,,encyclopedia ,,of ,,needlework ,,by ,,th,r,,se ,,de ,,dillmont ,illustration ,,english ,,edition 99 99 99 99 99 ,,all ,,rights ,,reserved ,to be had3 of ,,th4 ,,de ,,dillmont1 ,,dornach1 ,alsace1 and at all booksellers1 and embroidery shops4 99 99 99 99 99 ,price1 ,english bound with gilt edges3 ,english edition ,sh4 #c4-- ,french edition ,fr4 #e4ge ,german edition ,mk4 #c4-- ,preface4 ,the absolute want of any comprehensive book on needlework--such an one as contains both verbal and pictorial descriptions of everything included under the name of needlework--has led me to put into the serviceable form of an ,encyclopedia1 all the knowledge and experience1 which years of unceasing study and practice have enabled me to accumulate on the subject1 with the hope that diligent female workers of all ages1 may be able1 by its means to instruct themselves in every branch of plain and fancy needlework4 ,all the patterns given1 even the most insignificant1 were worked afresh for the purpose1 and thus1 not merely faithful representations1 but also lucid and intelligible explanations of the same1 are secured4 ,in order that my readers may have something besides the dull theory1 the work is enlivened by a number of useful patterns1 some new1 some derived from the artistic productions of such countries and epochs as have become famous by special excellence in the domain of needlework4 ,though1 at first sight1 the reproduction of many of these patterns may seem to present insuperable difficulties1 they will1 after a careful study of the text1 and exact attention to the directions given1 prove easy to carry out4 ,many of these interesting designs are drawn from private collections1 whose owners1 with great kindness1 placed their treasures at my disposal1 to copy and borrow from at discretion1 for which ,i desire to take the present opportunity1 of tendering them my warmest thanks4 ,the choice of colours and material--a difficult matter to many--my readers will find rendered comparatively easy to them by the notes affixed to the illustrations2 and ,i may point out1 that most of the patterns were worked with ,d4,m4,c cottons1 which enjoy the well-earned reputation of being1 the very best of their kind1 in the market of the world4 ,experience has convinced me that1 in many instances1 these cottons may with advantage take the place of wool1 linen thread1 and even silk4 ,if this work meet with indulgent judges1 and prove really useful1 ,i shall find ample reward in that fact for the trouble and difficulties that have unavoidably attended its completion4 ,illustration3 ,,stripe ,,showing ,,running1 ,,stitching1 ,,button-,,holing1 ,,and ,,herring-,,boning4 ,plain ,sewing4 ,many1 on opening the ,encyclopedia of needlework will be disposed to exclaim as they read the heading of this first section3 ,what is the use of describing all the old well-known stitches1 when machines have so nearly superseded the slower process of hand-sewing8 ,to this our reply is that1 of all kinds of needlework1 ,plain ,sewing needs to be most thoroughly learned1 as being the foundation of all4 ,those who are able to employ others to work for them1 should at least know how to distinguish good work from bad1 and those who are in less fortunate circumstances1 have to be taught how to work for themselves4 ,,position ,,of ,,the ,,body ,,and ,,hands4--,before describing different kinds of stitches1 a word should be said as to the position of the body and hands when at work4 ,long experience has convinced me that no kind of needlework necessitates a stooping or cramped attitude4 ,to obviate which1 see that your chair and table suit each other in height1 and that you so hold your work as hardly to need to bend your head at all4 ,the practice of fastening the work to the knee1 besides being ungraceful1 is injurious to the health4 ,,needles4--,these should be of the best quality4 ,to test a needle1 try to break it2 if it resist1 and then break clean in two1 the steel is good2 if it bend without breaking1 or break without any resistance1 it is bad4 ,never use a bent needle1 it makes ugly and irregular stitches1 and see that the eye1 whether round or egg-shaped1 be well-drilled1 that it may not fray or cut the thread4 ,long or half-long needles are the best for white work1 long ones for dress-making1 and longer ones still1 with long eyes1 for darning4 ,a stock of each1 from ,no #e to #ab1 is advised4 ,the needle should always be a little thicker than the thread1 to make an easy passage for it through the stuff4 ,to keep needles from rusting1 strew a little stone alum in the packets1 and workers whose hands are apt to get damp1 should have a small box of it handy1 to powder their fingers with4 ,blackened needles can be made quite bright again by drawing them through an emery cushion4 ,,scissors4--,scissors are a very important accessory of the work-table1 and two varieties are indispensable2 a pair of large ones for cutting-out1 with one point blunt and the other sharp1 the latter to be always held downwards2 and a pair of smaller ones with two sharp points4 ,the handles should be large and round2 if at all tight1 they tire and disfigure the hand4 ,,thimble4--,steel thimbles are the best2 bone are very liable to break1 and silver ones are not deeply enough pitted1 to hold the needle4 ,a thimble should be light1 with a rounded top and flat rim4 ,,the ,,thread4--,except for tacking1 your thread should never be more than from #dj to #ej c_/m4 long4#a ,if the thread is in skeins1 it does not matter which end you begin with1 but if you use reeled cotton1 thread your needle with the end that points to the reel1 when you cut it2 as the other end will split1 and unravel1 when twisted from left to right1 which is generally done1 to facilitate the process of threading4 ,the cotton should always be cut1 as it is weakened by breaking4 ,,knotting ,,the ,,thread ,,into ,,the ,,needle 7fig4 #a74--,when the thread becomes inconveniently short1 and you do not want take a fresh one1 it may be knotted into the needle1 thus3 bring it round the forefinger close to the needle1 cross it on the inside next to the finger1 hold the crossed threads fast1 with the thumb draw the needle out through the loop thus formed1 and tighten the loop round both ends4 ,illustration3 ,,fig4 #a4 ,,knotting ,,the ,,thread ,,into ,,the ,,needle4 ,,materials4--,for tacking1 use ,coton coudre ,d4,m4,c qualit suprieure 7black and gold stamp7 ,nos4 #b to #f4;,a ,for hand-sewing1 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #gjj1;,a and ,fil dentelle ,d4,m4,c1 balls or reels1 ,nos4 #be to #ajj;,a will be found most useful4 ,for machine-work3 ,cbl #f fils pour machines ,d4,m4,c1 ,nos4 #cj to #cjj1;,a black and white1 or white and blue stamp4 ,these can also be used for hand-work4 ,both these and the lace-thread 7,fil dentelle7 on reels1 are superfine in quality4 ,the medium sizes are the most useful2 but the only suitable ones for very fine and delicate fabrics are the ,fil dentelle ,d4,m4,c1 and ,fil d',alsace1 and the latter only is manufactured in the higher numbers4 ,all these threads are to be had1 wound in balls1 or on reels1 the buyer may make his own choice2 balls are apt to get tangled1 but the cotton preserves its roundness better than when it is wound on reels4 ,linen is generally sewn with linen-thread1 but ,fil dentelle and the ,fil d',alsace are very good substitutes4 ,,position ,,of ,,the ,,hands 7fig4 #b74--,the stuff1 fastened to a cushion1 must be held with the left hand1 which should neither rest on the table1 nor on the cushion1 the