* * * * *

337.—Knitted D'Oyley. (See page 579.)

Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 36; glazed embroidery cotton No. 10; steel knitting-needles.

This pattern is knitted with very fine crochet cotton. The middle part as well as the lace border are worked separately; the latter is sewn on to the middle part. The spots in the thick parts are worked in afterwards with coarser cotton. Commence the pattern in the centre, cast on 6 stitches, join them into a circle, and knit 2 plain rounds.

3rd round: Alternately knit 1, throw the cotton forward.

4th and 5th rounds: Plain.

6th round: Alternately knit 1, throw the cotton forward.

7th round: Plain. Every other round is plain. We shall not mention these plain rounds any more.

8th round: Knit 2, * throw the cotton forward, knit 1, throw the cotton forward, knit 3; repeat from * to the end of the round; lastly, throw the cotton forward, knit 1, throw the cotton forward, knit 1.

10th round: * Throw the cotton forward, knit 1, throw the cotton forward, knit 2 together.

12th round: * Throw the cotton forward, knit 3, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together.

14th round: * Throw the cotton forward, knit 5, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together.

16th round: * Throw the cotton forward, knit 7, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together. The

18th, 20th, 22nd, and 24th rounds are worked like the 16th round; only the middle plain part of the pattern figures increases by 2 stitches in every pattern round, so that there are 15 plain stitches in the 24th round between the 2 stitches formed on either side of the same by throwing the cotton forward.

26th round: * Throw the cotton forward, knit 6, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 6, throw the cotton forward, knit 2 together, knit 1, knit 2 together.

28th round: * Throw the cotton forward, knit 6, knit 2 together, throw the cotton forward, knit 3, throw the cotton forward, knit 2 together, knit 6, throw the cotton forward, knit 2 together, knit 1.

30th round: * Knit 1, throw the cotton forward, knit 2 together, knit 6, throw the cotton forward knit 3 together, throw the cotton forward, knit 6, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, throw the cotton forward.

32nd round: * Knit 2 together, throw the cotton forward, knit 2 together, knit 13, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 3, throw the cotton forward.

34th round: * Knit 2 together, throw the cotton forward, knit 2 together, knit 11, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 5, throw the cotton forward.

36th round: * Knit 2 together, throw the cotton forward, knit 2 together, knit 9, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 1, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward.

38th round: * Knit 2 together, throw the cotton forward, knit 2 together, knit 7, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 3, throw the cotton forward, knit 3 together, throw the cotton forward, knit 3, throw the cotton forward.

40th round: * Knit 2 together, throw the cotton forward, knit 2 together, knit 5, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 2, throw the cotton forward, knit 1, throw the cotton forward.

42nd round: * Knit 2 together, throw the cotton forward, knit 2 together, knit 3, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 3, throw the cotton forward, knit 3 together, throw the cotton forward, knit 3, throw the cotton forward, knit 3 together, throw the cotton forward, knit 3, throw the cotton forward.

44th round: * Knit 2 together, throw the cotton forward, knit 2 together, knit 1, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 3, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 3, throw the cotton forward, knit 1, throw the cotton forward, knit 5, throw the cotton forward.

45th and 46th rounds: Plain, then cast off loosely.

For the lace border, which is worked in the short way backwards and forwards, cast on 22 stitches and knit as follows:—1st row: Slip 1, knit 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 4, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together.

2nd row: Slip 1, throw the cotton forward, knit 3, throw the cotton forward, knit 2 together, knit 2, throw the cotton forward, knit 2 together, knit 11.

3rd row: Slip 1, knit 9, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 5, throw the cotton forward, knit 1.

4th row: Slip 1, throw the cotton forward, knit 7, throw the cotton forward, knit 2 together, knit 2, throw the cotton forward, knit 2 together, knit 9.

5th row: Slip 1, knit 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 9, throw the cotton forward, knit 1.

6th row: Knit 2 together (knit together the stitch and the next stitch formed by throwing the cotton forward), throw the cotton forward, knit 2 together, knit 5, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 10.

7th row: Slip 1, knit 10, throw the cotton forward, knit 2 together, knit 2, throw the cotton forward, knit 2 together, knit 3, knit 2 together, throw the cotton forward, knit 2 together (stitch formed by throwing the cotton forward and the next stitch).

8th row: Knit 2 together, throw the cotton forward, knit 2 together, knit 1, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 12.

9th row: Slip 1, knit 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 5, throw the cotton forward, knit 2 together, knit 2, throw the cotton forward, knit 3 together, throw the cotton forward, knit 2 together.

10th row: Knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 14.

11th row: Slip 1, knit 11, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 3 together. Then begin again on the 2nd row, and work on till the border is long enough; sew the lace on to the centre, slightly gathering the former. Lastly, work in the spots with glazed or coarse embroidery cotton.

* * * * *

338.—Knitted Braces.

Material: Messrs. Walter Evans and Co.'s knitting cotton No. 8 or 12.

These braces are knitted with coarse white cotton, taken double; the braces themselves are worked in brioche stitch, the lappets are knitted plain. Begin at the bottom of the front lappet, make a foundation chain of 14 stitches, knit 5 rows plain backwards and forwards, then divide the stitches into two halves to form the button-hole; knit 15 rows on each of the halves consisting of 7 stitches; then take the 14 stitches again on one needle and work 17 rows on them. Then work a second button-hole like the first one; knit 6 more rows plain, increasing 1 at the end of every row, so that the number of stitches at the end of the lappet is 20.

Then begin the pattern in brioche stitch; it is worked as follows:—Knit first 1 row, then slip the first stitch of the first following pattern row, * throw the cotton forward, slip the next stitch (slip the stitches always as if you were going to purl them), knit 2 together; repeat 5 times more from *; the last stitch is knitted.

2nd row of the pattern: Slip the 1st stitch, * knit 2; the stitch which has been formed in the preceding row by throwing the cotton forward is slipped after the 2nd knitted stitch; repeat 5 times more from *; knit the last stitch.

3rd row: Slip the 1st stitch, * decrease 1 (here, and in all the following rows, knit the next stitch together with the stitch before it, which has been formed in the preceding row by throwing the cotton forward), throw the cotton forward, slip 1; repeat from *; knit the last stitch.

4th row: Slip the 1st stitch, * knit 1, slip the stitch which has been formed in the preceding row by throwing the cotton forward, knit 1, knit the last stitch. Repeat these 4 rows till the braces are long enough. The pattern is 19 inches long. Then knit 6 rows plain, decreasing 1 at the end of every row, then work each lappet separately, dividing the stitches so that each lappet is 7 stitches wide. Each lappet has 72 rows; after the first 18 rows make a button-hole as described for the preceding one. Work 18 rows between the 1st and 2nd button-hole. The lappets are rounded off by decreasing after the 2nd button-hole.



* * * * *

339.—Pattern for Knitted Curtains, &c.

Material: Messrs. Walter Evans and Co.'s knitting cotton No. 8.

This pattern is suitable for knitting different articles, according to the thickness of the cotton used. The number of stitches must be divided by ten. The pattern is knitted backwards and forwards.



1st row: All plain.

2nd row: * Knit 1, make 2, slip 1, knit 1, pass the slipped stitch over the knitted one, knit 5, knit 2 together, make 2. Repeat from *.

3rd row: Purl the long stitch formed by making 2 in preceding row, * make 2, purl 2 together, purl 3, purl 2 together, make 2, purl 3. Repeat from *. (By make 2 is meant twist the cotton twice round the needle, which forms one long stitch, and is knitted or purled as such in next row.)

4th row: Knit 3, * make 2, slip 1, knit 1, and pass the slipped stitch over, knit 1, knit 2 together, make 2, knit 5. Repeat from *.

5th row: Purl 3, * make 2, purl 3 together, make 2, purl 7. Repeat from*.

6th row: Knit 3, * knit 2 together (1 stitch and 1 long stitch), make 2, knit 1, make 2, slip 1, knit 1, pass the slipped stitch over (the knitted stitch is a long stitch), knit 5. Repeat from *.

Continue the pattern by repeating always from the 2nd to the 5th row; the 6th row is the repetition of the 2nd row, but it is begun (compare the two rows) about the middle of the 2nd row, so as to change the places of the thick diamonds in the following pattern. This will be easily understood in the course of the work.

* * * * *

340.—Knitted Insertion.

Material: Messrs. Walter Evans and Co.'s knitting cotton No. 20 or 30.

Cast on 14 stitches, and knit in rows, backwards and forwards, as follows:—1st row: Slip 1, knit 2 together, throw cotton forward, knit 2, knit 2 together, throw cotton forward, knit 2, knit 2 together, throw cotton forward, knit 3. This row is repeated 18 times more; the stitch formed by throwing the cotton forward is knitted as 1 stitch.

20th row: Slip 1, knit 2 together, make 1, knit 1; place next 3 stitches upon another needle behind the cotton, and leave them alone; knit 1, knit 2 together, throw cotton forward, now knit the first 2 of the 3 stitches which have been left; knit the last of the 3 together with the next stitch on the needle, throw cotton forward, knit 3. Repeat these 20 rows till strip is long enough.



