig. 3q6. Knitted lace. 
 
 Materials : Fil d'AIsace D.M.C Nos. 3o to 70, Cordonnet 6 fils D.M.C Nos. 20 
 
 to 80, or Fil a dentelle D.M.C Nos. 25 to 60. (*) 
 
 Fig. 397. Knitted lace. 
 
 Materials : Fil d'Alsace D.M.C Nos. 3o to 70, Cordonnet 6 fils D.M.C Nos. 25 
 
 to 70, Fil a dentelle D.M.C Nos. 25 to 80. (*) 
 
 Knitted lace (fig. 397). — Cast on 11 stitches. 
 1 st needle — 1 chain, knit 1 from behind, over, knit 1, over, 
 slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1, pull 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
KNITTING 2l3 
 
 slipped stitch over, over, slip i, knit i, pull slipped stitch over, 
 knit i, i chain. 
 
 The 2nd, 4th, 6th, 8th, 10th, 12th, 14th, and 16th needle, 
 purled. 
 
 3rd needle — 1 chain, knit 1 from behind, over, knit 3, 
 over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1, 
 pull slipped stitch over, over, slip 1, knit 1, pull slipped stitch 
 over, 1 chain. 
 
 5th needle — 1 chain, knit 1 from behind, over, knit 5, over, 
 slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1, pull 
 slipped stitch over, knit 1, 1 chain. 
 
 7th needle — 1 chain, knit 1 from behind, over, knit 7, over, 
 slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1, pull 
 slipped stitch over, 1 chain. 
 
 gth needle — 1 chain, slip 1, knit 1, pull slipped stitch over, 
 over, slip 1, knit 1, pull slipped stitch over, knit 3, knit 2 toge- 
 ther, over, knit 2 together, over, knit 2, 1 chain. 
 
 1 ith needle — 1 chain, slip 1 , knit 1 , pull slipped stitch over, 
 over, slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 
 together, over, knit 2 together, over, knit 2 together, over, 
 knit 1, 1 chain. 
 
 1 3th needle — 1 chain, slip 1 , knit 1 , pull slipped stitch over, 
 over, knit 3 together, over, knit 2 together, over, knit 2 toge- 
 ther, over, knit 2, 1 chain. 
 
 1 5th needle — 1 chain, slip 1 , knit 1 , pull slipped stitch over, 
 knit 1, knit 2 together, over, knit 2 together, over, knit 1, 1 
 chain. 
 
 Repeat from the first needle. 
 
 Rose for knitting- (fig. 398). — Repeat all the directions, 
 8 ending with the sign *, 7 times. 
 
 Cast on 8 stitches, on to 4 needles, two on each; close the 
 ring. 
 
 2nd round — 8 times: over, knit 1. 
 
 The 3rd, 5th, 7th, 9th, nth, 1 3th, 1 5th, 17th, 19th, 21st, 
 23rd, and 25th round, knit plain. 
 
 4th round — over, knit 3, over, knit 1 from behind *. 
 
 6th round — over, knit 4, over, knit 1 from behind *. 
 
 8th round — over, knit 7, oyer, knit 1 from behind *. 
 
214 
 
 KNITTING 
 
 i oth round — over, slip 
 knit 2 together, over, knit i 
 1 2th round — over, knit 
 14th round — over, knit 
 1 6th round — over, knit 
 1 8th round — over, knit 
 20th round — over, knit 
 22nd round — over, knit 
 24th round — over, knit 
 26th round — over, knit 
 purl 1, slip 1, knit 1, pull s 
 
 1, knit 1, pull slipped stitch over, 
 
 *. 
 
 2 together, over, knit 3 *. 
 1 from behind, over, knit 5 * 
 1 from behind, over, knit 7 *. 
 1 from behind, over, knit 9 *. 
 1 from behind, over, knit 1 1 *. 
 
 1 from behind, over, knit i3 #. 
 1 from behind, over, knit i5 *. 
 
 3, over, knit 5, knit 2 together, 
 lipped stitch over, knit 5 *. 
 
 Fig. 3g8. Rose for knitting. 
 
 Materials: Fil d' Alsace D.M.C in balls, No. 60 or 70, Fil a dentelle D.M.C 
 
 No. 40, 5o or 60. (*) 
 
 27th round — knit u, purl i, knit 6 *. 
 28th round — over, knit 5, over, knit 4, knit 2 together, 
 purl 1 , slip 1, knit 1, pull slipped stitch over, knit 4 *. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
KNITTING 2l5 
 
 29th round — knit 12, purl 1, knit 5 *. 
 
 3oth round — over, knit 1, over, slip 1, knit 1, pull slipped 
 stitch over, knit 1, knit 2 together, over, knit 1, over, knit 3, 
 knit 2 together, purl 1, slip 1, knit 1, pull slipped stitch over, 
 knit 3 *. 
 
 3ist round — knit i3, purl I, knit 4 *. 
 
 32nd round — over, knit 3, over, slip 2, knit 1, pull slipped 
 stitches over, over, knit 3, over, knit 2, knit 2 together, purl 
 1, slip 1, knit 1, pull slipped stitch over, knit 2 #. 
 
 33rd round — knit 14, purl 1, knit 3. 
 
 34th round — over, knit 11, over, knit 1, knit 2 together, 
 purl 1, slip 1, knit 1, pull slipped stitch over, knit 1 #. 
 
 35th round — knit i5, purl 1, knit 2. 
 
 36th round — over, knit 1, over, slip 1, knit 1, pull slipped 
 stitch over, knit 1, knit 2 together, over, knit 1, over, slip 1, 
 knit 1, pull slipped stitch over, knit 1, knit 2 together, over, 
 knit 1, over, knit 2 together, purl 1, slip 1, knit 1, pull slipped 
 stitch over *. 
 
 3yth round — knit 16, purl 1, knit 1. 
 
 38th round — over, knit 3, over, slip 2, knit 1, pull slipped 
 stitches over, over, knit 3, over, slip 2, knit 1, pull slipped 
 stitches over, over, knit 3, over, knit 2, over, slip 2, knit 1, 
 pull slipped stitches over #. 
 
 39th, 41st and 43rd round — knit plain. 
 
 40th round — over, knit 4, knit 2 together, over, knit 5, over, 
 slip 1, knit 1, pull slipped stitch over, knit 4, over, knit 1. 
 
 42nd round — knit 1, over, slip 1, knit 1, pull slipped stitch 
 over, knit 1, knit 2 together, over, knit 1, over, slip 1, knit 1, 
 pull slipped stitch over, knit 1, knit 2 together, over, knit 1, 
 over, slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 toge- 
 ther, over, knit 2 *. 
 
 44th round — knit 2, over, slip 2, knit 1, pull slipped stitches 
 over, over, knit 3, over, slip 2, knit 1, pull slipped stitches over, 
 over, knit 3, over, slip 2, knit 1, pull slipped stitches over, 
 over, knit 3 *. 
 
 Finish with three purled rounds. 
 
 Knitted edging ''fig. 399). — Cast on 43 stitches. 
 
 1 st needle, make a chain of 2 stitches, over, knit 1 from 
 
2ib 
 
 KNITTING 
 
 behind, over, knit i from behind, over, knit 1, over, slip i, 
 knit i, pull slipped stitch over, knit i, knit 2 together, over, 
 knit 1, over, slip 1, knit 1, pull slipped stitch over, knit 1, knit 
 2 together, over, knit 1, knit 1 from behind, purl 1, knit 1 from 
 behind, over, knit 1, knit 2 together, purl 1, slip 1, knit 1, pull 
 slipped stitch over, knit 1, purl 1, knit 1, knit 2 together, knit 
 1 from behind, slip 1, knit 1, pull slipped stitch over, knit 
 1, over, knit 1 from behind, purl 1, knit 1 from behind, over, 
 knit 2 together, knit 1, 1 chain. 
 
 2nd needle — 1 chain, knit 2, purl 1, purl 1 from behind, 
 knit 1, purl 1 from behind, purl 3, knit 1, purl 2, knit 1, 
 
 purl 2, knit 1, purl 3, purl 
 i from behind, knit 1, 
 purl 1 from behind, purl 
 14, purl 1 from behind, 
 purl 4. 
 
 3rd needle — slip 2 
 stitches over for a chain, 
 over, knit 1 from behind, 
 over, knit 1 from behind, 
 over, knit 3, over, slip 2, 
 knit 1, pull slipped stitch- 
 es over, over, knit 3, over, 
 slip 2, knit 1, pull slipped 
 stitches over, over, knit 2 
 Fig. 3qq. Knitted edging. together, over, knit i from 
 
 Materials : Fil d'Alsace D.M.C Nos. 40 to 70 behind, purl I, knit I from 
 or Fil a dentelle D.M.C Nos. 2 5 to 5o, or behind over knit , over 
 Cordonnet b nls D.M.C Nos. 25 to 60. (*) , . . . 
 
 knit 2 together, purl 1, 
 slip 1, knit 1, pull slipped stitch over, purl i, knit 2 together, 
 purl 1, slip 1, knit 1, pull slipped stitch over, over, knit 1, over, 
 knit 1 from behind, purl 1, knit 1 from behind, over, knit 2 to- 
 gether, knit 1, 1 chain. 
 
 4th needle — slip 1, knit 2, purl 1, purl 1 from behind, 
 knit 1, purl 1 from behind, purl 4, knit 1, purl 1, knit 1, purl 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
KNITTING 217 
 
 i, knit 1, purl 4, purl 1 from behind, knit 1, purl 1 from be- 
 hind, purl 1 5, purl 1 from behind, purl 4. 
 
 5th needle — slip 2 stitches over for a chain, over, knit 
 1 from behind, over, knit 1 from behind, over, knit 2, over, 
 slip 1, knit 1, pull slipped stitch over, knit 2 together, over, 
 knit 2, over, slip 1, knit 1, pull slipped stitch over, knit 2 to- 
 gether, over, knit 2 together, over, knit 1, knit 1 from behind, 
 purl 1, knit 1 from behind, over, knit 3, over, slip 2, knit 1, 
 pull slipped stitches over, purl 1, slip 2, knit 1, pull slipped 
 stitches over, over, knit 3, over, knit 1 from behind, purl 1, 
 knit 1 from behind, over, knit 2 together, knit 1, 1 chain. 
 
 6th needle — slip 1, knit 2, purl 1, purl 1 from behind, 
 knit 1, purl 1 from behind, purl 6, knit 1, purl 6, purl 1 from 
 behind, knit 1, purl 1 from behind, purl 16, purl 1 from be- 
 hind, purl 4. 
 
 7th needle — slip 2 stitches over for a chain, over, knit 1 
 from behind, over, knit 1 from behind, over, knit 1, over, 
 slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, 
 over, knit 1, over, slip 1, knit 1, pull slipped stitch over, knit 
 1, knit 2 together, over, knit 2 together, over, knit 2 together, 
 over, knit 1 from behind, purl 1, knit 1 from behind, over, 
 knit 5, over, slip 2, knit 1, pull slipped stitches over, over, knit 
 5, over, knit 1 from behind, purl 1, knit 1 from behind, over, 
 knit 2 together, knit 1, 1 chain. 
 
 8th needle — slip 1, knit 2, purl 1, purl 1 from behind, 
 knit 1, purl 1 from behind, purl i5, purl 1 from behind, knit 
 
 1, purl 1 from behind, purl 17, purl 1 from behind, purl 4. 
 9th needle — slip 2 stitches over for a chain, over, knit 
 
 1 from behind, over, knit 1 from behind, over, knit 3, over, 
 slip 2, knit 1, pull slipped stitches over, over, knit 3, over, slip 
 
 2, knit 1, pull slipped stitches over, over, knit 2 together, over, 
 knit 2 together, over, knit 1, knit 1 from behind, purl 1, knit 
 1 from behind, over, knit 1, knit 2 together, purl 1, slip 1, 
 knit 1, pull slipped stitch over, knit 1, purl 1, knit 1, knit 2 
 together, purl 1, slip 1, knit 1, pull slipped stitch over, knit 1, 
 over, knit 1 from behind, purl 1, knit 1 from behind, over, 
 knit 2 together, knit 1, 1 chain. 
 
 10th needle — slip 1, knit 2, purl 1, purl 1 from behind, 
 
2l8 KNITTING 
 
 knit i, purl i from behind, purl 3, knit i, purl 2, knit 1, purl 
 2, knit 1, purl 3, purl 1 from behind, knit 1, purl 1 from be- 
 hind, purl 18, purl 1 from behind, purl 4. 
 
 1 1 th needle — slip 2 stitches over for a chain, over, knit 1 
 from behind, over, knit 1 from behind, over, knit 2, over, 
 slip 1, knit 1, pull slipped stitch over, knit 2 together, over, 
 knit 2, over, slip 1, knit 1, pull slipped stitch over, knit 2 
 together, over, knit 2 together, over, knit 2 together, over, 
 knit 2 together, over, knit 1 from behind, purl 1, knit 1 
 from behind, over, knit 1, over, knit 2 together, purl 1, slip 
 1, knit 1, pull slipped stitch over, purl 1, knit 2 together, 
 purl 1, slip 1, knit 1, pull slipped stitch over, over, knit 1, 
 over, knit 1 from behind, purl 1, knit 1 from behind, over, 
 knit 2 together, knit 1, 1 chain. 
 
 1 2th needle — slip 1, knit 1, purl 1, purl 1 from behind, 
 knit 1, purl 1 from behind, purl 4, knit 1, purl 1, knit 1, purl 
 1, knit 1, purl 4, purl 1 from behind, knit 1, purl 1 from 
 behind, purl 19, purl 1 from behind, purl 4. 
 
 1 3th needle — slip 2 stitches over for a chain, over, knit 1 
 from behind, over, slip 1, knit 1, pull slipped stitch over, over, 
 slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, 
 over, knit 1, over, slip 1, knit 1, pull slipped stitch over, knit 
 1, knit 2 together, over, knit 1, over, slip 1, knit 1, pull slipped 
 stitch over, over, slip 1, knit 1, pull slipped stitch over, over, 
 slip 1, knit 1, pull slipped stitch over, knit 1 from behind, 
 purl 1, knit 1, from behind, over, knit 3, over, slip 2, knit 1, 
 pull slipped stitches over, purl 1, slip 2, knit 1, pull slipped 
 stitches over, over, knit 3, over, knit 1 from behind, purl 1, 
 knit 1 from behind, over, knit 2 together, knit 1, 1 chain. 
 
 14th needle — slip 1, knit 2, purl 1, purl 1 from behind, 
 knit 1, purl 1 from behind, purl 6, knit 1, purl 6, purl 1 from 
 behind, knit 1, purl 1 from behind, purl 18, purl 1 from be- 
 hind, purl 4. 
 
 1 5th needle — slip 2 stitches over for a chain, over, knit 1 
 from behind, over, slip 1, knit 1, pull slipped stitch over, over, 
 slip 2, knit 1, pull slipped stitches over, over, knit 3, over, slip 2, 
 knit 1 , pull slipped stitches over, over, knit 3, over, slip 1 , knit 1 , 
 pull slipped stitch over, over, slip 1, knit 1, pull slipped stitch 
 
KNITTING 219 
 
 over, over, knit 2 together, purl 1 , knit 1 from behind, over 
 knit 5, over, slip 2, knit 1, pull slipped stitches over, over, 
 knit 1 from behind, over, knit 2 together, knit 1, 1 chain. 
 
 16th needle — like the 8th. 
 
 17th needle — slip 2 stitches over for a chain, over, knit 1 
 from behind, over, slip 1, knit 1, pull slipped stitch over, over, 
 slip 1, knit 1, pull slipped stitch over, knit 2 together, over, 
 knit 2, over, slip 1, knit 1, pull slipped stitch over, knit 2 
 together, over, knit 2, over, slip 1, knit 1, pull slipped stitch 
 over, over, slip 1, knit 1, pull slipped stitch over, knit 1 from 
 behind, purl 1, knit 1 from behind, over, knit 1, knit 2 tog- 
 ether, purl 1, slip 1, knit 1, pull slipped stitch over, knit 1, 
 purl 1, knit 1, knit 2 together, purl 1, slip 1, knit 1, pull 
 slipped stitch over, knit 1, over, knit 1 from behind, purl 1, 
 knit 1 from behind, over, knit 2 together, knit 1, 1 chain. 
 
 18th needle — slip 1, knit 2, purl 1, purl 1 from behind, 
 knit 1, purl 1 from behind, purl 3, knit 1, purl 2, knit 1, 
 purl 2, knit 1, purl 3, purl 1 from behind, knit 1, purl 1 
 from behind, purl 16, purl 1 from behind, purl 4. 
 
 19th needle — slip 2 stitches over for a chain, over, knit 1 
 from behind, over, slip 1, knit 1, pull slipped stitch over, over, 
 slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, 
 over, knit 1, over, slip 1, knit 1, pull slipped stitch over, knit 
 1, knit 2 together, over, knit 1, over, slip 1, knit 1, pull 
 slipped stitch over, over, knit 2 together, purl 1, knit 1 from 
 behind, over, knit 1, over, purl 1, slip 1, knit 1, pull slipped 
 stitch over, purl 1, knit 2 together, purl 1, slip 1, knit 1, 
 pull slipped stitch over, over, knit 1, over, knit 1 from behind, 
 purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1 chain. 
 
 20th needle — like the 4th. 
 
 2 1 st needle — slip 2 stitches over for a chain, over, knit 1 
 from behind, over, slip 1, knit 1, pull slipped stitch over, over, 
 slip 2, knit 1, pull slipped stitches over, over, knit 3, over, 
 slip 2, knit 1, pull slipped stitches over, over, knit 3, over, 
 slip 1, knit 1, pull slipped stitch over, knit 1 from behind, 
 purl 1, knit 1 from behind, over, knit 3, over, slip 2, knit 1, 
 pull slipped stitches over, purl 1, slip 2, knit 1, pull slipped 
 stitches over, over, knit 3, over, knit 1 from behind, purl 1, 
 
knit i from _.ther. knit ; .ain. 
 
 ... eedle — slip i, kr. .. purl I, purl i from beh: 
 knit i, purl i from behind, purl 6, knit i. purl 6, purl 1 from 
 behir._ . purl 1 from behind, purl 14. purl 1 from be- 
 
 ll 
 
 . — - over for a chain, over, knit 1 
 
 from be"-.. -11 slipped stitch over, over, 
 
 slip 1, knit : 2 1 aether, over. 
 
 nit 1, r ut 1 
 
 ■ether, over, knit 2, over, knit 2 together, purl 1, knit 
 
 1 fire: : 1, pull slip ! d 
 
 :ver. over, . . -:nit 1 from . . purl 1, 
 
 - : : from behind nit 2 1 zether, knit 1, 1 chain. 
 
 ._: needle — slip 1. ~rl 1. purl 1 from behind. 
 
 :url 1 from behind, knit 
 3m behind, purl : rom behind, purl 4. 
 
 Repeat from the . sdle. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 5^i^ 
 
 *4HG 
 
 3t3f 
 
 2£5S£U 
 
 
 jtjfjiy'-* i 
 
 jl,- _A 
 
 
 
 <gB§C*dPsa«5& 
 
 Jr r ^ 
 
 
 sssg^ 
 
 
 fe^L^v 
 
 
 
 ps 
 
 p^p 
 
 ii^slll 
 
 
 
 BIB 
 
 a&^fiisgai 
 
 
 Crochet lace. — Close leaves and bars with picots 
 
 Crochet Work. 
 
 Crochet work, so called from the hook, French croche or 
 croc, with which it is done, is not only one of the easiest but 
 in comparison with the cost and labour, one of the most 
 effective kinds of fancy-work. It is also one of the most useful, 
 as it can be applied to the domestic requirements of every-day 
 life, to wearing apparel, house-linen and upholstery; and we 
 are sure that the patterns contained in this chapter, which have 
 in addition to their other merits that of novelty, will meet with 
 a favorable reception. 
 
 Hooks, or needles, as they are generally called, made of 
 wood, bone or tortoise-shell are used for all the heavier kinds 
 of crochet work in thick wool or cotton, and steel ones for 
 the finer kinds. The Tunisian crochet is done with a long 
 straight hook, which is made all in one piece. The points 
 should be well polished inside and not too sharp, the backs 
 slightly curved, and the handles, whether of bone, steel or 
 wood, so light as not to tire the hand. Those represented 
 here, we consider the best, as regards shape. As it is most 
 essential that the needle should be suited to the cotton in size, 
 we subjoin a comparative table of the numbers of the D.M.C 
 threads and cottons and of the different needles. 
 
 i^ 
 
222 
 
 CROCHET WORK 
 
 Fig. 400. Crochet needle with wooden handle. 
 
 ^6* 
 
 Sfi 
 
 S-*- 
 
 iT'OA 
 
 Fig. 40 i. Crochet needle with steel handle. 
 
 Fig. 402. English crochet needle with wooden handle. 
 
 Table of the approximate relation of the D.M.C threads 
 and oottons to the numbers of the crochet needles. 
 
 Numbers 
 of the crochet needles. 
 
 Numbers of the cottons 
 
 Coton pour crochet 
 
 Coton k tricoter 
 
 Fil k pointer 
 
 Cordonnet 6 fils 
 
 Fil d'Alsace 
 
 Fil k dentelle 
 
 No. 
 
 6 
 10 
 
 1— l'/j 
 
 No. 
 
 6 
 
 8 
 
 15 
 
 2— 2 '/J 
 
 A 
 
 11 
 
 No. 
 8—10 
 10—12 
 20—30 
 
 3—4 
 
 No. 
 
 12—14 
 
 14—16 
 
 13 
 
 No. 
 
 16—20 
 18-25 
 
 20—30 
 30 
 25 
 
 No. 
 24—40 
 25—40 
 
 40—60 
 36-50 
 30—50 
 
 No. 
 
 50 
 
 70—90 
 60—90 
 60—90 
 
 18 
 
 No. 
 
 100—150 
 100—160 
 100—150 
 
 Explanation of the signs #. — In crochet, as in knitting, 
 you frequently have to repeat the same series of stitches. Such 
 repetitions will be indicated, by the signs #, **, ##*, etc., as 
 the case may be. 
 
 Crochet stitches. — In point of fact, there is only one, 
 because all crochet work consists of loops made by means of 
 the hook or needle, and connected together by being drawn 
 the one through the other. 
 
 Crochet work may however, be divided into two kinds, 
 German crochet, and Victoria or Tunisian crochet ; the latter 
 is known also under the name of tricot-crochet. 
 
 In German crochet there are eight different kinds sf stitch- 
 es : (1) chain stitch, (2) sing^ stitch, (3) plain stitch, (4) treble 
 
 Th. de Dillmont, Encyclopedia of Needlework. In 8°. English bound, gilt edges. — Price : 3 sb. 
 
CROCHET WORK 223 
 
 stitch, (5) knot stitch, (6) bullion stitch, (7) cluster or scale 
 stitch, (8) double stitch. 
 
 The rows are worked, according to the kind of stitch, either 
 to and fro, or all from one end. In the former case, the work 
 has to be turned at the end of each row, and the subsequent 
 row begun with 1, 2 or 3 chain stitches to prevent the con- 
 traction of the outside edge. 
 
 When the rows are all worked one way, the thread must 
 be fastened on afresh each time, which is done by putting the 
 needle into the first chain stitch of the preceding row, drawing 
 the thread through it so as to form a loop, and making one 
 or more chain stitches according to the height required. 
 
 At the end of each row, cut the thread and draw the end 
 through the last loop ; in this manner all crochet work is 
 finished off. Some crochet workers make a few extra chain 
 stitches with the ends of the thread at the beginning and end of 
 each row, or fasten them off with a few stitches on the wrong 
 side. 
 
 They can also, when the occasion requires, be formed into 
 a fringe or tassels as a finish to the work. 
 
 Position of the hands and explanation of (1) chain 
 stitch (fig. 4o3). — Take the thread in the left hand between 
 
 Fig. 403. Position of the hands and explanation of chain stitch. 
 
 the finger and thumb, hold the needle between the thumb and 
 first finger of the right hand, letting it rest on the second 
 finger, in the same manner in which you hold your pen, and 
 put it into the loop, which you hold between the finger and 
 thumb of the left hand. Take up the thread, lying on your 
 finger, with the needle and make your first stitch as you do in 
 
224 
 
 CROCHET WORK 
 
 knitting, tightening the loop just enough to leave an easy pas- 
 sage through it for the needle. The end of the thread must be 
 held by the thumb and forefinger. The next stitches are made 
 by taking up the thread with the needle and drawing it through 
 the loop. The throwing of the thread round the needle by a 
 jerk of the wrist is called an 'over'. 
 
 (2) Single stitch (fig. 
 404). — Put the needle in 
 from the right side of the 
 work, into the uppermost 
 loop of the preceding row, 
 take up the thread on the 
 needle and draw it through 
 both loops. 
 
 Put the needle through, as in 
 fig. 404, from the right side to the wrong, under the upper 
 side, either of a chain, or of a stitch of the preceding row, 
 
 Fig. 404. Single stitch. 
 
 (3) Plain stitoh (fig. 405). 
 
 
 MMmmmmmmn 
 
 Fig. 405. Plain stitch. Fig. 406. Rose stitch. 
 
 draw the thread through it in a loop, turn the thread round 
 the needle and draw it through both loops on the needle. By 
 making the rows of plain stitches follow each other in diffe- 
 rent ways, a great variety of stitches can be produced, as the 
 illustrations and written instructions here given will show. 
 
 Rose stitch (fig. 406). — This consists of rows of plain 
 stitches, worked backwards and forwards. Insert the needle 
 from the right side, under both the horizontal loops of the 
 preceding row. 
 
CROCHET WORK 
 
 225 
 
 Fig 407. Russian stitch. 
 
 :fUCH:y^ 
 
 
 Russian stitch (fig. 407). 
 — This is worked like the 
 foregoing, only that all the 
 rows have to be begun from 
 the same end, and the thread 
 has to be cut off at the end of 
 each row. 
 
 Bibbed stitch (fig. 408). — 
 Worked backwards and for- 
 wards, the hook being passed 
 through the back part only 
 of the stitches of the preceding 
 row. 
 
 Chain stitch. — Worked 
 like fig. 408, but on one side 
 only. 
 
 Pique stitch.— This stitch 
 also is only worked on one 
 side. Put the needle in under 
 one of the vertical threads of 
 a stitch and complete the plain 
 stitch. This is a stitch that 
 looks very well on the wrong 
 side; the bars of the loop lie 
 quite close together, which 
 makes it particularly suitable 
 for unlined articles of clothing. 
 It requires a large-sized FlG " 4 ° 9 ' SlaNTING stitch - 
 
 needle to do this stitch well, especially if the material be a 
 heavy one. 
 
 Slanting stitch (fig. 409). — Worked entirely on the right 
 side. Take up the back thread of a stitch in the preceding 
 row, take hold of the crochet thread without turning it round 
 the needle and draw it through in a loop, and then finish 
 the stitch like a plain stitch. 
 
 Crossed stitoh. — The name which is given to the prece- 
 ding stitch when both the threads of the stitches in the row 
 before, are taken up together, instead of the back one only. 
 
226 
 
 CROCHET WORK 
 
 Fig. 410. Russian crossed stitch. 
 
 Russian crossed stitch 
 
 (fig. 410). — To work this 
 stitch which runs in slanting 
 lines, put the needle in between 
 the vertical threads of the 
 stitches and underneath the 
 two horizontal ones. 
 
 Counterpane stitoh (fig. 
 
 411). — Counterpanes can be 
 made in a less close stitch 
 than those just described. 
 
 To produce a soft and 
 elastic fabric turn the thread 
 round the needle and insert 
 it under both the horizontal 
 threads of a loop, take up 
 the thread without turning 
 it round the needle, draw it 
 through in a loop, make an 
 over, and draw the thread 
 through all the three loops, 
 that you have on the needle. 
 Knotted stitch (fig. 412). 
 — This stitch likewise is com- 
 posed of plain stitches, which, 
 however differ in a slight de- 
 gree from those we have de- 
 scribed hitherto. 
 
 Make an over, put the 
 needle through the two horizontal threads of the stitch below, 
 make another over and draw it back through the two loops 
 and the first over, make another over, and draw the thread 
 through the last two loops. 
 
 Loop stitch (fig. 41 3). — Worked as follows: when you 
 have put the needle into the loop of a stitch below, carry the 
 thread, downwards from above, round a stripe of cardboard 
 or a flat wooden ruler, then finish the stitch in the usual way. 
 These long loops, each about 2 c/m. in length, can also be 
 
 Fig. 411. Counterpane stitch. 
 
 l mi <*i Mti <n> SLjfL fi A Slm 
 
 Fig. 412. Knotted stitch. 
 
CROCHET WORK 
 
 227 
 
 made over the forefinger and held fast by the thumb as you 
 work, but it is more difficult to make them regular in this way. 
 
 Each row of long stitches is followed by a row of plain 
 stitches. The side, where the 
 long loops lie, becomes the 
 right side. If you wish this 
 stitch to be very thick and 
 handsome, wind the thread 
 three times round the ruler, or 
 finger, and secure it with a 
 plain stitch ; in this case, you 
 
 should make one plain stitch FlG - 4*3. Loop stitch 
 
 between every two clusters. A loose, fleecy 
 thread is generally used for this stitch, and 
 for washing articles more especially, we re- 
 commend Coton a repriser D.M.G. 
 
 Plain stitches for a chain (fig. 414). — 
 Begin with two chain stitches, put the 
 needle in between the two threads of the 
 first chain stitch, turn the thread round the 
 needle and draw it through in a loop, turn 
 it round again and draw it through the 
 two loops; then, put the needle into the left 
 part of the stitch that was just made, turn 
 the thread round the needle, draw it through 
 the two loops and so on, to the end. 
 
 A chain of this kind makes a very good 
 mignardise when that can not 
 be got of the right size and 
 colour for the required pur- 
 pose. 
 
 (4) Trebles. — Trebles are 
 little columns, or bars made 
 of loops or stitches. They can 
 be worked, like all other cro- 
 chet, either to and fro, or all one 
 way. There are different kinds FlG - 4 l5 - Half trebles - 
 
 of trebles ; half or short trebles, trebles, double trebles, called 
 
 Fig. 414. 
 Plain stitches for a 
 
 substitute for 
 

 CROCHET WORK 
 
 also 'long stitch*, and quadruple and quintuple trebles, called 
 'extra long stitch', connected trebles and crossed trebles. 
 
 Half trebles (fig. 41 5). — 
 Turn the cotton round the 
 needle from behind, put the 
 needle in between the trebles 
 of the preceding row, or into 
 one edge of a chain stitch ; 
 make an over, bring the 
 needle forward again with 
 the thread, make another 
 over and draw the needle 
 through all three loops. 
 
 Trebles (figs. 416 and 
 . - . — Begin, as for the 
 half treble, by turning the 
 thread round the needle, and 
 putting it in under one edge 
 of the stitch beneath, then 
 take up the thread on the 
 needle and bring it through 
 two of the loops, take it up 
 again, and draw it through 
 the two remaining loops. 
 
 In fig. 417, we have tre- 
 bles made in the same manner 
 as fig. 416, only that instead 
 of putting the needle under 
 one edge of the stitch beneath, 
 you put it under both, and 
 between the trebles of the 
 last row. 
 
 Double trebles or long 
 stitch.' [fig. 418). — Turn 
 the thread twice round the 
 needle, put it into a stitch of 
 the work and bring the thread 
 up the thread on the needle 
 
 ; :t:t:h 
 
 in a loop, then take 
 
CROCHET WORK 
 
 229 
 
 _ - _ I KB QUADRUPLE TREBLES OR 
 'EXTRA LONG STITCH*. 
 
 and bring it through two of the loops, three times in suc- 
 cession. 
 
 Triple and quadruple 
 trebles or 'extra long stitch' 
 (fig. 419). — For a triple treble, 
 twist the cotton three times 
 round the needle, for a qua- 
 druple one, four times, then 
 form the treble in the usual 
 way by bringing the needle 
 through two of the loops at 
 a time. To make a series of 
 trebles, of gradually increasing 
 length, bring the needle, at 
 every other treble, through the 
 last three loops, so that before 
 making a triple treble you 
 will hare to make columns, res- 
 pectively, 1 treble, 1 \'s treble, 
 2 trebles and 2 * j trebles long. 
 Columns like these, of diffe- 
 rent lengths, are often required 
 in crochet work, for leaves and 
 scalloped edgings. 
 
 Connected trebles fig. 
 420). — Trebles, connected 
 together, can be worked to 
 and fro, and take the place of 
 plain stitches. Begin with a 
 chain, then make a treble of 
 the required height, form as 
 many loops as you made 
 overs for the treble, take up 
 the upper thread of the 
 nearest the treble, turn the 
 thread round the needle, bring 
 it back to the right side and 
 draw the needle through the trebles, two at a time. 
 
 
 S^aYid&Ai^ 
 
 tmmM 
 
 A 
 
 *r. .1 . 1 . 1 
 
 -M 
 
 
 -A 
 
 
 
 -■ ftp A L | 
 
 - 
 
. : : 
 
 ■ 
 
 rr:5iri tTrZlrs _ .. ~Z .12 
 
 
 : - l . - . : 
 
 ZIZT 
 
 :i = : :i:-t. — - 
 
 — .: " : ~ - " t.r " " 
 
 — Trebles of this sort 
 
 produce an open stitch, 
 
 which is often used for 
 
 footing .or 
 
 - - ion. Make 
 
 a foundation of chain. 
 
 - : r. t : f :.::.-. t f . i r. i 
 
 proceed as follows : 
 
 ain.mi- 
 of the row beneath, 
 make i treble in l 
 
 - 
 i oTer, put the needle 
 in between the loops 
 of the connected tre- 
 bles and finish with 
 _: :-.= ~z -i.t .'-.: \r.t 
 ~ ■:..•. 
 Lake another over and join the two 
 ops on the needle. Make an c 
 : •.:.--.- : :' : - - :;- : t r. 1 1 : '. . ~ i -i z 
 Ue back to the right side. 
 
 needle together. 2 and 2, makt 
 edle into the upper parts of the 
 
 1 treble, and so 
 t .-- . : _: :_-. 
 
 : : - . : :: - : . ~ _ e : : : rr tE :: r. : 
 
 Ir-;!- 
 
 l - it; 
 
; - : :::z~ :?-: 
 
 .':: 
 
 (5) Knot stitch ±z _:: — T :..- i:::r. 
 zfsetn. ::~s izzzlzz = :_:: 
 : - ; : t ~ "::.:ti :' _ :~ :r^ 
 Bide, nzsezut-:.; =1! ::.:"" i 
 I : . : : k s res: :- i zzirse ~i:t 
 
 w 
 
 I- :er :'- = tti t :: ^ pT^L^^^^V^ 
 the two loops of the stitches of 
 the bottom row, turn the thread 
 round the needle, but a~ 
 from you towards the back: 
 bring it forward to the right 
 : _ - : r. f ztiZ.i 
 _ h one of the b : n : — 
 
 the first and draw the ' 
 needle through all the bar 
 
 once. 
 
 Bullion stitch figs _ : _ 
 
 - : _ . : — "::.::: 
 
 5; i 1~ '-. ~ HL.z. L ..'.'.. i lZ-.Z-.z7 
 
 T.Z ZZtT 
 
 than vou would use for anv Rf^~- 
 
 other crochet stitch. f^tE^SSE^, 
 
 re:.: :_" "ik::.: i :r.i.\- Bp^l^^S^: 
 
 loose stitches, then ' 
 
 round the needle. 
 at the needle into a loop 
 of the chain, make a single over, and draw it with the last 
 : n it, through all the other 
 Trebles in bullion 5 :.:;.- - ; _: : -_::._. 
 
 manner, only that you hare to turn the thread, at least io or 
 i x times round the needle and draw it through all the orers at 
 -ilitate the passage of the needle, keep the overs 
 in th oe with the thumb and forefinger of the left hand. 
 
 Bullion stitch can only be worked with wool or a ver 
 
232 
 
 CROCHET WORK 
 
 Fig. 426. Cluster stitch. 
 
 thread, such as Coton a repriser D.M.C, (*) but trebles in bul- 
 lion stitch can be worked in 
 any of the D.M.C threads and 
 cottons. 
 
 (7) Cluster stitch (fig. 426). 
 — Generally used as an inser- 
 tion between rows of plain 
 crochet. 
 
 Put the needle under one 
 stitch of the preceding row, 
 make an over, draw the thread 
 through in a loop, make an- 
 other over, put the needle in 
 again under the same stitch, 
 bring it back, make a third 
 over, and pass a third time 
 under the same stitch; bring 
 the needle back, make a fourth 
 over and pass the needle 
 through all the loops that are 
 upon it. 
 
 .k. eft niL i^l xri *>> tff. cJ* el 
 
 Fig. 427. Double stitch. 
 
 Then, after making a chain stitch, begin the same stitch over 
 again, placing it in the second stitch of the lower row. 
 
 Cluster stitch may also be finished off by retaining the two 
 last loops on the needle, making an over, and ending with a 
 plain stitch. 
 
 (8) Double stitch (fig. 427). — A rather coarse thread, such 
 as Coton a tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils 
 D.M.C Nos. 3 to 10, or Fil a pointer D.M.C Nos. 10 to 3o (*) 
 is better for this stitch than a loose fleecy thread which is apt 
 to render it indistinct. Take up a loop right and left of a 
 stitch of the preceding row, so that counting the loop of the 
 last stitch, you have 3 loops on the needle, make an over and 
 draw it through the 3 loops. Then take up a loop again by 
 the side of the one you made on the left, and which now lies 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CROCHET WORK 
 
 233 
 
 Fig. 428. Raised stitch. 
 
 on the right. Take 2 loops in the next stitch, make an over 
 and draw it through all the loops. 
 
 liaised stitch (fig. 428). — All the stitches that come under 
 this heading require a foundation of a few plain rows for the 
 raised trebles. In fig. 428, you will observe that the fourth stitch 
 in the fourth row is a double 
 treble, connected with a loop 
 of the fourth stitch of the first 
 row. 
 
 Miss the stitch of the pre- 
 ceding row, which is hidden 
 under the treble, make 3 plain 
 stitches, 1 double treble, and 
 so on. 
 
 Having finished this row, 
 turn the work and make a 
 plain row. In the next row 
 begin with 4 plain stitches, 
 then make 1 double treble 
 between the 3 stitches that are 
 between the first trebles, 3 
 plain stitches, 2 double trebles 
 and so on. 
 
 In the 8th row of plain 
 
 stitches, the trebles must be 
 
 placed in the same order as 
 in the 4th. 
 
 Raised stitch with crossed trebles (fig. 429;. — Begin, as 
 in fig. 428, by 3 rows of plain stitches. The 4th row begins 
 with 2 plain stitches followed by : * 1 double treble joined to 
 the upper part of the 1st stitch of the 1st row; keep the 2 last 
 loops of this treble on the needle ; make a double over for the 
 next treble, pass the needle through the fourth stitch of the 
 first row, make an over, turn the thread round the needle, 
 bring it back, finish the treble all but the last 3 loops, which 
 you crochet together. Miss the stitch behind the treble, make 
 3 plain stitches and repeat from *. 
 
 Fig. 429. 
 Raised stitch, with crossed trebles. 
 
- 
 
 CROCHET WORK 
 
 Then turn the work, make one plain row, and turn the 
 
 back to the right side. 
 The second row of trebles begins with a plain stitch. The way 
 in which the .re to be crossed is shewn in the illustration. 
 
 Rii;:: siitch with dots _ . • : . — After making 3 plain 
 
 row! 
 
 : = £ : • 
 
 plain stitches. 
 
 and proceed as 
 follows : * 6 tre- 
 bles into the 4th 
 plai d . of 
 
 the : iing 
 
 row, leaving the 
 
 1 3op of each 
 e on the 
 
 i.e. so that 
 altogether you 
 
 - 7 loops up- 
 on it ; then you 
 turn the thread 
 
 : round the 
 needle and draw 
 tl :r. rough the 
 loops : miss the 
 stitch that is un- 
 derneath the dot, 
 
 stitches and re- 
 
 znz :::~ =<. 
 
 Zr.tr. r.'.i :t ; 
 
 of plain 
 
 ; : ;- z'r.t 
 
 4th row, the 1 st 
 
 dot is made in 
 
 zr.z _:i e 
 
 that the dots 
 
 stand out in re- 
 
 Eaised dots with trebles fig _: : . — Turn tit work iftei 
 
 : r.i ; :;~: :: : \- .7 izizz'zts. rr.irt : s: : .t: ~:rt :r. :r.z 
 
 »;»-v. 
 
: - : : :-: z ~ : ? .-: 
 
 ::: 
 
 4th stitch of the ist row, * 6 trebles, drop the last stitch 
 of the 6th treble, put the needle into the stitch between 
 the last plain stitch and the 45t treble, take the dropped loop 
 of the last treble and draw it through the one on the needle ; 
 moos the stitch under the dot. na^it 5 plain tfiiihn md repeal 
 from *. 
 
 Raised dots in slanting line* :r _:: — ~ - :~t r:~; 
 c: s::::hr5 :h = : ri t ret- rrtv:: — ? -.- rrtrirti. ~ikt. ::: the 
 4th stitch of the 
 4th row, a clus- 
 ter stitch, as in 
 fig. 426, with 1 
 quadruple over 
 L'i :~ tr. _ r.i.r 
 stitches, 1 cluster 
 
 The next r: 
 plain; in the se- 
 cond you : 
 
 stitch more, 
 fasten the dus- 
 ter stitches into 
 the loops to the 
 
 ne second of the 3 
 covered rows. In th: s 
 have to make each raised 
 stitch, one stitch, in advance 
 and to the left of the last 
 that they run in slanting lines 
 over th . 
 
 Close shell stitch 
 — This 
 which can only be worked 
 
 especially suitable for ch: 
 
 jicklv done. On a foundation of chain , or other 
 
 V^. 
 
 <*£" 
 
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 fr 7fX*jJjm vrArCvflB 
 
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23G CROCHET WORK 
 
 stitches, make : 2 chain, 7 trebles on the 4th stitch, * 1 
 chain, 7 trebles on the 5th stitch of the last row and repeat 
 from *. 
 
 2nd row — * * 7 trebles on the chain stitch of the last row 
 which connects 7 bars, 1 plain stitch on the 4th of the 7 trebles 
 of the first row and repeat from * *. 
 
 Picots. — The edges of most crochet work are ornamented 
 with picots, or small points of different shapes, called severally 
 close picots, chain picots and lace picots. 
 
 Close picots may be subdivided into, large and small, 
 pointed, and rounded, picots with rounded leaves and picots 
 with pointed leaves. 
 
 Small rounded picots. — These may either be made separa- 
 tely and then sewn on, or made at once, on to a crochet border. In 
 the first case, begin with 3 chain, then coming back, make 1 plain 
 stitch on the second and on the first chain stitch. In the second 
 case make : 1 chain, take the needle out of the stitch and put it 
 in from the right side, under both edges of the last stitch, 
 take up the dropped stitch, bring it to the right side, * 3 
 chain ; then returning : 1 plain stitch on each chain, draw the 
 needle out, put it in from the right side into the second stitch 
 of the row beneath, take up the loop, bring it back to the 
 right side, and repeat from *. 
 
 Large rounded picots. — 5 chain, miss 3, 1 treble on the 
 2nd and 1 treble on the 1st chain stitch. 
 
 When you want to attach these picots at once to an exist- 
 ing piece of work, drop the last loop and bring it back again 
 with the needle from the wrong side to the right and miss 2 
 stitches, instead of one, as in the case of the small picots. 
 
 Pointed picots. — Cast on 6 chain, then returning, and 
 missing the 6th stitch : 1 single stitch, 1 plain stitch, 1 half 
 treble, 1 treble, 1 double treble. 
 
 Picots with rounded leaves. — * 4 chain, and 3 trebles 
 on the first stitch, and 1 single on the same stitch on which 
 the trebles were, * *, or 6 chain and repeat from * to * *. 
 
 When these picots serve as a finish to a straight edge, 
 make 2 single stitches in the preceding row instead of 2 chain. 
 
CROCHET WORK 
 
 237 
 
 Picots "with, pointed leaves. — 6 chain, on the first chain 
 stitch : 3 double trebles, of which you retain the two last 
 loops on the hook, 1 over, draw the thread through the 4 
 loops, 5 chain, 1 single on the stitch on which the trebles are. 
 
 Chain picots. — For the small chain picots, make : 5 chain 
 and 1 plain stitch on the first of these 5 stitches. For the large 
 ones : 5 chain and 1 treble on the first stitch. 
 
 Picots in bullion stitch (figs. 424 and 425). — 5 chain, 1 
 treble in bullion stitch drawn up into a ring, and joined to the 
 5th chain stitch. 
 
 Drooping picots (fig. 434). — 5 chain, drop the loop, put the 
 needle into the first of the 5 chain, take up the dropped loop, 
 and draw it through the 
 stitch. 
 
 Lace picots (figs. 
 435 and 436). — Fig. 435 
 represents picots form- 
 ed of chain stitches, as 
 follows : 2 chain, put 
 the needle into the first, 
 1 over, bring the thread 
 back to the front, 2 
 chain : * put the needle 
 into the two loops, and 
 at the same time, into 
 the second loop and the 
 first chain, draw the 
 thread through in a loop, 
 make 2 chain and repeat 
 from *. 
 
 In order to make the 
 picots more even and 
 regular, it is advisable 
 to form them over a coar- 
 se knitting needle or 
 mesh. 
 
 Fig. 436 represents picots attached by plain stitches to the 
 edge of a finished piece of work ; this is done as follows : 1 
 
 Fig. 435. Empty lace picots, worked in crochet. 
 
 Fig. 436. Lace picots attached to a row of 
 stitches made before hand. 
 
 16 
 
238 
 
 CROCHET WORK 
 
 plain stitch, draw out the loop to the proper length for a picot, 
 and slip it on a mesh : put the needle into the horizontal parts 
 of the last stitches, turn the thread round the needle, draw it 
 through in a loop, and make i plain stitch on the next stitch 
 and so on. 
 
 Method for copying- tapestry patterns in crochet 
 ■work (figs. 437 and 438). — Printed cross stitch and embroi- 
 
 aefiKiCuimlKl' 
 
 itiumuu 
 
 ~ .- - r -^r}tiWti^$$i&'i! 
 
 Hiiiuu .'umunuuu 
 
 HI III 
 
 .tun mm . ui «« 
 
 ui ui ui.;... 
 
 ■ mm mu . ; : ih ui "« 
 
 
 ui uuu mm w .;... ui 
 
 mm tuuim . uut :.•::::. Ui ui »» 
 
 KM 
 
 uuiw mtuu m 
 
 HID ■ U 
 
 uiuat 'us . . luuuuc nuu 
 
 uu. iiuiuumi ...... uiuuiuuu ...mil 
 
 lltt-.Ul 
 UUl .. luilll 
 UU IUU 
 
 ui iu .v.-ui.'. ".'.:.■■■:.'. 'iu -»wv 
 
 III III 'UUUkt IUU 
 
 UI IUU UUl ' ■■ . ■■■■ 
 
 ■utup in 
 
 tin urn 
 
 UI Ut UI IUI UI III U( UIUIU' 
 
 . 111 . . uuu uuu •...■" 
 
 Mil tllutl 
 
 Ill HI UUIUM UUU 
 
 ui ui hi ...-.■. ui mm 
 
 UKl UUl 
 
 UllllL ... . ' UlllllUllUU UUU 
 
 IUU ..UI 
 
 uiuiii m . uuuuiui mm 
 
 Wfua 
 
 llllllll . UlUU**' ■•Ml 
 
 111 III III ... 
 
 .. uiui .... iiumu .iiiui. ■ ui in. m 
 
 
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 CU UI lu 
 
 
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 HnHlmiw 
 
 :...... :,.:.:.uiiuu - . Mtiuumui 
 
 muuiiiiuViit 1 .i»n.ii»i.iitiniittnii 
 
 
 
 • Fig. 437. 
 Open-work crochet made after 
 a tapestry pattern. 
 
 Fig. 438. 
 Plain crochet made after a tapestry 
 
 PATTERN. 
 
 dery patterns can very well be copied in crochet work especially 
 when they are in two colours only, or rather, are drawn in 
 one colour, on a plain ground. 
 
 The way in which such patterns are copied in crochet is by 
 means of chain stitches and trebles, which, rising one above 
 the other in rows, form little squares. For each square marked 
 on the pattern, you must count, in the grounding, 1 treble and 
 2 chain stitches ; in the solid parts, 3 trebles. 
 
 The squares formed by the chain stitches should always 
 begin and end with a treble. 
 
 When, therefore, a solid square comes between empty or 
 foundation squares, count 4 trebles for the solid square, because 
 the last treble of the last empty square touches the third treble 
 of the solid one. 
 
 Thus for 2 solid squares, side by side, count 7 trebles, and 
 for 3 squares, 10. Embroidery patterns worked in several colours 
 can be reproduced in crochet either by trebles and rows w r orked 
 
CROCHET WORK 
 
 23 9 
 
 one way only, cutting off the thread at the end of each row, or 
 by plain stitches, worked in rows to and fro. 
 
 When only three colours are used, pass two threads under 
 the stitches ; when more than two, leave those which are not 
 in use, at the back of the work and only bring them to the front 
 as they are wanted. The thread, you lay aside, takes at the 
 back the place of the one in use. Of course, the threads not in 
 use can only can be disposed of in this way when the work has 
 a wrong side, otherwise they must be passed underneath the 
 stitches. The colours should alternate in the order the pattern 
 prescribes; moreover, the last stitch before you take another 
 colour cannot be finished with the same thread, you must pass 
 the new thread through the last loop and draw it up with that. 
 
 Crochet with Soutache or Lacet (braid) (figs. 439 and 
 440). — These are two patterns 
 of crochet, worked with the 
 ordinary crochet cottons and 
 with Soutache orLacet D.M.C, 
 a material which has not been 
 used for crochet work before. 
 
 Both patterns are worked Fig. 439. 
 
 entirely With trebles 1 in fig. Crochet with Soutache or Lacet (braid). 
 
 439, the red braid passes over 
 and under 2 trebles ; in fig. 
 
 440, it is brought, it will be 
 observed, from the wrong side 
 to the right after every 2 
 trebles, and passed between Fig. 440. 
 
 them, in SUCh a manner as tO Crochet with Soutache or Lacet (braid). 
 
 form a slanting Stitch between Materials : Coton a tricoter D.M C Nos. 6 
 y to 12 or Cordonnet o his D.M.C Nos. 3 to 
 
 the TOWS of Stitches. I0- Soutache D.M.C No. 2 or 3 or Lacets 
 
 Crochet Square ^fig. 441). superflns D.M.C Nos. 2 to 5. 
 
 — Begin with 4 chain Stitches, Colours : The cotton, white or ecru. The 
 j 1 -i .i,„ . . Soutache or Lacet : Rouge-Cardinal 347, or 
 
 and work 1 single on the 1st D n , - - °. . .. -.7, ,*, 
 
 D Rouge-Grenat :>26, or Bleu-Indigo 3i2. (*) 
 
 chain, to make around. Work, 
 
 1 chain and 2 plain on the next chain, 3 plain on each of the 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
240 
 
 CROCHET WORK 
 
 next 3 chain, 1 plain on the stitch on which the two first plain 
 are worked. 
 
 Slip the next stitch, that is, put the needle in between the 
 horizontal bars of the 1st plain stitch of the previous row, and 
 draw the thread out without making a stitch. 
 
 Then make 1 chain and 2 plain on the slipped stitch. 
 After which, you make 3 plain on the second of the 3 plain 
 
 that form the corner, and 1 
 plain on all the other stitches 
 of the last row. The beginning 
 and end of each row, are work- 
 ed as described above. 
 
 Fig. 441 representsasquare, 
 worked in consecutive rows. 
 In making a crochet square, 
 the rows may end in the middle 
 of a side. 
 
 When you use a stitch that 
 has to be worked to and fro, you 
 
 Fig. 441. Crochet square. , , j r 
 
 turn your work at the end of 
 every row and work back along the stitches you have just made. 
 
 Crochet hexagon (fig. 
 442). — Make a foundation 
 chain of 6 stitches, join the 
 round; 12 plain on the 6 
 chain ; finish the row as in- 
 dicated for the previous 
 figure = turn the work 
 = * 1 plain, 3 plain on 
 the second plain of the 
 last row ; repeat 5 times 
 from *. Finish the row 
 with 1 single = turn the 
 work = 2 plain, 3 plain 
 on the second of the first 
 
 3 plain ; 3 plain and so on. These hexagons can be made of 
 
 any size. 
 
 Fig. 442. Crochet hexagon. 
 
CROCHE;T WORK 
 
 241 
 
 Coloured star worked into a light ground (fig. 443). — 
 
 Begin with 3 chain, join the ring = 2 plain on each of the 3 
 chain ; then for the foundation, 1 plain with the dark thread, 
 and 1 with the light on each of the 6 plain. 
 
 In each subsequent row, make one dark stitch more, 
 increasing regu- 
 larly, that is, 
 making 2 stich- 
 es on the last 
 light stitch that 
 comes before the 
 dark ones. 
 
 Proceed in 
 thismanneruntil 
 you have 6 or 8 
 dark stitches, in 
 all and then be- 
 gin to decrease in 
 every row by 
 one, until there 
 is at last only one 
 dark stitch re- 
 maining. 
 
 These stars 
 
 Fig. 423. 
 Coloured star worked into a light ground. 
 
 are used in the making of purses, cap-crowns and mats for 
 lamps, etc. 
 
 Tunisian crochet. — Tunisian crochet is also called crochet- 
 knitting because, you have to cast on all the first row of 
 stitches, as in knitting. 
 
 Materials — Every kind of cotton, as well as wool and silk, 
 can be used for Tunisian crochet : the stitches look equally 
 well in all these materials, but for things that require frequent 
 washing or cleaning, a good washing material should be selec- 
 ted, such as Coton a tricoter D.M.C and Cordonnet 6 fils 
 D.M.C (*), both strong and suitable in all ways. 
 
 (*) See at the end of the concluding chapter, the table or numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
242 
 
 CROCHET WORK 
 
 Fig. 444. 
 Plain Tunisian crochet. 
 
 As we have already said, Tunisian crochet requires to be 
 done with a long straight needle, with a knob at one end and 
 it can only be worked on the right side. 
 
 Plain Tunisian crochet (fig. 444). — After making a 
 foundation chain of the required length, begin the first, or 
 
 loop row as it is called. Put 
 the needle into the 2nd chain 
 stitch, draw a loop through 
 and so on, until you have taken 
 up all the chain stitches on the 
 needle. After having made the 
 last stitch of the loop row, 
 make 1 chain stitch and then 
 pass to the second row that 
 completes the stitch. Turn the 
 thread round the needle, draw 
 it through two loops, turn the 
 thread round again, and again 
 draw it through two loops, 
 and so on to the end. 
 
 Straight plaited Tunisian 
 stitch (fig. 445). — Worked 
 thus : miss the first loop in 
 the 1 st row, take up the second, 
 and come back to the first, so 
 that the 2 loops are cros- 
 sed. Work the second row 
 in the same manner as the 
 second row of the prece- 
 ding figure. 
 
 Diagonal plaited Tu- 
 nisian stitch (fig. 446). — 
 Worked like the prece- 
 ding, taking up first the 
 second loop and then the 
 Fig. 446. first: the second row also, 
 
 Slanting plaited Tunisian stitch. } n the same Way as be- 
 
 fore. In the third row, take up the first stitch, and draw the 
 
 Fig. 445. 
 Straight plaited Tunisian stitch. 
 
CROCHET WORK 
 
 243 
 
 third through the second, so as to produce diagonal lines across 
 the surface of the work. 
 
 Open Tunisian stitch. — This is an easy kind of Tunisian 
 crochet. The first row is worked as in fig. 444. In the row of 
 plain stitches, you alternately join 2 and 3, or 3 and 4 loops of 
 the preceding row together, and replace them by as many 
 chain stitches. 
 
 Decreasing and increasing: in Tunisian crochet (fig. 447). 
 
 Our illustration shows how to decrease on both sides and by 
 that means form scallops. 
 
 Fig. 447. Decreasing in Tunisian crochet. 
 
 You miss a stitch alternately on the right and left. On the 
 right you crochet the first two stitches together, and at the 
 end of the row, the last two, and so on, to the end. You increase 
 in the same order, first on the right and then on the left. 
 
 Hairpin crochet (figs. 448, 449, 450). — So called because 
 it is worked on a kind of large steel hairpin or fork with two 
 or more prongs. Wooden and nickel varieties of this imple- 
 ment, which are patented by M me Besson, of Paris, are also 
 used. 
 
 Very pretty laces, fringes, gimp headings and the like can 
 be made in this kind of crochet work. It is often used in com- 
 bination with ordinary crochet and plain and scalloped braids 
 and gimps, or as a heading for fringes made of tufts and pen- 
 dant balls. There are a great many stitches which can be 
 worked in hairpin-crochet. We shall only describe those here 
 that will best teach our readers how the work is done. 
 
244 
 
 CROCHET WORK 
 
 Materials. — For washing laces, Cordonnet 6 fils D.M.C 
 is the best ; for furniture fringes, the lower numbers of Coton 
 a tricoter D.M.C, and for producing the appearance of filoselle, 
 the lower numbers of Coton a repriser D.M.C are to be taken. 
 
 Stitches. — Begin by a chain stitch, made with an ordinary 
 crochet needle, take the needle out of the loop, and insert 
 the left prong of the fork upwards from below, holding the 
 fork between the thumb and finger of the left hand. The thread 
 
 
 Fig. 448. Steel hairpin for crochet. 
 
 Fig. 440. Wooden fork for crochet. 
 
 Fig. 45o. Fork with several prongs for crochet. 
 
 should always be in front. Then put the thread over the right 
 prong and the needle into the loop on the left prong, take up 
 the thread, draw it through the loop, put the thread over the 
 needle and draw it through the loop that is on the needle, 
 twist the loop round the left prong, turn the needle round to 
 the right (the thread will now be wound round the right 
 prong) ; put the needle into the loop on the left prong, throw 
 
CROCHET WORK 
 
 245 
 
 the thread over the needle, draw it through, tighten the loops 
 and so on. 
 
 These stitches may be doubled, or you may make several 
 trebles on each loop, or arrange the plain stitches in different 
 ways. 
 
 Hairpin insertion (fig. 451). — Begin by making stripes 
 with the fork, covering each 
 thread with two plain stitches. 
 Then join the stripes together 
 by the loops, drawing the left 
 loop over the right one and 
 the right one over the left. 
 When you come to the end 
 of the stripes fasten off the 
 last loops by a few stitches. 
 To strengthen the edges, join 
 two loops together by 1 plain, 
 2 chain, 1 plain and so on. 
 
 Hairpin lace (fig 
 trebles in each loop, 
 you have got the ne- 
 cessary length of hair- 
 pin crochet, join the 
 loops two and two, by 
 means of a coloured 
 thread which makes a 
 good contrast with 
 the thread ot which 
 the hairpin crochet is 
 
 r Fig. 4.52. Hairpin lace. 
 
 made. Work I plain Materials — For the hairpin work: Fil a pointer 
 
 D.M.C Nos. 20 to 3o, or Cordonnet 6 fils D.M.C 
 
 Nos. 3 to 10, white or ecru. 
 
 For the edge : Coton a tricoter D.M.C Nos. 16 to 3o. 
 
 1 plain joining the 2 Colours: Rouge-Cardinal 347, or Jaune-Rouille 364, 
 loops on the left ; then or Brun-Marron 406. (*) 
 
 2 chain and come back to the right, and so on, until you have 
 taken up all the loops. This forms the zig-zag in the middle. 
 
 Fig. 45 1. 
 
 Hairpin insertion. 
 
 Materials : Fil a pointer D.M.C. No. 20 
 
 or 3o, or Cordonnet 6 fils D.M.C Nos. 4 
 
 to 1 5, white or e*cru. (*) 
 
 452). - 
 
 -When, 
 
 by making two half 
 
 ^^^i^^^^^^t 
 
 - \- 'MjSM 
 
 ■ ■ 
 
 
 
 tM$$mMwi 
 
 Ks^S 
 
 *WSm 
 
 ilJ»liliilliti§lM 
 
 stitch joining 2 loops 
 on the right, 2 chain, 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
246 CROCHET WORK 
 
 i st row — join 3 loops by : 1 plain, 5 chain. 
 
 2nd row — on the 5 chain stitches : 1 plain, 1 half-treble, 
 3 trebles, 1 picot, made with 5 chain (for the chain picots, see 
 p. 237), 1 half-treble, 1 plain. The footing of this lace is made 
 like the one in fig. 45 1. 
 
 Hairpin fringes (figs. 453, 454, 455, 456). — Fig. 453 is 
 made with a fork composed of one branch and 3 or 4 rulers, 
 
 Fig. 453. Hairpin fringe with tassels. 
 
 round which the thread is wound in succession, so as to form 
 loops of different lengths. You may use for this, either a single 
 very coarse thread, or else several fine ones, used together as 
 one. 
 
 The heading of the fringe is plain, and heavy tassels are 
 fastened into the loops. The tassels are made as follows : take 
 a thick skein of the same thread the fringe is made of, pass it 
 through the loop, leaving just the length required for the 
 tassel, at one end, thread a needle with the same thread and 
 twist it round the skein, the right distance from the top to 
 form the head of the tassel and then cut the ends even, at the 
 bottom. As the loops are of different lengths, the tassels will 
 
CROCHET WORK 247 
 
 hang in steps and the fuller and heavier they are, the hand- 
 somer the fringe will be. 
 
 Fig. 454 represents another pattern of fringe, the first part 
 of which is made with the same fork as the preceding one. 
 Instead however of winding the thread round the several 
 prongs in succession, you pass it alternately round the two first 
 and the fourth, thus making loops of two lengths only. Tassels 
 
 Fig. 454. Hairpin fringe with tassels. 
 
 Materials : Coton a tricoter D.M.C Nos. 6 to 16. (*) 
 
 Colours: Ecru and Jaune-Rouille 363, 368, or Gris-Tilleul 33 1 and 
 
 Rouge-Cornouille 449 and 450, or three other shades. (*) 
 
 of a length, suited to the purpose the fringe is intended for, 
 depend from these loops and may be varied in the second row 
 by balls made to issue from the middle, or by long meshes, 
 which are made over the whole width of the fork and affixed 
 to the loops. 
 
 Figs. 455 and 466 represent two pretty patterns of fringes 
 made of ecru cotton with a strong twist. These are very sui- 
 table for washing articles, as the cotton balls wash perfectly. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
248 
 
 CROCHET WORK 
 
 Fig. 435. Hairpin fringe with one line of halls. 
 
 The loops in fig. 455 are all of one length and a ball hangs 
 from every third. In the last chapter but one, a minute descrip- 
 tion is given of the way in which these balls are made. The 
 heading of the loops is formed by a row of chain stitches, 
 varying in number from four to six, according to the size of 
 
 the cotton. The 
 edge is orna- 
 mented with 
 little picots. The 
 fringe, in fig. 
 456, consists of 
 three long and 
 threeshortloops 
 
 alternately, 
 which causes, 
 the balls thatare 
 made to depend 
 from them, to 
 form two pa- 
 rallel lines. 
 
 If you join 
 the loops of the 
 heading toge- 
 ther, three and 
 three, you will 
 have to make 
 
 Fig. 456. Hairpin fringe with two lines of balls, i rhain 
 
 ONE ABOVE THE OTHER. . ^ 
 
 Materials — For the crochet-work : Cordonnet 6 fils D.M-C stltcries t0 COVeT 
 Nos. 3 to 10, or Fil a pointer D.M.C Nos. 10 to 3o. the space that IS 
 
 For the balls : Coton a repriser D.M.C Nos. 8 to 16. ^ ^ e filled. 
 
 The picots are made with 6 chain stitches, you put the 
 needle back into the fifth stitch after closing the picot, make i 
 chain, 2 plain, in the preceding row, 1 picot and so on. 
 
 Fringe made with Lacet or braid (fig. 457). — This is an 
 easy fringe to make and a very effective trimming for table- 
 cloths, curtains etc., which are embroidered on coarse stuffs. 
 
 Begin with a foundation chain, in coarse e'eru twist, the light 
 
CROCHET WORK 
 
 249 
 
 stitch in the middle of the heading of the fringe being also made 
 of the same material. 
 
 In the next row, you use the twist and the braid together, 
 as follows — with the twist = 1 chain stitch, put the needle 
 into the first stitch of the foundation chain, take up the braid, 
 draw it through, turn the twist round the needle, draw it 
 through the braid and the chain 
 stitch. To make the braid 
 loops longer, they may be made 
 over a wooden ruler. To the 
 two rows of braid stitches, re- 
 presented in the pattern, you 
 may add as many other rows as 
 you please. On the fringed side 
 make : 4 plain, 3 chain, draw out 
 one very long loop and fasten into Fig- 4 5 7- 
 
 it a cluster of lengths of braid Fr,nge made with Lacet or Soutache 
 
 r / 1 1 (braid). 
 
 from 10 to 12 cm. long, and ,, T „ ^ ., - n K 
 
 o> Materials : Lacet D.M.C No. 4 or 
 
 draw the loop tightly round it to Soutache D.M.C No. 27* in red. 
 
 secure the tassel ; 3 plain on the Cordonnet 6 fiis d.m.c Nos. 3 to 10. 
 
 Chain Stitches. Repeat from *. ™aP°interD.M.CNos.ioto3o,ecru.(*) 
 
 Lace made 011 Point Lace braid (fig. 458). — For the 
 rounds: 1 plain on the braid, 10 chain, then coming back, 
 1 single on the 4th chain. 
 
 In this first round you make: 1 chain, 1 half-treble, 12 
 trebles*, 1 half-treble, ichain, 
 1 single on the 4th chain ; 3 
 chain, 1 single on the braid, 
 far enough from the 1st chain 
 for the rounds not to overlap 
 
 each Other. Then 10 Chain, Fig. 4 58. Lace made on Point Lace braid. 
 I single On the 4th Chain, I Materials : Fil d'Alsace D.M.C 
 
 single. 1 half-treble, 4 trebles, Nos - 3o t0 5o > or Cordonnet 6 fiis D.M.C 
 
 1 , , No. 80, white (*) and Point Lace braid. 
 
 join to the first round between 
 
 the 8th and 9th trebles, 8 trebles and repeat from *. For the 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
i : ~i . . : - 
 :: : r 
 
 
 -: : : 
 
 Utarwr-s* 
 
 i -• 
 
 
 
 k-_1:t 
 
 ; 
 
 
 - 
 
 
 : 
 
 -\ 
 
 ■ - " _ 
 
 1Z- Z ' 
 
 - _ 3 
 
 - ~ - 
 
 ' - : 
 
 
 
; ::: : 
 
 : " " : " t _ : 
 
 
 oise _ _ . — 
 
 I ptoir 
 
 ... 
 
 :: :~i — - 
 
 
 sad row — 
 
 
 . : 
 
 • _.~ : _ 
 
2 52 
 
 CROCHET WORK 
 
 3 trebles, 7 chain, turn back and join to the 1st of the 3 
 trebles, 2 chain, join them to the 2nd treble, 2 trebles on the 7 
 chain ; keep the last loops of the last treble on the needle and 
 join them to those of the next treble. 
 
 Lace with two rows of leaves (fig. 463). — This is one of 
 the pleasantest crochet patterns to work that we know. The 
 leaves are made separately and fastened into a foundation with 
 thread, at least two numbers liner than that of which the leaves 
 are made. 
 
 Leaf with 5 petals : 8 chain, make a ring = 2 plain on the 
 ring = 1 st petal * 1 1 chain, miss 3 chain, 1 half-treble on the 
 8th chain, 1 chain, miss the 7th chain, 1 treble on the 6th chain, 
 
 Fig. 463. Lace with two rows of leaves. 
 
 Materials : Fil d'Alsace D.M.C Nos. 20 to 100, Cordonnet 6 fils D.M.C Nos. 25 to 80 
 
 or Fil a dentelle D.M.C Nos. 25 to 100. 
 
 i chain, i treble on the 4th chain, 1 chain, 1 treble on the 3rd 
 chain, 2 chain, 2 plain on the ring. 
 
 2nd petal : i5 chain, miss 3 chain, 1 half-treble *, 1 chain, 
 miss 1 chain, 1 treble *. Repeat 4 times from * to * ; add : 1 
 chain, 2 trebles on the ring. 
 
 3rd petal: 21 chain, miss 3 chain, 1 half-treble *, 1 chain, 
 miss 1, 1 treble *. Repeat 7 times from * to *; add: 1 chain, 
 miss 1, 2 trebles in the ring. 
 
CROCHET WORK 253 
 
 The 4th petal to be worked like the 3rd; the 5th like the 
 
 1 St. 
 
 When the 5 petals are finished, make i plain stitches on 
 the ring; then on the chain stitches of the ist petal : i plain, 
 7 trebles, 2 trebles on the 10th stitch; then descending again: 
 7 trebles, i plain and 3 single on the 3 plain stitches of the 
 ring. 
 
 On the 2nd petal work: 3 plain, io trebles, 2 trebles on 
 the 14th chain, 10 trebles, 3 plain, 2 single, on the 2 trebles 
 on the ring. 
 
 3rd petal : 2 single, 3 plain, 14 trebles, 2 trebles on the 20th 
 chain, 14 trebles, 3 plain, 2 single. 
 
 The 4th petal is worked like the 2nd; the 5th like the ist, 
 to be followed by 1 single on the ist of the 3 chain stitches of 
 the ring. 
 
 For the stalk : 14 chain ; miss 1, 9 plain on the 9 chain ; 6 
 chain, miss 1, 5 plain on the 5 chain, 4 plain on the chain 
 stitches that are still disengaged, 2 single on the ring and then 
 asten the thread off with a few stitches. 
 
 When you have enough leaves, join them together by a 
 row of picots, working from left to right as follows : * take 
 the second petal on the right side of a leaf, put the thread into 
 the 1 2th stitch; make 2 plain, 1 picot, 1 plain on the stitch 
 on which the picot was made = in all the leaves, the 3rd plain 
 before the picot and the first after, meet in the same stitch 
 beneath = 2 plain, 1 picot, 3 plain, 2 chain = on the 8th 
 stitch of the 3rd petal : 1 plain, 2 plain more on the next stitches 
 * *, 1 picot, 3 plain. Repeat 6 times from * * and finish with 
 
 2 chain. 
 
 On the 7th stitch of the 4th petal : 1 plain, 2 plain on the 
 next stitches ***, 1 picot, 3 plain. Repeat 4 times from***. 
 
 On the 5th stitch of the 5th petal : 1 plain, and on the 4 
 next, 4 plain * * * *. Repeat from * to * * round each leaf, 
 then instead of a picot, make 4 chain, join between the ist 
 and 2nd picot, 4 chain, close the picot. From this point the 
 preceding series of stitches takes the place of the picot that 
 immediately follows the sign * *; proceed to * * * *. 
 
 Foundation for the footing of the lace, with a single row 
 
 17 
 
254 CROCHET WORK 
 
 of leaves. — When all the leaves are joined together, take the 
 finer number of cotton and fasten your thread to the last 
 stitch of the small stalk; then make : * 2 chain, 1 plain on the 
 9th stitch of the 5th petal; 6 chain, miss 2, 1 plain an the 3rd 
 stitch ; 6 chain, 1 plain on the 3rd stitch, 1 chain, 1 plain on 
 the 5th stitch of the 4th petal ; 6 chain, 1 plain on the 3rd 
 chain ; 2 chain, 1 plain on the 4th stitch (counting from the 
 bottom) of the 5th petal of the next leaf; 3 chain, 1 single on 
 the last stitch of the long stalk; 3 chain, join to the 3rd chain 
 stitch, 3 chain, draw the thread again in coming back through 
 the 3rd of the second set of 6 chain stitches in the 1st petal ; 
 1 single ; turning back and from left to right : 1 single on the 
 plain stitch between the chain stitches, 6 chain, 1 plain on the 
 2nd of the last 3 chain, 6 chain, 1 plain on the stalk, 6 chain, 
 1 plain on the 3rd stitch of the stalk; 6 chain, 1 plain on the 
 4th stitch of the stalk; 7 chain, 1 plain at the top of the little 
 stalk, then repeat from #. The network in the next rows, which 
 may be of any width, is composed of: 6 chain stitches and, 
 1 plain on the loop of the last row. 
 
 For the last row but one of the network, make : 4 chain, 
 1 plain over each loop, and complete the lace by a row of plain 
 stitches. 
 
 To make the leaves stand out from the foundation, use two 
 shades of thread, white and ecru, white and Jaune-Rouille 
 365, or white and Gris-Cendre 41 5. 
 
 The following is the way to join two rows of leaves toge- 
 ther, that have previously been edged with picots. 
 
 Fasten the thread on to the little stalk, * 3 chain, 1 plain 
 on the 8th stitch of the leaf, 2 chain, join to the middle picot 
 of the 3rd petal of the top leaf; 2 chain, 3 plain on the 5th petal 
 of the bottom row, 1 picot, 3 plain. 
 
 For the 2nd petal of the bottom leaf: 3 plain, 1 picot, 3 plain. 
 For the 5th petal of the next leaf below : 3 plain, 4 chain, 
 1 single on the long stalk, 5 chain, 1 plain on the 2nd picot of 
 the 1st petal of the preceding leaf, 5 chain, 1 single on the 2nd 
 picot of the 4th petal of the top leaf, 4 chain, 1 plain on the 
 4th single of the stalk, 3 chain, 1 single on the 7th picot of 
 the 3rd petal of the top leaf, 3 chain, miss 1 stitch of the stalk, 
 
CROCHET WORK 
 
 255 
 
 i plain on the stalk, 3 chain, i plain on the 6th picot of the 
 top leaf, 3 chain, i plain on the little stalk. Repeat from *. 
 
 Three and even four rows of leaves may be joined together 
 in this manner and make a very handsome lace, particularly 
 suitable for church linen. 
 
 Insertion with waved braid (fig. 464). — 1 plain stitch at 
 the point of the braid, 7 chain, 1 single on the 2nd chain. 
 On the next chain stitches : 1 half-treble, 1 treble, 1 double 
 treble, 1 triple treble, 1 plain on the next point of the braid. 
 
 Repeat the same stitches on the second side, only that after 
 
 Fig. 464. Insertion with waved braid. 
 