needle must be held between the thumb and forefinger1 of the right hand1 and the middle finger1 armed with the thimble1 pushes the needle far enough through the stuff1 for the other fingers to take hold of it and draw it out2 the thread then comes to lie between the fourth and fifth fingers in the form of a loop1 which must be tightened gradually to avoid its knotting4 ,illustration3 ,,fig4 #b4 ,,position ,,of ,,the ,,hands4 ,,position ,,of ,,the ,,hands ,,without ,,cushion 7fig4 #c74--,when the work cannot be fastened to a cushion it should be held between the forefinger and the thumb1 and left hanging down1 over the other fingers4 ,if it need to be more firmly held1 draw it between the fourth and fifth fingers1 which will prevent it from getting puckered or dragged4 ,illustration3 ,,fig4 #c4 ,,position ,,of ,,the ,,hands ,,without ,,cushion4 ,,stitches4--,plain-,sewing comprises #d varieties of stitches1 7#a7 running1 7#b7 back-stitching1 7#c7 hemming and 7#d7 top or over-sewing4 7#a7 ,,running-,,stitch 7fig4 #d74--,this is the simplest and easiest of all4 ,pass the needle in and out of the material1 at regular intervals1 in a horizontal direction1 taking up three or four threads at a time4 ,if the stuff allow1 several stitches may be taken on the needle at once1 before the thread is drawn out4 ,running-stitch is used for plain seams1 for joining light materials1 for making gathers and for hems4 ,illustration3 ,,fig4 #d4 ,,running-,,stitch4 7#b7 ,,back-,,stitch 7fig4 #e74--;,insert the needle1 and draw it out six threads further on1 carry your thread back1 from left to right1 and insert the needle three threads back from the point at which it was last drawn out1 and bring it out six threads beyond4 ,stitching and back-stitching are better and more quickly done by machine than by hand4 ,illustration3 ,,fig4 #e4 ,,back-,,stitch4 ,,stitching 7fig4 #f74--,the production of a row of back-stitches1 that exactly meet one another1 constitutes what is called stitching4 ,only one stitch can be made at a time1 and the needle must be put in1 exactly at the point where it was drawn out to form the preceding back-stitch1 and brought out as many threads further on as were covered by the last back-stitch4 ,the beauty of stitching depends on the uniform length of the stitches1 and the straightness of the line formed1 to ensure which it is necessary to count the threads for each stitch1 and to draw a thread to mark the line4 ,if you have to stitch in a slanting line across the stuff1 or the stuff be such as to render the drawing of a thread impossible1 a coloured tacking thread should be run in first1 to as a guide4 ,illustration3 ,,fig4 #f4 ,,stitching4 ,,stitched ,,hem 7fig4 #g74--,make a double turning1 as for a hem1 draw a thread two or three threads above the edge of the first turning1 and do your stitching through all three layers of stuff2 the right side will be that on which you form your stitches4 ,illustration3 ,,fig4 #g4 ,,stitched ,,hem4 7#c7 ,,hemming-,,stitch 7fig4 #h74--,to make a good hem1 your stuff must be cut in the line of the thread4 ,highly dressed stuffs1 such as linen and calico2 should be rubbed in the hand1 to soften them1 before the hem is laid4 ,your first turning should not be more than #b m_/m4 wide2 turn down the whole length of your hem1 and then make the second turning of the same width1 so that the raw edge is enclosed between two layers of stuff4 ,illustration3 ,,fig4 #h4 ,,hemming-,,stitch4 ,narrow hems do not need to be tacked1 but wide ones1 where the first turning should only be just wide enough to prevent the edge from fraying1 ought always to be4 ,in hemming you insert the needle and thread directed in a slanting position towards you1 just below the edge of the hem1 and push it out two threads above1 and so on to the end1 setting the stitches1 two or three threads apart1 in a continuous straight line4 ,to ensure the hem being straight1 a thread may be drawn to mark the line for the second turning1 but it is not a good plan1 especially in shirt-making1 as the edge of the stuff1 too apt in any case1 to cut and fray1 is1 thereby1 still further weakened4 ,hems in woollen materials1 which will not take a bend1 can only be laid and tacked1 bit by bit4 ,in making1 what are called rolled hems1 the needle must be slipped in1 so as only to pierce the first turning1 in order that the stitches may not be visible on the outside4 ,,flat ,,seam 7fig4 #i74--,lay your two edges1 whether straight or slanting1 exactly even1 tack them together with stitches #b c_/m4 long1 distant #a to #b c_/m4 from the edge1 and then back-stitch them by machine or by hand1 following the tacking-thread4 ,cut off half the inner edge1 turn the outer one in1 as for a hem and sew it down with hemming-stitches4 ,illustration3 ,,fig4 #i4 ,,flat ,,seam4 ,smooth the seam underneath with the forefinger as you go1 to make it lie quite flat4 ,beginners should flatten down the seam with their thimbles1 or with the handle of the scissors1 before they begin to hem1 as the outer and wider edge is very apt to get pushed up and bulge over1 in the sewing1 which hides the stitches4 ,,rounded ,,seam4--,back-stitch your two edges together1 as above directed1 then cut off the inner edge to a width of four threads1 and roll the outer one in1 with the left thumb1 till the raw edge is quite hidden1 hemming as you roll4 ,this kind of seam1 on the wrong side1 looks like a fine cord1 laid on1 and is used in making the finer qualities of underclothing4 ,,fastening ,,threads ,,off1 ,,and ,,on 7fig4 #aj74--,knots should be avoided in white work4 ,to fasten on1 in hemming1 turn the needle backwards with the point up1 take one stitch1 and stroke and work the end of the thread in1 underneath the turning4 ,to fasten on1 in back-stitching or running1 make one stitch with the new thread1 then take both ends and lay them down together to the left1 and work over them1 so that they wind in1 and out of the next few stitches4 ,illustration3 ,,fig4 #aj4 ,,fastening ,,threads ,,off ,,and ,,on4 7#d7 ,,top ,,or ,,over-,,sewing ,,stitch 7fig4 #aa74--,this stitch is used for joining selvedges together4 ,to keep the two pieces even1 it is better1 either to tack or pin them together first4 ,insert the needle1 from right to left1 under the first thread of the selvedge1 and through both edges1 and sew from right to left1 setting your stitches not more than three threads apart4 ,the thread must not be drawn too tightly1 so that when the seam is finished and flattened with the thimble1 the selvedges may lie1 side by side4 ,illustration3 ,,fig4 #aa4 ,,top ,,or ,,over-,,sewing ,,stitch4 ,,another ,,kind ,,of ,,sewing-,,stitch 7fig4 #ab7--;,for dress-seams and patching2 sew left to right1 tacking or pinning the edges together first1 and holding them tightly with the thumb and finger1 to keep perfectly even4 ,illustration3 ,,fig4 #ab4 ,,another ,,kind ,,of ,,sewing-,,stitch4 ,,antique ,,or ,,old-,,german ,,seam 7figs4 #ac and #ad74--,tack or pin the selvedges together as above1 then1 pointing your needle upwards from below1 insert it1 two threads from the selvedge1 first on the wrong side1 then on the right1 first through one selvedge1 then through the other1 setting the stitches two threads apart4 ,in this manner1 the thread crosses itself1 between the two selvedges1 and a perfectly flat seam is produced4 ,seams of this kind occur in old embroidered linen articles1 where the stuff was too narrow to allow for any other4 ,a similar stitch1 fig4 #ad1 only slanting1 instead of quite straight1 as in fig4 #ac1 is used in making