* * * * *

341 and 342.—Knitted Cover for Sofa Cushion.

Materials: Messrs. Walter Evans and Co.'s knitting cotton No. 12; eight ply fleecy wool.



This cushion (15 inches wide, 12 inches high) is made of grey calico; it is covered on one side with knitting, worked with grey crochet cotton. The knitted cover has an open-work pattern, worked backwards and forwards on a number of stitches which can be divided by 2, and which must suit the width of the cushion, in the following manner:—1st row: Alternately throw the cotton forward, knit 2 together.

2nd row: Slip 1, knit the other stitches. The stitch formed by throwing the cotton forward is knitted as 1 stitch.

3rd row: Knit 1, * throw the cotton forward, knit 2 together. Repeat from *; after the last decreasing knit 1.

4th row: Like the 2nd row.

These four rows are repeated till the cover is sufficiently large. Draw a narrow piece of red worsted braid through every other open-work row of the pattern, as can be seen in illustration 341. When the cushion has been covered with the knitting, it is edged all round with a border knitted the long way, in the above-mentioned open-work pattern; it is 14 rows wide, and also trimmed with worsted braid: a fringe of grey cotton and red wool, 3 1/4 inches wide, is sewn on underneath the border at the bottom of the cushion; to this is added a thick red worsted cord, by which the cushion is hung on over the back of an arm-chair. The cushion, on account of its simplicity, is especially suitable for garden chairs.



* * * * *

343.—Netted Nightcap.

Material: Messrs. Walter Evans and Co.'s crochet cotton No. 12.

This cap is netted with crochet cotton over a mesh measuring three-quarters of an inch round; work first a long square for the centre of the crown, cast on 28 stitches, and work backwards and forwards 27 rows with the same number of stitches. Then work 34 rounds round this square, and fasten the cotton. Then count 43 stitches for the front border, and 24 stitches for the back border, and leave them for the edge of the cap. On the remaining stitches on each side work the strings in 95 rows backwards and forwards on the same number of stitches; each string is pointed off at the lower end by decreasing 1 stitch in every row. Sew in a narrow piece of tape in the back border of the cap; the remaining part of the border, as well as the strings, are trimmed with crochet lace or with netted edging, No. 311.



* * * * *

344.—Netted Nightcap.

Material: Messrs. Walter Evans and Co.'s knitting cotton, 3-thread, No. 30.



This nightcap is very simple and practical. It consists of two similar three-cornered pieces, sewn together so as to form a double triangle; the point of the triangle is turned back, as seen in illustration, and fastened on the lower half of the same. The cap is edged with a lace; a similar lace covers the seam between both parts of the cap. The pattern is worked with crochet cotton over a mesh measuring three-quarters of an inch round. Begin each half in the corner; cast on 2 stitches, and work backwards and forwards, increasing 1 stitch at the end of every row, till the number of stitches is 60. Then sew both halves together, and trim the cap and strings (the latter are worked as on the cap No. 343) with the following lace: work 2 rows of open-work treble stitches—the treble stitches are divided by 1 chain—then work 1 row of double, always working 4 double round the chain stitches which divide 2 treble in the preceding row, or with netted edging No. 311.

* * * * *

345.—Knitted Pattern.

Materials: Messrs. Walter Evans and Co.'s knitting cotton No. 20 for couvrettes, or Berlin wool for sofa quilts.

This pattern can be worked either in wool or cotton, and is suitable for many purposes. Cast on a sufficient number of stitches, divided by 18, for the 1st row: Knit 4, throw the cotton forward, knit 2 together, throw the cotton forward knit 2 together, knit 4, purl 6, repeat from *.

2nd row: The stitches knitted in the 1st row are purled as well as the stitches formed by throwing the cotton forward; the purled stitches are knitted. This row is repeated alternately, therefore we shall not mention it again.

3rd row: * Knit 6, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 6, purl 2.

5th row: Purl 4, * knit 4, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 4, purl 6.

7th row: Knit 2, * purl 2, knit 6, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 6.

9th row: Knit 2, * purl 6, knit 4, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 4.

11th row: * Knit 6, purl 2, knit 6, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together.

13th row: Throw the cotton forward, knit 2 together, * knit 4, purl 6, knit 4, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together.

15th row: * Throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 6, purl 2, knit 6. The knitting can now be easily continued from illustration.



* * * * *

346 to 348.—Knitted Shawl.

Materials: Shetland wool, white and scarlet; steel needles.



This shawl is knitted in the patterns given on Nos. 346 and 347. Both illustrations show the patterns worked in coarse wool, so as to be clearer. Begin the shawl, which is square, on one side, cast on a sufficient number of stitches (on our pattern 290); the needles must not be too fine, as the work should be loose and elastic.

Knit first 2 rows plain, then 3 of the open-work row of pattern No. 346, which is worked in the following manner:—1st row: Slip the first stitch, * knit 2 together, inserting the needle into the back part of the stitch, slip 1, knit 2 together, throw the wool twice forward; repeat from *.

2nd row: Knit 1 and purl 1 in the stitch formed by throwing the wool forward in the preceding row; the other stitches are purled. In the next row the holes are alternated—that is, after the 1st slipped stitch knit 1, throw the wool forward, and then knit twice 2 together.

When 3 such open-work rows are completed, knit 1 row plain, and then work the pattern seen on No. 347, which forms the ground, and is worked in the following way:—1st row: Slip the 1st stitch, alternately throw the wool forward, and decrease by slipping 1 stitch, knitting the next, and drawing the slip stitch over the knitted one.

2nd row, entirely purled.

When 6 such rows have been worked in this pattern, work again 9 rows of the open-work pattern, but work on each side of the 2 stripes, each 6 stitches wide, in the pattern of the ground (No. 347); each first stripe is at a distance of 4 stitches from the edge, and each second stripe at a distance of 20 stitches. After the 9th open-work row, work again 6 rows in the pattern of the ground, then again 8 open-work rows, and then begin the ground, only continue to work on both sides of the shawl the narrow stripes of the ground pattern, the narrow outer and the two wide inner stripes of the border in the open-work pattern. When the ground (pattern No. 347) is square, finish the shawl at the top with two wide and one narrow open-work row, as at the bottom, divided by stripes in the ground pattern. Knot in, all round the shawl, a fringe of scarlet wool; the fringe must be 3-1/2 inches deep.



* * * * *

TABLE OF SIZES OF MESSRS. WALTER EVANS & Co.'s KNITTING COTTON, 3 THREADS.

- No. - Borders 20, 80 Couvrettes 8 D'Oyleys 80, 100 Edgings 16, 30 Insertions 30, 50 Nightcaps 20 Quilts 4, 8, 12 Socks 20 Table Covers 16



MONOGRAMS AND INITIALS.



ALPHABETS.

* * * * *

349.—Alphabet.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

These letters are embroidered in overcast stitch and in satin stitch, and are the capitals for the alphabet No. 350. Stars ornament this very effective alphabet.



350.—Alphabet (Small Letters).

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

This alphabet will be found useful for marking linen as well as pocket-handkerchiefs. It is worked in satin stitch, the stars in fine overcast; an eyelet-hole occupies the centre of each star.



351.—Alphabet of Small Capitals.

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 12 for linen. No. 18 for handkerchiefs.

These letters will be found useful for marking table-linen; they may be worked either in green, red, or white cotton. The letters are worked in raised satin stitch with raised dots and open eyelet-holes.



352.—Alphabet.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 12.

This pretty alphabet is worked in satin stitch, both raised and veined; the design is composed of forget-me-not blossoms and leaves. Raised dots worked in satin stitch form all the fine lines.



353.—Alphabet in Coral Stitch.

Material: Coloured ingrain marking cotton, or black sewing silk, or filoselle.

The letters of this alphabet are particularly suitable for pocket-handkerchiefs. The embroidery is worked either with marking cotton, or coloured or black sewing silk; the long white lines are worked in overcast stitch, the small white spots in satin stitch, the remaining parts of the letters in coral stitch, as can be distinctly seen in illustration.



354—- Small Alphabet.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

This useful alphabet is worked in satin stitch, veined in parts and ornamented with tendrils. As the alphabet of capitals (page 377, No. 351) and that of these small letters correspond, any name may be worked from them.



355.—Alphabet (Capitals).

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton Nos. 12 and 20.

This alphabet is worked in raised satin stitch, the outlines being partly scalloped; for the fine lines, which should be worked in overcast, embroidery cotton No. 20 should be employed.



356. Alphabet (Capitals).

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

The alphabet here illustrated is in the florid style; the graceful flowing lines are worked in raised satin stitch, as well as the variously-sized dots which ornament the letters.



357—Alphabet.

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton Nos. 12 and 16.

The letters are worked in point d'or, or dotted stitch, with an outline in fine overcast, and large raised spots in satin stitch. The ornamental wreaths round the first five letters can of course be worked round any of the others. It is very fashionable to work one letter only upon handkerchief corners.