 Materials. — According to the size of the braid : Fil d'Alsace D.M.C Nos. 20 
 to 70, or Cordonnet 6 fils D.M.C Nos. 40 to 70. (*) 
 
 the 6th chain stitch, you draw the thread through the 7th of 
 the 1st finished row. 
 
 Little wheels, set between the crochet pyramids, and de- 
 scribed in the chapters on filet-guipure and Irish lace, complete 
 the insertion. 
 
 Crochet lace, made with leaf braid (fig. 465). — Introduce 
 the thread into one of the leaves of the braid and working 
 from right to left, make for the outer border : * 1 plain, 2 chain, 
 
 ' See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
256 CROCHET WORK 
 
 i picot in bullion stitch, with 5 twists of the thread, 2 chain, 
 1 treble near the end of the leaf. Leave the last 2 loops of the 
 treble on the needle * *. 
 
 Take 2 leaves of the braid, fold them one upon the other: 
 1 treble near the stalk of these folded leaves, tighten the loops 
 of the 2 trebles; 1 chain***, 1 picot, 2 chain, 1 plain, 2 
 chain. Repeat 5 times from * * *. 
 
 Proceed with 1 picot, 2 chain, — there will be 7 picots round 
 
 the folded leaves — 1 treble on the folded leaves and repeat 
 
 from * * to *, therefore the inverse way, and begin again from *. 
 
 For the footing of the lace, 4 rows are required. 
 
 1st row — * 1 double treble close to the stalk of the leaf, 5 
 
 chain, 1 treble, at the third of the leaf, 1 double treble at the 
 
 2nd third of the leaf, 5 
 chain, 2 double trebles, 
 one on the right leaf, one 
 on the left, draw the last 
 loops of the 2 trebles up 
 Fig. 465. Crochet lace made with leaf braid, together and repeat from *. 
 
 Materials : Fil d'Alsace D.M.C Nos. 5o to ioo 2nd TOW — On each of 
 
 or Fil a dentelle D.M.C Nos. 5o to 80. (*) the liule loops f ormed by 
 
 the 5 chain of the last row : i plain, 3 chain, i picot in bullion 
 stitch, 7 chain, i picot, 3 chain ; i plain on the next loop and 
 so on. 
 
 3rd row — i plain on the 4th of the 7 chain, 5 chain, 1 plain 
 and so on. 
 
 4th row — 1 plain on each loop of the last row. 
 
 Crochet lace made with leaf braid (fig. 466). — Begin 
 with the outside edge : 
 
 1st row: — At the end of a leaf: 1 treble, 6 chain, 1 picot 
 in bullion stitch, 6 chain, 1 treble = at the beginning of a 2nd 
 leaf: 6 chain, 1 picot, 6 chain, 1 treble at the end of the leaf 
 = 7 chain, 1 picot, 7 chain, 1 treble on the 3rd leaf = 6 chain, 
 1 picot, 6 chain, 1 treble at the end of the 3rd leaf = 6 chain, 
 1 treble, 6 chain, 1 treble on the 4th leaf = 1 double treble 
 joined to the 4th and 1st leaf of the next scallop = 1 treble 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CROCHET WORK 
 
 257 
 
 at the end of the 1st leal, join and draw the last loops of 
 these 3 trebles together. 
 
 2nd row — over each treble and picot : * 1 plain, 3 chain, 
 
 1 picot, 7 chain, 1 picot, 3 chain, 1 plain = repeat 6 times 
 from #. 
 
 At the indent and before the last picot : 2 chain, 1 picot, 2 
 chain = 1 plain before the 1st picot of the next scallop. 
 
 3rd row — 1 treble, 8 chain, repeat 6 times. In the indent 
 join the 4th of the 7 chain stitches right and left together by 1 
 treble. 
 
 4th row — 1 5 single on each loop of 8 chain. 
 
 Inside junction. — Begin at the edge of the first leaf, fasten 
 on the thread and make 10 chain and, 1 double treble at the end 
 of the leaf, 1 triple treble, and draw up both together, 5 chain, 
 
 2 triple tre- 
 bles on the 
 leaves to the 
 right and 
 left = 5 
 chain, 2 tri- 
 ple trebles, 
 one at the 
 end and the 
 other at the 
 beginningof 
 the 3rd and 
 4th leaf = 2 
 chain, 1 pi- 
 cot in bullion stitch, 2 chain, 1 plain on the last stitch of the 
 first trebles, 10 chain, 1 plain on the last stitch of the last 
 trebles ; 5 chain, 1 triple treble at the end of the 4th leaf. 
 
 Going back to the beginning: 5 chain, 1 single on the 10 
 chain above the picot = 5 chain, 1 single on the 5th of the 
 first 10 chain = 12 chain, 1 plain on the loop of the last triple 
 treble, 7 chain, 1 picot in bullion stitch, 6 chain = 1 plain on 
 
 Fig. 466. Crochet lace made with leaf braid. 
 
 Materials : Cordonnet 6 fils D.iM.C Nos. 40 to 80 or 
 Fil a dentelle Nos. 5o to 80. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
258 
 
 CROCHET WORK 
 
 the stalk between the 2 leaves; 6 chain, 1 picot, 7 chain, 1 
 triple treble on the leaf, 5 chain, repeat from *. 
 
 2nd row — 5 chain, 1 treble on the lower loops. Distribute 
 the chain stitches equally. 
 
 3rd row — 1 plain in the braid that forms the footing of the 
 lace, 2 chain, 1 plain on the last chain stitches, 2 chain, 1 
 plain in the braid, continuing in this manner to join the 
 crochet work and the braid together. 
 
 Irish lace (fig. 467). — Begin with the semicircles in the 
 middle of the pattern, which arch over two scallops, and cast 
 on 117 chain. Then lay a double or threefold thread of Cor- 
 donnet 6 fils D.M.C N° 2, over the chain stitches, and make 
 one plain stitch on each ; then cut the padding thread short off. 
 
 Fig. 467. Irish lace. 
 
 Materials: Cordonnet 6 fils D.M.C Nos. 25 to ioo, Fil a pointer D.M.C No. 3o 
 
 or Fil d'Alsace D.M.C Nos. 3o to ioo. (*) 
 
 On the other side of the chain make 2 plain, * 2 chain, 1 
 picot, 7 chain, 1 picot, 2 chain, miss 7; 1 plain on each of 
 the 2 next stitches * *. 
 
 Repeat 11 times from * to * *; the 1 ith time making only 
 6 chain. 
 
 2nd and 3rd row — On the upper side, over a double thread 
 of twist : 1 plain on each stitch of the last row ; cut off the 
 padding thread = 2 chain, 1 picot, 7 chain, 1 picot, 2 chain, 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CROCHET WORK 259 
 
 i plain on the 4th of the 7 chain stitches after the first picot 
 of the preceding row = 3 chain, 1 picot, 3 chain, 1 plain on 
 the 4th of the next 7 chain stitches * *. Repeat 1 1 times 
 from * to * * and then make : 2 chain, 1 picot, 7 chain, 1 picot, 
 2 chain, 1 plain. 
 
 On the upper side and without a padding thread : 3 plain, 
 
 1 picot, * 5 plain, 1 picot, * *. Repeat 20 times from * to * *. 
 Continue with : 3 plain, 10 chain, 1 picot, 2 chain, 2 plain on 
 the 4th of the first 7 chain of the 2nd row on the inside of 
 the semicircle = 2 chain, 1 picot, 7 chain, 1 picot, 2 chain, 1 
 plain on the plain stitch of the previous row = 1 plain on the 
 1st of the 3 chain = 2 chain, 1 picot, 7 chain, 1 picot, 2 chain, 
 
 2 plain as before, = 2 chain, 1 picot, 7 chain, 1 picot, 2 plain 
 == 2 chain, 1 picot, 9 chain, 1 plain, return and make on the 
 9 chain : 7 plain, 2 chain, 1 picot, 2 chain, 2 plain = make 4 
 more scallops like the previous ons = 2 chain, 1 picot, 9 chain, 
 1 plain = return and make on the 9 chain : 7 plain, 2 chain, 
 
 1 picot, 2 chain, 2 plain = make 2 more scallops, and then a 
 3rd joined to the scallop that terminates the semicircle on the 
 right by the 2 plain stitches = 2 chain, 1 picot, 7 chain, 1 picot, 
 
 2 chain, 2 plain on the point of the crescent = 22 scallops con- 
 sisting of: 2 chain, 1 picot, 7 chain, 1 picot, 2 chain, 2 plain. 
 
 9 plain on the scallop that terminates the semicircle on the 
 left, 7 chain, 2 plain on the next scallop, 2 chain, 1 picot, 2 
 chain, 2 plain on the next scallop = make 2 bars more of the 
 same kind = 7 chain, 2 plain = 3 bars like the previous ones 
 = 7 chain, 2 plain =. 3 bars as before = 2 plain, 7 chain, 7 
 plain on the next scallop = 1 bar consisting of 3 chain, 1 
 picot, 3 chain, 2 plain over all the scallops of the preceding 
 row (24 scallops in all). 
 
 4th row — 3 chain *, 8 trebles on the 7 chain that follow 
 the 7 plain = turn the work = 1 single on the last treble, 3 
 chain, 1 treble on the 7th and 1 on the 6th of the 8 trebles, 2 
 chain, 1 treble on the 5th and 1 on the 4th of the 8 trebles, 
 
 2 chain, 1 treble on the 3rd and 1 on the 2nd of the 8 trebles, 
 
 3 chain, 1 single on the 1st of the 8 trebles = turn the work 
 = * * on the 3 chain : 1 plain, 1 half-treble, 1 treble, 1 half- 
 treble, 1 plain = 1 plain between the 2 trebles below = on 
 
260 
 
 CROCHET WORK 
 
 the 2 chain, i plain, i half-treble, i treble, i half-treble, 
 i plain *** = i plain between the 2 trebles beneath, repeat 
 from ** * to * *, therefore the reverse way. 
 
 Go on with 2 scallops consisting of 2 chain, 1 picot, 7 chain, 
 1 picot, 2 chain, 2 plain = after the 2nd scallop : 2 chain, 1 
 picot, 5 chain = 8 trebles on the 7 chain over the 7 plain and 
 finish the little flowers consisting of 4 scallops each, like the 
 first from * to * * * and from ***to** = 2 plain to get 
 back to the scallop = 1 chain, 1 picot, 2 chain, 2 plain, 3 chain, 
 1 picot, 7 chain, 1 picot, 2 chain, 2 plain, 3 chain, 1 picot, 
 3 chain, and make a 3rd flower of 4 scallops like the 2 others 
 = 2 single to come back to the scallop, 2 chain, 1 picot, 2 
 chain, 2 plain = 2 more scallops like the previous ones, then 
 make the 4th flower of 4 scallops, which must come before the 
 7 plain stitches of the previous row = 20 scallops consisting 
 of: 2 chain, 1 picot, 7 chain, 1 picot, 2 chain, 2 plain = the last 
 scallop is to be joined to the 1st scallop of the 1st flower, under 
 the left point of the semicircle = 3 single along the small scallop, 
 3 trebles, 2 chain, 1 picot, 2 chain, 2 plain on the point of the 
 scallop = 3 bars like the previous ones to be joined to the 2 
 next scallops = 3 similar bars between the small scallops = 1 
 single on the scallop between the 2 flowers and 1 single on 
 the 2nd set of chain stitches in the scallop that precedes the 
 3rd flower = 1 single on the point of the 1st scallop of the 3rd 
 flower = continue the little bars along the 2nd side until past 
 the 4th flower = after the 4th flower make 2 bars consisting 
 of 2 chain, 1 picot, 2 chain, 2 plain = 3 chain, 1 picot, 3 
 chain, 2 plain on the next scallop * * * * 7 chain, 2 plain on 
 the next scallop, 3 chain, 1 picot, 3 chain, 2 plain on the next 
 scallop, 3 chain, 1 picot, 3 chain, 2 plain on the next scallop, 
 3 chain, 1 picot, 3 chain, 2 plain on the next scallop ***** 
 repeat five times from * * * * to *****. At the 2nd repe- 
 tition make 1 bar with 1 picot more, so that you have 4 bars 
 instead of 3. At the 5th repetition you decrease by 1 bar, so 
 that you have 2 instead of 3. 
 
 1 plain on the point of the scallop of the flower, 3 chain, 
 1 picot, 7 chain, 1 picot, 3 chain, 3 plain, one of which is made 
 on the 2nd plain of the previous row, and the 2nd on the bar of 
 
CROCHET WORK 261 
 
 chain stitches == 3 plain, i picot, 7 chain, 1 picot, 3 chain, 2 
 plain = 2 more similar scallops = then 3 chain, 1 picot, 9 
 chain, 1 plain on the 2nd plain of the previous row = join and 
 on the 9 chain make 7 plain = 3 chain, 1 picot, 3 chain, 
 
 2 plain. 
 
 Over the 1st little flower inside the semicircles, make 1 scallop 
 like the previous ones = then 3 chain, 1 picot, 7 chain, 2 
 plain on the 3rd point of the first flower = 2 chain, 2 plain on 
 the 2nd point of the second flower = 6 plain on the scallop 
 and joined to the 3rd point of the first flower = 3 chain, 1 picot, 
 
 3 chain = 2 plain = 1 scallop like the previous ones, 2 plain 
 on the 4th point of the small flower, 3 chain, 1 picot, 9 chain, 
 
 1 plain = 7 plain over the 9 chain = 3 chain, 1 picot, 3 chain, 
 
 2 plain. 
 
 Make 7 scallops of : 3 chain, 1 picot, 7 chain, 1 picot, 3 
 chain, 2 plain, after the 7th scallop make 1 chain only, which 
 must come just before the 7th chain to the left without a picot 
 and above the point of the semicircle. 
 
 Over the 7 chain make a flower like the first with 4 scallops 
 = then 3 scallops, 3 chain, 1 picot, 7 chain, 1 picot, 3 chain, 
 2 plain. Make one more flower with 4 scallops, 3 scallops like 
 the previous ones = a third flower with 4 scallops, 2 chain, 2 
 plain, one of them above the point of the row beneath, 12 
 chain, 1 plain over the next scallop = turn the work and coming 
 back over the row just made, make : 7 plain on the first 7 of 
 the 12 chain, 1 plain on the point of the scallop, 4 chain, 1 
 picot, 4 chain, 1 plain on the next scallop, carry on the bars 
 over the flowers and scallops, making 1 plain on the scallops 
 of the flower and 2 plain on the other scallops, up to the 5 
 plain stitches between the 2 flowers underneath the semicircle. 
 
 After the plain stitch that joins the last bar, turn the 
 work and make 23 scallops consisting of: 4 chain, 1 picot, 7 
 chain, 1 picot, 4 chain, 2 plain. 
 
 Cut off the thread and fasten it on above the semicircle and 
 at the plain stitch which precedes the 7 chain without picot and 
 make the second side like the first = having reached the 
 middle, close to the 5 plain, turn the work = make the half 
 
262 CROCHET WORK 
 
 round of bars and fasten off at the 4th scallop of the flower 
 above the semicircle. 
 
 Fasten on at the point under the flowers where the work 
 was turned and on the wrong side, and from right to left, 
 work: 21 scallops consisting of 4 chain, 1 picot, 7 chain, 1 
 picot, 4 chain, 2 plain = then add : 4 chain, 1 picot, 10 chain, 
 1 plain above the point of the scallop of the small flower = 
 turn the work : 7 plain over the 10 chain. 
 
 22 bars of 3 chain, 1 picot, 3 chain, 2 plain = after the 22nd 
 bar, 10 chain = come back and join to the picot of the 21st 
 bar = 2 chain, 8 trebles over the 10 chain and complete the 
 flower as before. After the 4th scallop of the flower : 2 chain, 
 1 single, quite close to the 8 trebles, 3 chain, 2 plain on the 
 next bar, 3 chain, 1 picot, join to the 2nd stitch of the 4th 
 scallop of the flower, 3 chain, carry on the bars the same dis- 
 tance as on the first side. 
 
 Footing of the lace — On the chain stitches that follow the 
 3rd plain stitch and above the last little figure : 1 triple treble, 
 6 chain, join to the middle plain stitch = miss 1 scallop, 1 
 treble, 6 chain = miss 1 scallop, 1 double treble, 6 chain, = 
 miss 1 scallop, 1 triple treble, 6 chain, = miss 1 scallop of 
 the figure on the left, 1 double treble, 6 chain = miss 1 scallop, 
 1 treble, 6 chain = miss 1 scallop, 1 double treble, 6 chain = 
 miss 1 scallop, 1 treble, 6 chain = miss 1 scallop, 1 treble, 
 6 chain = miss 1 scallop, 1 double treble, 6 chain, 1 triple 
 treble, 6 chain, 1 quadruple treble on the next plain stitch. 
 Repeat the whole, reversed, and finish off" the footing with a 
 row of plain stitches. 
 
 Edge of the lace. — Fasten on, where the semicircles join : 
 1 double treble on the first 3 chain stitches of the empty 
 scallop, 5 chain, 1 double treble on the next disengaged chain 
 stitches of the half scallop ; continue the same on all the chain 
 scallops and distribute the trebles so that there may be in all, 
 1 3 times 5 chain stitches. 
 
 Add 2 triple trebles, the last loops of them, connected 
 by a plain stitch; the 1st triple treble on the 3 last chain 
 stitches of the last scallop, the 2nd on the plain stitch, that 
 
CROCHET WORK 263 
 
 follows the ist scallop of the middle figure = 4 chain, 1 treble 
 
 on the plain stitch of the 2nd point. Repeat the same, reversed. 
 
 2nd row — On the first 5 chain of the last row: 5 plain = 
 
 on the next 5 chain: 5 plain == on the 3 chain, leave a space: 
 
 5 plain, 12 chain, come back and join to the 8th chain stitch 
 
 by a single stitch = on the scallop : 4 plain, 1 picot, 3 plain, 
 
 1 picot, 4 plain = and so on, until you have 8 points altogether. 
 
 The plain stitches must be distributed as follows : 
 
 For the 2nd point : in the 4th space 4 plain, in the 5th space 
 
 3 plain = for the 3rd point : in the 5th space, 2 plain, in the 
 6th space, 5 plain = for the 4th point : in the 6th space 1 plain, 
 in the 7th space 6 plain = for the 5th point : in the 8th space 
 
 4 plain, in the 9th space 3 plain = for the 6th point : in the 
 9th space 3 plain, in the 10th space 4 plain = for the 7th 
 point: in the 11th space 7 plain = for the 8th point: in the 
 1 2th space 7 plain = 5 plain in each of the 2 remaining spaces. 
 
 Crochet lace (fig. 468). — This is always an effective pattern, 
 in any number of thread. It is not new, however, and is pro- 
 bably already known to many of our readers as a pillow lace. 
 Those who are not fond of making pillow lace, will be glad to 
 learn how to reproduce it in crochet, as it makes a pretty trim- 
 ming, both for wearing apparel and furniture. For furniture, 
 it should be made in unbleached cotton, for articles of dress, in 
 any of the finer numbers, referred to above. 
 
 For the separate squares, cast on 10 chain stitches, and 
 close the ring. 
 
 ist row — *5 chain, 1 plain on the ring. Repeat 3 times 
 from *. 
 
 2nd row — 1 chain, 1 plain on the first 5 chain: * 5 chain, 
 1 plain = on the first 5 chain of the ist row : 2 chain, 1 plain 
 on the second 5 chain of the ist row. Repeat 3 times from *. 
 
 3rd row — 1 plain on the first 5 of the 2nd row: * 5 chain, 
 1 plain, 2 chain, 1 plain, 2 chain, 1 plain. Repeat 3 times from *. 
 
 In the 4th and following rows, go on increasing, as in the 
 3rd row, until, on all 4 sides, you have 11 plain stitches be- 
 tween every 5 chain. 
 
 1 2th row — 1 plain, 5 chain, 1 plain, * 1 picot made of 4 
 chain, 1 plain between the ist and the 2nd plain of the last row, 
 
264 
 
 CROCHET WORK 
 
 2 chain, 1 plain between the next 2 plain. Repeat 3 times from 
 *, and fasten off. 
 
 Crochet the squares together, as you finish them. After the 
 1 2th and last plain stitch, make : 2 chain, drop the loop, put the 
 hook into the 3rd of the 5 chain stitches that form one corner 
 of the square, draw the dropped loop through, 2 chain, close 
 the picot, finish the square. 
 
 Fig. 468. Crochet lace. 
 
 Materials. — For trimming curtains and coarse linen table covers : Fil a pointer 
 
 D.M.C No. 25 or 3o, or Cordonnet 6 fills D.M.C Nos. 10 to 25 ecru. 
 
 For articles of dress : Fil d'Alsace D.M.C Nos. 3o to 70, 
 
 Cordonnet 6 fils D.M.C Nos. 25 to 70, or Fil a dentelle D.M.C Nos. 25 to 70 ecru. (*) 
 
 For the star that connects the squares — 10 chain, close the 
 ring; * 4 chain, 1 picot, 4 chain, 1 over, join the 2 picots right 
 and left of the squares that are to be joined together, by 1 treble ; 
 4 chain, 1 picot, 3 chain, drop the loop, put the needle into the 
 first of the first 4 chain stitches, draw the thread through, 2 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C. threads and cottons. 
 
CROCHET WORK 265 
 
 plain on the ring, 8 chain, i treble on the 3rd picot and i treble 
 on the 4th picot of the square = coming back : 1 plain on each 
 of the 8 chain ; 2 plain on the ring, and repeat 3 times from *. 
 
 For the half-star, that fills the space under the footing of 
 the lace: 10 chain, close the ring =9 chain, 1 treble on the 
 1st picot of the square; 4 chain, 1 picot, 3 chain; draw the 
 thread through the 1st of the 9 chain = 2 plain, 8 chain, join 
 the 3rd and 4th picots of the square by 1 treble bar on each 
 picot = 8 single stitches on the 8 chain, 2 plain on the ring; 
 4 chain, 1 picot, 4 chain = on the 1st and last picot of the 2 
 opposite squares: 1 treble, 4 chain, 1 picot, 3 chain, drop the 
 loop, draw it through the 1st of the 4 chain stitches = 2 plain, 
 8 chain, join 2 picots by 2 trebles = 8 single, 2 plain on the 
 ring, 4 chain, 1 picot, 4 chain, 1 treble on the last picot = 
 8 chain, draw the thread through the 1st of the 4 chain. 
 
 The footing is made as follows — * 1 plain on the 5 upper 
 chain stitches of the square; 17 chain up to the ring, 3 plain, 
 17 chain and repeat from *. A row of plain stitches completes 
 the footing. 
 
 Outer edge — * 2 treble on the 1st picot, 4 chain, and 
 repeat 5 times from *. 
 
 On the 5 chain stitches, in the corner, make : 1 treble = 
 4 chain, 1 treble on the 5 chain and finish the second side of 
 the square like the first. Omit the chain stitches, between the 
 1 st and last trebles of the squares. 
 
 The next and last row consists of: 2 plain, 1 picot, 2 plain 
 every 4 chain. On the last 4 chain, at the point where 2 scal- 
 lops join, make 4 plain stitches, without picots. 
 
 Lace with, stars (fig. 469). — Begin with the stars, make 
 a chain of 18 stitches, close the ring, mount it on a mould, 
 wind a soft thread, such as Coton a repriser D.M.C N° 60, 
 seven or eight times round it, and make 3o plain stitches upon 
 it, joining the last to the first by a single stitch. 
 
 Then: * i3 chain, and returning, miss the 1st chain = on 
 the 12 chain: 1 single, 2 plain, 2 half-trebles, 2 trebles, 2 
 double trebles, 1 double treble and a half, 2 triple trebles; keep 
 the two last loops of the last treble but one, on the needle, and 
 join them, to those of the last treble. Repeat 5 times from *. 
 
266 
 
 CROCHET WORK 
 
 2nd row — i plain, on the upper stitch that was missed in 
 the ist row; * 17 chain, 1 plain on the next point. Repeat 5 
 times from *. 
 
 3rd row — * 6 plain, 3 chain, miss 2 stitches of the lower 
 row. Repeat from *. 
 
 Fig. 469. Lace with stars. 
 
 Materials : Fil d'Alsace D.M.C Nos. 3o to 70, Fil a pointer D.M.C No. 25 or 3o, 
 
 Coton pour crochet D.M.C Nos. 8 to 12. 
 
 4th row — All round the last row, on each of the bottom 
 stitches 1 plain ; after every 6 stitches, i picot. This will give 
 you 19 picots in all, separated from each other by 6 stitches. 
 
 Inner connection — Fasten on the thread at the 5th treble, 
 counting from the ring : 1 single, 8 chain. Draw out the thread, 
 from the back, through the 9th of the 17 chain round the 
 star = 8 chain * join with 1 chain to the 5th treble, passing 
 the thread through to the back = work on the wrong side : 
 3 chain, bring the thread back between the 5th treble to the 
 right side, and repeat 5 times from *. In joining the stars, 
 place them so that 9 picots are turned to the edge, and 8 to 
 the footing. The 10th and the 19th picots serve to join the stars. 
 
 1 st row — 2 trebles between the 19th and the 9th of the * 9 
 picots, 7 chain, 1 treble; repeat 9 times from *. 
 
 After the 10th] treble, make no more chain stitches, but 1 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CROCHET WORK 267 
 
 treble immediately between the 19th and the 1st picot of the 
 next row. 
 
 2nd row — On the 7 first chain stitches of the last row: 3 
 plain, 4 half-trebles, 3 trebles, 1 picot, 3 trebles, 1 picot, and 
 so on, until in the semicircle over the picots, you have 7 times 
 7 chain stitches and 16 picots = on the ninth set of 7 chain: 3 
 trebles, 4 half trebles, 3 plain. 
 
 The scallops are joined by smaller ones, formed of: 3 plain, 
 4 half trebles, 3 trebles, 1 picot, 2 trebles, 7 chain, drop the 
 loop, put the needle into the same treble of the last scallop ; 
 draw the loop through and make on the 7 chain: 1 plain, 1 
 half-treble, 5 trebles, 1 picot, 5 trebles, 1 half-treble, 1 plain ; 
 continue the large scallop, as described above. 
 
 The footing is composed of rings and trebles. — Begin 
 with a ring, like those in the middle of the stars, worked as 
 follows; 18 chain, with 28 plain upon them = miss 1 plain 
 stitch of the ring, 3 plain, 10 chain = miss 1 plain, 3 plain, 10 
 chain = miss 1 plain, 3 plain, 5 chain, 1 single on the 7th 
 picot of the 1 st star, 5 chain = miss 1 plain, 3 plain, 5 chain, 
 1 single on the 8th picot, 5 chain = miss 1 plain, 3 plain, 5 
 chain, 1 single on the 2nd picot, 5 chain, finish off. 
 
 Straight edge — Worked from right to left= 1 chain * turn 
 the thread 7 times round the needle, join to the plain stitch 
 between the 7th and 6th picot , complete the long treble, 7 
 chain, join 1 treble, consisting of six overs to the 1st treble; 1 
 quintuple treble between the 6th and the 5th picot; 7 chain, 
 1 quadruple treble joined to the previous treble = in all, 10 
 trebles, the 1st made with 7 overs, the 2nd with 6, the 3rd 
 with 5, the 4th with 4, the 5th and 6th with 3, the 7th with 
 4, the 8th with 5, the 9th with 6, the 10th with 7 ; and between 
 every 2 trebles, 7 chain. 
 
 The 3 long trebles of the ring are taken up with 1 plain 
 and 7 chain between. 
 
 Guipure lace (fig. 470). — We advise our readers to work 
 this charming pattern, in unbleached Fil a dentelle D.M.G 
 N° 5o, because it imitates the appearance of old lace better 
 than any other material. 
 
 Lozenge-shaped figures in the centre — 5 chain, close the ring. 
 
268 
 
 C R O C H E T \\ O R K 
 
 ist row — 5 chain, i picot, 2 chain, 1 treble on the ring = 
 5 chain, 1 treble on the ring = 2 chain, 1 picot, 2 chain, 1 
 treble on the ring = 5 chain on the 3rd of the first 5 chain. 
 
 2nd row — 12 chain, * 1 treble on the 1st treble of the 1st 
 row =4 chain, 1 treble on the 3rd of the next 5 chain = 5 
 chain, 1 treble on the same stitch as the last treble =4 chain, 
 
 Fig. 470. Guipure lace. 
 
 Materials : Fil d'Alsace D.M.C Nos. 3o to ioo, Cordonnet 6 fils D.M.C 
 
 Nos. 25 to ioo, or Fil a dentelle D.M.C Nos. 20 to 100. (*) 
 
 * * i treble on the 2nd treble of the 1st row, 9 chain. Repeat 
 from # to * *; join the last 4 chain, to the 3rd of the first 12 
 chain, by a single stitch. 
 
 3rd row — 1 chain, 4 plain, 3 plain on the 5th of the 9 chain 
 of the last row =12 plain, 5 plain on the 3rd of the 5 chain, 
 between the 2 trebles, 12 plain, 3 plain on the 5th of the lower 
 9 chain = 12 plain, 5 plain on the 3rd of the 5 chain, 7 plain ; 
 finish the row with a single stitch. 
 
 4th row — 3 chain, 1 treble on each of the next 5 plain; 3 
 trebles on the 6th plain ; 1 treble on each of the next i5 plain, 
 5 trebles on the 16th stitch; i5 trebles on the 2nd side; and 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CROCHET WORK 269 
 
 again 3 trebles on the 16th stitch; i5 trebles on the 3rd side; 
 5 trebles on the 16th stitch, 9 trebles and join to the 3rd of the 
 3 chain. 
 
 5th row — 1 chain, 6 plain, 3 plain on the 7th stitch beneath, 
 * 18 plain, 3 plain on the 19th stitch. Repeat twice from *. 
 
 6th row — 1 chain, 1 picot, 2 plain, 1 picot, 2 plain, 1 picot 
 = towards the point : 3 plain, 1 picot = on the 2nd side of the 
 square: 3 plain, 1 picot, and 5 times 2 plain, 1 picot = towards 
 the point: 4 plain, 1 picot. 
 
 On the 3rd side as on the 2nd, only reversed, first 4 plain, 
 and at the point 3 plain ; on the 4th side as on the 2nd; on the 
 1st side must still be added 3 plain, 1 picot, 2 plain, 1 picot, 
 2 plain, 1 picot, 2 plain ; draw the thread through the loop and 
 fasten off. 
 
 The oblong squares, that connect the lozenges, take 7 rows 
 of plain stitches. Make a chain of 14 = turn the work = i3 
 plain ; add 5 rows of the same number of stitches. On the 
 short side, and at the edge of the square: 1 picot, 3 plain, * 
 9 chain, miss 1 chain = returning : 1 plain on the 8th chain 
 = on the next 7 chain: 1 half treble, 3 trebles, 1 half treble, 
 
 2 plain on the last chain stitches = on the 2nd half of the short 
 side: 3 plain, 1 picot = on the long side: 3 plain * *, 1 picot, 
 
 3 plain * * *. Repeat the whole twice from * to * * *, and 
 then once from * to * * only. 
 
 The row of bars, that encircles the small leaves, begins with 
 2 single stitches on the first picot, then add : **** 3 chain, 1 pi- 
 cot, 3 chain, 1 treble on the 9th chain of the small leaf; on the 
 short side : 1 chain, 1 picot, 1 chain, 1 triple treble on the 9th 
 chain of the leaf; drop the thread, bring it out from the back, by 
 the side of the picot that forms the corner on the long side of the 
 lozenge = 1 chain, 1 picot, 1 chain, 1 treble on the small leaf 
 = 3 chain, 1 picot, 3 chain, 1 treble on the picot, forming the 
 corner of the oblong square = 3 chain, 1 picot, 3 chain, 1 
 treble on the leaf on the long side of the square = 3 chain, 
 1 treble on the same stitch as the 1st treble is on = 3 chain, 
 1 treble on the same stitch as the 2 first trebles are on; 3 chain, 
 1 picot, 3 chain, 1 treble on the picot at the corner. Repeat 
 once from * * * *. 
 
270 CROCHET WORK 
 
 Upper and lower edge — 6 chain, 1 sextuple treble on the 
 2nd picot of the lozenge = 6 chain, 1 triple treble on the 4th 
 picot of the lozenge. Coming back over the 2 trebles of 6 chain, 
 work in 3 journeys to and fro, i3 plain stitches. 
 
 After the 2nd row of plain stitches, 1 quintuple treble on the 
 6th treble of the lozenge, and then 4 rows of plain stitches. 
 
 After the 6th row, pass at once to the leaves above the 
 lozenge : ***** 1 5 chain, 1 plain on the picot that forms the point 
 of the lozenge = turn the work to the wrong side = on the 
 chain stitches work: ****** 3 plain, 1 half treble, 4 trebles, 
 1 half treble, 3 plain = turn the work to the right side 
 = returning and starting from the point of the leaf: 1 chain 
 and 1 plain on each of the lower stitches. 
 
 For the 2nd leaf: 12 chain = turn the work and repeat, as 
 for the former leaf, from ***** to******. 
 
 This leaf, being finished like the first, with this difference 
 that it ends at the upper point, you pass to the 2nd little 
 square : 6 chain, 1 sextuple treble on the picot next to the leaves ; 
 3 chain, 1 triple treble on the 3rd picot, counted from the leaves 
 = 6 chain, 1 sextuple treble on the 5th picot of the lozenge; 
 keep the 2 last loops of the treble on the needle, 1 sextuple 
 treble on the picot between every 3 chain of the small square 
 with leaves ; draw up the 2 last loops together with those al- 
 ready on the needle = 6 chain, 1 triple treble on the picot on 
 the long side of the small square = 3 rows of i3 plain each. 
 
 With the last stitch of each of these rows, take 1 of the 
 chain stitches between the long trebles. 
 
 After the 3rd row: 1 sextuple treble on the first treble on 
 the small leaf of the small middle square = 3 rows of plain 
 stitches to finish the square, and repeat from *****. 
 
 The upper row 7 is similar to this but should be worked 
 from right to left. 
 
 Scalloped edge. — In the right corner of the 1st oblong 
 figure of the outside corner : 1 double treble, 2 chain, 1 
 double treble on the 4th plain stitch = 2 chain, 1 double treble 
 on the stitch that forms the corner stitch of the square = 2 
 chain, 1 plain at the extremity of the first long leaf, 9 chain = 1 
 quadruple treble on the stitch between the 2 leaves = 2 chain, 
 
CROCHET WORK 271 
 
 i quadruple treble on the same stitch and on the 1st treble 
 = 2 chain, 1 quadruple treble on the same stitch = 9 chain, 
 1 plain on the last stitch of the 2nd long leaf = turn the work: 
 
 1 chain, 1 plain on each of the chain stitches, and on each 
 treble, 27 plain stitches in all = turn the work : 1 chain, 1 
 plain, 2 chain, 1 plain on the 2nd plain; repeat the last 12 
 times. Take in 1 stitch on each side in every row, turn the 
 work after each row , and at the end of the last fasten off. 
 Fasten on at the foot of the scallop, not at the point, and work 
 plain stitches all round it ; 20 plain to the upper point, 40 in all. 
 
 The open-work edge of the scallops consists entirely of 
 double trebles. — After the 40 plain stitches of the edge: 2 
 chain, 1 treble on the 1st plain stitch of the small square = 
 turn the work : * 2 chain, 1 treble on the 2nd of the plain 
 stitches, forming the edge of the scallop * * ; repeat 7 times from 
 * to * * = * * * 2 chain, 1 treble on the next plain stitch = 
 
 2 chain, 1 treble on the next plain = repeat 4 times from* * *; 
 and then 7 times from * to * * = 2 chain, 1 plain on the 
 4th treble of the square ; 2 chain, 1 plain on the 3rd treble. 
 
 Work on, on the right side = **** 2 chain and 1 treble 
 on the preceding treble as far as the 8th treble ; after the 8th : 
 ***** 10 chain, back to the 7th, and returning, join to the 
 7th treble = on the 10 chain : 16 plain, after the 16th draw the 
 loop through the upper loop of the 8th treble = ****** 2 
 chain, 1 treble, 2 chain, 1 treble, 10 chain, return, and fasten 
 the chain stitches to the last treble but one = 6 plain, 1 picot, 
 2 plain, 1 picot, 6 plain and join as before ******* = 
 Repeat once from ***** to *******, then twice, from 
 ***** to ******, then from **** to *****, as on the 
 first side, only 1 treble less = then 1 treble on the 4th plain 
 stitch of the small square, 2 chain, 1 treble on the 7th plain 
 stitch of the square, 2 chain, 1 treble on the 10th plain stitch, 
 1 treble on the outside stitch, at the corner of the square, 2 
 chain, 1 plain on the last stitch of the leaf; 9 chain and so on, 
 as above described. 
 
 Having reached the second scallop, on the 2nd row of trebles, 
 at the sign * * *, work: 2 chain, 1 treble to the left on the 
 scallop just finished, keeping the last loops of the treble on the 
 
2-J1 CROCHET WORK 
 
 needle, i double treble to the right of the scallop and join it 
 to the 2nd treble ; draw the 4 loops together = 2 chain, 1 treble 
 to the left, 1 quadruple treble to the right = 1 1 chain, drop the 
 loop, bring it to the right side through the 4th treble of the 
 right scallop = on these 11 chain stitches: 1 single, 1 plain, 
 
 1 halt treble, 2 trebles, 1 half treble, 1 plain, 1 single = 1 
 double treble on the open-work edge, then 2 chain, 1 treble, 
 
 2 chain, 1 treble, 12 chain ; join to the 6th treble of the right 
 scallop = working back: 4 plain, 1 picot, 4 plain, 1 picot, 4 
 plain, 1 picot, 4 plain, join to the treble, thrice 2 chain, 1 
 treble. Go back to ***** and repeat twice to *******. 
 
 The footing of the lace is worked in 5 rows from right to 
 left. 
 
 1 st row — 1 single, * 1 double treble on the 6th plain stitch 
 of the square = 1 chain, 1 double treble on the 2nd plain stitch of 
 the square = 3 chain, 1 picot downwards, 3 chain, 1 plain on the 
 stitch at the extremity of the long leaf= 3 chain, 1 picot down- 
 wards, 3 chain, 2 quadruple trebles between the two leaves = 3 
 chain, 1 picot downwards, 3 chain, 1 plain on the last stitch 
 of the 2nd leaf, 3 chain; repeat from*. 
 
 2nd row — 1 plain on each stitch of the previous row. 
 
 3rd row — count 2 stitches before and above the 2 trebles 
 on the squares and make : * 1 treble, miss 1 stitch, 1 treble, 
 miss 1 stitch, 1 treble, miss 1 stitch, 1 treble = turn the work: 
 1 plain on each of the 4 trebles = turn the work, come back 
 and make 4 plain on the first 4 = 6 chain, miss 2 stitches of 
 the 2nd row, 1 treble on the 3rd plain, and continue from *. 
 
 4th row — 1 treble on each of the 4 plain, 1 chain between 
 each treble, 2 chain and so on. 
 
 5th row — 1 plain stitch on each of the stitches of the 4th 
 row. 
 
 Crochet Reticella lace ng. 471}. — This pattern, copied 
 in crochet from an old piece of Reticella lace, only looks w T ell, 
 worked in very fine cotton, as indicated in our illustration, 
 namely, in unbleached Fil a dentelle D.M.C N° i5o. To make 
 it resemble the original more closely, the method adopted in 
 Venetian point , of making all the stitches over a padding 
 thread, has, in the case of the outside edge, been followed here. 
 
CROCHET WORK 
 
 273 
 
 At the end of each row of plain stitches, draw out a sufficiently 
 long loop to lay it back over the stitches just made, and to 
 work the next row of stitches over this double foundation. 
 These loops must be long enough, not to pucker or tighten 
 the scallops. 
 
 For the inner squares = 4 chain, close the ring. 
 
 1 st row — 8 chain, 1 treble, 3 chain, 1 double treble, 3 
 chain, 1 treble, 3 chain, 1 double treble, 3 chain, 1 treble, 3 
 chain, 1 double treble, 3 chain, 1 treble, 3 chain, 1 single 
 stitch on the 5th of the 8 chain. 
 
 2nd row — * 1 chain, 5 plain on the first 3 chain, 5 plain 
 on the next 3 chain. On these 10 plain stitches, working to and 
 fro, 9 rows of plain stitches, decreasing by 1 in each row; after 
 
 Fig. 471- Crochet Reticella lace. 
 Materials : Fil d'Alsace D.M.C Nos. 3o to ioo, or Fil a dentelle D.M.C Nos. 25 to 1 5o. 
 
 the last stitch, come back along the side or the little triangle, 
 and make i single stitch in every row, i plain on the treble of 
 the i st row * * ; repeat 3 times from * to * *. 
 
 These small triangles must be worked over i single treble 
 and between 2 double trebles. 
 
 When the 4th triangle is finished, make directly, starting 
 from the last stitch at the point, and along the side : 3 plain, 
 1 picot, 3 plain, 1 picot, 3 plain ; 1 single stitch on the treble ; 
 all the triangles must be edged, in this same manner on both 
 sides; on the stitch that forms the point: 3 plain stitches. 
 
 3rd row — * 17 chain, drop the loop = bring it to the front, 
 through the plain stitch that lies between 2 triangles ; return- 
 
274 CROCHET WORK 
 
 ing, make 10 single stitches backwards on the 10 chain. 
 You make stitches like this, backwards, in all the trebles that 
 follow, that is, the loop is dropped after each stitch, and 
 brought forward from the wrong side to the right = i3 chain, 
 join to the 5th single, counting upwards from below = 7 single 
 on the chain stitches; i3 chain, join to the other trebles; 6 
 chain, 1 single on the stitch at the point of the triangle * * ; 
 repeat 3 times from * to * *. = The chain stitches for the 
 trebles, must be drawn up very tight. 
 
 4th row — 1 plain on each of the stitches of the preceding 
 row, 3 plain on the corner stitch. On each side there must be 
 29 plain stitches, not counting the corner ones. 
 
 5th row = 6 chain, miss 2 stitches of the row beneath, * 
 1 double treble, 2 chain ; repeat 3 times from * = 2 chain, 
 1 double treble, 2 chain, 1 double treble on the same stitch 
 as the 1st treble = 2 chain, 1 double treble on the same stitch 
 as the 1st treble = 2 chain, 1 double treble on the same stitch 
 as the two first trebles = 10 times to the next corner : 2 chain, 
 1 double treble, 3 double trebles, each of them with 2 chain 
 stitches at the corner ; repeat the same on each of the 4 sides. 
 
 6th row — 1 plain on each of the stitches of the last row, 3 
 plain on the corner stitch = cut off the thread. Join the next 
 squares together at once by the last corner stitch. 
 
 Lower edge — You begin by making the large scallop at the 
 point of the square, and pass the double thread over the 3rd 
 treble that comes before the 3 trebles at the point of the square 
 and make : 1 plain stitch on each stitch of the square, up to the 
 3rd treble on the opposite side ; then draw out a long loop 
 which you carry back to the beginning. In the 2nd row increase 
 by 2 stitches, right and left of the middle stitches, for the 
 rounding of the scallop, and decrease by 1 on each side. Make 
 10 rows in all, and in each row, decrease by 4 stitches and 
 increase by 2. Fasten off after the 10th row. 
 
 The two little scallops, right and left of the big one, are 
 worked in 5 rows, over 5 trebles and 4 intervals of chain 
 stitches, taking off 2 stitches in every row. For the small 
 triangle between, worked in 4 rows, you must increase on 
 both sides by 2 stitches. 
 
CROCHET WORK 275 
 
 When all the scallops are finished, edge them with 3 plain 
 stitches, 1 picot and 3 plain and work in all the ends of thread 
 from the preceding rows at the same time. 
 
 For the footing and the small triangles, that fill up the 
 spaces between the squares : 22 chain, miss 1, 10 rows of 
 plain stitches, worked to and fro, decreasing by 1 in every row. 
 
 When the triangle is finished, make on one side, 1 single 
 in every row; then, on the 11 remaining chain stitches, 
 a second triangle, like the first, which you then join to the 
 plain stitches, above the 5th treble ; then returning along the 
 side of the triangle, add 3 plain, 1 picot, 3 plain, 1 picot, 3 
 plain; 1 single on each of the 22 chain stitches. 
 
 Edge the next side of the 2nd triangle like the first, join the 
 corner stitch to the 5th treble ; edge the two inner sides 3 
 times with 3 plain stitches and 2 picots. 
 
 Then from right to left on the plain stitches : 6 plain, 1 5 
 chain, join them to the middle of the 2 triangles = 1 single 
 on each chain, 5 plain on the square; 11 chain, 1 single on 
 the 9th of the first i5 chain; 1 single stitch on each of the 
 chain stitches ; 1 plain on each stitch of the square, to the 
 point where the squares join, 8 chain, 1 single on the 6th of 
 the 1 1 chain, 1 single on each of the 8 chain. 
 
 On the 2nd side: 7 plain, 5 chain, 1 single on the 6th of the 
 11 chain, 1 single on each of the 5 chain, 5 plain, 9 chain, 1 
 single on the 9th of the i5 chain, 1 single on each of the 9 
 chain, 6 plain on the square ; fasten off. 
 
 Fasten on, at the 2nd of the 3 corner stitches = 17 chain, 
 1 plain on the corner stitch of the triangle; 8 chain, 1 plain 
 on the next corner stitch, 17 chain, and so on. 
 
 A row of plain stitches, or trebles, completes the lace. 
 
 Lace with corner, formed by increasing on the outside 
 
 ■fig. 472). — 1st row — On a row of chain stitches or trebles, 
 work alternately: 1 chain, 1 treble = on the corner: 1 chain, 
 1 treble, 2 chain, so that the last 3 trebles come on one stitch. 
 
 2nd row — 1 plain on each stitch of the 1st row, 3 plain on 
 the 2nd of the 3 corner trebles. 
 
 3rd row — Counting from the 2nd of the 3 corner stitches, 
 and towards the left, make 1 plain on the 53rd, 52nd, 5 1 st 
 
270 
 
 CROCHET WORK 
 
 and 5oth plain stitches; 8 chain, miss 1 chain, 1 plain on 
 each of the 7 chain stitches = on the other side of the 8 
 
 Fig. 472. 
 Lace with corner, formed by 
 
 increasing on the outside. 
 Materials : Fil d'Alsace D.M.C 
 
 No. 3o, Fil a pointer D.M.C 
 
 Nqs. 20 to 3o, Cordonnet 6 nls 
 
 D.M.C Nos. 1 5 to 3o, or Fil a 
 
 dentelle D.M.C Nos. 25 to 5o. (*) 
 
 chain, also i plain on each 
 stitch, 3 plain on the 8th 
 chain, i plain on each of 
 the first 7 plain. 
 
 On the next 11 stitches of the 2nd row: 1 plain = 4 chain, 
 miss 4, 1 triple treble on the 5th of the 2nd row, 4 chain, 1 
 triple treble on the same stitch, 4 chain, 1 triple treble on the 
 same stitch, 4 chain, miss 4, 1 single on the 5th = turn the 
 work = on each treble of 4 chain : 7 plain ; 28 in all ; 1 single 
 on the 10th of the 11 plain = turn the work = miss the 28th 
 plain, and on the 27 others make: 3 plain, 1 picot, 3 plain = 
 11 chain, miss the nth, 10 plain on the others = on the 2nd 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CROCHET WORK 277 
 
 side of the chain: 4 plain, 10 chain, join them to the 6th of 
 the first 11 plain of this row = on the 10 chain: 5 plain, 
 3 chain, join them to the 5th plain of the ist leaf, made in 
 this row = on the 3 chain : 3 plain = on those of the io 
 remaining chain stitches : 6 plain = along the leaf: 3 plain, i 
 picot, 3 plain = on the stitch at the point of the leaf : 3 
 plain = then down the 2nd side: 3 plain, i picot, 7 plain = 
 over the next of the 28 plain : 3 plain, 1 picot, 4 plain — 
 * 11 chain, miss the nth, 10 plain = on the second side 
 of the chain : 4 plain, 6 chain, join them to the 4th of the 
 last 7 plain of the 2nd leaf = on the 6 chain: 9 plain. 
 Continue on the 3rd leaf of this row : 3 plain, 1 picot, 3 plain 
 and 3 plain on the stitch at the point of the leaf = on each 
 of the next 3 stitches : 1 plain, then 1 picot, 7 plain = on the 
 28 stitches: 4 plain, 1 picot, 3 plain * #. Repeat from * to 
 **, and here follow : 3 plain, 1 picot, 3 plain. 
 
 On the 2nd row: *** 5 plain, 10 chain, join them to the 
 4th of the last 7 plain of the 3rd leaf; 11 plain over the 10 
 chain = on the 2nd row: 5 plain, 8 chain, miss 1 chain, 1 plain 
 on each chain = on the second side: 4 plain, 3 chain, join 
 them to the 6th of the last 1 1 plain = 3 plain on the leaf, 3 
 plain on the stitch at the point, 7 plain, and repeat from *. 
 
 On the 2nd row and for the corner : 9 plain, * * * * 4 chain, 
 1 triple treble on the 2nd of the 3 corner stitches and repeat 4 
 times from **** = 4 chain, miss 4 of the preceding row, 1 
 plain on the 5th = turn the work, on each bar of 4 chain, 6 
 plain, 36 in all, join the last to the 8th of the 9 plain = going 
 back over the 36 plain : 3 plain, 1 picot, 3 plain, 1 1 chain, 
 miss the nth, 1 plain on each of the 10 chain = on the 2nd 
 side of the chain : 4 plain, 10 chain, join them to the 4th of 
 the 9 plain = over the 10 chain: 5 plain, 3 chain, join them 
 to the 4th plain of the last leaf, 3 plain = on the remainder 
 of the 10 chain : 6 plain. 
 
 Proceeding along the leaf: 3 plain, 1 picot, 3 plain, 3 plain on 
 the stitch at the point, 3 plain, 1 picot, 7 plain *****. Again 
 on the 36 plain, make: 3 plain, 1 picot, 3 plain, 1 1 chain, miss 
 the nth, 10 plain = on the 2nd side of the chain : 4 plain, 6 
 chain, join them to the 4th of the last 7 plain of the last leaf, 
 
278 CROCHET WORK 
 
 9 plain over the chain stitches = on the leaf: 3 plain, 1 picot, 
 
 3 plain, 3 plain on the stitch at the point, 3 plain, 1 picot, 7 
 plain ******. Repeat 3 times from ***** to ****** 
 and add 3 plain, 1 picot, 3 plain. Continue along the 2nd row: 
 
 4 plain, 10 chain and on these 11 plain = 4 plain, 8 chain, 
 returning, miss the 8th, 7 plain on the others = on the 2nd 
 side of the chain: 4 plain, 3 chain, join them to the 6th of 
 the last 1 1 plain = on the 3 chain : 3 plain = on the leaf: 3 
 plain, 3 plain on the stitch at the point of the leaf, 7 plain. 
 
 4th row — 1 plain on the 1st leaf of the 3rd row : * 7 chain, 
 1 plain on the 2nd leaf =7 chain, 1 triple treble on the 5th of 
 the 9 plain between 2 leaves = 7 chain, 1 plain on the 3rd leaf 
 = 7 chain, 1 triple treble, 7 chain, 1 plain on the 4th leaf = 7 
 chain, 1 plain on the 5th leaf; 5 chain, 1 plain on the 1st leaf 
 of the corner scallop. Repeat'from *, with this difference, that, 
 in the corner scallop you must have 4 triple trebles. 
 
 5th row — on the first 7 chain of the 4th row: 7 plain, * 
 on the next chain stitches: 12 plain = turn the work, and 
 crochet to and fro, decreasing by 1 stitch in each row. until you 
 have only 2 stitches left = along the leaf: 10 plain and repeat 
 3 times from * = 7 plain on the next 7 chain, 6 plain on the 
 
 5 chain, 7 plain on the 7 chain. 
 
 The corner scallop has 7 points = the 12 first stitches 
 must be divided as follows: * 1st point: 12 plain in the first 
 interval = 2nd point: 10 plain in the 2nd interval and 2 plain 
 in the 3rd interval = 3rd point : 7 plain in the 3rd interval and 
 5 plain in the 4th * *. Repeat once from * * to *. 
 
 6th row — * 1 plain in the 1st leaf, 5 chain, 1 crossed qua- 
 druple treble, the branches of which are joined by 5 chain ; 
 repeat twice from * = 1 plain, 4 chain, 1 plain in the 1st leaf 
 of the next scallop = 5 chain, 1 crossed quadruple treble, the 
 branches of which are joined by 5 chain and joined to the 
 6th stitch of the 2 next points = 5 chain and so on. 
 
 7th row — 6 plain on the first 5 chain of the 6th row, 6 
 plain on the next chain == 8 chain ; carry the chain back to the 
 right, and join it on, between the 6th and 7th plain = 4 plain 
 on the 8 chain, then 8 chain, take it back, and join to the 1st 
 plain = 12 plain on the 8 chain = continue on the small scallop: 
 
CROCHET WORK 279 
 
 3 plain, 1 picot, 8 plain = on the other 5 chain : 6 plain = 
 8 chain, join them again to the 4th of the 8 plain on the 
 scallop = on the last 8 chain : 3 plain, 1 picot, 8 plain = on 
 the 2 next bars of 5 chain: 12 plain = 8 chain, join them to 
 the 7th of the last 12 plain = on the 8 chain: 5 plain = 8 
 chain, join them to the 1st of the last 12 plain == on the 8 
 chain : 5 plain, 3 chain, join them to the 4th plain of the 3rd 
 finished scallop = over the 3 chain: 2 plain, 1 picot, 2 plain 
 = on the next scallop: 3 plain, 1 picot, 3 plain == in the half 
 finished scallop: 6 plain = 8 chain, take it back and join it 
 to the 1 st of the last 6 plain = on the 8 chain: 5 plain, i 
 picot, 3 plain, i picot, 5 plain to finish the scallop below : 5 
 plain = on the 6th row : 6 plain, 8 chain, join them to the 
 first of the last 5 plain of the last scallop = on the 8 chain : 
 3 plain, i picot, 8 plain. 
 
 The little scallops must be carried on round the corner point, 
 as they were on the 3rd, 4th and 5th trebles of the other points. 
 
 Lace with corner, formed by decreasing: on the inside 
 (fig. 473). — For the stars — 8 chain, close the ring ; 3 chain, 1 5 
 trebles in the ring; close = 3 chain, miss 1 treble of the last 
 row, 1 treble, 5 chain, 1 treble on the upper part of the last 
 treble = alternate 7 times : 1 chain, 1 crossed treble divided by 
 2 chain, lastly 1 chain, close the ring, fasten off. 
 
 Make 1 1 stars, and join them together as follows, counting 
 the third from the left, in the engraving, as the first. — When 
 you have joined the 1st star to the 2nd by the 6th and 7th cross 
 trebles, join the next stars so that when the 3rd is fastened 
 on, there should be 2 crossed trebles on the inside and outside 
 of the 2nd star. The 3rd star will have : 1 crossed treble on the 
 outside, 3 on the inside = the 4th : 2 crossed trebles inside, 
 2 outside = the 5th, the 6th, and the 7th: 1 inside, 3 outside 
 = the 8th : 2 on the inside and outside = the 9th : 3 inside, 1 out- 
 side = the 10th: 2 outside, 2 inside = the nth: 3 outside, 1 
 inside. For the next scallops, repeat from the 2nd to the 5th star. 
 
 2nd row — * over the 2 chain stitches of the 3rd crossed 
 treble of the 11th star: 1 treble, 3 chain = over the 1st chain 
 stitch between the 3rd and 4th crossed trebles : 1 treble, 3 chain 
 = over the next 2 chain stitches : 1 double treble, 3 chain = 
 
280 
 
 CROCHET WORK 
 
 3 overs, in the next space: i double treble and i double 
 treble in the ist space of the ioth star; connect the two trebles 
 
 Fig. 47 i. 
 Lace with corners formed by decreas- 
 ing ON THE INSIDE. 
 
 Materials : Fil d'Alsace D.M.C 
 
 Nos. 3o to 70, Fil a pointer D.M.C 
 
 No. 20 or 3o, Coton pour crochet D.M.C 
 
 Nos. 10 to 18, or Cordonnet 6 fills D.M.C 
 
 Nos. 4 to 60. (*) 
 
 Colours : White, Ecru naturel or 
 
 any other colour of the 4D0 shades 
 
 of the D.M.C colour card. 
 
 together, 3 chain, i double 
 
 treble, 3 chain, i treble, 3 
 
 chain, i treble, 3 chain, i 
 
 connected treble as before, 3 chain * * i plain over the 2 
 
 chain stitches of the last crossed treble of the 9th star. Repeat 
 
 from * * to *, therefore backwards. 
 
 Each of the next trebles comes, either over 2 chain stitches 
 of the crossed treble, or over the chain stitch between the 
 crossed trebles * * * 3 chain, 1 treble, 3 chain, 1 double treble, 
 3 chain, 1 triple connected treble, 3 chain, 1 double treble, 3 
 chain, 1 treble, 3 chain **** 1 single; repeat, in the reverse 
 order, therefore, from * * * * to * * *. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CROCHET WORK 281 
 
 When the outside row is finished, make a similar row on 
 the inside of the stars ; at the corner 3 trebles are to be made 
 3 times over each of the middle stars. 
 
 3rd row — i treble above and below, on each stitch of the 
 second row. 
 
 4th row — consists entirely of crossed trebles = * miss on 
 the upper edge: 3 times i treble, and 5 times 2 trebles = on the 
 next trebles of the preceding row: i double treble, miss 2 
 stitches, 1 double treble, miss 2 stitches, 1 double treble = 
 draw up the last loops of the 3 trebles together = repeat the 
 same thing backwards = here follow: 8 crossed trebles separated 
 each by 1 treble of the preceding row **; the 8th and the 9th 
 crossed trebles are together in the corner treble of the prece- 
 ding row. Repeat from * * to * = here follows 1 row with 1 
 treble on every stitch below. 
 
 The row on the side of the footing is worked as above de- 
 scribed = at the corner, and after having made the 3rd connected 
 treble, * miss 5 times 2 stitches, 6 times 1 stitch, 3 times 2 
 stitches, 3 times 3 stitches, * * 3 triple trebles connected toge- 
 ther above, miss 3 stitches underneath ; repeat from * * to *, 
 followed on both sides by a row of trebles. 
 
 In the corner of the inside row of trebles connect the loops 
 of 5 pairs of trebles, in the centre connect the loops of 3 trebles, 
 and again the loops of 5 pairs of trebles. 
 
 For the 1st star of the footing: 8 chain, close the ring; 
 3 chain in the ring, i5 trebles, close = 3 chain, miss 1 treble, 
 1 treble, * 3 chain, 1 treble on the stitch of the 1st treble, 
 miss 1, 1 treble in the 2nd stitch, draw the loops of the 2 
 trebles together * *. Repeat 6 times from * to * *; add 3 
 chain and close = 5 chain, join them to the 1 5th treble of 
 the. last row; 5 chain, 1 plain on the first chain stitches be- 
 tween 2 trebles ; 4 chain, join them to the 7th treble; 4 chain, 
 1 plain on the next chain stitches, 3 chain, join to the treble 
 over the 3 connected triple trebles, 3 chain, 1 plain on the 
 next chain stitches, 4 chain, join them to the 8th treble, 5 
 chain, 1 plain on the 5th treble, cut off the thread. 
 
 The corner star is made like the one just described, and is 
 joined on, as follows: 3 chain, join them to the 17th treble on 
 
252 CROCHET WORK 
 
 the left of the last row (counting from the triple treble) = 3 
 chain, i plain on the first chain stitches between 2 trebles = 3 
 chain, miss 4 trebles, join them to the 5th = 3 chain, 1 plain on 
 the 2nd set of chain stitches between = 6 chain, miss 5 trebles, 
 join them to the 6th = 3 chain, 1 plain on the 3rd of the 6 
 last chain = 3 chain, join them to the corner stitch, 3 chain, 1 
 plain on the last 3 chain = towards the right: 3 chain, join to 
 the 5th treble = 3 chain, 1 plain on the preceding, 3 chain, 1 
 plain on the 3rd set of stitches between, 3 chain, miss 4 trebles, 
 join to the 5th treble = 3 chain, 1 plain on the 4th set of 
 stitches between, 3 chain, miss 4 stitches and join = 3 chain, 
 1 plain on the 5th double treble, fasten off. 
 
 On the 3 first trebles of the preceding row of the inside 
 edge, counting from the outermost stitches which are to be seen 
 to the right in the illustration, 1 plain, 3 chain, miss 4 trebles, 
 1 treble = 3 chain, miss 3 trebles, 1 double treble, 3 chain, 
 3 overs, pass the needle over the double treble, crochet off one 
 over = miss 3 stitches, 1 double treble, crochet off the 2 re- 
 maining loops = 3 chain, 4 overs, crochet off 2 loops, 1 double 
 treble over the chain treble of the star, crochet off the remaining 
 loops = 3 chain, 3 overs over the treble made on the 5 chain, 
 crochet off 2 loops = 1 treble on the 5th set of stitches between, 
 crochet off the remaining loops = 3 chain, 1 treble on the 6th 
 set of stitches between = 3 chain, i treble on the 7th set of 
 stitches beetwen = 3 chain, 3 overs, 1 treble on the 8th set 
 of stitches between ; crochet off 1 over, 1 double treble on the 
 5 first chain stitches of the star, crochet off the remaining 
 loops = 3 chain, 3 overs, 1 treble over the 2nd double treble, 
 1 double treble, miss 2 trebles of the preceding row, complete 
 the treble = 3 chain, 3 overs, crochet off 1 over, joining it to 
 the last double treble ; crochet off the overs = 1 treble on 
 the 5th treble of the preceding row, crochet off the loops 
 = 3 chain, 1 treble on the 4th treble = 3 chain, miss 4 
 stitches = on each of the 6 following trebles : 1 plain = 
 3 chain, miss 3 trebles, 1 treble, 3 chain, miss 3 trebles, 
 1 double treble; 3 chain, 3 overs, over the double treble 
 crochet off 1 loop, 1 double treble on the 4th treble after 
 the plain stitches, crochet off the last overs = 3 chain, 3 
 
CROCHET WORK 
 
 283 
 
 overs, over the last double treble crochet off i loop, i 
 double treble on the 5th intervening space of the corner star, 
 crochet off the loops = 3 chain, i plain on the 7th double 
 treble of the star = 3 chain, 1 double treble on the 8th inter- 
 vening space = 3 chain, 3 overs, over the last double treble 
 crochet off 2 loops, 1 double treble on the 3rd treble of the 
 preceding row, complete the treble = 3 chain, 3 overs, over 
 the double treble crochet off 2 loops , 1 treble on the 4th 
 treble, complete the treble = 3 chain, 1 treble on the 4th 
 treble, 3 chain, miss 3, 3 plain. 
 
 One row of trebles to finish with ; draw the 5 corner trebles 
 together and add: 1 row of crossed trebles and 1 row of plain 
 trebles, each time drawing the 5 
 corner loops together into one. 
 
 1 st row of the outside bor- 
 der — 1 plain on every one of 
 the 7 next trebles of the row be- 
 neath, 5 chain ; turn back, join 
 them to the 7th plain and so on. 
 
 2nd row — 1 plain on the 
 4th of the 7 plain, 9 trebles on 
 the 5 chain. 
 
 3rd row — 1 plain on each 
 of the first 2 trebles of the 2nd 
 row, 1 picot, 2 plain, 1 picot, 
 
 miss I Stitch, 2 plain, I picot, Square with coloured tufts. 
 
 2 plain and SO On. Materials: Coton pour crochet D.M.C 
 
 Square with. Coloured Nos - 6 to I0 > or Coton a tricoter D.M.C 
 
 tufts (fig. 474). —The follow- Nos - 6 to I2 - ( *> 
 
 ing are different counterpane Co ^^ w hi " d R Turc 3 r 
 
 r ecru and Bleu-Indigo 3 12, Rouge-Gera- 
 
 patterns which should be work- n ium 353 and Brun-Caroubier 356, Bleu 
 ed in coarse COtton ; OUT engra- d'Azur 3325 and Brun-Rouille 33i2, Vert- 
 
 ving represents a single square, Bouteille 494 and BIeu - PruneIle 4»9- (*) 
 worked in two colours, in raised crochet. By joining a number 
 of such squares together, 4 or 6 colours can be introduced 
 into one covering with very good effect. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
284 
 
 CROCHET WORK 
 
 Cast on 1 3 chain and close the ring. 
 
 1 st row — 1 plain on the 1st of the i3 chain, 5 chain, 
 1 plain on the 4th chain, 5 chain, 1 plain on the 7th chain, 5 
 chain, 1 plain on the 10th chain, 5 chain, 1 plain on the 1 3th 
 chain. 
 
 2nd row — 1 plain on the 1st plain of the 1st row * 1 plain 
 on the 1st of the 5 chain; 5 chain, 1 plain on the 5th chain. 
 Repeat 3 times from *. 
 
 3rd row — 5 plain on the 5 chain, 5 chain, 5 plain and so on. 
 4th and 5th rows — continue to increase, as in the 3rd row. 
 
 6th row — after the 3rd 
 plain, 1 tuft in the contrast- 
 ing colour (see fig. 43 1). 
 
 The contrasting colour is 
 to be introduced into the work 
 at the first tuft, and cut off 
 when the last is finished. 
 
 The ends of the coloured 
 threads must be worked in un- 
 der the stitches of the next row. 
 The square may be of any 
 size ; it is bordered by small 
 picot scallops by means of 
 which the different squares are 
 joined together. 
 
 Stripes for counterpanes 
 (fig. 475). — We recommend 
 the use of Soutache D.M.C or 
 Lacets superfins D.M.C (braids) 
 for the coloured stitches, in the 
 
 Colours: Gns-Lin 716 and Rouge-Bor- . , 
 
 deaux 497, Gris-Tilleul 3 9 3 and Bleu- place of COttOn. The dark StltCh- 
 Falence 484 or Brun-Caroubier 356 and es Standing, SO tO speak, On 
 
 Jaune-Rouiiie 3o8 etc. (*) anot her ground of stitches the 
 
 pattern will look brighter, if it be worked in a flat material 
 that will spread out more than cotton does. 
 
 Fig. 475. 
 
 Stripes for counterpanes. 
 
 Materials: Coton pour crochet D.M.C 
 
 Nos. 6 to 8, or Coton a tricoter D.M.C 
 
 Nos. 6 to 12 and Lacets surfins D.M.C 
 
 No. 4, or Soutache D.M.C No. 2 1 /' (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CROCHET WORK 285 
 
 The stripe, worked in its entire length and always on the 
 right side, must be begun by a chain of stitches of the length 
 the stripe is to be. 
 
 ist row — i plain stitch on each chain stitch. 
 
 2nd row — i plain stitch with white or unbleached cotton, 
 on each second stitch of the preceding row; i long plain stitch 
 with the coloured cotton or the braid, in each second loop of 
 the chain stitch 
 
 When red and white cotton are used, only one thread must 
 be drawn through the ist loop, and the other tnrough the two 
 last loops. 
 
 3rd, 5th, 7th, 9th, 1 ith rows — plain stitches of the colour 
 of the grounding = 4th row — between every 5 coloured 
 stitches 3 white = 6th row — between every 4 red, 5 white 
 = 8th row — between every 3 red, 7 white = 10th row — 
 between every 2 red, 9 white = 12th row — between the 
 single red stitches, 1 1 white plain. 
 
 In the second half of the pattern the red stitches must in- 
 crease in the same proportion as that in which they decreased 
 before. 
 
 Pattern of a counterpane in Tunisian crochet (fig. 476). 
 This pattern, on a reduced scale, of a counterpane in Tunisian 
 crochet, though it is worked here in several colours, can be 
 done all in one. The numbers of the stitches, as they are here 
 given, refer of course to the pattern represented in our figure; 
 if worked on a larger scale, the number of stitches would have 
 to be increased every way in the proper proportion. 
 
 For the inner square, which is worked in a light material, 
 make 20 chain stitches, on which you make 17 rows of plaited 
 Tunisian crochet, fig. 455, then fasten off. 
 
 For the first coloured border, which immediately surrounds 
 the centre square, take a coloured thread and make 2 chain 
 stitches and upon these the common Tunisian stitch, fig. 444. 
 Increase to the right in every row by one stitch, to the number 
 of 6 = then put the needle into the first stitch on one side of 
 the square, turn the thread round and draw it through. Here 
 you must be careful to observe, in the first instance, that the 
 second part which is now to be joined to the square, should 
 
 iq 
 
286 
 
 CROCHET WORK 
 
 Fig. 476. Pattern of a counterpane in Tunisian crochet. 
 Materials : Coton pour crochet D.M.C Nos. 6 to 8, or Coton a tricoter D.M.C 
 
 Nos. 6 to 12. (*) 
 
 Colours: Gris-Amadou 385 and Rouge-Cardinal 346, Vert-Bouteille 492 and 
 
 Violet-Mauve 3 16, or Bleu-Gentiane 479 and Gris-Ecru 706. 
 
 always remain on the left side of the square and secondly, that 
 the thread with which you join the two parts together, should 
 lie to the left and be drawn through, from the wrong side to 
 the right. Having now got 7 Tunisian stitches on the needle, 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CROCHET WORK 
 
 287 
 
 make 18 double rows, and join the last stitch of each row to 
 a stitch of the square. 
 
 When these rows are finished, you proceed to decrease on 
 the right till you have only 2 stitches left ; and then again to 
 increase as at the beginning of the stripe. At each increase, 
 after each double row you must pass the thread through the 
 corresponding stitch opposite of the same row. When you have 
 again got 7 stitches on the needle, join them as before to the 
 square. Work round the 4 sides of the square in this manner 
 and when you come to the last decrease, join the stitches to 
 those of the first increase, and fasten off. The next stripes 
 are to be worked in the same way ; they may be made either 
 wider or narrower, plain, or ornamented with a cross stitch 
 pattern which you work upon them. 
 
 Fig. 477. Pattern of counterpane worked in stripes. 
 
 Materials : Coton pour crochet D.M.C Nos. 6 to 12, Coton a tricoter D.M.C 
 
 Nos. 6 to 14, or Cordonnet 6 fils D.M.C No. i5. (*) 
 
 Pattern of counterpane worked in stripes (fig. 477). — 
 This is intended for a child's coverlet and is worked in pale 
 
 '*> See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
2<88 CROCHET WORK 
 
 blue, Bleu-Indigo 334, arj d white ; the stripes and the lace 
 border, in white, the setting, partly in white, partly in blue. 
 
 For the first stripe, make a foundation chain of 2(5 stitches; 
 then counting back, draw the needle through the 6th and 7th 
 chain stitches, drawing up all the three loops together = 2 
 chain, then put the needle again through 2 chain stitches, draw 
 up the 3 loops together = 2 chain and so on. 
 
 Coming back, make the loop of the first stitch and that of 
 the second on the chain stitches of the preceding row = begin 
 every row with 3 chain, which form picots along the edge of 
 the stripe ; when the stripes are finished, take a blue thread 
 and make 1 plain stitch on each picot and 3 chain. 
 
 This blue row is followed by a white one, worked in cluster 
 stitch, fig. 426, with 2 chain stitches between every 2 clusters. 
 
 Then follows another blue row of one plain stitch on each 
 chain stitch of the previous row. The second blue row consists 
 entirely of plain stitches worked along the long sides of the 
 stripes, which are joined together afterwards, but not along the 
 short sides until the counterpane is finished ; then the stitches 
 should border all the 4 sides. The second stripe, which should 
 be of the same width as the first, is worked in Tunisian crochet ; 
 for the edge make one row of plain stitches in blue, one of 
 cluster stitches in white, and then again a row of plain in blue. 
 
 Join the stripes together on the wrong side with plain 
 stitches, taking up one loop on the right and one on the left, 
 alternately. 
 
 When you have joined the stripes, make the outer border, 
 which consists of 7 straight rows and a scalloped lace edging. 
 
 1st row — in blue: 3 chain and 1 plain on each picot, 1 
 plain, and so on, dowm the long sides of the stripes = along 
 the short sides, the side of the chain stitches or that of the 
 previous row : 1 plain, 3 chain, miss 2, 1 plain. 
 
 2nd row — in white or unbleached : 1 cluster stitch, fig. 
 426, on each picot formed by the 3 chain stitches of the 1st 
 row; on the corner picots, you must make 3 cluster stitches. 
 
 3rd, 4th, 5th rows — in blue: similar to the first. Increase 
 at the corners by making : 1 plain, 3 chain, 1 plain on the 
 same stitch. 
 
CROCHET WORK 289 
 
 6th row — in white or unbleached: similar to the 2nd row. 
 
 7th row — in blue : 1 treble on each of the stitches of the 
 previous row. 
 
 Lace edging. — The scallops extend over 22 stitches of the 
 previous row and on that account it is better to make the 
 corners first, to count the stitches both ways so as to distri- 
 bute the stitches that are left over, between the scallops. 
 
 Corner scallop. — Fasten on the thread to the left of the 
 second of the stitches that were added to make the turn, make 
 6 chain, 1 single on the 4th treble to the right = 1 single on the 
 next treble = turn the work = * 2 chain, 1 treble on the 6th 
 chain ; repeat 7 times from #, in all therefore 8 trebles = after 
 the 8th treble : 2 chain, miss 1 treble, 1 single on the 2 next 
 trebles = turn the work = 2 chain, 1 cluster stitch between 
 each treble, in all 9 cluster stitches, then 2 chain, miss 2 
 trebles, 1 single stitch on the next 2 trebles = turn the work 
 = 2 chain, 1 cluster stitch over the 1st, 2nd, 3rd and 4th pairs 
 of chain stitches in the preceding row, and 2 cluster stitches 
 and 2 chain over the 5th, 6th and 7th chain stitches; over the 
 other chain stitches again : 1 cluster stitch ; then 2 chain, miss 
 2 trebles, join to the 3rd treble = fasten off. 
 