sheets4 ,illustration3 ,,fig4 #ac4 ,,antique ,,or ,,old-,,german ,,seam4 ,illustration3 ,,fig4 #ad4 ,,antique ,,or ,,old ,,german ,,seam4 ,,french ,,double ,,seam 7fig4 #ae74--;,for joining such stuffs as fray1 use the so-called ,french-seam4 ,illustration3 ,,fig4 #ae4 ,,french ,,double-,,seam4 ,run your two pieces of stuff together1 the wrong sides touching1 and the edges perfectly even1 then turn them round just at the seam1 so that the right sides come together inside1 and the two raw edges are enclosed between1 and run them together again4 ,see that no threads are visible on the outside4 ,this seam is used chiefly in dress-making1 for joining slight materials together which cannot be kept from fraying by any other means4 ,,hemmed ,,double ,,seam 7figs4 #af and #ag74--,turn in the two raw edges1 and lay them one upon the other1 so that the one next the forefinger1 lies slightly higher than the one next the thumb4 ,insert the needle1 not upwards from below but first into the upper edge1 and then1 slightly slanting1 into the lower one4 ,this seam is used in dress-making1 for fastening down linings4 ,fig4 #ag shows another kind of double seam1 where the two edges are laid together1 turned in twice1 and hemmed in the ordinary manner1 with the sole difference1 that the needle has to pass through a sixfold layer of stuff4 ,illustration3 ,,fig4 #af4 ,,hemmed ,,double-,,seam4 ,illustration3 ,,fig4 #ag4 ,,open ,,hemmed ,,double-,,seam4 ,,gathering 7fig4 #ah74--;,gathers are made with running-stitches of perfectly equal length2 take up and leave three or four threads1 alternately1 and instead of holding the stuff fast with your thumb1 push it on to the needle as you go1 and draw up your thread after every four or five stitches4 ,illustration3 ,,fig4 #ah4 ,,gathering4 ,,stroking ,,gathers 7fig4 #ai74--,when you have run in your gathering thread1 draw it up tight1 and make it fast round the finger of your left hand1 and then stroke down the gathers with a strong needle1 so that they lie evenly side by side1 pushing each gather1 in stroking it1 under your left thumb1 whilst you support the stuff at the back with your other fingers4 ,illustration3 ,,fig4 #ai4 ,,stroking ,,gathers4 ,,running ,,in ,a ,,second ,,gathering ,,thread 7fig4 #bj74--,this is to fix the gathers after they have been stroked1 and should be run in #a or #b c_/m4 below the first thread1 according to the kind of stuff1 and the purpose it is intended for3 take up five or six gathers at a time1 and draw your two threads perfectly even1 that the gathers may be straight to the line of the thread4 ,illustration3 ,,fig4 #bj4 ,,running ,,in ,a ,,second ,,gathering-,,thread4 ,,sewing ,,on ,,gathers 7fig4 #ba74--,to distribute the fullness equally1 divide the gathered portion of material1 and the band1 or plain piece1 on to which it is to be sewn1 into equal parts1 and pin the two together at corresponding distances1 the gathered portion under the plain1 and hem each gather to the band or plain piece1 sloping the needle to make the thread slant1 and slipping it through the upper threads only of the gathers4 ,illustration3 ,,fig4 #ba4 ,,sewing ,,on ,,gathers4 ,,whipping 7fig4 #bb74--,whipping is another form of gathering1 used for fine materials4 ,with the thumb and forefinger of the left hand1 roll the edge over towards you1 into a very tight thin roll1 insert the needle on the inside of the roll next the thumb1 and bring it out on the outside next the forefinger1 at very regular distances1 and draw up the thread slightly1 from time to time1 to form the gathers4 ,illustration3 ,,fig4 #bb4 ,,whipping4 ,,ornamental ,,hem 7fig4 #bc74 ,for an ornamental hem1 make a turning1 #b or #c c_/m4 deep1 and run in a thread1 with small running-stitches up and down1 as shown in fig4 #bc4 ,by slightly drawing the thread1 the straight edge will be made to look as if it were scalloped4 ,illustration3 ,,fig4 #bc4 ,,ornamental ,,hem4 ,,sewing ,,on ,,cord 7fig4 #bd74--;,for sewing on cord1 use strong thread1 either ,fil d',alsace ,d4,m4,c1 ,fil dentelle ,d4,m4,c or ,cbl #f fils ,d4,m4,c ,no4 #be1 #cj1 #ce or #dj4;,a ,be careful not to stretch the cord1 but to hold it in1 as you sew it1 as it invariably shrinks more than the stuff in the first washing4 ,fasten it with hemming stitches to the edge of the turning1 taking care that it does not get twisted4 ,illustration3 ,,fig4 #bd4 ,,sewing ,,on ,,cord4 ,,sewing ,,on ,,flaps 7fig4 #be74--,these should be back-stitched on to the right side of the article they are to be affixed to1 quite close to the edge1 then folded over in half1 and hemmed down on the wrong side4 ,like the cord1 the flap must1 in the process1 be held in very firmly with the left hand4 ,though the back-stitching could be more quickly done by machine1 hand-work is here preferable1 as the holding in cannot be done by machine4 ,illustration3 ,,fig4 #be4 ,,sewing ,,on ,,flaps4 ,,sewing ,,on ,,tape-,,loops 7figs4 #bf and #bg74--,these1 in the case of the coarser articles of household linen1 are generally fastened to the corners4 ,lay the ends of your piece of tape1 which should be from #ae to #ag c_/m4 long1 side by side1 turn in and hem them down1 on three sides3 the loop should be so folded as to form a three-cornered point1 shewn in the illustration4 ,join the two edges of the tape together in the middle with a few cross-stitches1 and stitch the edge of the hem of the article to the loop1 on the right side4 ,illustration3 ,,fig4 #bf4 ,,sewing ,,on ,,tape-,,loops ,,to ,,the ,,corner4 ,illustration3 ,,fig4 #bg4 ,,sewing ,,on ,,tape-,,loops ,,in ,,the ,,middle ,,of ,,the ,,article4 ,fig4 #bg shows how to sew on a loop in the middle of an article1 the two ends separately1 one on one side1 the other on the other4 ,,strings ,,and ,,loops ,,for ,,fine ,,under-,,linen 7fig4 #bh74--,sew these on1 likewise1 on the wrong side of the article1 hemming down the ends1 and fastening them on the right side1 with two rows of stitching crossing each other1 and a third row along the edge4 ,illustration3 ,,fig4 #bh4 ,,strings ,,and ,,loops ,,on ,,fine ,,under-,,linen4 ,,button-,,holes ,,in ,,linen 7fig4 #bi74--;,cut your hole perfectly straight1 and of exactly1 the diameter of the button1 having previously marked out the place for it1 with two rows of running-stitches1 two or three threads apart4 ,put in your needle at the back of the slit1 and take up about three threads1 bring the working thread round1 from right to left under the point of the needle1 and draw the needle out through the loop1 so that the little knot comes at the edge of the slit1 and so on to the end1 working from the lower left-hand corner to the right4 ,then make a bar of button-hole stitching across each end1 the knotted edge towards the slit4 ,illustration3 ,,fig4 #bi4 ,,button-,,holes ,,in ,,linen4 ,,button ,,holes ,,in ,,dress ,,materials 7fig4 #cj74--,mark out and cut them as above described2 if however1 the material be liable to fray1 wet the slit as soon as you have cut it1 with liquid gum1 and lay a strand of strong thread along the edge to make your stitches over2 one end of dress button-holes must be round1 the stitches diverging like rays from the centre1 and when you have worked the second side1 thread the needle with the loose strand1 and pull it slightly1 to straighten the edges2 then fasten off1 and close the button-hole with a straight bar of stitches across the other end1 as in fig4 #bi4 ,illustration3 ,,fig4 #cj4 ,,button-,,holes ,,in ,,dress-,,materials4 ,,sewing ,,on ,,buttons 7figs4 #ca and #cb74--,to sew linen1 or webbed buttons on to underclothing1 