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 row of net stitches worked from right to left, or as the engraving shows, by a row of stitches called "seed stitches".



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. 786).—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, they form less transparent grounds than those we have hitherto described.

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.



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.



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[A] for the tufts. The ground can also be ornamented with little rings of buttonholing, stars or flowerets in bullion or some other fancy stitch.



TWENTY-SECOND LACE STITCH (fig. 741).—For the above three stitches and the three that follow, the work 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.



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 of stitches is separated from the next by a long loop, round which the thread is twisted in its 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 it 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.

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 corresponding width; then bring the thread back over the bars, as in figs. 737, 738 and 739, without going through the loops. In the second row, you make three bars in the empty space, two over the three bars of the first row and again three in the next empty space. The third row is like the first.



TWENTY-NINTH LACE STITCH (fig. 748).—This stitch, known as Greek net stitch, can be used instead of buttonhole bars for filling in large surfaces.

Make bars from left to right, a little distance apart as in fig. 741, leaving the loops between rather slack, so that when they have been twice overcast by the returning thread, they may still be slightly rounded. In the next row, you make the bar in the middle of the loop and lift it up sufficiently with the needle, for the threads to form a hexagon like a net mesh.



THIRTIETH LACE STITCH (fig. 749). After a row of pairs of buttonhole stitches set closely together, with long loops between, as long as the space between the pairs, throw the thread across in a line with the extremities of the loops, fasten it to the edge of the braid and make pairs of buttonhole stitches, as in the first row above it.

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 (fig. 750).—At 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 distance for making the long 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 knot.



THIRTY-SECOND LACE STITCH (fig. 751).—To introduce a 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. 750, 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 case, most of the stitches described in the preceding chapter can be worked upon them, and the smallest spaces can be filled with delicate embroidery.

THIRTY-THIRD LACE STITCH (fig. 752).—This stitch is frequently met with in the oldest Irish lace, especially in the kind where the braids are joined together by fillings not bars. At 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. Fillings of this kind must be worked as compactly as possible, so that hardly any spaces are visible between the individual rows.



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 intersection, thus forming six rays divergent from one centre. With 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.



THIRTY-SIXTH LACE STITCH (fig. 755).—After covering all the surface to be embroidered, with threads stretched in horizontal 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 canvas with cones worked in close darning stitches, as in figs. 648, 716 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 and compact the buttonholing upon it is, the better the effect will be. Each of these little buttonholed rings should be begun and finished off independently of the others.

THIRTY-EIGHTH LACE STITCH (fig. 757).—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 openwork 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.



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 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 directions 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.

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 the loop serve as padding for the buttonhole stitches; the latter should always be begun on the braid side. Fig. 762 represents 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 number being reduced, regularly, in each round.

In tacking braids on to circular 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 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 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.



In fig. 767, the way to make picots all joined together is described. You begin, as in fig. 762, 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 picots, made in bullion stitch.

One or two rows of lace stitch fig. 736, or the first rows of figs. 749, 750, 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[A] 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 complicated and takes more time and stitches than the preceding one, can also be executed with one or other of the braids mentioned 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[A] to make them full and round.

You begin the ring on the inside and increase the number of stitches as the circumference increases.

]

Any of the stitches, from fig. 720 to fig. 743, can be introduced 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 described in this chapter, should be selected. When the actual lace, is finished you sew upon the braid a thin cord, made of 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 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.

FOOTNOTES:

[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.



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 comprehensive 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 workmanship, 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 difficulty.

MATERIALS.—It will be observed that we do not bind ourselves 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 lace, Fil a pointer D.M.C[A] or Cordonnet 6 fils D.M.C[A], for Smyrna or knotted lace, Fil a pointer D.M.C, Cordonnet 6 fils D.M.C and Fil a dentelle D.M.C[A], for Reticella and Venetian lace, Fil d'Alsace D.M.C[A], for Brussels lace, the finest numbers 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 MANUFACTURE.—Pillow lace derives its name from the cushion or pillow 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 represents the shape in use in the mountains of Bohemia and Saxony, where pillow lace has always been one of the chief industries of the inhabitants. Any one can make a cushion of this kind themselves with a piece of stuff, 60 c/m. long and 40 wide. The long sides are firmly sewn together and the short ones turned 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 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, 50 c/m. long and 40 wide, resting upon two transverse pieces of wood, 31/2 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 with a fine dark green flannel or cloth.