 For the scallops on the right side, divide the stitches be- 
 tween the corner scallops into equal portions. Supposing that 
 they are divisible by 22, count 9 stitches to the right, fasten on 
 the thread at the 9th-, * 7 chain, miss 2 trebles of the row be- 
 neath, 1 plain on the 3rd, 1 single stitch on the next = turn the 
 work = 2 chain, 1 treble on the 7 chain, repeat 5 times from * 
 and finish with 2 chain, 1 single on the 2nd lower treble, 1 
 single on the next treble = turn the work = 2 chain and 1 
 cluster stitch between each treble of the preceding row, 2 
 cluster stitches between the 3rd and 2nd trebles = after the 8th 
 stitch : 2 chain, miss 1 treble, 1 single on each of the 2 next 
 stitches = repeat 3 times over 2 chain stitches of the pre- 
 vious row : 2 chain, 1 cluster stitch = on the 4th, 5th and 6th 
 chain stitches : 2 cluster and 2 chain ; on the 3 last chain the 
 same stitches as on the 3 first = then 1 single over each of the 
 next 18 and repeat from *. 
 
 The final row consists of open picots, formed of 5 chain 
 
•2<tO CROCHET WORK 
 
 stitches and i plain, between each cluster stitch ; after the last 
 of these stitches and in the indent of the scallops on the 
 straight line, only 2 chain stitches and 1 plain on the 3rd stitch. 
 
 Fig. 478. Pattern in squares for counterpanes. 
 
 Materials: Coton a tricoter D.M.C Nos. 6 to 12, Cordonnet 6 tils D.M.C 
 
 Nos. i to 5, or Coton pour crochet D.M.C Nos. 6 to 12. 
 
 Colours : Gris-Coutil 323 and Brun-Caroubier 3o3 or Bleu cendre 448 and 
 
 Rouge-Cornouille 449, Vert-Mousse 470 and Bleu d'Azur 3325. (*) 
 
 Pattern in squares for counterpanes (fig. 478). — This 
 pattern may be worked in the same stitch as the previous one, 
 either in Tunisian crochet or in any other of the stitches 
 already described. 
 
 Make a foundation chain of 18 stitches on which you work 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
CROCHET WORK 291 
 
 10 rows to and fro in the dark colour. The nth and following 
 rows up to the 21st are worked in the light colour, then take 
 up the dark colour again. Each stripe should be 3 squares long. 
 
 The 2nd stripe is begun in the light colour, and the stitches, 
 made at the beginning of each row, are joined to those of the 
 first stripe, as the stitches of the 3rd are to those of the 2nd 
 and so on. 
 
 When you have made sufficient big squares, each consisting 
 of 9 small ones, border them with seven rows of plain stitches, 
 worked to and fro. 
 
 The 4 squares that form the corners are only to be bordered 
 in this manner on two sides ; the squares along the straight 
 edges, on 3 sides, and only those that are intended for the 
 centre of the counterpane, on all 4 sides. The separate parts 
 are then either sewn or crocheted together on the wrong side. 
 The dark squares are ornamented with small stars worked 
 in the light colour, the light ones with scallops in the dark 
 colour. 
 
 For the small stars — 4 chain, close the ring; 2 plain on 
 each stitch of the chain ; 8 plain in all = after the 8th stitch : 
 8 chain, 1 plain on the 1st plain of the 8 plain stitches. Repeat 
 the 8 chain 7 times and fasten off, then sew the star on in the 
 centre of the dark square, taking care to spread out the little 
 points formed of chain stitches at regular distances from each 
 other. The scallops are worked from left to right; fasten the 
 thread on at the point where 4 squares touch, then make a 
 chain of 18 stitches and secure it at the opposite point. On the 
 chain stitches: 6 plain, 1 picot, 7 plain, 1 picot, 7 plain, 1 picot, 
 6 plain = fasten off. 
 
 Repeat the same scallop over the second half of the square; 
 when you come to the 2nd picot of the first scallop join the 
 two picots. When both scallops are completed, fasten them 
 on to the foundation by a few stitches on the wrong side. 
 
 The outside border of the counterpane is made separately, 
 and is worked inwards from without and from left to right. 
 
 1st row — begin with the dark colour and make * 10 chain 
 stitches, drop the loop, put the needle into the 1st of the 10 
 chain, take up the loop and draw it through the stitch ; 2 chain 
 
HET WC 
 
 in _ ;>n the 10 .5 quite close together. Repeal 
 
 from * and go on repeating the sequence until the lace is long 
 _ to trim the counterpane handsomely. 
 . i row — in the light colour and similar to the ist = only 
 that in joining the chain stitches together, you make the single 
 on the chain stitches of the ist row. 
 : w — in the dark colour and similar to the 2r. 
 4th. 5th and 6th rows — in the light colour and from right 
 to left: - :h loop of chain stitches of the 
 
 previous row. 
 
 - : row — in the light colour and from left to right : * - 
 
 chain, a plain on the next loop of 
 
 .res are made on the wrong side of the 
 
 work = drop the loop, turn the work to the right in on 
 
 :hain # *, and repeat always from * to * *. 
 
 One row of plain made on each chain stitch and a 2nd row 
 
 es on the plain stitches completes the lace edging, 
 
 : n to the counterpane. 
 
 Counterpane with fringed border t.z. _-_ — 
 pant the following as 
 
 making ::mbination: Rouge-Turc 3-2 1, Bleu- 
 
 - _ . 
 7 - z stripes, one red, the other blue, may be worked in a 
 .. They are edged with 8 plain stitches of 3 different lengths 
 worked in red. * The first stitch passes only under the loops 
 stitches the 2nd over : ..tthes ; the 3rd over 1, the 4th 
 inwards aver 3 Repeat from *. 
 
 These si trhes must be 1 :: ked :i:i!iel to each other along 
 the two edges that are to be joined together. 
 
 The stripes are fastened together on the wrong side by 
 1.- it :: plain stitches. 
 
 The :_:: ie edge consists of i5 rows: ist row — in red : 
 1 row of plain stitches on the right side of the work. 
 
 2nd row — in red, and on the wrong side of the work: 
 plain stitch ea 
 
 - i and 4th rows — in red, and on the right side of the 
 work plain stitches. 
 
:?.: ::-:it ~* :?.:-: - : 
 
 5th row — in dark blue and on the right side : i treble. 1 
 chain, miss i plain of the row beneath, i treble and so on. 
 6th row — in white, and similar to the 5th. 
 7th row — in blue, and s:n:* = r :: the 5th. 
 - row — inred: i plain on each stitch rfthe preceding row. 
 
 Mate* m .s : Cocoa pour crochet D.MX 
 
 • : 
 
 " - - . : . . * 
 
 oth row — in red and on the wron£ side i plain on each 
 sritch of the preceding row. 
 
 ioth and iith rows — in red: and both on the right side, 
 j rows of plain stitches. 
 
 :h row — in white chain, miss _-. i plain on the 4th 
 
 :h. 
 
 th row — in dark blue and similar to the 12th. 
 _:h row — in \rhite : * 1 plain on the 5th stitch of the : 
 
 ~ee 2: the end of the cone fading chapter, the table of numbers and sizes 
 and the list of colours of the DM C threads and cottons. 
 
^94 CROCHET WORK 
 
 row; 10 chain, drop the loop, lay the chain stitches from left 
 to right, put the needle into the 3rd chain stitch, counting 
 from the beginning, take up the loop and draw it through the 
 3rd chain stitch, 2 chain and repeat from *. 
 
 1 5th row — in white: 1 plain on the picot formed by the 
 chain stitches ; 5 chain, 1 plain. 
 
 Into this last row you draw clusters of lengths of red cotton 
 to form the fringe, and knot them together with blue, or if you 
 prefer it, you may finish off the coverlet with a hairpin fringe. 
 
 Counterpane composed of squares and olive shaped 
 ngures _ . — There are many who shrink from under- 
 
 taking a large piece of work because it becomes inconvenient 
 to handle and earn* about. The counterpane here represented 
 has the advantage of being made up of a number of quite little 
 pieces, which are worked separately and joined together after- 
 wards. 
 
 Two colours, which can be clearly distinguished from each 
 other in the engraving, should be chosen from among the 
 various combinations suggested : one of them should be very 
 light, say, cream or white for the olive shaped figures and 
 squares, and the other of some soft shade only darker, for the 
 connecting rows and the knotted fringe, described in the chapter 
 on Macrame. 
 
 The olive shaped figures begin with 9 chain stitches, on 
 which you make 8 plain stitches and on the qth : 3 plain for 
 the corner. 
 
 On the second side of the chain : 8 plain and 3 besides 
 on the corner stitch, and so on for 3 rows ; in the last row 
 there should be 28 stitches. 
 
 These 3 rows are to be considered as one only. 
 
 2nd row — 3 chain. 1 treble on the plain stitch that follows 
 * 1 chain, 1 treble and repeat 1 1 times from * ; 1 chain, 3 
 trebles with 1 chain between them on the corner stitch, * * 
 1 chain, 1 treble, repeat 12 times from * *. 
 
 On the last stitch at the corner, again 3 trebles with 1 
 chain : close the round with 1 single stitch. 
 
 3rd row — 1 chain, 1 single on the chain stitch that follows 
 the 1 st treble of the last row; 3 chain, 1 double treble between 
 
CROCHET WORK 
 
 2 9 5 
 
 the lower trebles, i chain and so on, until you have 35 trebles, 
 counting the two sets of 3 trebles at the corner. 
 
 4th row — here you can change the colour: 1 plain on each 
 of the stitches of the last row ; 3 plain at the corners. 
 
 5th row — similar to the 4th. 
 
 Fig. 480. Counterpane composed of squares and olive shaped figures. 
 Materials : Coton pour crochet D.M.C Nos. 6 to 10, or Coton a tricoter D.M.C 
 
 Nos. 6 to 10. 
 
 Colours: White and Rouge-Turc ?2i, or Ecru and Rouge-Cerise 33i8, 
 
 Gris-Coutil 32? and Bleu-Gentiane 478. (*) 
 
 6th row — 2 plain, i cluster of 2 double trebles on the same 
 stitch of the 4th row as the 5th stitch of the last row is on ; 
 miss 1 plain. 
 
 5ee at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
2i)6 CROCHET WORK 
 
 Continue in this manner along the whole row, taking care 
 that the 9th and 22nd cluster come just at the corner. 
 
 7th and 8th rows — these two last rows should be worked 
 in the same colour as the inside of the figure. 
 
 Be careful always to make the increase at the point : a 9th 
 row in the dark colour may further be added, to connect the 
 figures, by passing the thread from the wrong side to the right, 
 between the i3 last stitches of two of the points of the figures. 
 The space between these olive shaped figures is filled by a 
 pointed square of chain stitches. 
 
 In the 1 st and following rows you miss 5 stitches at the 
 point where the figures meet, and continue to decrease in this 
 manner until the space is filled up. The fringe is made in the 
 dark colour, either directly on to the plain crochet, or after a 
 few rows of open-work. 
 
 Squares for chair-backs (fig. 481). — This is a design for 
 cut-work, out of an old collection by Sibmacher, which we 
 have adapted to crochet. It will be found most effective, 
 worked in any of the given materials; we have worked it with 
 admirable result, both in Cordonnet 6 fils D.M.C No. i5 and 
 Fil a dentelle D.M.C No. i5o. 
 
 1 st row — 4 chain, close the ring. 
 
 2nd row — 1 chain, 2 plain on each chain, 8 in all ; draw 
 the loop of the last stitch through the 1st chain. 
 
 3rd row — 6 chain, 1 treble*, 3 chain, 1 treble, repeat 6 times 
 from *. In all, with the 3 chain, 8 trebles. 
 
 4th row — 4 plain, over each treble of 3 chain. 
 
 5th row — 6 chain, 1 plain on the 2nd of the plain stitches 
 beneath, * 3 chain, 1 treble, over the treble beneath, 3 chain, 
 1 plain on the 2nd stitch of the row beneath. Repeat 6 times 
 from *, then add 3 chain, 1 plain on the 3rd of the 6 chain. 
 
 6th row — 7 chain, 1 plain over the treble of the last row; 
 repeat the same series 7 times. 
 
 7th row — 3 chain, 1 treble over the treble beneath ; 1 treble 
 on each chain stitch, 2 trebles on each plain stitch of the row 
 beneath; in all, 72 trebles, including the 3 chain. 
 
 8th row — * 8 chain, 1 plain between the 2 trebles that 
 were added, therefore between the 8th and the 9th = turn the 
 
CROCHET WORK 
 
 2 97 
 
 work = make 1 2 plain on the wrong side == turn the work back 
 to the right side = take up 1 loop of each of the 12 stitches 
 for the Tunisian stitch that is made on 10 rows, and decreasing 
 by one stitch in each row, alternately on the right and left = 
 draw up the 3 last loops together and make, descending on the 
 
 Fig. 481. Squares for chair-backs. 
 
 Materials : Fil d'Alsace D.M.C Nos. 3o to ioo, Cordonnet 6 fils D.M.C 
 
 Nos. 20 to 5o, or Fil a dentelle D.M.C Nos. 25 to 70 in white or ecru. (*) 
 
 right side : i single stitch on each row of the pyramid you 
 have just made, finish with i plain on the stitch that follows 
 the 8 chain. Repeat 7 times from #. 
 
 9th row — all along the pyramid : 3 plain, 1 picot, 3 plain, 
 1 picot, 3 plain, 1 picot, 2 plain, 2 plain at the point. Repeat 
 
 '* , See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
298 CROCHET WORK 
 
 the same number of stitches on the 2nd side, and down the 
 sides of all the pyramids = after the 9th row, fasten off. 
 
 10th row — fasten on the thread at a stitch at the point of 
 a pyramid, * 7 chain, 5 overs, join the loop to the 2nd picot 
 on the side of the pyramid where you are working, draw the 
 needle back through 2 overs, make 2 overs more, and put the 
 needle into the middle picot opposite and draw the needle twice 
 through 2 loops, thirdly through 3 and each time after that, 
 through 2 loops = 6 chain, 1 double treble, join to the 3rd 
 over, 7 chain, 1 plain = on the next pyramid 7 chain, 1 sep- 
 tuple treble, join it to the next middle picot = draw the needle 
 thrice through 2 loops, 1 triple treble to join to the middle picot 
 opposite, draw the needle back through the loops, and at the 
 4th over, through 3 loops, and each time after that, through 2 
 loops, 7 chain, 1 quadruple treble, join it to the 4th over, 7 
 chain, 1 triple treble, 7 chain, 1 plain on the next pyramid. 
 Repeat 3 times from *. 
 
 11th row — 1 chain, 1 plain on each of the stitches of the 
 previous row and 2 plain on those forming the corner ; fasten 
 off. 
 
 1 2th row — 1 single on the first plain, 5 chain, 1 treble on 
 the 3rd plain, 2 chain, 1 treble on the 3rd plain and so on to 
 the corner and until you have 14 trebles = on the corner 
 stitch: 2 chain and 1 treble more; then proceed as you did on 
 the first side. There should be 18 trebles and 19 times 2 chain 
 between the corner trebles ; all four sides should be alike. 
 
 1 3th row — 1 plain on each stitch of the last row, not 
 counting the 3 which are to be made at the corner. 
 
 14th row — 14 single over the preceding stitches*, 1 chain, 
 24 plain ; miss 4 plain of the last row, not counting the 2 
 increased stitches which must be left empty = after the 24th 
 stitch turn the work, miss 2, 21 plain, passing the needle under 
 the 2 loops of the row beneath = turn the work = 1 chain, 20 
 plain = turn the work = 19 plain = continue to decrease in 
 the same proportion, until you have 3 stitches left and fasten 
 off. In all the intakes miss the last stitch but one, coming 
 back, and the 1st going, and always begin on the right side 
 with 1 chain. 
 
CROCHET WORK 299 
 
 For the second half of these triangular figures which are 
 worked from right to left, fasten on the thread to the 5th 
 stitch after the increase and make 24 plain = 7 plain should 
 remain between the two triangular figures formed of plain 
 stitches = turn the work = 21 plain, miss the 2 last stitches, 
 
 1 plain on the stitch the thread is fastened to = turn the work 
 = miss 1 stitch, 19 plain, 5 overs, put the needle through the 
 4th of the 7 stitches between, bring it back twice, each time 
 through 2 loops, make 2 overs more, put the needle through 
 the last stitch of the 3rd row opposite, bring it back twice 
 through 2 loops, then once through 3 loops and twice through 
 
 2 loops = turn the work = 18 plain and so on, until you 
 have made 10 transverse trebles = fasten off, then repeat the 
 same series of rows on the other sides. 
 
 1 5th row — do not cut off the thread on the 4th side but 
 work backwards : 3 single over the chain, 5 chain * 1 treble 
 on the stitch whence the 5 chain proceeded, 2 chain, 1 treble 
 on the last plain of the first half of the close parts of the pat- 
 tern ; 2 chain, 1 treble in the middle of the first part of the 
 10th transverse treble; 2 chain, 1 treble on the second half of 
 the preceding treble, 2 chain, 1 treble on the 1st plain of the 
 second half of the close parts ; 2 chain, 1 treble on the 3rd and 
 last upper stitch of the close part; 2 chain, 1 treble on the 
 same stitch as the last treble. Then along the edge, 10 trebles, 
 joined by 2 chain, one of which trebles should always be on a 
 row of plain stitches = after the 10th treble: 3 chain, 1 plain 
 on the 5th plain of the 1 3th row; 3 chain, again 11 trebles 
 connected by 2 chain = after the 1 1 trebles : 2 chain * * and 
 repeat 3 times from * to * *. 
 
 16th row — on every 2 chain stitches: 3 plain. 
 
 17th row — 7 chain, 1 plain on the 6th plain of the last 
 row; repeat 7 times = for the 9th and 10th scallops only: * 
 5 chain. The plain stitch that follows the 9th scallop should 
 come exactly over the corner stitch of the 1 3th row = after 
 the 10th scallop : 1 plain ; then i3 scallops with 7 chain, 1 plain 
 on the 6th 5 stitch of the row beneath. Repeat twice from * 
 = after the 4th scallop 2 smaller scallops, and up to the end of 
 the row, 5 scallops more of 7 chain each. 
 
3O0 CROCHET WORK 
 
 18th row — make 7 plain over 7 chain, 5 chain, drop the 
 treble, bring the needle back with the loop through the 3rd 
 plain = on the 5 chain: 3 plain, 1 picot, 3 plain = on the 7 
 remaining stitches : 2 plain — on the 9th scallop of 5 chain, 
 only: 5 plain = on the 10th scallop of 5 chain, only: 3 plain 
 = then 7 chain, bring them back and join them to the 3rd 
 plain of the 9th scallop and finish the picot. 
 
 When these squares are made use of in any number and have 
 to be joined together, you must join i3 picots and leave the 
 14th free. The four empty picots in the centre are connected 
 by a small star. 
 
 Crochet star (fig. 482). — This is one of the most graceful 
 and delicate crochet patterns we know. For the purpose of 
 reproduction here, we have had it worked in all the different 
 sizes of D.M.C cotton but it looks best in a fine material; 
 in Fil a dentelle No. i5o, it can bear comparison with the finest 
 needle-made lace. 
 
 1st row — 6 chain, close the ring. 
 
 2nd row — 9 chain, 1 double treble, * 4 chain, 1 double 
 treble ; repeat 6 times from * = after the 7th treble : 4 chain, 
 
 1 single on the 5th of the 9 chain. 
 
 3rd row — 1 chain, 4 plain, * 1 picot, 4 plain ; repeat 7 
 times from * = carry the thread to the last stitch through 
 the 1st plain. 
 
 4th row — 12 chain, 1 treble on the stitch over the treble 
 beneath, * 9 chain, 1 treble ; repeat 6 times from * = after the 
 7th treble and the 9 chain : 1 single on the 3rd of the 12 chain. 
 
 5th row — 3 chain, 1 treble on each stitch of the row 
 beneath ; including the 3 chain, 80 trebles in the whole cir- 
 cumference = after the last treble : 1 single on the 3 chain. 
 
 6th row — 11 chain, 1 quadruple treble on the 2nd treble 
 of the last row; 4 chain, 1 quadruple treble on the 3rd treble 
 and so on, in all 32 trebles including the 7 chain. 
 
 7th row — 1 chain, 5 plain on 4 chain. 
 
 8th row — 3 plain on the 3 first chain, * 16 chain, miss 1, 
 ** 1 single, 1 plain, 1 half treble, 2 trebles, 1 treble 1 y 2 long, 
 
 2 double trebles, 1 triple treble, 1 treble 3 1 /s trebles long, 
 1 quadruple treble * * *, 3 chain, miss 4 plain of the 7th row, 
 
CROCHET WORK 
 
 3oi 
 
 5 plain, 16 chain, join them, counting upwards from below, 
 to the 5th treble of the first pyramid = on 7 chain : 3 plain, 
 1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 3 plain ; join the last 
 loop of the last plain and the loop of the 7th chain; 8 chain. 
 Repeat from * * to * * * = on the middle of the last quadruple 
 
 Fig. 482. Crochet star. 
 
 Materials : Fil d'Alsace D.M.C No. 3o, Cordonnet 6 fils D.M.C Nos. 25 to 8o, 
 
 or Fil a dentelle D.M.C Nos. 25 to i5o. (*) 
 
 treble : i double treble towards the bottom, finish the treble, 
 3 chain, miss 4, 5 plain ****. Repeat 7 times from * to ****. 
 Coming back to the 1 st point make along it : 8 single stitches, 
 then 7 chain, join them to the 5th treble of the 16th point = 
 over the chain : 3 plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
 20 
 
302 CROCHET WORK 
 
 picot, 3 plain and finish with 9 single to carry the thread to 
 the top of the point. 
 
 9th row — 1 chain, 1 plain, * i5 chain, 1 plain at the top of 
 the point and repeat i5 times from *. 
 
 10th row — 3 chain ; 1 treble on each stitch of the 9th row; 
 256 trebles in all, including the 3 chain. 
 
 1 ith row — The star is bordered by small and large scallops, 
 surmounted by points similar to those inside. 
 
 You begin by the small scallop and make on the 10th row: 
 
 5 single, * 8 chain, bring them back and join them to the 1st 
 of the 5 single; 1 plain, 8 chain, miss 4 trebles, join them to 
 the 5th ; 14 plain on the 8 chain, 6 plain on the first 8 chain 
 = turn the work = 5 chain, 1 treble on the plain stitch be- 
 tween two scallops; 5 chain, 1 plain on the 7th plain of the 
 1st scallop ; 2 plain in the 5th chain, 2 chain, 1 picot, 10 chain, 
 miss 1, and make on the following ones : 1 single, 1 plain, 1 half 
 treble, 2 trebles, 1 treble 1 V s treble long, 1 picot, 2 chain, 2 
 plain on the 5 chain; 8 plain on the 8 chain. 
 
 To pass to the large scallop make : 16 single, 8 chain, bring 
 them back, 1 plain on the 5th single, 8 chain, bring them back 
 again to the 5th = turn the work= on the second set of 8 chain: 
 
 6 plain, 1 picot, 9 plain = on the first 8 : 6 plain, then 8 chain, 
 bring them back and join them to the 4th plain behind the 
 picot of the finished scallop = on the 8 chain : 5 plain, 1 
 picot, 5 plain, 1 picot, 5 plain = on the remaining chain be- 
 low : 3 plain, 1 picot, 6 plain; add 4 single on the trebles and 
 pass to the outer scallop = 18 chain, 1 plain on the 3rd of the 
 5 plain of the small upper scallop ; 18 chain, 1 plain on the 4th 
 of the 16 single = turn the work = 25 plain on the last 
 chain stitches, and 25 on the first ; 1 single on the 3rd single 
 = turn the work = 1 plain on each of the preceding 5o plain 
 stitches ; join the last to the under row with a single stitch = 
 turn the work = 10 plain, 1 picot, 3 plain, 1 picot, 3 plain, 
 1 picot, 4 plain, 2 chain, 1 picot, 10 chain, miss 1, 1 single, 
 
 1 plain, 1 half treble, 2 trebles, 1 treble 1 V 9 treble long, 1 
 double treble, 1 treble 2 V's trebles long, 1 triple treble, 1 picot, 
 
 2 chain and join them to the 6th plain stitch, counting from 
 the middle. 
 
CROCHET WORK 
 
 3o3 
 
 Then 4 plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 
 10 plain, 11 single on the trebles. Repeat 7 times from *. 
 
 Star -with little squares (fig. 483). — Begin with 4 chain 
 stitches, close the ring. 
 
 1 st row — 5 chain, * 1 treble, 2 chain. Repeat 6 times from 
 #, to number altogether 8 trebles including the 5 chain; 1 single 
 on the 3rd chain. 
 
 2nd row — 6 chain, * 1 triple treble on the 1st chain stitch, 
 2 chain. Repeat 23 times from * and join to the 4th chain. 
 
 Fig. 483. Star with little squares. 
 Materials : The same as for rig. 482. 
 
 3rd row — 6 chain, * i double treble on the treble beneath, 
 3 chain. Repeat from* .through the row; join to the 4th chain. 
 
 4th row — 1 plain on the treble = on the 3 chain : 5 plain, 
 1 plain on the treble ; work 5 times to and fro over these stitches, 
 put the needle through the 2 threads of the last stitch = after 
 the 5th row: 10 chain, then 5 plain on the 3 next chain. 
 
304 CROCHET WORK 
 
 In turning the work and going from the 2nd to the 3rd, 
 from the 4th to the 5th row, carry the thread behind the chain 
 stitches, so that they may blend with the plain stitches ; make 
 in all 12 little squares with 11 spaces between; after the 12th 
 square : 5 chain, 1 single on the 5th row of the first square. 
 
 5th row — on each of the 6 plain of the 1st square : 1 single 
 = on the 7th : 1 plain = 7 plain on the 5 chain =1 plain on 
 the 1 st stitch of the 2nd square = 6 rows of plain, 14 chain, 
 1 plain on the 5th stitch of the next square = then make 6 
 rows of plain and wind the thread round the chain stitches. 
 
 6th row — 1 single on every stitch of the last square, 1 plain 
 on the last stitch above the 7 chain = on the 7 chain : 9 plain, 
 1 plain on the 1st stitch of the next square below = 9 rows to 
 and fro. 
 
 7th row — after the 12th square: 9 chain, 1 single on the 
 1 st plain, * 14 chain, 1 plain on the last plain = on the 9 
 chain : * * 1 chain, 1 plain, 1 treble 1 7* treble long, 2 double 
 trebles 2 V s trebles long * * *, 5 triple trebles * * * *. Repeat 
 from * * * to * *, then proceed from * to * * * *. 
 
 8th row — 19 plain over the 14 chain, 1 single on each 
 treble; stop them at the 12th square and at the 3rd triple treble. 
 
 9th row — 12 chain, 1 plain on the 10th of the 19 plain; 
 12 chain, 1 plain on the triple treble, and proceed in the same 
 way throughout the whole length of the row. 
 
 10th row — on the first 12 chain stitches : * 5 plain, 1 picot, 
 12 plain = on the second 12 chain: 7 plain, 10 chain, bring 
 them back to the 5th of the 12 plain of the first scallop = on 
 the 10 chain : 4 plain, 1 picot, 4 plain, 1 picot, 4 plain, 1 picot, 
 4 plain, = on the 12 chain: 5 plain, 1 picot, 7 plain. Repeat 
 12 times from *. 
 
 Crochet collar (fig. 484). — We have avoided as far as 
 possible describing articles in this book that are subject to the 
 changes of fashion, the present collar composed of squares, 
 stars, lozenge-shaped figures and a lace edge, is of a shape 
 that will never be out of date. Fine and delicate work like this 
 can only be executed in a very fine material, and we recom- 
 mend unbleached thread as being more effective than white. 
 The soft tone and the gloss of unbleached thread give the work 
 
CROCHET WORK 
 
 3o5 
 
 an antique look, unobtainable in a white material. Fil a den- 
 telle D.M.G No. 120 is the best for the purpose. 
 
 Begin with the straight-edged figures, and then make the 
 connecting pieces between. The four squares with half stars at 
 
 Fig. 484. Crochet collar. 
 
 Materials: Fil d'Alsace D.M.C No. 100, Cordonnet 6 fils D.M.C No. 120 or 
 
 Fil k dentelle D.M.C No. 120, ecru. 
 
 both ends of the collar and on the right and left of the centre 
 square, have their four sides all alike, whereas the 3 figures 
 
3o6 CROCHET WORK 
 
 within the scalloped edge are rather narrower on the outer 
 than on the inner side where they join to the foundation. 
 
 Inner squares: ist row — 4 chain, close the ring; 5 chain, 
 * 1 treble on the ring, 2 chain ; repeat 6 times from * and 
 fasten the thread to the 3rd chain stitch. 
 
 2nd row — 1 chain, 3 plain over 2 chain; 1 plain over each 
 treble. 
 
 3rd row — 8 chain, * 1 treble on each treble of the ist row, 
 6 chain. Repeat 6 times from * = 8 trebles in all, including 
 the first chain stitches. 
 
 4th row — * 10 chain; returning over the chain stitches: 1 
 plain, 1 half treble, 4 trebles, 1 half treble, 1 plain, join to the 
 1st chain stitch = on the 6 chain of the 3rd row: ** 1 plain, 
 1 half treble, 1 treble, 3 double trebles, 1 treble, 1 half treble, 
 1 plain ** *. Repeat once more from * * to * * *, then 3 times 
 from * to *** = along the first leaf to the 10th stitch : 10 single. 
 
 5th row — starting from the point : * 7 chain, 1 triple treble 
 on the 5th stitch of the small scallop of the 4th row : 7 chain, 
 1 triple treble on the next scallop, 7 chain, 1 plain on the 10th 
 stitch of the 2nd leaf. Repeat 3 times from *. 
 
 6th row — 1 chain, * 3 plain on the stitch that forms the 
 point of the leaf; 1 plain on each chain stitch and each treble 
 of the last row = 16 stitches in all, up to the 2nd treble = turn 
 the work = coming back: 1 chain, 1 double treble on the 4th 
 plain, 1 chain, 1 double treble, 1 chain, 1 double treble, 1 
 chain, 1 double treble, 1 chain, i double treble, 1 chain, miss 
 3 plain, join to the 4th plain = turn the work = make on each 
 chain stitch, 2 plain and on each treble 1 plain and 1 picot 
 over the ist, 2nd, 4th and 5th treble; 8 plain * *. Repeat 3 
 times from * to * *. 
 
 7th row — 1 chain, 1 plain on the 2nd of the 3 stitches at 
 the point, * 9 chain, 1 double treble between the two first 
 picots of the semicircle formed in the last row; 8 chain, 1 triple 
 treble on the 3rd treble of the semicircle, 8 chain, 1 double 
 treble between the 3rd and 4th picots of the semicircle, 9 chain, 
 1 plain on the stitch at the corner. 
 
 8th row — 19 single on the chain stitches of the 7th row, 
 1 chain, 3 plain on the corner stitch, 24 plain on the chain 
 
CROCHET WORK 3o7 
 
 stitches and trebles — turn the work = coming back : 2 chain, 
 1 double treble on the 20th plain; on the same stitch add: 2 
 double trebles with 2 chain ; finish with : 2 chain, join them to 
 the 5th plain = turn the work = on the chain stitches : 1 plain, 
 1 picot, 1 plain, 1 plain on the treble. Repeat this series 4 times 
 = add : 4 plain on the chain stitches of the 7th row = turn 
 the work = 5 chain, 1 double treble on the 1st treble of the 
 small semicircle; then again 3 times, 3 chain, and twice 1 
 double treble on each of the trebles beneath = after the last 
 5 chain : join to the 4th plain. 
 
 The points in this row are made with : * 1 plain on the chain 
 stitches, 8 chain, miss 1 stitch = coming back: 1 single, 1 
 plain, 1 half treble, 1 treble 1 V s treble long, 3 double trebles, 
 1 plain on the 5 chain stitches. The 2nd point must be placed 
 one half of it, before, and the other half behind the picot; 
 make altogether 7 points = after the 7th : 8 plain on the 
 chain stitches of the 7th row = then work backwards, without 
 however turning the work: 7 chain, 1 chain on the stitch at 
 the top of the point and repeat 7 times from * = after the 8th 
 set of 7 chain stitches: 1 chain; 1 plain on the 9th plain, 
 bringing the thread forwards from the right side to the wrong 
 = 2 chain; take the thread back to the 3rd plain from the 
 wrong side to the right = 1 treble on each chain stitch, 1 picot 
 above each point, add 4 trebles and 14 chain, join them to the 
 4th treble that comes after the 1st picot. 
 
 On the 14 chain: 5 plain, 1 picot, 4 plain, 1 picot, 4 plain, 
 1 picot, 5 plain, 4 trebles to the next picot, 1 picot, 4 trebles ; 
 14 plain , join them to the treble nearest the 1st scallop 
 and so on =make 7 scallops in all; after the 7th add 2 trebles 
 on the 2 chain stitches = after the 2nd treble make 2 plain, 
 followed by the 3 stitches at the corner = in the next scallop, 
 you fasten by 1 single, the 1st picot of the 1st scallop to the 
 3rd picot of the last scallop. When you have finished the four 
 sides of the figure above-described, fasten off your thread. 
 
 The edging of these squares should be begun on the 
 narrower of the inner sides and at the 3rd little scallop : * 1 
 plain on the middle picot of the 3rd little scallop, 7 chain, 1 
 double treble on the 1st picot of the 4th scallop; 7 chain, 
 
3o8 CROCHET WORK 
 
 i triple treble on the 2nd picot of the same scallop, 6 chain, 1 
 double treble on the 3rd picot of the same scallop, 6 chain, 1 
 plain on the middle picot of the 5th scallop; 10 chain, 1 treble 
 on the middle picot of the 6th scallop, 1 1 chain * *, 1 qua- 
 druple treble on the middle picot of the 7th and 1 quadruple 
 treble on the middle picot of the 1st scallop following and draw 
 the last loops of the 2 trebles up together. Repeat once from * 
 to * *. Carry the trebles all round the figure on the picots just 
 referred to. 
 
 For the second half of the edging which becomes a little 
 wider: *** 10 chain, 1 treble on the 6th scallop, 11 chain, 
 2 quadruple trebles, the last loops of which you join to the 
 middle picots of the 7th and 1st scallop; 11 chain, 1 treble in 
 the next scallop ; 10 chain, 1 treble in the 3rd scallop ; 7 chain, 
 1 treble 2 V s l° n g> 8 chain, 1 treble 3 V s l° n g> 8 chain; 1 double 
 treble, 8 chain, 1 plain, 12 chain, 1 treble, 14 chain, **#* 2 
 quadruple trebles, the last loops of which are joined together. 
 Repeat from ##** to * * *, that is the reverse way = finally 
 add 1 more whole row of plain and 3 plain stitches at the cor- 
 ners = on the wider side you should have 99 stitches, not 
 counting the increases at the corner. 
 
 To make the same figure, forming a part of the large outside 
 scallops, repeat the same rows you have in the inner square up 
 to the 7th row, the first half of which you make exactly the 
 same as before. In the second half of the row of chain there 
 should be 1 chain stitch less in each intervening space than 
 there were in the first half. 
 
 8th row — make the first half of this row like the 8th row 
 of the inner square = over the 2nd half, one quarter of which 
 is 4 chain stitches narrower, the little wheels are made like the 
 others with 7 picots. The number of chain stitches and the 
 trebles of the setting are also the same, but instead of 7 points 
 you have to make 5 and over these, 5 small scallops instead of 7. 
 
 The setting, towards the top is made exactly in the same 
 manner as the wide part of the upper square, that is, as from 
 the 3rd scallop of the first semicircle to the 5th scallop of the 
 2nd. From this point, the series of stitches changes, so as to 
 form a rounded edge: * 7 chain, 1 plain on the 6th scallop; 
 
CROCHET WORK 3oo, 
 
 1 5 chain, 2 triple trebles joined by the last loops to the 7th 
 and 1 st scallop; 14 chain, 1 plain on the 2nd of the 5 scal- 
 lops; 1 5 chain, 1 plain on the 3rd scallop; i5 chain, 1 plain 
 on the 4th scallop, i5 chain # *, 2 triple trebles joined by the 
 last loops in the 5th and 1st scallop. Repeat once again from 
 * * to * = add 1 row of plain on each stitch of the preceding 
 row; 3 plain on the two top corner stitches. You will thus have 
 3 figures with a rounded edge on one side. 
 
 The second kind of square consists of 8 leaves inside and is 
 begun in the same way by 6 chain formed into a ring. 
 
 1 st row — 5 chain, 1 treble, 2 chain, * 1 treble, 2 chain. 
 Repeat 6 times from * and join to the 3rd of the 5 chain. 
 
 2nd row — 1 chain, 3 plain over 2 chain, 1 plain on each 
 treble. 
 
 3rd row — 9 chain, * miss 1 stitch = coming back : 1 single, 
 1 plain, 1 half treble, 1 treble, 1 double treble, 1 triple treble, 
 1 treble over the treble of the 2nd row ; 7 chain. Repeat 7 
 times from * = after the 8th point : 7 single along the 1st. 
 
 4th row — # 1 plain on the stitch you missed at the point, 
 5 chain, 1 triple treble on the treble of the 3rd row, 5 chain. 
 Repeat 7 times from #. 
 
 5th row — 3 chain, 1 treble on each stitch of the 4th row; 
 join to the 3rd of the 3 chain. 
 
 6th row — 10 chain, 1 plain on the treble over the triple 
 treble of the 4th row: 10 chain, 1 plain on the treble above 
 the little point. 
 
 7th row — 1 5 plain on the 10 chain = on the 3rd scallop 
 only: * 7 plain, 10 chain, come back to the second scallop, 
 bring the thread back from the wrong side to the right be- 
 tween the 7th and 8th plain stitches, i5 plain on the 3rd 
 scallop, 8 plain on the next scallop, i5 plain and repeat 6 
 times from *. 
 
 When the 16th scallop is finished, pass to the point of the 
 1st scallop by means of 7 single, then add the 10 chain to 
 pass to the 8th scallop above ; when that is finished, fasten off, 
 and fasten on again to one of the 8 scallops. 
 
 8th row — * 21 chain, miss 1 stitch, 1 plain, 1 half treble, 
 1 treble, 1 treble 1 7' treble long, 1 double treble, 1 treble 2 »/s 
 
310 CROCHET WORK 
 
 trebles long, i triple treble, i treble 3 l /» trebles long, i qua- 
 druple treble, i treble 4 % f% trebles long, 1 quintuple treble. 
 After passing through the 3rd loop, make 1 quadruple treble, 
 between the 2 plain scallops : then finish the quintuple treble, 
 
 7 chain, 1 plain on the 2nd scallop and repeat 7 times from*. 
 
 oth row — * 7 plain on the 7 chain; 1 plain on each stitch 
 of the pyramid, 3 plain on the stitch at the point ; 4 plain on 
 the 7 chain on the opposite side = turn the work = * * 1 chain, 
 miss 1 plain, 1 treble on the 2nd stitch = after the 5th treble, 
 leave out no more stitches between the trebles * * * ; place the 
 ■Sth. oth and 10th trebles on the 2nd of the increased stitches. 
 Repeat on the opposite side from * * * to * * and join to the 
 4th of the plain stitches = make 17 trebles in all, then one 
 plain over each chain. 1 plain on each treble and 1 picot after 
 every 3rd plain = after the 4th and up to the 8th picot, leave 
 only 2 plain between : 1 1 picots in all = in conclusion : 3 plain 
 more on the 7 chain and repeat the whole 7 times from *. 
 
 The little wheel at the top of the square is begun with 10 
 chain for the ring = 16 plain on the ring, 4 chain, * 1 treble, 
 1 chain = repeat 14 times from *; 16 trebles in all, including 
 the chain stitches = then on each treble and each chain stitch : 
 1 plain ; after 4 plain : 1 picot ; connect the wheel first on the 
 right. 
 
 The 2nd picot is to be fastened to the 9th picot of the large 
 scallop = proceed with : 3 times 4 plain with 1 picot = after 
 the 3rd plain, fasten the picot to the 3rd picot of the next large 
 scallop and complete the small wheel. The left wheel is made 
 and inserted in the same manner as the right one. The wheels 
 at the bottom of the square require for the foundation ring : 
 ._ chain, on which you make 21 plain = on these: 4 chain, 
 * 1 treble, 1 chain = repeat 19 times from *; 21 trebles in all, 
 including the chain stitches = 3 plain, 1 picot, 3 plain, 1 picot, 
 3 plain, 1 picot, 3 plain, 4 chain, join to the 8th picot of the 
 2nd scallop : 4 chain, finish the picot, 3 plain, 1 picot, 3 plain, 
 
 8 chain, join to the 10th picot of the scallop, 8 chain, complete 
 the picot; 3 plain, 1 picot, 3 plain, 8 chain, join to the 2nd 
 picot of the 3rd scallop, 8 chain, close the picot, 3 chain, 1 
 picot, 3 plain, 4 chain, join to the 4th picot of the 3rd scallop ; 
 
CROCHET WORK 3 I I 
 
 4 chain, complete the picot, 3 plain, i picot and so on, until 
 you have i4picots round the wheel. Repeat the same wheel to 
 the left between the 4th and 5th scallop. 
 
 The edging of this second kind of square is also slightly 
 different; fasten the thread to the 6th picot of the 1st scallop 
 before the small wheel, then working from right to left, count : 
 * 10 chain, 1 treble on the 2nd empty picot of the small wheel ; 
 8 chain, 1 triple treble on the 4th picot of the wheel = up- 
 wards : 9 chain, 1 double treble on the 6th picot of the 
 wheel; 9 chain, 1 plain on the 6th picot of the 8th scallop, 12 
 chain, 1 plain on the 7th picot of the scallop, 1 1 chain * *, 1 
 quadruple treble on the 9th picot of the 8th scallop and on 
 the 3rd picot of the 7th ; draw the last loops of the two trebles 
 up together. Repeat once more from * * to *, then : 1 plain on 
 the 6th picot of the 6th scallop; *** 12 chain, 1 sextuple 
 treble on the 9th picot of the 6th scallop, retain 2 loops of 
 the treble on the needle, make 4 more overs, join the treble to 
 the 3rd picot of the 5th scallop; finish the bars, 12 chain, 1 
 plain in the 6th picot of the next scallop = 12 chain, 1 double 
 treble on the 2nd picot of the 7 empty picots of the bottom 
 wheel ; 9 chain, 1 quadruple treble on the 4th picot; 12 chain. 
 1 double treble on the 6th picot, 14 chain, 1 plain on the 6th 
 picot of the 4th scallop, 14 chain * * *, 1 septuple treble, in 
 the 9th and 3rd picots of the 4th and 3rd scallops * * * *. For 
 the preceding treble, you pass first through 4 loops only, then 
 make 4 more overs for the other half of the treble, and finish 
 the last loops one by one. Repeat from * * * * to * * *. One row 
 of plain stitches completes the square. 
 
 After having made the square similar to that of the upper 
 one, you have merely to add the large wheels at the top. 
 
 The setting of chain stitches and trebles is begun at the 
 first scallop between 2 wheels = 1 plain on the 6th picot of the 
 1st scallop; 14 chain, 2 quintuple trebles, of which the last 
 loops only are joined together, on the 9th and 3rd picot of the 
 :st and 2nd scallop, = 14 chain, 1 plain on the 6th picot of the 
 next scallop; * 14 chain, 1 treble on the 2nd empty picot oi 
 the wheel; 10 chain, 1 quadruple treble on the 4th picot, 10 
 chain, 1 treble on the 6th picot; 14 chain, 1 plain on the 6th 
 
3 12 CROCHET WORK 
 
 picot of the 3rd scallop; 14 chain, 2 sextuple trebles on the 
 10th and 2nd picot of the 3rd and 4th scallop; i5 chain, i 
 plain on the 6th picot of the 4th scallop; 16 chain, 2 sextuple 
 trebles on the 10th and 2nd picot of the 4th and 5th scallop; 
 16 chain, 1 plain on the 6th picot of the 5th scallop; i5 chain 
 * * 3 septuple trebles on the 10th and 2nd picot of the 5th 
 and 6th scallop. Repeat from * * to * ; and make 4 figures 
 with rounded edges. When all the figures are finished, join 
 them together by trebles of a suitable length. 
 
 Introduce the thread at the corner stitch on the widest side 
 of the 2nd 8 pointed star and make : 1 plain, 6 chain, miss 3 
 stitches, 1 plain on the 3 next stitches, 4 chain, miss 2, 1 
 plain on the next 3 plain stitches. 
 
 Make 1 1 loops in this manner, each consisting of 4 chain 
 and 3 plain, then 2 loops of 3 chain and 2 plain = then miss 
 as many stitches of the square at the edge of the collar as were 
 left empty in the second square ; 2 plain and draw the loop 
 each time through the 2 last stitches of the opposite square 
 = 1 chain, 1 single on the 2nd chain stitch of the opposite 
 side; 1 chain, 3 plain on the edge of the first square, 1 chain, 
 
 1 single, 1 chain, miss 3 stitches, 3 plain, 5 chain, bring the 
 loop from the wrong side to the right = on the chain stitches : 
 
 4 plain, 2 chain, miss 3, 3 plain. 
 
 From this point onwards, fasten all the bars of chain stitches 
 to the loops produced by the same stitches in the 2nd square. 
 Thus, the 1st bar consisting of 5 chain, the 2nd will consist of 
 7 chain on which make 7 plain, and then add 2 more chain. 
 Nowhere must the two first chain stitches be uncovered. 
 
 The 3rd bar must consist of 9 chain, 9 plain and 2 chain 
 = the 4th of 1 1 chain, 5 plain, 1 picot, 5 plain, 2 chain = 
 the 5th of i3 chain, 4 plain, 1 picot, 4 plain, 1 picot, 4 plain, 
 
 2 chain = the 6th of 16 chain, 6 plain, 1 picot, 6 plain, 1 
 picot, 6 plain, 2 chain = the 7th of 18 chain, 5 plain, 1 picot, 
 
 4 plain, 1 picot, 4 plain, 1 picot, 5 plain, 2 chain = the 8th 
 of 21 chain, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 
 
 5 plain, 2 chain = the 9th of 24 chain, 5 plain, 1 picot, 5 
 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 2 
 chain = the 10th of 26 chain, 6 plain, 1 picot, 5 plain, 1 picot, 
 
CROCHET WORK 3l3 
 
 5 plain, i picot, 5 plain, i picot, 6 plain, 2 chain = the iith 
 and last of 28 chain, 32 plain, 2 chain, fasten off. 
 
 As the square with the semicircles in it, has more plain stitch- 
 es in the edge than the one with the eight-pointed star in it, the 
 stitches must be divided so that you miss 3 from time to time, 
 instead of two. When the 7 top figures are finished, join the 7 
 bottom ones to ihem, each separately, by a row of plain stitches, 
 made on the wrong side of the work. Below the first square 
 with the semicircles, comes the eight-pointed star, below 
 the next eight-pointed star, the square with the semi- 
 circles, and so on. 
 
 A narrow edging forms the outside border, the foundation 
 of which is a row of plain stitches running all along the squares. 
 At the middle of the square you decrease by 2 stitches, and at 
 the point where two squares meet, by 3. When you reach the 
 left side and the end of the row, make 3 plain on the corner 
 stitch, then : * 5 plain, 1 picot, 5 plain, 14 chain, join them 
 to the first of the 5 first plain (drop the thread at each scallop 
 and bring it forward from the wrong side to the right) = on 
 the 14 chain : 5 plain, 1 picot, 1 1 plain, 1 picot, 5 plain = along 
 the square : 5 plain, 1 picot, 5 plain, then 14 chain, join them 
 to the first plain = over the 14 chain : 5 plain, 1 picot, 5 plain, 
 14 chain, join them in turning back between the 5th and 6th 
 of the 10 plain of the 1st scallop ; 5 plain, 1 picot, 5 plain, 1 
 picot, 5 plain, 1 picot, 5 plain; on the half-finished scallop: 5 
 plain, 1 picot, 5 plain ** = on the plain stitches of the edge : 
 4 plain, 1 picot, 4 plain, 12 chain, come back, join to the 1st 
 of the 4 plain = on the 12 chain: 4 plain, 1 picot, 4 plain, 1 
 picot, 4 plain, 1 picot, 4 plain *** = repeat on the same 
 figure once from * to *** and once from * to * *. 
 
 This makes 77 stitches, the number there ought to be on 
 the wide side of the straight-edged figures. 
 
 The scallops vary a little on the rounded sides. There, 
 you should have no stitches, counting from the corner to the 
 treble that marks the middle at the bottom. The single scallops, 
 between the triple scallops of the border, are also all made 
 over 8 stitches ; the first triple scallop is made over 20 stitches, 
 the 2nd, 3rd and 4th triple scallop over 16 stitches. 
 
3 I 4 CROCHET WORK 
 
 Make no single scallop after the 4th triple one ; which is 
 immediately succeded by the 5th triple scallop, over i(5 stitches. 
 
 Altogether, round each star, there are 9 triple and 8 single 
 scallops. After the 8th single one, make 3 plain stitches on the 
 2 chain stitches of the connecting bar. 
 
 On the 32 plain stitches of the last bar: 8 plain, 1 picot, 
 
 4 plain, 12 chain, bring them back and join to the 5th of the 
 8 plain = on the 12 chain: 5 plain, 2 chain, draw the loop 
 through the picot in the middle of the last single scallop, 2 
 chain, close the picot, 8 plain, 1 picot, 5 plain = in the bar: 
 4 plain, 1 picot, 4 plain, 12 chain, bring them back and fasten 
 them to the 1st plain = 5 plain, 1 picot, 4 plain, 12 chain, join 
 them to the 4th plain of the 1st scallop; 5 plain, 1 picot, 8 
 plain, 1 picot, 5 plain = in the half-finished scallop: 4 plain, 
 i picot, 4 plain = in the bar: 4 plain, 1 picot, 4 plain = 
 12 chain, bring them back and fasten them to the 1st plain. 
 
 4 plain, 1 picot, 4 plain, 12 chain, join them close to the 
 scallop above = 5 plain, 1 picot, 4 plain, 12 chain, bring 
 them back and join them to the 4th plain of the 2nd scallop ; 
 
 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain = 
 in each of the 2 half-finished scallops: 4 plain, 1 picot, 5 plain 
 = finish with 4 plain, 3 plain on the 2 chain and repeat from 
 * round all the rounded parts. 
 
 The lozenges that fill the empty spaces between the large 
 figures are made in 7 rows, on a ring formed of 4 chain. 
 
 1st row — 5 chain, 1 treble on the ring, 2 chain, 8 trebles 
 in all, including the bar of chain stitches. 
 
 2nd row — 3 plain over 2 chain, 1 plain over each treble. 
 
 3rd row — 7 chain, 1 treble over the treble beneath, 5 chain, 
 1 treble; 8 trebles in all. 
 
 4th row — * 1 plain, 1 half treble, 1 treble, 1 double treble, 
 1 treble 2 V 3 trebles long ; * * repeat the reverse way to * = 
 1 plain on the treble, 7 chain, miss 1 stitch, 1 plain, 1 treble, 
 
 1 double treble, 1 treble, 1 plain. Repeat twice from * to **, 
 followed by : 9 chain, miss 1, 1 single, 1 plain, 1 half treble, 
 
 2 trebles, 1 half treble, 1 plain, 1 single * * *. Repeat once 
 from * to * **, then again from * to * *, and add 5 single all 
 along the scallop. 
 
CROCHET WORK 3 I 5 
 
 5th row — 9 chain * i plain on the top stitch of the small 
 leaf, 7 chain, i treble on the middle stitch of the scallop, 7 
 chain, 1 treble on the next scallop = 9 chain, 1 plain on the 
 leaf, 9 chain, 1 treble on the scallop, 7 chain, 1 treble on the 
 next scallop, 7 chain and repeat once from #. 
 
 6th row — 1 plain on each stitch of the row before, 3 plain 
 on the points. 
 
 7th row — on each side of the lozenge 3 little scallops on 
 8 chain, with 3 picots and 1 picot below the scallops and be- 
 tween every 4 plain ; the scallops at the points extend over 4 
 stitches only, so that the picot below is left out. 
 
 These lozenges are fastened on two sides to the middle 
 picot of the triple scallop ; then, starting from the 3rd scallop 
 of the lozenge you make, 8 chain, join them to the middle 
 picot of the 1st triple scallop; coming back over the 8 chain : 
 5 plain, 1 picot, 5 plain and finish the scallop. The next scal- 
 lop, at the point of the lozenge, is fastened by a picot of 6 
 chain, to the middle picot of the 6th scallop underneath the 
 connecting bar. Repeat the same on the 2nd side and make 6 
 lozenges in all. 
 
 The lace that finishes off the collar at the neck must be 
 made to stand up, and is begun by a row of trebles on the 
 plain stitches. 
 
 From the corner as far as the 2nd treble of the 4th scallop, 
 make triple trebles, from the 4th scallop to the 6th chain 
 stitch after the 5th scallop, make double trebles, from this point 
 to the 2nd scallop of the next semicircle, only single trebles, 
 then again double trebles and finish with triple trebles as at 
 the beginning. Decrease by 2 or 3 stitches in each square. 
 
 When this row of trebles is finished, fasten off, and fasten 
 on again on the right and on the base of the 1st treble which 
 you border with 4 chain, then follow : * 1 5 plain on the row of 
 trebles, put the needle in under the 2 loops of the trebles = 
 turn the work = 2 chain, 1 double treble, miss 4 plain, 1 double 
 treble on the 5th stitch, 2 chain, 1 double treble, 2 chain, 1 
 double treble, 2 chain, miss 4 plain = turn the work =? bring 
 the loop to the front; ** 1 plain, 1 picot, 1 plain, 1 plain on 
 the treble; repeat 3 times again from ** and add 4 plain on 
 
3l6 CROCHET WORK 
 
 the trebles = turn the work = 6 chain, i double treble over 
 the treble beneath ; again 3 times 6 chain stitches and i double 
 treble ; join the 4th set of 6 chain to the 4th plain = bring the 
 thread back to the front: 1 plain on the 6 chain = 8 chain, 
 miss 1, and make on the others : 1 plain, 1 half treble, 2 trebles, 
 1 treble 1 l /t treble long. 2 double trebles, 1 plain stitch on the 
 6 chain. The next point comes above a treble 5 you make 7 
 points in all. After the 7th : 5 plain, then 7 chain, 1 plain on 
 each point between the points and join. 
 
 Join the 8th set of 7 chain on to the 4th plain of the first treble 
 = then add : 2 chain, draw the loop from the wrong side to 
 the right through the 1st plain stitch; 8 trebles, 1 picot, 4 
 trebles, 1 2 chain, bring them back over the picot, join it between 
 the 4th and 5th trebles : 5 plain, 1 picot, 5 plain, 1 picot, 
 5 plain, 1 picot, 5 plain. 
 
 Over each point : 1 picot and over the picot 1 scallop, like 
 the one made in the square. On the 7th point only 1 picot '= 
 after the last treble on the last chain : 2 chain ; then go on 
 with the plain stitches until you have 27 and repeat from *. 
 
 In the semicircles that follow you leave out the first and 
 last little scallops, the first and the last scallop must be joined 
 together by the first and the last picot ; in the last semicircle, 
 make 6 little scallops, the same as you did in the first. 
 
 Crochet chair-back fig. 485). — The close leaves in plain 
 stitch of the large centre star, the 4 corner figures forming a 
 cross and the diagonal figures, all have to be made separately 
 and sewn on afterwards in their proper place. To join the 
 separate parts neatly together, draw a square the size of the 
 work on a piece of thick paper or waxcloth, divide it into 8 
 parts by means of straight and diagonal lines, sew the separate 
 pieces of crochet upon it, face downwards, in their proper places 
 and make the trebles on the wrong side of the work. 
 
 Begin by the centre star and make : 12 chain, close the ring. 
 
 1 st row— 23 plain on the 12 chain. 
 
 2nd row — 9 chain, 1 double treble on the 2nd plain, 4 
 chain, 1 treble and so on until you have 12 trebles, including 
 the 5 chain. 
 
CROCHET WORK 
 
 3i 7 
 
 3rd row — i plain on each chain stitch and each treble; 60 
 plain in all. 
 
 4th row — 3 plain, 1 picot, altogether 20 picots in the row, 
 then fasten off. 
 
 The leaves round the ring have 3 petals, 1 large and 2 
 
 Fig. 485. Crochet chair-back. 
 
 Materials : Fil a dentelle D.M.C No. 5o for the close figures and 
 
 No. 120 for the connecting bars. (*) 
 
 small; you begin by the large one, and make the small ones 
 afterwards. The petals should be begun from the point and not 
 from the bottom as is generally done — 3o chain ; coming back : 
 4 single, 4 plain, 5 half trebles, 8 trebles, 4 half trebles, 4 plain 
 stitches, 3 plain on the 1st chain = on the second side of 
 
 * See at the end of the concluding chapter, the table ol numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
 21 
 
3l8 CROCHET WORK 
 
 the chain make the same number of stitches but in the reverse 
 order. 
 
 Small petal on the left — 21 chain, miss 1, 5 plain, 3 
 half trebles, 5 trebles, 3 half trebles, 3 plain, 3 plain on the 
 top. Repeat the same series of stitches in the reverse order 
 on the second side = at the 10th stitch of the large petal 
 and counting upwards from below, draw the thread through 
 the 10th stitch of the small petal, and do the same through the 9 
 next stitches — for this purpose drop the loop each time and 
 draw it back through the opposite stitch, from the wrong side 
 to the right. After making the same petal on the right, fasten 
 off; fasten on again at the outer edge and edge the 3 petals 
 with 1 plain on each stitch and 3 plain on the stitch at the point; 
 make 4 leaves with 3 petals each. 
 
 Between the pointed leaves, which are afterwards placed on 
 the diagonal line of the square, come some very long leaves which 
 are rounded towards the top — 29 chain, miss 1, 5 plain, 2 
 chain, 1 treble on the 3rd of the chain stitches ; carry on the 
 trebles until you have, on coming to the last chain, 7 trebles^ 
 turn the work and make 1 plain on each stitch of the row = 
 turn the work = 1 plain on every stitch all round = turn the 
 work = * 9 plain, 4 half trebles, 3 trebles, 2 double trebles, 
 join the last loops of the 2 last trebles together; set the 20th 
 and 21st double treble on the same stitch = the 20th treble 
 2 7» trebles long; the 21st a triple treble = on the next plain 
 stitch : 1 treble 3 V 9 trebles long and 1 quadruple treble = 
 again on the next stitch: 2 trebles, the first of them 4 \a 
 trebles long, the 2nd a quintuple one = on the 3rd plain : 2 
 quintuple trebles, 4 chain, 1 plain on the plain stitch of the 
 2nd row and next to the last quintuple treble, 1 half treble, 
 1 treble, 2 double trebles on one stitch, 2 triple trebles on one 
 stitch * *, 1 quadruple treble on the 2 next stitches. Repeat from 
 * # to *, therefore in the reverse order. 
 
 To make the large star which is the first of the figures 
 placed on the diagonal line, make: 4 chain, close the ring. 
 
 1 st row — 10 chain, * 1 double treble on the 4 chain, 5 
 chain. Repeat 4 times from *, 6 trebles in all. 
 
 2nd row — over 5 chain: 1 half treble, 1 treble, 1 treble 
 
CROCHET WORK 3 I 9 
 
 i 7« treble long, 1 double treble, 1 treble 2 */» trebles long * #, 
 
 1 triple treble. Repeat once from * * to * and 5 times from * 
 to * #. 
 
 3rd row — i plain on each stitch of the 2nd row. 
 
 4th row — 3 plain, i picot, 2 plain, * 2 chain, 1 picot, 5 
 chain, miss 1 = coming back: 4 plain, 1 picot, 2 plain = on 
 the plain stitches of the 3rd row: 2 plain, 1 picot, 3 plain. 
 Repeat from *, with this difference that the trebles that are 
 placed over the half trebles of the 2nd row must begin with 3 
 chain. Make, altogether, 12 long bars, 6 of them beginning with 
 
 2 chain and 6 with 3 ; these bars remain empty ; after the 
 1 2th you fasten off. 
 
 5th row — fasten on the thread to the top stitch of a treble, 
 1 1 chain, 1 plain. Repeat this series 1 1 times. 
 
 6th and 7th row — 1 plain on each stitch of the 5th row, 
 then 1 plain on each stitch of the 6th row. 
 
 8th row — over 9 bars and 8 spaces: 3 plain, 1 picot, 3 
 plain and so on. Add nothing further to the 2 rows of plain 
 stitches of the 10th, 11th and 12th picots. 
 
 For the second star of the corner figure 4 chain, close. 
 
 1 st row — 8 chain, 1 treble, * 5 chain, 1 treble. Repeat 3 
 times from *; 5 trebles in all, including the chain stitches. 
 
 2nd row — * 1 chain, 1 half treble, 1 treble, 1 treble 1 7a 
 treble long, 1 double treble, 1 triple treble * *. Repeat from 
 * * to *, and the whole series 4 times. 
 
 3rd row — * 1 chain, 3 plain, 1 picot, 2 plain, 2 chain, 1 
 picot, 4 chain = coming back, 4 plain on the 4 chain, 1 picot, 
 2 chain = on the stitches of the 2nd row: 2 plain, 1 picot, 2 
 plain, 3 chain, 1 picot, 5 chain, miss 1, 4 plain = coming 
 back: 1 picot, 3 plain. Repeat 4 times from *, fasten off. 
 
 4th row — fasten on at the point of one of the bars and 
 make from one bar to the other: 9 chain, 1 plain on each bar. 
 
 5th row — 1 plain on each stitch of the last row. 
 
 6th row — 1 plain on each stitch of the last row and join 
 the 4 last stitches to the 4 that are under the 11th treble of 
 the 1st star, taking care to put the trebles one above the other. 
 
 The 3rd star also begins with 4 chain formed into a ring. 
 
320 CROCHET WORK 
 
 i st row — 8 chain, i treble, 5 chain, i treble, 5 chain, i 
 treble, 5 chain, join them to the 4th of the 8 chain. 
 
 2nd row — 2 chain, * 1 half treble, 1 treble, 1 treble, 1 l /a 
 treble long, 1 double treble * *. Repeat from * * to * and then, 
 3 times from * to * *. 
 
 3rd row — 1 plain on each stitch of the 2nd row. 
 
 4th row — 1 chain, 2 plain, * 1 picot, 3 chain, 1 picot, 5 
 chain. Repeat 3 times from * ; after the 8th picot: 3 chain. 
 
 5th row — i5 chain, 1 triple treble on the 5th and on the 
 2nd plain stitch between 2 picots, 9 chain, 1 triple treble and 
 so on. Altogether, including the chain stitches, 8 trebles and 
 8 times 9 chain ; join to the 7th chain. 
 
 6th and 7th row — i plain on each stitch of the previous 
 row; join the 4 last stitches again to the 4th stitch of the 2nd 
 star and fasten off. 
 
 The open work border is made from the 1st large star, 
 beginning near the 9th treble at the point where the picots 
 leave off. After fastening on the thread : 5 chain, miss 2 plain, 
 
 1 plain on the 3rd = at the point where the circles meet, 
 miss 3 or 4 stitches on each side and carry the treble over 
 the indent of the scallop. 
 
 After finishing the picots of chain stitches on the two sides 
 and as far as the 3rd treble of the large star, fasten off; fasten 
 on again on the right of the large star: 4 chain, 1 plain on the 
 3rd chain; put the needle only through the 2 upper loops of 
 the chain stitch; in the indent, connect 3 picots by 1 chain 
 stitch ; 2 chain and 1 plain between the next plain stitches. 
 Fasten off. The 2 next rows both begin on the right and con- 
 sist of plain stitches only ; in the indent of the rings join 3 
 stitches of the preceding row together by 1 plain. 
 
 The 5 leaves over the circles — Begin with the middle and 
 largest one — 25 chain, miss 1, 3 plain, 2 chain, miss 2, 1 treble, 
 
 2 chain and so on, 7 trebles in all = turn the work = 1 plain 
 on each stitch, passing under only 1 loop of the stitches = on 
 the stitch you missed : 3 plain ; on the second side : 1 plain 
 on each stitch = turn the work = do as in the last row = turn 
 the work = do as in the 2 last rows, excepting as regards the 5 
 last stitches which you leave untouched = turn the work = 
 
CROCHET WORK ■ 321 
 
 1 5 plain, * i chain = turn the work = 12 plain = turn the 
 work = 12 plain on the 12 plain and on all those you missed 
 
 * *. Fasten off the thread. On the 2nd side of the leaf: draw 
 the thread through the 6th stitch, counting upwards from below 
 and on the side that is not indented, i5 plain and repeat from 
 
 # to * * = then make : 1 row of plain, putting the needle 
 through both the loops of the lower stitches = at the points 
 of the leaves: 3 plain, in the indents of the leaves miss 1 stitch. 
 
 First leaf on the right of the large leaf — 2 5 chain, miss 1, 
 3 plain, 1 chain, 1 treble on the 3rd chain; 7 trebles in all = 
 turn the work = 1 plain on each stitch, 18 stitches altogether, 
 to the corner stitch; 3 plain on the corner stitch. The 2nd side 
 is worked like the 1st. 
 
 Add 3 more rows of plain stitches and increase 3 plain 
 on the stitch at the point = in the 3rd row leave the 5 last 
 stitches empty = turn the work = 1 1 plain, 1 chain = turn 
 the work = 1 1 plain and 5 plain on the 5 stitches that were 
 passed over ; fasten off. 
 
 On the opposite side fasten on the thread on the wrong side 
 at the 8th stitch counting from the point: 12 plain, 1 chain 
 = turn the work = 12 plain = turn the work ' = make plain 
 stitches up to the end of the leaf and border it, like the large 
 leaf, with plain stitches = join the 8 first stitches to the cor- 
 responding ones in the large leaf = make 4 leaves all alike. 
 
 2nd leaf on the left — 19 chain, miss 1, 3 plain, 2 chain, 1 
 treble on the 2nd chain; 7 trebles in all = turn the work = 1 
 plain on each of the preceding stitches, 3 plain on the stitch at 
 the point = turn the work = 1 row of plain stitches = turn 
 the work = 1 row of plain = turn the work = 1 row of plain, 
 excepting on the last 7 stitches = turn the work = 14 plain, 
 1 chain = 3 more rows to and fro with 1 1 plain ; fasten off, and 
 fasten on again on the 2nd side at the 6th stitch counting from 
 below : 2 rows of 1 1 plain and 1 row to the end of the leaf = 
 then encircle this leaf, like the others with plain stitches, join 
 the 8 last stitches to the last 8 of the large leaf = make 4 leaves 
 all alike. 
 
 3rd leaf on the right — 18 chain, miss 1, 2 plain, 1 chain, 
 1 treble on the 3rd chain, 5 trebles in all = turn the work = 
 
322 CROCHET WORK 
 
 4 rows of plain worked to and fro ; on the stitch at the point : 
 
 3 plain = after the 4th row : 4 trebles, 8 plain, 1 chain, 4 plain, 
 i chain, 4 plain, 1 chain, then plain stitches to the end = 
 fasten off. On the second side, fasten on to the 6th stitch counting 
 downwards from the top: 9 plain = coming back: 3 plain, 1 
 chain, 7 plain = coming back : 7 plain, 1 chain = then to the 
 end of the leaf, 1 plain on each stitch. 
 
 3rd leaf on the left — 14 chain, miss 1, 2 plain, 2 chain, 1 
 treble, 2 chain, 1 treble, 2 chain, 1 treble, 2 chain, 1 treble ; 
 
 4 rows of plain all round, 3 plain on the stitch at the point, 
 and 3 plain on the added stitch. After the 4th row : 14 plain 
 = turn the work = 10 plain — turn the work = 3 single, 7 
 plain = coming back : 7 plain = coming back again : 7 plain ; after 
 the last plain, 1 single on each plain up to the top = fasten off. 
 
 On the second side of the leaf : 9 plain = turn the work = 
 
 5 plain = turn the work = 5 plain, 1 single on each of the 
 remaining stitches = turn the work = surround the whole 
 leaf with plain stitches; 3 plain on each stitch at the point; 
 join the 8 last stitches to the 8 last of the 2nd leaf. 
 
 Branch on the right and 1st leaf — 28 chain, miss 1, 4 plain, 
 1 chain, 1 treble on the 3rd chain, 1 chain, 1 treble on the 3rd 
 chain, 1 chain, 1 treble 1 V s treble long on the 3rd chain, 1 
 chain, 1 treble 1 V* treble long on the 3rd chain, 1 chain, 1 
 treble on the 3rd chain, 1 chain, 1 half treble on the 3rd chain, 
 1 chain, miss 2 stitches, 5 plain = on the second side of the 
 chain : * 1 plain on each stitch, 3 plain on the 2nd of the 
 missed stitches. Repeat 3 times from *. After the 4th row of 
 plain : 6 chain = turn the work = 1 row of plain on both 
 sides and plain stitches on the 6 chain; fasten off the thread. 
 Counting back the last stitches, fasten on the thread at the 
 1 8th stitch, make one more row of plain, fastenoff. 
 
 2nd leaf of the branch — 22 chain, miss 1, 3 plain, 1 chain, 
 1 half treble on the 3rd chain, 1 chain, 1 treble on the 3rd 
 chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1 half treble 
 on the 3rd chain, 1 chain, 1 plain on the 3rd chain, 1 plain 
 on each of the remaining stitches ; 4 rows of plain, to and fro, 
 in each of the stitches of the last row. The rows touch, and 
 therefore encircle the leaf. 
 
CROCHET WORK 323 
 
 3rd leaf— 16 chain, miss 1, 2 plain, 1 chain, 1 treble on 
 the 3rd chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1 
 treble on the 3rd chain, 1 plain on each of the remaining 
 stitches, 4 rows of plain, to and fro round the leaf; 3 plain on 
 the stitch at the top of the leaf and 3 on the one at the bottom. 
 
 When these 3 leaves are finished, join them together on 
 the wrong side so that the end of the 2nd leaf is parallel with 
 the last treble of the 1st leaf, and the end of the 3rd leaf parallel 
 with the 1 st of the last plain stitches of the 2nd leaf. Having 
 sewn these 3 leaves together, carry on the plain stitches with 
 the thread of the 3rd little leaf over the two others. Fasten oft 
 the thread, join it on again at the 10th plain stitch of the 3rd 
 little leaf, counting the stitches downwards from the top = 40 
 chain, 1 single on the 34th chain = on the ring: 10 plain, 1 plain 
 each chain and 1 plain on each stitch of the leaves = then, 
 make 3 more rows of plain and 2 plain on every second stitch 
 of the 10 stitches in the ring. 
 
 Having reached the chain stitches, fasten on the thread, 
 turn the work and continue the other rows. When the rows 
 of plain stitches are finished, draw a thread through the chain 
 stitches and pull them gently together. 
 
 Branch on the left and 1st leaf — 22 chain, miss 1, 3 plain, 
 2 chain, 1 treble on the 2nd chain, 2 chain, 1 treble 1 7 a treble 
 long, 2 chain, miss 1, 1 treble 1 7» treble long, 2 chain, miss 
 1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain, miss 1, 1 plain 
 on each of the remaining stitches. The remainder the same as 
 for the right leaf. 
 
 2nd leaf — 16 chain, miss 1, 2 plain, 2 chain, 1 treble, 2 
 chain, miss 1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain, miss 
 1, 1 treble, 2 chain, miss 1, 1 plain on each of the remaining 
 stitches. The rest the same as for the right leaf. 
 
 3rd leaf — 1 2 chain, miss 1 , 2 plain, 2 chain, miss 1 , 1 treble, 
 2 chain, miss 1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain, 
 miss 1, 1 plain on each of the remaining stiches. The remainder, 
 as well as the little ring, the same as for the right leaf. Make 
 altogether 4 leaves for the right side and 4 for the left. 
 
 Calyx of the small flowers. — 1 1 chain = turn the work = 
 1 plain on the first 5 chain, 3 plain on the 6th chain, 1 plain 
 
324 CROCHET WORK 
 
 on the 5 other chain = turn the work = * 2 chain, 1 treble 
 on the 1st plain, 1 chain, 1 treble, 1 chain, 1 treble, 1 chain, 
 ** 3 trebles on the second of the 3 plain, on the 6th chain, 
 repeat once from * * to * = turn the work = 1 plain on each 
 of the preceding stitches, 3 single on the added stitch = turn 
 the work = 1 single on the first 2 plain ; plain stitches as far 
 as the middle stitch; i3 chain, miss 1, 1 plain on each chain 
 stitch, 6 plain, 2 single. Fasten off. Make 8 calices in all. 
 
 Small flowers of three different sizes — Make altogether, 24 
 large, 12 of medium size, and 16 small. 
 
 For the large flowers — 18 chain, close the ring, 24 plain 
 on the 1 8 chain; 1 plain on every stitch of the preceding row 
 and 1 picot after every second plain stitch. Join the first and 
 the last picots of 2 large flowers to the calyx, the 2nd and the 
 3rd picots of one large flower to the 10th and 11th picots of 
 the other. Join the 1st and 1 ith picots of the 3rd flower to the 
 Nth picot of the first and to the 5th of the second flower. 
 
 For the medium-sized flowers — 14 chain, close the ring = 
 20 plain on the ring, then a second row of plain with 1 picot 
 after every second plain stitch. 
 
 These flowers connect the centre figure with the corner one. 
 
 For the small flowers — 10 chain, close the ring = 16 plain 
 on the ring, then a second row of plain stitches with a picot 
 after every second stitch. Sew the medium-sized flowers and 
 the small ones to the big ones with overcasting stitches. 
 
 As regards the bars of chain stitches that complete the 
 pattern they can easily be copied from the illustration. 
 
Tatted insertion. — Double knots, single picots and Josephine picots. 
 
 Tatting. 
 
 On account of a similarity in their construction, a chapter 
 on tatting seems to form a natural sequence to the one on 
 crochet and is in some ways a preparation for that on macrame' 
 which succeeds it. 
 
 The English name of tatting is said to be derived from 
 « tatters » and to denote the frail disconnected character of the 
 fabric. By the Italians it was formerly called « occhi », whilst 
 in the East it still bears the name of « makouk », from the 
 shuttle used in making it. 
 
 In the eighteenth century, wh'en tatting was in great vogue, 
 much larger shuttles than our present ones were used, because of 
 the voluminous materials they had to carry, silk cord being one. 
 
 Shuttles. — The tatting shuttle consists of two oval blades 
 of either bone, ivory, mother of pearl or tortoise-shell, pointed 
 at both ends, and joined together in the middle. A good shuttle 
 contributes materially to the rapid and perfect execution of the 
 work and attention should be paid in its selection to the fol- 
 lowing particulars: that it be not more than 7 c/m. long and 
 2 or 3 c/m. wide : that the two ends be close enough to 
 prevent the thread from protruding ; this is more especially 
 important in tatting with two shuttles and lastly, that the centre 
 piece that joins the two oval blades together should have a 
 hole bored in it, large enough for the thread to pass through. 
 