fasten in your thread with a stitch or two1 at the place where the button is to be2 bring the needle out through the middle of the button1 and make eight stitches1 diverging from the centre like a star1 and if you like1 encircle them by a row of stitching1 as in fig4 #cb4 ,this done1 bring the needle out between the stuff and the button1 and twist the cotton six or seven times round it1 then push the needle through to the wrong side1 and fasten off4 ,illustration3 ,,fig4 #ca4 ,,sewing ,,on ,,linen ,,buttons4 ,illustration3 ,,fig4 #cb4 ,,sewing ,,on ,,webbed ,,buttons4 ,,binding ,,slits 7figs4 #cc1 #cd1 #ce1 #cf74--,nothing is more apt to tear than a slit whether it be hemmed or merely bound4 ,to prevent this1 make a semicircle of button-hole stitches at the bottom of the slit1 and above that1 to connect the two sides1 a bridge of several threads1 covered with button-hole stitches4 ,illustration3 ,,fig4 #cc4 ,,binding ,,slits ,,with ,,hem4 ,illustration3 ,,fig4 #cd4 ,,binding ,,slits ,,with ,,piece ,,on ,,cross4 ,illustration3 ,,fig4 #ce4 ,,binding ,,slits ,,with ,,broad ,,band4 ,illustration3 ,,fig4 #cf4 ,,strengthening ,,slits ,,with ,,gusset4 ,in fig4 #cc1 we show a hemmed slit1 and in figs4 #cd and #ce1 are two slits backed the one with a narrow1 the other1 with a broad piece of the material1 cut on the cross4 ,in under-linen1 it often so happens that two selvedges meet at the slit1 which renders binding unnecessary2 in that case take a small square of stuff1 turn in the raw edges1 top-sew it into the slit on two sides1 turn in the other two1 fold over on the bias1 and hem them down over the top-sewing1 as shewn in fig4 #cf4 ,such little squares of material1 inserted into a slit or seam1 to prevent its tearing1 are called gussets4 ,,sewing ,,on ,,piping 7fig4 #cg74 ,piping is a border1 consisting of a cord or bobbin1 folded into a stripe of material1 cut on the cross1 and affixed to the edge of an article to give it more strength and finish4 ,it is a good substitute for a hem or binding on a bias edge1 which by means of the cord1 can be held in1 and prevented from stretching4 ,cut your stripes diagonally1 across the web of the stuff1 and very even2 run them together1 lay the cord or bobbin along the stripe1 on the wrong side1 #e m_/m4 from the edge1 fold the edge over1 and tack the cord lightly in4 ,then lay it on the raw edge of the article1 with the cord towards you1 and with all the raw edges turned away from you4 ,back-stitch the piping to the edge1 keeping close to the cord4 ,then turn the article round1 fold in the raw outside edge over the others1 and hem it down like an ordinary hem4 ,illustration3 ,,fig4 #cg4 ,,sewing ,,on ,,piping4 ,,fixing ,,whale-,,bones 7fig4 #ch74--;,before slipping the whalebone into its case or fold of stuff1 pierce holes in it1 top and bottom1 with a red hot stiletto4 ,through these holes1 make your stitches1 diverging like rays or crossing each other as shown in fig4 #ch4 ,illustration3 ,,fig4 #ch4 ,,fixing ,,whale-,,bones4 ,,herring-,,boning 7fig4 #ci74--,this stitch is chiefly used for seams in flannel1 and for overcasting dress-seams1 and takes the place of hemming1 for fastening down the raw edges of a seam that has been run or stitched1 without turning them in4 ,herring-boning is done from left to right1 and forms two rows of stitches4 ,insert the needle from right to left1 and make a stitch first above1 and then below the edge1 the threads crossing each other diagonally1 as shewn in fig4 #ci4 ,illustration3 ,,fig4 #ci4 ,,herring-,,boning ,,footnotes3 #a ,our readers should be provided with a ,french metre1 with the ,english yard marked on the back for purposes of comparison4 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,specimens ,,of ,,pattern ,,darns4 ,mending4 ,the mending of wearing-apparel and house-linen1 though often an ungrateful task1 is yet a very necessary one1 to which every female hand ought to be carefully trained4 ,how best to disguise and repair the wear and tear of use or accident is quite as valuable an art1 as that of making new things4 ,under the head of mending1 we include the strengthening and replacing of the worn and broken threads of a fabric1 and fitting in of new stuff in the place of that which is torn or damaged4 ,the former is called darning1 the latter1 patching4 ,,darning4--,when only a few of the warp or woof threads are torn or missing1 a darn will repair the mischief1 provided the surrounding parts be sound4 ,when the damage is more extensive1 the piece must be cut out4 ,in some cases the warp of the stuff itself can be used for darning1 otherwise thread as much like the stuff as possible should be chosen4 ,,materials ,,suitable ,,for ,,mending4--,coton repriser ,d4,m4,c is used for most kinds of darning4 ,it can be had in #ah different sizes1 from ,nos4 #h to #ajj1 white and unbleached1 and in all the colours of the ,d4,m4,c colour-card in ,nos4 #ab1 #be and #ej4 ,it is but very slightly twisted and can be split or used double1 if necessary1 according to the material4 ,for all the coarser articles of house-linen1 unbleached cotton is the best1 and for the finer white fabrics1 ,coton surfin ,d4,m4,c ,nos4 #aaj1 #abj and #aej;,a4 ,this cotton1 which is not the least twisted1 and is to be had both white and unbleached1 can be used1 by subdividing it1 for darning the finest cambric4 ,,varieties ,,of ,,darning4--,these are four1 7#a7 ,linen darning1 7#b7 ,damask darning1 7#c7 ,satin or ,twill darning1 and 7#d7 ,invisible darning1 called also1 ,fine-drawing4 7#a7 ,,linen ,,darning 7figs4 #dj and #da74--;,all darns should be made on the wrong side of the stuff1 excepting fig4 #ed1 which it is sometimes better to make on the right side4 ,the longitudinal running1 to form the warp1 must be made first4 ,the thread must not be drawn tightly in running your stitches backwards and forwards1 and be careful to leave loops at each turning1 to allow for the shrinking of the thread in the washing1 without its pulling the darn together4 ,illustration3 ,,fig4 #dj4 ,,linen ,,darning4 ,,drawing ,,in ,,the ,,warp ,,threads4 ,illustration3 ,,fig4 #da4 ,,linen ,,darning4 ,,drawing ,,in ,,the ,,woof ,,threads4 ,run your needle in1 about one c_/m4 above the damaged part1 take up one or two threads of the stuff and miss the same number1 working straight to a thread2 on reaching the hole1 carry your cotton straight across it1 take up alternate threads beyond1 and proceed as before4 ,continue the rows backwards and forwards1 taking up in each row1 the threads left in the preceding one4 ,turn the work round and do the same for the woof2 alternately taking up and leaving the warp threads1 where the cotton crosses the hole4 ,the threads must lie so alone both ways1 that the darn1 when completed1 replaces the original web4 ,the threads are only drawn so far apart in the illustrations1 for the sake of clearness4 ,when the material to be darned does not admit of a fleecy thread1 such as ,coton repriser ,d4,m4,c1 one that as nearly as possible matches the material1 should be chosen from the ,d4,m4,c cottons4,a ,,diagonal ,,linen ,,darning 7fig4 #db74--;,darns are sometimes begun from the corner1 so as to form a diagonal web1 but they are then much more visible than when they are worked straight to a thread1 and therefore not advisable4 ,illustration3 ,,fig4 #db4 ,,diagonal ,,linen ,,darning4 7#b7 ,,satin ,,or ,,twill ,,darning 7fig4 #dc74--;,by twill darning1 the damaged web of any twilled or diagonal material can be restored4 ,it would be impossible to enumerate all the varieties of twilled stuffs1 