358.—Alphabet in White Embroidery.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16

This alphabet is worked in applique; the ears of corn only are worked in overcast, satin, and knotted stitch. These letters look particularly well on transparent materials. The ears may be omitted by beginners, though they add much to the beauty of the alphabet. To this alphabet are added the ten numerals, which will be found exceedingly useful. By means of the whole alphabet and all these figures, any combination of initials and numbers can be made.



359.—Alphabet (see page 402).

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20; very fine black silk.

The vine-leaves and grapes of this graceful and fanciful alphabet are worked in veined and slightly raised satin stitch, the tendrils in point russe; for these the fine black silk is employed.

* * * * *

360.—Sampler (Frontispiece).

Materials: cambric muslin or fine linen; Messrs. Walter Evans and Co.'s Embroidery Cotton Nos. 16, 18, and 20; red cotton and black silk.

This illustration shows a sampler which will be found useful for learning to embroider letters for marking linen. The material used is cambric muslin or fine linen. Work the embroidery with white embroidery cotton, red cotton, or black silk. The thick parts of the letters are worked in slanting satin stitch and back stitch; the outlines of the stitched parts are worked in overcast, as well as the fine outlines of the letters and all the fine outlines of the patterns. The monograms and crowns are worked in a similar manner. Work button-hole stitch round the outside of the sampler. The letters and crowns may, of course, be employed for other purposes.

* * * * *

361.—Alphabet (Capitals).

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20

This effective alphabet is very easily worked, the stitches employed being raised and veined satin stitch, and overcast. The raised dots are worked in satin stitch, care being taken to preserve their position in the centre of each open space.



* * * * *

MONOGRAMS AND INITIALS.

* * * * *



362.—Alice.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

The letters of this name, except the initial letter, are very simple, being worked in plain satin stitch, while the initial letter is worked in raised satin stitch, point de poste, and overcast.

363.—Amalie.

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton Nos. 16 and 20.



The highly-ornate initial of this name is not difficult to work, requiring only great regularity and evenness in embroidering the tendrils and eyelet-holes. The veinings of the letter must be carefully defined. The remainder of the name is executed in plain satin stitch, a few eyelet-holes being introduced.

"Amalie" can easily be altered into "Amelia" by changing the place of the a and e. In the centre of each letter a large eyelet-hole is placed; smaller eyelet-holes of graduated sizes occupy parts of the overcast scrolls, which should be worked with No. 20 cotton. The initial letter is worked in raised satin stitch.



364.—Amy.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

This pretty name is worked in delicately raised satin stitch and point de pois; the dots in dotted satin stitch, and the elegant little design beneath is worked in point russe.

365.—Annie.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.



The letter A of this name is rather elaborate, and is worked in point de pois or back stitching, the outlines in fine overcast, the letters in satin stitch. The ornaments surrounding the word "Annie" are worked in overcast.

366.—A.M.K.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

This name is worked in satin stitch, with small dots of raised satin stitch. The eyelet-holes in the middle letter to be worked in overcast.



367.—B.R.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.



These initials are worked in applique in the centre of a medallion in satin stitch, overcast, and lace stitches.

368.—Carrie.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.



This name is very easy to work, being very clearly and simply embroidered in overcast and satin stitch. The thick dots may be worked without the eyelet-holes if preferred.



369.—Caroline.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

This pretty name requires care in working; the leaves which adorn the letters must be very well defined; they, as well as the letters, are embroidered in satin stitch, the initial letter being veined, and the ornaments worked in overcast and eyelet-holes.

370.—Charlotte.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.



This name is worked in satin stitch and overcast, the small and elegant dots in point de russe and graduated satin stitch; the large ones are worked in raised satin stitch.

371.—Cornelie.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

This word is worked in plain satin stitch, the ornamentation in overcast stitch.



372.—C.M.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

This design is simple, is worked in graduated satin stitch, and is most elegant.



373.—Dora.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 30.

This elaborate design should not be attempted by beginners in the art of embroidery; it is worked in overcast stitch, raised and veined satin stitch; the tendrils are entirely worked in graduated overcast; the name is placed over a graceful spray of wild flowers worked in the above-named stitches. This pattern, although originally designed to be worked on net or fine muslin, is far more effective when worked on cambric or fine lawn.

374.—D.C.



Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

These letters are worked in satin stitch and veined satin stitch; the forget-me-nots are worked in raised satin stitch with a small eyelet-hole in the middle worked in overcast stitch.

375.—Emily.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16. This name is worked in satin stitch, the dots in the middle in point de poste, the rest of the letters in satin stitch and in dotted satin stitch.



376.—Ernestine.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

This elegant design is most effective; the first letter very elaborate; the rest of the letters simply worked in satin stitch. The small stars are worked in overcast stitch, and the initial letter itself in veined satin stitch.



377.—Etta.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 10.

The letters which compose this name are formed entirely of leaves, flowers, and tendrils, worked entirely in satin stitch and overcast; the tendrils which surround the name are worked in overcast, and have a few eyelet-holes placed among them.



378.—Eva.

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton Nos. 16 and 20.

This name is worked in satin stitch, the leaf in point de sable; the veinings are worked in raised satin stitch.



379.—E.A.

Material: Messrs. Walter Evans and Co.'s White and Red Embroidery Cotton No. 30.

This very pretty monogram is worked quite in a new style of embroidery. The design represents the emblems of Faith, Hope, and Charity. The outlines of the shield and cross are worked in overcast, the initials "E.A.," the torch, and the anchor in satin stitch with white cotton, the leaves partly in satin stitch with white and partly in point d'or with red cotton, with only a fine outline in overcast. The cross and the flames of the torch are embroidered in the same manner.



380.—E.A.P.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

These pretty initials are worked in satin stitch, the middle letter in point russe and point de poste.



381.—E.P.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

These elegant letters are worked in veined and raised satin stitch.



382.—E.R.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 30.

The ovals are worked in overcast and point de pois, the letters in satin stitch, the ornamentation in satin stitch and overcast.



383.—E.A.

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

These initials are placed in a medallion; they are worked in satin stitch and overcast, and in applique on muslin. For that part of the pattern in which the name is to be embroidered the material is taken double.

384.—Elisabeth.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

This word is embroidered in satin stitch and overcast. A few small eyelet-holes break the monotony of the outlines, and give lightness to this name.



385.—Elise.

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton Nos. 12 and 16.

The open part of these letters is ornamented by one or more dots; the thick work is raised over chain stitches worked in No. 12, a rather coarser cotton.



386.—Emma.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

This name is worked in satin stitch; the large dots may be worked with the eyelet-holes in fine overcast, the smaller dots in satin stitch. The remaining letters in raised satin stitch and point de sable.



387.—F.B.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

This elegant monogram is worked in raised satin stitch, the inside embroidered with lace. The leaves and tendrils are worked in satin stitch and point de sable.



388.—F.S.

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton Nos. 16 and 20.

The initials "F.S." are placed in the pages of an open book, the outlines of which are worked in overcast, the sides in point de pois. The wreath of flowers which surrounds the book is embroidered in satin stitch, the tendrils and veinings are in overcast. The initials are worked in fine satin stitch.



389.—Fanny.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

This name is simply worked in satin stitch and overcast.



390.—Francis.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

The initial letter of this elegant design is worked in fine over-casting; the centre star in raised satin stitch with lace in the middle; the leaves surrounding it in veined satin stitch; the other letters are worked in plain satin stitch; and the dots of the line in point de poste.



391.—E.C.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

The initials "E.C." are worked within a frame of overcast outlines and satin stitch dots. Vine-leaves and grapes worked in point de pois and eyelet-holes are placed as ornaments around the frame.



392.—Gordon.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

This pretty name being worked in raised satin stitch, is very suitable for gentlemen's handkerchiefs.



393.—Helene.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

We give the French version of this pretty name, it being easily changed to English "Helen" by omitting the final e in working. The name is worked in plain satin stitch, slightly raised at the thickest parts of the letters.



394.—H.D.G.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

This elegant design is worked in fine overcast and satin stitch, and point de russe.



395—Jessie.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

This design is very simple to work, the letters being so clear and well defined. The thick satin stitch is scalloped in parts.



396.—J.C.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 12.

The letters "J.C." are worked in raised satin and overcast stitch, the thickest part of each letter being worked in scallops.



397.—Lina.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

This name is worked in raised veined satin stitch; the small stars are worked in point russe round eyelet-holes.



398.—Lizzie.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

This name is worked partly in satin stitch, partly in raised dots and fine overcast; the letters are in the Greek style, and have an excellent effect if well worked.



399.—L.G.A.

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20, and Linen Thread No. 16.

Lace stitches are introduced in the medallion which incloses these letters, the outlines being worked in overcast and point de pois, the pens and initials in raised satin stitch, as also the flowers. The open portion is filled in with Mechlin wheels, which are thus worked: A number of single threads cross each other in the space to be filled up; these are placed about a quarter of an inch from each other. All the bars in one direction must now be worked in fine button-hole stitch, then the opposite bars must be worked, and the button-hole stitch must be continued about six inches past the point where the two lines cross. The thread must be slipped loosely round the cross twice, running over and under alternately, so as to form a circle; then work in button-hole to the centre of a quarter of the circle; make a dot by inserting a pin in the next button-hole and working three stitches in the loop thus formed by the pin. These dots may be omitted from these wheels.