 In filling the shuttle , be careful not to wind on too much 
 
320 TATTING 
 
 thread at once, or the blades will gape open at the ends and the 
 thread get soiled by constant contact with the worker's hands. 
 
 Materials. — A strongly twisted thread such as Fil d'Alsace 
 D.M.C, Fil a dentelle D.M.C, or Cordonnet 6 tils D.M.C, 
 is best for tatting. We particularly recommend Fil d'Alsace. 
 as forming the best shaped knots and picots. A soft material 
 such as Coton a tricoter D.M.C, can also be used where it 
 suits the purpose better. 
 
 First position of the hands fig. 486). — The construction 
 of the knots or stitches, appears at first sight to present great 
 difficulties but will be easily mastered by attention to the 
 
 Fig. 4^6. First position of the hands. 
 
 indications here given. One thing, to be constantly borne in 
 mind is, that when the right hand has passed the shuttle 
 through the loop, it must stop with a sudden jerk and hold 
 the thread tightly extended until the left hand has drawn up 
 the knot. After filling the shuttle, take the end of the thread 
 between the thumb and forefinger of the left hand, and the 
 shuttle in the right, pass the thread over the third and fourth 
 fingers of the left hand, bring it back towards the thumb and 
 cross the two threads under the fingers, as indicated in fig. 
 486. Pass the thread that comes from the shuttle round the 
 little finger of the right hand, and give the shuttle the direc- 
 tion shown in the engraving. 
 
TATTING 
 
 327 
 
 Second and third position of the hands (figs. 487 and 
 488). — Make the shuttle pass between the first and third fingers, 
 in the direction indicated by the arrow in fig. 487, and bring 
 it out behind the loop. 
 
 Here the first difficulties for beginners arise and until they 
 have sufficiently mastered the movements of both hands not 
 to confuse them, we advise them to pay careful attention to 
 the following instructions. As soon as you have put the shuttle 
 through the loop, place 
 the right hand on the 
 table with the thread 
 tightly extended, leav- 
 ing the left hand per- 
 fectly passive. 
 
 Then, raising the 
 third and fourth fingers 
 of the left hand with 
 the loop upon them, 
 pull up the loop, 
 stretching the thread 
 tightly in so doing by 
 extending the ^fingers. 
 By this move- 
 ment a knot is 
 formed, the 
 first part of the 
 «double knot», 
 which is the 
 most common 
 one in tatting. 
 
 Remember 
 that the right 
 hand must be 
 kept perfectly 
 still as long as 
 
 the left is in motion and that the knot must be formed of the 
 loop thread that is in the left hand. 
 
 The right hand, or shuttle thread, must always be free to 
 
 Fig. 487. Second position of the hands. 
 
 Fig. 488. Third position of the hands. 
 
3 2 8 
 
 TATTING 
 
 run through the knots ; if it were itself formed into knots it 
 would not have the free play, needed for loosening and tight- 
 ening the loop on the left hand, as required. 
 
 Fourth position of the hands (fig. 489). — The second 
 part of a knot is formed by the following movements : pass the 
 
 Fig. 489. Fourth position of the hands. 
 
 shuttle, as indicated in fig. 489, from left to right, between the 
 first and third fingers through the extended loop ; the right 
 hand seizes the shuttle in front of the empty loop and extends 
 the thread ; the left hand pulls up this second part of the knot 
 as it did the first. 
 
 Single or half knots. Josephine picots (figs. 490 and 491). 
 — The Josephine picot or purl, as it is also called in tatting, 
 consists of a series of single or half knots formed of the first 
 
 Fig. 490. Single or half knots. 
 Small Josephine picot. 
 
 Fig. 491. Single or half knots. 
 Large Josephine picot. 
 
 knot only. These picots may be made of 4 or 5 knots, as in 
 fig. 490, or of 10 or 12 knots, as in fig. 491. 
 
 Fifth position of the hands (fig. 492). — When the second 
 knot forming the double knot has been made, the two hands 
 
TATTING 
 
 329 
 
 resume the position shown in fig. 487. Fig. 492 reproduces the 
 same and shows us a few finished knots as well. 
 
 Fig. 492. Fifth position of the hands. 
 
 Fig. 493. Position of the hands for making a picot. 
 
 Position of the hands for making: a picot (fig. 493). — 
 Picots are introduced into tatting patterns as they are into 
 knitting and crochet. They also serve to connect the different 
 parts of a pattern together and render a great many pretty 
 combinations feasible. 
 
 Open and close picot (figs. 494 and 495). — These are 
 
33o 
 
 TATTING 
 
 formed of single knots, leaving a loop on the extended thread, 
 as shown in fig. 494, and a short length of thread between the 
 knots ; finish the second half knot and when you have pulled 
 
 Fig. 494. Open picot. 
 
 Fig. 495. Close picot. 
 
 it up, join it to the preceding knot. In this manner the picot 
 represented in fig. 495 is formed quite naturally. 
 
 In every kind of tatting the knot that comes after the picot 
 is independent of the loop. 
 
 Thus if the directions say: 2 knots, 1 picot, 3 knots, 1 picot, 
 2 knots, etc., you must count the knot that served to form the 
 loop and not make : 2 knots, 1 picot, 4 knots, etc. To join the 
 different rings, ovals, etc., together by means of picots, take up 
 the thread that runs over the left hand with a crochet needle, 
 inserting it into the picot downwards from above, draw the 
 thread through and pull it up like any other knot. 
 
 Fig. 496. Tatting with two shuttles. 
 
 Tatting' with two shuttles (fig. 496). — Two shuttles are 
 used in tatting when the little rings are not to be connected 
 together at the bottom by a thread, when you want to hide the 
 
TATTING 
 
 33i 
 
 passage of the thread to another group of knots and when 
 threads of several colours are used. 
 
 When you work with two shuttles, tie the two threads to- 
 gether. Pass one thread over the third finger of the left hand, 
 wind it twice round the fourth finger and leave the shuttle 
 hanging down. 
 
 Pass the second shuttle into the right hand and make the 
 same movements with it as you do in working with one shuttle 
 only. 
 
 Detached scallops (fig. 497). — Make 12 double knots with 
 one shuttle, then tighten the thread so as to draw them together 
 into a half ring ; the next knot 
 must touch the last knot of 
 the scallop before it. 
 
 Scallops joined toge- 
 ther at the top (fig. 498). 
 With one shuttle make 4 
 double, 1 picot, * 8 double, 
 1 picot, 4 double, close the 
 half ring, 4 double, draw 
 the thread through the picot 
 and repeat from *. 
 
 Fig. 497. Detached scallops. 
 
 Materials : Fil d'Alsace D.M.G in balls 
 
 Nos. 3o to 70, or Cordonnet 6 fils D.M.C 
 
 Nos. 25 to 5o. (*) 
 
 Fig. 498. 
 Scallops joined together at the top. 
 
 Scallops With picOtS Materials: Fil d'AlsaceD.M.C Nos. 3o to 70, 
 
 Cordonnet 6 fils D.M.C Nos. i5 to 40, or 
 Fil a dentelle D.M.C Nos. 25 to 60. (*) 
 
 Fig. 499. Scallops with picots. 
 
 (fig. 499). — Make with one 
 shuttle : 4 double, 1 picot, 
 * 3 double, 1 picot, 2 double, 
 1 picot, 2 double, 1 picot, 3 
 double, 1 picot, 4 double, 
 close the ring. 
 
 Leave sufficient length of Materials : Fil d'Alsace D.M.C in balls 
 . j 1 r i_ u Nos. 3o to 70, dcru or white. (*) 
 
 thread before beginning the 
 
 next ring, for the rings not to overlap each other = make 4 
 double, draw the left hand thread through the 5th picot of the 
 preceding ring and repeat from *. 
 
 Tatted insertion (fig. 5oo). — Make with one shuttle a 
 
 {*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
332 
 
 TATTING 
 
 Fig. 
 Materials 
 
 >oo. Tatted utsa 
 Fil d'Alsace D.M.C in balls 
 
 Nos. ? or« hite. 
 
 Fig. roi. Tatted insertion. 
 Materials : Fil d'Alsace D.M.C Nos. 3o 
 - . or Cordonnet 6 rlls D.M.C No. 20. 
 
 ring like the ones in fig. 499, then leaving a length of, from 5 
 
 to 1 o m/m. of thread, make a 
 second ring = turn the work 
 = leave the same length of 
 thread again, begin a third 
 ring which you join after the 
 4th double, to the 5th picot 
 of the 1st ring = turn the 
 work after each ring is made, 
 so that all the upper rings 
 represent the right side of 
 the work and all the lower 
 ones the wrong. 
 
 Tatted insertion (fig. 
 5oi). — To be worked with 
 two shuttles. Begin with one 
 thread and one shuttle and 
 make a ring, as in figs. 499 
 and 5oo ; and a second close 
 to it; then pass the thread 
 over the left hand, take the 
 second shuttle in the right 
 hand and make 6 double on 
 the 2nd thread, after which 
 you again make a ring above 
 and one below with one 
 shuttle only. 
 
 Edging of tatting and crochet fig. 5o2). — Make with one 
 shuttle : 1 double, 1 picot, 2 double, 1 picot, 2 double, 1 picot, 
 2 double, 1 picot twice as long as the others, 2 double. 1 picot, 
 2 double, 1 picot, 2 double, 1 picot, 2 double, 1 long picot, 1 
 double = close the ring = fasten off the two threads on the 
 wrong side with two or three stitches. 
 
 After the first knot join the next ring to the preceding 
 one by the long picot, and work the remainder as has been 
 already described. 
 
 When you have a sufficient number of rings, pick up the 
 picots by crochet trebles with 3 chain stitches between them. On 
 
 Fig. 5o2. Edging of tatting and crochet. 
 
 Materials — For the tatting: Fil d'Alsace 
 
 D.M.C in balls No. 3o. 
 
 ae crochet: Cordonne: 6 61s D.M.C 
 
 N : . 60. 
 
TATTING 
 
 333 
 
 this first row, crochet a second, consisting of: 2 chain, 1 picot, 
 2 chain, 1 single in the treble of the 1st row. To finish the bottom 
 part of the work, make 1 plain in the 1st picot, 3 chain; 1 
 plain in the 2nd picot, 3 chain, 1 plain in the 3rd picot, 1 
 chain, 1 plain in the 1st picot of the next ring. 
 
 One row of single crochet serves as a footing to the edging. 
 
 Tatted edging in three rows fig. 5o3). — Worked with 
 two shuttles. The first row is 
 worked like fig. 49?, with one 
 shuttle. The second and third 
 are worked with two. 
 
 Fasten the thread of the 
 right hand shuttle into the first 
 picot ; then work on this thread 
 the same number of double mj 
 
 Nos. 20 to 60. 
 
 Tatted edging in three rows. 
 Iaterials : Fil d'Alsace D.M.C in balls 
 knots and picots as in the ISt Nos. ?o to 70, or Cordonnetofils D.M.C 
 
 row and join each half ring to 
 the picot of the row before. In 
 the 3rd row, insert 3 picots be- 
 tween the 8 double knots of 
 the row above. Here the Jose- 
 phine picot may be substituted 
 for the plain picot. 
 
 Tatted edging [fig. 5o_l' . — 
 
 o o ^ o tj ji G- 3 _^ Tatted edging. 
 
 Worked with tWO shuttles and Materials: Fil d'Alsace D.M.C in balls 
 tWO Colours. After making a Nos. 3o to 70, or Fil a dentelle D.M.C 
 
 string of rings like those in fig. „ /° 5 - 2 ] 1° 5o - 
 
 . , Jr., i,.i ° Colours: Ecru and Bleu-Indigo ^^4, or 
 
 302, With HI d Alsace D-M.C j aU ne d'Ocre 667 and Rouge-Cornouille 
 
 No. 3o ecru, fasten the blue and -p°» Gns-Tiiieui 33i and Brun- 
 unbleached threads of the re- Caroubier 356. 
 
 spective shuttles to the middle picot. Holding the light thread 
 in the right hand, and the dark one laid over the left hand, 
 work : 3 double, i picot, 3 double = then put the right hand 
 thread separately through the i picots of the rings and con- 
 tinue to make : 3 double, i picot, 3 double. 
 
 The next row also is made with two shuttles. Hold the light 
 thread in the right hand ; with the dark thread, laid across 
 the left hand, make : * 4 double, 1 picot, 2 double, 1 picot, 2 
 
 22 
 
334 
 
 TATTING 
 
 double = turn the work = with the right hand shuttle make: 
 6 double, put the thread through the little picot formed above 
 the middle picot of the rings, 6 double, close the ring = 
 turn the work = make with two shuttles: 2 double, i picot, 
 2 double, i picot, 4 double, put the light thread through the 
 2 blue picots and repeat from *. The first row of crochet for 
 the footing consists of chain and plain stitches only, the 
 second, of chain stitches and trebles. 
 
 Medallion (fig. 5o5). — Take two colours of thread and fill 
 
 two shuttles with the light colour 
 and two with the dark. Make with 
 one shuttle: 2 4.double andi 2 picots, 
 6 of them short and 6 long ; close 
 the ring, break off the thread and 
 fasten oil" the ends by a stitch or 
 two on the wrong side. — For the 
 next 4 rows take two shuttles. 
 
 1 st row — with the shuttles 
 containing the light colour = fasten 
 the ends on to a short picot and 
 
 Fig. 5o5. Medallion. make : * 3 double, I short picot, 2 
 
 Materials : Fil d'Alsace D M.C in doubl t Jong picot, 2 double, I 
 
 halls Nos. 3o to jo. (*) . ° r ' . ' 
 
 Colours: White and Rouge-Gera- lon g P 1COt > 2 double, I long piCOt, 
 
 nium 352, or ecru and Vert-Mousse 2 double, I short piCOt, 3 double \ 
 
 47 i, Bleu paie668andJauned'Or6 7 6. p ass the right hand thread through 
 one of the short picots of the first ring, repeat the series 5 
 times from *. 
 
 When you reach the 6th half ring, instead of making the 
 second picot , put the left hand thread through the short 
 picot of the first half ring, then complete the last double 
 knots, cut the threads off, pass them through the picot of 
 the ring and fasten them off on the wrong side. 
 
 2nd row — with the shuttles filled with the light colour = 
 fasten the ends on to a long picot, then make : * 4 double, 1 
 picot, 4 double, pass the right hand thread through the picot 
 of the first row and repeat the series 17 times from *. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
TATTING 
 
 335 
 
 3rd row — with the shuttles filled with the dark colour == 
 fasten the ends on to one of the picots of the last row and 
 make: * 4 double, pass the right hand thread through the picot 
 of the 2nd row, make a long picot, 4 double and repeat this 
 series all round the medallion, until you have 18 scallops. 
 
 4th row — with the shuttles filled with the dark colour — 
 * 2 double, 1 picot, 2 double, 1 picot, 2 double, 1 picot, 2 
 double, pass the right hand thread, from the wrong side, through 
 the picot of the 2nd row and begin again from *. 
 
 Insertion of tatting and crochet (fig. 5o6). — Fill two 
 shuttles , one with a light colour, say, Bleu de France 344, 
 the other with a darker, 
 such as Jaune-Rouille 365, 
 and two numbers coarser 
 than the thread you intend 
 to use for the crochet. Be- 
 gin with the dark colour 
 and make : * 4 double, 1 
 picot, 8 double, 1 picot, 4 
 double, close the ring. 
 With both shuttles, the 
 light colour in the left 
 hand : 4 double, 1 picot, 
 2 double, 1 picot, 2 double, .. 
 
 7 Materials : Fil d Alsace D.M.C in balls Nos. 3o 
 1 picot, 4 double, put the to ?0 , or Fil a dentelle D.M.C Nos. 25 to 5o. 
 
 right hand thread through Colours : Bleu de France 344 and 
 
 the picot of the first circle ; Jaune-Rouille 365. 
 
 then add : 4 double, 1 picot, 2 double, 1 picot, 2 double, 1 picot, 
 
 4 double. 
 
 With the shuttle, filled with the dark colour : 5 double, 
 pass the thread through the picot of the first ring, make 8 
 double, 1 picot, 5 double, close the ring. Then, leaving a 
 short length of thread between, make: 4 double, put the 
 thread through the picot of the preceding ring, 8 double, 1 
 picot, 4 double, close the ring * *; then repeat from * to * *. 
 
 When you have thus made two equal lengths, join them to- 
 gether with crochet, using a thread two numbers finer than the 
 tatting thread ; if the latter for instance was Fil d'Alsace No. 3o 7 
 
 Fig. 5o6. 
 Insertion ok tatting and crochet. 
 
336 
 
 TATTING 
 
 you would take No. 5o of the same material for the crochet — 
 i plain in the ist picot, 5 chain, i plain in the middle picot, 
 5 chain, i plain in the 3rd and ist picot = then, over 5 
 chain: i sextuple cluster stitch (fig. 426), 5 chain. 
 
 In the row on the opposite side of the tatting, take out 
 
 the crochet needle 
 at the 3rd chain 
 stitch and put it in 
 from beneath into 
 the corresponding 
 stitch of the oppo- 
 site row; in this 
 manner join the 
 two insertions to- 
 gether so as to 
 
 Fig. 507. Insertion of tatting and crochet. complete the pat- 
 
 Materials — For the tatting : Fil d'Alsace D.M.C in balls tern. 
 Nos. 3o to 70, or Cordonnet 6 tils D.M.C Nos. 25 to 5o, 
 
 (km or white. (*) Insertion of 
 
 For the crochet : The same materials, but two tatting" and CTO- 
 
 numbers finer. chet (figs> 5o? and 
 
 5o8). — Worked 
 with one shuttle. 
 The tatting thread 
 
 Fig. 5o8. Working detail of fig. 5o 7 . should be tWO 
 
 numbers coarser than the crochet thread. Begin with 2 strings 
 of half rings consisting of : 4 short picots and 3 long. Leave a 
 length of thread between, equal to the diameter of the ring. 
 
 When the two strings of half rings are finished, crochet with 
 the fine thread : 6 plain over each length of thread between, 
 and at the base of the scallops. 
 
 2nd row — 5 chain, 1 plain in the 4th plain of the ist row. 
 
 In the row that connects the two rows of tatting, put the 
 3rd chain stitch into the corresponding stitch of the opposite row. 
 
 For the outside edge make: 1 plain in the ist short picot, 
 8 chain *, 1 treble in the 2nd short picot, 7 chain, 1 treble 
 in the 3rd short picot, 8 chain, 1 plain in the 4th short picot, 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
TATTING 
 
 33 7 
 
 i plain in the short picot opposite, 3 chain, pass the thread 
 through the 4th of the 8 chain stitches, 4 chain and repeat from #. 
 For the last row make : 3 plain in each of the 3 last of 
 the 8 chain, * 1 picot of 5 chain above the treble, 4 plain in 
 the 4 next chain, 1 picot, 1 single in the same stitch as the 
 4th plain before the picot, 3 plain, 1 picot, 3 plain, miss the 
 1 st and the last stitch, then make 3 plain on the next scallop 
 and repeat from *. 
 
 Edging of tatting and crochet (fig. 509). — Worked with 
 two shuttles and in two shades. With the light shade : 2 
 
 double, 1 short pi- 
 cot, 2 double, 1 
 long picot,* 2 dou- 
 ble, 1 picot of the 
 ordinary size , 2 
 double, 1 picot, 2 
 double, 1 picot, 2 
 
 Fig. 509. Edging of tatting and crochet. double, I long pi- 
 Materials — For the tatting: Fil d'Alsace D.M.C in balls . double T 
 
 No. 3o in two shades of one colour. ' ' 
 
 For the crochet: Fil d'Alsace D.M.C in balls No. 5o short piCOt, 2 dou- 
 
 in one colour only. ble, close the ring 
 
 = with 2 shuttles : 3 double, pass the thread through the ist 
 picot, make 3 double, i long picot, 2 double = with the light 
 shade : 4 double, pass the thread through the 9th picot of the 
 
 1 st ring, make 3 double, 1 picot, 4 double, close the ring= with 
 
 2 shuttles : 2 double, 1 picot, 3 double, 1 short picot, 3 double 
 = with one shuttle : 2 double, pass the thread through the empty 
 picot of the small ring, make 2 double, pass the thread through 
 the long picot of the big ring, then repeat from *. 
 
 To complete the edge, crochet first one row, consisting of: 
 * 1 plain in the ist of the 5 picots of the big ring, 4 chain, 
 
 1 plain in the 2nd picot, 4 chain, 1 plain in the 3rd picot, 4 
 chain, 1 plain in the 4th picot, 4 chain, 1 plain in the 5th 
 picot and repeat from *. 
 
 2nd row — 2 plain on the 3rd and 4th of the first chain 
 stitches = over the 2nd and 3rd chain : 1 plain, 1 half treble, 
 
 2 trebles, 1 half treble, 1 plain ; on the 4 last chain : 2 plain. 
 
 For the footing make : 1 plain in the long picot, 5 chain, 
 
338 
 
 TATTING 
 
 i plain in the next picot, 5 chain, i double treble in the short 
 picot, leave the 2 last loops of the treble on the needle = 3 
 trebles in the first lower loop of the double treble, keep the 
 last loops of these 3 trebles on the needle, after the 4th treble, 
 draw the needle through the 4 trebles. The last row consists 
 of: 3 chain, 1 treble over 5 chain. 
 
 Tatted medallion (tig. 5io). — Worked with two shuttles 
 and two colours. 
 
 1 st row — with one shuttle: 12 double and 6 picots, close 
 the ring. 
 
 2nd row — with two shuttles and the dark coloured thread 
 laid across the left hand = knot the threads into one of the picots 
 
 of the 1 st ring: 1 
 double, 1 long pi- 
 cot, 2 double, pass 
 the right hand 
 thread through one 
 of the picots of the 
 ring, 1 picot, 2 dou- 
 ble and soon. After 
 the 1 2th picot fas- 
 ten off the threads 
 on the wrong side 
 by two or three 
 stitches. 
 
 3rd row — w r ith 
 one shuttle : * 3 
 double, pass the 
 thread through one 
 of the picots of the 
 2nd row, make 3 
 double, close the 
 ring = leave 5 m/m. of thread = turn the work = 4 double, 
 1 picot, 4 double, close the ring = leave 5 m/m. of thread 
 again and repeat 1 1 times from *. 
 
 4th row — with two shuttles ; fasten the ends to one of 
 
 Fig. 5 10. Tatted medallion. 
 
 Materials : Fil d'Alsace D.M.C Nos. 3o to 5o. (*) 
 
 Colours : Gris-Tilleul 33o and Rouge-Cardinal 004. (* 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
TATTING 
 
 33g 
 
 the picots of one of the 12 rings of the 3rd row: * 3 double, 
 1 picot, 3 double = with one shuttle : 3 double, pass the thread 
 through the picot, 3 double, 1 picot, 2 double, 1 picot, 3 
 double, close the ring = close to this : 3 double, pass the 
 thread through the 2nd picot of the 1st ring, 3 double, 1 picot, 
 3 double, close the ring = again, close to the last ring : 3 double, 
 pass the thread through the picot of the 2nd ring, 2 double, 1 
 picot, 3 double, close the ring = with 2 shuttles : 3 double, pass 
 the thread through the 2nd picot of the 3rd ring, 3 double, 
 fasten the thread to the picot of the ring of the 3rd row and 
 repeat 1 1 times from *. 
 
 5th row — with two shuttles and the dark colour across the 
 ■eft hand: 6 double and 2 picots over the lower rings and 
 10 double and 4 picots over the upper rings. 
 
 Tatted edging (fig. 5i 1). — With two shuttles and with the 
 two colours indi- 
 cated, or in any 
 other combination 
 of colours. 
 
 Begin with two 
 shuttles, the red 
 thread across the 
 left hand= 10 dou- 
 ble, 1 picot, 6 dou- 
 ble = with one 
 shuttle : 6 double, 
 1 picot, 6 double, 
 close the ring = 
 
 turn the Work = Fig. 5ii. Tatted edging. 
 
 make a second ring Materials : Fil d'Alsace D.M.C in balls Nos. 3o to 70, 
 
 like the first and Cordonnet 6 fils D.M.C Nos. 40 to 5o, or Fil a dentelle 
 
 close to it = turn D - M - c Nos ' 2b to *>• 
 
 hi • 1 Colours : Gris-Tilleul 33o and Rouee-Grenat 326. 
 
 e work = with & 
 
 two shuttles: 6 double, i picot, 6 double = with one shuttle: 
 
 6 double, pass the thread through the picot of the ring opposite, 
 
 6 double, close the ring = 6 double, i picot, 6 double, close 
 
 the ring = turn the work to make the next half ring. 
 
 Make 3 rows of half rings connected by rings. In the 2nd 
 
34° TATTING 
 
 row. you pass the thread from the ring through the picot to 
 which the 2nd ring was fastened in the 1st row. 
 
 For the outside scallops, make with one shuttle: *5 double, 
 pass the thread through the picot that connects 2 rin^ 
 double, close the ring = with two shuttles : 4 double = with 
 one shuttle : 1 double, 1 picot, 2 double, 1 picot, 2 double, 
 pass the thread through the picot of the half ring of the 3rd row, 
 •2 double; then 8 picots more with 2 double between each, 
 close the ring = with two shuttles : 4 double, 1 long picot, 2 
 double, 1 short picot, 2 double. 1 short picot, 3 double = with 
 one shuttle: 5 double, pass the thread through the 3rd picot 
 of the big ring, 5 double, close the ring = with two shuttles : 
 2 double, 6 picots with 2 double after each picot = with one 
 shuttle: 5 double, pass the thread through the 3rd picot of the 
 _ ring, 5 double, close the ring = with two shuttles: 3 
 double, 1 picot. 2 double, 1 picot, 2 double, 1 picot, 4 double, 
 pass the right hand thread through the 6th picot of the big 
 ring = with two shuttles : 4 double, then repeat from *. 
 
 The footing is worked in crochet and consists of one row 
 of chain stitches and one of trebles. 
 
 Square of tatting fig. 5 1 2 . — Worked with two shuttles 
 and two colours. With the light colour : 2 double, 1 picot, 4 
 double, 1 picot. 4 double, 1 picot, 4 double. 1 picot, 2 double, 
 close the ring. 
 
 1 st row — with two shuttles, the dark coloured thread across 
 the left hand = fasten the thread to a picot and make : * 2 
 double, 1 picot, 2 double, 1 picot, 2 double. 1 picot, 2 double, 
 pass the right hand thread through the picot of the ring : 
 
 1 picot over the connecting thread, then repeat 3 times from *. 
 The last picot over the picot of the small ring is made at the end. 
 
 2nd row — with two shuttles, the light thread over the left 
 hand = fasten the thread to the picot over the light picot : * 
 
 2 double, pass the right hand thread through the picot of the 
 1 st row, 1 long picot over the lower picot, 3 double, pass the 
 thread through the next picot of the 1st row = in the corner, 
 1 rather longer picot than the one before, 3 double, pass the 
 right hand thread through a picot, 1 long picot, 2 double, pass 
 the thread through a picot: repeat 3 times from *. To form 
 
TATTING 
 
 341 
 
 the last picot, fasten oft the thread on the wrong side by 
 two or three stitches. 
 
 3rd row — with one shuttle and the dark colour : * 4 double, 
 pass the thread through the picot above the picot of the small 
 ring, 4 double, close the ring = leave 10 m/m. of thread, 
 make a second ring like the 1st = leave 10 m/m. of thread. 
 
 Fig. ::;. sqjmbb w tattdk 
 
 - : :als : Fil d' Alsace D.M.C in balls Nos. 3o to ioo, Cordonnet 6 fits D.M.C 
 Nos. 10 to 60, or Fil a dentelle D.M.C Nos ::::-:. * 
 Colours : Jaune-Rouille 366 and Brun-Caroubier 35g. (*) 
 
 make 6 double, pass the thread through the long pice:. 
 double, close the ring= leave 10 m/m. of thread, make anothei 
 ring of 12 knots, fasten it to the same picot, the prece 
 knot is fastened to ; then make a ring of 8 double knots and 
 repeat 3 times from *. 
 
 - at the end of the concluding chapter, the table ::' - u~ :er; it 
 and the list of colours of the D.M.C threads and cotter.; 
 
?4 2 TATTING 
 
 4th row — with one shuttle and the light colour and 
 worked like the 3rd row, leaving a rather longer length of 
 thread between; then make: 16 instead of 12 double for the 
 corner rings. 
 
 5th row — with one shuttle and the light colour = 8 double, 
 fasten the thread to one of the corner loops and between 2 
 rings of the 4th ring : 8 double, close the ring = turn the 
 work = leave a length of thread, 3 double, 1 picot, then 4 
 times 2 double knots and 1 picot, 3 double, close the ring. 
 Make the second ring as close as possible to the first, begin- 
 ning and finishing the second with 5 double knots = make 
 a 3rd ring like the 1st, join it to the 2nd ring by the 4th 
 picot = turn the w 7 ork = make another ring of 16 knots 
 and join it to the same loop of the 4th row, to which the two 
 other rings are already joined = turn the work = 1 ring 
 above, with 4 picots, like the first one we described, then a 
 ring of 12 double knots below. 
 
 At the top, 6 detached half rings, placed between 3 connect- 
 ed rings , which form the corners. The top rings are to be 
 joined after the 3rd double knot, to the 4th picot of the pre- 
 ceding ring. 
 
 6th row — with two shuttles and the dark colour only = 
 fasten the threads to a picot that serves as a connecting link, 
 take the dark thread over the left hand and make : 3 double, 
 1 picot, 2 double, 1 picot, 2 double, 1 picot, 3 double = fasten 
 the thread to the connecting picot and carry the half rings 
 all round the square. 
 
:- " — . . " " BJECT. 
 
 Macrame. 
 
 Macrame is an Arabic word, signifying an ornamental fringe 
 or trimming, which has been adopted as the term foi ;. cer- 
 tain kind of hand-work, known also as <* knotted fringe » or 
 Mexican lace » and produced by the knotdrr interweai ing 
 and tying together of th 
 
 We have ziven the "ence to the : name because 
 
 of its less definite me: m in r. ; :e:rig that not onh gear 
 
 but trimmings of all kinds, in the shape 
 and he lgs, can be worked in macrame. 
 
 Until its revival about ten years age . ~ t. en it was :::::::. 
 bv manv as a new invention, the art of macrame makinz 
 
 - 
 
 for centuries become almos: : sive her; and :here 
 
 in the convents, was quite unknot 
 
 The multitude of uses to which i: trim- 
 
 ming, the infinite variety it admits of and its great : : : 
 and strength, make macrame' well worth a study ; the difficul- 
 ties that repel many at firs: sight y on the surface and 
 any one who carefully follows the tract : ; given in the 
 following pages, will soon overcome them and be able without 
 pains to copy the charmir. . ° :hat accompany them. 
 
 :h remind us of the wooden - the 
 
 Eastern houses, doubtless familiar to many of our 
 under the name of moi 
 
344 
 
 MACRAME 
 
 Materials. — These may be of almost any kind ; silk, gold 
 thread, cord, wool or cotton, can all be employed with good 
 effect. Almost any of the D.M.C cottons can be used for ma- 
 crame' ; but the ones especially to be recommended are : Fil a 
 dentelle D.M.C (*), Cordonnet 6 fils D.M.C (*) and Coton a 
 broder D.M.C (*) for the finer kinds of work, and for the coarser, 
 Fil a pointer D.M.C (*), Coton a tricoter D.M.C (*) and Ganse 
 turque D.M.C (*). The twist in all these is so regular as to 
 admit of a high degree of perfection being attained with them : 
 they are moreover very agreable to the touch, a great recom- 
 mendation considering how much they have to be handled by 
 the worker. 
 
 Macrame cushion and other accessories (figs. 5i3 and 
 514). — The only really important requisite for macrame' work 
 
 © : © ©•©•©"©©©'« © © 
 
 © ©•©©<©>© ©©©'€> © 
 
 Fig. 5i3. Macrame cushion. 
 
 is the cushion, which should be well stuffed, and weighted 
 with lead (fig. 5i3). It is convenient to have it made to screw 
 on to a table like the Swiss tambour frames. There are other 
 kinds of macrame cushions but none, in our opinion, as prac- 
 tical as these because any pattern can be worked upon them 
 and patterns that have a heading or a border of picots can not 
 be worked on any others. The pegs at the ends of the cushion 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MACRAME 
 
 345 
 
 are for fixing and winding the long threads upon, which carry 
 the knots, and which we shall in future call « cords ». 
 
 For making long lengths of macrame fringe, metal clamps, 
 with round-headed pegs attached to them top and bottom, to 
 fasten the cords to, as represented in fig. 5 14, will be found 
 far better than a cushion, as any number of threads can be 
 knotted on to them at a time by pushing them more or less 
 closely together on the cord. 
 
 Besides the cushion and clamps, you will require, some big 
 glass-headed pins, made expressly for the purpose, a crochet 
 
 Fig. 514. Clamps for macrajue fringe. 
 
 needle for pulling the threads through the stuff when they have 
 to be knotted on to an edge, and a French metre or yard 
 measure to measure the threads with ; to these implements 
 may further be added, scissors and a metal comb and ruler 
 for cutting and straightening the ends of the threads. 
 
 The length of the threads must depend on their substance 
 and size ; that is to say, that a knot will take up more of a 
 coarse stiff thread than of a fine pliable one, on which account, 
 to avoid the necessity of preliminary trials, the right length of 
 thread, for the quality and size of material, is given with each 
 pattern. If, for any reason, our workers should not follow the 
 directions given, they must bear in mind that the thicker and 
 stiffer the material, the more they will have to allow for the 
 knots and vice versa. 
 
 Formation of the knots. — Beginners must be careful, in 
 macrame as in tatting, not to move or slacken the cord, or 
 horizontal thread that carries the knots. The knots made by 
 the « knotting-thread », as it will be called in future, consist of 
 

 
 loops formed over the cord and then tightened. The knotting- 
 thre_ the cord a: changing places, a> 
 
 s having to with the one and now 
 
 . other. 
 Knotting on the threads — Excepting when vou 
 
 work with the threads of -rial obtained by unravelling and 
 
 /-\ s-\ * drawing out the cross threads, you 
 
 ■ * ■ F / — j ^""*""" musl - not on lengths of thread on to 
 a core :iem double the length 
 
 the fringe is to be and fold them in 
 half, so as to form a loop by means 
 of you attach them to the 
 
 cord, in the following manner. Put 
 the cord from the front and bring it back under- 
 neath, put the :wn through the loop, detail a, and 
 it, dc s shown in th. _ ing. 
 Knotting on the threads on to a stuff edg>e and formation 
 of a flat donble knot _ :chet needle 
 through the edge of th. Dm the right to the wrong side 
 and catch hold of the loop, formed by the folding in half of 
 the thread that is to be knott. rull it out to the right 
 
 :2^E CSIZ 
 
 side, put the ends through, and tighten the loop, detail a. Detail 
 b shows two double threads, knotted on near to each other in 
 this way, and the first tying together of the two outer threads 
 for the flat knot which is formed as follows : you take the two 
 outer of the four threads hanging down and cross the right hand 
 
MA :? AME 
 
 -" 
 
 ■ thj-a: 5 ; 
 
 one under, and the left hand one over the two centre threads. 
 Whilst doing this, hold the inner ones tightlv stretched out on 
 the 3rd and 4th fingers 
 of the left hand, detail b. 
 The manner in which 
 the two threads are 
 brought back and tied 
 together again is shown 
 in detail c : the drawing 
 up of the threads com- 
 pletes the so-called fiat 
 double knot, detail 
 Detail e. of the same figure, shows two fiat double knots, side 
 ad the first step towards the formation of a third, 
 connecting 
 
 together 
 the two right thr= 
 of the one with the 
 two left threads of the 
 other. 
 Knotting 1 on threads 
 onto a knotted head- 
 ing _ - . — Make 
 fiat double knots as in 
 
 Fig. 5 
 
 ibs ok to a picot headisi 
 
 .rail d, on a 
 double cord and then 
 ; :ur threads 
 on to the loops of the 
 double knots, putting the loop through from the right sidr. 5 : 
 that it may lie at the back. Use double threads so that the 
 work beneath the heading may not be too open. 
 
 Knotting on threads on to a picot heading fig. : 
 — First, chet a row of chain :hes, then make flat double 
 knots on the chain, far enough apart for the thread be: 
 to form picots on the chain, then a second chain of crochet 
 drawn through the picots on one side, on to which tie triple 
 • r quadruple lengths of thread, as shown in the engra" 
 
 Knotting on threads with round picots fig. : : . — 
 Fasten the lengths of thread to the cushion with pins, about 
 
3 4 8 
 
 MAGRAME 
 
 half a c/m. apart, fix the cord to one of the pegs at the left 
 end of the cushion, hold it tightly extended in a horizontal line 
 
 with the right hand. With the 
 left hand knot the threads that 
 are pinned down on to the cord, 
 looping each end twice round 
 it, upwards from below and then 
 drawing it through between the 
 two loops or knots thus formed, 
 pulling each knot to the left as 
 you tighten it round the cord. 
 Make the second row of knots in 
 the same way, taking care to lay 
 
 Fig. 5iq. Knotting on threads with tne Second COrd as close tO the 
 
 round picots. first as possible that the vertical 
 
 threads may not be visible between. One series of knots 
 forms a bar; there are both horizontal and slanting bars as 
 will be seen later on. 
 
 Knotting on threads with a fringe heading (fig. 52o). 
 
 c» (3) — Knot the threads 
 on with a picot head- 
 ing, as explained in 
 the preceding figure, 
 bb then cut the picots 
 EebJ ai« through and unravel 
 
 and comb out 
 threads. 
 
 the 
 
 For this way of 
 knotting on threads, 
 a very stongly twisted 
 Fig. 520. Knotting on with a fringe heading. material is better than 
 
 a loose one, as when it is cut and untwisted, it makes a much 
 richer and fuller fringe. 
 
 Knotting on -with picots and flat double knots (fig. 52 1). 
 — Take two threads, pin them on close together, make a flat 
 double knot, fig. 5i6, tying the outer threads over the inner 
 ones, and loop the ends over a cord to make a horizontal 
 bar of knots. 
 
MACRAME 
 
 349 
 
 Knotting on threads with picots and two flat double 
 knots (figs. 522 and 523). — Pin the two threads on as before 
 and make two flat double 
 knots, one below the other; 
 detail a shows the first 
 knot begun, detail b the two 
 knots completed. Fig. 523 
 shows the picots secured by 
 a horizontal bar of knots 
 beneath them. 
 
 Knotting on threads 
 with scallops (fig. 524). — 
 The threads for the scallops 
 must be cut much longer v 
 
 o Knotting on threads with picots and two 
 
 than those that are to be flat double knots. 
 
 Fig. 522. Fig. 523. 
 
 Knotting on threads with picot and two flat double knots. 
 
 knotted on be- 
 low them. The 
 
 buttonhole 
 loops must be 
 so made that 
 they turn up- 
 wards ; and 
 there must be 
 12 of them, all 
 made with the 
 
 Fig. 524. Knotting on threads with scallops. 
 
 left hand thread over the right hand thread, detail a. Then, knot 
 on two double threads underneath the scallop and besides, make 
 knots with the threads that come from the scallops, detail b. 
 
 23 
 
35o 
 
 MACRAME 
 
 ^ ■* 
 
 1 
 
 
 
 
 
 | :■ i. 
 
 i: 
 
 
 n 
 
 Fig. 5^3. Knotting on threads with loops. 
 
 Knotting on threads with loops (fig. 525). — Pin on two 
 threads folded in half, a litle distance apart, detail a, and bind 
 
 them together 
 with a flat 
 double knot. 
 Pin on more 
 lengths close 
 to them, the 
 inner threads 
 of which are 
 held by a « col- 
 lecting knot »j 
 as the fiat dou- 
 ble knot is cal- 
 led when it 
 is made over 
 more than two threads (see 
 also fig. 53o). The ends of 
 the threads can then be loo- 
 ped over one or two cords, 
 so as to form a single or 
 double bar of knots, as re- 
 quired. 
 
 Knotting on threads 
 with triple scallops (fig. 
 526). — Knot on three single 
 threads in succession ; first, 
 the middle one, then the 
 
 Knotting on threads with triple scallops. seCO nd, with the knot right 
 
 and left and the loop long enough to form the scallop, then 
 the third in the same manner. 
 
 Knotting on threads for ribbed picots (fig. 527). — Take 
 a double thread and make two slanting bars of knots, see 
 details a and b, then secure them, like the preceding scallops 
 by a horizontal bar of knots, see detail c. 
 
 Knotting on threads for a gimp heading (fig. 528). — This 
 mode of knotting on forms a broad gimp, consisting of vertical 
 bars of knots, made over a single cord. On the one side, that 
 
 Fig. 526. 
 
MACRAME 
 
 35i 
 
 Fig. 527. Knotting on threads with ribbed picots. 
 
 which is afterwards turned downwards, the cord, the ribs are 
 made on, forms loops, held with pins, into which meshes of 
 threads can be 
 knotted when 
 the gimp is finis- 
 hed, for making 
 either a fringe 
 or a grounding. 
 
 Patterns in 
 several colours 
 may likewise 
 be knotted into 
 gimp headings 
 of this kind. 
 
 Flat double 
 knots with half 
 knots (fig. 529). — 
 These are double 
 knots followed by a 
 third knot, or more 
 correctly speaking, 
 a half one of the 
 first flat knots. 
 
 Collecting knots 
 
 (fig. 53o). — As ex- 
 plained in fig. 525, 
 theseareflat double 
 knots, made over 
 
 more than two 
 threads. The engraving shows, in the first place on the left, 
 a flat double knot made over two threads, completed, and the 
 first crossing of the thread for the collecting knot; secondly, the 
 second crossing of the threads ; thirdly how the collecting knot 
 can, if necessary, be continued over 4 threads, and fourthly, 
 how the collecting knot should be made to finish with a flat 
 double knot. 
 
 Plaited and waved knots (fig. 53 1). — Plaited knots are 
 formed by a continuous repetition of the first crossing of the 
 
 Fig. 528. Knotting on threads for a gimp heading. 
 
352 
 
 MACRAME 
 
 threads for making a flat knot, detail a ; waved knots by a 
 slight twist given to the plaited knots from left to right, detail 
 b. These plaits of waved knots are secured by joining together 
 
 the threads of opposite 
 meshes, two and two, by a 
 flat double knot. 
 
 Single orossed knots 
 and double crossed knots 
 
 (figs. 53-2 and 533). — Two 
 plain crossings of the 
 threads, detail a, to begin 
 with ; after which you ra- 
 pidly reverse the threads, 
 turning the knot to the 
 wrong side, drawing it up 
 tightly at the same time ; 
 
 FlG. 52Q. Flat DOUBLE KNOTS WITH HALF KNOTS. . ■ c ..u a l 1 
 
 * this forms the first knot, 
 
 detail b. The second knot, fig. 533, is formed by 3 crossings, 
 
 
 
 [^ 
 
 
 
 
 
 
 
 " 
 
 „ 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 ' 
 
 
 
 1 ^ 
 
 
 
 
 • 
 
 
 
 1 
 
 
 
 ' 
 
 
 jl 
 
 
 j 
 
 
 E 
 
 1 
 
 
 [ 
 
 
 
 1 
 
 
 
 
 
 ■ 
 
 1 
 
 
 
 ' 
 
 
 
 1 
 
 1 
 
 
 
 
 : 
 
 Fig. 53o. Collecting knots. 
 
 detail a ; reverse the threads rapidly, to form the double crossed 
 knot, detail b. For the following knots tie the threads together, 
 as for the flat double knot, detail c. 
 
MACRAME 
 
 353 
 
 Looped picot and knotted picots (figs. 534 an d 535). — 
 Looped picots are made along a row of knots by setting the 
 knots, far enough 
 apart for the loop 
 between, to form 
 a picot when the 
 knots are drawn 
 up close together. 
 In fig. 534, the de- 
 tail a represents 
 the picot, in its 
 first open stage, 
 detail b the same 
 picot when it is 
 finished. 
 
 Knotted pi- 
 cots, fig. 535, are 
 formed after one 
 or more flat double knots, by a knot made in the outer thread; 
 to get this knot into the right place, make it on a big pin and 
 draw it up close to the flat knot before you take out the pin. 
 
 Fig. 53 1. Plaited and waved knots. 
 
 
 / 
 
 1 
 
 
 
 -^i^-'i 
 
 
 il c 
 
 
 ; 
 
 || 
 
 
 
 ]] 
 
 . 
 
 \ 
 
 Fig. 532. Single crossed knot. 
 
 Fig. 533. Double crossed knot. 
 
 These picots are always made on both sides and can be 
 repeated several times along a row of knots. Detail a shows 
 the crossing of the threads for the picots, detail b the picots 
 completed and followed by a flat knot. 
 
354 
 
 M A C R A M E 
 
 Bead knots (fig. 536). — A bead knot is made by turning 
 back the threads after a row of flat double knots. Detail a 
 
 Fig. 534. Looped picot. Fig. 535. Knotted picot. 
 
 shows three flat double knots finished, detail b the inner 
 threads turned back over the flat double knots, detail c the 
 two knotting threads, brought between the two threads coming 
 
 Fig. 536. Bead knots. 
 
 from the left to the right, and detail d the bead knot finished 
 and followed by a flat double knot. 
 
 Bars of knots to the right and left (figs. 53y, 538, 
 539, 540, 541, 542, 543, 544). — After knotting on the requi- 
 site number of threads on to a double cord, make tw r o button- 
 hole loops w 7 ith the right thread round the left one, fig. 53j, 
 then knot each thread twice over the second cord, fig. 538. 
 
MACRAME 
 
 355 
 
 These knots must be as close together as possible. This done, 
 begin to make the slanting bars, inclining from left to right, 
 with 4 threads. 
 
 The first thread on 
 the left, marked i in fig. 
 540, serves as cord to the 
 threads 2, 3, 4, which are 
 looped in succession over 
 thread 1 . 
 
 Fig. 541 represents 
 threads 2, 3 and 4, knotted 
 over thread 1 and in the 
 second bar, thread 2 be- 
 coming in its turn the 
 cord, and having threads 
 3, 4 and 1 knotted over 
 it, whilst it is being held, 
 tightly stretched in the right hand. The knotting should be 
 done with the left hand. 
 
 In fig. 542, which represents a bar inclining from right to 
 left, threads 3, 2 and 1 are knotted over thread 4; and in fig. 
 
 Fig. 537. 
 
 Buttonhole loop 
 
 to the right. 
 
 Fig. 538. 
 
 Fastening the threads 
 
 to the cord. 
 
 Fig. 53g. 
 Bar slanting to the 
 
 RIGHT. 
 
 The knot open. 
 
 Fig. 540. Fig. 541. 
 
 Bar slanting to the right. Bar slanting to the right. 
 
 Thread 2 knotted over Threads 3, 4, 1 to be 
 
 thread i. knotted over thread 2. 
 
 543, in the second row, threads 2, 1, 4 over thread 3. Here, 
 it has to be the left hand that holds the thread extended from 
 right to left, whilst the right hand does the knotting. 
 
356 
 
 MACRAME 
 
 Fig. 544 explains how the double bars are bound together 
 by an ordinary double knot. 
 
 i\k± 
 
 Fig. 542. Fig. 543. 
 
 Bar slanting to the left. Bar slanting to the left. 
 
 Fig. 544. 
 Bars joined together. 
 
 Single chain (fig. 545). — This is made with two single 
 threads, by knotting them alternately over each other, that is, 
 each in turns serving as cord to the other. 
 
 Double chain (fig. 546). — The double chain is made in 
 the same manner as the single, only with a double thread. 
 
 Both the double and single chain are generally used in 
 macrame gimps and borders as a means of conducting threads 
 
 of different colours, from one part 
 of a pattern to another, which could 
 be done in no other way ; also, as a 
 continuation to the Chinese knot, 
 fig. 607, as described at the end of 
 this chapter. 
 
 Ribbed border (fig. 547). — 
 Here, the same cord runs to and 
 fro ; the 4 threads that hang down, 
 form little ribbed bars running right 
 and left. To distinguish from the 
 knotting threads, the thread that 
 runs to and fro it, is represented in 
 a darker colour. 
 Macrame fringe (figs. 548, 549, 55o). — Entire length of 
 the threads for No. 8 of Coton a tricoter D.M.C : 80 c/m. 
 
 Fig. 545. 
 Single chain. 
 
 Fig. 546. 
 Double chain. 
 
MACRAME 
 
 35y 
 
 Fig. 547. 
 Ribbed border. 
 
 i st row — knot on the threads, as in fig. 5 1 5, and in the 
 following order : 1 double white thread, 1 
 double red, 1 double blue and so on. 
 
 2nd row — make a horizontal bar of 
 knots, see figs. 519, 520 and 52 1, over a 
 second cord. 
 
 3rd row — 3 buttonhole knots, fig. 524, 
 each with 2 threads. 
 
 4th row — like the 2nd. 
 
 5th row — make slanting bars of double 
 knots right and left, counting 6 threads for 
 each bar, consequently 12 for 2. The 1st 
 and 1 2th thread serving as the cords for 
 the knots. In the 2nd series of knots which 
 forms the double slanting 
 bar,make another double 
 knot over the cord with 
 the thread that served as 
 cord in the preceding 
 row. 
 
 When the slanting 
 bars are finished, bring 
 them as close together 
 as possible, tighten the 
 last thread on the right 
 and make another double 
 knot with the left thread ; 
 the position of all the 
 threads is clearly descri- 
 bed in fig. 549. Then 
 continue the bars in the 
 opposite direction, so 
 that the 2nd thread on 
 the left is stretched over 
 the right hand group of 
 threads, and the nth 
 thread on the right over 
 the left hand group. 
 
 Fig. 548. Macrame fringe. 
 
 Materials : Coton a tricoter D.M.C Nos. 6 to 16, 
 
 Cordonnet 6 fils D.M.C Nos. 5 to 25, 
 
 or Fil a dentelle D.M.C Nos. 25 to 70. 
 
 Colours: Bleu-Indigo 3n, Rouge-Turc 32i 
 
 and white, or Bleu tendre 710, Rouge-Maroquin 
 
 3327 and Vert-Fauve 691. 
 
358 
 
 MACRAME 
 
 Make 3 rows of double bars and then take always 3 threads 
 of a left hand group and 3 of a right hand one, tie them loosely 
 
 together in a plain knot, put in, 
 above the knot, a bunch of 8 
 threads, i 5 c/m. long, fig. 55o detail 
 c7, draw up the knot close to the 
 bars and wind thread of a different 
 colour several times round it, de- 
 tail b, to form the tassel. 
 
 The other bunches of threads 
 which are hung on between two 
 bars of knots must be tied on the 
 same level with the first, but do 
 not, nevertheless, come into close 
 
 Fig. 549. Working detail of fig. 5+S. contact with the bars. 
 
 Insertion or fringe 
 
 (figs. 55iand552). — En- 
 tire length of the threads 
 for No. 8 of Coton a trico- 
 ter D.M.C : 5o c/m., in- 
 cluding the fringe. 
 
 1st row — knot on 
 the threads as in fig. 5 1 5. 
 2nd row — 1 double 
 horizontal bar of knots, 
 as in figs. 519 or 520, 
 over double cords. 
 
 3rd row — Take 8 
 threads for a group of 
 bars; 2 light and 2 dark 
 ones on each side ; the 
 two sets of threads are numbered in fig. 552, a working detail 
 of fig. 55 1, from 1 to 4. 
 
 Begin by making all the knots over threads 1 and 2 of the 
 left set, so that threads 3 and 4 on the left will be outside 
 and threads 1 and 2 inside the group. Make the same knots over 
 the 3rd and 4th thread on the right, then repeat the left group 
 again and so on. 
 
 Fig. 55o. Working detail of fig. 548. 
 
MACRAME 
 
 35 9 
 
 Fig. 55 i. Insertion or 
 fringe. 
 
 Repeat from the beginning, and make 2 
 double knots over thread 3 on the right, fig. 
 552. with threads 1 and 2 on the left, then 
 again 2 knots over thread 4 on the right. 
 When this series of knots is finished, make : 
 3 double knots over thread 1 (dark-coloured 
 in the engraving) with the left thread 2 and 
 the right threads 1 and 2 ; make on the left : 
 3 knots over thread 4 with the right thread 
 3 and the left threads 2 and 1, and so on. 
 
 When this pattern is worked for a gimp 
 and not a fringe, the threads are made to 
 Materials: Coton a end in knots, as explained in fig. 558. 
 
 tricoter D.M.C Nos. 6 , 
 
 to 12, Cordonnet 6 fiis Gimp made with macrame shuttles 
 
 d.m.c Nos. i to 20, Fii (figs. 553, 554, 555). — Cut 8 double threads ■ 
 
 apointerD.M.CNos.io of the j th the ■ j s tQ be> 
 
 to 3o, or Fil a dentelle ° i , • 
 
 D.M.C Nos. 25 to 5o. 1° order not to have to add on threads in 
 
 Colours: Bieu-indigo the middle of the work, or have long ends 
 ?nand Brun-Chamois h an p-j n g down, which are very much in the 
 
 418, or Brun-Rouille & & ' , , J . . 
 
 ?3i2 and Bieu-Gris way, we recommend the employment of a 
 new macrame shuttle, a kind of spool, such 
 as are used in the making of 
 pillow lace. These shuttles sim- 
 plify the work enormously and 
 are made hollow so that they 
 can be mounted and filled on 
 the spindle of any sewing ma- 
 chine. 
 
 Knot on the threads, as in 
 fig. 5 1 5, and make a single bar 
 of knots. Then leaving 2 threads 
 on the right and 2 on the left 
 disengaged, make 3 flat double 
 knots with every set of 4 threads 
 between. Make a slanting bar 
 of double knots over the 16th 
 Fig. 552. right thread, with the 1 5th, 
 
 Working detail of fig. 55 1. 14th, I 3th, I 2th, Mth, IOth 
 
 33o3. 
 
 / 
 
 yjk 
 
 1> 
 
 l\^j 
 
 
 
 
 IB 
 
 f 
 
 2 
 
 ; 1 
 
 : 
 
 
 >- 
 
 1 
 
 I 
 
 1 
 
 
 : 
 
 
 
 
 
 
 
 
 
 
 
 
 j 
 
 ; 
 
 
 
 
 
 
 
 - 
 
 
 
 
 
 
 
 • 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
36o 
 
 MACRAME 
 
 and 9th thread; then make knots with the same threads and 
 with the 16th over the 1 5th thread. Make a similar bar on the 
 left, over the 1st thread, with the 2nd, 3rd, 4th, 5th, 6th, 7th 
 and 8th thread. 
 
 On both sides, and with the 4 outer threads : 4 flat double 
 
 '/w 
 
 Fig. 554. 
 Macrame shuttle. 
 
 knots, fig. 5 16, detail 
 d \ 2 more bars on 
 the right and left, but 
 in the opposite direc- 
 tion, and knotting all 
 the threads even to 
 the last one, fig. 555. 
 Take the 4 middle 
 
 Colours: Bleu-Indigo3ii and Brun-Marron 406. (*) threads and make g 
 
 flat double knots and then turn the bars of knots inwards; the 
 return of the cord is indicated as before in fig. 555. 
 
 Fig. 553. Gimp made with macrame shuttles. 
 
 Materials : Coton a tricoter D.M.C Nos. 6 to ib, 
 
 Cordonnet 6 fils D.M.C Nos. i to 10, Fil a pointer 
 
 D.M.C Nos. 10 to 3o, or Fil a dentelle D.M.C 
 
 Nos. 25 to 5o. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MACRAME 
 
 36i 
 
 Macrame borders (figs. 556, 55y, 558, 559). — Length of 
 the single threads for No. 6 of Coton a tricoter D.M.C: 5o c/m. 
 
 Knot the threads on for both these borders in the ordinary 
 way, followed by a single horizontal bar 
 of knots. For fig. 556, make a triple slant- 
 ing bar of knots, with 4 threads, slanting 
 one from right to left and one from left 
 to right ; then make a single horizontal bar 
 and add another series of triple bars 
 slanting the opposite way; complete the 
 pattern by a vertical bar, lay another cord 
 and make a horizontal bar upon it on the 
 wrong side of the work and finish by tying 
 the threads together, two and two, as 
 shown in fig. 558, detail a, cut them, detail 
 £, and push the knot upwards, detail c. 
 
 For fig. 557 take 8 threads for a group 
 of knots. Make all the bars slanting from 
 right to left first, fig. 559, then take the 
 5th thread, counting 
 from left to right, 
 for the cord, fig. 55g 
 again, and begin the 
 second series of bars 
 of knots , slanting 
 from left to right. 
 Fasten off the 
 threads as already 
 explained in fig. 558. 
 
 Thesamepattern 
 can also be used as 
 an insertion : bags 
 for instance , look 
 very well made of 
 alternate stripes of 
 this insertion and 
 
 Fig. 555. Slanting bar and 
 
 the return of the cord. 
 
 Working detail of 
 
 fig. 555. 
 
 Fig. 557. Macrame border. 
 Materials : Coton a tricoter D.M.C Nos. 6 to 10, 
 Fil a pointer D.M.C Nos. 10 to 3o, or Fil a dentelle 
 D.M.C Nos. 25 to 70. (*) 
 Colours — For fig. 556 : Bleu-Lapis 342 or Bleu-Gentiane 
 480 — For fig. 557: Rouge-Turc 32 1 or Rouge- 
 Cerise 33i8. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
362 
 
 M ACRAME 
 
 Fig. 55q. Working detail of fig. 557- 
 
 stripes made of flat knots. The open- 
 Fig. 558. Working detail of work stripes must be wider than the 
 
 figs. 556 and 55 7 . dosc ones> 
 
 Macrame fringe 
 
 (rigs. 56o and 56i). — 
 Entire length of the 
 threads, including the 
 fringe, for No. 5 of Cor- 
 donnet 6 fils D.M.C : 
 i 20 c/m. 
 
 i st row — knot on 
 the threads, as in fig. 
 520, in the following 
 order : 4 double blue 
 threads, 3 single dark 
 brown, 1 double light 
 brown, 3 single dark 
 brown ; then again 4 
 double blue, and so on. 
 
 2nd row — divide the 
 threads into groups, so 
 that the brown threads 
 come in the middle with 
 4 blue ones on either Fig. 56o. Macrame fringe. 
 
 • , t-> • u 1 e Materials : Cordonnet 6 fils D.M.C Nos. 3 to 25 
 
 side. Begin on the left -., a a , „ ^ M n M „- _ K - 
 
 o or Fil a dentelle D.M.C Nos. 2D to 5o. 
 
 = COVer the 4th blue Colours: Brun-Cuir 431 and 432, Bleu-Indigo 3 1 
 
MACRAME 
 
 363 
 
 thread, which comes nearest to the first brown one, with flat 
 
 double knots, made over the ist, 2nd and 3rd brown thread 
 
 and the light brown one = 
 
 cover the 3rd blue thread with 
 
 the 4 brown threads and the 
 
 4th blue, which served as the 
 
 cord in the ist row of knots = 
 
 cover the 2nd blue thread with 
 
 the 4 brown and the 4th and 
 
 3rd blue = cover the ist blue 
 
 with the 4 brown and the 4th, 
 
 3rd and 2nd blue. 
 
 In the working detail, fig. 
 56i, the dark lines represent the 
 blue threads, the light ones, the FlG - 3 6i. Working detail of fig. 56o 
 brown. 
 
 When the quadruple bar, slan- 
 ting from left to right, is finished, 
 make a similar one, from right to 
 left, then connect the ist and 1 6th 
 thread by a double knot and pass 
 the first blue thread on the left 
 over to the right group. 
 
 2nd row — make similar groups, 
 reversed, so that the brown knots 
 come next to the last blue ones and 
 the blue knots again terminate the 
 groups of bars ; the brown threads 
 will be stretched flat between the 
 preceding group and the next. 
 
 3rd and 5th row — like the first. 
 
 4th row — like the 2nd. 
 
 After the 5th row of groups, take 
 4 brown threads on either side of 
 the blue knots, and make them into a double chain, fig. 546, 
 
 Fig. 562. Macrame fringe. 
 
 Materials: Cordonnet 6 fils D.M.C 
 
 Nos. 3 to 1 5 or Fil a dentelle 
 
 D.M.C Nos. 25 to 5o. (*) 
 
 Colours : Ecru, or any light shade 
 
 mentioned in the D.M.C 
 
 colour card. (*) 
 
 * i See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
364 
 
 MAC RAM K 
 
 consisting of 12 knots, and make 6 flat double knots with the 
 last threads. 
 
 Lastly, unite all the threads of one group of bars, and make 
 them into a handsome tassel by the addition of other threads. 
 
 Macrame fringe (fig. 662). — En- 
 tire length of the threads for No. 3 
 of Cordonnet 6 fils D.M.C : -? c/m. 
 
 1st row — Knot on the threads 
 as in fig. 527, succeeded by a double 
 horizontal bar of knots. 
 
 2nd row — twisted or waved knots 
 with 4 knots, fig. 53 1. 
 
 3rd row — double horizontal bar 
 of knots. 
 
 4th row — with 6 threads : 1 dou- 
 ble bar, slanting from left to right, 
 and 1 bar, from right to left, joined 
 together by the last threads. 
 
 5th row — with the 4 threads 
 coming from the groups of bars : 1 
 single chain, fig. 545, with 4 crossings 
 of the threads, quite close to the point 
 where the groups meet, and 1 single 
 chain with 7 crossings, made with the 
 outside threads. 
 
 6th row — similar groups of bars 
 to those of the 4th row, but set the 
 reverse way and terminating in a 
 horizontal bar. For the tassels, add 
 a thick bunch of threads to each group 
 of 6 threads that issues from the work. 
 
 Fringe with mosaic border 
 
 (figs. 563, 564, 565). — Entire length 
 wWngdetIil Wo^ong detail of the threads for No. 8 of Cordon- 
 of fig. 563. of fig. 563. net 6 fils D.M.C : j5 c/m. 
 
 i st row — knot the threads on, as in fig. 5i5, one ecru and 
 one brown alternately, succeeded by a single horizontal bar of 
 double knots. 
 
 Fig. 5o3. Fringe with mosaic 
 
 RORDER. 
 
 Materials : Cordonnet 6 tils 
 D.M.C Nos. 8 to 3o, or Fil a 
 dentelle D.M.C Nos. 25 to 5o. 
 
 Colours : Ecru, Brun-Acajou 
 401 and Rouge-Cardinal 347. 
 
 Fig. 564. 
 Knot open. 
 
 Fig. 565. 
 Knot shut. 
 
MAC RAM E 
 
 365 
 
 2nd, 3rd, 4th and 5th row — 4 rows of knots, such as are 
 seen in fig. 564, in process of being made, and in fig. 565, 
 finished, and succeeded by a flat knot. The colours alternate 
 in the knots ; in the 2nd and 4th row the knot is set in the 
 light colour, in the 3rd and 5th, in the dark. 
 
 6th row — 1 horizontal bar of double knots over a fresh 
 cord. 
 
 7th row — lay down another cord, make another horizontal 
 bar of knots and between every second of the light double knots, 
 loop on 1 red thread; the loop, that fastens it to the cord, 
 taking the place of the knot. 
 
 8th row — lay down a third cord, and make 2 double knots 
 with the red threads between the knots of e'cru thread. 
 
 Fig. 567. 
 
 Shell bar. 
 
 Working detail of fig. 566. 
 
 ■A 
 
 Fig. 568. 
 
 Openwork part of 
 
 fig. 566. 
 
 9th row — lay down a fourth cord, make 
 a half knot with every red thread. 
 
 10th row — lay down a fifth cord, then 
 make a horizontal bar oi double knots, as 
 in the 6th row 7 ; the red threads are taken 
 
 Fig. 566. 
 
 Macrame ground. 
 
 Materials : Cordonnet 
 
 6 nls D.M.CNos. i5 to 
 
 3o or Fil a dentelle 
 D.M.C Nos. 25 to 5o. (*) 
 
 . to the wrong side and passed over. Knot 
 
 Colours : Ecru and , , _ *? . . . . . 
 
 Bieu-indigo322,orVert- tne enc *s of the threads together in clusters 
 Perroquet 697 and of 6, about 1 5 m/m. below the last cord 
 
 Rouge-Ecarlate 498. (*) Q f knots. 
 
 Macrame ground (figs. 566, 56y, 568). — Fill the shuttles 
 
 ' See at the end of the concluding chapter, the table of numbers an i sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
 24 
 
366 
 
 MACRAME 
 
 with the length of thread that you think will be required for 
 the work. 
 
 i st row — knot the threads on, as in fig. 5 1 5, 4 blue and 
 4 ecru alternately, and make a double horizontal bar. 
 
 2nd row — beginning in the middle, make 2 flat double 
 knots with 8 blue threads ; with the 4 blue threads on the left, 
 make a quadruple group of bars over the 4 blue threads on the 
 right. These quadruple groups of bars, called « shell bars » are 
 illustrated in detail in fig. 56;. Unite the blue threads at the 
 sides by flat double knots. 
 
 The beginning and continuation of the openwork parts of 
 
 the pattern are explained 
 in fig. 568. 
 
 The threads that issue 
 from the last group of 
 knots are used for ma- 
 king the second shell bar, 
 the two inner bars of 
 which are made in ecru 
 cotton, and the two outer 
 in blue. When this stri- 
 ped shell bar is finished, 
 the blue threads are 
 again united for the 
 openwork figure. 
 
 Fringe with founda- 
 tion worked on the 
 wrong side (figs. 569, 
 wrong side. 570, 571, 572). — Entire 
 
 Materials: Coton a tricoter D.M.C Nos. 8 to 16, length of the threads for 
 Cordonnet 6 fils D.M.G Nos. 5 to 25, Fil a pointer -vr o „fp„.„„ x 4.~„^*„,. 
 
 n u r M c , .. „., - , ' „\ f „ No. 8 oi Coton a tricoter 
 
 D.M.C Nos. 6 to bo, or Fil a dentelle D.M.G 
 
 Nos. 25 to 5o. (*) D.M.C : 8o c/m. 
 
 Colours: White, Bleu-Indigo 3n and 3i2 or Knot the threads on, 
 
 Gris-Amadou 385, Brun-Caroubier 356, 357. (*)' as j n fia 5 j5 anc J after 
 
 finishing the horizontal bar, make from left to right, over the ist 
 thread, i double knot made with the 2nd and with the 3rd thread. 
 
 Fig. 56g. 
 Fringe with foundation worked on the 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MACRAME 
 
 36 7 
 
 Then, over the 2nd thread, which has now become the 1st, 
 make double knots with the 3rd, 1st, 4th and 5th thread; then, 
 over the 3rd thread, counting now from right to left, which 
 in the knotting on figured as the 4th : 1 double knot with the 
 5th and 2nd thread. 
 
 Make the same group from right to left, only at the 3rd 
 change of thread make 5 double knots instead of 2, and let the 
 
 Fig. 570. 
 
 Opposing bars. 
 
 Working detail of 
 
 fig. 56g. 
 
 Fig. 571. 
 
 Formation of the knots 
 
 on the wrong side. 
 
 Working detail of 
 
 fig. 56g. 
 
 Fig. 572. 
 
 Appearance of the knots 
 
 on the right side. 
 
 Working detail of 
 
 fig. 56g. 
 
 last knots count for the new group of bars, turned the opposite 
 way. 
 
 In the middle of two opposing groups of bars, make a flat 
 double knot with 2 of the right threads and 2 of the left. 
 
 When the second horizontal bar is finished, turn the work 
 round, and go on working on the wrong side, making plain 
 double knots, as in fig. 571, turned in one row, all from right 
 to left, and in the next, from left to right. 
 
 When you have worked 10 such rows of knots, begin to 
 make one knot less on either side of a group, so as to form 
 pointed scallops of knots which you finish off with a plain bar. 
 
 Tassels are then made with the threads that issue from 
 each scallop, and when these are sewn up, turn the work 
 round to the right side, where the knots, made on the wrong 
 side, will present the appearance indicated in fig. 572. 
 
368 
 
 MACRAME 
 
 Macrame fringe (fig. 5y3). — Entire length of the threads 
 for No. (") of Coton a tricoter D.M.C : 65 c/m. 
 
 Knot on double threads, as in figs. 517 and 524, to count 
 as single in the working directions = * 1 thread of red, 
 colour 358, 3 of ecru, 1 of red, colour 358, 1 of red, colour 
 
 32i, 3 of e'cru, 
 1 of red, colour 
 32i, and repeat 
 from *. 
 
 1 st row — 6 
 chain knots made 
 with every 4 
 threads. 
 
 2nd row — a 
 single horizontal 
 bar of knots. 
 
 3rd row — 
 collecting knots, 
 fig. 53o, made 
 with the ecru 
 threads over the 
 
 F.g. 5 7 3. Macrame fringe. 4 dark and the ^ 
 
 Materials: Coton a tricoter D.M.C No. 6, Cordonnet i- L t j 
 
 6 fils D.M.C Nos. 3 to 25, or Fil a pointer D.M.C & ones, 
 
 Nos. io to 3o. (*) and flat double 
 
 Colours: Ecru, Rouge-Turc 32 1 and Rouge-Grenat 358 knots OVer the \ 
 or Violet-Mauve 3i5 and 3i6, and Vert-Bouteille 494. (*) qq^U threads 
 
 4th row — collecting knots over 4 ecru threads with 4 red 
 and 2 ecru threads. 
 
 5th row — collecting knots in the centre of the groups, with 
 the ecru threads. 
 
 6th row — similar to the 4th. 
 
 7th row — similar to the 5th. 
 
 Then take the red threads on the right and left and twist 
 them, each cluster separately, from left to right between the 
 thumb and forefinger, as you do in making a cord, then unite 
 them together, twisting them from left to right. Fasten off the 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MACRAME 
 
 36 9 
 
 cord by a knot, beneath which the ends of thread form a little 
 
 tassel. Collect all the ecru threads 
 
 together and make them into a heavy 
 
 tassel with the aid of supplementary 
 
 threads. 
 
 Border -with shell knots (figs. 574, 
 575, 576, 577). — Fill the macrame' 
 shuttles with the requisite length of 
 thread. Knot the threads on, as in fig. 
 520, in the following order; 1 double 
 thread of colour 471, 6 double threads 
 of colour 450, 2 of colour 471, 6 of co- 
 lour 450, 1 of colour 471. 
 
 From left to right and over the 1st 
 thread : 1 double knot with the 2nd 
 thread; over the 4th thread of colour 45o, 
 and from right to left, double knots with 
 the 3rd, 2nd and 1st thread of the same 
 colour = from left to right : 1 double 
 knot with the 6th thread of colour 450 
 over the 5th, and with the 3rd thread 
 over the 2nd = from right to left : 5 
 double knots over the 8th thread of 
 colour 450 = from left to right : 1 double 
 knot over the 10th thread, 1 double 
 knot over the 5th thread, 1 double knot 
 over the 1st thread = from right to left : 
 7 double knots over the 12th thread = from left to right: 3 
 detached double knots. 
 
 Then, from left to right, and subsequently from right to 
 left = with 6 green threads : 2 double bars slanting over the 2 
 red threads (see the top of fig. 577) ; unite the 4 red threads in 
 the middle and make a shell knot with them, fig. 575, consisting 
 of 6 flat knots, fig. 576; take 2 threads on the right and 2 on the 
 left, turn them down to the left and right, and then from the 
 wrona side to the right, over the threads that come from the 
 
 Fig. 574. 
 
 Border with shell knots. 
 
 Materials ; Cordonnet 6 fils 
 
 D.M.C Nos. 5 to 25.(*) 
 
 Colours : Vert-Mousse 471 
 
 and Rouge-Cornouille 45o, 
 
 or Rouge-Framboise 686 
 
 and Gris-Coutil 323. (*) 
 
 ' See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
■ 
 
 
 : is: l - - 
 r«r"5 i z _ r 
 
 ti:- ::'. - i.r.z.z :~_r t :::« 
 
 t£E? 
 
 
 rs 
 
 ■ :;i- me 
 
 : - - - " 
 
 » - m-i- 1 „_,,.■ _»».--- --^ — - 
 
 : _ . --- - - - 
 
 ^: . - —Li: : - " : :: i:t:-::: ■ : .: 
 s_i:-5 : : ~~ : :" '-- - --' - - '-'-- 
 
 - :r - . :: ::.-: " :: : "" 
 Toyxuvtro bordeisafibeiLLL 
 
 [bonier ower the thread ob 
 
 1L A 
 
 - ' -. -.-■-- ---- : : -' . -- 
 
 JrLL.iT — :ll slt_ £ll:le : 
 
 — I : 
 ll: : . 
 
 - - - . ---■ 
 7 - : - - 
 
 — -• :=■ 
 
 ■ f 
 
 : - ~ j : 
 
 LL LL " 
 
 Tz 
 
 ._ 
 
 i .. : 
 
 *TL i : _ . 
 
 _:_-.:>: ^ : ■ 
 
1 : 
 
 ■ 
 
 - 
 
 . 
 
 
 ":::ifr :r frin^r r; rv — : . - - 
 . :hreads for N : :>f Cordonnet 6 tils D.V. 
 
 : row — knot on the threads with doable round picots, 
 and one horizontal double bar. The colours should succeed 
 
 . _ ; ::.-. = - .. « .5 * _ r . _ ; « : .. ::?, _ . : _ : := ~ _ 
 repeat trom *. 
 
 : r. - : ; - — r _ - ; v - i: ::::.: : i " : : : . = :": : 5 . " i - : ~ -- _ 
 
 - « i: ihe e»d of tae r oa rli ti «g ckifier, tbe table mi scarfcers ami sbss 
 
372 MACRAME 
 
 with 2 single threads, fig. 545, and 7 changes of the threads ; 
 after the 3rd change of the threads, connect the 2nd chain with 
 the 3rd, the 4th with the 5th. Finish off every 2 chains with 
 a flat double knot. 
 
 Make, over the first blue threads; 1 waved plait, fig. 53 1 
 detail £, = over the 14th e'cru thread: 1 bar of double knots, 
 3 going and 4 returning = over the last 2 red threads : waved 
 knots, and repeat from * = then lay down 2 fresh cords, to 
 make a double horizontal bar of knots. 
 