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 of 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 groove in the back edge receives the lace as it is worked off the cylinder.

The pillows used for Valenciennes lace are of again a different construction, but as it is 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.



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.

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.



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 loop 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 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 ingenious 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 mounted at two thirds of their length on a steel axle. The long teeth have holes bored through the ends, from the sides to the middle of the points and through 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 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.



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.



A stripe of quadrille, or point paper as it is called, should be laid upon the pattern and then holes pricked with a medium-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.

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 important 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.



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.

The value of lace depends not only on the work but on the thread it is made of; all the D.M.C cottons[A] can be recommended 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.[A]

POSITION AND MOVEMENTS OF THE HANDS (fig. 783).—Pillow lace is always made with two pairs of bobbins at once and the "stitches" are formed by the different ways of passing, 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 former over the 3rd, the latter over the 1st. This constitutes 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 consists of half passings, worked in rows to and fro; the pins are stuck in at the end of each row.

The pattern, fig. 785, is fastened upon the pillow and 6 pins are stuck in at the top, at regular intervals from each other; hang one pair of bobbins on every 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 = 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 6th pair = stick in a pin at point 2, then work back from right to left = 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 beginning.

Fig. 786 shows the net ground completed; 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 description is only possible at first in a qualified sense; the surest way of attaining a satisfactory result is by constantly comparing the drawing and the work in progress 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 work first from left to right, running 2 threads to and fro in perfectly horizontal lines, so as to produce a ground resembling linen in its texture.

The threads that run to and fro are held at the edge with pins and changed by a half passing, so that the one that 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 pressure the second bobbin is driven through, the pin is stuck in 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, upon 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 half 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 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 31 = enclose the same = work on over points 14, 15, 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 worked with the 4 middle pairs of bobbins. Each pair has first to be twisted once = 1 linen passing with the 3rd and 2nd pair = lay aside the 3rd pair = 1 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 fig. 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 a, b, 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 with 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 f like point e with the 6th and 7th pair = work point g like point f with the 7th and 8th pair = then work points 10 to 15 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 6th pair = point 29 with the 5th and 4th pair = point 30 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 worked in a comparatively fine material; we should recommend Fil a dentelle D.M.C Nos. 30 to 100. Put up pins at points a and g in the pattern and hang on a pair of bobbins = put up pins likewise 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 pin with a half passing = 1 half passing with the 2nd and 1st pair = put up a pin at point 1 = enclose the pin = 1 half passing with the 4th and 5th pair = take out the pin at point l 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 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 = 1 half passing with the 5th and 4th pair, by which the threads are made to cross each other in the square = work over point f as over point e with the 10th and 11th 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 11th pair = half passings between all the squares.



TULLE GROUND (fig. 795).—Prepare your pattern for the ground represented here on a magnified 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.

1 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 bobbins 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.



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 clearness, this ground too has been worked and reproduced here on a magnified scale.

It is worked in diagonal lines, as follows: 1 double passing with 2 pairs of bobbins = put up a pin at the next point = enclose the pin with a double passing, twist both pairs each time once and so on. This ground, when it is worked by the hand in very fine thread, takes a long time to do and is therefore often made by machinery.



ETERNELLE WITH TWO ROWS OF HOLES (fig. 798).—The so-called "eternelle" laces have no definite 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 distributed; 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 passing 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 pair that enclose the pin = put up 1 pin at the 3rd lower point, hang on 2 pairs of bobbins = 1 double passing with these bobbins = lay 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 1st pair once = 1 double passing with the 2nd and 3rd pair, to enclose 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 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 of bobbins aside = net passings to point 3 = put up a pin at point 3 = enclose the pin = net passings to point 4 = put up a pin at point 4 = lay one pair of bobbins aside = net passings to point 5 = put up a pin at point 5 = net passings, back to point 6 = put up a pin at point 6 = take up the bobbins on the left again = 1 half passing with the 1st 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 1st and 2nd pair = 1 double passing with the 1st and 2nd pair = put up a pin at point 9 = 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 11 in hole ground = put up a pin at point 11 = cross the 1st and 2nd pair on the left = put up a pin at point 12 = enclose the pin = lay 5 pairs of bobbins aside on the left = take up 5 pairs on the right = put up a pin at point 13 = 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 15 with 5 pairs of bobbins = put up a pin at point 15 = 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. 25[A], fig. 802 in Fil a pointer D.M.C No. 30[A], 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 = 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 separately = 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.