400.—L.C.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

The effect of this design when well worked is excellent, for, although simple, the contrast between the letters and stars throws each into relief. Veined and raised satin stitch, with very small eyelet-holes, are the stitches used here.



401.—Marie.

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton Nos. 20 and 36.

This name is embroidered in satin stitch; the veinings are well defined, and the tendrils should be worked with No. 30 cotton, as they require very fine work. Stars of overcast and eyelet-holes are the only ornaments.

402.—Maria.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 30.

The initial letter of this name is worked in overcast and point de pois, the remaining letters in satin stitch, the ornamentation in satin stitch and overcast.



403.—Maude.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

This name is worked in veined satin stitch; the small stars in raised satin stitch, and the elegant tendrils are worked in overcast. This work is peculiarly adapted for the marking of a trousseau.



404.—M.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

This elegant design can be worked in coloured silk if preferred, or the coronet omitted at will. The letter "M" is worked in raised and veined satin stitch; the centre stars are worked in fine overcast round an eyelet-hole; the coronet is worked in very fine satin stitch and point de pois, and stars to correspond with those worked in the letter and in the wreath below, the leaves of which are worked in satin stitch and overcast stitch.



405.—M.B.D.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

These initials are worked in satin stitch and overcast, the open work in fine overcast round eyelet-holes.



406.—M.B.G.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

These elegant letters are simply worked in graduated satin stitch and fine overcast with eyelet-holes.



407.—M.H.E.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

This elegant design is worked in graduated satin stitch, the middle letter is done in point croise. This stitch is only worked on very thin and transparent materials. Insert the needle into the material as for the common back stitch, draw it out underneath the needle on the opposite outline of the pattern so as to form on the wrong side a slanting line. Insert the needle again as for common back stitch.

408.—Natalie.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 30.

The initial letter of this word contains all those following, and is surrounded by a wreath of roses and other flowers; these are worked in satin stitch, the leaves in point de pois, the letters in raised satin stitch. The dots which are represented on the groundwork of the initial are worked in back stitching; these may be worked in scarlet ingrain cotton if desired for morning handkerchiefs.



409.—O.R.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

This monogram is worked in satin stitch, and the oval is worked in eyelet-holes of graduated sizes.



410.—Phoebe.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

The first letter of this word is very elaborate; it is worked in satin stitch, point de sable, and point de pois, the rest of the letters in satin stitch.



411.—Monogram for Pocket Handkerchiefs.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton Perfectionne No. 20.



This monogram is worked partly in applique, partly in satin stitch. For the middle part of the medallion sew on the pattern in applique of cambric with button-hole stitch; the remaining part of the embroidery is worked in satin stitch and point russe.

412.—Monogram for Pocket Handkerchiefs.

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20, and Linen Thread No. 20.

This monogram is also worked in applique and satin stitch. The circle all round the medallion is worked in applique; in the middle work lace stitches from illustration. The edge of the medallion is worked round with button-hole stitch.



413.—Rosa.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

Here the name is inclosed in a medallion of overcast and back stitching, the lower part having a graceful wreath of leaves worked in satin stitch. The letters which form the name are worked in raised and scalloped satin stitch and point de pois.



414.—Rosina.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

The stars round this graceful initial letter are worked in raised satin stitch round an eyelet-hole, the leaves in graduated satin stitch, the stems overcast, the wreaths of flowers worked in satin stitch and open eyelet-holes, the stems and veinings in overcast, and the stars on the stems to correspond with those worked in the letter: the rest of the letters in simple satin stitch rather thickly raised.



415.—R.S.

Materials: Black china silk; Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

These letters are worked in raised satin stitch with a design of point russe worked in black silk.



416.—S.E.B.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

These letters are worked in graduated satin stitch, the centre star is worked in raised satin stitch, and the four surrounding it as eyelet-holes.



417.—L.E.P.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

These initials are worked in plain satin stitch, and the elegant stars are worked in point russe worked round an eyelet-hole.



418.—Victoria.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

This name is most elaborately worked in satin stitch, over-casting and eyelet-holes. The initial letter is worked in satin stitch, and the stars in fine overcast round an eyelet-hole.



* * * * *



POINT LACE WORK.



Lace is of two kinds—pillow lace, which is made upon a cushion or pillow, and point lace, which is made of stitches or points worked in patterns by hand, which are joined by various stitches forming a groundwork, also the result of the needle above.

Pillow lace is entirely worked on the pillow or cushion, the pattern and ground being produced at the same time. Pillow lace is sometimes correctly called bone or bobbin lace, but it appears that the distinction has never been very nicely observed either by lace-workers or lace-traders, many sorts which are really pillow lace being called point, on account of some peculiarity in the stitch or pattern.

The requisites for producing lace in perfection are the dexterity and taste of the workers, and the goodness of the material. To produce many beautiful fabrics a mechanical dexterity alone suffices, but in lace-making the worker must have some artistic talent, even when supplied with designs, for any one can perceive that deviations from the design are easily made, and that the slightest alteration by a worker wanting in taste will spoil the whole piece of workmanship.

The following illustrations are specimens of ancient and modern laces from Mrs. Bury Palliser's collection:—



No. 419 shows Dalecarlian lace, made by the women of Dalecarlia. This is a coarse kind of lace, and is sewn on caps, &c., and, although highly starched, is never washed, for fear of destroying its coffee-coloured tint, which, it appears, is as much prized now by the Swedish rustics as it was by English ladies in the last century.



Both these specimens of Mechlin belonged to Queen Charlotte, who much admired this elegant lace.

No. 423.—The Bedford plaited lace is an improvement on the old Maltese.

Honiton guipure lace is distinguished by the groundwork being of various stitches, in place of being sewn upon a net ground. The application of Honiton sprigs upon bobbin net has been of late years almost superseded by this modern guipure. The sprigs, when made, are sewn upon a piece of blue paper and united on the pillow with "cutworks" or "purlings," or else joined with the needle by various stitches—lacet, point, reseau, cutwork, button-hole, and purling.



Those who wish to study lace and lace-making should read Mrs. Bury Palliser's History of Lace (Sampson Low and Marston).



POINT LACE.

The materials required for this elegant branch of needlework are neither numerous nor expensive. TRACING CLOTH, LEATHER, or TOILE CIREE, various BRAIDS and CORDS, LINEN THREAD and two or three sizes of needles, scissors and thimble. TRACING CLOTH is required when ladies copy point lace patterns, and is the most convenient mode of taking them, as the design can be worked upon the tracing cloth, which, though transparent, is very strong; the price is 1s. 6d. per yard. Fine LEATHER is the material upon which bought patterns are usually traced, and is decidedly more pleasant to work on than is any other material. In selecting patterns ladies should choose those traced upon green leather in preference to scarlet or buff, as green is better for the eyesight than any other colour.



TOILE CIREE is only a substitute for leather, and is not as pleasant to work upon in warm weather.

The needles employed are usually Messrs. Walker's needles, Nos. 9 and 10. The scissors should be small, sharp, and pointed, as in illustration No. 425. An ivory thimble may be safely employed in this light work.



The BRAIDS are of various widths and kinds. None but pure linen braid should be employed; those with machine-made edgings are eschewed by many lace-workers, the plain, loose-woven linen braid of various widths and qualities being alone acceptable to experienced hands.

But all ladies do not care to be at the trouble of edging the braid, and will find Nos. 426, 428, 430, and 431 very useful. No. 429 is a plain linen braid with a vandyked edge, which works out very prettily. No. 431 is an edged braid with open holes, in imitation of the point lace work of the fifteenth century.

Point lace cords resemble the satin stitch embroidery in their close, regular smoothness; the price is 1s. per hank, and they are of various thicknesses, from the size of a coarse crochet thread up to that of a thick piping cord. These cords are used to ornament the braid, and are closely sewn on the braid, following its every outline, and serve as beading to the edging, being always sewn on the outer edge alone. The finer kinds of this cord are used in place of braid where very light work is needed, as in the point lace alphabet which forms the frontispiece of this work. Directions for laying on the cord when employed as braid are given on page 500. When used as a finish only, and to impart the raised appearance of Venice and Spanish lace, it is fixed on the braid by plain, close sewing. The thread used should be Mecklenburg linen thread; that of Messrs. Walter Evans and Co. we strongly recommend as being of pure linen, washing and wearing well; it is pleasant to work with, from the regularity and evenness of the make. The numbers run thus:—2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 24, 30, 36, and 40—and will be found adapted for every kind of lace stitch. No. 2 is the coarsest, No. 40 the finest, size.

In working point lace the following directions must be attended to: Begin at the left hand, and work from left to right, when not otherwise directed, as in reverse rows. Before cutting off the braid run a few stitches across it to prevent it widening. Joins should be avoided, but when a join is indispensable, stitch the braid together, open and turn back the ends, and stitch each portion down separately. When passing the thread from one part to another, run along the centre of the braid, allowing the stitches to show as little as possible. In commencing, make a few stitches, leaving the end of the thread on the wrong side and cutting it off afterwards. In fastening off, make a tight button-hole stitch, run on three stitches, bring the needle out at the back, and cut off.