 3rd row — with the blue threads: 5 large shell knots, fig. 
 576, 1 triple bar of double knots to the left and right == be- 
 tween the bars 9 large shell knots = 1 triple bar of double 
 knots to the right and left and finish with 5 large shell knots, 
 as above. 
 
 With the e'cru threads : 3 flat double knots, 1 double hori- 
 zontal bar of knots = over the last ecru thread: 3 waved 
 knots with 12 changes of the threads = 1 more double bar of 
 knots = join the cord to the outside thread of the blue triple 
 bar. With the red threads : 1 shell knot, figs. 576 and 577, 
 over 12 threads; 1 double bar on both sides of the shell knot 
 with the outside threads, 1 single chain, consisting of 7 changes 
 of the threads, made with the outside red threads; join the red 
 thread and the light one that comes from the double bar toge- 
 ther, on the left. 
 
 The light thread is afterwards looped into the blue thread 
 on the right = 4 collecting knots over 6 red threads on the 
 right and left, 1 collecting knot over all the red threads and 
 one, on both sides, over 6 red threads. 
 
 After joining the threads on both sides, carry on the single 
 chain with 3 changes of he threads = over the first red thread 
 of the left chain, make 1 double horizontal bar with all the 
 disengaged threads = below the bar, 4 flat double knots = 1 
 single horizontal bar = 8 double knots, each over a single 
 thread = 1 double bar of knots. 
 
 From this point, continue with the ecru threads : 1 row of 
 double knots , 1 double horizontal bar and 1 waved plait ; 
 then join: 2 blue threads and 2 e'cru, and 2 ecru and 2 red, 
 
MACRAME 
 
 3 7 3 
 
 together, to make flat 
 
 Fig. 58 i. 
 
 Crossed bar 
 
 slanting to the 
 
 LEFT. 
 
 Working detail of 
 fig. 58o. 
 
 j. i . imi i iiiuuujii L 
 
 Fig. 58o. 
 
 Macrame border. 
 
 Materials: Coton a tricoter 
 
 D.M.C Nos. 1 5 to 3o, 
 
 Cordonnet 6 fils D.M.C 
 
 Nos. io to 3o, or Fil adentelle 
 
 D.M.C Nos. 25 to 5o and 
 
 Chine" d'or D.M.C. (*) 
 
 Colours : Noir grand teint 
 
 3io,Gris-Tilleul 3o2 and 33o, 
 
 Brun-Cuir43o and432, Bleu- 
 
 Indigo 334 or Chine d'or 
 
 D.M.C, Bleu et Or. (*) 
 
 3 changes outwards 
 green threads, with 
 
 double knots ; the double knots between 
 remain of one colour. 
 
 The bottom ( border is 
 like the top one with the 
 exception of the picots. 
 
 When this pattern is 
 to be used for an insertion 
 or a gimp, the threads 
 should be fastened off, as 
 indicated in fig. 558. 
 
 Macrame border (figs. 
 58o, 58i, 582). — Wind 
 the threads on shuttles 
 and knot them on, as in 
 fig. 5 1 5, in the following 
 order : 2 threads of, either 
 colour 334 or Chine d'or 
 (blue and gold), 2 of colour 
 33o, 2 of colour 3g2, 1 of 
 colour 432, 1 of colour 
 3 10, 2 of colour 430, 1 of 
 colour 3 10, 1 of colour 
 432, 2 of colour 392, 2 
 of colour 33o, 2 of colour 
 334, or of Chine d'or blue 
 and gold. 
 
 Begin with the open 
 work on either side of the 
 crossed bars, figs. 58i and 
 
 582, With 4 blue threads Working detail of 
 
 and by 4 changes of the 
 threads outwards and 3 inwards = the 
 same with 4 light green threads with 
 and 2 inwards = then with the dark 
 2 changes outwards and 3 inwards = 
 
 Fig. 582. Crossed 
 
 bar slanting to 
 
 the right. 
 
 (*) See at the end of the concluding chapter, thG table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
^74 mac rami: 
 
 over the 4th dark green thread, 1 double knot with the 1st 
 dark green thread with the 4th light green one and with the 
 
 4 blue. 
 
 Over the 3 next, dark green threads, knot the 4 light green 
 threads and the 4 blue, from right to left, and from left to 
 right, thus forming altogether 8 bars across the first bar = 
 then knot the 8 first threads over the last dark green one = 
 add a crossed bar with 7 changes of the threads outwards and 
 
 5 inwards. 
 
 Middle group, left side : 1 double knot with the first light 
 brown thread over the second thread ; 3 double knots with the 
 black threads (the only ones that are to be taken double) and 
 2 light brown threads over the 1st and 2nd dark brown ones. 
 
 In the 2nd bar, knot the 1st dark brown thread, and in 
 the 3rd, the 4 dark brown ones, over the black thread. On the 
 right, a similar group, slanting towards the one on the left. 
 
 On the left — over the 1st light brown thread coming from 
 the right, 1 double knot, made with 2 light and 2 dark brown 
 threads, and the black one, all coming from the left. 
 
 On the right — over the 1st light brown thread coming from 
 the left, 1 double knot with 1 light and 2 dark brown threads 
 and the black one (used double). 
 
 On the left — over the light brown thread coming from the 
 right, 1 double knot with one light and 2 dark brown threads 
 and the black one. 
 
 On the right — over the light brown thread, 1 double knot 
 with 2 dark brown threads and the black one. 
 
 On the left — the same knots as on the right. 
 
 On the right — over the 1 dark brown thread 1 knot with 
 1 brown thread and the black one. 
 
 On the left — the same knots as on the right. 
 
 On the right — over the 1st dark brown thread, 1 knot with 
 a brown thread and the black one. 
 
 On the left — the same knots over the last thread. 
 
 On the right — over the last brown thread one knot with 
 the black one. 
 
 On the left — over the 4 light green threads and the 4 blue 
 ones, double knots with the 4 brown threads and the black 
 
MAC RAM E 
 
 3 7 5 
 
 one = i double knot with the 
 i st light brown thread over 
 the 2nd, 3 double knots over 
 the 2nd dark brown thread, 
 with 2 light threads and i dark 
 brown = 4 double knots with 
 the 2 light and the 2 dark 
 brown threads over the black 
 one ; after which you make 5 
 other bars, taking the last 
 thread turned inwards for the 
 cord. Make similar groups, 
 slanting from right to left, 
 then, beginning again on the 
 left, make the knots with the 
 4 light green threads over the 
 1st thread of the same colour 
 running from right to left. 
 
 On the right — knot 3 light 
 green threads over the 1st 
 thread coming from the left 
 and repeat the same group 
 twice, on both sides. 
 
 The third bar forms, at the 
 same time, the first scallop ot 
 a triple crossed bar, which has 
 also to be made on the right. 
 
 The two crossed bars finish 
 with a triple group of bars ; 
 the last bar of which, on the 
 right, consists of only one 
 double knot. 
 
 There remain^to be made, 
 on both sides, crossed bars 
 with three whole scallops in- 
 side, one outside, and one half 
 
 One, top and bottom. FlG - $&4- Working detail of fig. 583. 
 
 Knot all the other threads over the 4 blue and the 4 light 
 
 Fig. 583. Macrame fringe. 
 Materials: Cordonnet 6 fils D.M.C Nos. 
 i5 to 3o,Fila pointer D.M.C Nos. 10 to 
 
 3o, or Fil a dentelle Nos. 25 to 5o. 
 
 Colours : Ecru and Brun-Havane 455, 
 
 or Gris-Tilleul 391 and 33i. 
 
3 7 6 
 
 MACRAME 
 
 green ones = in the middle, knot the right and the left threads, 
 alternately, till the black threads meet at the point. 
 
 Turn the group of bars, edged with blue and light green, 
 inwards, and finish it oil' by a crossed bar, with 3 scallops 
 inside. 
 
 Macrame fringe (figs. 583 and 584). — Entire length of 
 the threads for No. i5 of Cordonnet 6 fils D.M.C : 120 c/m. 
 
 1st row — knot the threads 
 on with picots, fig. 5 19, 6 ecru 
 and 6 brown. 
 
 2nd row — double and slan- 
 ting bars made with 6 single 
 threads, succeeded by a double 
 horizontal bar. 
 
 3rd row — begin with the 
 light threads and make bars 
 with double knots between, as 
 in fig. 577, and finish at the 
 sides with 2 bars made with 
 the brown threads ; for the 
 dark brown bars, see also figs. 
 555, 56 1, 568, for the crossed 
 bars, fig. 584. 
 
 This pattern should always 
 end in such a manner that the 
 light openwork figure form the 
 scallop and be framed with the 
 browm knot. 
 
 Macrame fringe (fig. 585). 
 — Entire length of the threads 
 
 Materials: Coton a tricoter D.M.C Nos. f or N 0# I2 f Coton a tHCOter 
 6 to 16, Cordonnet 6 fils D.M.C Nos. 8 -p. ■• «- p j- 
 
 to 20, or Fil a dentelle D.M.C Nos. 25 iJ-M.L. : SP c ' m ' 
 
 to 5o. (*) This pattern is so easy that 
 
 Colours : Brun-Cuir 325 and Brun- we re fer Our readers to figs. 
 Marron 4 o3, 4 o5, 407. (*) 5^ and 55 , for the working f 
 
 it, merely remarking, that the bars are made alternately from 
 
 Fig. 585. Macrame fringe. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MACRAME 
 
 3 77 
 
 right to left, and from left to right, 
 and that 3 threads are knotted over 
 the cord that runs from the left 
 and 4, over the one from the right. 
 This fringe will always be 
 found most effective in appearance 
 if it be made in four shades of 
 one colour, knotted on in succes- 
 sion. 
 
 Macrame fringe or ground 
 
 (figs. 586 and 687). — Entirelength 
 of the threads for No. 8 of Cor- 
 donnet 6 fils D.M.C : i5o c/m. 
 This effective pattern is not 
 difficult, save in appearance, so 
 that it is unnecessary to describe 
 it in detail ; for the knotting on, 
 see fig. 525 ; for the plain bars, 
 figs. 539 to 544 ; for the collecting 
 knots, fig. 53o. The only difficult 
 point is where the threads cross 
 
 each Other inside the bars and VioIet-Mauve3i5 or, Bleu cendre 448 
 
 form a check and by carefully * nd R°uge-Cornouiiie 45o, Bieu- 
 
 r „ . , /• 1 , Canard 33og and Rouge-Maroquin 
 
 following the course of the knots 
 in .fig. 58y, that will be 
 easily overcome. 
 
 Fringe or ground with 
 picots (fig. 588). — Wind 
 the threads on shuttles and 
 do the knotting on, as in 
 fig. 52 1, followed by a double 
 horizontal bar. 
 
 Leave a small space be- 
 tween the double bar and 
 the 3rd bar, which is a single 
 one, in which you cross the 
 threads without knotting 
 them. 
 
 Fig. 586. Macrame fringe. 
 
 Materials : The same as for fig. 585. 
 
 Colours: Gris-Tilleul 33i and 
 
 3328, etc. 
 
 Fig. 587. Working detail of fig. 586. 
 
3 7 8 
 
 MACRAME 
 
 Beginning on the left — over the 2nd and 3rd thread : 2 
 buttonhole knots, 1 picot, 2 button hole knots = over the 1st, 
 2nd and 3rd thread : 1 double knot with each of the 3 next 
 threads = over the 6th and 7th wiih the 5th thread : 4 button- 
 hole knots with 1 picot after the 2nd knot. 
 
 With each of the 4 next threads, that is the 8th, 9th, 10th 
 and 1 ith : 1 flat double knot followed by : 1 bar of double 
 
 knots over the 12th thread as 
 the cord, made with the 1 1 th, 
 10th and 9th thread = add 
 1 bar with the 1 ith thread as 
 the cord, and the 7 next ones 
 as the knotting threads = add 
 1 bar with the 10th thread 
 as the cord, and the 7 next 
 ones as the knotting threads. 
 Leave 3 threads free on the 
 right = with the 8 threads 
 on the left : 1 bar over the 
 thread before these 3 threads 
 = leave 3 free again on the 
 right = 1 quintuple bar with 
 the remaining threads. 
 
 * 1 flat double knot with 
 the 1 5th, 16th and 1 7th thread 
 
 Fig. 5S8. Fringe or ground with picots. == with the 20th thread Over 
 Materials : Cordonnet 6 fils D M C thfi fa 1 gth and ' j h 
 
 Nos. 10 to 40. or Fil a dentelle D.M.C 1 
 
 Nos. 25 to 5o. (*) thread: 4 buttonhole knots 
 
 Colours : White, ecru, or any light shade with I piCOt after 2 knots = 
 mentioned in the D.M.C colour card. (*) ^ nQt ^ threads Over the I 3th 
 
 thread and from left to right = from left to right, 2 bars with 
 all the threads * #. 
 
 Over the 2 threads on the left and with the 3rd thread : 4 
 buttonhole knots and 1 picot = with the 6 threads from the 
 left : 2 bars consisting of buttonhole knots and picots = a 3rd 
 bar with 6 double knots = join it to the last bar. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MACRAME 
 
 3 79 
 
 Leave 2 threads of the bar of buttonhole knots free = 
 with the outer thread make : 4 buttonhole knots and 1 picot 
 
 Fig. 58g. Double fringe. 
 
 Fig. 5go. Fig. 5gi. 
 
 Knotted berry for Large shell knot, 
 fig. 58g. open. 
 
 over the 2nd thread and the cord 
 of the bar. 
 
 Repeat from * to * * along the 
 bar, also from right to left. 
 
 Left group — knot the 3 last 
 tiALsVcordonnVt 6 fiirD.M.c threads over the 4th thread and 
 
 Nos. 10 to 3o and Coton a broder from left to right. 
 
 d.m.cnos. .6 to 35. Right group — make, from right 
 
 Colours: White for the Cordonnet, , - , •• r r- i Ti 
 
 Rouge-Grenat 335 for the Coton tO left, I bar consisting of 6 double 
 
 a broder. knots, over the 4th thread counting 
 
 from right to left. After these last changes 
 of the threads no difficulty will be found in 
 copying the rest of the pattern. 
 
 Double fringe (figs. 589, 590, 591, 592). 
 — Entire length of the threads for No. 10 of 
 Cordonnet 6 fils D.M.C : 100 c/m., and entire 
 length for No. 16 of Coton a broder D.M.C : 
 40 c/m. Knot on, as in fig. 5i5, 1 thread of 
 Cordonnet, 4 of Coton a broder (these are to 
 be taken double) 2 of Cordonnet, 4 of Coton 
 a broder, and so on. 
 
 Fig. 5g2. 
 
 Large shell knot, 
 
 shut. 
 
38o 
 
 MAC RAM E 
 
 In the second horizontal bar, you only use the red threads 
 of Coton a broder for knotting, not the white Cordonnet ones. 
 To supply their place, knot on two threads of red Coton a 
 broder under the white threads. 
 
 With the red threads (4 count as one) make 3 rows of col- 
 lecting knots, followed 
 
 by a single horizontal 
 
 bar. Divide the white 
 
 threads into twos and 
 
 make single chains 
 
 with them, the whole 
 
 length of the fringe; 
 
 the thread must be 
 
 changed 8 times for 
 
 each chain ; then pass 
 
 the right chain under fig. "59* Beaded ground. 
 
 the left one and join Materials: Cordonnet 
 
 them bv a flat double 6 J}\ D : M - C "°' a5 t ° r 
 
 J Fil & dentelle D.M.C 
 
 knot. Nos. 25 to 5o and gold 
 
 You then, with the beads. (*) 
 
 threads turned outwards, right and left, 
 make the single chain with 5 changes ot 
 the threads and join them together again 
 by a flat knot. 
 
 The other single chains are made with 
 6 and 8 changes of the threads and crossed 
 under the double knots. The tassels, which 
 Fig.5o,3.Macrame border, the red threads serve as a foundation to, 
 
 Materials : Cordonnet 6 are begun by I I Waved plait with tWO knots, 
 fils D.M.C Nos. 10 to 20 . D . J , . . r . , i • 
 
 and Or fin d.m.c No. 3o. then 4 single chains, again a waved plait 
 Colour— For the cotton: and i berry composed of knots, 
 vert metaiiique 4 65. (*) This berry is made over the 8 threads 
 that come from the chains, with a long auxiliary thread, knot- 
 ted as shown in fig. 590. 
 
 Large shell knots, as described in figs. 591 and 592 may be 
 substituted in the place of the berry, fig. 590. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MACRAME 
 
 38l 
 
 Macrame border (fig. 59 3). — Fill 24 shuttles, knotted 
 together, that is, 2 and 2, and knot on 3 green threads, 6 gold 
 and 3 green. The changing of the threads and the course of the 
 knots can be so easily copied from the pattern that a description 
 in detailjs not necessary, it is sufficient to observe that all the 
 dark parts in the engraving should be worked in green and 
 the light ones in gold. 
 
 Beaded ground (fig. 594). — Knot on 4 threads for every 
 group of knots, and secure them by a knot and a picot, as shown 
 in the engraving. Work the groups of knots, as indicated in 
 fig. 568, and after each group is finished, thread a gold bead on 
 
 Fig. 5q5. Square of mosaIc macrame. 
 
 Materials: Fil a pointer D.M.C No. 3o, Coton a broder D.M.C No. 16 
 
 and Or fin D.M.C pour la broderie No. 20 (*). 
 
 Colours: Rouge-Cardinal 34G, Rouge-Grenat 326 and 3oq, Bleu-Indigo 3i2 
 
 and 334, Gris-Tilleul 3qi and 3q3 (*). 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
 25 
 

 
 to c'- . i threads id is * rked in Sera thread and 
 
 gold the latt. ;olour and e 
 
 : .e more des of greei as the Vert- 
 
 en Boutei -Tilleul of the D.M.C colour c 
 
 Square of mosaic macramr 
 little cross- 
 
 be utilised for macrame'. 
 A., r ;:terns that are drawn on checked r a be copied 
 
 in macrame and even in . . colours. For ever}' square, vou 
 cour: ^le or one double thre "ding to the 
 
 the wo: ?e. 
 
 .gle thr. . count one double knot per 
 
 square, in that of a double nofs,two in the 
 
 and two in the second row. 
 
 7 the th: . two and two, and pin- 
 
 _ them to the cushion, see letter j, make 3 single ch . 
 
 . :hanges of the thread, let- 
 
 b and c, then take a verv 
 
 long cord, letter -:not on 
 
 the threads. The cord forms 
 
 picots along two sides of the 
 
 - ire ; into which you fasten 
 
 threads, letters . for the 
 
 single chain formed, on the two 
 
 .7 sides by the knotting 
 
 The coloured threads for 
 the flowers are knotted on as 
 the pattern requires it, taking 
 the place for the time being. :: 
 those with which the founda- 
 tion is made, which are left 
 iing on the wrong side 
 until they are wanted again. 
 The top leaves of the iris shaped flower, are worked in two 
 £7iies of blue the bottom ones, in three shades of red, the 
 stalk and the leaves in green, and the little stars, with which 
 the ground is powdered, in real gold thread. 
 
 ' MA,'' 
 
 ffrffffffrrrrrS 
 rrfffTfrrrrfrfJ 
 
 'ffffffrffrrrrr? 
 
 - : : : ' ■ ■ : :- :itaz zf j 
 
: ? .-. 
 
 55: 
 
 When the ground is r. u make the same openwork 
 
 border at the sides and along the bottom, as at the top and 
 i off with very mil tassc hung on over 3 double threads 
 and made of all the colour- used in the square, tied up 
 gold thread, fig. 5qo letter _ 
 
 Fringe with three rows of tassels fig. 5 :.- . — As this 
 kind of fringe is chic sed for trimming carpets, curtains 
 
 and furniture, it is best to make it in the coarsest numbers ::' 
 the materials indicated at the foot of the engraving. 
 
 The rirrtrn is so simple in its construction that it is sum- 
 
 
 - 1 
 
 Materials : C ori : r 
 
 COLOC*5 
 
 ttbc 
 
 the list of c - 
 
38 4 
 
 MACRAME 
 
 cient to refer our readers to tig. 5*8, for the knotting on of 
 the threads and to fig. 53 1, for the waved plait. 
 
 The little tassels between the knots, are made separately 
 from the rest of the work and fastened on by the thread with 
 which you sew them together at the top. 
 
 Macrame ground [fig. 5g8). — The work represented in 
 the engraving was made for a purse and copied from a beauti- 
 ful piece of Arabian stuff. Ganse turque D.M.C was used for 
 
 the light back- 
 ground and 
 Coton a bro- 
 der D.M.C for 
 the design. It 
 is very easy to 
 copy this pat- 
 tern from the 
 illustration by 
 paying scru- 
 pulous atten- 
 tion to the 
 
 number of 
 knots; we do 
 not therefore 
 enter into any 
 detailed des- 
 cription of the 
 same, merely 
 referring the 
 worker to figs. 
 528 and 596 
 and the accom- 
 panying directions, for the adding on and the taking off of threads. 
 Macrame square (figs. 599 and 600). — Length of the single 
 threads of both kinds : 200 c/m. 
 
 Knot upon a ring consisting of one thread : * 1 thread of 
 white Cordonnet, 1 of Coton a broder colour 009, 1 of colour 
 358, 1 of colour 309 and repeat three times from #. (The em- 
 broidery cotton is to be taken double.) 
 
 Fig. 5gS. Macrame ground. 
 
 Materials : Ganse turque D.M.C No. 12 and Coton a broder 
 
 D.M.C No. 16. 
 
 Colours: Rouge-Cardinal 347, or Rouge-Cerise 33i8. 
 
MACRAME 
 
 385 
 
 Begin with the light red thread and make : i single chain 
 with 3 changes of the threads, i single chain with the dark 
 red thread with 4 changes of the threads. Add, or rather thread, 
 8 supplementary threads in succession on to the white thread, 
 
 Fig. 599. Macrame square. 
 
 Materials: Cordonnet 6 fils D.M.C No. i5 and Coton a broder D.M.C No. 16 
 
 or Fil a dentelle D.M.C No. 25 and Coton a broder D.M.C No. 3o. (*) 
 
 Colours : White, Rouge-Grenat 3og and 358, or Gris-Lin 716 
 
 and Rouge-Maroquin 3327 and 3329 (*). 
 
 which in fig. 600, comes in the middle of the group of knots, 
 and over each of these supplementary threads, make 2 double 
 knots with the light red thread and 2 with the dark. 
 
 When all the red threads are knotted over the white ones, 
 
 ' See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
386 
 
 M A C R A M E 
 
 make crossed bars with the red threads by themselves, thus 
 producing a point at the bottom of the leaf. 
 
 Then, over the first white thread coming from the right, 
 knot all the white threads on the left of it and in the last place, 
 the cord itself, over the 3 red threads. 
 
 Make the same series of threads on the left. This is suc- 
 ceeded by a second bar of white knots, the last thread of which 
 
 is left unknotted. Make 4 
 double knots with the 8 
 white threads and close the 
 square by adouble bar. Add 
 a supplementary thread to 
 the first bar, so that you 
 may have 10 threads com- 
 ing from each side of the 
 second bar and over these 
 you knot the red threads, 
 which form a dark setting 
 to the leaves. 
 
 When this is done on 
 both sides, make 10 flat 
 double knots with a sup- 
 plementary knot, taking 4 
 singlethreads foreachknot, 
 and decreasing the number 
 of knots successively to 2. 
 At the point of the inside 
 square, knot the white threads over the red ones and turn 
 back the second white thread to serve as a cord to the first of 
 the outside bars. Join the first thread on the left and the first 
 on the right, to form a flat knot with them in the middle, the 
 threads of which are then passed over the red threads ; the 
 last white threads become the cords for the second outer bar. 
 Make a group of bars with the red threads and cross them 3 
 times, then finish with a handsome tassel and join the white 
 threads together all round the square with tassels. In the case 
 of your wishing to use these squares for making a larger 
 piece of work, through joining several of them together, you 
 
 Fig. 600. 
 
 Gradual increase of the threads. 
 
 Working detail of fig. 599. 
 
MACRAME 
 
 38 7 
 
 can knot the ends of the threads into short double chains, 
 finishing off these again with ring knots, fig. 608, and loops ; 
 through these loops, when you come to join on the next square, 
 the knotting thread is drawn, forming them thus into connec- 
 ting picots, like those which you make in tatting. 
 
 Fringe with corner (figs. 601, 602, 6o3). — Macrame 
 fringes are not capable of being drawn up, as knitted, crochet, 
 and netted frin- 
 ges are, on the 
 inside, so as to 
 turn the corners. 
 Consequently, 
 according to the 
 pattern, a greater 
 or less number 
 of supplementa- 
 ry threads have 
 to be knotted in 
 so as to form the 
 corners. 
 
 The working 
 detail, fig. 602, 
 shows us how 
 the, 5 first supple- 
 mentary threads, 
 are looped on to 
 the 4th row of 
 knots. A group of 
 crossed bars requires 16 threads, which answer to 4 groups of 
 little squares, placed between the lozenges. The 6th supple- 
 mentary thread is put into the double connecting knot at the 
 corner, fig. 6o3, and on this, the bar of knots which runs right 
 and left is subsequently made. (In order to make it clearer, the 
 supplementary threads are represented in the engraving in a 
 darker shade). 
 
 On the two middle threads, which are a continuation of 
 
 Fig. 601. Fringe with corner. 
 
 Materials : Cordonnet 6 fils D.M.C Nos 10 to 3o or 
 
 Fil a dentelle D.M.C Nos. 25 to5o. (*) 
 
 Colours : White and Rouge-Cardinal 348. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
388 
 
 MACRAME 
 
 the connecting knot, 7 supplementary threads have next to be 
 knotted, thread 7 singly, threads 8 and 9 together, threads 10, 
 II, 12 and 1 3, all singly. 
 
 In this manner the supplementary threads 7, 10, 11, 12 
 and 1 3 connect the two cords, whilst threads 8 and 9 only, are 
 mounted separately on both sides. 
 
 The bars, formed by the knots which are made with the 
 supplementary threads, must be drawn tight, like any other 
 
 Fig. 602. Addition of the first supplementary threads. 
 Working detail of fig. 6oi. 
 
 double bar. The space left between the cords in the engraving 
 is intentional, to distinguish the supplementary threads from 
 the others. 
 
 A long, coloured thread is looped on to the topmost thread, 
 between the two bars, and with this, knots are made over all the 
 14 threads that come from the bars and run inwards. 
 
 In the middle of the square there must be 9 flat double 
 knots; when these are made, you continue knotting the red 
 
MACRAME 
 
 38 9 
 
 thread from the right and left, down to the bottom point of the 
 square, and complete the figure by a single bar of knots, made 
 of the white thread. 
 
 Knotted tassels, hanging from the points of the scallops, 
 and others ornamented with flat double knots made of 10 
 
 Fig. 6o3. Addition of the second supplementary threads. 
 Working detail of fig. 6oi. 
 
 threads, suspended between the scallops , form the outside 
 finish to this fringe. 
 
 Fringe with pointed scallops and large tassels (figs. 604, 
 6o5, 606, 607, 608, 609, 610). — Entire length of the threads 
 for No. 1 5 of Cordonnet 6 fils D.M.G : 200 c/m. 
 
3go 
 
 M A C R A M E 
 
 The present pattern, which concludes our chapter on ma- 
 crame work, is one of the most difficult of all, requiring great 
 accuracy in every particular, but more especially, extremely 
 careful attention to the direction of the cords, that the groups 
 of double knots and the bars may be drawn up very tightly 
 
 Fig. 604. Fringe with pointed scallops and large tassels. 
 
 Materials: Fil a pointer D.M.C Nos. 10 to 3o, Cordonnet 6 fils D.M.C Nos. 10 
 to 50, or Fil a dentelle D.M.C Nos. 25 to 5o. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MACRAME 
 
 3gi 
 
 together, so as to make the pattern very distinct and give each 
 figure its proper value. 
 
 For each repetition of the subject 16 
 threads are wanted. You begin the half 
 stars, on each side of the lozenges, with 
 the 1 5th and 16th double thread of the 
 first figure and make 3 double knots with 
 3 threads over a 4th thread, fig. 606. 
 
 Over 2 cords on the left and 2 on the 
 right, consequently over 4 threads : 5 but- 
 tonhole knots, with the 4 threads and the 
 disengaged threads, 1 flat double knot over 
 Fig. 6o5. each of the 4 threads. This forms a shell 
 
 Addition of the first i ■ i -j c , • i i o 
 
 knot, on either side of which, make 5 
 
 SUPPLEMENTARY threads. ' ' 
 
 Working detail of buttonhole knots over 3 threads. 
 
 fig. 604. For the groups of bars on either side 
 
 Fig. 606. Addition of the other supplementary threads. 
 Working detail of fig. 604. 
 
3 9 2 
 
 MACRAME 
 
 of the shell, take the nth, 12th, i3th and 14th double thread 
 
 on the left, and the 3rd, 4th, 5th and 6th on the right. These 
 
 groups are joined by buttonhole knots. 
 
 Knot the 4 threads of the left group over the cord on the 
 right ; and over them again the 2 next threads 
 on the right ; knot the 4 threads on the left 
 over the 4th thread on the right; make 2 but- 
 tonhole knots with the 4th thread over the 3 
 threads at the bottom and on the side. 
 
 Over the 4 threads, that come from the left 
 and right, make quadruple bars; cross the uppei 
 threads after the second row of bars, make 
 2 buttonhole bars with the next thread over 
 the 4th thread, then finish the 3rd and 4th 
 bar of knots. 
 
 To make the olive-shaped group of knots 
 on both sides, take the threads, that come 
 out from the shells, as cords. Fig 6o5 shows 
 the adding on of the first supplementary 
 thread, fig. 606, that of 12 more which, knot- 
 ted on to the first, form with it, the group 
 of bars on the diagonal corner line. The knots, 
 of which the next large shell is composed, are 
 made with 2 more supplementary threads 
 and one thread from the preceding figure. Add 
 on 2 more supplementary threads to the 
 disengaged threads, which 4 then serve as 
 cords for the groups of bars, left and right. 
 
 The 4th group of bars which forms the 
 corner of the fringe, is made on the 4 threads 
 that come from the large shell, on to which 
 the fourth set of 1 2 supplementary threads is 
 knotted. 
 
 The pattern ends at the bottom with a 
 half star, and a double bar ; beneath these, 
 
 large scallops are added, consisting of 2 half stars, 4 ovals, 1 
 
 whole star and 2 ovals. 
 
 All the threads that come from the groups are then collected 
 
 Fig. 607. 
 Chinese knot and 
 
 double chain 
 for a ring knot 
 
 Fig. 608. 
 
 Ring knot formed of 
 
 a single chain. 
 
MACRAME 
 
 3 9 3 
 
 Fig. 6og. Small 
 
 PENDANT OF THE 
 
 TASSELS IN FIG. 
 
 604. 
 
 at the top of the scallops and overcast with strong thread, so 
 as to form a thick round 
 cord along the edges of the 
 scallops, widening towards 
 the point, as more and more 
 threads are taken in. At the 
 point, these threads are 
 knotted into a big tassel 
 with another bunch of sup- 
 plementary threads added to 
 them. The other small tassels, 
 represented in fig. 604, are 
 made separately and then 
 fastened on. 
 
 The fringe is further 
 ornamented by large knotted 
 tassels, introduced between 
 the scallops, for which, a 
 large knotted berry, fig. 590, 
 over 21 cords, has first to be made. 
 
 Collect the 21 threads all together, to 
 begin with ; then make : 2 rows of knots 
 over 12 threads, 1 over i5, 3 over 21, 1 
 over 1 5 and 2 over 12; then cut the ends 
 of the 21 threads to the same length, and 
 turn them inwards, to fill up the hollow 
 space inside the berry, stuffing it besides, 
 ff necessary, with wadding to make it per- 
 fectly firm and hard and sewing it together 
 at the ends. 
 
 To this you attach 5 large and 6 small 
 pendants ; the smaller ones are begun with 
 a Chinese knot, figs. 607 and 609, which 
 terminates in a double chain, formed into a 
 ring knot. 
 
 These ring knots take the place, in macra- 
 me, of bead drops, in gimp trimmings ; when FlG ' 6l °' Large 
 
 r 1 Or D 7 PENDANT OF THE TASSELS 
 
 they are made of a double chain, you cut m FIG . 604. 
 
394 MACRAME 
 
 away 3 threads, when of a single, i thread, conceal the ends 
 carefully inside the knot, make a loop with the 4th or 2nd 
 thread, fig. 608, and lastly, fasten off all the ends with two or 
 three invisible stitches. 
 
 Into the loop formed by the 4th thread, you hang 3 small 
 ring knots, made of a single chain, with a loop, top and bottom, 
 formed of the ends of the thread. 
 
 Fig. 609 represents the small pendant, of which six are re- 
 quired for a tassel; fig. 610, the large one, of which there 
 should be five. The berry, or head of the tassel, is attached to a 
 crochet, or knotted cord, of which a description will be found 
 in the last chapter but one of this work. 
 
Insertion in embroidered netting. 
 
 Ornament with various stitches. 
 
 Netting. 
 
 Netting is a handicraft, so ancient that it would be difficult 
 to trace it to its origin, or determine the date of its invention. 
 There is evidence to show that the making of nets for fishing 
 and game catching was as familiar to the earlier races of man- 
 kind as it is to us. 
 
 Practised in the first instance for the wants of life, it by- 
 degrees developed into an art, in conjunction with embroidery, 
 to which is was made to serve as a foundation. The netting of 
 every country, almost, has a distinctive character of its own : 
 that of Persia is known by its fine silken meshes and rich 
 gold and silver embroidery ; that of Italy, by the varied size 
 and shape of its meshes and a resemblance in the style of its 
 embroidery to the Punto tagliato ; whilst the netting of 
 France, known by the name of Cluny guipure, consists of a 
 groundwork of fine meshes with stiff close designs embroidered 
 upon it, outlined in coarse glazed thread. 
 
 Netting, which divides itself under two headings, netting 
 proper, or plain netting and net embroidery, has never yet 
 gone out of fashion and places are still to be found where the 
 entire population is engaged in this industry. 
 
 Plain netting and the implements used in netting 
 ■ figs. 61 1 , 612, 61 3). — Plain netting consists of loops, secured 
 and rendered independent of one another by knots. For form- 
 ing and tightening these loops and knots the following imple- 
 
3g6 NETTING 
 
 ments are necessary ; in the first place, a netting needle ; these 
 are generally made of steel, split and flattened at both ends, 
 with a hole bored through them below the fork at the one 
 end, in which the thread, fig. 611, is secured, before it is 
 wound on lengthwise between the forks. They are numbered 
 as to size like knitting needles. There are netting needles like- 
 wise of bone, ivory, wood and tortoiseshell for twine and thick 
 materials; these are without hole, fig. 612. 
 
 The thread must be wound on very tightly, and not too 
 much of it at a time, that the needle may slip easily through 
 the loops. The mesh, or spool, fig. 61 3, whether of ivory, bone, 
 steel or wood, should be smooth and round and of the same 
 thickness throughout, so that the loops, made upon it, may be 
 all of one size and easily slipped off. 
 
 Fig. 611. Netting needle of steel. 
 
 Fig. 612. Netting needle of ivory. 
 
 Fig. 61 3. Mesh or spool of ivory. 
 
 For long loops a flat mesh is best, and in all cases, the 
 needle and mesh should be selected with a view, both to the 
 material employed, and the size of loop required. 
 
 In addition to these two implements, a cushion, weighted 
 with lead will be required, to pin the foundation loop to, on 
 which the first row of netting is worked. 
 
 Materials suitable for netting. — These, of course depend 
 on the purpose of the netting: silk, twine, wool and cotton, 
 can all be used and each possesses its advantages and disadvan- 
 tages. Silk has the finest gloss but when it is strongly twisted 
 it is very apt to knot, and when loosely twisted, does not make 
 firm knots. It is difficult to get linen thread with a smooth 
 uniform twist and moreover it soon frays in the working ; wool 
 is too elastic a fibre and is unsuitable for washing purposes, 
 cotton remains therefore, in every respect the most desirable 
 material, being both smooth and uniformly twisted; as qualities, 
 
 Th. de Dillmont, Encyclopedia of Needlework. In 8°. English bound, gilt edges. — Price : 3 sh. 
 
NETTING 
 
 3 97 
 
 more especially adapted for netting we may mention the fol- 
 lowing: Fil a pointer D.M.C, Cordonnet 6 fils D.M.C (crochet 
 cotton) , Fil a dentelle D.M.C (lace thread), and even Coton 
 a tricoter D.M.C (*) (knitting cotton). 
 
 Netting stitches. — The loops are always the same — four- 
 cornered whether they be square or oblong — and connected 
 together, though secured and rendered independent of one 
 another by knots. By different ways of passing the thread over 
 the mesh and connecting the loops together , the following 
 stitches are produced: i° plain loop, 2° double loop, 3° oblong 
 loop, 4° honeycomb loop, 5° twisted loop. 
 
 Fig. 614. First position of the hands. 
 
 i° Plain loop. First position of the hands (fig. 614). — 
 Every kind of netting requires a foundation loop, from 10 to 
 20 c/m. long, made either of Cordonnet 6 fils D.M.C Nos. 3 to 
 10, or Fil a pointer D.M.C No. 10 (*), which is pinned to the 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
 26 
 
3 9 8 
 
 NETTING 
 
 cushion. Fasten the working thread to the foundation loop ; 
 then take the mesh in the left hand, holding it between the 
 thumb and forefinger, with the other fingers extended beneath. 
 Take the needle filled with thread in the right hand and pass 
 the thread downwards over the mesh and over the second, 
 third and fourth fingers, inside, carry it up behind the third 
 finger and lay it to the left under the thumb by which it has to 
 be held fast. 
 
 Second and third position of the hands (figs. 6 1 5 and 
 6 it)). — Carry the thread down behind the second, third, fourth 
 
 Fig. 6i 5. Second position of the hands. 
 
 and fifth fingers, and put the needle through the loop on the 
 fingers and behind the mesh, through the foundation loop, 
 thus forming a second loop, which you hold back with the 
 little finger of the left hand. Then gradually drawing up the 
 thread that runs from the mesh, let go the loop held down 
 by the thumb; then by degrees let go also, the loop which lies 
 over the second, third and fourth fingers, still holding the last 
 loop fast with the little finger ; finally you release this too and 
 pull up the knot thus formed close to the mesh with the right 
 hand. This completes the stitch. The next stitches are made 
 
NETTING 
 
 3 99 
 
 in the same way ; whether they are to serve for casting on or 
 for a netted foundation. The mesh is drawn out at the end 
 of each row, the work turned and the mesh held beneath the 
 last row, in readiness for the next, in making which you pass 
 your needle through each loop. These diamond-shaped loops 
 form a diagonal net. 
 
 2 Double loop. — To make a double loop put the thread 
 two or three times round the mesh. 
 
 3° Oblong- loop. — For oblong loops, the knots must be 
 made a little distance from the mesh. 
 
 4 Honeycomb loop. — Make an oblong loop, pass the 
 thread round the fingers, but not over the mesh as in plain 
 
 Fig. 616. Third position of the hands. 
 
 netting, put the needle, not into the loop of the previous row, 
 but between the loop, just made. The knot which is made 
 in the same way as in plain netting, must be drawn close up 
 to the mesh ; the two threads of the loop should lie side by side 
 on the mesh. The loops in honeycomb netting are six-sided. 
 
 5° Twisted loops. — Pass the thread, as in plain netting, 
 over the mesh and fingers, but before letting the thread which 
 
400 
 
 NETTING 
 
 \ a a/\ aa a aaa/\ 
 AAa/\/\AA/v'\/v 
 V /\A a A A AAAAA 
 
 f\a/w\ii/Mi/>i/ 
 
 i/vwvi 
 
 S / 7 % /!\ Av /"v <>\ />v /'\ A /«\ y"v 
 
 VVVV\AA/VV\ 
 
 NETTING BY INCREASING AND 
 DECREASING. 
 
 is under the thumb go, pass the needle from right to left under 
 
 the loop you are making and the thread, and only then draw 
 
 up the knot. 
 
 Although in netting the loops cannot be formed in as many 
 
 different ways as in knitting or cro- 
 chet, they admit of a certain variety, 
 as the following explanations will 
 show. 
 
 Patterns produced in netting 
 by using meshes of different 
 widths. — Plain netting can be varied 
 by making one row of loops over a 
 large mesh and one over a small 
 one, or several rows over the large 
 
 Fig. 617. Patterns produced in and several over the small, alternately, 
 
 changing the meshes at regular in- 
 tervals. 
 
 Patterns produced in netting by in- 
 creasing and decreasing (fig. 617). — 
 Patterns of this kind are made by netting 
 the meshes together in regular sequence 
 and taking up as many meshes as you have 
 netted together, or vice versa. You may 
 increase and decrease in the same rows, or 
 at an interval of so many rows. 
 
 Two sizes of thread should be used for 
 this patterns. To show the relation they 
 should bear to one another, we instance : 
 Fil a pointer D.M.C No. 3o with Fil a den- 
 5o (*), or Coton a tricoter D.M.C Nos. 14 
 and 3o (*), with Coton a tricoter D.M.C No. 5o (*), or Coton 
 a repriser D.M.C No. 25 with No. ioo.(*) 
 
 Begin by 3 rows of plain netting with the finer thread over 
 the small mesh, followed by one row with the coarser thread 
 over the large mesh ; then, with the coarse thread over the large 
 mesh, one row, in which you net every two loops together 
 
 Fig. 618. Loose loops 
 in clusters. 
 
 telle D.M.C No. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
NETTING 
 
 40I 
 
 and one row, with two loops in every 
 one, so that the number of loops re- 
 mains the same. These are followed 
 by 3 rows of plain netting with the 
 fine thread on the small mesh. 
 
 Loose loops in clusters (figs. 
 618 and 619). — These clusters of | 
 loose loops are made in the following 
 manner : 
 
 1st row — one loop, the knot of 
 which must be a little distance from FlG - 6l 9- Loose loops in clusters. 
 the mesh; put the thread over the Working detail of fig. 6.8. 
 mesh and the needle through the loop where the knot is ; repeat 
 this three or four times, making the loops all of the same length. 
 Then unite all the loops with one knot, carrying the needle 
 from right to left, round the loops, instead of putting it through 
 the loop of the previous row. 
 
 2nd row — make one 
 loop over each loop of 
 the first row, leaving out 
 the loops that form the 
 cluster. 
 
 As may be gathered 
 Irom the drawing, many 
 different patterns can be 
 worked upon the netting 
 in this manner. 
 
 Netting composed 
 of plain, double and 
 oblong loops (fig. 620). 
 — Netting composed of 
 
 larffe and small loODS is FlG " 620. Netting composed of plain, double 
 
 .... .. , AND OBLONG LOOPS. 
 
 the kind generally used 
 
 as a groundwork for embroidery. The loops of it are straight ; 
 diamond netting will serve the same purpose, but as it is less 
 commonly used we have given the preference to the straight. 
 The whole first row consists of a double and a plain loop 
 alternately; the second, entirely of oblong loops, which are 
 
402 
 
 NETTING 
 
 made by passing the thread only once over the mesh, and so, 
 that in netting on the double loop, the knot is brought close 
 to the needle, where as, in netting the plain loop, it hangs free ; 
 
 so that, as shown in fig. 620, 
 all the loops of the 2nd row 
 are of the same length. In the 
 3rd row, which is like the 
 first, the plain loops should 
 come between the small holes 
 and the double ones between 
 the large holes. 
 
 Circular netting com- 
 posed of long and short 
 loops (fig. (52 1). — Make thirty 
 or thirty one loops over a large 
 
 Fig. 621. Circular netting composed of mesh with a Very StOUt mate- 
 
 long and short loops. rial, such as Fil a pointer 
 
 D.M.C No. 20, or a double thread of Cordonnet 6 fils D.M.C 
 No. 3o, then draw up the thread on which the loops are 
 strung, as tightly as possible, so as to form quite a small ring 
 for the centre, and fasten off. 
 
 For the next row, also made in coarse thread, fasten the 
 thread on to a long loop and make one loop into each loop of 
 the first row, over a small mesh. Use the same mesh for all 
 
 the subsequent rows, which should 
 be worked in a finer thread, such as 
 Cordonnet 6 fils D.M.C No. 5o or 60. 
 If you want to avoid fastening 
 on the thread afresh for each row, 
 make a loop over the thumb. 
 
 Making loops over the thumb. 
 
 — Put the thread, as for a plain loop 
 over the mesh and fingers, and put 
 the needle through the loop, likewise 
 as for a plain loop, but before tighten- 
 ing the knot, draw the mesh out 
 
 of the loop just made and make it exactly as long as the 
 
 loop above. 
 
 Fig. 622. Circular netting 
 formed by increases. 
 
NETTING 
 
 4o3 
 
 Fig. 623. Square of netting. 
 Begun. 
 
 Circular netting formed by increases (fig. 622). — Make 
 10 loops on the foundation loop, 
 close the ring, then go on, making a 
 row with one knot in the first loop 
 and two knots in the second, until 
 the net attains the right circum- 
 ference ; in the subsequent rows, 
 increase by one loop, that is to say, 
 make two knots in each of the pre- 
 vious increases. 
 
 Square of netting (figs. 623 and 
 624). — To make squares of netting 
 with straight loops, begin by making 
 two loops or three knots. Make two 
 knots in each of the following rows 
 so that each row is increased by one 
 loop. Continue to increase until you 
 have one loop more than the square 
 should number. 
 
 Following this row with the extra 
 stitch, make a row without either in- 
 crease or intake and begin the intakes 
 in the next row, joining the two last loops of each row together 
 by a knot. Finish the two last loops over the thumb. 
 
 Fig. 
 
 624. Square of netting. 
 Completed. 
 
 Fig. 625. 
 Square of netting begun from the middle. 
 
 Fig. 626. Square of netting 
 begun from the middle. 
 
 Begun. Completed. 
 
 Square of netting begun from the middle (figs. 625 and 
 626). — Instead of beginning a square from the corner, in the 
 
 manner just described, it may be begun from the middle. 
 
404 
 
 NETTING 
 
 Cast on the required number of loops, make an intake in 
 
 each row, by omitting to take 
 up the last loop of a row. In 
 coming back, your first knot 
 will thus be made over the 
 last loop but one of the pre- 
 vious row, fig. 625. To com- 
 Fig. 627. plete the square , fasten the 
 
 Stripe of straight netting edged with thread on again, to the end of 
 empty loops. the t h r ead of the last row, 
 
 then make a similar to it, and repeat the same rows you 
 made at the beginning (see fig. 626). 
 
 Stripes of straight netting (figs. 627 and 628). —These 
 
 can be begun and 
 finished in two 
 ways. The simplest 
 way,moreespecial- 
 ly when they are 
 to be embroidered 
 afterwards, is to 
 cast on the neces- 
 sary number of 
 loops, to decrease 
 fig. 627, or by joining two 
 628, and to increase on the 
 
 Fig. 628. 
 Stripe of straight netting. 
 
 on one side by dropping a loop, 
 loops together with a knot, fig. 
 other side, by making two knots over one loop. 
 
 Great care must be taken not to change the order of the 
 intakes and increases, as any mistake of the kind would break 
 the lines of squares, and interfere with the subsequent embroi- 
 dery, unless there happened to be more loops in the stripe than 
 stitches in the pattern, in which case the superfluous loops 
 might be cut away when the embroidery is finished. 
 
 Straight netting with a scalloped edge (fig. 629). — The 
 second way of making stripes of straight netting is to begin 
 by a square. After making two loops on the foundation loop, 
 make rows with increases, until you have the required number 
 of loops. Then make an increase in every row to the left and 
 leave the last loop empty in every row to the right. Gontinu- 
 
NETTING 
 
 40 5 
 
 ing the increases on the left, you net 4 rows, without increasing 
 or decreasing on the right, whilst in the next 4, you again 
 leave the outside loop empty. 
 
 V ^-v-s^^^^tfe- 
 
 LtU-UOi-l-U-UU-UJ-U 
 
 1 I 3 I I I S I I I M I 11 I »I 
 
 U-i-i-ua-ua-UUJ-U- 
 ua-U44-U4=u4-M 
 
 ^ 1 1 I i 1 1 I 1 1 FT »I 1 
 
 \ UJ UJUU-UJ-UJi 
 
 Fig. 62q. Straight netting with a scalloped edge. 
 
 Square frame of netting (fig. 63o). — Handkerchief, coun- 
 terpane and chair-back borders can be netted in one piece, 
 leaving an empty square in the centre. After casting on the 
 loops as for an ordinary square of netting, letter a, increase them 
 to double the number required 
 for the border. Thus, for ex- 
 ample, if the border is to con- 
 sist of 3 squares, you make 6 
 loops, then leave 3 loops empty 
 on the left and continue to 
 work to the right and decrease 
 to the left, up to the dotted line 
 from c to c. After this you begin 
 to decrease on the right and 
 increase on the left, up to the 
 dotted line from e to e. 
 
 Leaving the right side of Fig. 63o. Square fr; 
 
 the net, you now fasten on the thread at c, where the 3 empty 
 loops are, and here you make your increases on the right side 
 and your intakes on the left, till you come to the corner, from 
 whence you decrease on the right and increase on the left, up 
 to letter g. Stop on the left side and then work from left to 
 
 tAME OF NETTING. 
 
40b 
 
 N E T T I N G 
 
 right, passing over the row that is marked e. The fourth corner, 
 letter b, is worked like any other piece of straight netting, with 
 an intake in each row, until there are only two loops left. 
 
 Diagonal netting with crossed loops (figs. 63 1 and 632). 
 To work this simple and effective pattern, begin by making 
 a stripe of plain netting, 14 loops in width, for the middle. 
 When it is long enough for your purpose, take up all the 
 loops on one side on a strong thread ; fasten the work to the 
 
 cushion again 
 and work 3 
 rows, along 
 the other edge 
 in the follow- 
 ing manner. 
 
 1st row — 
 long loops, to 
 be made by the 
 thread being 
 passed thrice 
 over the mesh. 
 2nd row — 
 here, 3 loops 
 are so made as 
 to cross each 
 other, that is, 
 you begin by 
 putting your 
 netting-needle 
 at first into 
 the 3rd loop, 
 
 counting from left to right, then into the 1st, and lastly into 
 the middle one of the three, so that the right loop leans to the 
 left and the left one to the right. 
 
 3rd row — one plain loop in each of the loops ot the pre- 
 vious row T . You now 7 , draw 7 out the thread, run in on the other 
 
 Fig. 63 1. Diagonal netting with crossed loops. 
 
 Original size. 
 
 Materials — For the netting: Cordonnet 6 fils D.M.C 
 
 Nos. 10 to 3o, or Fil a dentelle D.M.C Nos. 25 to 40. (*) 
 
 For the darning stitches: Coton a tricoter D.M.C Nos. 12 
 
 to 20, or Coton a repriser D.M.C Nos. 12 to 5o. (*) 
 
 *) See at the end of the concluding chapter, 'the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
NETTING 
 
 407 
 
 side, and run it in through the loops last made, in order to 
 make 3 rows again, as above described, on the bottom side. 
 
 When this is done, you begin the scallops, composed of 
 12 knots or 11 loops, or 14 loops and i5 knots = net 5 rows, 
 leaving the outside loops empty, fig. 632, stop on the left and 
 proceed with : 6 knots or 5 plain loops, 2 or 3 long loops with 
 3 overs, 3 plain loops = turn the work = 3 plain loops, 3 
 knots = turn the work = 2 loops with 3 overs, 3 knots = 
 
 - : ^/vvyvvyy vyy vyy-vy. 
 
 'V Y V V V'Y Y W Y Y V - V" 
 A/YVVVV V WW yV V Y \ 'V v -\ 
 
 A/VvVVvV Y Y V V S^ vV Y W V V 
 
 /VvVVYVVYVVVV^/ V V WW Y Y Y Y VV > 
 
 X A X A >VwW w ww\aA>^^^ 
 
 \AaAaaAAaaaaAAAAAAA>\AA 
 
 '■■v/y\/\A/VWW\A^\ f\r \f \f \f\ A/\ A AAAA/" 
 
 i #W^ #^ ,m mh M :^ >M\ 
 
 A/\ 
 
 Fig. 632. Working detail of fig. 63 i. 
 
 turn the work = 2 plain loops, 2 knots = turn the work = 
 cross 2 or 3 loops, according to the number you crossed in the 
 middle, then carry the working thread to the middle of the 
 long loops, and connect them by 2 knots = pass the needle 
 under the knot of the last long loop, then, on the right side 
 
4o8 
 
 NETTING 
 
 net : 3 plain loops = turn the work = 3 plain loops, 3 knots 
 = turn the work = 2 plain loops, 2 knots = turn the work 
 and continue the rows of plain netting until you have only 2 
 loops left. 
 
 To reach the next scallop, pass the netting-needle through 
 each hole of the net and round each thread. 
 
 Finish off the scallops with a row of plain netting, made 
 with a coarser thread than the foundation. 
 
 These netted edgings are generally made in unbleached 
 cotton , because the patterns afterwards embroidered upon 
 them in coarse, white knitting or darning cotton, show best 
 
 Wvsi-3- >, .»'*OAa 
 
 
 
 
 Fig. 633. Netted fringe. 
 
 Materials — For the netting : Cordonnet 6 fils D.M.G Nos. 10 to 3o or 
 
 Fil a pointer D.M.C No. 3o. (*) 
 
 For the fringes : Soutache D.M.C No. 3 or Lacets superfins D.M.C No. 4. (*) 
 
 upon it. The thread for this purpose should be used double, 
 and the pattern worked in darning stitches , made over 8 
 squares of the netting ; the 8th knot is then encircled by a loop 
 and the thread carried down over 8 squares and a loop again 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
NETTING 
 
 409 
 
 made round the 8th knot. After making 4 rows of stitches 
 on the netting, cut 3 bars between the rows of white stitches. 
 The row of openwork produced in this way has a very 
 good effect and greatly improves the look of the lace. 
 
 Netted fringe (fig. 633). — Plain netting, pretty as it is, 
 looks rather poor, unless ornamented with embroidery of some 
 kind. The double netting, illustrated in fig. 633, will prove a 
 welcome novelty. The footing is worked in crochet, with braid, 
 secured on both sides by chain stitches. 
 
 Into every fourth of these chain stitches, net one loop, 
 missing the 3 between. At the end of the row, turn the work 
 and make the knot in the middle of the 3 chain stitches, so 
 that the 2 loops of netting cross each other. 
 
 In the second, or rather the third row, the knots are again 
 made first into the 
 front loops, into those 
 of the first row that 
 is ; in the fourth row, 
 into those of the se- 
 cond row. 
 
 When the stripe 
 is sufficiently wide, 
 finish it off with 
 tassels, made of Sou- 
 tache D.M.C No. 3. 
 Instead of tying up 
 the lengths of braid 
 with a thread, twist- 
 ed round them and 
 fastened off with a 
 stitch make 2 looDed ^ IG- ^4- ^ IRE frame for embroidered netting. 
 
 knots round them with an end of the braid, where the neck 
 of the tassel should come. 
 
 Embroidered netting. — Embroidered netting, also known 
 as Filet Guipure, Cluny Guipure, and Richelieu Guipure, is 
 a netted ground, with patterns of one kind or another, worked 
 upon it in a variety of stitches. 
 
 Implements required for embroidered netting. — Be- 
 
4io 
 
 NET 
 
 .eedles a light steel frame is the 
 
 only thing required, 
 and this renders em- 
 broidered nettii _ 
 popular. 
 
 The no- .ould 
 
 be long , and blunt ; 
 those called saddlers 
 needles are the best. 
 
 "Wire frame for 
 
 embroidered netting 
 
 | . — The frame 
 
 on which the net is 
 
 tched should be 
 made of strong iron 
 
 ..that will not bend 
 
 the using. In shape. 
 it r_. square or 
 
 oblong, according 
 
 ::hersquares or edg- 
 ings are to be made 
 upon it, but the sides 
 must be straight , so 
 that the net can be 
 evenly stretched. 
 
 This wire frame 
 must be covered, drst 
 with wadding or :: 
 as shown in fig. 634. 
 and then with 
 ribbon, which must be 
 wound tightly round it. 
 and more particularly 
 at the corners. t: 
 : : : t . so that it may be quite firm and not twist about when 
 the netting is sewn in. The ends of the ribbon should be se- 
 : _;t : : ; :~ : :: : :tt r . . . 
 
 Mounting the netting on the frame fig. 635 . — When 
 
^ 17 TI] 
 
 the netting is exactly the size of the inside of the frame, it Deed 
 only be secured to it with overcasting stitches, set .: closely 
 le come: s 
 
 Mounting the netting on the frame "with an auxiliary 
 tape fig ::: — When the netting, is s~ ifier, the sra.ce be- 
 tweea it and the frame, must be rilled up with strong very 
 ty woven, linen tape, sewn on all round the nett:~ r. 
 The tape must be very tightly held in in the sewing, s 
 even rorms little gathers all round ; this will help 
 to stretch the netting in mounting it without injuring it, and 
 is especially necesss.:; -vhen the netting is not quite evenly 
 T ig '36 shows how the tape is sewn on. the fold that 
 :d be made at the corners, and the way :d fix the netting 
 into the frame. 
 
 Long stripes :: large pieces of work. car. be mounted :r. 
 : oth, but we cannot recommend shortening the preparatory 
 . in this manner, as the squares of netting are neve: s 
 -:en they are made in a frame. 
 Materials for embroidered netting. — 7 : : 
 
 . st are the be lamed, or embroidered netting. 
 
 : as Cordonne: I ::chet cotton, on FU 
 
 dentelle D.M.C ' 
 
 There are hov. . . :.rtain o'.i : f embroidered netting 
 
 i in soft loose silk, for imitating which it is best to use. 
 Coton a repriser D.M.C * I it being quite the best substitute 
 for the original m=: t 
 
 The stitches used for embroidered netting. — These 
 : multifarious and admit of so many different combinations. 
 not a few of them seeing that be qu ite to our rea- 
 
 willsome wc never yel ::>me across in anv bo; 
 
 that has come under our not::; 
 Ordinary darning stitch :_~ - — T.-= sizr.r.es: 
 I for covering a netted § the ordinary darning 
 
 d and out of the 
 rer ol squa". :ern, and b; : 
 
 -s as many time ::> fill them up. 
 
 • 5 ; i _: rhe en J :: : - ; ; : r. ; . _ _ -; : - _ r - . r . : *- e : x : t : - _ - : ; r * i z - s :t- 
 
412 
 
 NETTING 
 
 The number of stitches depends, to a certain extent, on the 
 material employed ; with Coton a broder D.M.C for example, 
 
 a_U! 
 
 jjjfliilu: 
 
 4_i_UiU_l. 
 
 ■ ■ t . k 
 
 Fig. 637. 
 Ordinary darning stitch. 
 
 Fig. 638. 
 Linen stitch. First stitches. 
 
 you will have to make more stitches than with one of the 
 coarser numbers of Coton a repriser D.M.C. 
 
 This is the stitch generally used for reproducing a cross 
 stitch pattern on a netted ground and is especially to be recom- 
 mended for covering large surfaces, curtains, counterpanes and 
 
 Fig. 63g. Linen stitch. 
 Second stitches. 
 
 Fig. 640. Linen stitch. 
 Formation of the corners. 
 
 so forth, as it is quickly done and shows up the pattern 
 well. 
 
 Linen stitch (figs. 638 and 639). — This is the stitch most 
 often met with in the old embroideries, it being the one the 
 solid parts of the leaves and flowers, and the borders are gene- 
 rally worked in. 
 
 Fasten on the thread to a knot of the netting and carry it 
 
NETTING 4l3 
 
 twice to and fro, over and under the threads of the netting, so 
 that at the end of the row, every second thread passes under 
 and over the thread of the netting, as it is carried upwards again. 
 
 This constitutes the first layer of threads, the second com- 
 pletes the linen stitch and is made in the same way, only across 
 the first, alternately taking up and missing a thread as is done, 
 in darning. The thread may also be carried both ways over the 
 threads of the squares. In this case you must draw an uneven 
 number of threads through the squares, otherwise the crossing 
 of the threads will be irregular in the last square. 
 
 Linen stitch. Formation of the corners (fig. 640). — 
 When linen stitch is used for the border of a pattern, and a 
 corner has to be formed, you begin by carrying the threads 
 over a given number of squares. This first layer, especially 
 in the case of long stripes, must be kept very slack, and to ensure 
 the threads being all of the same length, lay a fine mesh or a 
 thick knitting needle at one end and stretch the threads over it. 
 After carrying the second layer across a few squares, take 
 away the mesh or needle. The threads of the first layer become 
 gradually shorter, from the passage of the cross threads in 
 and out between them, and end by being just long enough to 
 prevent the last embroidered squares from being too tightly 
 stretched. 
 
 On reaching the corner, you cross the threads of the next 
 row, as shown in fig. 640. The first threads of the second side 
 form the foundation of the corner square ; from the second corner 
 square you pass to the third ; from the third to the fourth, 
 carrying your thread alternately over and under the threads that 
 were stretched for the first corner. 
 
 Loop stitch (point d'esprit) (figs. 641 and 642). — This 
 is a light open stitch, chiefly used for making a less transparent 
 foundation than plain netting. Fasten the thread to the middle 
 of one bar of the netting, then make a loose loop to the middle of 
 the top bar of the same square, fig. 641, by carrying the thread, 
 from left to right, over one vertical and one horizontal bar of 
 the net and inserting the needle downwards from above under 
 the bar and in front of the working thread. For the second 
 row back, also represented in fig. 641, you draw the needle 
 
 27 
 
414 
 
 NETTING 
 
 through, underneath the bar above the loop stitch and make 
 the loop upwards from below; in doing this the working thread 
 must lie to the left, in front of the needle. Fig. 642 shows how 
 
 Fig. 641. loop stitch. 
 1st and 2nd course of the thread. 
 
 Fig. 642. loop stitch. 
 Several rows completed. 
 
 to join the rows and pass the needle through the stitches oi 
 the preceding row. 
 
 Star composed of loose threads (figs. 643, 644, 645). — This 
 star covers 16 squares of netting. Fasten the thread to the 
 
 Fig. 643. 
 
 Star formed of loose threads 
 
 Laying the underneath threads. 
 
 Fig. 644. 
 
 Star formed of loose threads. 
 
 Laying the upper threads. 
 
 middle knot of the 16 squares, then carry it diagonally over 
 4 squares, three times from left to right under a knot of the 
 foundation and three times from right to left. In this way, the 
 bottom rays of the star are formed. For the stitches that com- 
 plete the figure, you start from the middle and following the 
 direction of the little arrow in the illustration, you cover the 
 
NETTING 
 
 4-l5 
 
 netting with 3 horizontal and 3 
 vertical threads , carried over 4 
 squares. When you have laid the 
 vertical threads, slip the needle 
 4 or 5 times round in a circle, un- 
 der the diagonal and over the 
 straight threads, but always over 
 the bars of the netting. This com- 
 pletes the star, as it is represented 
 in fig. 645. Care must be taken 
 to make the stitches lie quite flat 
 side by side, and not one on the Star formed of loose threads. 
 
 C ^U ^U FINISHED. 
 
 top of the other. 
 
 Darning stitch (point de reprise) (figs. 646 and 647). — 
 Little flowers and leaves are generally executed in this stitch; 
 the first course of the thread is shown in fig. 646. Leaves can 
 be made with one, two or three veins. Carry the needle, inva- 
 riably from the middle, first to the right and then to the left, 
 under the threads of the foundation and push the stitches close 
 together, as they are made, with the point of your needle. This 
 you will be able to do most easily by holding the work so as 
 to make the stitches towards you. 
 
 Fig. 645. 
 
 Fig. 646. 
 
 Leaves worked in darning stitch. 
 
 Begun. 
 
 Fig. 647. 
 
 Leaves worked in darning stitch. 
 Completed. 
 
 For a leaf with only one division or vein, like the left leaf 
 in fig. 646, merely run the needle through the middle of the 
 threads, whereas for a leaf with two or three veins, vou must 
 
416 
 
 NETTING 
 
 run it, over and under, either one, or two threads (see the 
 right leaf in fig. 646). 
 
 In working leaves of this kind in darning stitch, you must 
 draw your stitches at the top and bottom of the leaf rather 
 tighter than in the middle, so as to give them the proper shape. 
 If you wish to make them very slender at the bottom, you can 
 finish them off with a few r overcasting stitches. 
 
 Fig. 647 represents two leaves completed, one with one vein 
 and the other, with two. 
 
 Pointed scallops in darning stitch (fig. 648). — The sim- 
 plest way to work these scallops is to carry a thread, as shown 
 in the illustration, to and fro over the square, from the knot in 
 one corner to the middle of the bar above and downwards to 
 the opposite knot, round which the thread is carried and passed 
 upwards again to the middle. As the scallop must always be 
 begun from the top, you will have, two foundation threads on 
 one side and three on the other. Here likewise , you must 
 push the threads as closely together as possible with the needle. 
 
 Fig. 648. Pointed scallops in 
 darning stitch. 
 
 Fig. 649. Pointed scallops in 
 buttonhole stitch. 
 
 Pointed scallops in buttonhole stitch (fig. 649). — Ano- 
 ther quite as pretty and easy way of working pointed scallops 
 on a netted foundation is by making two buttonhole stitches 
 before crossing to the opposite side. As shown in the foregoing 
 illustration, you begin by stretching single or double foun- 
 dation threads across; then beginning at the point, you make, 
 alternately right and left, 2 buttonhole stitches over the foun- 
 dation threads, so that the working thread is only carried across 
 to the opposite side after every second stitch. 
 
NETTING 
 
 417 
 
 Veined pointed scallops (fig. 656). — A third way of making 
 pointed scallops is by first stretching a thread to and fro across 
 the middle of the square, after which you slip the needle from 
 left to right under the middle thread, and underneath the 
 left bar from above. Then you carry the needle, from right to 
 left, over the foundation thread and under the right bar and 
 so on. The one thread must be drawn tightly round the other, 
 in order that the stitches may form close and evenly shaped 
 veins, like small cords, on the wrong side of the scallop. There 
 must be enough stitches to completely cover the foundation 
 thread that crosses the middle of the square. 
 
 Pointed scallops in Venetian stitch (fig. 65 1). — The 
 prettiest scallops of all are those worked in Venetian stitch. 
 
 IfynjyujfiiP ""Vfl| 
 
 Fig. 65o. Veined pointed 
 scallops. 
 
 Fig. 65 1. Pointed scallops in 
 venetian stitch. 
 
 You begin by making from 8 to 10 buttonhole stitches over 
 one bar of the netting, then you work on with the same stitch 
 backwards and forwards, making one stitch less in each row, 
 until you come to the one which forms the point of the scallop 
 and is fastened to the bar above ; you carry the working thread 
 back on the wrong side to the lower bar, and then under the 
 buttonhole stitches to the next square of the netting. Scallops 
 worked in this manner, can be overcast round the edges in 
 the way described further on, in fig. 660. 
 
 Wheels embroidered on netting (figs. 652 and 653). — To 
 make wheels or spiders, as they are also called, you have first 
 to fasten the thread to the middle knot of four squares, thence 
 you carry it diagonally right and left, fig. 652, right detail, 
 across the empty squares of netting and the knot, and return 
 
4i 8 
 
 NETTING 
 
 to the middle, overcasting your first thread by the way, so as 
 to form a closely twisted cord. This is called cording a thread. 
 
 Having reached the centre, carry the working thread round 
 and round, under and over the corded threads and under the 
 bars of the netting till the wheel covers half the bars. 
 
 Fig. 653 shows, on the right, a finished wheel, and on the 
 left, another way in which it can be made, and indicates the 
 course of the thread over and under the lines, as in a darn. 
 
 -*— *— h 
 
 Fig. 652. 
 
 Laying the threads for a wheel 
 
 and beginning of the wheel. 
 
 i j^mi^M i 
 
 XJLXXIXX 
 
 Fig. 653. 
 
 Wheels worked in 
 
 two WAYS. 
 
 Fig. 654. 
 Ribbed wheels. 
 
 Fig. 655. 
 Ribbed squares or lozenges. 
 
 These details show also how, when the foundation thread of the 
 wheel starts from a corner, it is left single in the first square 
 until the wheel is finished ; then the needle is slipped back 
 along the little spoke, opposite to the single thread, and through 
 the wheel, and the single thread is corded like the others. 
 
 Ribbed -wheels (fig. 654). — Make the foundation of the 
 wheels as before, over 8 threads. To form the ribs at the back 
 of the wheels, see fig. 654 ; make a back stitch, on the right 
 side, over a bar of the netting, and carry on the needle under 
 one bar, so that the thread that lies outside always crosses 2 
 L-lts of the netting. 
 
NETTING 
 
 419 
 
 Fig. 656. 
 Wheels set with buttonholing. 
 
 In this case you must make circles of thread enough, to cover 
 the bars completely, not half, as before. 
 
 The same stitches, as fig. 654 shows, can be made on 
 either side of 1 
 the embroi- 
 dery, and so as 
 to form, either 
 a square or a 
 lozenge (see 
 fig. 655). 
 
 Wheels set 
 with button- 
 holing (fig. 
 656). — A very 
 pretty lace-like 
 effect is produ- 
 ced by encircling the wheels in large squares of netting with 
 a double setting of stitches. The left detail of fig. 656 shows 
 how the thread, having 
 been passed under the 
 wheel and twisted once 
 round the single thread, 
 is carried all round the 
 square and forms 8 loops. 
 
 The arrow shows the 
 way in which the loops 
 are taken up, and the first 
 ring of stitches round the 
 wheel is finished. 
 
 The second detail of 
 the same figure explains 
 the course the thread, that 
 forms the second ring, 
 has to take through the loops and between the bars ; whilst 
 the white line shows the passage of the thread over the second 
 ring. The third detail represents a wheel, completed. 
 
 Star with one-sided buttonhole stitohes (fig. 657). — The 
 pattern represented in fig. 657, is the quickest to work that we 
 
 Fig. 657. 
 Star with one-sided buttonhole stitches. 
 
420 
 
 NETTING 
 
 Fig. 658. 
 Rounded corners on netting. 
 
 know of. Two buttonhole stitches made upon the outside bar 
 of a square and a simple crossing of the thread at the bottom, 
 produce elongated triangles which should always be begun 
 
 from the knot. Two triangles 
 stand exactly opposite to each 
 other in one square, and the 
 square that comes in the 
 middle of the four thus filled, 
 is ornamented with a small 
 wheel. 
 
 Rounded corners of 
 netting (fig. 658). — Darning 
 stitches, made over a thread 
 carried diagonally across one 
 square and the adjacent cor- 
 ners of that and two other 
 squares, produce the figure 
 illustrated in fig. 658. The 
 accompanying detail shows 
 the mode of working. 
 
 The number of stitches 
 depends on the material you 
 use ; there should be no more 
 than can lie quite flat, side by 
 side, on the diagonal thread. 
 Linen stitch, set with 
 darning 1 stitch (fig. 659). — 
 There are some patterns it 
 would hardly be possible to 
 work on netting unless you 
 could soften the outlines by 
 darning stitches, as shown in the foregoing figure. 
 
 When employed as a setting to linen stitch, there should 
 be fewer than in fig. 658 ; you may also, instead of interrupt- 
 ing them at every corner, carry them all round a square, (see 
 the right detail of the figure). 
 
 Linen stitch set with cord stitch (fig. 660). — Many 
 figures are also either corded or edged with twisted thread ; 
 
 Fig. 65g. 
 Linen stitch set with darning stitch. 
 
 Fig. 660. 
 
 Linen stitch set with cord stitch. 
 
NETTING 
 
 421 
 
 Fig. 661. Flower in dot stitch on a 
 
 foundation of linen stitch. 
 
 both ways are represented in the illustration. In the latter case 
 you can use the same thread as for the linen stitch, or if you 
 wish the setting to be very pronounced, a thicker one. For 
 instance, if the netting be made of Cordonnet 6 fils D.M.C 
 No. 25 (*) we recommend Fil a pointer D.M.C No. i5 or 2o(*) 
 for the setting. This difference of material is especially notice- 
 able in the old Cluny Guipure, where the figures worked 
 in linen stitch are edged 
 with a thread like a cord. 
 But if the linen stitch be bound 
 with cord stitch, the same 
 thread must be used for it, as 
 for the foundation. A soft ma- 
 terial, like Coton a repriser, 
 makes the best padding for 
 the overcasting stitches. 
 
 Flower in dot stitch on a foundation of linen stitch 
 
 (fig. 661). — With the help of this stitch, which is described 
 in the chapter on white embroidery and represented in fig. 
 179, a great 
 variety of little 
 supplementary 
 ornaments can 
 be made, on 
 every descrip- 
 tion of netted 
 ground. 
 
 Bordering 
 in buttonhole 
 
 stitch (fig. 662). — Scalloped edges in netting should be button- 
 holed : 2 or 3 padding threads should be run in first, following 
 the bars of the netting, over which the buttonholing is done; 
 the bars of the netting must not be cut away until the edge 
 be finished. 
 
 Cut work in embroidered netting (fig. 663). — Cut work 
 here means half covering the bars of the netting with button- 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
 Fig. 662. Bordering in buttonhole stitch. 
 
NETTING 
 
 hole stitches and half cutting 
 them away with scissors. 
 The inner bars are fre- 
 quently ornamented with a 
 double buttonhole edging 
 and knotted picots, see figs. 
 698 and 699 in the next 
 chapter. You slightly sepa- 
 rate the stitches of the first 
 row of buttonholing so as to 
 be able to introduce the thread of the second row between them. 
 
 Straight loop stitch (fig. 664). — In the first row you 
 carry the thread over one bar and slip it through behind a knot ; 
 in the second you do the same thing, only that above, your 
 needle will pass under 3 threads, two of them the threads of the 
 loop of the first row and the third a bar of the net. In every 
 square 4 threads cross each other. 
 
 Fig. 663. 
 Cut work in embroidered netting. 
 
 Fig. 664. 
 Straight loop stitch. 
 
 Fig. 665. 
 Waved stitch. 
 