Divide the 30 other pairs into twos = put up a pin between every set of two pairs = linen passing. The ground is all 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 9 = 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 12 = make the wheel, as in figs. 789 and 790, with 6 pairs of bobbins, hanging 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 middle to point 13, join it to the first pair of the scallop = make all the wheels before continuing the ground = then go back from point 13 to 14 = cross the pairs again = at point 12 twist 4 pairs = 2 twisted linen passings right and left with the bobbins of points 14 and 15 = 1 twisted linen passing = put up the pins and work all the spiders alike.

]

PILLOW LACE INSERTION (figs. 803 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 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 resembles the darning stitch represented in figs. 646 and 647) to point 11 = twist at point 12 = take 2 pairs from point 10 = plait to point 13 = twist with the bobbins of point 1 = double passing = plait on the right, twist on the left = put up the pin = tie up as described.

]

Take the second pair at points 13 and 15 = 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 simple passing go back through 2 linen passings = join the latter and the former with linen passing = put up the pin at point 17 = lozenge stitch with the bobbins of points 15 and 17 to point 18 = connect the same at point 11 = 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 pair of bobbins of point 21, 2 linen passings to the left and 2 twisted linen passings, that 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 15 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. 805 and 806).—Hang on 14 pairs of bobbins.



]

These are divided into 3 groups = 3 pairs at point 1 = put up a pin = twisted linen passing = twist both pairs once = put up the pin at point 3 = add on 5 pairs at point 2 = 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 passings, as seen in the illustration, to the right and left as far as point 11 = at point 13 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 15 = work the leaf in lozenge stitch = 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 21 = 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 11 = 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 31 = twist both pairs once = 2 linen passings = put up the pin at point 82 = 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 the middle of the 2 pairs = make a plait to point 37 = cross the pairs again as at point 13, in the beginning.

PILLOW LACE (figs. 807 and 808).—Worked with 30 pairs of bobbins.—These are divided: 14 pairs at point 1 = 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 plait = 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 pin = make a plait to point 6 = add 2 pairs of bobbins = 1 double passing = put up a pin = make a plait to point 7 with a pairs of bobbins = add 2 pairs of bobbins = 1 double passing = put up the pin = make a plait to point 8 = add 4 pairs of bobbins = 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 passings with the bobbins of point 10 = put up the pin at point 11 = 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 11, make a plait to point 12 = 1 linen passing at point 7 and join to point 12 by a plait = plait stitch = put up a pin = then plait stitch to point 13 and make the same connection as at points 12 and 7 = continue 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 1st pair of point 4 = make a plait on the left = put up a pin at point 15 = 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 15 = 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, therefore 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 30 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 pair = with the last pair make a plait to point 3 * = hang on a pair of bobbins = 1 linen passing = hang on a pair of bobbins = 1 linen passing = hang on 3 pairs of bobbins = 1 linen passing = 3 linen passings = put up a pin = 1 leaf in lozenge 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 = 1 plait stitch = put up a pin = repeat in the reverse order to point 3.



)]

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 11 = 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 13 for the edge = put up 2 pins and continue the edge with linen passings to point 14.

Return to point 15 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, 26 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 together as at point 10 = carry on the edge to point 29 = put up a pin = make a plait with picots to point 30 = tie up the threads with those of leaf 28 = make a leaf to point 31 = introduce 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 = 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 31, 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 31, 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 adornments for the neck and arms instead of necklets and bracelets in metal work; though, as such, they do not always accord with our Western notions of good taste, the Armenian work is in itself, both sufficiently interesting and easy of execution, to deserve description here amongst other kinds of needlework that are adaptable to use. It may be imitated with capital effect in strong stiff washing materials, such as those 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 return 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. 813).—Excepting in the case of the returning thread, the same stitches are used for the pretty border and insertion given in fig. 813, 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 alternately, 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 ecru hues of the lace harmonize exceedingly well with the soft colour of the plush.