Having now completed our list of materials, we can proceed to lay on the braid.



TO PLACE THE BRAID.—No. 442 shows the design traced upon paper or tracing cloth, and lightly tacked to a foundation of leather or toile ciree. Run on a straight line of braid for the lower edge, with fine stitches, working as shown from left to right. Take another piece of braid, or the other end of the same piece, and begin to lay the braid by "running" stitches in its centre, keeping it as smooth and even as possible. The outer edge presents no difficulty, but the inner edge will not lie evenly without being drawn in by a needle and thread, as follows:—Thread a No. 9 needle with No. 12 Mecklenburg thread about 20 inches long, fasten the thread to one point, and insert the needle in and out of the edge of the braid, as if for fine gathering; this thread when drawn up will keep the braid in its place. Two or three fastening off stitches should be worked when each circle, half circle, or rounded curve of a pattern is finished, as the drawing or gathering thread remains in the work, and forms an important, though unseen, part of its structure.

As much of the beauty of point lace depends upon the manner of placing the braid, ladies cannot bestow too much pains upon this part of the work, which is a little troublesome to beginners. Many fancy shops now undertake this braid-placing for ladies, who can have their own pattern braided and commenced or braided alone at trifling expense. Among these may be mentioned the following houses:—Goubaud, 30, Henrietta-street, Covent-garden. Boutillier, Oxford-street, W.

The stitches used in point lace may be divided into—

STITCHES PROPER, or points.

CONNECTING BARS.

FINISHING EDGINGS.

WHEELS, ROSETTES.

The term point lace, or lace stitches (points), has of late been applied to every stitch executed with Mecklenburg thread, and many stitches are erroneously named by modern writers. As there are more than one hundred stitches employed in this beautiful art, much study and opportunity of seeing specimens of old point lace is required to give a novice any idea of the various kinds of point lace; but by attention to the following stitches the rudiments of the art may be easily acquired and very beautiful lace produced.

The first stitch is POINT DE BRUXELLES, or Brussels lace stitch. This stitch, as may be clearly seen in illustration No. 433, is a simple button-hole stitch worked loosely and with great regularity. The whole beauty of Brussels lace depends upon the evenness of the stitches. This stitch is sometimes employed as an edging, but is more often worked in rows backwards and forwards, either as a groundwork or to fill spaces, as in the point lace collar, No. 496.



Brussels Point is the foundation of nearly all the lace stitches.

POINT DE VENISE (Venetian or Venice Point) is worked from left to right, like Brussels point. Work one loose button-hole, and in this stitch work four button-hole stitches tightly drawn up, then work another loose button-hole stitch, then four more tight button-hole stitches in the loose one, repeat to the end of the row, and fasten off.



PETIT POINT DE VENISE (Little Venice Point) is worked in the same manner as Point de Venise, but one tight stitch only is worked in each loose button-hole stitch. This is a most useful stitch for filling small spaces.



No. 437.—POINT D'ESPAGNE (Spanish Point) is worked from left to right as follows:—Insert the needle in the edge of the braid, keeping the thread turned to the right, bringing it out inside the loop formed by the thread (see illustration No. 437); the needle must pass from the back of the loop through it. Pass the needle under the stitch and bring it out in front, thus twice twisting the thread, which produces the cord-like appearance of this stitch. At the end of each row fasten to the braid and return by sewing back, inserting the needle once in every open stitch.



No. 438.—POINT D'ESPAGNE (Close) is worked in the same way as open point d'Espagne, but so closely as to only allow the needle to pass through in the next row. This stitch is also worked from left to right; fasten to the braid at the end of each row, and sew back to the left again.

No. 439.—TREBLE POINT D'ESPAGNE is worked in exactly the same way as the open and close point d'Espagne, as may be seen in illustration No. 439.

Three close stitches, one open, three close to the end of each row. Sew back, and in the next row begin one open, three close, one open, then close to the end; repeat the rows as far as necessary, taking care that the close and open stitches follow in regular order. Diamonds, stars, and various patterns may be formed with this stitch.



No. 440.—POINT DE GRECQUE is begun from left to right, is worked backwards and forwards, and is begun by one stitch in loose point de Bruxelles and three of close point d'Espagne; then one Brussels, three point d'Espagne to the end of the row; in returning work back in the same manner.



No. 441. POINT DE VALENCIENNES (Valenciennes Stitch).—This stitch appears complicated, but is really easy to work. Begin at the left hand and work six point de Bruxelles stitches at unequal distance, every alternate stitch being larger. 2nd row: Upon the first large or long stitch work 9 close button-hole stitches, then 1 short point de Bruxelles stitch under the one above, then 9 close stitches, and so on to the end of row (right to left).



3rd row: 5 close button-hole in the 9 of previous row, 1 short point de Bruxelles, 2 close in the Bruxelles stitch, 1 short point de Bruxelles, 5 close, 1 short point de Bruxelles, 2 close, l short, 5 close, 1 short, and repeat. 4th row: 5 close, 1 short point de Bruxelles, 2 close, 1 short, 5 close, 1 short, 2 close, l short, and repeat. Continue the rows until sufficient of the pattern is worked.



No. 442. POINT D'ALENCON.—This stitch is used to fill up narrow spaces where great lightness is required. Point d'Alencon is worked under and over in alternate stitches, like hem stitch. Nos. 442 and 443 show point d'Alencon. In No. 442 a twisted stitch is worked over the plain point d'Alencon, which is clearly shown in No. 443; this twist is made by passing the thread three times round each plain bar, and working the knot shown in illustration No. 442 over both strands of the bar.



The POINT D'ALENCON No. 443 is a festoon of close button-hole stitch worked over the plain bars.



No. 444.—POINT D'ANGLETERRE (Open English Lace).—Open English Lace is thus worked:—Cover the space to be filled in with lines of thread about one-eighth of an inch apart, then form cross lines, intersecting those already made and passing alternately under and over them; work a rosette on every spot where two lines cross, by working over and under the two lines about 16 times round, then twist the thread twice round the groundwork thread, and begin to form another rosette at the crossing threads. No. 445 shows this stitch much enlarged.



No. 446,—POINT TURQUE (Turkish Stitch).—This easy and effective stitch looks well for filling either large or small spaces; the thread employed should be varied in thickness according to the size of the space to be filled. 1st row: Work a loop, bringing the thread from right to left, passing the needle through the twist and through the loop, draw up tight and repeat. 2nd row: 1 straight thread from right to left. 3rd row: Work the same as first using the straight thread in place of the braid, and passing the needle through the loop of previous row, as shown in illustration No. 446.



No. 447.—CORDOVA STITCH is useful for varying other stitches. It resembles the point de reprise of guipure d'art, and is worked in a similar manner over and under the side of squares formed by straight and parallel lines. (See No. 448.)



No. 448.—POINT DE REPRISE.—This stitch is worked by darning over and under two threads, forming a triangle. The space is filled by parallel and cross-way bars, placed at equal distances, and on the triangles thus produced point de reprise is worked.



No. 449.—POINT BRABANCON (Brabancon Lace) is worked as follows:—Left to right. 1st row: 1 long loose, 1 short loose, point de Bruxelles alternately to end of row. 2nd row: 7 tight point de Bruxelles in the 1 long loose stitch, 2 short loose point de Bruxelles in the short loose stitch of previous row, repeat. 3rd row: Same as first.



No. 450 is used for groundwork where Brussels net is not imitated, and is very effective. It is begun in the corner or crosswise of the space to be filled. A loose point de Bruxelles stitch is first taken and fastened to the braid, then passed twice through the braid as shown in illustration, and worked in rows backwards and forwards as follows:—1 point de Bruxelles stitch; before proceeding to the next stitch pass the needle under the knot, over the thread, and again under it, as shown in illustration No. 450. This stitch is very quickly worked. No. 451 shows point de fillet applied in filling a space, with a few stitches of point de reprise worked upon this pretty groundwork.

No. 452.—POINT DE TULLE.—This stitch is used as a groundwork for very fine work, and is worked in rows backwards and forwards in the same stitch as open point d'Espagne, page 457. When this is completed the work is gone over a second time, by inserting the needle under one twisted bar, bringing it out and inserting it at +, and bringing it out again at the dot. This produces a close double twist which is very effective.



No. 453.—MECHLIN LACE (Mechlin Wheels).—This is one of the prettiest stitches in point lace, but also one of the most difficult to work correctly. It is thus worked:—Work a number of diagonal bars in button-hole stitch on a single thread in one direction, then begin in the opposite side the same way, and work 5 or 6 stitches past the spot where the two lines cross, pass the thread round the cross twice under and over the thread to form a circle. Work in button-hole stitch half one quarter, make a dot by putting a fine pin in the loop instead of drawing the thread tight, and work 3 button-hole stitches in the loop held open by the pin, then take it out, and continue as before. Beginners will do well to omit the dot, leaving the loop only on the wheel. Mechlin wheels are also worked in rows upon horizontal and parallel lines of thread.