 Waved stitch (fig. 665). — This stitch, which forms a close 
 waved ground, is produced by passing the thread in each row 
 of the netting over a square and behind a knot. When the pat- 
 tern admits of it, as it mostly does, a considerably thicker thread 
 is used for this stitch and for the stitches represented in figs. 
 667, 668, 669 and 670, than that in which the netting is made. 
 When the netted ground is of Fil a dentelle D.M.G No. 5o(*), 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
NETTING 
 
 423 
 
 the embroidery upon it may very well be done in Cordonnet 
 6 fils D.M.C No. 10 (*), or Fil a pointer D.M.C No.3o.(*) 
 
 Intersected loop stitch (fig. 666). — Begin by covering 
 the whole surface to be embroidered with plain loop stitches, 
 then stretch threads diagonally across the squares of the 
 netting and the loop stitches ; one set of threads running over 
 the stitches and under the knots of the netting, the other 
 under the first and second threads of the loop stitches and over 
 the first crossed threads and the knots. 
 
 The laying and stretching of these threads must, it is hardly 
 necessary to say, be systematically and regularly done. 
 
 Ground worked in ho- 
 rizontal lines (fig. 667). — 
 Make half cross stitches over 
 4 squares of netting, by pass- 
 ing the thread alternately 
 over and under 3 knots, and 
 under 3 squares of the net- 
 ting. In the second row, cross 
 the threads over those of the 
 first row, as is shown in our 
 engraving. 
 
 Ground worked in stitch- 
 es placed one above the 
 other (fig. 668). — Cover a 
 whole row of squares with 
 cross stitches and leave 3 rows of squares empty. When you have 
 a sufficient number of rows of cross stitches, take a long needle 
 and pass it upwards from below, and from right to left, under 
 the two bars of the third upper square; then pass downwards 
 to the first square of the 3 bottom rows and under the bars 
 from right to left, so as again to leave 3 squares between the 
 fresh stitches. The next row of stitches is made in the same 
 manner, so that the stitches are not only set contrary ways but 
 reciprocally cover each other. 
 
 Fig. 666. 
 Intersected loop stitch. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
424 
 
 NETTING 
 
 Latticed ground (fig. 669). — Begin by running the thread, 
 to and fro, under two vertical bars and over three horizontal 
 ones. When the ground is entirely covered, carry your thread 
 from right to left, under the bars over which the first rows of 
 threads are crossed ; then take it over the long crosses, that 
 correspond to 5 squares of netting, and pass it in the same line 
 under the bars of the netting. In coming back, the long stitches 
 cross each other over the stitches of the first rows. 
 
 Fig. 667. 
 Ground worked in horizontal 
 
 Fig. 668. 
 
 Ground worked in stitches placed 
 
 one above the other. 
 
 Fig. 669. 
 Latticed ground. 
 
 Fig. 670. 
 
 Ground worked in Russian stitch. 
 
 Ground worked in Russian stitch (fig. 670). — Pass the 
 thread from left to right, under a bar of the netting, carry it 
 downwards over 4 squares and pass it again, from left to right, 
 under the bar, then upwards, again over 4 squares of netting 
 and so on. The stitches of the next rows are made in the same 
 
NETTING 
 
 42 5 
 
 manner ; you have only to see that the loops formed by the 
 stitches all come on the same line of knots. 
 
 Ground worked in two sizes of thread (fig. 67 1). — Here- 
 with begins the series of stitches, 
 referred to at the beginning of the 
 chapter, copied in part from one of 
 the oldest and most curious pieces 
 of embroidered netting we have ever 
 met with. The copies were worked 
 with Cordonnet 6 fils D.M.C No. 
 25 and ecru Fil a dentelle D.M.C 
 No. 70 (*); the former being used for 
 the darning and the almond-shaped 
 stitches between; the latter for the fig. 671. Ground worked in two 
 buttonhole stitches. Wherever two SIZES OF thread. 
 
 sizes of thread are used for one pattern, all the stitches in the 
 coarse thread should be put in first and those in the fine, last. 
 
 Ground with wheels and loop stitch (fig. 672). — You 
 begin with the coarse thread and 
 finish all the wheels first, making 
 them each over 4 threads of the 
 netting; then with the fine thread, 
 you make loop stitches between 
 them, in rows, as shown in figs. 
 641 and 642. 
 
 Ground worked in darning 
 and loop stitch fig. 673). — The 
 darning stitches are made in the 
 coarse thread, over 4 squares of 
 the netting, in a horizontal direc- fig. 672. Ground with 
 tion, with loop stitches, in the L00P stitch. 
 
 fine thread, made between them , over the same number of 
 squares. 
 
 Ground worked in two sizes of thread (fig. 674). — 
 Carry the coarse thread, from right to left, under the first 
 knot of the netting, and then under the next, from left to 
 
 WHEELS AND 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
4'2 
 
 NETTING 
 
 right. This has to be done 
 twice, to and fro, so that the 
 squares of the netting are 
 edged on both sides with a 
 double layer of threads. 
 
 When the whole founda- 
 tion has been thus covered, 
 take the fine thread and make 
 loop stitches in the squares 
 between the other rows of 
 stitches, passing the needle 
 for that purpose over thedouble 
 stitch. Lastly , intersect the 
 loop stitches with straight 
 
 threads and pass the needle each time through the knot of 
 
 the netting. 
 
 Ground worked with cross stitohes in one size of thread 
 
 (fig. 675). — This pattern, very like the foregoing one, consists 
 
 Fig. 673. Ground worked in darning 
 and loop stitch. 
 
 i I I II II I 
 
 Fig. 674. 
 
 Ground worked in two sizes 
 
 of thread. 
 
 Fig. 675. 
 
 Ground worked with cross stitches 
 in one size of thread. 
 
 of 3 diagonal rows of stitches, w T orked to and fro, with cross 
 stitches made over them. 
 
 You may also begin with the cross stitches, in the fine 
 thread, and work the triple stitches over them, in the coarse. 
 
 Ground worked with darning and cord stitches (fig. 
 
NETTING 
 
 427 
 
 676). — Patterns, executed chiefly in darning stitches, in a 
 comparatively coarse thread , present a closer and heavier 
 appearance than those we have been describing. Here, every 
 
 eBBBBEBbsBmS 
 
 Bl^i^HT^a " 
 
 S3 
 
 ■£& '51 "3i> 'M • 
 
 >S9 
 
 HBrilBilia 
 
 Rat a A m ■ 
 
 
 Fig. 676. Ground worked 
 with darning and cord stitches. 
 
 Fig. 677. Ground worked 
 with squares and wheels. 
 
 other square of the netting is filled, as closely as possible, with 
 stitches ; the empty squares between are intersected diagonally 
 with corded threads. 
 
 Ground worked with squares and wheels (figs. 677, 678, 
 G79). — A ground very often met 
 with in old embroidered netting, 
 consists of diagonal lines of squares, 
 closely filled with darning stitches, 
 alternating with diagonal lines of 
 squares, each with a small wheel 
 in the middle. 
 
 In fig. 678, the darning stitches, 
 and the wheels, which are both 
 worked with the same material, 
 cover 4 squares of the netting. 
 
 T c ■ FlG - °7 8 - 
 
 Larger expanses of netting may ground worked with squares and 
 also be entirely filled with wheels, wheels. 
 
 ng. 679. To make a really satisfactory grounding of this kind, 
 you should be careful always to carry your thread over the 
 oars of the netting and under the threads that are stretched 
 diagonally across. 
 
428 
 
 NETTING 
 
 Fig. 679. 
 Ground with large wheels. 
 
 Ground worked in cross and darning stitch (fig. 680). 
 — You begin, as before, by making the close darning stitches, 
 and then proceed to the cross stitches. To give them the right 
 
 shape, finish all the rows of 
 stitches one way first ; in the 
 subsequent rows, that cross 
 the first ones , you introduce 
 the thread between the stitches 
 that were first crossed. 
 
 Ground of geometrical 
 figures (fig. 681). — This pat- 
 tern, quite different from all 
 the others, consists of simple 
 geometrical lines. Fasten the 
 thread to a knot of the netting, 
 then carry it, always diago- 
 nally, under 3 other knots 
 and repeat this 3 times , after which, carry it once round the 
 bar of the netting, to fasten it, and back again to the knot 
 which it already encircles, and from thence begin a new square. 
 
 Owing to your having always to bring 
 the thread back to the knot whence 
 the next square is to begin, you will 
 have 4 threads on two of the sides 
 and 6 on the two others. 
 
 In tne second and subsequent 
 rows, the needle has to pass twice 
 under the angles that were first form- 
 ed, in order that, over the whole 
 surface, all the corners may be equally 
 covered and connected. 
 
 Netted insertion worked in 
 plain darning stitch, (fig. 682). — The taste for ornamenting 
 not only curtains but bed and table linen also, with lace and 
 insertion of all kinds, to break the monotony of the large white 
 surfaces, is becoming more and more general and the insertion 
 here described will be welcome to such of our readers as have 
 neither time nor patience for work of a more elaborate nature. 
 
 Fig. oso. 
 
 Ground worked in cross and 
 
 darning stitch. 
 
NETTING 
 
 42 9 
 
 The way to make straight 
 netting has already been fully 
 described in figs. 625, 626, 
 627, 628, 629 and 63o, and 
 darning stitch in fig. 63j. 
 
 To those who wish to be 
 saved the trouble of making 
 the netting themselves, we can 
 strongly recommend various 
 fabrics , intended to take its 
 place, more especially Filet 
 Canevas, which is an exact 
 imitation of the finest hand- 
 made netting. The centre part 
 of the pattern in fig. 682 , is worked in rows of horizontal 
 darning stitches, the narrow border in vertical ones. 
 
 Fig. 681. 
 Ground of geometrical figures. 
 
 Fig. 682. Netted insertion worked in plain darning stitch. 
 
 Materials — For the netting: Cordonnet 6 fils D.M.C No. 25. — For the 
 darning stitch: Coton a broder D.M.C No. 25, or Coton a repriser D.M.C Nos. 12 
 to 5o, white or ecru. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
43o 
 
 NETTING 
 
 Ground of netting embroidered (fig. 683). — We have 
 already had occasion, in the foregoing explanations, to point 
 out the advantage of embroidering with two sizes of thread, 
 but it is only in a piece of work of a certain size that it is 
 possible really to judge of the excellent effect produced by the 
 use of two threads of different sizes. 
 
 The principal lines of the pattern, which are in darning 
 
 Fig. 683. Embroidered ground of netting. 
 
 Materials — For the netting: Fil a dentelle D.M.C Nos. 25 to 5o. 
 
 For the darning stitch: Cordonnet 6 fils D.M.C No. i5, or Fil a pointer D.M.C 
 
 No. 3o. — For the loop stitch: Fil a dentelle D.M.C or Cordonnet 6 fils D.M.C 
 
 according to the size of the netting thread. 
 
 stitch, are worked in a very coarse thread with a strong twist, 
 Fil a pointer D.M.C, whilst the loop stitches are in Cordonnet 
 6 fils D.M.C. 
 
NETTING 43l 
 
 Our model was worked in ecru thread but there is nothing 
 to prevent several colours being introduced, for instance ecru, 
 black or Gris-Ficelle 462 for the netted foundation ; Rouge- 
 Cardinal 346, for the darning stitches, and Chine d'or D.M.C 
 green and gold or blue and gold, for the loop stitches and the 
 threads that are carried across inside. 
 
 Fig. 684. Embroidered square of netting. 
 
 Materials : Cordonnet 6 fils D.M.C Nos. i5 to 3o, or Fil a dentelle D.M.C 
 
 Nos. 1 5 to 40, white or ecru. (*) 
 
 Embroidered square of netting -with, two kinds of 
 lace suitable for the border (figs. 684, 685, 686). — Large 
 pieces of embroidered netting are generally made up of squares 
 
 * See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
432 
 
 NETTING 
 
 and stripes, joined together with ribbon and fine linen insertions. 
 It is easier and less cumbrous to make the netting in separate 
 pieces. Squares of different patterns can also be combined with 
 crochet and pillow lace, in this case of course the squares 
 have to be arranged with some system. 
 
 Fig. 685 represents a lace edging intended for the square 
 rig. r>84, which shows how even in such a simple pattern as 
 this, several colours may be successfully introduced. 
 
 Fig. 686 is a handsomer and more elaborate pattern for 
 the same kind of purpose. The loop stitches and the linen 
 
 stitches should be 
 worked in a very 
 light shade ; instead 
 of the colour indica- 
 ted at the foot of the 
 engraving, Rouge- 
 Geranium 353, Vio- 
 let-Mauve 377 or 
 Jaune-Rouille 365 
 may be used ; for 
 the netting and the 
 loop stitches you 
 may combine, with 
 first shade , two 
 shades of Brun-Carou- 
 bier 3o3 and 35;, with 
 the second, two shades 
 of Jaune-vieil Or 678 
 and 680 and with the 
 third , two shades of 
 Rouge-Cardinal 346 and 
 348. 
 
 Pattern for ground 
 
 :-:£05i;_.«_jK::-ft;a, ■ «-*£:;$* ■ sm;: 
 sa. ■ ■ jbv.bi ■ ■ 
 ■_■ ■ * ■ m.j 
 1 ■ mi? ■ ■ 
 
 Fig. 685. Lace edging for the square, fig. 684. 
 Materials : The same as for fig. 684, and Or fin 
 
 D.M.C pour la broderie No. 3o. 
 Colours — For the netting and the loop stitch : 
 
 White or ecru. — For the darning stitch : 
 Brun-Caroubier 3o3 and Rouge-Grenat 335. (*) 
 
 the 
 
 Fig. 686. Lace edging. 
 
 Materials : The same as for 684. 
 
 Colours — For the netting : ecru. — For the 
 
 ground in loop and linen stitch : 
 
 Bleu pale 668. — For the bars in darning stitch: li ar charm of this most 
 
 Gris-Tiiieui 391 and 3 9 3. (*i unpretending pattern is 
 
 (fig. 687). — The pecu- 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
NETTING 
 
 433 
 
 chiefly due to the variety of material and colour introduced 
 into it. The netted ground is made of dark brown Cordonnet 
 6 fils D.M.C No. 2?, worked over, in the first instance, with 
 loop stitches in a pale grey, which are afterwards connected 
 by darning stitches in Coton a repriser Gris-Tilleul 392. 
 
 Fig. r ~">7. Pattern for ground. 
 Materials — For the netting: Cordonnet 6 tils D.M.C Nos. i5 to 3o. 
 
 For the embroider}': Coton a repriser D.M.C No. 2?. 
 
 Colours: Brun-Havane 455, Gris-Noisette 423, Jaune-vieil-Or 0S0, 
 
 Gris-Tilleul 3oi and Rouge-Geranium 352. (*) 
 
 The same material in Rouge-Geranium , is used for the 
 little centre squares and the pink crosses, and isolated darned 
 squares are framed with loose cord stitches in Coton a repriser 
 colour Jaune-vieil-Or 680. 
 
 (*) Sec at the end 01 the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
434 
 
 NETTING 
 
 We can also recommend, for the same pattern, the following 
 combination of colours, all to be found on the D.M.C colour 
 card; namely, Bleu pale 668 lor the netting; Chine' d'or, gold 
 with dark blue for the loop stitches ; Ganse turque D.M.C Xo. i a 
 Turkish gold cord] for the darning stitches between the loop 
 stitches ; Coton a broder or Cordonnet 6 his in Rouge-Cornouille 
 45o, for the detached darned squares and Coton a repriser, in 
 
 Fig. 66S. Embroidery on netting with different-sized loops. 
 
 Materials — For the netting: Fil a dentelle D.M.C .No. 40. 
 
 For the embroidery: Coton a broder D.M.C No. 16, white or ecru. (*) 
 
 Jaune-d'Or 667 for the setting of all the different parts of the 
 pattern. 
 
 Embroidery on netting •with different-sized loops (rig. 
 688). — The netting, described and represented in fig. 620, 
 with plain, oblong and double loops, here forms the ground 
 for the embroidery. 
 
 In order to make the isolated loop stitches, the thread 
 which forms the cross in the middle must be carried to the 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 

 Fig. 680. Square m cut netting. 
 
 Fig. 600. Lace edging in cut netting. 
 Materials : Fil a dentelle D.M.C Nos. 25 to 5o. in three shades of one colour. 
 
 middle of the bar, the loops that form the stitches must be 
 finished and the thread carried back to the knot whence it 
 started. It must then be taken three times backwards and for- 
 
4-36 NETTING 
 
 wards over the foundation thread and the two bars of the net- 
 ting, when the stitches, into and over 3 squares of the netting, 
 should be made. The last row in the engraving shows the 
 pattern in the successive stages of its development. 
 
 Fig. 691. N 
 Materials— For the netting : Cordonnet 6 fils D.M.C No. 40 whit 
 
 Square and edging in cut netting (figs. 689 and 690). — 
 Few patterns admit of such a successful application of all the 
 stitches hitherto described, as the square and edging presented 
 to our readers in the two subjoined figures. On a netted ground 
 of rather fine thread, we have in the first place, linen stitch, in 
 the border, worked in rather a coarser thread than the ground ; 
 then raised wheels, buttonholed bars with picots in the centre, 
 
NETTING 
 
 437 
 
 plain wheels very close together, and long ribbed bars worked 
 in darning stitch. 
 
 The edging, to match the square, is worked in the original 
 in pale shades, in contrast to the square which is executed 
 
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 For the embroider}- : Ganse turque D.M.C Nos. 6 and 12. 
 
 entirely in ecru thread. The squares in the netted footing of 
 the lace are loosely overcast with pale Violet-Mauve 3 1 6, the 
 same colour is also used for the wheels in the outside edge, 
 each of which fills a square, and for the loop stitches round 
 them ; whilst the middle one of the three upper ribbed wheels 
 and the star are worked in dark Violet-Mauve 3i5. The 
 crosses in linen stitch, the three lower ribbed wheels and 
 
4^8 NETTING 
 
 the long ribbed bars in darning stitch, are in Gris-Tillcul 
 392. 
 
 Netted insertion (fig. 691). — This is a copy of a beautiful 
 piece of embroidered netting, to all appearance, several cen- 
 turies old, and in a state that rendered, even the most delicate 
 handling almost impossible. 
 
 After several experiments, the best result has been arrived 
 at, and the Turkish cord in which the original is made, has 
 now been manufactured for netting purposes, as well as for 
 other kinds of decorative work, already alluded to, and referred 
 to again later on. 
 
 The first foundation, that is, the actual netting, for a thing 
 of this kind, should be made in white or ecru thread, with very 
 small meshes; the pattern itself is embroidered on the netting 
 with Ganse turque D.M.C No. 12; this material, ecru and 
 gold mixed, gives the work a glittering and peculiarly elegant 
 appearance, unobtainable in any other. 
 
 The execution is extremely easy, it being worked entirely 
 in darning stitch ; but the drawing should be copied with great 
 accuracy and the wide braid very carefully sewn on with close 
 stitches round the squares, which are filled in with darning 
 stitches made in Ganse turque No. 12. 
 
 Any netting pattern can be copied in this braid, and the 
 simplest piece of work of the kind is worth mounting on a rich 
 foundation of silk, brocade, velvet or plush. To give a single 
 example, the insertion here described and illustrated, was 
 mounted on slate-blue plush and has been universally admired. 
 
Insertion. — Irish lace with raised ornaments. 
 
 Irish Lace. 
 
 Irish lace, also known under the name of Renaissance lace, 
 from its having been first made in the sixteenth century, is an 
 imitation of the earliest pillow laces; it ought, properly speak- 
 ing, to be called French lace, having been invented in France 
 and thence introduced into England and Ireland. 
 
 It is composed of braid or tape, formed into figures, joined 
 together by needlemade, corded or buttonhole bars and fillings 
 of different kinds, or by bars alone. 
 
 The lace stitches and bars are almost the same as those used 
 in fine Venetian point, but they are executed in a coarser mate- 
 rial so that this section of our work may be considered as a 
 preparation for the different kinds of lace, to be described in 
 the next chapter. 
 
 Materials (fig. 692). — The braids used for making Irish 
 lace are an English speciality and manufactured exclusively in 
 England ; they are very various in shade, width and thickness, 
 and are to be had white, unbleached, grey and pale yellow, 
 narrow and wide, coarse and fine in texture, with and without 
 holes, open edge and picots, with large medallions and small. 
 
 Fig. 692 represents the kinds most commonly used, in their 
 original size, together with a specimen picot, or purl, as they 
 are called in England, for the outside edge, also to be had 
 ready made, for those who do not care for the trouble of making 
 them themselves. 
 
440 
 
 IRISH LACE 
 
 For the stitches and bars by which the braids are joined 
 together, the best material is Fil a dentelle D.M.C, (*) (lace 
 thread) a smooth even thread, now made in every colour to 
 match the braids. 
 
 Transferring designs for Irish lace. — The best way is 
 
 to trace them on oiled tracing 
 linen with a watery ink, free 
 from greasy matter. This tracing 
 linen, which is of English make, 
 is white, glazed on one side only ; 
 the unglazed surface should be 
 turned uppermost, as it takes the 
 ink better. 
 
 As this tracing linen is quite 
 transparent, the pattern can be 
 transferred to it at once with- 
 out recourse to any other 
 process. 
 
 It will be found less trying 
 for the eyes to lay a piece of 
 transparent coloured paper, or 
 stuff, under the pattern whilst 
 you are copying it. The Irish lace 
 designs are almost all drawn with 
 double lines, between which 
 the braid is tacked on with small 
 back stitches. We may mention 
 at once that it is advisable to 
 make the stitches longer on the 
 right side than on the other, or 
 Fig. 692. patterns of the different at any rate to make them of the 
 
 TAPES AND BRAIDS USED FOR IRISH LACE. Same length. 
 
 Tacking down and gathering in the braids (fig. 693). — 
 Where the lines of the pattern describe a curve or a circle, the 
 outside edge of the braid, as shown in fig. 693, must be sewn 
 down firmly, so as to form little folds or gathers on the inside 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
 Th. de Dillmont, Encyclopedia of Needlework. In 8°. English bound, gilt edge. — Price: 3 sh. 
 
IRISH LACE 
 
 441 
 
 Fig. 6q3. Tacking down and drawing in the braids. 
 
 edge, which are first tacked down and then gathered in with 
 small overcasting stitches in fine thread, so as to fit exactly to 
 the pattern. 
 
 The stitches , made for the bars and the fillings, must 
 never be drawn so tightly as to drag out the edges of the 
 braids and thus spoil the outlines of the pattern. Nor should 
 the stitches be caught into the tracing cloth, but only rest 
 upon it. 
 
 When the embroidery is finished, turn the work the wrong 
 side up, cut every second or third tacking stitch and pull the 
 threads carefully out, from the wrong side, when the lace will 
 separate itself from the backing without difficulty ; it has 
 then to be damped and ironed also on the wrong side. (See 
 the concluding chapter on the different processes for finishing 
 off needlework). 
 
 It is of no consequence which are made first, the bars or 
 the fillings ; we however incline to the former, more especially 
 in the case of buttonhole bars, as they are easier to do than 
 the fillings and once done, there is less risk of puckering or 
 drawing the edges together, in making the fillings. 
 
 The stitches. — We shall now proceed to describe a series 
 of bars and stitches, which, if carefully studied, will serve as 
 
442 
 
 IRISH LACE 
 
 Fig. 694. 
 Plain twisted bar. 
 
 a preparation for making all the finer kinds of laces described 
 
 in the ensuing chapter. 
 
 Without pretending to have exhausted the infinite variety 
 
 ot lace stitches that exists, we hope to have brought before 
 our readers' notice a sufficiently numerous 
 selection to satisfy all tastes and capacities. 
 With regard to the names, the same 
 stitches are known by so many different ones, 
 that excepting in the case of those univer- 
 sally accepted, we have disregarded them 
 altogether and merely numbered the stitches 
 in their order. 
 
 Plain twisted bar (fig. 694). — Secure 
 the thread to the braid and throw it across 
 from one braid edge to the other, put the 
 needle in downwards from above, and over- 
 cast the first thread, so as to form the two 
 into a cord. If you do not make enough over- 
 casting stitches to tighten the two threads, 
 the bars will be loose and untidy and spoil 
 the general appearance of the work. 
 
 Double twisted bar (fig. 695). — Throw 
 three foundation threads across the space to 
 be filled and overcast them loosely, so that 
 they remain visible between the stitches. 
 
 Plain buttonhole bar (fig. 696). — Throw 
 three threads across and cover them with 
 buttonhole stitches, made from right to left. 
 In making this and the subsequent bars, 
 we recommend turning the needle round and holding it as it 
 were the reverse way, so that the eye not the point passes 
 first under the threads; strange as it may seem, it is easier in 
 this manner to avoid splitting the threads. The working thread 
 should always issue from the edge of the braid, one or two 
 threads before the foundation threads of the bar, to prevent 
 the bars being of unequal width, or getting twisted at the 
 beginning. 
 
 ntuntttmtiustiiii'i^m 
 
 ■Em 
 
 1 ■ I 
 
 
 If 
 
 
 
 .: • -.:—.- 
 
 
 Fig. 69D. 
 Double twisted bar 
 
IRISH LACE 
 
 44 3 
 
 Buttonhole bars with pinned picots (figs. 697 and 698). 
 — After covering half, or a third of the bar with buttonhole 
 stitches, pass the thread without making a loop, under the 
 
 Fig. 696. 
 
 Plain buttonhole 
 bar. 
 
 Fig. 697. 
 
 Buttonhole bar with 
 
 pinned picots. 
 
 Fig. 698. 
 
 Buttonhole bar with 
 
 pinned picots. 
 
 foundation threads, and fasten the loop with a pin, fig. 697, 
 then slip the needle, horizontally from right to left, under the 
 3 threads and tighten the knot close to the 
 last buttonhole stitch. 
 
 Fig. 698 shows a picot made in the same 
 manner, but with several buttonhole stitches 
 inserted between the loop and the button- 
 holed bar. 
 
 Bar -with lace picot (fig. 699). — Here 
 the picot is made by bringing the thread 
 out through the loop and beginning the but- 
 tonhole stitches, 4 or 5 in number, according 
 to the size of the thread, quite close to the 
 pin, so that they entirely cover the loop. The 
 pin must be stuck in the width of 4 stitches, 
 
 distant from the bar, and the foundation threads should be 
 
 completely hidden under the bar. 
 
 Bar with picot made in bullion stitch (fig. 700). — Put 
 the needle halfway into the last buttonhole stitch, twist the 
 thread ten or twelve times round it from left to right, draw 
 
 Fig. 6<ju. 
 Bar with lace picot 
 
444 
 
 IRISH LACK 
 
 it through and tighten the thread, so that the spiral on the 
 thread form a semicircle, then continue the bar (see also for 
 the bullion stitch figs. 170 and 661). 
 
 Bar with buttonhole picot (fig. 701). — Cover rather more 
 than half the bar with buttonhole stitches, carry the thread 
 three times to the 6th stitch and back, then buttonhole these 
 threads that are attached to the bar in the same way as the 
 bar itself and finish the bar in the usual way. 
 
 These buttonhole picots are generally used for edging lace ; 
 they may in their turn be adorned with small pinned picots to 
 produce a richer effect. 
 
 
 
 WIII'H* 
 
 
 
 niiiiin 
 
 fiiiiiirjfti 
 
 
 
 
 
 
 
 Fig 
 
 JOO. 
 
 Bar 
 
 WITH 
 
 PICOT MADE 
 
 IN 
 
 BULLION STITCH 
 
 
 IflMHIintlltllliO 
 
 MMMIIII'iixi 
 
 I ST" 
 
 UW*»#MUNnmt9M9^H 
 
 
 
 iWa 
 
 ^•vjS 3 
 
 
 Pi 
 
 
 
 
 
 Fig. - : 
 
 Bar WITH BUTTONHOLE 
 PICOT. 
 
 Fig. 702. 
 Bar with two rows 
 
 OF KNOTS. 
 
 Bar -with, two rows of knots fig. 702). — Over two foun- 
 dation threads, make double knots, far enough apart to leave 
 room for the knots of the next row between. 
 
 These double knots consist, in 
 the first place, of one plain but- 
 tonhole stitch and then one rever- 
 sed, that is, made by bringing the 
 needle out in front of the thread 
 and passing it under the loop ; the 
 result being that the thread will 
 lie behind the thread and not be- 
 fore it, as in an ordinary buttonhole stitch. 
 
 Branched bars tig. ;o3 ). — Where you have a larger surface 
 
 Fig. 703. Branched bars. 
 
IRISH LACE 
 
 44: 
 
 to cover with bars, you are generally obliged to make them 
 with branches. For this purpose you prepare the threads as for 
 an ordinary bar and cover them halfway with buttonhole 
 stitches ; then you carry on the foundation thread to the next 
 bar, buttonhole it also halfway, lay the next foundation thread, 
 and finally buttonhole all the half-covered bars till you reach 
 the dotted line, from whence } r ou lay the last foundation 
 threads. 
 
 The last bar is worked over 2 or 4 threads, so that the 
 working thread can be taken back to the edge of the braid by 
 means of the last buttonhole stitches. 
 
 Plain Russian stitch (fig. 704). — Stitches of all kinds can 
 be used, as well as bars, for joining braids together that run 
 parallel to each other, and for 
 filling up the spaces between. 
 These stitches, which serve as 
 an insertion, are some of them 
 very elementary, whilst others 
 require great skill and patience 
 to execute. 
 
 The simplest of all is the 
 Russian stitch, which bears 
 a great resemblance to the 
 crossed stitch, shown infig. 3o,, 
 and the crossed back-stitch, 
 fig. 176. 
 
 You pass the needle from 
 left to right, under the edge 
 
 Fig. 704. Plain Russian stitch. 
 
 Fig. 705. Twisted Russian stitch. 
 
 of the braid, then again from right to left under the opposite 
 edge, taking care always to leave the thread in front of the needle. 
 Twisted Russian stitch (fig. ;o5. — Instead of passing 
 the needle behind the thread, 
 pass it before it and round 
 it, so that the needle always 
 come out again beneath 
 the thread, which will then be 
 twice twisted. 
 
 Column Stitch (fig. 706). — Fig. 706. Column stitch. 
 
446 
 
 IRISH LACE 
 
 
 ■UMMJN 
 
 Fig. - 
 Insertion of single buttonhole stitches. 
 
 At the bottom, the stitch is made like the plain Russian stitcr., 
 and at the top, like the one in fig. "job, with the difference 
 that the second thread is passed three times round the first. 
 
 Insertion of single but- 
 tonhole stitches (figs. 707 and 
 708;. — Make very loose but- 
 tonhole stitches along both 
 edges of the braid, all the 
 same size and the same 
 distance apart, and vertically, 
 opposite to each other. 
 
 When these two rows are 
 finished, pick up each loop 
 with Russian stitch, either 
 single, fig. 704, or twisted, 
 fig. 705. Fig. 708 shows the 
 double Russian stitch made in 
 each loop ; it may be trebled or 
 quadrupled, according to whe- 
 ther you wish your insertion 
 to be very transparent or not. 
 Insertion with b ead stitch- 
 es (fig. 709. — Join the oppo- 
 site rows of loops together by 
 four stitches. The threads of 
 these stitches must lie quite 
 flat, side by side, and not one 
 on the top of the other. After 
 the fourth stitch, you wind the 
 thread round the bottom loop and then carry it on to the next, 
 whence you repeat the four stitches as above. 
 
 Cluster insertion (fig. 710). — Over the middle of two 
 finished plain bars and one half-finished one, a short distance 
 apart, you make five buttonhole stitches and overcast the re- 
 mainder of the third bar. The first bar of the next cluster 
 must be set quite close to the last. 
 
 Insertion with branches (figs. 71 1 and 712). — Throw the 
 thread across the middle of the space between two edges of 
 
 Fig. _ - 
 Insertion of plain buttonhole stitche 
 
 Fig. 709. 
 Insertion with bead stitches. 
 
IRISH LACE 
 
 447 
 
 braid, and lengthways, from one end to the 
 other, pass the needle horizontally under four 
 or five threads of the braid, across the insertion ; 
 :hen earn* it in a similar manner, first to the 
 left and then to the right, take up the same 
 number of threads of the braid and connect 
 the three loops together by a knot, as is clearly 
 shown in fig. 711. 
 
 Fig. 712 represents a similar beginning, and 
 a similar interlacing of the threads, but orna- 
 mented this time with a wheel, added after 
 : e knot has been made over the loops. 
 
 Insertion with leaves in darning 
 stitch [fig. 7i3). — Fasten on the thread 
 
 Fig. - 
 
 insertion " 1 
 
 BRA> 
 
 Fig. - . 
 
 with bslamchb& ob 
 wheel; 
 
 Fig. -:':. bantu 
 
 WITH LEAVES WOKJlET 
 
 in dab-STsg st:t:- 
 
 where, according to the illustration, the first leaf in the ii 
 tion ought to come, carry it across to the opposite side, draw 
 it through the edge of the braid and bring it back to the p 
 whence it started, lay threads across to both sides, like in 
 figs. 711 and 712. unite them by a knot, such as desc: 
 in fig. 711, lay the thread once more round the m 
 leaf, and finish the leaf in darning stitch, working down* 1 .. 
 Irom the top. as described in the preceding chapter in figs, 
 and 647. A- may be seen from the second middle leaf, 
 
44 8 
 
 IRISH LACE 
 
 Fig. 714. 
 Insertion with small wheels. 
 
 Fig. 70. 
 Insertion with big wheels. 
 
 darning stitches have to he made over five threads, subdivided 
 
 into two and three. 
 
 Insertion with small wheels (fig. 714). — Here, vou have 
 
 to make two rows of Russian 
 stitches opposite each other 
 and carry the thread to the 
 point of intersection , then, 
 you make a wheel over five 
 threads and pass the needle 
 under the completed wheel to 
 reach the next point of inter- 
 section. Half wheels may also 
 be added at the edge of the 
 braid, as in figs. 658 and 669. 
 
 Insertion with big wheels 
 
 (rig. 7 1 5). — Carry the thread 
 horizontally across the middle 
 of the space intended for the 
 insertion, to the opposite side, 
 and then conduct it by means of overcasting stitches into the 
 corner; thence make a loose loop over to the opposite corner, 
 pass the needle under six or eight threads of the braid edge, slip 
 it under the horizontal thread first laid and behind the loop, 
 and finish the stitch on the other side in the edge of the braid. 
 
 Throw the thread again across the empty space and over 
 the first thread, bring your needle back to the middle, make a 
 big wheel over four threads, passing each time under the same 
 threads, then overcast the single thread, come back to the edge 
 of the braid and make the second loop, bringing out the thread 
 at the same place where the other stitches came out. 
 
 Insertion with cones (figs. 716 and 717). — Over plain 
 but very distended Russian stitch, iaake darning stitches back- 
 wards and forwards, beginning at the point and reaching to 
 the middle, so as to form small cone-shaped figures. 
 
 To reach the point of the next cone you overcast the thread 
 of the Russian stitch several times. 
 
 You may also, as in fig. 717, double the Russian stitch and 
 make the darning stitches in such a manner that the points of 
 
IRISH LACE 
 
 449 
 
 the cones touch each other and 
 their bases meet the edge of 
 the braid. The same thing, 
 worked the reverse way, that 
 is, with the points turned out- 
 wards to the edge, produces 
 a not less pretty effect. 
 
 Insertion ■with embroi- 
 dered squares (fig. 718). — 
 After making rows of loose 
 buttonhole stitches along the 
 braid edges, as in figs. 707, 
 708. 709, run a thread through 
 the buttonhole stitches ; this 
 thread serves as the founda- 
 tion to the Russian stitches by 
 which the two edges are joined 
 together. The empty square 
 ^pace left between the Russian 
 stitches is then filled up with 
 buttonhole stitches, like those 
 in fig. 65 1, in the foregoing 
 chapter. 
 
 Insertion with half bars 
 
 fig. 719). — Fasten on the thread in one of 
 the corners of the braid and conduct it by 
 means of overcasting stitches to the middle 
 of the insertion, draw it through the edge of 
 the braid on the right and make buttonhole 
 stitches over it, to the middle of the space to 
 be filled, then carry the thread to the left, draw 
 it through the left edge, a little higher up 
 than on the other side, and make the same 
 number of stitches over it as over the first. 
 You can vary this insertion with very good 
 result by making more stitches on one side 
 than on the other, but it should never be 
 more than 10 or 12 stitches wide. 
 
 Fig. 716. Insertion with cones. 
 
 Fig. 717. Insertion with cones. 
 
 Fig. 718. 
 Insertion with embroidered squares. 
 
 Fig. 719. Insertion 
 with half bars. 
 
4?o 
 
 IRISH LACE 
 
 Plain net stitch. First lace stitch K tig. 720). — Make rows 
 of buttonhole stitches to and fro, loose enough to form loops 
 into which the stitches of each subsequent row are set. You 
 must be careful to make the same number of stitches in all the 
 spaces that are of the same size, and also, when you begin a 
 
 Fig. 720. Plain net stitch. 
 First lace stitch. 
 
 Fig. 721. Double net stitch. 
 Second lace stitch. 
 
 row with a whole stitch, to begin the return row with a half, 
 
 and so on, in regular rotation. 
 
 The number of stitches should vary with the width of the 
 
 pattern and the decreasing and increasing should always be 
 
 done at the edge. 
 
 The loops must be as many threads of the braid edge long, 
 
 as they are wide. 
 
 Double net stitch. Second lace 
 stitch (fig. 721). — You leave the 
 same distance between the stitches 
 here as in the preceding figure, but 
 in each of the loops of the first row, 
 you must make two buttonhole 
 stitches close together. It is as well 
 to round the loop a little less than 
 is usually done in net stitch. 
 
 Third, lace stitch (fig. 722). — 
 Here, you make three buttonhole 
 
 stitches close together, joined to the next three by a loop of 
 
 thread, just long enough to hold the three buttonhole stitches 
 
 of the subsequent row. 
 
 Fig. 722. 
 Third lace stitch. 
 
IRISH LACE 
 
 43 I 
 
 Fourth lace stitch (fig. 723). — Working from left to 
 right, make two buttonhole stitches rather near together, and 
 leave twice as long a loop between them and the next two 
 stitches as between the two first. 
 
 In the next row, which is worked from right to left, make 
 one stitch in the loop between the two stitches that are close 
 together and three or four in the long loop. 
 
 Fig. 723. 
 
 Fourth lace stitch. 
 
 Fig. 724. 
 Fifth lace stitch. 
 
 Fifth lace stitch (fig. 724). — As in fig. 723, you begin 
 this stitch from left to right, but making three stitches very 
 close together with an intermediate loop as long as the three 
 stitches in one. 
 
 In the second row, you make one buttonhole stitch in each 
 of the loops between the three stitches and six or eight in the 
 long intermediate loop. 
 
 Sixth lace stitch (fig. 725). — 
 Over wide loops, made from left to 
 right in the first row, make in the 
 second, enough buttonhole stitches 
 entirely to cover the thread. 
 
 In the third row of stitches, put 
 the needle into the small loop be- 
 tween two sets of buttonhole stitch- 
 es, so that the close stitches shall 
 form vertical lines across the surface 
 
 tney COVer. Sixth lace stitch. 
 
402 
 
 IRISH LACE 
 
 This stitch admits of every sort of modification, such as, 
 for instance, making the third row of stitches on the but- 
 tonhole stitches, in the middle of the ones on the small loop ; 
 or making one row of close stitches first, and then three open 
 rows ; in the former case you should always make an uneven 
 number of buttonhole stitches, so that you have the same num- 
 ber on both sides of the needle, which you must put in between 
 the two threads that form the middle buttonhole stitch. 
 
 Seventh lace stitch (fig. 726). — Begin, working from right 
 to left, by making one row of pairs of buttonhole stitches, a 
 very short distance apart; in the second row you make one 
 
 <iiiii<iiiliiiiii:iili«<iiiini(.<iiiriii:Jii>7 
 
 » ii'iftfivwitunwittii'vimB 2 
 
 
 Fig. 726. 
 Seventh lace stitch. 
 
 'Fig. 727. 
 Eighth lace stitch. 
 
 outtonhole stitch between each of these pairs, and in the 
 third row, two buttonhole stitches in every long loop. Here, 
 the stitches must not be crowded together but have a small 
 gap left between them. 
 
 Eighth lace stitch (fig. 727). — This stitch is generally 
 known as the « pea-stitch » on account of the holes occasioned 
 by the different distribution of the stitches. 
 
 The first row consists of stitches, set rather closely together, 
 and all the same distance apart. In the second row, you make 
 one buttonhole stitch in the last stitch of the first row, then, 
 missing two loops and three buttonhole stitches, you make two 
 stitches in the next loops and so on. In the third row, you 
 make three stitches in the big loop, and one in the loop be- 
 tween the stitches of the second row. 
 
IRISH LACE 
 
 453 
 
 Ninth and tenth lace stitch (figs. 728 and 729). — Both, 
 the small and the big pointed groups of stitches, begin with a 
 row of close buttonhole stitches. 
 
 Fig. 728 requires three rows; in the second you miss two 
 stitches and make two in the next loops ; in the third, only one 
 stitch is introduced between the two loops of the lower row. 
 
 Fig. 728. 
 Ninth lace stitch. 
 
 Fig. 729. 
 Tenth lace stitch. 
 
 Fig. 729 requires five rows. The stitches of the first must 
 be set as closely together as possible ; in the second row you 
 make four stitches and miss two ot the first row, in the third 
 row you make three stitches, in the fourth, two and in the fifth, 
 one only. The long loops of the last row must not be too slack 
 so that the first stitches of the next scallop may quite cover them. 
 
 Eleventh lace stitch (fig. 73o). — This stitch is not really 
 
 more difficult to work than those we 
 have been describing, but requires 
 rather more attention to learn. 
 
 The first row consists of plain 
 net stitches ; in the second , you 
 have three buttonhole stitches in the 
 middle net stitch ; in the third, 
 three buttonhole stitches in the 
 whole loops on either side of the 
 three buttonhole stitches of the se- 
 cond row, and one stitch in the half 
 loops that precede and immediately 
 follow them ; the fourth row is similar to the second. 
 
 Fig. 7 3o. 
 Eleventh lace stitch. 
 
404 
 
 IRISH LACK 
 
 In the fifth row the close stitches are changed. The three 
 buttonhole stitches are made in the third whole loop, before 
 and after those of the fourth row, so that between two groups 
 of three stitches you have six single buttonhole stitches and 
 seven loops. 
 
 Twelfth lace stitch (fig. 73 1). — Fasten on your thread, 
 take it by overcasting stitches over the braid edge, half a 
 c/m. from the corner, and make three buttonhole stitches 
 downwards, quite close together. The next loops, over four or 
 six threads of the braid, must be left long enough to be on a 
 level with the first stitch reaching downwards from the edge. 
 
 In the second row, you cover the long loops with three 
 buttonhole stitches and draw the intervening thread quite tight. 
 
 
 
 m 
 
 ..;, : n'vv- 
 
 
 ■:•■•; 
 
 
 - 
 
 
 
 
 
 1 
 
 \ mi 
 
 Fig. 73i. 
 Twelfth lace stitch. 
 
 Fig. 732. 
 Thirteenth lace stitch. 
 
 The third row is like the first, with the difference, that you 
 put the needle in between the two threads of the buttonhole 
 stitch, instead of through the loops. 
 
 Thirteenth lace stitch (fig. 732). — The stitch here repre- 
 sented, as well as the two next ones are looped from left to 
 right and then again from right to left. 
 
 As it is more unusual to make the loops from left to right 
 than the reverse way, the proper position of the needle and 
 the course of the thread are shown in the illustrations. 
 
 Fig. 732 requires, in the first place, two buttonhole stitches 
 very close together in the edge of the braid , then a third 
 stitch covering the two first stitches and set quite close to them; 
 the connecting thread between these stitches must be tightly 
 
IRISH LACE 
 
 455 
 
 stretched so as to lie almost vertically, that the stitches may 
 form straight lines. 
 
 Fourteenth lace stitch (fig. 733). — This begins, likewise, 
 with two buttonhole stitches , above which you make two 
 
 Fig. 733. 
 Fourteenth lace stitch. 
 
 Fig. 734. 
 Fifteenth lace stitch. 
 
 buttonhole stitches instead of one, as in fig. 732, producing 
 an open ground with vertical bars. 
 
 Fifteenth lace stitch (fig. 734). — This resembles the two 
 foregoing stitches and consists of three buttonhole stitches, 
 made over the edge of the braid or the intermediate bars, and 
 joined together afterwards under one transverse stitch. 
 
 Sixteenth lace stitch (fig. 735). — You begin this by a 
 
 Fig. 735. 
 Sixteenth lace stitch. 
 
 Fig. 736. 
 Seventeenth lace stitch. 
 
 row of net stitches worked from right to left , or as the 
 engraving shows, by a row of stitches called « seed stitches ». 
 
456 
 
 IRISH LACE 
 
 The second row, worked from left to right, consists of 
 short bars, set slanting and shaped like a seed, and made the 
 same way as the picot in fig. 699. The first stitch is carried 
 through the loop of the row below, the second over both threads 
 and far enough from the loop to leave room for three other 
 stitches. The first of the four buttonhole stitches of the next 
 group must be set quite close to the last. 
 
 Seventeenth lace stitch (fig. 736). — Here we have the 
 same pattern as the preceding one without the row of net 
 stitches; the engraving shows us at the same time, the proper 
 direction of the needle and thread for the row that is worked 
 from right to left. 
 
 Eighteenth lace stitch (fig. 737). — This is the first of a 
 series of lace stitches, often met with in old Venetian lace, and 
 which can therefore with perfect right be called, Venetian 
 stitches. 
 
 Owing to the manner and order in which the rows of 
 stitches are connected and placed above one another, the)'' form 
 less transparent grounds than those we have hitherto described. 
 
 tlilHtlli<'>t>9'(fH>!>l)M;liMIIH.m>i» 
 
 Fig. 7 3 7 . 
 Eighteenth lace stitch. 
 
 Fig. 7 38. 
 Nineteenth lace stitch. 
 
 In these grounds you begin by making the row of loops, then 
 you throw a thread across on the same level and in coming 
 back, pass the needle through the row of loops under the 
 thread stretched across, and under the stitch of the previous row. 
 Nineteenth lace stitch (fig. 738). — The close stitch here 
 represented is more common in Venetian lace than the loose 
 stitch given in fig. 737. 
 
IRISH LACE 
 
 457 
 
 Twentieth lace stitch (fig. 739). — By missing some loops 
 of the close ground in one row and replacing them by the 
 same number in the next, small gaps are formed, and by a 
 regular and systematic missing and taking up of stitches, in 
 this way, extremely pretty grounds can be produced. 
 
 Fig. jSq. 
 Twentieth lace stitch. 
 
 Fig. 740. 
 Twenty-first lace stitch. 
 
 Twenty-first lace stitch (fig. 740). — These close lace 
 stitches, can be varied in all sorts of other ways by embroidering 
 the needle-made grounds. 
 
 In fig. 740, you have little tufts in darning stitch, and in 
 a less twisted material than the close stitches of the ground, 
 worked upon the ground. 
 
 If you use Fil a dentelle D.M.C 
 (lace thread) for the ground, you 
 should take either Coton a repriser 
 D.M.C (darning cotton), or better 
 still, Coton surfin D.M.C (*) for the 
 tufts. The ground can also be orna- 
 mented with little rings of button- 
 holing, stars or flowerets in bullion 
 or some other fancy stitch. 
 
 Twenty-second lace stitch (fig. 
 741). — For the above three stitches Fig. 741. 
 
 and the three that follow, the WOrk Twenty-second lace stitch. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
458 
 
 IRISH LACE 
 
 has to be held, so that the finished rows are turned to the worker 
 and the needle points to the outside of the hand. In the first 
 row, from left to right, take hold of the thread near the end that 
 is in the braid, lay it from left to right under the point of the 
 needle, and bring it back again to the right, over the same. 
 Whilst twisting the thread in this way round the needle with 
 the right hand, you must hold the eye of the needle under 
 the left thumb. 
 
 When you have laid the thread round draw the needle 
 through the loops ; the bars must stand straight and be of 
 uniform length. Were they to slant or be at all uneven, we 
 should consider the work badly done. 
 
 In the row that is worked from left to right, the thread 
 must be twisted round the needle, likewise from left to right. 
 
 jiitiiiiiiiiiiiitmiitmiiuiiiiuiJiHnii 
 
 *" ' V" HH »'*« WWMI'H rwvjt »H» 
 
 ■iiimmiliiiimmiiitiurft 
 
 • = 
 
 Fig. 742. 
 Twenty-third lace stitch. 
 
 Fig. 743. 
 Twenty-fourth lace stitch 
 
 Twenty-third lace stitch (fig. 742). — This is begun with 
 the same stitches as fig. 741, worked from right to left. You 
 then take up every loop that comes between the vertical bars 
 with an overcasting stitch, drawing the thread quite out, and 
 tightening it as much as is necessary after each stitch. You 
 cannot take several stitches on the needle at the same time 
 and draw out the thread for them all at once, as this pulls 
 the bars out of their place. 
 
 Twenty-fourth lace stitch (fig. 743). — This is often called 
 the Sorrento stitch. 
 
 Every group of three bars ot stitches is separated from the 
 next by a long loop, round which the thread is twisted in its 
 
IRISH LACE 
 
 4^9 
 
 backward course. In each of the succeeding rows you place the 
 first bar between the first and second of the preceding row, and 
 the third one in the long loop, so that the pattern advances, as 
 k were in steps. 
 
 Twenty-fifth and twenty-sixth lace stitches (figs. 744 
 and 745). — These two figures show how the relative position 
 of the groups of bars may be varied. 
 
 Fig. 744. 
 Twenty-fifth lace stitch. 
 
 Fig. 745. 
 Twenty-sixth lace stitch. 
 
 Both consist of the same stitches as those described in fig. 
 741. The thread that connects the groups should be tightly 
 stretched, so that the rows may 
 form straight horizontal lines. 
 
 Twenty -seventh lace stitch 
 'fig. 746). — Begin by making two 
 rows of net stitches, fig. 720, then 
 two of close ones, fig. 738, and one 
 row like those of fig. 741. 
 
 If you want to lengthen the bars, 
 twist the thread once or twice more 
 round the needle. You can also make 
 one row of bars surmounted by 
 wheels, as shown in fig. 765, then 
 one more row of bars and continue with close stitches. 
 
 Twenty-eighth lace stitch (fig. 747). — Between every 
 group of three bars, set close together, leave a space of a cor- 
 
 Fig. 746. 
 Twenty-seventh lace stitch. 
 
- 
 
 ?H LACL" 
 
 ■ - 
 
 it going through the loops, 
 cond r: ike three bars in the empty space, 
 
 ree be row and agair 
 
 the next empty spa:. s like the ii 
 
 Twent- nzntJi lace stitch 5g. 
 
 :e used :onholc 
 
 " : - - ~ i: ' _ . fi res. 
 
 ike bars from left 
 
 . - rather slack, so that 
 
 
 
 iiiiiii i\ 
 
 
 : 1 ■ 1 I fl 
 
 
 i t • i r a 
 
 
 VI 
 
 
 -_- 
 
 ":; ll~z ------ .:-. . -.:--.: : ::.-. re:-" ?.= - :: :r.e; 
 
 rounded. In the next row, you make the 
 : . - . \z .z.i .if: :: -z s_- : 
 
 needle, for the threads to form a 
 hexagon like a net mesh. 
 
 Thirtieth lace stitch .'fig. 74c 
 rem of pairs of buttonhole 
 
 :-':. it: : : - -. \ ::ze"e: : 
 long loops between, as lor z - 
 ~--:t ---.'.--.-' :he :=.::: :-.::~:ht 
 :r.rt=: i::: :: i- = - - --;:'- :"- = 
 extremities of the I fasten it 
 
 to ifae e : 2- of the braid and make 
 -_--. :: :: : _-:: r. r. :. ; =::::: es is .r. 
 the first row above it. 
 
IRISH LACE 
 
 _- : 
 
 The loops must be perfectly regular, to facilitate which, 
 guide lines may be traced across the pattern, and pins stuck 
 in as shown in the figure, round which to carry the thread. 
 
 Thirty-first lace stitch zi. -: : . — A: first sight this stitch 
 looks very much like the preceding one, but it differs entirely 
 from it in the way in which the threads are knotted. 
 
 You pass the needle under the loop and the laid thread, 
 then stick in the pin at the right dis:ir. ce for making the long 
 
 
 TniRTT-FiasT lace stitch. -.-si:: . : i :i st:t:h. 
 
 loop, bring the thread round behind the pin. make a loop 
 round the point of the needle, as shows in the engraving, and 
 pull up the knc:. 
 
 Thirty-second lace stitch £g. -f: . — T: :=::■■: dues =. 
 greater variety into lace stitches, netting can also be imitated 
 with the needle. You begin with a loop in the corner of a 
 square and work in diagonal lines. The loops are secured by 
 means of the same stitch shown in fig. jro, and the regularity 
 of the loops ensured, as it is there, by making them round a 
 pin, stuck in at the proper distance. The squares or meshes 
 must be made with the greatest accuracy ; that being the c 
 most of the stitches described in the preceding chapter can be 
 worked upon them, and the smallest spaces can be filled 
 delicate embroic . 
 
 Thirty-third lace stitch 5g - ; . . — This .-:.:: . a 1 1 e - 
 
 quently met with in the oldest Irish lace, especially in the kind 
 
 re the braids are joined together by fillings not bars. A: 
 
 3o 
 
462 
 
 IRISH LACE 
 
 first sight, it looks merely like a close net stitch, the ground 
 and filling all alike, so uniform is it in appearance, but on 
 a closer observation it will be found to be quite a different 
 stitch from any of those we have been describing. 
 
 The first stitch is made like a plain net stitch, the second 
 consists of a knot that ties up the loop of the first stitch. Fil- 
 lings of this kind must be worked as compactly as possible, so 
 that hardly any spaces are visible between the individual rows. 
 
 lrruiriimnimiittiininimiHiuiiT 
 
 vmwjiwniiffinri 
 
 gummi 
 
 Fig. ;52. 
 Thirty-third lace stitch. 
 
 Fig. 753. 
 Thirty-fourth lace stitch. 
 
 Thirty -fourth lace stitch (fig. 753). — To fill in a surface 
 with this stitch, known as the wheel or spider stitch, begin by 
 laying double diagonal threads to and fro, at regular distances 
 apart, so that they lie side by side and are not twisted. When 
 the whole surface is covered with these double threads, throw 
 a second similar series across them, the opposite way. The 
 return thread, in making this second layer, must be conducted 
 under the double threads of the first layer and over the single 
 thread just laid, and wound two or three times round them, 
 thereby forming little wheels or spiders, like those already 
 described in the preceding chapter in figs. 653 and 654. 
 
 Thirty-fifth lace stitch (fig. 754). — Begin by making a 
 very regular netted foundation, but without knots, where the 
 two layers of threads intersect each other. 
 
 Then, make a third layer of diagonal threads across the 
 two first layers, so that all meet at the same points of inter- 
 section, thus forming six rays divergent from one centre. With 
 
IRISH LACE 
 
 463 
 
 the fourth and last thread, which forms the seventh and eighth 
 ray, you make the wheel over seven threads, then slip the 
 needle under it and carry it on to the point for the next wheel. 
 
 Fig. 754. 
 Thirty-fifth lace stitch. 
 
 Fig. 755. 
 Thirty-sixth lace stitch. 
 
 Thirty -sixth lace stitch (fig. 755). — After covering all the 
 surface to be embroidered, with threads stretched in hori- 
 zontal lines, you cover them with loops going from one to the 
 other and joining themselves in the subsequent row to the 
 preceding loops. 
 
 The needle will thus have to pass underneath two threads. 
 Then cover this needle-made can- 
 vas with cones worked in close 
 darning stitches, as in figs. 648, 
 7 16 and 717. 
 
 Thirty-seventh lace stitch 
 fig. 756). — Here, by means of 
 the first threads that you lay, you 
 make an imitation of the Penelope 
 canvas used for tapestry work, 
 covering the surface with double 
 threads, a very little distance apart, 
 stretched both ways. The second 
 layer of threads must pass alternately under and over the first, 
 where they cross each other, and the small squares thus left 
 between, must be encircled several times with thread and then 
 buttonholed ; the thicker the foundation and the more raised 
 
 Fig. 756. 
 Thirty-seventh lace stitch. 
 
464 
 
 IRISH LACE 
 
 and compact the buttonholing upon it is, the better the effect 
 will be. Each of these little buttonholedjings should be begun 
 and finished off independently of the others. 
 
 Thirty-eighth, lace stitch (fig. 707). — Plain net stitch 
 being quicker to do than any other, one is tempted to use it 
 more frequently; but as it is a little monotonous some open- 
 work ornament upon it is a great improvement ; such for 
 instance as small buttonholed rings, worked all over the ground 
 at regular intervals. Here again, as in the preceding figure the 
 rings must be made independently of each other. 
 
 iiHii/liiinuiii.niriiiHimniiiiiiii 
 
 ^•^1 
 
 liiHii 
 
 Hffii(r/ii/i«niiiifi/(,inunr 
 
 Fig. 7? 7. 
 Thirty-eighth lace stitch. 
 
 Fig. 758. 
 Thirty- ninth lace stitch. 
 
 Thirty-ninth lace stitch (fig. 758). — Corded bars, 
 branching out into other bars, worked in overcasting stitches, 
 may also serve as a lace ground. 
 
 You lay five or six threads, according to the course the 
 bars are to take ; you overcast the branches up to the point 
 of their junction with the principal line, thence you throw 
 across the foundation threads for another branch, so that 
 having reached a given point and coming back to finish the 
 threads left uncovered in going, you will often have from six 
 to eight short lengths of thread to overcast. 
 
 Overcasting stitches are always worked from right to left. 
 
 Fortieth lace stitch (fig. 759). — Of all the different kinds 
 of stitches here given, this, which terminates the series, is 
 perhaps the one requiring the most patience. It was copied 
 from a piece of very old and valuable Brabant lace, of which 
 
IRISH LACE 
 
 465 
 
 it formed the entire ground. Our figure of course represents 
 it on a very magnified scale, the original being worked in the 
 finest imaginable material, over a single foundation thread. 
 
 In the first row, after the three 
 usual foundation threads are laid, 
 you make the buttonhole stitches 
 to the number of eight or ten, up 
 to the point from which the next 
 branch issues, from the edge of 
 the braid, that is, upwards. 
 
 Then you bring the needle 
 down again and buttonhole the 
 second part of the bar, working 
 from right to left. 
 
 A picot, like the one described 
 in fig. 701, marks the point where the bars join. More picots, 
 of the same kind may be added at discretion. 
 
 Wheel composed of buttonhole bars (figs. 760, 761, 
 762, 763). — As we have already more than once given direc- 
 
 Fig. 759. 
 Fortieth lace stitch. 
 
 Fig. 760. 
 
 Wheel composed of buttonhole bars. 
 
 Making and taking up the loops. 
 
 Fjg. 761. 
 
 Wheel composed of buttonhole bars. 
 
 The buttonholing begun. 
 
 tions for making wheels, not only in the present chapter, but 
 also in the one on netting, there is no need to enlarge on the 
 kind of stitches to be used here, but we will explain the course 
 of the thread in making wheels, composed of buttonhole bars 
 in a square opening. 
 
466 
 
 IRISH LACE 
 
 Fig. 760 shows how the first eight loops which form the 
 foundation of the bars are made. 
 
 In fig. 761 you will see that a thread has been passed 
 through the loops, for the purpose of drawing them in and 
 making a ring in addition to which, two threads added to 
 
 MiimitiiiiiiiilluiiMimifiimnmtiitfc 
 
 «tllIIMIJIIllllllllllHlltllMlliiliniHIH 
 
 «>iiiiitfiiiJiiiiif)imtiiifJHijfmuirji/i 
 
 z -r~ 
 
 2 1=1 
 
 iuiiintmniniiitiitiutiMiiiutuiiim, 
 
 a 
 
 Fig. 762. Fig. y63. 
 
 Wheel composed of buttonhole bars. Wheel composed of buttonhole bars. 
 Passing from one bar to the other. Bars. and ring finished. 
 
 the loop serve as padding for the buttonhole stitches; the 
 latter should always be begun on the braid side. Fig. 762 repre- 
 sents the bar begun in fig. 761 completed, and the passage of 
 
 the thread to the next bar, and 
 fig. 763 the ring buttonholed 
 after the completion of all the 
 bars. 
 
 Filling in round spaces 
 (figs. 764, 765, 766). — The 
 stitches best adapted for filling 
 in round spaces are those that 
 can be drawn in and tightened 
 to the required circumference, 
 or those that admit of the num- 
 ber being reduced , regularly, 
 in each round. 
 
 In tacking braids on to cir- 
 cular patterns, the inside edges, 
 as we pointed out at the beginning of this chapter, have to be 
 drawn in with overcasting stitches in very fine thread. 
 
 Fig. 764. 
 
 Filling in a round space with 
 
 net stitch. 
 
IRISH LACE 
 
 467 
 
 Fig. 764 shows how to fill in a round space with net 
 stitches. It will be observed that the loop which begins the 
 row, has the thread of the loop with which it terminates, 
 wound round it, which thread then passes on to the second 
 series of stitches. In the same manner you pass to the third 
 row after which you pick up all the loops and fasten off the 
 
 Fig. 765. 
 
 Filling in round spaces. 
 
 First circle of wheels begun. 
 
 Filling in round spaces. 
 The two circles of wheels finished. 
 
 thread by working back to the braid edge over all the rows 
 of loops, following the course indicated by the dotted line. 
 
 Fig. 765 shows how to finish a row of loops with wheels 
 worked upon three threads only. In the first row, you make a 
 wheel over each bar; in the second, you make a bar between 
 every two wheels ; in the third, the wheels are only made over 
 every second bar ; a fourth row of bars which you pick up 
 with a thread completes the interior of the circle, then you 
 work along the bars with overcasting stitches , fig. 766, to 
 carry the thread back to the edge of the braid where you 
 fasten it off. 
 
 Needle-made picots (figs. 767, 768, 769). — The edges 
 and outlines of Irish lace are generally bordered with picots, 
 which as we have already said can be bought ready-made 
 (see fig. 692). They are not however very strong and we cannot 
 recommend them for lace that any one has taken the pains 
 to make by hand. 
 
468 
 
 IRISH LACE 
 
 Fig. 767. 
 Connected needle-made picots. 
 
 0^ 
 
 Fig. 768. 
 Isolated needle-made picots. 
 
 In fig. 767, the way to make 
 picots all joined together is 
 described. You begin, as in fig. 
 752, by a knot, over which the 
 thread is twisted as indicated in 
 the engraving. 
 
 It is needless to repeat that 
 the loops should all be knotted 
 in a line, all be of the same 
 length and all the same distance 
 apart. 
 
 Fig. 768 represents the kind 
 of needle-made picots which most 
 resemble the machine-made ones, 
 and fig. 769 show us the use of 
 little scallops surmounted by pi- 
 cots, made in bullion stitch. 
 
 One or two rows of lace stitch 
 fig. 736, or the first rows of figs. 
 749, 75o, can also be used in 
 the place of picots. 
 
 Irish lace (fig. 770). — English braids or those braids 
 which are indicated at the foot of the engraving must be tacked 
 down on to the pattern and gathered on the inside edge, 
 wherever the lines are curved, as explained in fig. 693 ; in cases 
 however where only Lacet superfin D.M.C (*) is used, the 
 needle should be slipped in underneath the outside threads, so 
 that the thread with which you draw in the braid be hidden. 
 
 The braids are joined together where they meet with a few 
 overcasting stitches, as shown in the illustration. 
 
 Here, we find one of the lace stitches used instead of picots ; 
 the first row of fig. 736 always makes a nice border for Irish lace. 
 
 Irish lace (fig. 771). — This pattern, which is more compli- 
 cated and takes more time and stitches than the preceding one, 
 can also be executed with one or other of the braids men- 
 
 Fig. 769. 
 
 Buttonhole picots with picots 
 
 in bullion stitch. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
IRISH LACE 
 
 469 
 
 Fig. 771 . Irish lace. 
 
 Materials: Lacet surfin D.M.C No. 5, white or ecru and Fil d'Alsace D.M.C 
 
 Nos. 40 to i5o, or Fil a dentelle D.M.C Nos. 5o to i5o. 
 
470 
 
 IRISH LACE 
 
 tioned at the beginning of the chapter; but it looks best made 
 with a close braid. 
 
 The bars, which in the illustration are simply buttonholed 
 may also be ornamented with picots of one kind or another ; 
 the interior spaces of the figure on the left can be filled, 
 instead of with corded bars, with one of the lace stitches we 
 have described, either fig. 720, 721, or 732, any one of which 
 is suitable for filling in small spaces like these. 
 
 In the figure on the right, the ring of braid may be replaced 
 by close buttonhole stitches, made over several foundation 
 threads or over one thick thread, such as Fil a pointer D.M.C 
 No. 10 or 20 (*) to make them full and round. 
 
 You begin the ring on the inside and increase the number 
 of stitches as the circumference increases. 
 
 Fig. 772. Irish lace. 
 
 Materials: English braid with open edge. — For the lattice work: Fil d'Alsace 
 
 D.M.C in balls Nos. 5o to ioo or Fil a dentelle D.M.C Nos. 5o to ioo, white. 
 
 For the cord: Cordonnet 6 his D.M.C No. i5, ecru. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
IRISH LACE 471 
 
 Any of the stitches, from fig. 720 to fig. 743, can be intro- 
 duced here. 
 
 Irish lace (fig. 772). — Here we find one of the fillings 
 above alluded to, fig. 751, used as a ground for the flowers and 
 leaves. For the design itself some of the closer stitches de- 
 scribed in this chapter, should be selected. When the actual 
 lace, is finished you sew upon the braid a thin cord, made of 
 
 Fig. 773. Irish lace. 
 
 Materials — For the cord: Cordonnet 6 fils D.M.C Nos. i5 to 25. 
 
 For the bars and lace stitches : Fil a dentelle D.M.C No. 200. (*) 
 
 ecru Cordonnet 6 fils D.M.C, as described in the chapter on 
 different kinds of fancy work. Cords of this kind can be had 
 ready made, but the hand-made ones are much to be preferred, 
 being far softer and more supple than the machine-made. 
 
 Irish lace (fig. 773). — This lace, more troublesome than 
 the preceding ones to make, is also much more valuable and 
 
 '*, See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
47 2 IRISH LACE 
 
 effective. The ground is composed entirely of bars, like the 
 ones described in fig. 761, the branches, true to the character 
 of the work are worked in the close stitch represented in 
 fig. 755, and the flowers in double net stitch, fig. 721. 
 
 In working the above fillings, the thread must not, as in 
 lace made with braid, be carried on from one point to the other 
 by overcasting stitches along the braid edges, but should be 
 drawn out horizontally through the cord and back again the 
 same way, giving the needle in so doing a slightly slanting 
 direction. 
 
Venetian lace of the xvi century. 
 
 Laces of different kinds. 
 
 In general, to the uninitiated, the word « lace » signifies 
 exclusively the delicate and elaborate fabrics that owe their 
 origin to Venice and the Netherlands and were thence imported 
 into other countries. But besides Venetian, French, English, 
 Chantilly, Brussels, Sedan point, names familiar to every one, 
 there are all kinds of other laces, likewise of great antiquity, 
 and named as the above are, after the country they belong to. 
 
 As it would be impossible in these pages to give a compre- 
 hensive account of them all, we have restricted ourselves to 
 such as seem more especially suited to the amateur, to whom 
 needlework is a mere recreation and pastime. 
 
 Worked like the above-named entirely with the needle, 
 but much less elaborate and minute in character and workman- 
 ship, they are quicker and easier to make and we are sure that 
 by the help of the directions that accompany the illustrations, 
 any careful worker will be able to imitate them without dif- 
 ficulty. 
 
 Materials. — It will be observed that we do not bind our- 
 selves in the following directions to one size of cotton, that as 
 in point of fact, one and the same piece of work can be executed 
 in either fine or coarse cotton, we have only indicated the most 
 suitable kind of material to use: as for instance for Armenian 
 
474 
 
 LACES OF DIFFERENT KINDS 
 
 lace, Fil a pointer D.M.C (*) or Cordonnet 6 fils D.M.G (*), for 
 Smyrna or knotted lace, Fil a pointer D.M.G, Cordonnet 6 fils 
 D.M.C and Fil a dentelle D.M.C (*), for Reticella and Venetian 
 lace, Fil d'Alsace D.M.C (*), for Brussels lace, the finest num- 
 bers of Fil a dentelle and for pillow lace, any one of those 
 enumerated, excepting Coton a broder surfin. 
 
 Pillow lace and the necessary articles for its manu- 
 facture. — Pillow lace derives its name from the cushion or pil- 
 low on which all bobbin lace is made, which distinguishes it 
 from point lace, so-called because it consists of « points » or 
 stitches made with a needle and thread. 
 
 Various articles are required for the making of pillow lace; 
 in the first place a cushion or pillow, then bobbins and a 
 winder, parchment patterns, pins and a pricker. 
 
 The lace pillow (figs. 774, 775, 776). — The pillows used 
 for pillow lace are of different kinds and vary in shape with 
 
 where the country, 
 and the manner 
 in which the lace 
 is made. 
 
 Fig. 774 repre- 
 sents the shape in 
 use in the moun- 
 tains of Bohemia 
 and Saxony, where 
 pillow lace has al- 
 ways been one of 
 the chief industries 
 of the inhabitants, 
 pp Any one can make 
 a cushion of this 
 kind themselves 
 with a piece of 
 p^WBPIIIPmw stuff, 60 c/m. long 
 
 Fig. 774. The lace pillow. , . , rr-.i 
 
 and 40 wide. The 
 long sides are firmly sewn together and the short ones turned 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
 Th. de Dillmont, Encyclopedia of Needlework. In 8°. English bound, gilt edges. — Price : 3 sh. 
 
LACES OF DIFFERENT KINDS 
 
 4 7 5 
 
 in with a narrow hem through which you run a cord to draw 
 them up. A disc of stout cardboard is put inside the case after 
 you have gathered up the one end ; you then stuff the case as 
 full as possible with bran, sawdust or horsehair, lay a second 
 disc of cardboard in at the top and draw up the other end. 
 
 These pillows are then put into cardboard boxes with 
 rather high sides, or into a kind of basket, weighted at the 
 bottom, to keep it firm and steady. Pillows of this most 
 
 Fig. 775. Pillow with movable cylinder for making lace. 
 
 Fig. 776. Position of the bobbins and the work on the cushion fig. 775. 
 
 primitive kind have the great advantage of being perfectly easy 
 to make. 
 
 Fig. 775 represents a pillow of a more complicated kind, 
 which can be stood upon the table or mounted on a stand. The 
 cylinder is movable so that you can go on working without 
 interruption. 
 
 The whole apparatus consists of a board or stand, 5o c/m. 
 long and 40 wide, resting upon two transverse pieces of wood, 
 3 7» c/m. high behind and 1 c/m. in front. 
 
 The board should be covered, first with a very thick flannel 
 or Bath coating and then w r ith a fine dark green flannel or cloth. 
 
47^ LACES OF DIFFERENT KINDS 
 
 Two small supports are fixed on to the outside edge of the 
 stand to hold the cylinder, which consists of two discs that 
 revolve on a rod about 22 c/m. long. 
 
 This rod should be covered, in the first place with a thick 
 layer of tow and then with flannel or cloth. 
 
 On the left side of the cylinder is a cog-wheel and a metal 
 spring is attached to the board, by means of which the wheel 
 is prevented from turning the wrong way. 
 
 Fig. 776 shows how the bobbins are placed upon the pillow. 
 In Normandy a kind ot stuffed box is used instead of a pillow. 
 The board is 3 c/m. higher behind than in front and is deeply 
 grooved to hold the cylinder, which is stuffed and shaped like 
 the one represented in fig. 775. 
 
 This cylinder scarcely projects above the stand, a second 
 grooven in the back edge receives the laceas it is worked off the 
 cylinder. 
 
 The pillows used for Valenciennes lace are of again a diffe- 
 rent construction, but is it as not our intention in the present 
 work to describe the finer kinds of lace it appeared superfluous 
 to give any illustration of the pillows on which they are made. 
 
 Fig. 777. The bobbin (Jamnig's patent). 
 
 The bobbins (fig. 777). — A bobbin is a sort of little wooden 
 spool with a handle to it; there are several varieties of them 
 but we have confined ourselves to a representation of the 
 kind considered best for beginners. 
 
 As a considerable number are wanted for every pattern and 
 they are apt to slip about and get entangled in inexperienced 
 hands, they are now to be had with the handles weighted 
 with lead to steady them and counteract any independent 
 motion of their own. We cannot help again laying great stress 
 on the importance of seeing that the size of the bobbins and 
 the number of the cotton be well assorted to the kind of lace. 
 
 The -winder (fig. 778). — Every one who means to take 
 the work seriously should provide themselves with a winder, 
 as here represented, which is affixed to a polished wooden stand. 
 
LACES OF DIFFERENT KINDS 
 
 477 
 
 This stand has to be firmly screwed to the table and the 
 bobbin is squeezed in between the two little rods fitted into 
 the supports at the left end of the stand ; one of these rods 
 serves as the axle to the little wheel, the other can be drawn 
 in and out and fitted to the length of the bobbin. 
 
 Fig. 778. The winder (Jamnig's patent). 
 
 When the bobbin is fixed in its place, you take the thread 
 in the left hand and wind it round it, turning the wheel with 
 the right hand from right to left in the direction indicated by 
 the arrow. 
 
 The thread is wound round the handles of the bobbins that 
 are used for making very fine lace, and a wooden shield that is so 
 contrived that you can slip it over the handle prevents the thread 
 from getting soiled. 
 
 Stoppage of the thread 
 at the end of the bobbin 
 fig* 779)« — After cutting 
 off the thread, you make a 
 ioop close to the top of the 
 bobbin to prevent it from 
 unwinding too easily. This 
 loop is formed by taking the bobbin in the right hand, the 
 thread between the fourth and fifth fingers of the left hand 
 
 Fig. 779. Stoppage of the thread at the 
 end of the bobbin. 
 
 3i 
 
47 8 
 
 LACES OF DIFFERENT KINDS 
 
 and laying it away from you round the left thumb; then lifting 
 up the bottom thread with the second finger of the left hand 
 you pass the bobbin upwards from below through the loop on 
 the left hand. 
 
 Machine for crossing the threads (fig. 780). — This in- 
 genious little machine is of great assistance in making straight 
 running patterns and Irish lace braids, and is particularly 
 useful for Russian lace and braid lace of all kinds. 
 
 It renders the even crossing of the threads in those parts 
 of a pattern that imitate linen in texture comparatively easy. 
 