but the illustrations and accompanying directions will enable the worker to imitate them all4 ,illustration3 ,,fig4 #dc4 ,,satin ,,or ,,twill ,,darning4 ,begin1 as in ordinary darning by running in the warp threads1 then take up one thread1 and miss three4 ,in every succeeding row1 advance one thread in the same direction4 ,or1 miss one thread of the stuff and take up two1 and as before1 advance1 one thread in the same direction1 every succeeding row4 ,the order in which threads should be missed and taken up1 must depend on the web which the darn is intended to imitate4 ,when the original is a coloured stuff1 it is advisable to make a specimen darn first1 on a larger scale1 so that you may be more sure of obtaining a correct copy of the original web4 7#c7 ,,damask ,,darning 7figs4 #dd1 #de1 #df1 #dg1 #dh1 #di74--;,a damask darn is begun in the same way as all other darns are2 the pattern is formed by the cross-runnings and will vary with the number of warp threads taken up and missed1 in each successive running4 ,the woven design which you are to copy with your needle must therefore be carefully examined first4 ,figs4 #dd and #de show the wrong and right sides of a damask darn1 in process of being made4 ,illustration3 ,,fig4 #dd4 ,,damask ,,darning4 ,,wrong ,,side4 ,illustration3 ,,fig4 #de4 ,,damask ,,darning4 ,,right ,,side4 ,fig4 #df represents a completed one4 ,in the case of coloured webs1 a light shade of cotton is generally used for the warp1 one that matches the stuff1 for the shot or woof4 ,illustration3 ,,fig4 #df4 ,,damask ,,darning4 ,,covered ,,ground4 ,figs4 #dg and #dh1 illustrate two specimens of darning1 formerly done in the convents1 from which it will be seen1 that the warp and the woof were first drawn in with rather fine thread and the pattern then worked into this foundation with coarser1 or else1 coloured thread4 ,when this kind of darn is in two colours1 take1 for the darker shade1 ,coton broder ,d4,m4,c1 or ,coton repriser ,d4,m4,c1 which are both of them to be had in all the bright and faded shades1 to match alike both old and new linen4 ,illustration3 ,,fig4 #dg4 ,,damask ,,darning ,,on ,,needle-,,made ,,ground4 ,illustration3 ,,fig4 #dh4 ,,damask ,,darning ,,on ,,needle-,,made ,,ground4 ,fig4 #di1 which is executed in two colours1 and is likewise copied from an old work on darning1 shows you the manner in which a dice-pattern is to be reproduced4 ,illustration3 ,,fig4 #di4 ,,damask ,,darning ,,with ,,coloured ,,thread4 7#d7 ,,darning1 ,,lost ,,in ,,the ,,ground 7fig4 #ej74--;,a kind of darn used for repairing rents1 the edges of which fit exactly into one another4 ,neither the torn threads of the material nor the rough edges must be cut off2 the torn part is to be tacked upon a piece of oil-cloth1 wrong side uppermost1 and the edges1 drawn together by a thread1 run in backwards1 and forwards1 across them4 ,the stitches must be set as closely together as possible1 and regularly inverted1 as in every other darn4 ,a much finer thread relatively than that of which the material is composed should1 in all cases be used for darning4 ,in this instance also1 for the sake of greater distinctness1 the size of the thread has been magnified in the illustration4 ,coton surfin ,d4,m4,c1 will be found the best for darning both calico and linen4 ,illustration3 ,,fig4 #ej4 ,,darning ,,lost ,,in ,,the ,,ground4 ,,fine ,,drawing 7fig4 #ea74--,the art of making invisible darns in cloth1 though such a useful one1 is all but unknown4 ,it is a tedious process and one which1 though easy enough to understand1 requires great care in the execution4 ,illustration3 ,,fig4 #ea4 ,,fine ,,drawing4 ,use as fine a needle as possible and thread it with hair1 instead of silk1 or any other kind of fibre4 ,red and white hair is the strongest1 and stronger than the ravellings of the stuff4 ,of course the hair has first to be carefully cleansed from grease4 ,pare the edges of the rent1 on the right sides1 quite clean and even1 with a razor1 so that both rent and stitches may be lost in the hairy surface of the cloth4 ,scissors do not cut so closely1 and are liable moreover1 to disturb the nap1 and render the darn more visible4 ,when this is done1 fit the edges exactly together1 and overcast them4 ,then thread a needle with a hair by the root1 and slip it in1 #b or #c m_/m4 from the one edge and back again pointed towards you1 through the other1 so that1 neither needle nor hair1 are visible on either side4 ,the stitches should be set slightly slanting and must be quite lost in the thickness of the cloth4 ,the needle must always be put in1 exactly at the place where it came out1 and the hair not be too tightly drawn4 ,when the darn is finished1 lay the article on a bare table1 or ironing-board1 cover it with a damp cloth1 and iron it4 ,the sharpest eye will fail to detect a rent1 when carefully darned in this manner4 ,,patching4--,as we have already said1 when the defective part is past darning1 it must be cut out1 and a new piece of stuff inserted in its place4 ,if the garment be no longer new1 it should be patched with a slighter material than that of which it was originally made4 ,the patch should be of the same shape1 and cut the same way of the stuff1 as the piece it is to replace1 it should also be1 just so much larger1 as to allow for the turnings in1 and can either be top-sewn1 or else1 run and felled in4 ,,back-,,stitching ,,and ,,felling ,,in ,a ,,patch 7fig4 #eb74--,tack in the new piece1 so that its edges overlap the edges of the hole4 ,the back-stitching must be done on the article itself1 as this renders it easier to do the corners neatly4 ,the hem is turned down on to the patch4 ,make a little snip at the corners with your scissors to prevent puckering4 ,the back-stitching should form a right angle at each corner4 ,illustration3 ,,fig4 #eb4 ,,back-,,stitching ,,and ,,felling ,,in ,a ,,patch4 ,,top-,,sewing ,,in ,a ,,patch 7fig4 #ec74--,to do this1 the edges of the hole and of the patch1 must first be turned in1 and either overcast or hemmed1 to prevent their fraying1 after which1 sew the two edges together4 ,the raw edges may also be turned in with herring-boning as in fig4 #ci1 putting the needle1 only through one layer of stuff4 ,illustration3 ,,fig4 #ec4 ,,top-,,sewing ,,in ,a ,,patch4 ,,drawing ,,in ,a ,,patch 7fig4 #ed74--,take a square piece of the original stuff1 #e or #f c_/m4 larger each way1 than the hole it is to fill1 draw out threads on all the four sides1 till the piece exactly matches the hole1 and tack it into its place4 ,thread a very fine needle with the two ends of a thread of silk or ,fil d',alsace ,d4,m4,c ,no4 #gjj1 run it in at the corner of the stuff1 and draw it out1 leaving a loop behind4 ,into this loop1 slip the first of the threads1 which as it were1 form a fringe to the patch1 and tighten the loop round it1 and so on with each thread1 alternately taking up and leaving threads in the stuff1 as in ordinary darning4 ,illustration3 ,,fig4 #ed4 ,,drawing ,,in ,a ,,patch4 ,to put a patch into a thin material1 in this manner1 you must darn in the threads1 a good long way1 into the material1 in order that the double layer of threads may be less visible4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,stripe ,,of ,,cut ,,open-,,work ,,on ,,white ,,linen4 ,single and cut ,open-work4 ,the above heading comprises every sort of needle-work1 to which the drawing out of threads is a preliminary4 ,by sewing over the single threads that remain1 and drawing them together in different ways1 an infinite variety of patterns can be produced4 ,many pretty combinations also1 can be made of open-work1 cross-stitch1 and other kinds of embroidery4 ,,materials ,,suitable ,,for ,,open-,,work4--,for all the coarser stuffs1 such as ,holbein-linen1 ,java and linen-canvas and the like1 now in such favour for the imitation of old needlework1 it will be best to use3 ,fil pointer ,d4,m4,c1 ,no4 #cj;,a and ,cordonnet #f fils ,d4,m4,c1 ,nos4 #aj to #bj1;,a and for the finer stuffs1 such as antique-linen and linen-gauze2 ,cordonnet #f fils ,d4,m4,c ,nos4 #ej to #aej1;,a ,fil d',alsace ,d4,m4,c1 ,nos4 #bj to #ajj1 and ,fil dentelle ,d4,m4,c1 ,nos4 #be to #hj4 ,coloured patterns can also be executed in open-work1 with ,coton broder ,d4,m4,c ,nos4 #af to #ce1 and ,coton repriser ,d4,m4,c1 ,nos4 #be to #ej;,a4 ,,the ,,two ,,different ,,kinds ,,of ,,open-,,work4--,the one is called1 single open-work1 the ,italian ,punto tirato1 in which the first step is to draw out one layer of threads2 the other1 cut open-work1 the ,italian ,punto tagliato1 for which1 both the warp1 and the woof threads1 have to be drawn out4 ,,single ,,open-,,work 7,,punto ,,tirato74--,this1 in its simplest form1 is the ornamental latticed hem1 in common use where something rather more decorative than an ordinary hem 7fig4 #h7 is required1 and consists in drawing out one layer of threads1 either the warp or the woof4 ,,single ,,hem-,,stitch 7fig4 #ee74--;,draw out1 according to the coarseness of the stuff1 two or four threads1 below the edge of the turning1 and tack your hem down to the line thus drawn4 ,fasten your thread in to the left1 and work your hem from right to left1 taking up three or four cross-threads at a time1 and inserting your needle1 immediately above1 into the folded hem1 three or four threads from the edge1 and then drawing it out4 ,illustration3 ,,fig4 #ee4 ,,single ,,hem-,,stitch4 ,the same stitch is used for preventing the fringes1 that serve as a finish to so many articles of house-linen1 from ravelling4 ,,second ,,hem-,,stitch 7fig4 #ef74--,prepare your hem as for fig4 #ee1 and work from left to right2 with this difference1 that after drawing two or three cross-threads together1 from right to left1 you skip the same number of perpendicular threads you took up below1 and insert your needle downwards from above1 bringing it out at the bottom edge of the hem4 ,illustration3 ,,fig4 #ef4 ,,second ,,hem-,,stitch4 ,these stitches1 which can be used for the right side also1 form a kind of little tress1 along the edge of the hem4 ,,ladder ,,stitch ,,hem 7fig4 #eg74 ,complete the hem1 as already directed in fig4 #ee1 then draw out three or five threads more1 turn the work round1 and repeat the process1 taking up the same clusters of threads which you took up in the first row of stitches1 thus forming little perpendicular bars4 ,illustration3 ,,fig4 #eg4 ,,ladder ,,stitch ,,hem4 ,,double ,,hem-,,stitch 7fig4 #eh74 ,begin as in fig4 #ee1 forming your clusters of an even number of threads2 and then1 in making your second row of stitches1 draw half the threads of one cluster1 and half of the next together1 thereby making them slant1 first one way and then the other4 ,illustration3 ,,fig4 #eh4 ,,double ,,hem-,,stitch4 ,,antique ,,hem-,,stitch 7figs4 #ei1 #fj1 #fa and #fb74 ,in the old1 elaborate1 linen needlework1 we often meet two kinds of hem-stitching seldom found in modern books on needle-work4 ,figs4 #ei to #fb are magnified representations of the same4 ,at the necessary depth for forming a narrow hem1 a thread is drawn1 in the case of very fine textures where the edge is rolled1 not laid2 then fasten in the working thread at the left1 and work the stitches from left to right4 ,passing your needle1 from right to left1 under three or four threads1 draw the thread round the cluster and carry your needle on1 through as many threads of the upper layer of stuff1 as you took up below1 so that the stitch may always emerge from the middle of the cluster4 ,illustration3 ,,fig4 #ei4 ,,antique ,,hem-,,stitch4 ,,wrong ,,side4 ,illustration3 ,,fig4 #fj4 ,,antique ,,hem-,,stitch4 ,,right ,,side4 ,,antique ,,hem-,,stitch 7figs4 #fa and #fb74--,these show1 the right and wrong sides of the hem2 here the rolled hem is prepared as above1 but the stitches are worked from right to left1 and the thread is carried round the little roll1 so that1 as shown in fig4 #fb1 it is visible on both sides of the hem4 ,the needle does not enter the stuff1 but is carried back at once1 from the outside1 and put in again between two clusters of threads4 ,illustration3 ,,fig4 #fa4 ,,antique ,,hem-,,stitch4 ,,wrong ,,side4 ,illustration3 ,,fig4 #fb4 ,,antique ,,hem-,,stitch4 ,,right ,,side4 ,,slanting ,,hem-,,stitch 7figs4 #fc and #fd74--;,bring out your needle and thread1 two or three threads above the edge of the turning1 between the first and second of the three cross-threads that compose the cluster1 and then slip it under the cluster1 from right to left4 ,the loop must lie in front of the needle4 ,when you have drawn up the stitch1 put the needle in1 one thread further on1 and take up two threads4 ,fig4 #fd shows the stitch on the right side4 ,illustration3 ,,fig4 #fc4 ,,slanting ,,hem-,,stitch4 ,,wrong ,,side4 ,illustration3 ,,fig4 #fd4 ,,slanting ,,hem-,,stitch4 ,,right ,,side4 ,,double-,,rowed ,,ornamental ,,seam 7figs4 #fe1 #ff1 #fg74--;,begin with any one of the hems already described1 then counting as many threads downwards1 as are clustered together in the first row1 draw out a second thread1 and cluster the perpendicular threads in this second line together1 as shown in figs4 #fe and #ff4 ,on the right side the stitch is straight 7fig4 #fg74 ,coloured cottons should be used for all the above patterns of hem-stitch1 when they are to be introduced into coloured embroideries4 ,illustration3 ,,fig4 #fe4 ,,double-,,rowed ,,ornamental ,,seam4 ,,wrong ,,side4 ,illustration3 ,,fig4 #ff4 ,,double-,,rowed ,,ornamental ,,seam4 ,,wrong ,,side4 ,illustration3 ,,fig4 #fg4 ,,double-,,rowed ,,ornamental ,,seam4 ,,right ,,side4 ,,single ,,three-,,rowed ,,open-,,work 7fig4 #fh74--,this1 and the following patterns1 are suitable for the headings of hems1 and for connecting stripes of embroidery1 and are also often used instead of lace1 and lace insertion4 ,fig4 #fh will be found specially useful1 in cases where the object is1 to produce a good deal of effect1 at the cost of as little labour as possible4 ,make six rows of hem-stitching1 as in fig4 #ee2 the first and sixth rows to serve as a finish1 above and below4 ,illustration3 ,,fig4 #fh4 ,,single ,,three-,,rowed ,,open-,,work4 ,the second and third1 after drawing out six threads1 the third and fourth after drawing out eight4 ,the clusters must all consist of an even number of threads4 ,the upper and the lower band of open-work is to be copied from fig4 #eh1 the centre one1 from fig4 #eg4 ,divide the threads of the perpendicular clusters in two2 insert the needle1 from left to right1 underneath half the second cluster1 turn the needle's eye1 by a second movement1 from left to right1 and take up the second part of the first cluster1 drawing it under1 and at the same time1 in front of the first half of the second cluster4 ,be careful not to draw your thread too tightly4 ,,open-,,work ,,with ,,two ,,threads ,,drawn ,,through 7fig4 #fi74--,one such wide lane of open-work1 between two finishing rows of stitches1 may have two threads drawn through it4 ,illustration3 ,,fig4 #fi4 ,,open-,,work ,,with ,,two ,,threads ,,drawn ,,through4 ,,open-,,work ,,with ,,three ,,threads ,,drawn ,,through 7fig4 #gj74 ,overcast both edges with