No. 454.—ESCALIER LACE.—This useful lace may be varied in pattern to any extent by placing the open stitches in any desired order; it then takes the name of diamond or Antwerp lace, according to the design. True escalier lace is made by working nine button-hole stitches close together; then miss 3—that is, work none in the space that 3 stitches would occupy—work 9, miss 3 as before to the end of row, begin the 2nd row 3 stitches from the end, to cause the open spaces to fall in diagonal lines—a succession of steps or stairs (escalier), which gives name to this stitch.



No. 455.—SPANISH POINT LACE is adorned with highly-raised scrolls, flowers, &c. This is effected by working over an underlay of coarse white thread or over fine white linen cords. The wheels are worked by winding soft coarse linen thread round pencils or smooth knitting-pins of various sizes, and working over the circle thus obtained a succession of close button-hole stitches. These wheels are sewn on to the lace when completed. The groundwork of Spanish lace is usually worked in what are called Raleigh Bars (see page 477), but this lace has sometimes for groundwork point de Venise. An easy mode of working this handsome lace is to trace the design upon very fine good linen; raise the thick parts as above directed, and embroider the whole in fine thick scalloped button-hole stitch; fill the ground with Raleigh bars, or, as shown in illustration No. 455, in treble point de Venise, and cut away the linen from beneath the groundwork.



WHEELS AND ROSETTES.

Wheels or rosettes are used to fill up circles, or in combination to form lace. The simplest is—

THE SORRENTO WHEEL.—Nos. 456 and 457.—This is worked by fastening the thread in the pattern to be filled up by means of the letters. Fasten it first at the place a, then at the place b, carrying it back to the middle of the first formed bar by winding it round, fasten the cotton at the place c, carrying it back again to the centre by winding it round the bar, and so on; then work over and under the bars thus formed as in English lace. See page 462, and illustrations Nos. 456 and 457.



No. 458.—ENGLISH WHEEL.—This is worked in the same manner as the Sorrento wheel, but instead of winding the thread over and under the bars, the needle is inserted under each bar and brought out again between the thread and the last stitch; this gives a kind of button-hole stitch, and gives the square, firm appearance possessed by this wheel.



No. 459.—ROSETTE IN POINT D'ANGLETERRE.—This rosette is worked in a somewhat similar manner to the wheel above described, the difference being that after each stitch passed round and under the bars, the thread is passed loosely round in the reverse direction, as shown in illustration No. 459, before proceeding to make the next stitch.



No. 460 is a rosette or star which is used to fill circles of braid, and forms the centre of many modern point lace patterns. It is worked upon a pattern traced and pricked in small holes at equal distances. Two threads are employed, one coarse tracing thread, the other of finer thread. The coarse thread is laid on thus:—Pass the needle containing the fine thread, No. 12, through one of the pricked holes, over the tracing thread and back through the same hole; repeat, following the traced outline until the whole of the coarse thread is laid over the outline, then work over in tight button-hole stitch with picots or purls, as on the Raleigh bars (see page 477). This mode of laying on tracing or outlining thread is also applied to fine braid and to point lace cord, as in the alphabet No. 400 (see page 500).



BARS.

The word Bar is applied to the various stitches used to connect the various parts of point lace work, and the beauty of the work depends greatly upon the class of bar and its suitability to the lace stitches used. The simplest bar is—

No. 461.—THE SORRENTO BAR.—It is worked from right to left, a straight thread being carried across and fastened with a stitch. The return row consists of a simple twist under and over the straight thread; three of these bars are usually placed close together at equal distances between each group. The thread is sewn over the braid in passing from one spot to another.



Sorrento bars are also applied as shown in illustration No. 462.

No. 463.—D ALENCON BARS are worked upon point de Bruxelles edging, and are only applied to the inner part of a pattern, never being used as groundwork bars. The thread is merely passed three times over and under the point de Bruxelles stitches, the length of these bars being regulated by the space to be filled; when the third bar is completed a tight point de Bruxelles stitch is used to fasten off the bar, the thread is passed through the next point de Bruxelles stitch, and a second bar begun.



No. 464.—THE VENETIAN BAR is so simple that it hardly needs description. It is worked over two straight threads in reverse button-hole stitch. No. 465 shows the Venetian bar applied as the "veining" of leaf, and worked upon Sorrento bars.



No. 466.—VENETIAN BARS are worked so as to form squares, triangles, &c., in button-hole stitch upon a straight thread. The arrow in the illustration points to the direction for working the next.



No. 467.—BARS OF POINT D'ANGLETERRE.—These bars may be worked singly or to fill up a space, as in illustration. Work rosettes as in point d'Angleterre, page 461; when each rosette is finished twist the thread up the foundation thread to the top, fasten with one stitch, then pass it under the parallel line running through the centre and over into the opposite braid; repeat on each side of each rosette, inserting the threads as in illustration.



No. 468.—POINT DE VENISE BARS (EDGED).—Begin at the right hand and stretch a line of thread to the left side of the braid, fastening it with one tight stitch of point de Bruxelles. Upon this line work a succession of tight point de Bruxelles stitches. In every third stitch work one point de Venise stitch.



No. 469.—We now come to the most important feature of BARS—the dot, picot, or purl, for by all these names it is known. This dot is worked in various ways upon different lace bars. Dotted point de Venise bars are worked as follow:—



Stretch the thread from right to left, on this work five tight stitches of point de Bruxelles, then insert a pin in this last stitch to hold it open and loose, pass the needle under the loose stitch and over the thread, as clearly shown in illustration No. 469, and in this loop work three tight point de Bruxelles stitches. Then work five more stitches, and repeat to end of row.



No. 470 shows a dot or picot upon a Sorrento bar worked between rows of point de Bruxelles, three twisted stitches being worked into the loop left by the twisted thread; this forms a picot resembling satin stitch in appearance.

Nos. 471 and 472.—RALEIGH BARS are worked over a foundation or network of coarse thread, twisted in places so as to more easily fall into the desired form.



By following the numbering from No. 1 to 21, in No. 472, a square place may be easily filled, and portions of this arrangement applied to form groundwork of any shape desired. Upon this groundwork tight point de Bruxelles stitches are worked, and the dot worked upon these in one of the following ways:—

DOT or PICOT.—1st Mode: Five tight point de Bruxelles stitches, one loose point de Bruxelles; pass the needle under the loop and over the thread, as shown in point de Venise bars No. 469, draw up, leaving a small open loop as in tatting. Work five tight point de Bruxelles and repeat. 2nd Mode: Proceed as above, but instead of continuing the tight stitches work two or three tight stitches in the loop thus formed, and repeat. 3rd Mode: Work four tight point de Bruxelles stitches, one loose, through which pass the needle point, wind the thread three or four times round the point, as shown in illustration No. 473, press the thumb tightly on this, and draw the needle and thread through the twists. This is a quick mode of making the picot, and imitates most closely the real Spanish lace.

Illustration No. 473 also shows how this stitch may be applied as a regular groundwork, but the beauty of old point groundwork bars is the variety of form.



EDGES AND PURL FINISH.

The correct edging of lace is a most important part of this art, and care should be taken to work a proper edge for each kind of lace. Sorrento edging should be worked upon Limoges lace. Spanish lace requires a full rich edge, as shown in No. 478, &c. The simplest edge is point de Bruxelles, which is worked somewhat like the stitch No. 433, and is secured by a knot worked in the braid. Many lace-workers omit this knot.



No. 475.—SORRENTO EDGING is worked with one short and one long stitch alternately.



No. 476.—POINT DE VENISE is worked precisely like that stitch (see page 456), three and even four stitches being worked in the loop.



No. 477.—POINT D'ANGLETERRE EDGING is worked in point de Bruxelles, the thread being again drawn through the braid before proceeding to the next stitch. This edging is strong and useful.



No. 478.—POINT D'ESPAGNE EDGING.—This stitch is easily worked. Insert the point of the needle through the braid and wind the thread round it 20 times, draw the needle through these windings and draw the picot tight, sew over the braid the space of 3 stitches, and repeat.



No. 479.—ANTWERP EDGE.—This edge is only a variety of point d'Angleterre edging, and differs only in the mode of making the knot; the thread is passed over, under, and through the loop formed by the point de Bruxelles lace.



NOTE.—It will be observed that the stitches here given are much enlarged for the sake of clearness in showing details.



PATTERNS.

No. 480.—Star in Point Lace.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 20.

Trace the outline upon paper or leather, lay the braid on as directed. Work the centre in Sorrento bars, and on these work a rosette in point d'Angleterre, the edge in point d'Angleterre edging, and the wheels in open English lace.



* * * * *

No. 481.—Medallion in Point Lace.

Materials: Linen Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 14.

This medallion is useful for cravat ends and for a number of purposes, as trimming for sachets, dresses, &c. Having placed the braid as before directed, work an English rosette in the centre, fill in the ground with point de fillet or with point de Bruxelles. An edging of Spanish point completes this pretty medallion.