]

INSERTION IN KNOTTED STITCH (figs. 814 and 815).—This kind of work, similarly composed of knotted stitches, can be used instead of crochet insertion or single and cut openwork 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 connected rows of knots between.

]



INSERTION IN KNOTTED STITCH (figs. 816 and 817).—The mode of making the insertion in knotted stitch, which is represented in the two accompanying engravings, is supposed to be of Italian origin, but we have met with quite as perfect specimens of work done in the same way, which were the products of Persia and Asia Minor. We have called it by the same name 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 loops in fig. 817, the stitches lie closer together and are alike on both sides of the work.

]



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 compose the 4 staves between the bars next. For the little picots see fig. 700.

]



]

LACE IN KNOTTED STITCH (figs. 818 and 819).—This charming little lace, which is of Italian origin, was taken from a 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, 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.



RETICELLA LACE (figs. 820 and 821).—The Reticella laces are generally made on a design traced upon parchment, similar to those required for the laces described later on. But as the manner of working has been modified in the lace represented here, we thought it as well to adopt the same simplification, 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.



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 centre bars, covered with plain buttonhole stitches, on which you mount a row of stitches, like those of fig. 755; these are followed by another bar, to make which, you pick up the loop of the stitches of the preceding row and by another row like the second, finished off with picots, like those illustrated in fig. 700. The bases of the pyramids likewise consist of bars, buttonholed 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 we have already explained in fig. 702, in the chapter on Irish lace.

The inside of the pyramids is worked in the stitch represented in fig. 755, the picots round them are like the ones in fig. 599.



The lace, represented in fig. 820 in its original size, was worked in Fil a dentelle D.M.C No. 80, whilst the second engraving, representing the same subject, shows us how perfectly well it can also be made in heavier and coarser materials, these being in this instance, Lacets superfins D.M.C No. 4 and Cordonnet 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 generally, the beautiful needle-made lace, the outlines of which are bordered 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 without any great difficulty by following the instructions already given for the making of pillow 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 pillow lace the processes are different.

The paper on which the design is traced must first be backed or lined with unglazed black paper (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 secure 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 laying down of the threads 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, between the raised outlines. In order to keep your work perfectly clean and preserve it from unnecessary contact with your fingers, cover all those parts of the pattern you are not immediately engaged 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 covered up and sewing paper over each part as soon as it is finished; this should not be removed until you are ready to join all the separate parts together with bars or latticed ground and work the buttonhole 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 with the eye towards the worker and the point turned outwards. All the inside portions of 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 represented in figs. 825 and 826. The stitches should be selected as far as possible, to suit the style of the design. Flowers look best worked in an open or lattice 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 a thick 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 figures with several strands of Coton surfin D.M.C, should, in the case of detached pieces of lace, be done at once, but where the figures are connected by bars or by a net ground as in fig. 825, the buttonholed outlines should be done last. 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 alluded to in these pages, the higher numbers of Fil d'Alsace D.M.C and 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. 830).—Needle-point lace, also called Brussels lace, requires the same preparatory work as Venetian lace; but it seldom contains such a variety of stitches and openwork as the latter.

The flowers are generally worked in one of the stitches, represented in figs. 720 and 740; 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.

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.

FOOTNOTES:

[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.



Miscellaneous fancy 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. 831, 832, 833, 834, 835).—The knotted cord referred to in the letter press belonging to figs. 772 and 773 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. 831, 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 forefinger, 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. 833.



In fig. 834, 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.

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 together, make a few knots, using two threads as one, then dropping the loop on your forefinger, put the next one upon 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, represented in fig. 835 on a magnified scale, use Cordonnet 6 fils D.M.C or one of the other materials mentioned at the foot of the illustration. Soutache D.M.C will always be found to be very suitable for this purpose.

BALLS FOR TRIMMINGS (figs. 836, 837, 838, 839, 840, 841).—Amongst the crochet patterns are two that are finished off with balls; to make these, begin by cutting a number of rounds of cardboard, two for every ball, with holes in the middle, fig. 836.