single stitches2 draw the clusters together in the middle1 as in fig4 #fh2 then above and below the middle thread1 draw in first one thread and then a second1 straight above it1 securing the latter with back-stitches to enclose the clusters between two threads4 ,illustration3 ,,fig4 #gj4 ,,open-,,work ,,with ,,three ,,threads ,,drawn ,,through4 ,,clustered ,,open-,,work 7fig4 #ga74--;,draw out from sixteen to eighteen threads1 between two hem-stitched edges4 ,fasten your thread in1 #c m_/m4 above the seam-edge1 and wind it three times round every two clusters1 passing the needle1 the third time1 under the two first rounds1 to fasten the thread4 ,the thread1 thus drawn through1 must be left rather slack4 ,a second row of stitches1 similar to the first1 and at the same distance from the bottom edge1 completes this pattern4 ,to give it greater strength1 you may if you like1 work back over the first thread1 with a second1 taking care to pass it under the knot1 which was formed by the first4 ,illustration3 ,,fig4 #ga4 ,,clustered ,,open-,,work4 ,,double-,,rowed ,,cluster-,,open-,,work 7fig4 #gb74--;,a very good effect can be obtained by making the above stitch in such a manner1 as to form groups of three clusters each1 between hem-stitched bands of the stuff4 ,illustration3 ,,fig4 #gb4 ,,double-,,rowed ,,cluster-,,open-,,work4 ,,turkish ,,cluster ,,open-,,work 7fig4 #gc74--;,after portioning off1 and sewing up the clusters on one side1 draw out twelve or fourteen threads1 and make your connecting-stitch and hem1 all in one1 as follows3 bring out the thread before the cluster1 and pass it round it1 then from right to left1 over three horizontal and under four perpendicular threads1 again from left to right1 over the four threads just passed over1 and out at the second cluster2 laying it over this1 you bring it out behind the first cluster1 wind it round the middle of them both1 and pass it through1 between the overcasting stitches back to the hem2 encircle the second cluster with a loop-stitch1 and carry your thread again over three horizontal and four perpendicular threads1 and upwards1 slanting underneath the stuff1 out in front of the next cluster4 ,illustration3 ,,fig4 #gc4 ,,turkish ,,cluster ,,open-,,work4 ,,open-,,work ,,with ,,darning ,,stitch 7fig4 #gd74--;,draw out from eight to twelve threads1 according to the quality of the stuff4 ,insert your needle and thread between two clusters1 and pass it1 as if you were darning1 backwards and forwards over them1 until they are encased half way down with stitches4 ,in so doing1 work with the eye of the needle forward1 and the point towards your thimble4 ,to pass to the next cluster1 take one stitch back1 under the one just darned1 and bring your thread underneath the threads of the stuff1 to the second cluster4 ,illustration3 ,,fig4 #gd4 ,,open-,,work ,,with ,,darning ,,stitch4 ,,open-,,work ,,in ,,three ,,colours 7fig4 #ge74--,this pattern which is to be done in the same way as fig4 #gd1 requires the drawing out of1 at least1 eighteen threads4 ,every cross-line of three clusters is to be worked in one colour4 ,the colours may all be different1 or you may if you prefer1 take shades of the same colour4 ,illustration3 ,,fig4 #ge4 ,,open-,,work ,,in ,,three ,,colours4 ,,colours3 ,bleu-,indigo #caa1 #cbb1 #ccd1 ,brun-,caroubier #ced1 #cjc1 #ceg1 or ,rouge-,granium #cdi1 #cea1 #ceb4;,a ,,open-,,work ,,insertion 7figs4 #gf and #gg74--;,for both these1 the edges are to be overcast1 and the darning stitches packed sufficiently closely together1 for the threads of the stuff to be entirely covered4 ,fig4 #gf requires the drawing out of eighteen threads1 fig4 #gg1 of thirty4 ,both admit of several colours being used4 ,illustration3 ,,fig4 #gf4 ,,open-,,work ,,insertion4 ,illustration3 ,,fig4 #gg4 ,,open-,,work ,,insertion4 ,,open-,,work ,,insertion 7fig4 #gh74--;,after drawing out sixteen or eighteen threads1 bind both sides with stitches made over four horizontal and four perpendicular threads1 as follows2 make one back-stitch over four disengaged threads1 then bring up your thread from right to left1 over four horizontal and under four perpendicular threads1 back over the four last threads1 and draw it out beside the next cluster4 ,the clusters1 as they now stand1 are bound together in the middle1 three by three1 with darning-stitches4 ,the thread must be fastened in and cut off1 after each group is finished4 ,illustration3 ,,fig4 #gh4 ,,open-,,work ,,insertion4 ,,open-,,work ,,insertion 7fig4 #gi74--;,first bind the two edges with stitches1 in the ordinary way4 ,at the last stitch introduce the thread slanting1 according to the dotted line1 pass it under four horizontal and three perpendicular threads of the stuff and draw it out2 then over three threads from right to left1 and back under the same1 from left to right1 and out again2 over four horizontal threads1 and1 under and again over1 three perpendicular ones2 for the next stitch1 you again follow the dotted slanting line4 ,illustration3 ,,fig4 #gi4 ,,open-,,work ,,insertion4 ,then make the darning stitch over nine threads1 or three clusters4 ,at half their length1 you leave out three threads1 first on the right1 then on the left1 whilst in the other half1 you1 in a similar manner1 take in three2 so that you have two darned and two undarned clusters1 standing opposite each other4 ,finally1 you overcast the single clusters1 and connect every two with a lock-stitch1 as shown in the accompanying illustration4 ,,open-,,work ,,insertion 7fig4 #hj74--;,draw out twenty threads1 overcast both edges with stitches1 made over three threads4 ,then1 make slanting stitches1 proceeding out from these1 over three1 six and nine threads respectively1 all three terminating in a perpendicular line1 one below the other4 ,illustration3 ,,fig4 #hj4 ,,open-,,work ,,insertion4 ,for the open-work1 twist the thread five times1 quite tightly round and round one cluster1 bring it to the edge1 between the second and third clusters1 and connect these by means of six darning-stitches to and fro3 join the first and second clusters in the same way by twelve stitches1 and finish1 by twisting the thread five times round the remaining length of the first cluster4 ,the second half of the open-work figure is carried out in a similar manner over the third and fourth clusters4 ,,open-,,work ,,insertion ,,in ,,four ,,colours 7fig4 #ha74--;,draw out1 from twenty-five to thirty threads4 ,the outside figures are executed over six clusters1 of three threads each1 in a dark and light shade alternately of the same colour4 ,each of the middle figures combines three clusters of the two figures above it1 and may be executed1 either in a different colour altogether1 or in a lighter shade of the one employed in the top row4 ,the little star in the centre should be worked in dark red1 or black4 ,illustration3 ,,fig4 #ha4 ,,open-,,work ,,insertion ,,in ,,four ,,colours4 ,,materials3 ,coton broder ,d4,m4,c ,no4 #bj1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #cj4;,a ,,colours3 ,rouge-,turc #cba1 ,bleu-,indigo #cab1 #ccd1 ,noir grand ,teint #caj4;,a ,,open-,,work ,,insertions 7figs4 #hb1 #hc1 #hd74--;,for each of these draw out forty threads4 ,fig4 #hb worked in white1 and ,rouge-,grenat clair #cji1 comprises fourteen clusters1 of four threads each4 ,begin at the top of the big pyramid1 so that the threads which you run in1 can be more closely crowded together4 ,illustration3 ,,fig4 #hb4 ,,open-,,work ,,insertion4 ,in fig4 #hc1 the two rows of short clusters are worked in ,gris-,tilleul moyen1 and1 ,gris-,tilleul