* * * * *

No. 482.—Point Lace Border.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12.

This border represents the completed work shown on p. 454. A point d'Angleterre rosette is worked in each circle. The plain braid is edged by Sorrento edging. Venice bars are worked above the trimming, and treble point de Venise edges the border.



* * * * *

No. 483.—Point Lace Border.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 10.

This border is both easily and quickly worked in Sorrento bars. The edge is worked in two rows of point de Bruxelles.



* * * * *

No. 484.—Insertion in Limoges Lace.

Materials: Plain linen braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 14.

This insertion will be found very useful, being so quickly worked. Edge the braid with Sorrento edging, fill up with bars and plain point d'Alencon and Sorrento wheels, No. 456.



* * * * *

No. 485—Point Lace Border for Handkerchief.

Materials: Fine lace braid or cord; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 24.

This border is suited for a handkerchief or for trimming a square bodice. The braid is not tacked on by stitches running through the centre, as is usual in point lace braids, but sewn on by passing a thread from underneath over the braid and out through the same hole, as is done by lace-workers with a thick thread; this forms the design. The stitches employed in this pattern are Raleigh bars, which connect the work; Sorrento edging, which finishes the whole outline; English rosettes filling the open spaces. Point lace cord may be used for this in place of braid.



* * * * *

No. 486.—Star-Centre for Toilette Cushion in Point Lace.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread Nos. 16 and 12.



This beautiful star will be found useful for other purposes than as a toilette cushion cover, and is worked as follows:—English rosette in centre; Sorrento wheels in the 4 ovals, worked with No. 12 thread; point de Bruxelles ground, worked with No. 16; braid edged by dotted Venetian edges. The eight spaces may be filled with 2 or 4 contrasting stitches, taking care that they contrast well, and are placed alternately, and worked in No. 12.

* * * * *



487.—Cravat End in Point Lace.

Materials: Fine braid: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12.

This cravat is worked in Sorrento wheels, point d'Alencon bars, and Sorrento edging.

* * * * *



488 and 489.—Point Lace Edgings.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread Nos. 12 and 16.

These edgings can be used as a finish to insertions and other trimmings or for edging couvrettes. No. 488 is worked with Sorrento wheels; the edge in two rows of point de Bruxelles, a straight thread being drawn from the end to the beginning of each scallop over which the second row is worked. No. 489 is worked with the same materials in treble point de Venise, edged by the same, and finished off with a row of point de Bruxelles, the upper edge being worked in the same way.

* * * * *

490.—Design in Point Lace for Collar, Lappet, &c.

Materials: Linen braid; Messrs. Walter Evans and Co.'s Mecklenburg thread Nos. 10 and 16.

This design may be used for a variety of purposes, and is extremely effective. The principal stitches required are given at the sides of the pattern. a is Valenciennes lace, b Brussels net, c Venetian spotted, d Sorrento edging, e Mechlin wheel, f English rosette, g Raleigh bars.



* * * * *

491.—Oval for Cravats, &c.

Materials: Point lace cord; muslin; embroidery cotton; Messrs. Walter Evans and Co.'s Mecklenburg thread Nos. 14 and 18.

This beautiful oval is worked in point lace and embroidery. This is begun from the centre on the muslin by over-casting the space filled by a wheel. The eyelet-holes are then worked, and the satin stitch ornament raised and prepared for working. The edge, of point lace cord, is then laid on, and the under portion edged in tight and open point de Bruxelles, the centre of the circles being worked in point de Bruxelles. The light groundwork is worked entirely in Mechlin wheels, the satin stitch being worked when these are completed. This pattern can be enlarged and applied to many purposes. The muslin is cut away when the whole work is finished.



* * * * *

492.—Point Lace Trimming for Square Bodice.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12 or 20.

We give two sizes of thread, as this design is capable of many uses, and the size of the thread differs with these. The pattern is worked in English rosettes and bars (see No. 467). No. 488 edging looks well with this pattern.



* * * * *

493—Point Lace Collar.

Materials: Fine braid or cord; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 22.



Set on the braid or cord by passing a thread through a hole pricked in the pattern over the braid and out again through the same hole. Edge the braid with point de Bruxelles, the design being filled by Mechlin wheels, Sorrento wheels, point de feston, and the mixed stitch shown in No. 494, which is composed of d'Alencon and Sorrento bars, and is easily worked. Those who cannot work Mechlin wheels easily, can substitute close English, as shown in illustration No. 495. The bars are Sorrento.



* * * * *

496.—Point Lace Collar.

Materials: Fine braid or cord; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 22.

This collar is worked in the same way as No. 493, though the stitches vary. The Grecian line is worked in point de reprise, the pattern in close English wheels, point de reprise, point de Bruxelles, English rosettes, and Raleigh bars.

* * * * *



497.—Point Lace Lappet.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 16 or 24, according to the fineness required.

This lappet is exceedingly pretty. It is composed of the following stitches:—Point d'Alencon, point de tulle, English rosettes, Sorrento bars, d'Alencon bars, dotted Venise bars, and the fancy stitch point d'Anvers, which is not a true point lace stitch, but which is much employed in modern point.



Point Grecque is another useful variety of fancy stitch, and so easily worked as to be a favourite stitch with beginners.

* * * * *



500 to 502.—Alphabet in Point Lace. (See endpapers.)

Materials: Point lace cord; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 36.

This alphabet is useful for marking pocket-handkerchiefs, and for initials for sachets, &c. The cord is laid upon the pattern and pricked out by passing a thread up through a hole over the cord, and back through the same hole; then pass on to the next hole, and repeat. The holes should be about an eighth of an inch apart, or nearer when the pattern is finely convoluted. The letters are worked in point de Bruxelles, point d'Alencon, and dotted Sorrento bars. No. 501 shows the letter A greatly enlarged, to show the mode of working.

* * * * *

TABLE OF THREADS SUITED TO VARIOUS ARTICLES WORKED IN POINT LACE.

- Caps 36 " " Collars 30 " " Couvrettes 2 4 6 Cravats 18 30 " D'Oyleys 8 10 12 Dress Trimmimgs 22 30 " Edgings 14 30 " Handkerchiefs 30 36 40 Insertions, coarse 6 8 12 " fine 24 30 " -

Point lace cord runs about twelve yards to the hank.

Point lace edged braid runs thirty-six yards on cards.

Plain linen twelve yards in each hank.

* * * * *



GUIPURE D'ART.



INSTRUCTIONS AND PATTERNS

IN

GUIPURE D'ART.

* * * * *

Ancient Guipure was a lace made of thin vellum, covered with gold, silver, or silk thread, and the word Guipure derives its name from the silk when thus twisted round vellum being called by that name. In process of time the use of vellum was discontinued, and a cotton material replaced it. Guipure lace was called intelle a cartisane in England in the sixteenth century. Various modern laces are called Guipure, but the word is misapplied, since Guipure lace is that kind only where one thread is twisted round another thread or another substance, as in the ancient Guipure d'Art.

In every design where lace can be introduced, Guipure d'Art will be found useful. It looks particularly well when mounted upon quilted silk or satin. The squares, when worked finely, look well as toilet-cushions, or, if worked in coarser thread, make admirable couvrettes, and as covers for eider-down silk quilts are very elegant. Guipure squares should be connected by guipure lace, crochet, or tatting, or they may be edged with narrow guipure lace and joined at the corners only when placed over coloured silk or satin; thus arranged, a sofa-cushion appears in alternate squares of plain and lace-covered silk; a ruche of ribbon and fall of lace to correspond completes this pretty mounting.

Not one of the least important attractions of Guipure d'Art is the speed with which it is worked, and the ease with which fresh patterns are designed by skilful workers.

GUIPURE D'ART is an imitation of the celebrated ancient Guipure Lace, and is worked in raised and intersected patterns upon a square network of linen thread, Mecklenburg thread of various sizes being used for this purpose. The needles employed are blunt, and have large eyes, to admit the linen thread.

Materials required: One frame of wire covered with silk ribbon; one square of Mecklenburg thread net (fillet), either coarse or fine; Mecklenburg thread; netting-needles and meshes of various sizes.

The netted foundation, or "fillet," upon which this elegant work is embroidered, can be made by ladies very easily, and at much less cost than when bought ready made.

The square is worked by netting with coarse No. 2 or fine No.10 thread over a mesh measuring three-quarters of an inch or more, in rows backwards and forwards. Begin with 2 stitches, and increase 1 at the end of every row till you have one more stitch than is required for the number of holes. Thus, if a square of 26 holes is required, continue to increase up to 27 stitches, then decrease 1 at the end of every row till 2 stitches only remain. The last 2 stitches are knotted together without forming a fresh stitch.

The completed foundation is laced upon the frame, taking the lacing cotton through the double edge formed by the increased and decreased stitches. If the four corners of the netting are tied at each corner of the frame before beginning the lacing, that operation is greatly facilitated. The netting should be laced as tightly as possible, it being far easier to darn on than when loose.



Ladies who wish to excel in working guipure d'art should practise each of the stitches until they attain perfect regularity and quickness in their execution. Two or three hours devoted to this in the first instance will not be time wasted, as the most elaborate pattern will be worked with ease as soon as the stitches are mastered.