 Two implements 
 like combs, fitting 
 into one another, and 
 movable, are mount- 
 ed at two thirds ot 
 their length on a steel 
 axle. The long teeth 
 have holes bored 
 through the ends, 
 from the sides to 
 the middle of the 
 Fig. 780. points and through 
 
 Machine for crossing the threads (Jamnig's patent), these holes the 
 
 threads from the bobbins are passed. 
 
 The short teeth also are pierced with transverse holes, 
 through which a needle with the threads threaded in the long 
 teeth resting upon it, is passed. The points of the short teeth 
 are covered with a hollow metal cylinder, split through from 
 end to end, which can be removed when new threads have to 
 be added. 
 
 When the threads are all on, a small spring is fixed to the 
 two ends of the axle, which is independent of the machine, and 
 the two ends of the spring are introduced into the hollow of 
 the cylinder. 
 
 By the pressure you exercise on the teeth in the cylinder, 
 the long teeth change their position, the lower ones rise and 
 the upper ones fall and the threads cross each other, as in a loom. 
 After each movement of the machine, the bobbin that makes 
 
LACES OF DIFFERENT KINDS 
 
 479 
 
 the woof must be passed between the crossed threads; the 
 edges are made like those of any other kind of lace. 
 
 Fig. 781 explains how the bobbins are passed between the 
 threads that are held between the teeth of the machine. 
 
 Tiip 
 
 Fig. 781. Passage of the bobbins through the machine. 
 
 The pattern. — The pattern is one of the most important 
 things in making pillow lace. 
 
 The outlines must be clear and exact, as upon that in 
 great measure the perfection of the lace depends. 
 
 The drawing transferred to parchment, paper or cardboard, 
 usually of a yellowish tint, should be lined with a very thin 
 stuff such as muslin to prevent its tearing. 
 
 Fig. 782. Pricker and holder. 
 
 A stripe of quadrille, or point paper as it is called, should 
 be laid upon the pattern and then holes pricked with a me- 
 dium-sized needle at every intersection of the lines. 
 
 All the curved long lines of the pattern must first be traced 
 upon the point paper with ink and then pricked. 
 
4&o 
 
 LAGES OF DIFFERENT KINDS 
 
 The pattern should be adapted to the thickness of the 
 thread the lace is to be made of; for a coarse lace large point 
 paper should be used and small, for the finer kinds of lace. 
 The pricking of the pattern beforehand is particularly impor- 
 tant in the case of the common torchon lace, where the real 
 beauty of the design consists in its regularity ; in the case of 
 fine close patterns the pricking can only be done as you 
 proceed. 
 
 Prickers and holders of the kind represented in fig. 782 or 
 very much resembling it, are to be had at every stationer's shop. 
 
 Fig. 783. Posit 
 
 ION AND 
 
 OVE.MEMTS OF THE HANDS. 
 
 The holes made by the prickers are to receive the pins, 
 stuck in as you go along, round which you form and by which 
 these are kept in their place. 
 
 The pins must be long, with round heads and of a size 
 suited to the thread. When your pattern is ready fasten it to 
 the pillow or cylinder as the case may be, stretching it as 
 smoothly as possible and being careful in so doing to fit the 
 lines of the pattern together. If it be too long it must be cut 
 to the required length or you may make the cylinder bigger 
 by wrapping several folds of flannel round it. 
 
LACES OF DIFFERENT KINDS 
 
 4 8 
 
 The value of lace depends not only on the work but on 
 the thread it is made of; all the D.M.C cottons (*) can be re- 
 commended for lace-making and coloured laces of all kinds 
 are greatly improved by the addition of a little Chine d'or 
 D.M.C or Or fin D.M.C pour la broderie (*). 
 
 Position and movements of the hands (fig. 783). — Pil- 
 low lace is always made with two pairs of bobbins at once 
 and the « stitches » are formed by the different ways of pass- 
 ing, plaiting, crossing and twisting the threads. 
 
 To begin with the simplest operation, making a plait, hang 
 2 pairs of bobbins to a pin, take 2 bobbins in each hand and 
 lay the right bobbin of each pair over its left fellow and draw 
 up the threads slightly. Then take the bobbins in the 2nd, 3rd 
 and 4th fingers of the right hand and with the same 
 fingers of the left, lay the 2nd bobbin over the 3rd 
 with the 2nd and 3rd fingers of the left, so that 
 the two middle bobbins are crossed, then take the 
 4th bobbin in the 2nd and 3rd fingers of the right 
 hand and the bobbin that is now the 2nd, in the 
 3rd and 4th fingers of the left hand and lay the for- 
 mer over the 3rd, the latter over the 1st. This con- 
 stitutes a « half passing ». 
 
 The plait, fig. 784, is formed by the repetition 
 of the half passing. Two half passings make a whole 
 or « double passing ». 
 
 On the kind of lace you are making, depends 
 how many pairs of bobbins you will have to use. 
 But as one part of the lace is often made before the 
 other, or you have to put on supernumerary bobbins, 
 you fasten up those not in use on one side with pins, 
 as shown in fig. 783. 
 
 Net pattern or ground (figs. 785 and 786). — This Fig. 784. 
 consists of half passings, worked in rows to and fro ; Passing with 
 
 . • 1 r TWO PAIRS 0F 
 
 the pins are stuck in at the end of each row. bobbins. 
 
 The pattern, fig. 786, is fastened upon the pillow and 6 
 pins are stuck in at the top, at regular intervals from each 
 
 (*) See at the end of the concluding chapter, the table of numbers and size: 
 and the list of colours of the D.M.C threads and cottons. 
 
482 
 
 LACES OF DIFFERENT KINDS 
 
 other; hang one pair of bobbins on ever)' pin and lay the 
 
 second bobbin of each pair over its fellow, 
 so that the threads cross each other. 
 
 1 half passing with the 1st and 2nd 
 pair a= lay the 1st pair aside = 1 half 
 passing with the 2nd and 3rd pair = 
 lay the 2nd pair aside = 1 half passing 
 with the 3rd and 4th pair = lay the 
 3rd pair aside = 1 half passing with the 
 4th and 5th pair = lay the 4th pair 
 aside = 1 half passing with the 5th and 
 Fig- 7**5. 6th pair ss stick in a pin at point 2, 
 
 Pattern for net passing . then WQrk back frQm right tQ ^ = 
 
 surround the pin with a half passing 
 made with the 5th and 6th pair = lay 
 the 6th pair aside = 1 half passing with 
 the 5th and 4th pair = lay the 5th pair 
 aside = 1 half passing with the 4th and 
 3rd pairs = lay the 4th pair aside = 1 
 half passing with the 3rd and 2nd pair = 
 lay the 3rd pair aside = 1 half passing 
 with the 2nd and 1st pair = stick in a 
 pin at point 3 and repeat from the be- 
 ginning. 
 
 Fig. 786 shows the net ground com- 
 pleted; the thread that runs to and fro, 
 to make it more clear, is represented in 
 a darker shade than the others. 
 
 Before proceeding further, it is as well 
 to prepare our readers for the many 
 trials they will have to make, even with 
 the help of the most minute explanations, 
 before they succeed in carrying out the 
 directions ; for the whole art of making 
 pillow lace lies in a manual dexterity, 
 only attainable by practice. 
 
 Even copying the patterns from de- 
 scription is only possible at first in a qua- 
 
 Fig. 786. 
 Net ground. Completed. 
 
LACES OF DIFFERENT KINDS 
 
 lified sense; the surest way of attaining a satisfactory result 
 is by constantly comparing the drawing and the work in pro- 
 gress and wherever the latter does not correspond with the 
 former, trying at once to rectify the difference. 
 
 Linen or cloth ground. — The pattern used for net passing 
 can also be used for linen passing or ground but 7 pins, instead of 
 6, have to be stuck in at the top first. As in net passing, you 
 
 Fig. 787. 
 Pattern for plain hole ground. 
 
 work first from left to right, 
 running 2 threads to and fro 
 in perfectly horizontal lines, so 
 as to produce a ground resem- 
 bling linen in its texture. 
 
 The threads that run to and HI 
 fro are held at the edge with 
 rins and changed by a half §fj 
 
 passing, so that the one that Fig. 788. Plain hole ground. 
 was first in going, is first also in returning. 
 
 The use of the machine for crossing the threads is especially 
 
 to be recommended in working linen ground ; by pressing the 
 
 short branches of the machine, the position of the threads is 
 
 changed and the bobbin is pushed through ; by a second pres- 
 
 the second bobbin is driven through, the pin is stuck in 
 
484 
 
 LACES OF DIFFERENT KINDS 
 
 for the picot or the cord, when the bobbins are taken back 
 again, four movements being thus all that is required. 
 
 Plain hole ground (figs. 787 and 788). — Hole ground can 
 be worked in various ways ; we will begin by describing the plain 
 hole ground, which as a rule forms the ground of all torchon 
 laces. After fixing the pattern, as represented in fig. 787, up- 
 on the pillow, stick in 5 pins, hang 2 pairs of bobbins on to 
 each and throw the 2nd bobbin of each pair over its fellow 
 
 = 1 half passing with the 2nd 
 
 and 3rd pairs =put up a pin at 
 
 point 1 = 1 half passing with 
 
 the same pair = this encloses 
 
 the pin = lay the 3rd pair aside 
 
 = 1 half passing with the 2nd and 1st pair = put up a pin at 
 
 point 2 = enclose it with the same pairs = 1 halt passing with 
 
 the 5th and 4th pair — put up a pin at point 3 = enclose it 
 
 with the same pairs == lay the 5th pair aside = 1 half passing 
 
 Fig. 790. 
 Wheel in hole ground completed. 
 
LACES OF DIFFERENT KINDS 
 
 485 
 
 Fig. 791. 
 Pattern for rose ground. 
 
 with the 4th and 3rd pair = put up the pin at point 4 = 
 
 enclose the same = lay the 4th 
 
 pair aside = work on in the 
 
 same way over points 5 and 6 = 
 
 1 half passing with the 6th and 
 
 7th pair = put up the pin at 
 
 point 7 = enclose the same = 
 
 work on in the same way over 
 
 points 8, 9, 10, 11 and 12 = 1 
 
 half passing with the 8th and 9th 
 
 pair = put up the pin at point 3i 
 
 = enclose the same = work on 
 
 over points 14, i5, 16, 17, 18, 19 
 
 and 20 = 1 half passing with the 
 
 9th and 10th pair = put up the 
 
 pin at point 21 = enclose the same 
 
 and proceed as in the preceding 
 
 rows, from point 22 to 29. 
 
 Hole ground with twisted thread 
 is made in the same way we have 
 just been describing, only that 
 after every half passing enclosing 
 the pin, each pair of bobbins is 
 twisted once. A ground which is 
 worked in this way is stronger than 
 the other. Twisted hole ground is 
 seen again in figs. 792 and 794. 
 
 Wheels in hole ground figs. 
 
 789 and 790). — For the wheels, 
 which are often worked on pillow- 
 made grounds, 4, 6, 8 pairs of 
 bobbins, sometimes even more are 
 used (see likewise fig. 801). 
 
 In fig. 789, the wheel is work- 
 ed with the 4 middle pairs of bob- 
 bins. Each pair has first to be 
 
 twisted once = 1 linen passing with BHKHWBHHifflBl 
 the 3rd and 2nd pair = lay aside Fig. 792. Rose ground. 
 
4$6 LACES OF DIFFERENT KINDS 
 
 the 3rd pair = i linen passing with the 2nd and 4th pair = 
 lay both pairs aside = 1 linen passing with the 4th and 3rd pair 
 = lay aside the 4th pair = 1 linen passing with the 3rd and 2nd 
 pair = put up the pin at the next point and between the 2nd 
 and 3rd pair = 1 linen passing with the 3rd and 2nd pair = 
 lay aside the 3rd pair = 1 linen passing with the 2nd and 1st 
 pair= lay both pairs aside = 1 linen passing with the 4th and 
 3rd pair = lay the 4th pair aside = 1 linen passing with the 
 3rd and 2nd pair = the last passing completes the wheel, such 
 as it is represented in rig. 790. 
 
 Twist the pairs of bobbins again as you did before beginning 
 the wheel and then proceed with the plain ground. 
 
 Rose ground (figs. 791 and 792). — After preparing the 
 pattern, as in fig. 791, put up pins at <?, £, c, d, e, f, g, h and i 
 and hang on 2 pairs of bobbins to the first pin, and one pair 
 to each of the other 8= 1 half passing with the 1st and 2nd pair 
 = twist each pair once = take out the pin at point a and put 
 it up again at the same point between the pairs = enclose the 
 pin with 1 half passing = twist the pair once = lay the 1st pair 
 aside = 1 half passing with the 2nd and 3rd pair = twist the 
 pair again = take out the pin at b, put it in again at the same 
 point between the pair = enclose the pin = twist the pairs 
 again = lay the 2nd pair aside = 1 half passing with the 3rd 
 and 4th pair = twist the pair again = take out the needle 
 at c and put it in again at the same point between the pairs == 
 enclose the pin = twist the pair again = 1 half passing with 
 the 3rd and 2nd pair = twist the pair again == put up a pin 
 at point 1 = enclose the pin = twist the pair again = 1 half 
 passing w 7 ith the 2nd and 1st pair = twist the pair again = 
 put up a pin at point 2 = enclose the pin = work point 2 and 
 1 with the 3rd and 2nd pair = 1 half passing with the 4th and 
 5th pair = twist the pairs again = take out the pin at d and 
 put it in again at the same point between the pair = work 
 point e exactly like point d with the 5th and 6th pair — work 
 point 4 like point 3 with the 4th and 5th pair = work points 
 5, 6 and 7 in a slanting direction from right to left = carry 
 out point 8 with the 5th and 4th pair = lay both pairs aside 
 = work point 9 with the 3rd and 2nd pair = work point/. 
 
LACES OF DIFFERENT KINDS 
 
 487 
 
 like point e with the 6th and 
 7th pair = work point g like 
 point/ with the 7th and 8th 
 pair = then work points 1 o to 
 1 5 with the 6th and 7th pair 
 = point 16 with the 7th and 
 6th pair = point 17 with the 
 5th and 4th pair = point 18 
 with the 3rd and 2nd pair = 
 point h like point g with the 
 8th and 9th pair = point i 
 with the 9th and 10th pair 
 = points 19 to 26 with the 
 9th and 10th pair = point 
 27 with the 9th and 8th pair 
 = point 28 with the 7th and I 
 6th pair= point 29 with the | 
 5th and 4th pair = point 3o 
 with the 3rd and 2nd pair. 
 Proceed in this manner until 
 the whole ground be finished. 
 
 Double or ornamental 
 
 ground (figs. 793 and 794). — 
 This ground should be work- 
 ed in a comparatively fine 
 material ; we should recom- 
 mend Fil a dentelle D.M.C 
 Nos. 3o to 100. Put up pins j 
 at points a and g in the pat- 
 tern and hang on a pair of 
 bobbins = put up pins like- 
 wise at b, c, d, e and f and 
 hang on a pair of bobbins to 
 each = 1 half passing with the 
 2nd and 3rd pair = take out 
 the pin at point b and put it 
 in again between the pair at 
 the same place = enclose the 
 
 Double oh ornamental grou 
 
488 
 
 LACES OF DIFFERENT KINDS 
 
 pin with a half passing == i half passing with the 2nd and 1st 
 pair = put up a pin at point 1 = enclose the pin = 1 half pass- 
 ing with the 4th and 5th pair = take out the pin at point / and 
 put it in again between the pairs at the same place = enclose 
 the needle = 1 half passing with the 4th and 3rd pair = put 
 up a pin at point 2 = enclose the needle = 1 half passing 
 with the 3rd and 2nd pair = put up a pin at point 3 = enclose 
 the needle = 1 half passing with the 3rd and 4th pair = 1 
 half passing with the 2nd and 1st pair = put up a needle 
 at point 4 = enclose the needle = work point d like point c 
 with the 6th and 7th pair = 1 half passing with the 6th and 
 5th pair = put up a pin at point 5 = enclose the pin = work 
 over point e like point d with the 7th and 8th pair = 1 half 
 
 qgffl passing with the 7th and 6th pair 
 = put up a pin at point 6 = enclose 
 the pin = 1 half passing with the 
 6th and 5th pair = put up a pin 
 at point 7 = enclose the pin = 
 1 half passing with the 6th and 7th 
 pair = lay the 2 pairs aside = r 
 half passing with the 5th and 4th 
 pair, by which the threads are 
 made to cross each other in the 
 square = work over point/" as 
 over point e with the 10th and 
 1 ith pair = work over points 17 
 to 19 as over points 5 to 7 = 
 when the square is finished 1 half 
 passing with the 10th and 1 rth 
 pair = half passings between all 
 the squares. 
 
 Tulle ground (fig. 795). — 
 Prepare your pattern for the 
 ground represented here on a mag- 
 nified scale, by pricking holes at regular distances so as to 
 form diagonal lines intersecting each other, as shown in the 
 engraving, and set more or less closely together, according to 
 the thickness of the thread you use. 
 
LACES OF DIFFERENT KINDS 
 
 489 
 
 i half passing = put up the pin at the next point, twist both 
 pairs twice, but without enclosing the pin, and pass the inner 
 left thread over the inner left one = twist the two pairs again 
 = cross as before and so on. 
 
 Valenciennes ground (fig. 796). — The Valenciennes 
 ground is formed of little plaits for which 2 pairs of bob- 
 bins are used. These plaits are often used in other kinds 
 of lace as well, as may be seen for instance in figs. 801, 802 
 and 806 which are not Valenciennes patterns. 
 
 TIG. 70O. \ ALENCIENNES GROUND. 
 
 Fig. 797. Brussels ground. 
 
 According to the size of the squares the plaits are made with 
 either 4, 6 or 8 half passings, 2 pairs of bobbins being invariably 
 used. The plaits are joined by a half passing, made with the last 
 pair of the left plait and the first of the right = stick the pin 
 into the hole = enclose the pin by a half passing and work the 
 next plait on the left with the two left pairs and the next plait 
 on the right with the two right pairs. 
 
 Brussels ground (fig. 797). — For the sake of greater clear- 
 ness, this ground too has been worked and reproduced here on 
 a magnified scale. 
 

 LACES OF DIFFERENT KINDS 
 
 It is worked in diagonal lines, as follows: i double passing 
 2 pairs of bobbins = put up a pin at the next point = en- 
 . the pin with a double passing, twist both pairs each time 
 . and so on. This ground, when it is worked bv the hand 
 -tv fine thread, takes a long time to do and is therefore 
 D made by machinery. 
 
 Eternelle with two rows of holes tig. 798). — The so- 
 called « eternelle » laces have no de- 
 finite pattern ; they can be made of 
 any width, in the form of insertions 
 or edgings. 
 
 For a single row of holes, you 
 want 6 pairs of bobbins ; for two 
 rows, 7 ; for three. 9. adding two 
 pairs of bobbins for every additional 
 row of holes. The upper part of fig. 
 798 shows how the points are distri- 
 buted ; here 7 pairs of bobbins are 
 used. 
 
 Put up a pin at the topmost 
 point = hang on 2 pairs of bobbins 
 = 1 double passing = take out the 
 pin and put it in again between the 
 two pairs = tighten the pair = hang 
 on 1 pair of bobbins again on the left 
 = 1 double passing with the 1st pair 
 of the bobbins you hung on first and 
 with the new pair = push the double 
 passing close to the pin = twist the 
 first pair once and then lay it aside 
 = 1 double passing with the 2nd and 
 3rd pair that enclose the pin = hang 
 on 2 pairs of bobbins in the middle 
 = 1 double passing with both pairs 
 = lay the 5th pair aside = 1 double 
 ing with the 4th and 3rd pair = lay the 4th pair aside = 1 
 double passing with the 2nd and 1st pair = twist the 1st pair 
 once and lay it aside = 1 double passing with the 2nd and 3rd 
 
 Fig. 798. 
 -tz::elle with two hows 
 
 OF HOLES. 
 
LACES OF DIFFERENT KINDS 
 
 49 
 
 pair that enclose the pin = put up i pin at the 3rd lower point, 
 hang on 2 pairs of bobbins = 1 double passing with these bob- 
 bins = lav the 7th pair aside = * 1 double passing with the 6th 
 and 5th pair = lay the 6th pair aside = 1 double passing with 
 the 5th and 4th pair = lay the 5th 
 pair aside = 1 double passing with 
 the 4th and 3rd pair= lay the 4th 
 pair aside = 1 double passing with 
 the 3rd and 2nd pair = put up a pin 
 at the next point = 1 double passing 
 with the 2nd and 1st pair = twist 
 the 1 st pair once= 1 double passing 
 with the 2nd and 3rd pair, to en- 
 close the pin — lay the 3 first pairs 
 aside = 1 double stitch with the 4th 
 and 5th pair = lay the last two 
 pairs aside = 1 double passing with I 
 the 6th and 7th pair = put up a pin 
 at the next point = enclose the pin 
 with the last pairs .— repeat from *. 
 
 Lace with torchon ground and 
 edge in net ground fig. 799). — 
 Worked with 10 pairs of bobbins. 
 
 Put up a pin at * = make net 
 passings, fig. 786, to point 1 = put 
 up a pin at point 1 = enclose the 
 pin with the two last pairs on the 
 right = net passings to point 2 = put ■ 
 up a pin at point 2 = lay one pair ■ 
 
 ot bobbins aside = net passings to ^mmMmmWwmimVmm 
 point 3 = put up a pin at point 3 = FlG - 7 - J '?- 
 
 ■ , • • Lace with torchon ground and 
 
 :.ose the pin = net passings to 
 
 It 4 = put up a pin at point 4 Materials: Fil a pointer D.M.C 
 
 = lay one pair of bobbins aside = - N *°- 3 °. Cordonnet 6 fils d.m.c 
 net passings to point 5 = put up a ^^c'nC^o^ JSf 
 pin at point 5 = net passings, back or ecru. (* 
 
 ' See at the end of the concluding chapter, the table of numbers and sizes 
 the list of colours of the D.M.C threads and cottons. 
 
49 2 LACES OF DIFFERENT KINDS 
 
 to point 6 = put up a pin at point 6 = take up the bobbins 
 on the left again = i half passing with the ist pair on 
 the left = put up a pin at point 7= work the torchon ground, 
 at the top of the lace, as in fig. 788, with the 2nd and 
 3rd pair = 1 half passing with the 3rd and 4th pair = put 
 up a pin at point 8 = twist the ist and 2nd pair = 1 double 
 passing with the 1st and 2nd pair = put up a pin at point g 
 = 1 double passing with the 2nd and 3rd pair = lay the 2nd 
 pair aside = make hole or torchon stitch, fig. 788, with the 
 3rd and 4th pair = put up a pin at point 10 = work on to 
 point 1 1 in hole ground = put up a pin at point 1 1 = cross the 
 ist and 2nd pair on the left =put up a pin at point 12 = en- 
 close the pin = lay 5 pairs of bobbins aside on the left = take 
 up 5 pairs on the right = put up a pin at point i3 = net 
 passings with the 5 pairs on the right = take up, in addition, the 
 6th pair on the left = hole ground with the 5th and 6th pair 
 = put up a pin at point 14 = net passings to point i5 with 5 
 pairs of bobbins = put up a pin at point i5 = net passings 
 with 6 pairs of bobbins = take up a 7th pair of bobbins in 
 addition = hole ground with the 6th and 7th pair = put up a 
 pin at point 16 = net passings with 6 pairs of bobbins = put up 
 a pin at point 17 = net passings with 6 pairs of bobbins = put 
 up a pin at point 18 and then repeat from the first point * on 
 the left. 
 
 Pillow lace 'figs. 800, 801, 802). — We here give as an 
 example the same pattern of lace worked in two thicknesses 
 of thread; fig. 801 in Cordonnet 6 fils D.M.C No. 2 5 (*), fig. 
 802 in Fil a pointer D.M.C No. 3o (*), which is of course much 
 thicker. As this pattern is especially suitable for trimming 
 household articles, made of unbleached linen, such for 
 instance as table-covers, curtains and hangings of all kinds, we 
 prefer it made in the thicker thread ; even then it looks very 
 well as a trimming for articles of dress. 
 
 It is worked with 40 pairs of bobbins = hang them on one 
 after the other in a row = put up a pin at point 1 = twisted 
 linen passing = work all the pairs to point 2 with linen passing 
 
 * See at the end of the concluding chapter, the table of numbers and sizes 
 and the lis: ;f colours of the D.M.C threads and cottons. 
 
LACES OF DIFFERENT KINDS 
 
 49- 
 
 = put up the pin at the last pair = go back through 3 pairs 
 with linen passing = twist 2 pairs once = go back with linen, 
 passing through all the pairs to point 3 = twist each pair se- 
 parately = at point 4 twist the 2 pairs and put up the pin = 
 twist the last pair twice and so on and coming back to point 
 5 = put up the pin = come back again to point 6 = return 
 to point 7 = put up the pins at the two points. 
 
 tN FOR THE IE FIGS. 8oi A>D 8o2. 
 
 Divide the 3o other pairs into twos = put up a pin be- 
 tween even* set of two pairs = linen passing. The ground : 
 worked alike : twist the pairs twice = linen passing = put up the 
 pins = linen passing to points 6 and 7 = twist the threads in 
 taking them through = make a plait, fig. 796, for the scallop 
 point 8 = put up a pin at the point marked for the picot = pass 
 the thread of the outside bobbin from right to left, round the 
 pin, to form the picot = continue the plait to the next picot = 
 put up a pin = form the picot = continue the plait to point o 
 = connect the plait with the bobbins of points 9 and 7 = make 
 4 linen passings with 3 pairs = continue the plait = carry the 
 last pair to point 10 = twist the threads = make 1 linen passing 
 = put up a pin and enclose it = go on in this manner to point 
 
 32 
 
494 
 
 LACES OF DIFFERENT KINDS 
 
 Fig. 8oi. Pillow lace. 
 Material : Cordonnet 6 fils D.M.C No. 3o. 
 
 12 = make the wheel, as 
 in figs. 789 and 790, with 
 6 pairs of bobbins, hang- 
 ing on 4 new pairs at point 
 12 = work with twisted 
 linen passing = twist the 4 
 pairs once and cross with 
 linen passing = take the 
 last pair out from the mid- 
 dle to point 1 3, join it to 
 the first pair of the scal- 
 lop = make all the wheels 
 before continuing the 
 ground = then go back 
 from point i3 to 14 = 
 cross the pairs again = 
 at point 12 twist 4 pairs 
 = 2 twisted linen passings 
 right and left with the bob- 
 bins of points 14 and i5 
 = 1 twisted linen passing = 
 put up the pins and work 
 all the spiders alike. 
 
 Pillow lace insertion 
 (figs. 8o3 and 804). — Hang 
 on 12 pairs of bobbins. 
 
 Divide the bobbins and 
 put 2 pairs at point 1 = 
 put up a pin = twist once 
 = 2 linen passings = from 
 point 2 to point 8 = 5 
 twisted linen passings = 
 add one pair of bobbins = 
 put up a pin = add one 
 pair of bobbins = put up 
 (*) a pin = lay one pair of 
 
 (*) See at the end ot the concluding chapter, the table or numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
LACES OF DIFFERENT KINDS 
 
 495 
 
 bobbins aside = twist = 2 
 linen passings =5 twisted 
 linen passings to point 10 
 = 2 linen passings = twist 
 the 2 last pairs = go back 
 with linen passing through 
 2 pairs = join together with 
 the two pairs and the first 
 pair by means of a twisted 
 stitch = put up the pin = 
 lozenge stitch (for lozenge 
 stitch in which the lozenges 
 or close leaves are made, 
 you take 4 or 6 threads; 
 in the execution it resem- 
 bles the darning stitch re- 
 presented in figs. 646 and 
 647) to point 1 1 = twist at 
 point 12 = take 2 pairs 
 from point 10 = plait to 
 point 1 3 = twist with the 
 bobbins of point 1 = dou- 
 ble passing = plait on the 
 right, twist on the left = 
 put up the pin = tie up as 
 described. 
 
 Take the second pair at 
 points 1 3 and i5 = put up 
 the pin = 2 twisted double 
 passings on the right = 2 
 linen passings = twist the 
 2 latter = put up the pin 
 = at point 16 lay one pair 
 of bobbins aside = with a 
 simple passing go back 
 through 2 linen passings = 
 
 Fig. 802. Pillow lace. 
 Material: Fil a pointer D.M.G No. 3o. (*) 
 
 [*) See at the end of the concluding chapter, the table of numbers and sizes 
 *r.d the Jist of colours of the D.M.C thieads and cotton 
 
49 6 
 
 LACES OF DIFFERENT KINDS 
 
 join the latter and the former with linen passings put up the 
 pin at point 17 = lozenge stitch with the bobbins of points i5 
 and 1 7 to point 18 = connect the same at point 1 1 = carry on 
 the lozenge stitch to points 19, 20 and 21 = put up a pin at 
 each number and enclose with a linen passing = with the first 
 
 Fig. 804. Pillow lace insertion. 
 
 Materials . Cordonnet 6 fils D.M.C Nos. 25 to 5o, or Fil a dentelle D.M.C 
 
 Xos. 25 to ioo. (*) 
 
 pair of bobbins of point 21,2 linen passings to the left and 2 
 twisted linen passings, tfyat is to say, crossing the threads = 
 put up the pin at point 22. 
 
 Twist the threads from point 16 to point 23 = make a plait 
 from point i5 to point 23 = then join the two parts together 
 by half passings = put up a pin = twist the threads and make 
 plaits to point 24 = join the threads as at point 23. 
 
 On the left and with the first pair of point 19, 2 linen 
 passings = with the 2 latter 1 twisted passing = put up the 
 pin at point 25 = returning, 2 linen passings to point 26 = 2 
 linen passings to the left = with the 2 latter pairs 2 double 
 passings and put up the pin. 
 
 Pillow lace (figs. 8o5 and 806). —Hang on i4pairs of bobbins. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
LACES OF DIFFERENT KINDS 
 
 497 
 
 These are divided into 3 groups = 3 pairs at point i = put 
 up a pin = twisted linen passing = twist both pairs once = put up 
 the pin at point 3 == add on 5 pairs at point i = put up the 
 pin = go back through 3 pairs = twist the 2 last pairs = linen 
 passing = put up the pin at point 3 = twist both pairs = linen 
 
 Y v/ y ^w i-y cY \.W yT Y Y '-'/ Y~ 
 
 
 W " 7 \ ^~ — <"<.X Si. 
 
 
 Fig. 8o5. Pattern for pillow lace fig. 806. 
 
 Fig. 806. Pillow lace. 
 Material : Cordonnet 6 fils D.M.C No. 25. (*) 
 
 passings, as seen in the illustration, to the right and left as far as 
 point 1 1 = at point 1 3 intervert 6 pairs by a twisted linen passing 
 = make a plait at point 14 = put up a pin in the middle of the 
 same=pass through 2 pairs of bobbins with twisted linen passing 
 = put 1 pair of bobbins aside at point 22 = put up a pin at the 
 2 first pairs at point i5 = work the leaf in lozenge stitch 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 •he list of colours of the D.M.C threads and cottons. 
 
49$ LACES OF DIFFERENT KINDS 
 
 = put up a pin at point 16 near the first pair = twist both 
 pairs once = linen passing = put up the pin at point 17 = go 
 back in the same manner = work on in the same way to point 
 2 1 = put up the pin at point 22 = twisted linen passing to point 
 11 — tie up the first pair of the scallop with the bobbins of 
 point 1 1 = bring the last pair back and work as at point 1 = 
 then repeat and proceed in the same way to point 27 = twist 
 the 2 pairs up to point 26 = put up the pin = make one 
 lozenge stitch and join the plait stitch to point 28 = continue 
 the lozenge stitch to point 29 = join the bobbins of point 29 
 to those of point 21 by a plait = put up the pin = linen passing 
 = twist the two last pairs once = put up the pin = linen passing 
 = put up the pin at point 3 1 = twist both pairs once = 2 linen 
 passings = put up the pin at point 32 = 2 linen passings = tie 
 up the bobbins of point 33 with those of point 29 = plait 
 stitch = put up the pin = join to point 34 with lozenge stitch 
 = with the bobbins at point 28 make lozenge stitch to point 
 27 = put up a pin = twist 3 pairs once = make 2 linen passings 
 = join with linen passing = continue the scallop according to 
 the preceding description, from point 27 to point 35. 
 
 At point 34 make a leaf in lozenge stitch = put up the 
 pin = continue from point 33 to point 36 with twisted linen 
 passings = carry the first pair of bobbins of the lozenge to point 
 35 by means of 2 twisted linen passings = put up a pin in ths 
 middle of the 2 pairs = make a plait to point 2>- = cross the 
 pairs again as at point i3, in the beginning. 
 
 Pillow lace (figs. 807 and 808). — Worked with 3o pairs of 
 bobbins. — These are divided: 14 pairs at point l = put up a 
 pin on the left and right = with the last pairs make plaits to 
 point 12 = add 2 pairs = make a double passing as for a plait 
 = put up a pin in the middle of the pairs = plait with 2 pairs 
 of bobbins to point 3 = add 2 pairs of bobbins = make a 
 double passing as for the olait = put up a pin in the middle of 
 the pairs = then go on in the same manner to point 4 = add 
 4 pairs of bobbins = put up the pin = at point 5, add 2 pairs 
 of bobbins = make a plait = put up a pin and join to point 4 
 by a double passing. 
 
 At point 1, lay the two last pairs to the right = put up a 
 
LACES OF DIFFERENT KINDS 
 
 499 
 
 pin = make a plait to point 6 =add 2 pairs of bobbins = 1 dou- 
 ble passing = put up a pin = make a plait to point 7 with 2 pairs 
 
 Fig 808. Pillow lace. 
 
 Material: Fil a dentclle D.M.C 
 
 No. 5o. (*) 
 
 Fig. 807. 
 Pattern for pillow lace fig. 808. 
 
 of bobbins = add 2 pairs of 
 bobbins= 1 double passing = 
 put up the pin = make a plait to point 8 = add 4 pairs of bob- 
 bins = 5 linen passings = put up a pin at the last passing = at 
 point 9 add 2 pairs of bobbins = make a plait = put up a pin = 
 join to point 8 with linen passing = make plaits from point 9 to 
 point 10= put up a pin = leave the pairs hanging = 5 linen 
 
 " See at the end of the concluding chapter, the table of numbers and sizes 
 he list of colours of the D.M.C threads and cottons. 
 
- s 00 LACES OF DIFFERENT KINDS 
 
 passings with the bobbins of point 10 =put up the pin at point 
 
 1 1 = go back to point 10 with 5 passings = put up the pin = 
 make a plait and tie up the bobbins at point 6 = leave these 
 bobbins hanging down. 
 
 With the two first pairs at point 1 1, make a plait to point 
 
 12 = i linen passing at point 7 and join to point 12 by a plait 
 = plait stitch = put up a pin = then plait stitch to point i3 
 and make the same connection as at points 12 and 7 = con- 
 tinue to plait to point 14 = put up the pin at the first pair = 
 7 linen passings = leave these bobbins hanging down = tie up 
 the plait of point 5 with the 1 st pair of point 4 = make a plait 
 on the left = put up a pin at point i5 = make 5 linen passings 
 on the right and put up the pin at point 16 = make a plait to 
 point 17'= make the same connection as at point 7 and 12 = 
 the same connection also at point 18 = make a plait to point 
 19 = put up the pin = make a plaited lozenge with one pair 
 = leave 2 pairs hanging at point 20, left and right = continue 
 to point 21 = leave 2 pairs hanging, left and right = make a 
 plait to point 22 = begin again at point 17 and make a leaf in 
 lozenge stitch to point 23 =make a second leaf from point 16 to 
 point 23 = join the leaves at point 23 — make a plait with the 
 first pair of point 16 to point 24 = put up a pin = enclose it 
 with a double passing and make a plait = tie up the bobbins at 
 point 1 5 = continue the edge to point 26 = make a leaf in 
 lozenge stitch from point 32 to point 26 = tie up the bobbins 
 at point 26 and make linen passings with the united bobbins to 
 point 27 = with the bobbins of point 18 and point 20, there- 
 fore with 4 pairs, make a square in lozenge stitch = join the 
 3 leaves at point 23 = from point 23 to point 28 make a plait 
 with the two first pairs of bobbins = put up a pin at point 28 
 = make a plait with picots to point 29 = lozenge stitch from 
 point 32 to point 22 and point 33 = join to point 3o by a plait 
 = plait to point 22 = work from point 34 to 35 in the same 
 way as from point 1 to point 33 = at point 22 and point 35 
 the pairs cross each other. 
 
 Pillow lace (figs. 809 and 810). — Hang on 28 pairs of 
 bobbins. Begin at point 1 with a plait, fig. 790 = put up a 
 pin = * hang on 5 pairs at point 2 and put up a pin at the last 
 
LACES OF DIFFERENT KINDS 
 
 5oi 
 
 pair = with the last pair make a plait to point 3 * = hang on 
 a pair of bobbins = i linen passing = hang on a pair of bobbins 
 == i linen passing = hang on 3 pairs of bobbins = i linen 
 passing = 3 linen passings = put up a pin = i leaf in lozenge 
 
 Fig. 8og. Pattern for the lace fig. 8io. 
 
 Fig. 8io. Pillow lace. 
 
 Material : Fil a dentelle D.M.G 
 
 No. 5o. (*) 
 
 stitch to point 4 = hang on 2 pairs of bobbins = 2 plait stitches 
 = put up a pin = make a leaf to point 5 = hang on 2 pairs of 
 bobbins = i plait stitch == put up a pin = repeat in the reverse 
 order to point 3. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
502 LACES OF DIFFERENT KINDS 
 
 Put up a pin at point 9 = hang on a pair of bobbins = 1 
 linen passing = hang on a pair of bobbins = 1 linen passing = 
 hang on a pair of bobbins = make a plait to point 1 1 = put 
 up a pin = hang on 2 pairs of bobbins at point 12 = make a 
 plait and tie the threads together with those of point 11 = on 
 the left with 2 pairs, on the right with 3 pairs to point 1? 
 for the edge = put up 2 pins and continue the edge with 
 linen passings to point 14. 
 
 Return to point i5 and make a plait = put up a pin 
 = divide the bobbins and put one pair on the right, the other 
 on the left = take the bobbins at point 5 and 7 and make 
 plaits to points 16 and 17 = make linen passings with the two 
 pairs to point 18 = put up a pin and make a plait to point 21. 
 
 Make leaves in lozenge stitch from points 4 and 8 to points 
 19 and 20 = one leaf from point 16 to point 19 = make another 
 leaf to point 22 and one to point 21 = make the same leaves 
 on the left to points 20, 21 and 23 == cross the bobbins 
 at point 21 = make leaves from point 21 to points 24, 25 
 and 26. 
 
 Make lozenge stitch with picots, with 3 pairs of bobbins 
 from points 9 and 10 to point 22 = join the bobbins to leaf 
 22 = carry on the braid to point 26 = join 2 pairs of bobbins 
 to the leaf = leave the 2 pairs at point 28 hanging down = 
 carry on the braid to point 25. 
 
 Make a leaf at point 27 to point 14 = tie the threads to- 
 gether as at point 10 = carry on the edge to point 29 = put 
 up a pin = make a plait with picots to point 3o = tie up the 
 threads with those of leaf 28 = make a leaf to point 3i = in- 
 troduce the threads into the edge = put up a pin = tie the 
 threads together. 
 
 Make a plait on the left = leave 4 pairs of bobbins hanging 
 down on the right, 2 pairs for the plait and 2 for the leaf = 
 carry on the edge to point 32 = leave 2 pairs hanging for 
 another leaf == continue the edge to point 33. Make a plait 
 from point 21 to point 34. 
 
 Begin again on the left at points 1 and 2 and work, as on 
 the right, to point 35 = cross the threads at point 25 = linen 
 passing = distribute the pairs to point 36 = 2 pairs at point 37 
 
LACES OF DIFFERENT KINDS 
 
 5o3 
 
 = 2 at point 38 = 3 pairs at point 34 = plait to point 37 = 
 join to point 38 = continue the plait and join to points 36, 35, 
 39= at points 35,36, 37 lozenge stitch with every 2 pairs of 
 bobbins to point 40 = then join the next 6 pairs together = 
 and work on with lozenge stitch to point 41 = work exactly 
 in the same manner at points 3i, 32, 34, 35, 39, 42 as at 
 points 36, 37, 38, 40 to 41 = at point 41, all the threads are 
 interwoven, and then divided into 3 sets = continue the 
 leaves to points 45, 46 and 47. Then repeat in the reverse 
 order from points 3i, 38, 25, 32 and 39. 
 
 Armenian lace (figs. 811 and 812). — The dresses of the 
 
 Turkish women are often 
 ornamented with flowers 
 and leaves, executed in 
 needlework which take the 
 place of fringe and braid 
 trimmings and are often 
 even employed as adorn- 
 ments for the neck and 
 
 Fig. 811. Armenian lace. . , , 11^. 
 
 „.. . rs », r- xt , arms instead of necklets 
 
 Materials : Fa a pointer D.M.C Nos. 10 to 3o, 
 
 Zordonnet 6 fiis d.m.c Nos. 1 5 to 40 or and bracelets in metal 
 
 Fil a dentelle D.M.C Nos. 25 to 70. work ; though, as such, 
 
 Clours: Ecru and Brun-Caroubier 3o3. (*) they do nQt always aCCOrd 
 
 with our Western 
 notions of good taste, 
 the Armenian work 
 is in itself, both suf- 
 ficiently interesting 
 and easy of execu- 
 tion, to deserve de- 
 scription here a- 
 mongst other kinds 
 of needlework that 
 are adaptable to use. 
 
 Fig. 812. Working detail of fig. 811. Jj rnav be imitated 
 
 with capital effect in strong stiff washing materials, such as those 
 
 I*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
304 LACES OF DIFFERENT KINDS 
 
 indicated in our illustration, either upon a linen or cotton 
 foundation or upon plush or silk. 
 
 The thread is first drawn into the edge of the stuff; you then 
 carry it from right to left, determine the length of the squares, 
 and working from left to right make on this first thread as 
 many knots as you have room for. 
 
 Fig. 812 shows the formation of the knot, the manner in 
 which the thread, passing from left to right, forms a loop, and 
 how to pass your needle under the straightly extended thread 
 and through the loop. You leave a space of one or two m/m. 
 between the knots, according to the thickness of the thread you 
 are using. Having covered the first thread with knots, you re- 
 turn to the edge for the next row of knots, but passing your 
 needle this time under three threads. 
 
 The number of knots should be the same in each row, 
 and the four sides of the square should be all equal. 
 
 When the squares are finished they are edged with picots 
 on the two lower sides, as shown in fig. 812. 
 
 Thread of two colours was used for fig. 811, the squares being 
 worked alternately in Ecru and Brun-Caroubier and the picots, 
 all in the latter colour. 
 
 Lace and insertion in knotted stitch (fig. 81 3). — Except- 
 ing in the case of the returning thread, the same stitches are 
 used for the pretty border and insertion given in fig. 81 3, as 
 for the Armenian lace. 
 
 The stitches that form the insertion are attached, on both 
 sides, to an English braid, something of the nature of Rhodes 
 linen, which is open-worked before the knotted work upon it 
 is begun. 
 
 As in the preceding figure , two colours are used alter- 
 nately, the change from one to the other is distinctly marked 
 in the engraving. 
 
 The outside edge consists of light scallops, formed by 
 the regular increase and decrease of the stitches. The original 
 piece of work from which our drawing was taken, forms the 
 border of a dark blue plush carpet ; the red and e'cru hues 
 of the lace harmonize exceedingly well with the soft colour 
 of the plush. 
 
LACES OF DIFFERENT KINDS 
 
 5o5 
 
 Fig. 81 3. Lace and insertion in knotted stitch. 
 
 Materials : Fil a pointer D.M.G Nos. 10 to 3o, Cordonnet 6 fils D.M.C Nos. 10 
 
 to 25, or Fil a dentelle D.M.C Nos. 25 to 5o. 
 
 Colours : Ecru and Rouge-Cardinal 346. (*) 
 
 Insertion in knotted stitch (figs. 814 and 81 5). — This 
 kind of work, similarly composed of knotted stitches, can be 
 used instead of crochet insertion or single and cut open- 
 work in linen. It looks exceedingly well as a trimming for bed 
 and table linen and is executed on foundation threads or cords, 
 which connect the different figures together, with closely con- 
 nected rows of knots between. 
 
 Insertion in knotted stitch (figs. 816 and 817). — The 
 mode of making the insertion in knotted stitch, which is repre- 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
5o6 
 
 LACESOF DIFFERENT KINDS 
 
 Fig. 814. Insertion in knotted stitch. 
 
 Materials: Fil a pointer D.M.G No. 3o, Cordonnet6 tils D.M.C Nos. i5to3o, 
 
 or Fil a dentelle D.M.C Nos. 25 to 5o. (*) 
 
 Fig. 8 1 5. Working detail of fig. 814. 
 
 sented in the two accompanying engravings, is supposed to be 
 of Italian origin, but we have met with quite as perfect spe- 
 cimens of work done in the same way, which were the products 
 of Persia and Asia Minor. We have called it by the same name 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
LACES OF DIFFERENT KINDS 
 
 507 
 
 as the preceding patterns, for even the way in which the stitch 
 is worked is almost the same. Through some slight difference 
 however in the interlacing of the threads, shown by the open 
 
 Fig. 816. Insertion in knotted stitch. 
 Materials: The same as for fig. 814. (*) 
 
 mmmmMmMm 
 Fig. 817. Working detail of fig. 816. 
 
 loops in fig. 817, the stitches lie closer together and are alike 
 jn both sides of the work. 
 
 * See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
5o8 
 
 LACES OF DIFFERENT KINDS 
 
 No difficulty will be found in making out the course of the 
 rows ; it is best to begin by the two rows of stitches that 
 form the perpendicular bars and make the stitches, that com- 
 pose the 4 staves between the bars next. For the little picots 
 see fig. 700. 
 
 Lace in knotted stitch (tigs. 818 and 819). — This charm- 
 ing little lace, which is of Italian origin, was taken from a 
 
 Fig. 818. Lace in knotted stitch. 
 
 Materials: Cordonnet 6 rils D.M.C 
 
 Nos. 10 to 25 or Fil a dentelle D.M.C 
 
 Nos. 20 to 5o. (* 
 
 m 
 
 Fig. 819. 
 Working detail of fig. 818. 
 
 cushion cover, used for church purposes. The stitches, made in 
 the order indicated in the working detail, fig. 819, are overcast 
 at the last with a fleecy thread, such as Coton a repriser D.M.C, 
 
 Fig. 820. Reticella lace. 
 
 Materials — For the open-work: Cordonnet 6 fils D.M.C Nos. 10 to 100, 
 or Fil a dentelle D.M.C Nos. 25 to i5o, white or ecru. 
 For the bars: Lacets superfins D.M.C Nos. 3 to 8. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
LACES OF DIFFERENT KINDS 
 
 509 
 
 of a rather sober colour, such for instance as Bleu-Indigo 
 334, Rouge-Geranium 352, or Jaune-Rouille 363. 
 
 You overcast the slanting bars and pass over the stitches 
 that connect the two picots. 
 
 Fig. 821. Working detail of fig. 820. 
 
 Reticella lace (figs. 820 and 821). — The Reticella laces 
 are generally made on a design traced upon parchment, simi- 
 lar to those required for the laces described later on. But 
 as the manner of working has been modified in the lace repre- 
 sented here, we thought it as well to adopt the same simpli- 
 fication, often used in beautiful pieces of old needlework, which 
 consists in substituting a braid made upon a pillow, for the 
 bars made with the needle. 
 
 33 
 
5 1 o 
 
 LACES OF DIFFERENT KINDS 
 
 Fig. 823. Venetian lace. 
 
 You begin by laying 
 and fastening down the 
 braid by means of very 
 small stitches upon the 
 lines of the pattern, which 
 should be traced upon 
 black paper ; you next 
 proceed to make the cen- 
 tre bars, covered with 
 plain buttonhole stitches, 
 on which you mount a 
 row of stitches, like those 
 of fig. y55 ; these are fol- 
 lowed by another bar, 
 to make which, you pick 
 up the loop y of the stitches 
 of the preceding row and 
 by another row like the 
 second , finished off with 
 picots, like those illus- 
 trated in fig. 700. The 
 bases of the pyramids like- 
 wise consist of bars, but- 
 tonholed on both sides 
 and edged on the inside 
 with picots. 
 
 The stitches of the 
 first row should not be 
 too close together, that 
 there may be room for 
 those of the second row 
 between, as w r e have al- 
 ready explained in fig. 
 702 , in the chapter on 
 Irish lace. 
 
 The inside of the py- 
 ramids is worked in the 
 stitch represented in fig. 
 
LACES OF DIFFERENT KINDS 
 
 5l I 
 
 Fie 825. Venetian lace. 
 
 755, the picots round 
 them are like the ones 
 in fig. 599. 
 
 The lace, represented 
 in fig. 820 in its origi- 
 nal size, was worked in 
 Fil adentelleD.M.CNo. 
 80, whilst the second 
 engraving, representing 
 the same subject, shows 
 us how perfectly well it 
 can also be made in hea- 
 vier and coarser mate- 
 rials, these being in this 
 instance, Lacets superfins 
 D.M.C No. 4and Cordon- 
 net 6 fils D.M.C No. 20. 
 
 Venetian laces (figs. 
 822, 823, 824, 825,826, 
 827, 828). — Under the 
 name of « Venetian point » 
 are comprised, not only 
 certain kinds of pillow 
 lace, but even more ge- 
 nerally , the beautiful 
 needle-made lace, the out- 
 lines of which are bor- 
 dered with handsome 
 scallops in high relief. 
 
 We shall confine our 
 attention in the present 
 instance to the needle- 
 made Venetian lace as the 
 other can be learnt with- 
 out any great difficulty by 
 following the instructions 
 already given for the 
 making of pillow lace. 
 
5l2 
 
 LACES OF DIFFERENT KINDS 
 
 Fig. 827. Venetian lace. 
 
 The preparation of the 
 pattern, in most kinds of 
 needlework, is a most 
 important matter and one 
 requiring the greatest 
 care, but in the case of 
 needlemade lace and pil- 
 low lace the processes are 
 different. 
 
 The paper on which 
 the design is traced must 
 first be backed or lined 
 with unglazed black pa- 
 per (made specially for 
 this purpose). Prick holes 
 all along the lines of the 
 pattern, at exactly the 
 same distance from each 
 other, remove the tracing 
 and tack the black paper 
 upon rather coarse linen. 
 
 This done, you take 
 from three to five lengths 
 of the thread of which 
 the lace is to be made, 
 lay them down together 
 upon the lines marked 
 by the prickings and se- 
 cure them at each hole 
 by a stitch made over 
 the threads. 
 
 Fig. 822, with the 
 others of the same series 
 in their natural size, show 
 the proper distance that 
 should be left between 
 the prickings, and the lay- 
 ing down of the threads 
 
LACES OF DIFFERENT KINDS 
 
 5i3 
 
 begun; whilst in fig. 823, we have the threads laid down 
 
 throughout, even for the little eyelet holes, which are to be 
 
 openworked afterwards. 
 
 When all this preliminary work is finished, the pattern is 
 
 ready for the lace stitches that are to form the filling in, be- 
 tween the raised outlines. 
 In order to keep your 
 work perfectly clean and 
 preserve it from unneces- 
 sary contact with your 
 fingers, cover all those 
 parts of the pattern you 
 are not immediately en- 
 gaged on, with a piece of 
 blue paper with a hole, 
 about the size of a pea, 
 cut in it. This you move 
 along as you go, working 
 only at the part of the 
 pattern which is visible 
 through the hole, keeping 
 all the rest carefully co- 
 vered up and sewing pa- 
 per over each part as 
 
 Fig. 828. Venetian lace. socm as it is finished ; 
 
 Materials — For the open stitches : Fil a den- . • u i j u 
 
 . 11 r, m r m . this should not be re- 
 
 telle D.M.C Nos. ioo to 200. 
 For the outlining and for the padding : Coton moved until yOU are ready 
 
 surfin D.M.C Nos. 120 to i5o. (*, t o join all the separate 
 
 parts together with bars or latticed ground and work the but- 
 tonhole edges. 
 
 All the different lace stitches that are used as fillings must 
 be begun and fastened off at the outline threads, which you 
 must be careful not to drag out of their place. 
 
 We again remark, for the benefit of those of our readers 
 who may not have read the preceding chapter attentively, that 
 in working all the finer lace stitches, the needle should be held 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
314 
 
 LACES OF DIFFERENT KINDS 
 
 with the eye towards the 
 wards. All the inside por- 
 tionsof the pattern have to 
 be worked in separately ; 
 for a choice of stitches to 
 serve as fillings see figs. 
 720 to 762) until all the 
 spaces are filled, as repre- 
 sented in figs. 825 and 826. 
 The stitches should be 
 selected as far as possible, 
 to suit the style of the de- 
 sign. Flowers look best 
 worked in an open or lat- 
 tice stitch, leaves on the 
 other hand in a thick 
 close stitch. 
 
 When all the insides 
 are done, the edges and 
 outlines have to be closely 
 buttonholed. 
 
 The old Venetian laces 
 are bordered with scallops 
 in high relief,worked over 
 athick pad of laid threads, 
 as described on p. 83, fig. 
 191, relating to Venetian 
 embroidery. 
 
 Venetian lace with 
 net ground (fig. 829). — 
 The outlining of the fig- 
 ures with several strands 
 of Coton surfin D.M.C, 
 should, in the case of de- 
 tached pieces of lace, be 
 done at once, but where 
 the figures are connected 
 by bars or by a net 
 
 worker and the point turned out- 
 
 Fig. 829. Venetian lace with net ground. 
 
 Materials — For the open stitches : Fil a den- 
 
 telle D.M.C Nos. ioo to 200. — For the outlining ; 
 
 Coton surfin D.M.C Nos. 120 to i5o. 
 
LACES OF DIFFERENT KINDS 
 
 DID 
 
 ground as in fig. 8-25, the buttonholed outlines should be done 
 ^ast. Thus in making the lace, fig. 829, you should begin by 
 working all the insides of the flowers and foliage, then the net 
 ground which may be replaced by bars with picots and then 
 only proceed to the outside buttonholing and the scallops. 
 
 As all this kind of lace-work is very laborious and takes a 
 long time to do, we advise our readers to use thread that is 
 slightly tinted; in the first place it does not turn yellow as 
 white thread is liable to do and secondly, being softer and 
 less twisted it takes every bend and turn more readily than 
 the stiffer white material does. 
 
 Of all the different kinds 
 of thread, so frequently al- 
 luded to in these pages, the 
 higher numbers of Fil d'Al- 
 sace D.M.Cand Fil a dentelle 
 D.M.C are the best for the 
 finer kinds of lace, and they 
 all have the soft ivory tint, 
 we so admire in the old 
 needlework. 
 
 Spray in needle-point 
 
 (fig. 83o). — Needle-point 
 lace, also called Brussels lace, 
 requires the same prepara- 
 tory work as Venetian lace ; 
 but it seldom contains such 
 a variety of stitches and open- 
 work as the latter. 
 
 ti_ £i n Fig. 83o. Spray in needle-point. 
 
 I he flowers are general v u c- .u . u r- • 
 
 o J Materials — For the open stitches : Fu a 
 
 worked in one of the Stitches, dentelle D.M.C No. 200. — For the outlining: 
 
 represented in figs. 720 and Coton sorfin D.M.C Nos. i2otoi5o.(*) 
 
 -40; the outlines are less thickly buttonholed and the stitches, 
 set everywhere less closely. 
 
 Here also, the finished parts should be carefully covered 
 with paper to keep them from getting soiled. 
 
 See at the end of the concluding chapter, the table of numbers and 
 •he list of colours of the D.M.C threads and cottons. 
 
5 10 LACES OF DIFFERENT KINDS 
 
 The needle-point lace designs are ordinarily speaking 
 more realistic and as regards the composition, less artistic 
 and severe than the Venetian point ones. 
 
 The spray, represented in our engraving, is a specimen of 
 an ordinary Brussels lace pattern and of the stitches it is 
 worked in. 
 
 
Applique work on satin set with fine cord. 
 
 Miscellaneous fancv work. 
 
 As the plan on which this book was constructed rendered 
 a systematic classification of the different subjects it treats of 
 necessary , a certain amount of miscellaneous fancy work, 
 which does not come under any of the previous headings 
 remains to be dealt with in the present chapter. In most 
 cases the illustrations and the accompanying directions are but 
 an application to a practical use of the different kinds of stitches 
 already described in previous chapters and those who are 
 familiar with all these various branches of needlework will have 
 no difficulty in understanding what follows. 
 
 Knotted cord (figs. 83 1, 832, 833, 834, 835). — The knotted 
 cord referred to in the letter press belonging to figs. 775 and 
 776 in the chapter on Irish lace, comes under the present 
 heading : in making it, the fingers take the place of a crochet 
 needle. 
 
 You tie two ends of thread or braid together, take one 
 thread in the left hand fig. 83 1, and with the forefinger of the 
 right, pull out a loop long enough for the left forefinger to 
 pass through and hold the end of the thread tight with the 
 little finger of the right hand. 
 
 Then draw the left forefinger backwards through the loop 
 and behind the thread that is round the loop and lies in the 
 left hand, fig. 832. As you lay the thread round the left fore- 
 
i8 
 
 MISCELLANEOUS FANCY WORK 
 
 or, you must pass the knot and the ends of thread as well, 
 over into the left hand, and with the right hand pull the 
 thread that lies on the right and draw up the loop, fig. 8 
 
 Fig. 85;. Knotted ; rd. First position of the hands. 
 
 F::- B3a Kmottbb ::t-z Secohd position »f the hands. 
 
 .-:: 833. Knotted cord. Third posmos of the hasds. 
 
 In fig. 83.)., representing the fourth position of the hands, 
 you are shown how the forefinger of the right hand lifts up the 
 thread and passes through the loop on the left hand; the end 
 will consequently also pass immediately into the right hand 
 and the left hand will tighten the knot. 
 
 . - :i _ ill ;: .—. . Encyclopedia vj Need let :-'-. [a J* Baglisii txrand z..: sdgea — Pi dc 3 '■■ 
 
MISCELLANEOUS PAHCT? "ORK 
 
 
 It is by thus drawing up first a loop on the right and then 
 one on the left that this pretty cord is produced. 
 
 Skilful hands will soon learn to make a cord of the same 
 kind with four threads, as follows : knot the four ends of thread 
 • ;t:her, make a few knots, using two threads as one, then 
 
 pping the loop on your forefinger, put the ne::: :r.t upon 
 
 Fie- tted coei Fam - i :s 
 
 it and draw up the knot, passing however the 
 threads over those that you dropped. Then 
 drop the loop you have on your finger again 
 and take up the first loops. 
 
 For the cord made with double threads, 
 
 -esented in fig. 835 on a magnified scale, 
 
 use Cordonnet 6 tils D.M.C or one of the other 
 
 I trials mentioned at the foot of the illustra- 
 
 : utache D.M.C will always be found to 
 
 be very suitable for this purpose. 
 
 Bails for trimmings' ~gs. 836, - 338, 
 . . — Amongst the crochet patterns 
 are two that are finished off with balls : 
 
 e these, begin by cutting a number of 
 rounds of cardboard, two for every ball, with 
 d the middle, fig. 836. 
 ju have a great manv balls to make 
 
 T : 
 
 KNOTTED COBS. 
 
 "laiALS : Fil ~- 
 z :.:.■-.: Z 
 
 io to 3o, Cote- a tri- 
 coter D.M.C N;s. 6 to 
 
 ! ' ! 
 
 D.M.C N:; 
 or Soutache D..M.C 
 Nos. I tc ': ' 
 
 * See at the end of the concluding ; e table of numbers 
 
 = t of colours of the D.M. MM 
 
 _ i tea 
 
520 
 
 MISCELLANEOUS FANCY WORK 
 
 it is well worth your while providing yourself with a metal 
 die of the proper size, to cut the rounds with. 
 
 Lay two of these rounds together and cover them closely 
 with stitches, fig. 83y, using for this purpose Coton a tricoter 
 
 Fig. 836. 
 Balls for trimmings. 
 Circle of cardboard. 
 
 Fig. 838. 
 
 Balls for trimmings. 
 
 Cutting the stitches 
 
 round the edge. 
 
 Fig. 837- 
 
 Balls for trimmings. 
 
 Overcasting the circle of cardboard. 
 
 Fig. 840. 
 
 Balls for trimmings. 
 
 Cutting out the cardboard 
 
 Fig. 83g. Balls for trim- 
 mings. Putting in the loop. 
 
 Fig. 841. Ball completed 
 with loop attached. 
 
MISCELLANEOUS FANCY WORK 
 
 521 
 
 D.M.C (knitting cotton) or Coton a repriser D.M.G (darning 
 cotton). (*) 
 
 When the round is entirely covered, put the scissors in 
 between the two circles of cardboard and cut open the stitches 
 all round the outer edge, fig. 838 ; then draw a piece of thread 
 between the two circles and knot it firmly round the stitches 
 that meet in the centre hole, fig. 83o, ; leave sufficiently long 
 ends of thread hanging to form a loop by which the ball can 
 afterwards be fastened to the heading of the fringe ; when the 
 stitches are knotted together you cut and pull out the card- 
 board, fig. 840, and snip the thread with your scissors until it 
 becomes quite fluffy and the ball is perfectly round, as shown 
 in fig. 841. 
 
 Tambour work (figs. 842, 843, 844, 845). — Since the 
 introduction of the sewing machine, by means of which this 
 charming kind of embroidery can be so quickly and 
 easily executed, it has somewhat gone out of favour. 
 As however, the fine patterns with a good deal 
 of shading in them, can be far more accurately 
 worked by hand than by machine, tambouring, which 
 is in point of fact merely a form of crochet, has lately 
 been revived. The piece of stuff on which the tambour 
 work is to be done must be mounted on a frame. 
 
 The loops which are made with a small hook, 
 called a tambour needle, form a fine chain stitch and 
 
 Fig. 842. 
 
 Thimble 
 
 for 
 
 tambouring. 
 
 Fig. 843. Tambour needle. 
 
 must be regular and even ; to facilitate this a sort of thimble, 
 fig. 842, is worn on the forefinger of the right hand, formed 
 of a small plate of sheet brass , rolled up but not joined , so 
 as to fit any finger ; it is open at the top like a tailor's 
 thimble and has a little notch on the side which is placed 
 above the nail, and in[ which you lay the tambour needle whilst 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
522 
 
 MISCELLANEOUS FANCY WORK 
 
 you work. From the thimble being cut slightly slanting at the 
 top, it follows that the inside where the two ends meet is a 
 little shorter than the outside. 
 
 The thread is drawn through in a loop to the front of the 
 work by means of the hook, whilst it is held at the back in 
 the left hand, and when the needle is put downwards through 
 the stuff, laid round it. The needle in its downward and up- 
 ward passage, should be kept in the notch in the thimble and 
 
 Fig. 844. Position of the hands in tambouring. 
 
 the stuff pressed down with the thimble, as the needle is drawn 
 up to the surface of the wor-k, fig. 844. 
 
 A little practice is necessary to acquire the right action of the 
 hands, there being always a tendency, the same as in tatting 
 and macrame, to confuse the movements of the two. As soon 
 as you realize that the upward drawing of the needle and the 
 downward pressure of the stuff with the thimble must be 
 
MISCELLANEOUS FANCY WORK 
 
 523 
 
 simultaneous, you will find that you can work with great rapi- 
 dity and with admirable results. Thread with a very strong 
 twist, which the hook will not split, is the only suitable kind 
 lor tambouring. Of the D.M.C materials, Fil d'Alsace (*) and 
 Fil a dentelle (*) are the most to be recommended. 
 
 Numbers of patterns, originally intended for other kinds of 
 embroidery can be executed in tambour work ; amongst those 
 
 Fig. 845. Drawing out the thread with the needle. 
 
 contained in this Encyclopedia, figs. 192, 210, 216, 219, and 
 227 are the ones that are best adapted to the purpose. 
 
 Smyrna Btitch worked with a crochet-needle (figs. 846, 
 847, 848, 849. — In the chapter on tapestry, p. 137 we re- 
 marked that Oriental carpets and mats could be worked in 
 
 {*) See at the end of the concluding chapter, the table of numbers and sizes 
 list of colours of the D.M.C threads and cottons. 
 
524 
 
 MISCELLANEOUS FANCY WORK 
 
 different other ways, to be subsequently alluded to at greater 
 length. 
 
 Smyrna stitch requires only a crochet needle and is worked 
 
 3EERg£ 
 
 
 M 
 
 
 r 
 
 Fig. 846. Smyrna stitch 
 
 worked with a crochet 
 
 needle. First detail. 
 
 Fig. 847. 
 Smyrna stitch worked with a 
 crochet needle. Second detail. 
 
 H || || || || ji || I 
 
 TtBBB 
 
 Fig. 848. Smyrna stitch 
 
 worked with a crochet needle. 
 
 Appearance of the knots underneath. 
 
 Fig. 849. Smyrna stitch 
 
 worked with a crochet needle. 
 
 Appearance of the work when finished. 
 
 on very coarse canvas or Java linen. You take a coarse mesh 
 of cotton, such as Nos. 6, 8 or 10 of Coton a tricoter D.M.C 
 (knitting cotton), cut it into lengths of 8 c/m., fold two lengths 
 together in half, stick in the crochet needle from above, under 
 two threads of the canvas, take hold of the loop with the hook, 
 
MISCELLANEOUS FANCY WORK 
 
 525 
 
 fig. 849 and draw it in ; then push out the hook to seize the 
 ends of the cotton and draw them through the loop which is 
 on the needle, as indicated by the little arrow in fig. 847. The 
 stitches or tassels should be two or three double threads of 
 the canvas apart. As you finish each row, comb the ends of 
 the tassels out carefully with a fine metal comb. When the 
 whole piece of work is finished shear the entire surface, quite 
 even, with a pair of sharp scissors. Fig. 849 shows a square 
 
 
 wp^Hrnrnrnr 
 
 ^#$few^ 
 
 Fig. 85o. Malta stitch. 
 First detail. 
 
 Fig. 85 i. Malta stitch. 
 Second detail. 
 
 Fig. 852. Malta stitch. 
 Third detail. 
 
 Fig. 853. Malta stitch. 
 Fourth detail. 
 
 of the work completed, presenting that warm velvety appear- 
 ance which distinguishes the Smyrna carpets. 
 
 Malta stitch (figs. 85o, 85 1, 852, 853, 854). — This 
 
526 
 
 MISCELLANEOUS FANCY WORK 
 
 stitch is much used by the Maltese; it is the same as the « point 
 tricot » excepting that in the latter, the loops formed by the 
 return of the thread are open and the stitches packed very 
 closely together, whereas in the Maltese work there is always 
 one close loop and two open tassels. 
 
 It is worked as follows : take a thick bunch of lengths of 
 Coton a repriser D.M.C, pass it under two vertical threads of 
 
 Fig. 854. Malta embroidery. 
 
 Materials : Coton a repriser D.M.C No. 25 (*). 
 
 Colours : Jaune-vieil-Or 680, Vert-Mousse 469, Bleu-Indigo 3 1 1 and 
 
 Rouge-Cornouille 449 (*). 
 
 the stuff, from right to left, fig. 85o, leaving an end, i or 
 2 c/m. long, lying on the surface of the work ; put the needle 
 in again under the two threads that are in front of the first 
 stitch and leave the tassel, formed by the first stitch, above 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MISCELLANEOUS FANCY WORK 527 
 
 the one by which you bring the needle back between the 
 two stitches. 
 
 The needle must now follow the same course it took for 
 the first stitch and the thread must be drawn out far enough 
 to form a loop as long as the tassel ; you then repeat the 
 second stitch, carrying back the working thread however this 
 time above the loop, after which you cut the two open ends 
 the same length as the loop. In the Maltese work, three times 
 as many threads have to be left between the tassels as are 
 covered by the stitch. 
 
 Thus it your stitch cover 4 threads of the foundation, you 
 should leave 12 threads between the tassels, and if it cover 6, 
 you should leave an interval of 18 threads, that the stuff may 
 always be visible between the little tassels or balls. 
 
 Fig. 854 represents a portion of a curtain, embroidered on 
 Flemish linen in the colours indicated at the foot of the engra- 
 ving ; these may be arranged according to the taste of the worker, 
 
 Malta embroidery is mostly done on coarse coloured linen 
 fabrics or on single thread canvas. 
 
 Triangular Turkish stitch (figs. 855, 856, 85y, 858, 85g). 
 Amongst the many pretty stitches for which Turkish embroi- 
 deries are distinguished, there is one in particular, which 
 though apparently very difficult, is in reality quite the reverse ; 
 it resembles line stitch upon straight threads, only that in the 
 East it is generally worked in diagonal lines, each row requi- 
 ring two journeys to and fro. 
 
 In the first, fig. 855, the needle must always be carried, 
 first over, then under two threads in a diagonal line and so on 
 to the end of the row. 
 
 Coming back, you pass the needle under the stuff and the 
 stitch on the right side, and bring it out at the bottom of the 
 stitch ; then you make a back stitch over two horizontal and 
 two vertical threads, pass the needle over two straight threads, 
 put it in behind the same, bring it out again near the upper 
 stitch and then insert it near the bottom vertical stitch ; after 
 this you carry it to the second stitch lower down and pass it 
 over the same. Four threads should meet in every hole which 
 the needle makes. The third and fourth row should be worked 
 

 i ♦. 
 
 
 --. . — . .-•-- - - 
 
 - 
 
 - . " _ 
 
 Tviiaa 
 
 :•: .- 
 
 - 
 -d and ibarth. as fomr 
 
 - 
 
 
 
 
 -% 
 
 
 
 ~;ZZL*I 
 
 
 
 
 
 
 i 
 
 \ • 
 
 
 1 • 3 
 
 i 
 
 
 ^ 
 
 
 
 
 • 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
 
 
 ■ j*-- 
 
 
 ' 
 
 
 - UL- 
 
 ■M 
 
 
 
 
 ■ 
 
 
 
 
 
 
 ^ 
 
 - - - 
 
 - - : : .'-. 
 
 
 
 
 
 
 
 
 - 
 
 -: m 
 
 '.•'. ■-. 
 
ELI I ~ ■ . - - - 
 
 
 -~ 
 
 - 
 
?3o 
 
 MISCELLANEOUS FANCY WORK 
 
 lozenge at the top, is begun above the fifth of the 9 stitches; 
 you make 5 stitches, but in such a manner as to end at the top 
 of these 5 with the stitch that runs in a diagonal direction 
 over the threads, turned to the inside of the stalk, so that the 
 last stitch of the first row may form with the first stitch of 
 the second row, a triangle at the top of the stalk, which is 
 surmounted by the aforesaid lozenge. 
 
 The lozenges in Chine gold and light blue, of which there 
 are three in each of the half squares, besides those that ter- 
 minate the stalk, consist of 9 stitches, the first, extending over 
 3 threads, the second over 5, the third over 7, the fourth over 
 g and the fifth over 1 1 ; the four next decreasing in a similar 
 manner. The leaves in Chine gold and green, on either side 
 of the stalk, also begin with a stitch over 3 threads of the 
 stuff, followed by 8, each increasing in length by one thread 
 on the side of the stalk, but all equal on the other, the last 
 extending over 12 threads of the suff. After these 9, the sub- 
 sequent 8 must decrease in the same manner by one thread 
 • - . on the opposite side: 
 
 then you make 4 more 
 extending over only 3 
 threads and set the 
 contrary way to the 
 others. 
 
 The zig-zag border 
 and the small squares 
 of 5 stitches within it 
 are worked entirely in 
 Chine gold and red. 
 
 Turkish embroi- 
 dery (fig. 86 1 .) — The 
 powdering of flowers 
 and also the border 
 are worked like the 
 preceding pattern in 
 
 ■ 
 
 
 Fig. 861. Turkish embroidery. 
 Materials : Chine d'or D.M.C No. 3o and Coton 
 
 a broder D.M.C No. 40. (*) 
 
 Colours — For the Chine : Gold and red, gold 
 
 and dark blue and gold and green. 
 
 For the Coton a broder : Noir grand-teint 3io. (*) tWO-sided Gobelin 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MISCELLANEOUS FANCY WORK 53 I 
 
 stitch. Embroidery of this kind looks best on Algerian linen, 
 which is exactly like the Turkish stuff. It is not absolutely 
 necessary to count the threads for the little flowers and stalks, 
 but it is as well to do so for the border, that you may be sure 
 to get the zig-zags perfectly regular. 
 
 The petals of the flowers are worked alternately in Chine' 
 gold and red, and gold and blue, the centre in Or fin D.M.G 
 pour la broderie and the leaves and stalks in Chine gold and 
 green. The petals are set with stem stitch in fine black Coton 
 a broder and if the embroidery is to be the same on both 
 sides this setting must be repeated at the back. 
 
 The distribution of colours in the border is left to the taste 
 of the worker, but we should recommend for the zig-zags 
 Chine gold and red, as being the most effective. 
 
 Applique work (fig. 862). — Applique work means the 
 laying on of pieces of one kind of stuff on to a foundation of a 
 different kind, so as to form a pattern — these pieces of stuff 
 of various shapes and sizes, taking the place of solid needle- 
 made embroidery. 
 
 Applique work may be done on linen, silk, velvet, plush 
 and leather. The stuff out of which the pattern is cut has, in 
 most cases, to be backed first with very fine tissue paper. 
 
 This is done in the following manner with starch paste, 
 which dries quicker than any other. Spread the paste on the 
 paper with a brush, carefully removing all the little lumps; it 
 should only be just liquid enough to make the stuff and the 
 paper adhere perfectly together and above all must never 
 penetrate to the right side of the stuff. When the paper has 
 been evenly spread with the paste, lay your stuff upon it and 
 smooth and press it down with a clean cloth, stroking it out 
 carefully in the line of the thread to prevent its becoming in 
 the least dragged or puckered, or any air remaining between 
 it and the paper. 
 
 You next lay several sheets of paper without a mark or a 
 fold in them, on a perfectly smooth flat board, and upon these, 
 your paper-lined stuff, covered in its turn with several loose 
 sheets of paper, all being kept in their place by another 
 
532 MISCELLANEOUS FANCY WORK 
 
 board with several stones or heavy weights laid upon it to act 
 as a press. Leave the stuff in the press until it be quite dry. 
 You will find that any kind of fabric, even the slightest, 
 can be rendered available in this manner for applique work, 
 not even plush or velvet being in the least injured by the 
 process. 
 