]

If you have a great many balls to make 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. 837, using for this purpose Coton a tricoter D.M.C (knitting cotton) or Coton a repriser D.M.C (darning cotton).[A]

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. 839; 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 cardboard, 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 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 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 upward passage, should be kept in the notch in the thimble and the stuff pressed down with the thimble, as the needle is drawn up to the surface of the work, 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 simultaneous, you will find that you can work with great rapidity and with admirable results. Thread with a very strong twist, which the hook will not split, is the only suitable kind for tambouring. Of the D.M.C materials, Fil d'Alsace[A] and Fil a dentelle[A] are the most to be recommended.

Numbers of patterns, originally intended for other kinds of embroidery can be executed in tambour work; amongst those contained in this Encyclopedia, figs. 192, 210, 216, 219, and 227 are the ones that are best adapted to the purpose.



SMYRNA STITCH WORKED WITH A CROCHET-NEEDLE (figs. 846, 847, 848, 849).—In the chapter on tapestry, p. 137 we remarked that Oriental carpets and mats could be worked in different other ways, to be subsequently alluded to at greater length.



Smyrna stitch requires only a crochet needle and is worked on very coarse canvas or Java linen. You take a coarse mesh of cotton, such as Nos. 6, 8 or 10 of Colon 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, fig. 846, 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 of the work completed, presenting that warm velvety appearance which distinguishes the Smyrna carpets.



MALTA STITCH (figs. 850, 851, 852, 853, 854).—This 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.

COLOURS: Jaune-vieil-Or 680, Vert-Mousse 469, Bleu-Indigo 311 and Rouge-Cornouille 449.[A]]

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 the stuff, from right to left, fig. 850, leaving an end, 1 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 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 if 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 engraving; 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, 857, 858, 859). Amongst the many pretty stitches for which Turkish embroideries 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 requiring 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 in a colour that forms a sharp contrast with the one in which the two first rows are worked and constitute with these one complete row of stitches, fig. 856.

Figs. 857, 858 and 859 show how the same stitch can be worked in straight, instead of in diagonal rows.



The dark shade in fig. 859 shows the first row of stitches, the light, the second, or rather the third and fourth, as four rows of stitches are required to make one complete row of triangular Turkish stitch.



PATTERN WORKED IN TRIANGULAR TURKISH STITCH AND GOBELIN STITCH (fig. 860).—The diagonal lines are all worked with Chine gold and blue, and gold and red. The stitch we have just described is most effective in conjunction with other kinds of embroidery, as illustrated in fig. 860, where it is combined with Gobelin stitch.



The running foundation is divided into slanting squares; the diagonal lines are all worked in gold and red. The squares number 9 stitches inside, these are followed by a tenth which is covered by the first stitch of the next square. Where two kinds of coloured gold thread are used, one square will be framed on all sides by one kind, say, gold and blue for instance, the next by the other, gold and red.



The stalk that divides the two little leaves and has a small 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 terminate the stalk, consist of 9 stitches, the first, extending over 3 threads, the second over 5, the third over 7, the fourth over 9 and the fifth over 11; 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 stuff. After these 9, the subsequent 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.

COLOURS—For the Chine: Gold and red, gold and dark blue and gold and green. For the Coton a broder: Noir grand-teint 310.[A]]

TURKISH EMBROIDERY (fig. 861).—The powdering of flowers and also the border are worked like the preceding pattern in two-sided Gobelin 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.C 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 needlemade 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 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.

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 115, 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 foundation. 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.



You either sew on the cord with invisible stitches, opening it a little at each stitch so as to slip the needle and thread in between the twist, or else with ordinary overcasting stitches.

. COLOUR: Rouge-Cardinal 346[A].]

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 flat embroidery, you must bring your needle out close to the cut edge and enter it, 1 or 2 m/m. within the edge from above.

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.



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 pattern require you to depart from this rule; as, for instance, in certain parts of fig. 864, where you will notice stitches, carried over 7 or 8 threads; also in the borders, fig. 865 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 borders and an insertion, suitable as a finish to fig. 863, which can be enlarged to any size by the addition of other squares to those that are represented here.



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 Rhodes linen No. 1, or Russian linen and the different kinds of tammy cloth, whereas the other kinds of D.M.C 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.