The Mecklenburg thread of Messrs. Walter Evans and Co., of Derby, will be found a better colour than any other, as it closely resembles the shade of the ancient guipure lace.

It is sold only in spools of 200 yards each, and the numbers run as follow; No. 2, 4, 6, 8, lo, 12, 16, 20; No. 2 being the coarsest, and No. 20 the finest.

The principal stitches used in guipure d'art are POINT D'ESPRIT, POINT DE TOILE, POINT DE FESTON, POINT DE REPRISE, POINT DE BRUXELLES, and WHEELS and STARS. POINT D'ESPRIT is worked with finer cotton than the foundation, say No. 10 on a foundation of No. 6. It consists of a succession of small loops, as will be seen clearly in the illustration. The learner should begin from the mark * No. 503, and working a row of loops the length required, turn the frame and work loops on the opposite half of each square intersecting the first worked loops in the centre of each intervening bar of netting. A careful examination of Nos. 503 and 506 will explain this more clearly than is possible in words.

* * * * *



POINT DE TOILE, or LINEN STITCH, is plain darning under and over each thread; this forms a fine close groundwork, and is much used in guipure d'art. Care should be taken to keep the same number of stitches in each square, both along and across; the number of threads shown in illustration No. 504 is 4 only, but 6 and even 8 are used in many netted foundations in fine patterns.



* * * * *

POINT DE FESTON is worked by a series of overcast stitches, as seen by illustration 506, which clearly shows the manner of working. The frame is turned at each stitch, the stitches are taken across the squares, and increase in length at the top of the square.



* * * * *

POINT DE REPRISE, or DARNING, is worked by stretching 2 or 3 threads over 1, or 2, or more squares. The thread is darned over and under, and the needle used to arrange the last stitch while passing through to form the next. This stitch is very easily acquired. It is always worked with coarser thread than the foundation; No. 2 thread should be employed for a coarse groundwork. No. 510 shows this stitch used to form stars, figures, &c.



* * * * *

POINT DE BRUXELLES, as shown on pages 506 and 507, is a kind of loose button-hole stitch, and is used for forming various patterns and for filling up squares. It also forms "leaves," when the number of stitches is decreased each row until the leaf finishes off in a point. Nos. 509 and 510 clearly show this stitch.



* * * * *

WHEELS are easy to work, and are begun in the centre. Four threads are taken across, as shown in design No. 511; the thread is twisted in bringing it back to the centre, and the wheel formed by passing the thread under and over the netting and the crossing threads. It is fastened off on the back of the several wheels.



Wheel No. 513 is a square wheel, and is worked in the same manner, with the addition of point d'esprit loops, through which, and under and over the cross-twisted threads, 4 or 5 rows of thread are passed.



* * * * *

STARS are of various form, as shown in Nos. 516, 517, 518, 519, and 520.

No. 516 is worked in point de feston (see page 507) round a single square hole, which is filled in by a small wheel or rosette.

No. 517 is worked in point de feston and point de Bruxelles, alternately round a centre simply crossed by point d'esprit threads.



No. 518 is more elaborate, and is worked thus:—Begin at the place marked a; twist the linen thread 3 times round the nearest thread, draw it on to the knot b; repeat this 3 times, following the order of the letters; twist the linen thread also between the threads, as can be seen from the illustration, and fasten it underneath the knot a; for the wheel fasten on the cotton afresh and work the remaining pattern in darning stitch (point de reprise).



No. 520 consists of a double cross formed by twisted loops of linen thread. Copy these loops exactly from illustration 520 One part of the straight cross lies underneath, then comes the slanting cross, and lastly, the other part of the straight cross.



In the centre the loops of linen thread are fastened with two rounds of stitches. (See illustration 520).

OVERCAST STITCH is worked like embroidery overcast, and forms the stems of the flowers and leaves of guipure d'art; it is worked over one or two coarse threads. It is employed in No. 530, and forms the triangles in the centre of the middle squares.

* * * * *



521.—Insertion in Guipure d'Art.

Materials: Guipure frame netting of 6 holes wide; Mecklenburg thread No. 8 or 10; needle No. 7.

For the netted foundation, which is six holes wide, begin at one corner with 2 stitches, work 5 rows, at the end of each of which increase 1 stitch, continue to work the strip with the same number of stitches, alternately decreasing 1 at the end of one row and increasing 1 at the end of the next. For decreasing net 2 stitches together, for increasing net 2 stitches in the same hole. When the strip is sufficiently long, complete it by decreasing in the same proportion as the increasing at the beginning. As the pattern is so clearly shown in the illustration, it will be very easy to work from it. It is worked in point de feston and star wheels; the border is in point d'esprit. The insertion is finished on either side with a row of button-hole stitches.

* * * * *

522.—Lace Border in Guipure D'Art.

Material: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 8 or 10.

This border may be used for various purposes; it makes a pretty edging for toilet cushions if worked in fine thread, and looks equally well for trimming couvrettes, &c., in No. 2 thread. The netting is nine holes wide, the stitches employed are point d'esprit and point de feston, the edge is in button-hole stitch, the netted ground is cut away outside the scallops.



* * * * *

523.—Square for D'Oyley

Materials: Frame; 1 square of netting; Mecklenburg reel thread Nos. 8 and 10; needle No. 6.



This square may be used to form part of a couvrette, or a d'oyley, or pincushion. The three other corners of the square are worked exactly like the one seen in illustration; the rosette in the centre is shown in full size. The square is worked in point d'esprit, linen stitch, and point de reprise. Each of the leaves of the foliage is worked in one hole of the netting; they are worked by throwing the cotton three times across the hole, and working darning stitch on them. The stem is worked in overcast on the thread of the netting. The daisy in the centre is worked like the leaves, each leaf taking up one or more holes of the netting.

* * * * *



524 and 525.—Corner Borders in Guipure d'Art.

Materials: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 2 for couvrettes, No. 8 for pillow-cases, No. 16 for lace edgings.

These corner borders are suitable for pillow-cases or small couvrettes; the stitches worked on these patterns are linen stitch, darning stitch, point de Bruxelles, and wheels. The edge is formed by button-hole stitches. The netting is cut away after these are worked.



* * * * *

526.—Strip of Insertion in Guipure d'Art.

Material: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 8.

This strip of insertion is 8 stitches wide, and is worked in zigzag lines of point de feston, with a border of point d'esprit and point de toile; a four-point star occupies the centre of the triangle left by the zigzag line. This pattern is so easy to work that it hardly needs description, the only part requiring care being the squares of point de feston; these are begun in the centre, and the thread should be drawn rather tightly so as to form a good square.



* * * * *

527.—Small Square.

Materials: Frame; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 4, 6, or 8 for the netting, and No. 16 for the pattern.



Work over a mesh measuring 2-1/10 inch round the foundation of each square, which has seven stitches in length, and as many in breadth. It is embroidered in darning stitch, and point d'esprit, and wheels. The outer edge is worked round in button-hole stitch. Larger squares are worked in the same manner, only a few rows larger in length and breadth. The squares are fastened together with a few stitches, and sewn on the pincushion or any article they are intended to ornament.

* * * * *

528.—Insertion in Guipure d'Art.

Materials: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 8, or 16 for very fine work.

This strip of insertion is very pretty, and can be used for all kinds of lingeries. The size of the material depends, of course, on the use to be made of the insertion. The guipure pattern is worked in linen stitch and point d'esprit, the raised leaves in darning stitch. The edges are worked round with button-hole stitches.



* * * * *

529.—Rosette in Guipure d'Art.



Material: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 6.

This rosette is worked in point de toile and small wheels. A larger wheel occupies the centre, and is ornamented with a round of overcast.

* * * * *

530.—Quarter of a Square in Guipure d'Art.

Materials: One guipure frame; Mecklenburg thread Nos. 6 and 12; needle No. 7.



This pattern shows, in full size, one quarter of a square in guipure d'art. The outer border is in point d'esprit, then comes a border in linen stitch. There are large stars in the corners; these stars are worked in raised darning stitch only, and fastened on the netting at the points of each brand; in the centre of the star there is a wheel (see No. 515) edged with button-hole stitch. The pattern for the centre, one quarter of which only is seen in the illustration, consists of 4 branches forming small triangles in point de Bruxelles, 4 open-worked stars or wheels worked over 4 holes of the netting, and a four-branched centre of point de feston with a wheel in the middle.

* * * * *

531 and 532.—Square Patterns in Guipure d'Art.

Materials: Messrs. Walter Evans and Co.'s linen thread No. 2 for the netting, and their Mecklenburg thread for the guipure stitches No. 8.



No. 531. The outer border of this pretty square is worked in point d'esprit, the inner border in point de toile; then follows a round of small wheels or rosettes.

For these, fasten the cotton to one of the knots of the first square stitch of this round, work one loop upon each of the three other knots, so as to form a slanting cross; then work round the centre point of the cross, passing alternately under and over its branches, then twist the cotton over the threads of the foundation until the next square is reached, and begin another wheel.