 Fig. 86 
 
 You then transfer the whole pattern on to the foundation, 
 whatever it happen to be, but only the detached figures on to 
 the paper-lined stuff, carefully cutting out the latter with a very 
 sharp pair of scissors so as to avoid unravelling the threads 
 along the edges. 
 
 The foundation, stretched in a frame, as described on page 
 
MISCELLANEOUS FANCY WORK 
 
 533 
 
 1 1 5, fig. 236, is to be placed on a board or table in such a 
 manner that only the stuff rests upon it, whilst the frame 
 projects on all four sides. 
 
 Then cover the cut-out figures with paste on the wrong 
 side and fit them into their proper places upon the founda- 
 tion. In larger pieces of work especially, this should be done 
 
 as quickly as possible so that a board with weights upon it, 
 to serve as a press, may be laid over them all at once. 
 
 The board must not be removed until the paste be dry; then 
 you can begin the needlework, fastening down the applique 
 figures and finishing them off round the edges by laying down 
 a fine round cord, or by flat stitches. 
 
*4 
 
 MISCELLANEOUS FANCY WORK 
 
 You either sew on the cord with invisible stitches, open- 
 ing it a little at each stitch so as to slip the needle and 
 
 Fig. 863. Morocco embroidery. 
 
 Materials — According to the stuff: Fil a pointer D.M.C, Cordonnet 6 fils D.M.C, 
 
 Coton a broder D.M.C or Coton a repriser D.M.C (*). 
 
 Colour : Rouge-Cardinal 346 (*). 
 
 thread in between the twist, or else with ordinary overcasting 
 stitches. 
 
 In either case it must be so laid on as completely to hide 
 the cut edges and keep them from fraying. 
 
 Should you wish to frame the applique figures with fiat 
 embroidery, you must bring your needle out close to the cut 
 edge and enter it, i or 2 m/m. within the edge from above. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 ind the list of colours of the D.M.C threads and cottons. 
 
MISCELLANEOUS FANCY WORK 535 
 
 Both, cord and flat stitch setting, should be of a subdued 
 shade and if possible, of a colour to match the foundation. 
 
 Morocco embroidery (figs. 863, 864, 865, 866). — This 
 work named after the country where it was originated, belongs 
 both to the class of darned and damask embroidery. 
 
 Fig. 864. Morocco embroidery. 
 Quarter of the subjects of fig. 863. 
 
 In fig. 864, the stitches are formed by passing over 5 threads 
 and taking up the sixth. Coming back you take up the third 
 of the 5 threads first missed and proceed in the same manner 
 over the whole surface of the work, unless the lines of the 
 rattern require you to depart from this rule; as, for instance, 
 in certain parts of fig. 864, where you will notice stitches, 
 
536 
 
 MISCKI.I.ANKOUS FANCY WORK 
 
 m 
 
 carried over 7 or 8 threads ; also in the borders, fig. 8(55 and 
 866, where the stitches are arranged in a rather arbitrary 
 manner, in order to bring out the pattern more clearly. 
 
 Fig. 864 represents the fourth part of one of the subjects 
 that make up the design 
 fig. 863 ; that is, four 
 such, joined together, 
 form one of the squares 
 of fig. 863. 
 
 Figs. 865 and 866 are 
 patterns of two little bor- 
 ders and an insertion, 
 suitable as a finish to 
 fig. 863, which can be enlarged to any size by the addition ot 
 other squares to those that are represented here. 
 
 liilllpii 
 
 Fig. 865. Morocco embroidery. 
 Small outer border of fig. 863. 
 
 Fig. 866. Morocco embroidery. 
 Border and insertion suitable for fig. 863. 
 
 Most of the stuffs, already so frequently alluded to in this 
 work, can be used as a foundation for this kind of embroidery, 
 provided the right working materials to go with it are chosen •, 
 Coton a tricoter or Fil a pointer should only be used for the 
 coarser stuffs, such as Rodes linen No. i, or Russian linen 
 and the different kinds of tammy cloth, whereas the other 
 kinds of D.M G threads and cottons and especially the finer 
 numbers, are best adapted for embroidery on fine stuffs, such 
 as Rhodes linen No. 2, and Spanish or Algerian linen. 
 
 Spanish embroidery (figs. 867 and 868). — Spanish em- 
 
MISCELLANEOUS FANCY WORK 
 
 53 7 
 
 broidery consists almost exclusively of buttonhole stitch, fig. 
 171, and flat stitch, fig. 221. 
 
 The buttonhole stitches, for which the more subdued shade 
 of the colours indicated should always be taken, or else yellow, 
 dark or pale, to match the gold thread, are made over two 
 threads of gold and follow the outlines of the pattern, which 
 should be more or less appropriate to this style of embroidery. 
 One of the gold threads always keeps the inside of the line 
 and follows it throughout in an unbroken course, whilst with 
 
 Fig. 867. Square of Spanish embroidery. 
 
 Materials : Or fin D.M.C pour la broderie No. 40, Coton a broder D.M.C 
 Nos. 5o and 100, or Fil a dentelle D.M.C No. 80. (*) 
 
 Colours : Bleu-Indigo 3i2, 322, 334 an d Bleu pale 668. (*) 
 
 (*; See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
538 
 
 MISCELLANEOUS FANCY WORK 
 
 the second, the outside one, you form picots, folding the gold 
 thread over from right to left and catching down the loop by 
 a buttonhole stitch, which is introduced into the loop itself and 
 carried over the combined gold threads, as shown in the left 
 corner of fig. 868, representing one quarter of the whole de- 
 sign, where the position of the needle and the way in which 
 the picot is secured are plainly indicated. 
 
 For the scallops, a round material with rather a strong twist 
 should be used, such as Soie de coton D.M.C No. ioo (* o- 
 Fil a dentelle D.M.C Nos. 70 to 100 (*), wound on reels. 
 
 Fig. 868. Quarter of the pattern for fig. 867, in the natural size. 
 
 Where the picots have to fill up empty spaces of a larger 
 size, you can join several together by connecting them each in 
 turn with the first. 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MISCELLANEOUS FANCY WORK 53o, 
 
 When you have bordered all the outlines with buttonhole 
 stitches and picots, fill up the spaces enclosed within the lines, 
 which properly speaking form the pattern, with flat stitch 
 embroidery, worked in Coton a broder or Goton a repriser ; 
 after which the whole surface is sewn over with fine little 
 spangles which give the sparkling look that constitutes the 
 peculiar charm of this kind of embroidery. The flowers are 
 covered with a fancy stitch that forms regular little lozenges, 
 and every second row of stitches is hidden under a spangle. 
 
 With regard to the colours indicated at the foot of fig. 867, 
 this is how they were distributed in the original, from which 
 our engraving was taken ; all the outlines in buttonhole stitch, 
 in Bleu pale 668; the tops of the flowers in Bleu-Indigo 334; 
 the bottom parts in Bleu-Indigo 332, and all three shades of 
 blue so blended together in the solid parts of the design as 
 to be undistinguishable from each other. It is not absolutely 
 necessary to keep to the colours here indicated ; there is no 
 reason whatever why a greater variety should not be introduced, 
 but in every case the more subdued shades should be selected ; 
 a pale red, for instance, for the flowers, a green and a brown 
 for the arabesques, will always be found to produce a very 
 pretty and harmonious effect. 
 
 When all the needlework is finished, you cut away the 
 stuff underneath the network formed by the picots, with a pair 
 of sharp scissors. 
 
 A word remains to be said with regard to the copying of 
 fig. 868. 
 
 Our readers will notice that in fig. 867 the flowers and 
 arabesques succeed and grow out of each other ; that whilst 
 the four quarters are symmetrical, yet at the same time, the 
 curves in each quarter take a different inclination. 
 
 You cannot therefore simply repeat the subject four times •, 
 when you have copied the one quarter, given in fig. 868, you 
 must lay this first quarter on again at the cross + on the left 
 side ; when the second quarter is finished, you again turn the 
 copy to the left and tack it on at the + ; when you come to the 
 fourth quarter the lines of the first quarter must exactly meet 
 those of the last. We beg here to draw attention to the direc- 
 
540 
 
 MISCELLANEOUS FANCY WORK 
 
 Fig. 869. Basket stitch on linen. 
 
 tions, relative to the copying of patterns, given in the subse- 
 quent chapter. 
 
 Basket stitch on linen (fig. 869). — This stitch has some 
 „ _ | „ i ,,. ,.,. ___ resemblance with the Greek 
 
 stitch, fig. 278, and the Monte- 
 negrin, fig. 3o6, only that it is 
 ^^ not crossed like the latter. 
 
 Basket stitch can be worked 
 on all kinds of stuffs, on count- 
 ed threads or on a wide or 
 narrow tracing, with fine or 
 coarse thread, and more or less 
 closely, according to the taste 
 of the worker. 
 
 You insert the needle in from left to right, and pass it 
 under, from 3 to 6 threads of the foundation, according to the 
 stuff and the material you are using, then downwards from 
 left to right, and over, from 6 to 8 threads, into the stuff again 
 from right to left; then you push it under 
 the stuff in an upward direction and bring it 
 out on the left in the middle of the space 
 left between the last stitch and the top of 
 the second. The dotted line in the engraving 
 indicates the course of the stitches. 
 
 Old German knotted stitoh (fig. 870). 
 — This is a stitch often met with in old 
 Fig 8 : o " church and house linen embroidery. A beau- 
 
 Old German knotted tiful design worked in this way is given 
 stitch. further on. 
 
 Contrary to most stitches, this is worked upwards ; the 
 needle is put in horizontally under the stuff, the thread tightly 
 drawn, then laid from left to right and drawn through under- 
 neath the first stitch and a tight knot made. We find the same 
 stitch, worked in a variety of ways, according to the taste and 
 skill of the worker ; for instance the knots may be set slant- 
 ing, as in fig. 870, or else straight and very close together, 
 as in fig. 873, where they present the appearance of a close 
 string of beads, or again wide apart, as they are in fig. 876. 
 
MISCELLANEOUS FANCY WORK 
 
 541 
 
 All these ways are admissible but care should be taken in 
 each case, to make the stitches perfectly regular; it is the di- 
 rection which is given to the stitch and the number of threads 
 taken up with the needle that changes the appearance of the stitch. 
 
 Baised stem stitch (figs. 871, 872). — Take a very thick 
 thread, such as Fil a pointer ' ^^ ^ 
 
 W* 
 
 
 # 
 
 
 m 
 
 Fig. 871. 
 Raised stem stitch. 
 
 D.M.C No. 10 or 20, or one 
 of the coarser numbers of Cor- 
 donnet 6 fils D.M.C, lay it as 
 a foundation thread along the 
 line of your pattern and work 
 over it wide stem stitches, as 
 represented in figs. 172 and 
 173, either in the same num- 
 ber of thread used for the 
 foundation thread, or a finer, 
 according to the stuff yon are 
 embroidering upon. 
 
 You may overcast the same 
 stitch in the manner indicated 
 in fig. 872, using a different 
 colour for the second layer 
 of stitches to produce an agre- 
 able variety. 
 
 Border in different kinds of stitches (fig. 873). — The 
 straight lines of this border are all worked in old German 
 knotted stitch in ecru thread, forming a thick round cord which 
 stands out from the surface in high relief; the flatter outlining of 
 the outside figures is done in basket stitch in soft blue knitting 
 cotton. The little oblong figures within the two inner lines of 
 the border are worked in Gobelin stitch, in red embroidery 
 cotton, and the filling of the figures, outlined in basket stitch, 
 in one or other of the Irish lace stitches, worked in white 
 lace thread, either so that all the stitches enter the stuff, or form 
 a network over it. 
 
 The work may be simplified by sewing Soutache D.M.C or 
 Lacet superfin D.M.C along the straight lines instead of em- 
 broidering them in basket stitch. 
 
 Fig. 872. 
 Another kind of raised stem stitch. 
 
 35 
 
>42 
 
 MISCELLANEOUS FANCY WORK 
 
 Roumanian 
 stitch (figs. 874, 
 875). — This consists 
 of stitches that are 
 worked in the width 
 of the stud, inter- 
 sected by back- 
 stitches set slightly 
 slanting. 
 
 Though the en- 
 graving is so clear 
 as to render it hard- 
 ly necessary, we 
 subjoin an exact de- 
 scription of the way 
 the stitches run. 
 
 Bring out the 
 needle on the left, 
 2 or 6 threads be- 
 yond the line your 
 embroidery is to 
 follow ; with regard 
 to the number of 
 threads you take up, 
 you must be guided 
 by the quality of the 
 stuff and the mate- 
 rial you have selec- 
 ted : put the needle 
 in on the right, the 
 same distance in 
 advance of the line 
 as before and bring 
 it out in the middle 
 of the stitch ; then 
 
 Fig. 873. Border in different kinds of stitches. 
 
 Materials — For the old German knotted stitch : 
 Cordonnet 6 nls D.M.C No. 2, ecru — For the basket 
 stitch : Coton a tricoter D.M.C No. 16, Bleu-Indigo passing the needle 
 3i2 — For the Gobelin stitches: Coton a broder D.M.C over the first Stitch 
 
 No. 20, Rouge-Turc 32 1 
 
 For the lace stitches : 
 
 Fil a dcntelle D.M.C No. 40, white. 
 
 put it in again one 
 
MISCELLANEOUS FANCY WORK $4?> 
 
 or two threads in advance of the point where it came out, and 
 draw it out close to where the first stitch began. 
 
 The border, represented in fig. 875, is worked in great part 
 in Roumanian stitch. 
 
 The original, still very well preserved, notwithstanding its 
 age, is worked in silk of a brilliant red on a r -- — - ■— -^ 
 stiff stuff which has been coloured by time I 
 and use. t t | 
 
 Willems satin, Rhodes linen No. 2 and | jl j\ ,' ; f 
 Algerian linen, make very suitable foundations | '^sSf- - I I 
 for this kind of embroidery and have that soft 
 tint which is almost indispensable to a satis- 
 factory imitation of old needlework. 
 
 Any one of the shades of red named at 
 the foot of the illustration, will be found to Fig. 874. 
 
 be a good match for the original colours. Roumanian stitch. 
 
 Roumanian stitch is used wherever the lines of the pattern 
 are widest ; there where they narrow, in the indentures of the 
 leaves and the twists of the stalks, flat stitch is used instead. 
 
 By the repetition of the detached subject, this pattern maybe 
 made to serve either for a stripe or for a grounding ; if you 
 use it for a stripe, the centre flower of the principal subject 
 with the stalks lengthened, will look very well worked as a 
 separate subject between the large bouquets. Worked in a 
 double row, base to base, on any stuff and in any material, 
 these large figures form a very handsome border which makes 
 an effective trimming for furniture and curtains. 
 
 Pattern for pique embroidery (fig. 876) . — The stuff, 
 called pique, such as it is now manufactured, is simply an 
 imitation of an old kind of needlework, almost unknown in 
 these days, but very popular in the fifteenth and sixteenth cen- 
 tury in Italy, for making coverlets and more especially curtains 
 and blinds; the latter being highly esteemed, because without 
 intercepting the light altogether, they tempered it agreably. 
 
 A similar kind of work wis common in Bohemia until a 
 recent date for the making of caps. It is done on two layers 
 of stuff, of different kinds, the upper one fine and transparent, 
 the lower, more substantial. 
 
544 
 
 MISCELLANEOUS FANCY WORK 
 
 The pattern is drawn upon the fine stuff, because on that 
 side the different kinds of stitches are made. 
 
 You then tack the two stuffs together and work all the 
 outlines of the pattern in Old German knotted stitch with 
 
 Fig. 87D. Border in Roumanian stitch. 
 
 Materials : Coton a broder D.M.C No. 16, Coton a repriser D.M.C No. 5o, or 
 
 Cordonnet 6 fils D.M.C No. 20. (*) 
 
 Colours : Rouge-Cardinal 846, Rouge-Grenat 358, Brun-Caroubier 355, Rouge 
 
 Maroquin 3327 et 3328, or Rouge-Cerise 33i7 et 33i8. (*) 
 
 ecru Fil a pointer D.M.C No. 20; that done, thread a tapestry 
 needle with white Cordonnet 6 fils D.M.C No. 1 or 2, slip it 
 in between the two layers of stuff and secure the end by two 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MISCELLANEOUS FANCY WORK 
 
 545 
 
 or three stitches ; then push the twist quite close to the knot- 
 ted stitch and fasten it in between the two layers of stuff, with 
 small and very regular running stitches, in a fine pliable mate- 
 rial, such as Fil d'Alsace D.M.C on reels. 
 
 Fig. 876. Pattern for pique embroidery. 
 
 Materials : Cordonnet 6 fils D.M.C Nos. 1 and 25, Fil d'Alsace D.M.C No. 100, 
 
 Fil a pointer D.M.C No. 3o and Fil a dentelle D.M.C No. 3o. (*) 
 
 Fill up in this manner all the ground of the pattern, leaving 
 the arabesques and the ornaments plain, or embellishing them 
 with some kind of lace or embroidery stitch. 
 
 ' .-ee at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
546 MISCELLANEOUS FANCY WORK 
 
 When these stripes are intended for blinds, you can pro- 
 duce pretty transparent effects in them by cutting away the 
 underneath stuff, in places. 
 
 Alphabet in Soutache (braid) figs. 877, 878, 879, 880, 
 881, 882). — This alphabet, which is one 
 of the best of its kind, was taken from a 
 work published in Venice in 1 562, by Gio- 
 van' Antonio Tagliente, secretary and cal- 
 ligraphist to the Republic. 
 
 The letters lend themselves, better than 
 any we know, to being executed in Sou- FlG - 8 77- Letter t of 
 
 U T\ A/T C THE Soutache alphabet. 
 
 tacne U.M.L.. MoDE 0F , NTERLACING THB 
 
 The sewing on of the braid is done Soutache. 
 
 with very small running stitches and the interlacing with a 
 tapestry needle, into which the braid is threaded ; both 
 operations are shown in figs. 877 and 880. The embroidery 
 of the connecting bars, and the small leaves and tendrils that 
 complete the letter are explained in fig. 881, whilst fig. 882 
 represents the letter A in its finished state. 
 
 For sewing on the braid, a fine soft material is the best, 
 such as Soie de coton D.M.G (*) and for embroidering the 
 small accessories, Coton a broder D.M.C No. 5o (*). 
 
 Flowers executed in Soutache and embroidery (fig. 883). 
 Flowers and sprays, such as here represented, make a charm- 
 ing trimming for summer dresses, sunshades, aprons etc. and 
 can be executed with admirable effect in the D.M.C Soutache, 
 now to be had in all the colours of the D.M.C colour card. 
 A very pretty running pattern can be formed out of the spray, 
 fig. 883, by turning the flowers first to the right and then to 
 the left and making the stalks come out underneath the ears 
 of corn. In order to reverse the position of the flowers thus, 
 you will have to make two tracings of the spray, one negative 
 and one positive. 
 
 For the ears of corn in fig. 883, use either Soutache ecru, 
 or Jaune-d'Ocre 677 No. 2 ; for the marguerites, white Sou- 
 
 (*) See at the end of the-concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MISCELLANEOUS FANCY WORK 
 
 547 
 
 Fig. 878. Alphabet 
 
54* 
 
 MISCELLANEOUS FANCY WORK 
 
 Fig. 879. Alphabet in Soutache. Letters O to Z. 
 
MISCELLANEOUS FANCY WORK 
 
 549 
 
 tache No. 2 V a an d for the corn flowers, Soutache Bleu-Indigo 
 322 No. 2. Nothing could be simpler than the mode of working 
 these flowers. 
 
 Thread a tapestry needle with the Soutache and draw it 
 into the stuff, and then pass it through from the right side to 
 the wrong at the bottom of one of the petals of the flowers, 
 
 Fig. 880. 
 
 Letter M of the 
 
 alphabet in soutache. 
 
 mode of sewing on 
 
 the Soutache. 
 
 Fig. 881. 
 
 Letter W of the 
 
 alphabet in soutache. 
 
 Mode of placing the 
 
 bars and embroidering 
 
 the leaves. 
 
 Fig. 
 Letter A of the 
 
 ALPHABET IN SoUTACHE 
 
 IN ITS FINISHED 
 
 STATE. 
 
 secure it on the wrong side by two or three stitches and then 
 bring the working thread, which should be of the same colour 
 as the Soutache, out again at the point of the petal, then carry 
 the Soutache back to the bottom of the petal and fasten it 
 down, like the gold threads in fig. 242, by a stitch rather 
 wider than the Soutache, fold the Soutache over again to the 
 starting point, and secure it by a stitch, and so on. In order 
 to give a different character to the flowers, use Soutache of 
 different widths, fold it over more or less closely and lay it 
 down in shorter or longer lengths, as required. The natural 
 irregularity of the petals of a flower can be very faithfully 
 imitated in this manner. Fig. 883 shows the way in which, for 
 the ears of corn, the braid is folded back upon itself and 
 fastened down, whilst in the white flowers the two layers of 
 the braid that form each petal are separated at the bottom. 
 
 The stamens of the marguerites are worked in knot stitch 
 with yellow cotton and those of the cornflowers with dark blue. 
 
 The other little details are executed in flat and stem stitch 
 ; .n the colours indicated at the foot of the engraving. With the 
 
55o 
 
 MISCELLANEOUS FANCY WORK 
 
 pattern to go by, the distribution of the colours for the different 
 parts can present no possible difficulty. 
 
 Fig. 883. Flowers executed in Soutache and embroidery. 
 
 Materials: Soutache D.M.C Nos. i to 3 and Coton a broder D.M.C No. 35. (*) 
 
 Colours — For the Soutache: White, ecru or Jaune d'Ocre 677, 
 
 and Bleu-Indigo 322. — For the Coton a broder: Ecru, Jaune-Orange 444. 
 
 Bleu-Indigo 3n, Gris-Tilleul 3oi and 33o, Vert-Pistache 319, 3ao and 36g, 
 
 Rouge-Cardinal 348. (*) 
 
 (*) See at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
MISCELLANEOUS FANCY WORK 
 
 55 1 
 
 We need only point out that Rouge-Cardinal 348 is in- 
 tended for the little knot that connects the stalks of the flowers, 
 
 Chinese subject (fig. 884). — This quaint and graceful 
 composition, copied from an interesting piece of Chinese em- 
 broidery, gives our readers the opportunity of turning the diffe- 
 rent damask stitches, already described in these pages, to quite 
 a new use. 
 
 The kind of gauze which forms the foundation of the ori- 
 ginal work can be replaced either by Spanish or Rhodes linen 
 No. 2, by any stuff, in fact, the threads of which can be 
 counted. 
 
 The drawing has to be transferred to the stuff, and the 
 different parts are filled in with the stitches, clearly indicated 
 in the illustration. 
 
 Fig. 884. Chinese subject. 
 
 Materials : Coton a repriser D.M.C No. 5o, Or fin D.M.C pour la broderie 
 
 No. 40 and Chine d'or D.M.C. (*). 
 
 By the introduction of several colours, this pattern is ca- 
 pable of being infinitely varied. 
 
 Thus, in the model before us, the neck and bulb of the 
 
 ' >ee at the end of the concluding chapter, the table of numbers and sizes 
 and the list of colours of the D.M.C threads and cottons. 
 
552 MISCELLANEOUS FANCY WORK 
 
 flask, the leaves it stands upon and those attached to the flowers 
 in it, are worked in Vert-Pistache 36y, the handles, the or- 
 nament on the bottle, and the triangular figure in the centre 
 are in white : the little flower on the left, the second on the 
 right, the straight staff, the upper wings of the butterfly, as 
 well as the three leaves underneath the triangle are in Bleu- 
 Indigo 334; the first flower on the right of the flask, the knot 
 above the triangle, the lower wings of the butterfly and the 
 middle part of the bottom subject on the right of the en- 
 graving are in Gris-Amadou 383 ; and Violet-lie-de-vin and 
 Brun-Caroubier 357 alternate in the pointed leaves that sup- 
 port the flask; the former colour recurs in the ornaments of 
 the staff, and Rouge-Cardinal 347, black and Gris-Tilleul 
 alternate in the other details of the drawing. 
 
 For the setting it will be best to take Or fin D.M.C pour 
 la broderie or else Chine d'or D.M.C, used either double or 
 single, according to whichever the drawing seems to require. 
 
Ornament after Holbein. 
 
 Practical directions. 
 
 Hitherto we have been chiefly occupied with descriptions 
 and explanations of the different kinds of needlework ; to render 
 these complete, it remains for us to give a few practical direc- 
 tions with regard to the copying, adjustment and transposition 
 of the patterns, as well as to the different processes, often so 
 essential to the ultimate success of a piece of needlework. For 
 this success will soon be found not to depend on the stitches 
 only but very largely on the proper adaptation of the design to 
 the space it is intended to fill. 
 
 Then, in the case of new lace, it is necessary to know 
 the amount of dressing it will require to give it the right stiff- 
 ness and when this dressing has worn off how to renew it ; 
 whilst in the case of applique work more especially, it is in- 
 dispensable to know exactly what the ingredients are, of which 
 the paste should be composed and how to make and lay it on 
 in the proper manner. 
 
 Tracing patterns against a window pane. — In order 
 to copy a pattern in this way, the first step is to tack or pin 
 the piece of stuff or paper on which the copy is to be made 
 upon the pattern. In the case of a small pattern, the tacking 
 
554 PRACTICAL DIRECTIONS 
 
 or pinning may be dispensed with and the two sheets held 
 firmly pressed against the window pane with the left hand, 
 whilst the right hand does the tracing, but even then it is safer 
 to pin or gum the four corners of the two sheets together, in 
 case of interruption, as it is difficult to fit them together again 
 exactly. 
 
 The tracing may be done with a pencil, or better still, 
 with a brush dipped in Indian ink or water-colour paint. 
 
 The process of tracing is easy enough, so long as the hand 
 does not get tired but as this generally comes to pass very soon 
 it is best, if the pattern be a large and complicated one, to 
 stick the sheets to the pane with strong gum or suspend them 
 on a string, fastened across the pane by pins stuck into the 
 window frame on either side. 
 
 To take off a pattern by rubbing-. — It you want to take 
 a pattern of a piece of embroidery direct from the work itself, 
 lay it, the right side up, flat upon a board or table and cover 
 it with letter or tissue paper. 
 
 The paper should be of a good medium thickness, if it be 
 too thick it will not take a clear impression of the pattern, and 
 if very thin it is apt to tear. 
 
 Fasten the paper down upon the embroidery with drawing- 
 pins and rub off the pattern with drawing-wax. In default of 
 the right kind of wax, the bowl or handle of a spoon, or a 
 large silver coin will serve the purpose equally well, as will 
 also some powdered graphite or charcoal. The outlines will 
 not of course, in any case, be very clearly defined upon the paper 
 and will have to be gone over and carefully supplemented after- 
 wards with a pencil. 
 
 Taking off the pattern with charcoal or graphite is less 
 injurious to the embroidery than rubbing it off with wax or 
 metal, as the pressure required in the latter case flattens the 
 needle-work very considerably. As soon as you have fixed the 
 lines of the pattern by drawing them over with ink, it is ready 
 for use. 
 
 To transfer a pattern direct on to the stuff. — Patterns 
 cannot be copied by either of the above methods direct on to 
 the stuff and can only be used when the stuff on wmich the 
 
PRACTICAL DIRECTIONS 555 
 
 embroider}' is to be executed is transparent ; in the case of thick 
 close fabrics the drawing must be made on the stuff itself. The 
 following is the simplest way of transferring a pattern on to a 
 transparent stuff; begin by going over all the lines of the draw- 
 ing with Indian ink so as to make them quite thick and 
 distinct, and tacking the paper with large stitches on to the 
 back of the stuff. Then, mix some very dark powdered indigo 
 diluted with water, in a glass with a small pinch of sugar and 
 powdered gum arabic, and using this as ink and a fine pen 
 very slightly split, trace the pattern that shines through on 
 the stuff. 
 
 The tracing must be very slight, for if the embroidery be 
 not done till some time afterwards the lines get so firmly fixed 
 in the stuff that one washing will not obliterate them; the 
 tracing ink moreover makes the work unpleasantly sticky. 
 
 To copy with oiled paper. — Another rather expeditious 
 mode of transferring patterns on to thin and more especially 
 smooth glossy stuffs, is by means of a special kind of tinted 
 paper, called autographic paper, which is impregnated with a 
 coloured oily substance and is to be had at any stationer's 
 shop. This you place between the pattern and the stuff, 
 having previously fastened the stuff, perfectly straight by the 
 line of the thread, to a board, with drawing-pins. When you 
 have fitted the two papers likewise exactly together, you go over 
 all the lines of the pattern with a blunt pencil, or with, what 
 is better still, the point of a bone crochet needle or the edge 
 of a folder. You must be careful not to press so heavily upon the 
 pattern paper as to tear it; by the pressure exercised on the two 
 sheets of paper, the oily substance of the blue paper discharges 
 itself on to the stuff, so that when it is removed all the lines 
 you have traced are imprinted upon the stuff. 
 
 This blue tracing paper is however only available for the 
 reproduction of patterns on washing stuffs, as satin and all 
 other silky textures are discoloured by it. 
 
 To pounce patterns upon stuffs. — The modes of copying, 
 hitherto described, cannot be indiscriminately used for all 
 kinds of stuff; for cloth, velvet and plush, for instance, they 
 are not available and pouncing is the only way that answers. 
 
556 PRACTICAL DIRECTIONS 
 
 The patterns, after having been transferred to straw or 
 parchment paper, have to be pricked through. To do this you 
 lay the paper upon cloth or felt and prick out all the lines of 
 the drawing, making the holes, which should be clear and 
 round, all exactly the same distance apart. 
 
 The closer and more complicated the pattern is, the finer 
 and closer the holes should be. Every line of the outline must 
 be carefully pricked out. 
 
 If the paper be sufficiently thin, several pouncings can be 
 pricked at the same time, and a symmetrical design can be 
 folded together into four and all pricked at once. 
 
 The pricked pattern has next to be tacked upon the mate- 
 rial, the side from which the pricking was done next to the 
 stuff and the little funnel-shaped holes uppermost. Paper and 
 stuff must be firmly fastened down and kept in position by 
 drawing pins, so that neither of them may move during the 
 process, otherwise you will have double lines on the stuff which 
 you will find very confusing afterwards. 
 
 For the pouncing, use either powdered chalk or charcoal, 
 according to whether the stuff be dark or light in colour. Dip 
 the pouncing implement, a thing like a small drum-stick, stuffed 
 and covered with cloth, into the powder and rub it lightly over 
 the whole surface of the pricked pattern, so that the powder 
 penetrates through the pin-holes to the stuff. In default of a 
 proper pouncing implement take a small stripe of cloth, roll 
 it up round a stick and wind a string round, and dip this into 
 the powder. 
 
 When the powder has penetrated to the stuff, remove the 
 paper and if the pattern is to be repeated, lay it on again 
 further on, taking care to make the lines meet exactly so that 
 the join may not be seen. 
 
 When you have finished the pouncing and taken off the 
 paper, you proceed to draw or rather paint in the pattern 
 with water-colour paints : Ackermann's are the best for the 
 purpose ; no others, as far as our experience has proved, adhere 
 so well to even the roughest fabrics or so little affect the 
 brilliancy of the embroidery thread. Four paints, blue, black, 
 
PRACTICAL DIRECTIONS 557 
 
 yellow and white are sufficient for all purposes, whatever the 
 colour of the stuff may be. 
 
 On a smooth surface the tracing may be done with a pen 
 but a small sable-hair brush is preferable under all circum- 
 stances. 
 
 The rougher and more hairy the surface, the finer the 
 brush ought to be, in order that the colour may sink well in 
 between the fibres. 
 
 Before beginning to paint in the pattern, gently blow away 
 all the superfluous powder from the surface. This process may 
 be objected to as being an old one which has been superseded 
 by new inventions; a resinous powder for instance, by the use 
 of which patterns can be fixed, as soon as they have been pounc- 
 ed, by passing a hot iron over the stuff, a sheet of paper 
 having first been laid upon it to protect it ; or else a mixture 
 of gum and powder which can be dissolved on the stuff itself 
 by the steam of spirits-of-wine, and various other processes 
 needless to mention here, as some are only useful in tracing 
 patterns on a large scale, whilst others require a variety of 
 appliances, not as a rule, within the reach of those to whom 
 needle-work is a simple recreation. 
 
 The preparation of the stuffs and the subdivision of 
 
 the patterns. — Long years of experience and practice have 
 brought us in contact with a good many designers, many of 
 them artists in their way, so long as it was only a question of 
 putting their own compositions on paper but who yet found 
 themselves confronted by real difficulties the moment they were 
 called upon to transfer them to stuff. 
 
 We shall, as far as possible, point out to our readers the 
 precautions to be taken in tracing patterns and must for that 
 purpose go back to one of the first operations, namely that 
 of pricking. 
 
 To begin with, the paper on which the pattern is should 
 always be large enough for there to be a clear margin of from 
 4 to 5 c/m. all round the pattern, so that the pouncing instru- 
 ment may never come in contact with the stuff beneath. 
 
 In transferring patterns to stuff, no lines of division should 
 
 36 
 
558 PRACTICAL DIRECTIONS 
 
 ever be made directly upon it either with lead, chalk or char- 
 coal, as it is hardly ever possible entirely to obliterate them 
 and they often become very confusing afterwards. 
 
 Before beginning the tracing, divide your stuff into four, 
 then decide what the width of the border outside the pattern 
 is to be; it is quite an exceptional thing to carry a pattern 
 right up to the edge. Stuffs that will take a bend, such as all 
 linen and cotton textures, can be folded in four, like the paper, 
 the folds ought then to be pinched and pressed down so that 
 the lines may remain clear and distinct until the tracing be 
 finished. 
 
 After dividing it into four, mark out the diagonal lines; 
 these are absolutely necessary in order to get the corner 
 figures rightly placed. 
 
 Though most of our readers know how to make these lines 
 on paper with a pencil and ruler, few, easy as it is, know how 
 to make them upon stuff. You have only to fold over the 
 corner of your piece of stuff so that the outside thread of the 
 warp or cut edge run parallel with the woof edge which 
 marks the angle of the fold-over. 
 
 This double folding over divides the ground into 8 parts. 
 To arrange for the outside border or margin, is easy enough 
 if the stuff and the kind of work you are going to do upon 
 it admit of the drawing out of threads , as then a thread 
 drawn out each way serves as a guide for tracing the pattern, 
 straight to the line of the stuff. It is often better however, 
 not to draw out the threads for an open-work border till the 
 pattern be traced. If you do not wish or are not able to draw out 
 threads to mark the pattern and you are working on a stuff of 
 which the threads can be counted, follow the directions given 
 on page 128, and explained in fig. 252. 
 
 You cannot mark cloth, silk stuffs or plush by folding them 
 in the above way, cloth and some kinds of silken textures will 
 not take a bend and others that will would be spoiled by it. 
 
 All such stuffs should be mounted in a frame, before the 
 pattern be traced and the ground be then divided out in the 
 following way : take a strong thread, make a knot at one end, 
 
PRACTICAL DIRECTIONS 55o, 
 
 stick a pin into it and tighten the knot round it; with a pair of 
 compasses, divide one of the sides into two equal parts, stick 
 the pin with the knot round it in at the middle and the same 
 on the opposite side, putting in a second pin by means of 
 which you stretch the thread ; carry other threads across in a 
 similar way, in the width of the stuff and from corner to corner 
 and you will have your ground correctly marked out, in such 
 a manner as to leave no marks when, after pouncing in the 
 pattern, you remove the threads. Before finishing the pouncing 
 of a pattern, see that it is the right size for the purpose it is 
 intended for. 
 
 Supposing that you are tracing a border with a corner, you 
 should measure the length it will occupy and then by a very 
 light pouncing, you can mark the points from which the pattern 
 will have to be repeated. It may be that a gap will be left 
 in the middle, which, if not too large, can be got rid of without 
 altering the pattern by pushing the whole thing a little further 
 in and so shortening the distance between the two corners. 
 
 Should the gap however be too large for this, you will 
 have to make a supplementary design to fill up the place. The 
 same thing would be necessary in the case of your having to 
 shorten a pattern. 
 
 To transpose and repeat patterns by means of looking- 
 glasses (fig. 885). — We have referred to the necessity that 
 often occurs of adapting patterns to certain given proportions ; 
 this can in most cases be done easily enough without the help 
 of a draughtsman, especially in the case of cross stitch embroi- 
 deries, by means of two unframed looking-glasses (Penelope 
 mirrors, as they are called) used in the following manner. 
 
 If you want to utilize a piece only of a straight border, or 
 after repeating it several times, to form a corner with it, you 
 place the mirror in the first instance across it at right angles, 
 at the place from which the pattern is to be repeated, and 
 then exactly diagonally inwards. 
 
 To make a square out of a straight pattern, you take two 
 mirrors and so place them that they touch at the point where 
 the diagonal lines meet, as represented in fig. 885, and you 
 have your square at once. 
 
56o 
 
 PRACTICAL DIRECTIONS 
 
 This is all easy enough, but before beginning any large 
 piece of work it is necessary to consider carefully which parts 
 of the drawing will best fill the centre and which are best suited 
 to form the corners, as it is not every part of a straight pattern 
 that is adapted for repetition. 
 
 A few preliminary trials with the help of the mirrors will 
 better show the importance of these explanations than anything 
 further we can say on the subject. 
 
 Fig. 885. To transpose and repeat a straight pattern by means 
 
 OF LOOKING GLASSES. 
 
 To alter the proportions of a pattern by dividing the 
 ground into squares (figs. 886 and 887). — Cases will occur 
 where it will be found necessary to subject the pattern to 
 greater modifications still than those we have hitherto been 
 dealing with. 
 
 You want, for example, to embroider a rather large running 
 ground pattern on a piece of stuff, that is relatively too small 
 for the subject ; or a small and rather minute pattern on a large 
 surface on which it is likely to look, either too insignificant, or 
 too crowded and confused and the chances are, if you do not 
 know how to draw, you will either think it necessary to get 
 a draughtsman to help you or you will give up the piece of 
 
PRACTICAL DIRECTIONS 
 
 56l 
 
 work altogether, deterred by the difficulties that confront you. 
 You need not do either if you will follow the directions here 
 given. 
 
 Take a sheet of large-sized quadrille paper which if neces- 
 sary you can prepare for yourself; trace your pattern upon it, 
 or rule the squares direct upon the drawing , as shown in 
 fig. 886. 
 
 On a second sheet of vegetable paper, rule squares, a fourth, 
 a third or half as small again as those on the first sheet. Thus, 
 
 Fig. 886. Dividing the ground into squares before copying. 
 
 if the sides of the first squares be i5 m/m. long and you want 
 to reduce your pattern by one fifth, the sides of your new 
 squares should measure only 12 m/m. 
 
 If, on the contrary, you want to enlarge the pattern by one 
 fifth, make the sides of your squares 18 m/m. long. 
 
 Then you follow, square by square, the lines of the drawing, 
 
- - 
 
 - 
 
 ^ or cor _ g : the pattern 
 
 To : sec of err. and 
 
 _ . e time, pre c 
 
 rut the embroidc- 
 
 gth of the drawing, divide the 
 - corresponding to \ 
 the proport: re to be , and if there be any 
 
 - them into millimc 
 ilf millimetres and make your division by 
 
 f comp 
 :'or the opening to 
 -istance obtain c 
 
 M^mmmm 
 
 3£ 
 
 i : : . • _ . 
 
 : d : bm a : is ~:th a thread fastened to it, at the point 
 indict: t: by the point of the compasses and repeat the last 
 opera:- :r a '.'. along one side :: tne embroideiy and, if possible 
 beyond - so that it may not be defaced by the 
 ~~rks :;:t rins AH :_ now hawe to do is to pull the 
 threads is perfectly straight lines to the opposite side and 
 cany othei threads across :hemin a similar mar r.t: sc that the 
 ~ '": t _::::t :t : :t: :~tc squares 
 
 It is needless :: say dial if yon hare Go trace a pattern 
 from £ mounted piece of wcr: cannot stretch it on a 
 
PRACTICAL DIRECTIONS 
 
 563 
 
 board ; with a little invention however some way can always 
 be found of planting the pins so as not to injure the work. 
 
 To alter the -width of a pattern retaining the original 
 height (figs. 888, 889, 890). — Sometimes it is necessary to 
 
 Fig. 8bN. Pattern in Soutache. Original size. 
 
 Fig. 880. Pattern in fig. 8^8 drawn out in the width. 
 
 Fig. 8qo. Pattern in fig. 888 compressed in the width. 
 
 lengthen out a pattern without however altering its height. 
 In this case you modify the shape of the square and make 
 long or narrow squares, according to the general shape of the 
 
564 PRACTICAL DIRECTIONS 
 
 design you wish to reproduce. Fig. 888 represents a pattern 
 in Soutache D.M.C, marked out in squares; in fig. 889 the 
 squares are lengthened out a third beyond their original size 
 and the pattern is expanded; in fig. 890, the squares are 
 compressed to a third less than their original size. 
 
 This method of subdividing patterns greatly facilitates the 
 alterations they have so often to undergo and we are sure 
 that there are few amongst those who have any real aptitude 
 for needlework, who cannot draw enough to be able to copy 
 the contents of a square. 
 
 To prepare the paste for applique work. — It may seem 
 strange to devote a separate paragraph to such an apparently 
 simple operation ; but in applique work it is a most important 
 one, as not only the stuff on which the work is done but 
 all the expensive accessories are liable to be spoilt by paste 
 that has been badly prepared. 
 
 Put some wheaten (not rice) starch into a vessel with a 
 rounded bottom, pour on just enough water to dissolve the 
 starch and stir it with a wooden spoon till it becomes perfectly 
 smooth. 
 
 In the meantime put about V* of a pint of clean water on 
 the fire to boil and when it boils add to it a little powdered 
 pitch or carpenter's glue, in quantity about the size of a pea 
 and pour in the starch, stirring it the whole time. When the 
 mixture has boiled up several times take it off the fire and go 
 on stirring it till it gets cold, otherwise lumps will form in it, 
 which as we specially pointed out in the preceding chapter, 
 must never be allowed to get in between the stuff and the paper. 
 
 This kind of paste makes no spots and does not injure even 
 the most delicate colours as it contains no acid. In winter it 
 will keep for several days, but in hot weather it very soon 
 begins to ferment and should then on no account be used. 
 
 Gum arabic ought never to be used for applique' work, as 
 it becomes so hard that it is impossible to get the needle 
 through, whilst the saccharine it contains almost always causes 
 ugly spots to appear in the stuff when it dries. 
 
PRACTICAL DIRECTIONS 565 
 
 When the work is finished it is a good plan to spread a very 
 thin layer of paste over the entire back of it with a fine brush 
 made of hog's bristles, and not to take it out of the frame 
 until it is perfectly dry. 
 
 To stiffen new needlework. — In the chapter on Irish 
 lace, page 441, we said that new needlework of that kind 
 had to be ironed; this should be done in the following manner: 
 when the lace has been taken off its foundation, lay it, face 
 downwards, on a piece of fine white flannel ; then dip a piece 
 of very stiff new organdie muslin into water, take it out again 
 almost immediately and wring it slightly, so that no drops 
 may fall from it, and then dab the wrong side of the lace 
 all over with this pad of damp muslin and iron it with a hot 
 iron which should be moved slowly forwards so that the moist- 
 ure which the organdie has imparted to the lace may evaporate 
 slowly. Not until you are quite sure that the lace is dry 
 should it be taken off the board. 
 
 Theer is no better way than this of giving new lace that 
 almost imperceptible degree of stiffness by which alone it is often 
 to be distinguished from old. Water only does not stiffen 
 the thread sufficiently and it is difficult with starch to hit upon 
 exactly the right consistency, whereas the organdie muslin 
 supplies just the needful quantity. 
 
 Embroidered network can be stiffened in the same manner 
 and should be damped in the frame on the wrong side and not 
 taken off until it is quite dry. 
 
 We even recommend embroidery on linen being treated in 
 the same way but when the linen is very creased, cover it with 
 a damp cloth and iron upon that first, then take the cloth 
 away and iron the embroidery itself so as to dry it com- 
 pletely. 
 
 To -wash ordinary lace. — Wind it round a bottle the 
 same width top and bottom and cover it entirely with muslin, 
 fastened to the lace by a few stitches. Fill the bottle half full 
 of sand, so that it may not get knocked about too violently 
 when the water boils. 
 
 Immerse the bottle in a saucepan of cold water with a piece 
 
566 PRACTICAL DIRECTIONS 
 
 of soap the size of a nut in it, and if the lace be very dirty, a small 
 pinch of salt, and let it boil for about an hour pouring off the 
 water as it gets dirty and adding clean. 
 
 When all the dirt has been boiled out of the lace, which 
 you will know to be the case when the water remains perfectly 
 clear, rinse out the soap before you take the lace off the bottle, 
 by plunging it into cold water. 
 
 To wash real lace. — The process is the same as the above, 
 but as real lace is so seldom washed and is generally very 
 yellow and fragile, particularly if it has been roughly used, it 
 is rather difficult to clean. 
 
 If stained or greasy, it should be left to soak for some 
 hours or even days, in good olive oil. This restores to the 
 thread that softness and smoothness which use and bad wash- 
 ing had impaired. After the oil bath it should be washed on 
 a bottle in the manner already described. 
 
 To stiffen lace. — Dip the lace when perfectly dry in thin 
 starch prepared as follows. 
 
 Take as much fine wheaten starch, as you think you 
 will require, divide it into two portions and dissolve both in 
 cold water. Boil the one portion and when it has so far cooled 
 as to have ceased to steam, stir the cold starch into it and 
 dilute the whole with cold water to the consistency of thick 
 cream. If the lace is to be slightly coloured, add a few drops 
 of black coffee, or dilute the starch with weak tea or guimauve 
 water ; the coffee will give it a dark cream colour, either of 
 the latter a pale greenish hue. 
 
 Dip the lace in the mixture and squeeze it out gently with- 
 out wringing it to get rid of all the superfluous liquid, then 
 lay it flat on the left hand and beat it for a few minutes with 
 the right to work the starch well in; repeat the whole process 
 twice, then roll the lace in fine linen and leave it there till you 
 are ready to iron or pin it out, as the case may be. 
 
 To iron lace. — After the lace has lain for an hour or two 
 in the cloth, iron it if it be machine-made and if it be Irish 
 Guipure or real point lace of any sort, pin it out. 
 
PRACTICAL DIRECTIONS 567 
 
 Before you begin to iron, hold the lace tight in your left 
 hand by the footing and with the right hand pull out all the 
 picots, along the edge of the lace, to an equal length, then lay 
 it out flat upon a board covered with white flannel and iron 
 it with a moderately hot iron, passing the iron backwards and 
 forwards over it until it be quite dry. 
 
 If creases should come in the ironing where they ought not 
 to be, dab them over lightly with a sponge moistened with 
 water and a few drops of starch and pass the iron over them 
 again. 
 
 After ironing the whole length of lace, pull it out crossways 
 from left to right, and from right to left and iron it all over 
 once more. This does away with the artificial stiffness and 
 gives it the agreable softness and pliancy of new lace. 
 
 To pin out lace. — In order to pin out lace in a thoroughly 
 satisfactory manner, you should provide yourself with a wooden 
 drum, about 3o c/m. high and from 5o to 60 c/m. in diameter, 
 large enough to rest upon the knees. 
 
 The outside circumference of the wood should be padded 
 and covered with grey or white ticking. 
 
 The pins must be exactly the size of the picots they are 
 to pin down ; you will require extremely fine ones for Valen- 
 ciennes and coarser for other kinds of lace : steel pins are of no 
 use whatever, because of their liability to rust. Cover the cylinder 
 with blue paper (less trying for the eyes than any other) and 
 take only just as much lace out of the damp cloth as you are 
 likely to be able to pin out before it gets dry, keeping the re- 
 mainder covered up. 
 
 Lay the lace upon the drum and pin the footing down first 
 in a straight line, sticking the pins in pretty closely and at 
 regular distances apart; then pin down each picot separately, 
 taking care not to open them if they have kept their original 
 shape and to shut them up by twisting them if they have got 
 untwisted. 
 
 If you find the pinning out troublesome and cannot get it all 
 done before the lace dries, damp the picots with a sponge as 
 you proceed. 
 
568 PRACTICAL DIRECTIONS 
 
 Lace should never be pinned out when it is dry as the 
 threads of the picots are then very apt to break and torn picots 
 destroy the value of even the choicest lace. 
 
 Raised lace has to be stamped out from the wrong side 
 with a lace awl or kind of pricker of bone made for the purpose. 
 Some professional lace-cleaners use this implement even for 
 Valenciennes lace but we cannot recommend it, seeing that it 
 is a lace that is by nature perfectly flat. 
 
 Let the length of lace you have pinned out remain on the 
 drum till it be quite dry; if you have several yards to pin out, 
 wind it round and round the cylinder. Cover up the lace as you 
 proceed and put each length away as soon as it is ready in 
 a blue paper bag, so as to keep the whole perfectly clean. 
 
 In conclusion we may remark that the cleaning of lace 
 should only be undertaken when you are fairly sure of not 
 being interrupted, as more especially the pinning requires to 
 be finished off as quickly as possible. 
 
 To wash coloured cottons and work done with the 
 same. — In order to test the fastness of the dyes, untie the 
 skeins and pour boiling water upon them, leave them to soak 
 for about a quarter of an hour, soap and rub them lightly 
 with the hand from end to end and rinse them out thoroughly 
 in as many changes of cold water as may be found necessary, 
 until the water remain perfectly colourless. 
 
 Squeeze out all the water you can and let them dry quickly 
 without exposing them to the sun. 
 
 Coloured cottons are often washed in vinegar, because it is 
 supposed to affect the colour less than water does. We 
 have come to the conclusion after several trials that this is a 
 delusion, for the good dyes keep their colour without the aid 
 of vinegar and the bad ones wash out in spite of it. 
 
 The fast colours lose none of their beauty in the process 
 nor does it affect the quality of the cotton ; any excess of co- 
 louring matter which the fibres of the cotton may have absorbed 
 in the process of dyeing is got rid of by this means. 
 
 If a piece of work has been done with unwashed cottons 
 and the colours run in the first washing, you have only to rinse 
 
PRACTICAL DIRECTIONS 56a. 
 
 it out in several changes of tepid water to restore it to its 
 original freshness and if you want to give it a yellowish tinge, 
 it should be dipped it in weak tea or coffee. 
 
 Materials. — It was stated in the preface that our readers 
 would find the choice of colours and material rendered com- 
 paratively easy to them by the notes affixed to the illustrations, 
 but these notes, in spite of all the care bestowed upon them 
 must still have remained very incomplete had it not been for the 
 following tables which we were fortunately enabled to append 
 to our work and which will help every one to choose their own 
 materials without having them actually before them. The 
 strokes that are affixed to each number indicate the exact size 
 of the thread, so that to find out the number you want to buy 
 you have but to lay your pattern thread, stretching it slightly, 
 on the strokes, in succession, till you come to the one that 
 matches it in size. 
 
 With regard to the colours, the names and shades of which 
 have been classed in the second table with the greatest care, and 
 of which our workers have no less than 45o to choose from (*), 
 all those referred to in connection with our illustrations are 
 quite fast dyes (**), save in a few instances in which we 
 were forced to make an exception in favour of a doubtful colour 
 to secure a harmonious effect. 
 
 A complete table of colours must of necessity include cer- 
 tain more or less staring shades, which though they may not 
 be to every one's taste cannot on that account be left out. 
 
 We conclude our work with the well-meant and by no 
 means useless recommendation to our readers, never to begin 
 a piece of work of any considerable size without first making 
 sure that the colours they intend to use are fast and providing 
 themselves with a larger supply of materials than even on a close 
 calculation they think they are likely to require, lest 
 
 (*) The D.M.C colour-card consists of 45o shades about half of which are 
 fast dyes. See the list of names on pp. 572 and 573. 
 
 (**) By fast (bon-teint) colours are meant those which will bear ordinary 
 and repeated washing. There are only very few which are really fast, or grand- 
 teint, that is to say, which will resist the action of chemical agents, amongst 
 of these, the black, Noir 3 10, is quite indestructible. 
 
Table oi the sizes of the D-M-C Cottons 
 C=*^ These articles will be found useful in the 
 
 : v : 
 
 FIL D ALSACE 
 I FIL POUR MACHINES 
 
 if- -: ■-:: -;•■;:: 
 
 ■ 
 90 
 100 
 110 
 190 
 ISO 
 140 
 150 
 160 
 130 
 
 -■:■: 
 
 Hi 
 
 aoo 
 
 400' 
 500 
 
 m 
 
 -v 
 
 DMC 
 
 FIL A DENTELLE 
 (Lace Thread) 
 
 SOIE DE COTON 
 Cotton Silk) 
 
 ■ 
 
 ■ 
 
 70 
 
 80 
 
 90 
 
 100 
 
 190 
 
 ISO 
 
 .. f. 
 
 A BRODER I 
 jtres 
 
 ■B FB POUR LA BRODERIE * § "^ 
 * = ;- : ::.: r : 5 
 
 CORDONHET 6 FILS 
 (Six-Cord Crochet cotton) 
 
 ::=.d:nsft : : : 
 
 (Gold corf) 
 
 CHIME D'OR * - = - 
 
 (Washing eol e r ed gold) -«£— 
 
 30 : sj 
 
 GHSE TURQUE * 
 QiT-liH Turkish g«M csrt) 2 
 
 12 ■^^■■K^HBHMH '~ 
 
 s 
 
 10 
 
 15 
 
 90 
 
 25 
 
 30 
 
 40 
 
 50 
 
 60 
 
 70 
 
 80 
 
 90 
 
 100 
 
 ISO 
 
 150 
 
 CROCHET 4 FILS 
 (Fur-cord Crochet Cotton) 
 
 9 
 H 
 II 
 
 -.4 
 
 M 
 '.9 
 ... 
 M 
 ■ 
 
 4 
 
 5 
 6 
 8 
 10 
 12 
 14 
 16 
 15 
 SO 
 22 
 25 
 30 
 35 
 40 
 45 
 50 
 55 
 60 
 65 
 70 
 75 - 
 SO 
 90- 
 
 100 
 
 120 
 
 150 
 
 s 
 
 COTON A BRODER 
 (Embroidery Cotton) 
 
 All ---z l--.z 
 
 irticlesj exzertinz tuose marked -with an asterisk, ai 
 contained in the D.M.C colour-card. — Fc 
 
and the widths of the Soutaches and Braids. 
 :ution of even* kind of fan cv- work. ts ^k 
 
 COTON SPECIAL * J 
 
 (Madeira Embroidery Cotton ^~ 
 
 40 . = = 
 
 50 > f 
 
 60 5 j 
 
 COTON A BR0DERSURF1N * 
 
 (Embroidery Cotton for Mono- .r . 
 
 grams and for Cambric 5 J 
 
 loo -S ^ 
 
 130 § = 
 
 130 
 
 FIL A POUTER 
 (Knotting Threadj 
 
 ■ ! 
 
 ■ I 
 
 ■ i 
 
 COTON A TRICOTER 
 'Knitting Cottm) 
 
 COTON A FEUTRER 
 (Faftrag C*tt»n) 
 
 COTON A MARQUER 
 (Marking Cotton) 
 
 6 
 
 8 
 
 10 
 
 12 
 
 16 
 
 20 
 
 24 
 
 30 
 
 35 
 
 40 
 
 45 
 
 50 
 
 60 
 
 70 
 
 80 
 
 90 
 
 100 
 
 120 
 
 150 
 
 200 
 
 LACETS SUPERFINS D'ALSACE 
 E -aids) 
 
 
 COTON A REPRISER 
 Darning Cotton) 
 
 l 
 10 
 12 
 14 
 16 
 18 
 30 
 25 
 30 
 35 
 40 
 
 50 
 60 
 ■ 
 80 
 90 
 100 
 
 No* 
 
 l - 
 
 l 
 i J * ■ 
 
 | 
 
 2 r = 
 
 - : 11 
 : ~_-^. 
 ■ ~~ ~~- 
 
 2 ■■- 
 
 4 2^ 
 
 ? | 
 
 1 d i 
 
 9 - = 
 
 u 5 
 
 13 
 
 
 
 SOUTACHE O-B-C 
 (Narrow Braid) 
 
 1 
 I 
 2 
 
 - 
 3 
 
 ~>bers in -e, black 
 

 Alphabetical list of the names and the numbers of the 450 shade 
 DMC Alsace Thread, Sewing and Embroidery Cottons 
 
 
 Couleurs 
 
 Goloiui 
 
 Tres-fonce 
 
 Vary u»rk 
 
 Fonce 
 
 Dark 
 
 Moyen 
 
 M.dlinn 
 
 Clair 
 
 Light 
 
 Tres-clalr 
 
 V.ry light 
 
 
 
 
 
 
 
 
 
 
 
 
 ...3305 . 
 
 ...3306 
 
 ....3307 
 
 ...3308 
 
 3309 
 
 
 
 
 
 
 
 
 516 .. 
 
 ... 517... 
 
 518 
 
 1 484 
 
 340 
 
 5 1 9 
 
 
 
 
 482 
 
 338 
 
 483 
 
 339 
 
 485 
 
 
 
 
 ...341... 
 
 
 
 .. 476... 
 
 .. 477... 
 
 478... 
 
 479 
 
 480 
 
 
 
 3300 . 
 
 ...3301 
 
 ...311 .. 
 
 ...3302 
 
 312 
 
 343 
 
 507 
 
 683 
 
 ...3303 
 
 . . . 344 
 
 3304 
 
 
 
 . .. 336... 
 
 334 
 
 
 
 ...342 
 
 . . 333 .. 
 
 345 
 
 
 Bleu-Marin 
 
 505. . . 
 
 . 506 .. 
 
 508 
 
 509 
 
 
 Bleu-( )ui renter 
 
 
 . .682. . . 
 
 
 
 
 
 
 
 
 .. 668 
 
 
 
 Bleu-lYnncllu 
 
 486... 
 
 487... 
 
 488 
 
 489 
 
 . 490 
 
 
 
 
 
 
 
 709... 
 
 
 
 525 
 
 526... 
 
 527 
 
 
 529 
 
 
 
 
 674 
 
 675 
 
 
 
 
 
 585 
 
 586 
 
 587 
 
 435 
 
 588 
 
 . . 436 
 
 
 
 
 589 
 
 
 
 300 
 
 
 
 
 Bi 111 -Acajou 
 
 402 
 
 
 
 433... 
 
 434 
 
 437. 
 
 
 
 .....660 
 
 
 662 
 
 
 .. .664 .. 
 
 
 
 354 
 
 303 
 
 
 .. 357 
 
 
 
 416 
 
 
 324 
 
 
 419 .. 
 
 
 
 430 
 
 
 302 
 
 
 325 .. 
 
 
 
 615 
 
 
 456 
 
 440 
 
 463 
 
 
 ...619... 
 
 
 454 
 
 
 
 458 . 
 
 
 
 438 
 
 
 .442 
 
 
 
 403 
 
 407 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Brun-Rouille 
 
 ...3310 
 
 ...331 1 
 
 651 
 
 383 
 
 652 
 
 384 
 
 653 
 
 385... 
 
 3314 . 
 
 
 
 650. ... 
 
 
 
 
 654. 
 
 
 
 329 
 
 ..386. 
 
 
 Gris d'Argent 
 
 
 
 719 
 
 
 
 
 Gris-Rleu 
 
 590 
 
 611 
 
 . 592 
 
 593... 
 
 594... 
 
 
 
 610 
 
 ...410 
 
 613... 
 
 ..614 . 
 
 
 Gris-Brun 
 
 408 
 
 409 
 
 411 
 
 . ..412... 
 
 
 
 645 
 
 646 
 
 647 . 
 
 648 
 
 . ...649 .. 
 
 
 Gris-Cendre 
 
 ...413 
 
 317 
 
 705 
 
 318 
 
 . 415.. 
 
 
 Gris-Coutil 
 
 387... 
 
 388 
 
 658 
 
 390 . 
 
 
 Gris-Deuil 
 
 ...655... 
 
 656 
 
 . 659 
 
 
 
 
 704 
 
 706..., 
 
 
 
 
 
 707 
 
 708 
 
 
 
 
 
 ...600... 
 
 601 
 
 637... 
 
 603 
 
 604.... 
 
 
 
 635 
 
 636 
 
 638 
 
 639 
 
 
 Gris-Ficelle 
 
 
 460 
 
 46 1... 
 
 462 
 
 
 
 
 520 
 
 64 1 
 
 
 643 
 
 524 
 
 
 
 640 
 
 644 
 
 
 
 
 
 716 
 
 717... 
 
 
 
 
 
 
 718 
 
 
 
 
 Gris neutre 
 
 620 
 
 621 
 
 622 
 
 623 
 
 624 
 
 424 
 
 629 
 
 382 
 
 63* 
 
 429 
 
 331 
 
 
 Gris-Noisette 
 
 420 
 
 421 
 
 422 
 
 423 
 
 
 
 625 
 
 379 
 
 627 
 
 628... 
 
 
 Gris de Plomb 
 
 378 
 
 .....380 
 
 428 
 
 
 
 630 
 
 631 
 
 426 
 
 427 
 
 
 
 425 
 
 
 Gris-Tilleul 
 
 391 
 
 392 
 
 596 
 
 597 
 
 
 Gris verdatre 
 
 595 
 
 
 
 
 
 
 
 Couleurs 
 
 Colour! 
 
 Tres-fonce 
 
 Very dark 
 
 Fonce 
 
 Dark 
 
 Moyen 
 
 Medium 
 
 Clair 
 
 Light 
 
 Tres-clair 
 
 Very light. 
 
 To avoid mistakes the public is urgently requested to 
 The colours whose numbers 
 
contained in the D-M-C colour-card, in any of which shades the 
 Knitting Cotton, Soutaches and Braids etc. are to be had. 
 
 
 Couleurs 
 
 Colours 
 
 Tres-fonce 
 
 Very dark 
 
 Fonce 
 
 Dark 
 
 Moyen 
 
 Medium 
 
 Clair 
 
 Light 
 
 Tres-clair 
 
 Very light 
 
 
 
 
 
 
 307 
 
 445 
 
 ...446 
 
 
 
 
 
 
 711 
 
 ...712 
 
 
 
 Jaune-Mals 
 
 575 
 
 576 
 
 577 
 
 578 
 
 ...677 
 
 579 
 
 
 J aune d'Ocre 
 
 
 1 
 
 676 
 
 
 
 
 
 443 
 
 ...444 
 
 
 
 
 363 
 
 364 
 
 308 
 
 365 
 
 366 
 
 
 
 
 
 667 
 
 
 
 
 Jaune-vieil-Or 
 
 678 
 
 679 
 
 398 
 
 680 
 
 
 
 
 
 313 
 
 ...314 
 
 328 
 
 399 
 
 
 Lilas gris 
 
 
 
 310 
 
 
 
 
 
 
 Noir grand-teint 
 
 
 Noir-Jais 
 
 681 
 
 
 
 
 
 
 Noir vert 
 
 473 
 
 
 
 
 
 
 
 570 
 
 571 
 
 i 572 
 
 573 
 
 574 
 
 ....3326 
 
 
 Rose-Eglantine 
 
 
 
 
 
 
 Rose vif 
 
 ...565... 
 
 306 
 
 567 
 
 568 
 
 569 
 
 
 
 360 
 
 361 
 
 332 .... 
 
 362 
 
 
 Rouge-Aurore 
 
 
 
 496 
 
 497 . . 
 
 
 
 
 Rouge-Cardinal 
 
 .. 346 
 
 347 
 
 304 
 
 305 
 
 348 
 
 
 Rouge-Cerise 
 
 . ..3315. . 
 
 3316... 
 
 ...3317 
 
 ....3318 
 
 ...:33I9 
 
 
 
 
 ..447 
 
 
 
 
 449 . 450 
 
 
 
 
 Rouge-Ecarlate 
 
 
 
 
 
 
 Rouge-Framboise 
 
 .. 684 . 
 
 685 
 
 686 
 
 
 688 
 
 
 Rouge-Geranium 
 
 .349 
 
 ...350 . 
 
 351 
 
 326 
 
 352 
 
 353 
 
 
 Rouge-Grenat 
 
 .. 358 . 
 
 ...359... 
 
 
 335....' 
 
 
 Rouse-Groseille 
 
 .. 605 
 
 606 
 
 607 
 
 ...3328 
 
 ....3329 
 
 
 
 
 I....3327 
 
 
 Rouge-Turc 
 
 
 
 
 
 Rouge- Vermilion 
 
 
 
 
 
 
 
 
 491 
 
 492 ... 
 
 493 
 
 
 673 
 
 549 
 
 
 
 
 Vert-Bronze 
 
 669 
 
 .. 670 . 
 
 671 
 
 
 
 Vert-Canard 
 
 545... 
 
 546 547 
 
 
 
 Vert-Corbeau 
 
 
 
 Vert dore 
 
 . 580. 
 
 581 
 
 582 
 
 
 584 
 
 
 
 
 
 713 
 
 
 
 Vert-de-gris 
 
 
 474 . 
 
 
 
 
 Vert-Emeraude 
 
 555... 
 
 ...556 
 
 557 
 
 691 
 
 
 559 
 
 
 
 ...689 
 
 ...690 
 
 
 693 
 
 504 
 
 
 
 . .500. 
 
 ..501. . . 
 
 502 
 
 
 
 Vert-Madeira 
 
 
 
 
 
 
 
 ...561 i 562 
 
 
 , 564 ... 
 
 
 Vert metallique 
 
 465 
 
 
 
 
 
 468 
 
 469 
 
 536 
 
 ...470 
 
 
 472 
 
 
 
 535 . 
 
 .112 
 
 
 539 
 
 
 Vert-Olive 
 
 
 51 1 
 
 
 514 
 
 
 Vert-Perroquet 
 
 694 
 
 695 fiSfi 
 
 
 698 
 
 
 Vert-Pistache 
 
 3 1 9 
 
 367 
 
 700 . 
 
 ...320 
 
 
 369 
 
 
 Vert-Pre 
 
 699 
 
 701 
 
 
 703 
 
 
 
 
 
 
 
 
 
 3320. . 
 
 
 
 ....3324 
 
 
 1 Violet-Amethyste 
 
 
 II Violet-Evfique 
 
 451 
 
 
 || Violet-Lie-de-Vin 
 
 ..370. . 
 
 ...371 
 
 
 373 
 
 374 
 
 
 1 Violet-Mauve 
 
 ...375.. . 
 
 ...315 
 
 316 
 
 377 
 
 544 
 
 
 
 540 
 
 541 
 
 531... 
 
 542 
 
 
 
 
 530 
 
 532 
 
 533 
 
 534 
 
 
 1 Violet-Prune 
 
 .. 550 . 
 
 
 
 554 
 
 
 
 394 
 
 
 396 
 
 397 
 
 
 
 
 
 
 
 
 Couleurs 
 1 ',',<■..■* 
 
 Tres-fonce 
 
 Very rittrV 
 
 Fonce Moyen 
 
 Dark Medium 
 
 Clair 
 
 Light 
 
 Tres-clair 
 
 Vary light 
 
 J 
 
 H . ignate the colour-, by the nun 
 B tfa 3 or 4 are the fastest. 
 
 r iber. never t 
 
 y name. 
 
 
 
 
 
D74 PRACTICAL DIRECTIONS 
 
 they should find themselves under the disagreable necessity of 
 having either to leave their work unfinished or finish it with 
 materials that do not match. There is generally a slight difference 
 in tone between cottons that have been bought at different times, 
 and there is also a reasonable likelihood , considering their 
 great variety, of some mistake being made in the number by 
 either buyer or seller in ordering a fresh supply. 
 
 Further information respecting mode of execution, materials and so forth 
 may be had by applying to the firm of 
 
 TH. de DILLMONT, DORNACH (Alsace). 
 
TABLE OF CONTENTS 
 
 PREFACE. Page 
 
 PLAIN SEWING i 
 
 Stitches 4 
 
 Seams 6 
 
 Gathering 8 
 
 Sewing on cord and flaps io 
 
 Button-holes 1 1 
 
 Sewing on buttons 12 
 
 Binding slits 1 3 
 
 Sewing on piping i3 
 
 Fixing whale-bones — Herring-boning 14 
 
 MENDING 1 5 
 
 Linen darning 16 
 
 Satin or twill darning 17 
 
 Damask darning 18 
 
 Fine-drawing 20 
 
 Patching 20 
 
 SINGLE AND CUT OPEN-WORK 23 
 
 Hem-stitching 24 
 
 Open-work patterns 27 
 
 Cutting out threads at the corners 39 
 
 Cut open-work 40 
 
 Patterns for cut open-work 42 
 
 NET AND DAMASK STITCHES 5i 
 
 Net embroidery 5i 
 
 Net patterns 52 
 
 Net darning 62 
 
 Damask stitches 63 
 
 WHITE EMBROIDERY 7 5 
 
 Stitches 77 
 
 Different kinds of scallops 79 
 
 Eyelet holes 80 
 
 Six ways of making dots 81 
 
 Venetian embroidery 82 
 
 Patterns and alphabets 83 
 
576 TABLE OF CONTENTS 
 
 Page 
 
 FLAT STITCH AND GOLD EMBROIDERY io5 
 
 Encroaching satin stitch io5 
 
 Oriental stitch 106 
 
 Plaited stitch and mosaic stitch 108 
 
 Persian stitch 109 
 
 Straight and encroaching flat stitch patterns 1 10 
 
 Chinese embroidery 1 1 1 
 
 Raised embroidery 1 1 3 
 
 Turkish embroidery 1 1 3 
 
 Implements and materials for gold embroiderv 1 i5 
 
 Stitches used i n gold embroidery 1 1 g 
 
 Patterns for gold embroidery 1 20 
 
 TAPESTRY AND LINEN EMBROIDERY 127 
 
 Marking out the embroidery ground 128 
 
 Tapestry stitches 1 29 
 
 Tapestry patterns 1 38 
 
 Stitches for linen embroidery 143 
 
 Patterns for linen embroidery 1 52 
 
 KNITTING 171 
 
 Position of the hands 172 
 
 Casting on 173 
 
 Stitches 1 78 
 
 Stocking knitting 1 82 
 
 Scalloped edge i83 
 
 Heels 1 84 
 
 Toes 189 
 
 Mending knitting 190 
 
 Pique patterns 1 g5 
 
 Patent knitting 201 
 
 Turkish stitch 202 
 
 Knitting patterns 2o3 
 
 CROCHET WORK 221 
 
 Position of the hands 223 
 
 Stitches 22 3 
 
 Method for copying tapestry patterns in crochet 2 38 
 
 Crochet with soutache or lacet 23g 
 
 Crochet square, hexagon and star 240 
 
 Tunisian crochet 241 
 
 Hairpin crochet 243 
 
 Patterns for hairpin crochet 245 
 
 Crochet lace patterns 249 
 
 Crochet counterpanes 284 
 
 Crochet stars ' 3oo 
 
 Crochet collar 304 
 
 Crochet chair-back 3 16 
 
TABLE OF CONTENTS ^77 
 
 Page 
 
 TATTING 325 
 
 Position of the hands 326 
 
 Knots 328 
 
 Patterns of scallops and medallions 33 1 
 
 MACRAME 342 
 
 Materials and implements 344 
 
 Formation of the knots 345 
 
 Macrame shuttles 36o 
 
 Macrame patterns ! 36 1 
 
 NETTING 3g5 
 
 Implements and materials 3g5 
 
 Stitches 397 
 
 Patterns produced in netting 400 
 
 Mounting the netting on the frame 410 
 
 Stars and wheels 414 
 
 Grounds and lace 423 
 
 Embroidery on netting 434 
 
 Netted insertion 438 
 
 IRISH LACE 4 3q 
 
 Materials 439 
 
 Tacking down the braids 440 
 
 Bars of different kinds 442 
 
 Insertion stitches 445 
 
 Lace stitches 45o 
 
 Needle-made picots 467 
 
 Irish lace patterns 468 
 
 LACES OF DIFFERENT KINDS 473 
 
 Pillow lace and the implements for its manufacture 474 
 
 « Stitches » or passings 481 
 
 Patterns or grounds 481 
 
 Armenian lace 5o3 
 
 Laces in knotted stitch 5o5 
 
 Reticella-lace 5o8 
 
 Venetian-lace 5io 
 
 Brussels-lace 5i5 
 
 MISCELLANEOUS FANCY WORK 517 
 
 Knotted cord 5 1 8 
 
 Balls for trimmings 519 
 
 Tambour work 52 1 
 
 Smyrna stitch 523 
 
 Malta stitch 525 
 
 Triangular Turkish stitch 526 
 
 Turkish embroidery 53o 
 
 Applique'-work 53 1 
 
 occo embroidery 535 
 
578 TABLE OF CONTENTS 
 
 Page 
 
 Spanish embroidery 536 
 
 Different kinds of linen stitches 540 
 
 Pattern for linen stitches 541 
 
 Pattern for Roumanian stitch 544 
 
 Pattern for Pique embroidery 545 
 
 Embroideries with Soutache 546 
 
 Chinese subject 55 1 
 
 PRACTICAL DIRECTIONS 553 
 
 Tracing and drawing the designs 553 
 
 The preparation of the stuffs and the subdivision of the patterns 557 
 
 To transpose and repeat patterns by means of looking glasses 55q 
 
 To alter the proportions of a pattern by dividing the ground into squares 56o 
 
 To prepare the paste for applique work 564 
 
 To stiffen new needlework 565 
 
 To wash ordinary lace 565 
 
 To wash real 1 ace 566 
 
 To stiffen lace 566 
 
 To iron lace 566 
 
 To pin out lace 567 
 
 To wash coloured cottons and work done with the same 568 
 
 Materials 569 
 
$£=» By the same Author st 1§Bl 
 
 ALBUM DE BRODERIES 
 
 AU POINT DE CROIX 
 (Album of cross-stitch embroidery) 
 
 by TH. de DILLMONT 
 
 32 Plates with 278 Designs, and a complete treatise 
 
 on the embroidery itself. 
 
 Quarto ; artistic boards, price is. Qd. 
 
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PRINTED BY BRUSTLEIN & Co., 
 Mllhouse (Alsace 
 
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