clair1 #cib and #ccj2;,a the pyramid of steps1 in ,brun-,chamois moyen1 #cbd2;,a the three inner clusters in ,brim-,chamois trs clair1 #dah4 ,one figure consists of fourteen clusters1 of three threads each4 ,illustration3 ,,fig4 #hc4 ,,open-,,work ,,insertion4 ,fig4 #hd also is to be worked in three colours2 the light squares in unbleached cotton1 the middle figure in ,bleu-,indigo trs clair1 #ccd1 the large squares on either side in ,brun-,cuir clair #dcb4 ,each figure contains eighteen clusters1 of three threads each4 ,illustration3 ,,fig4 #hd4 ,,open-,,work ,,insertion4 ,,open-,,work ,,insertion ,,with ,,spiders 7fig4 #he74--,the edges are to be herring-boned1 as described in fig4 #ci4 ,in the middle1 the so-called spiders are made1 over every group of four clusters4 ,the thread that runs out from the spider1 passes over two clusters and under one1 and then three or four times1 over and under the clusters1 as in darning1 and so back1 under the spider1 at the place at which it was drawn in1 and then on1 to the next four strands of thread4 ,illustration3 ,,fig4 #he4 ,,open-,,work ,,insertion ,,with ,,spiders4 ,,three-,,rowed ,,open-,,work 7fig4 #hf74--;,draw out five threads for the narrow stripe1 and from fourteen to sixteen for the wide one4 ,each cluster should consist of four threads4 ,the narrow bands between1 are to be herring-boned on either side4 ,the dotted line shows the course of the thread1 on the wrong side4 ,then unite each separate cluster in the middle1 with a back-stitch1 as shown in the illustration1 and finally1 join every group of four clusters together1 with three stitches1 and make a spider in the middle of the open-work1 at the point where the threads intersect each other4 ,illustration3 ,,fig4 #hf4 ,,three-,,rowed ,,open-,,work4 ,,open-,,work ,,insertion ,,with ,,rings 7fig4 #hg74--;,bind the edges on both sides1 with straight1 two-sided1 stitches4 ,take1 for this1 ,coton broder ,d4,m4,c1 ,no4 #cj1 7embroidery cotton71 using it double4 ,draw out1 from twenty-four to thirty threads4 ,wind your thread six or seven times round the middle of each cluster of nine threads1 and then make darning-stitches1 above and below1 to a length of #c m_/m4 ,when you have completed two clusters1 join them together1 by four interlocked stitches2 wind your thread three times round the single thread1 and sew it over with close stitches4 ,illustration3 ,,fig4 #hg4 ,,open-,,work ,,insertion ,,with ,,rings4 ,,open-,,work ,,insertion ,,with ,,spiders 7fig4 #hh74--;,draw out twenty-four threads4 ,ornament the two edges with half-spiders4 ,you begin these over two threads1 and go on taking in others1 to the number of eight4 ,the whole spider in the middle1 is made as above described4 ,illustration3 ,,fig4 #hh4 ,,open-,,work ,,insertion ,,with ,,spiders4 ,,open-,,work ,,insertion 7figs4 #hi and #ij74--,the beauty of this otherwise simple pattern1 lies in the peculiar knot1 with which the edges of the stuff are ornamented4 ,illustration3 ,,fig4 #hi4 ,,open-,,work ,,insertion4 ,carry the working thread1 as shown in fig4 #ij1 from right to left1 7see the description of the right side7 over and under four threads2 then bring the needle back1 under the thread which lies slanting1 form a loop with the forefinger of the left hand1 slip it on to the needle1 and draw it up close to the first stitch2 pull the needle through the knot1 and proceed to the next stitch4 ,the illustration explains how the open-work in the middle should be carried out4 ,illustration3 ,,fig4 #ij4 ,,explanation ,,of ,,the ,,stitch ,,for ,,fig4 #hi4 ,,open-,,work ,,with ,,winding ,,stitch 7fig4 #ia74--;,for this pattern1 which is a very laborious one to work1 draw out twenty-eight threads4 ,bind the edges with two-sided stitches1 over two1 three1 four and five threads1 respectively4 ,for the middle figures1 you must reckon four threads for the clusters1 round which the working thread is tightly twisted1 eight for the darned clusters1 ornamented with picots 7see fig4 #afe71 and sixteen for the rectangular rosettes1 in two colours4 ,make a loose spider over the threads1 as a background for the rosette4 ,work the picots in a different colour from the cluster1 and the rosettes1 likewise1 in two colours4 ,the connecting loops between the figures should be made as you go along1 the thread being always carried back into the loop just made4 ,illustration3 ,,fig4 #ia4 ,,open-,,work ,,with ,,winding ,,stitch4 ,,cutting ,,out ,,threads ,,at ,,the ,,corners 7figs4 #ib1 #ic1 #id1 #ie74 ,if you want to carry a latticed-hem or a simple open-work pattern1 round a corner1 you must cut and loosen the threads1 on both sides1 about one c_/m4 from the edge of the hem1 as seen in fig4 #ib4 ,the loose threads can be pushed into the turning1 and the edge button-holed1 as in fig4 #ic4 ,if however1 on the other hand1 the stitching be continued without interruption1 as indicated in the upper part of fig4 #id1 the loose threads must be brought to the wrong side1 and as represented in the lower part of fig4 #id1 fastened down with a few stitches4 ,illustration3 ,,fig4 #ib4 ,,the ,,cutting ,,and ,,loosening ,,of ,,the ,,threads ,,at ,,the ,,corners4 ,illustration3 ,,fig4 #ic4 ,,the ,,over ,,casting ,,of ,,the ,,disengaged ,,edge ,,at ,,the ,,corner1 ,,the ,,threads ,,being ,,turned ,,in ,,within ,,the ,,hem4 ,illustration3 ,,fig4 #id4 ,,bordering ,,the ,,disengaged ,,edge ,,with ,,hem-,,stitching1 ,,the ,,threads ,,being ,,turned ,,over ,illustration3 ,,fig4 #ie4 ,,filling ,,in ,,the ,,corner ,,with ,a ,,spider1 ,,and ,,continuation ,,of ,,the ,,lattice-,,work ,,thence4 ,,cut ,,open-,,work 7,,punto ,,tagliato74--,for cut open-work1 threads have to be drawn out both ways1 the number of course to depend on the pattern4 ,threads1 left between others that have been cut out1 serve as a foundation on which a great variety of stitches can be worked4 ,stuffs1 equally coarse in the warp and woof1 should be chosen for all cut open-work1 for then the empty spaces that remain1 where threads have been drawn out both ways1 will be perfectly square4 ,,drawing ,,out ,,threads ,,both ,,ways 7fig4 #if74--,the same number of threads must be drawn out each way2 most patterns require the same number of threads to be left as are drawn out4 ,in fig4 #if1 three threads have been drawn out and three left4 ,illustration3 ,,fig4 #if4 ,,drawing ,,out ,,threads ,,both ,,ways1 ,,without ,,regard ,,to ,,the ,,edges4 ,,cutting ,,out ,,threads 7fig4 #ig74--,we often meet with cut open-work patterns1 set in another kind of embroidery4 ,in such cases1 the threads that are to be cut out1 must be cut a few millimetres within the edge1 and then drawn out1 so that there may be a frame of the stuff left intact outside4 ,illustration3 ,,fig4 #ig4 ,,cutting ,,out ,,threads1 ,,in ,,the ,,middle ,,of ,,the ,,stuff4 ,,button-,,holing ,,the ,,raw ,,edges 7fig4 #ih74--;,in very fine linen textures1 the threads can simply be cut out1 but in the case of coarser stuffs1 and when a pattern ends in steps as in figs4 #ajc1 #ajd1 #aje1 the raw edges must be button-holed as in fig4 #ih1 or #ii4 ,illustration3 ,,fig4 #ih4 ,,button-,,holing ,,the ,,raw ,,edges ,,of ,,cut ,,open-,,work4 ,,overcasting ,,the ,,raw ,,edges 7fig4 #ii74--;,cording the raw edges1 is even better than button-holing them4 ,count the number of threads carefully that have to be cut out1 run in a thread to mark the pattern1 and then only1 cut the threads through1 at least two threads within the line4 ,illustration3 ,,fig4 #ii4 ,,overcasting ,,the ,,raw ,,edges ,,of ,,cut ,,open-,,work4 ,,overcasting ,,the ,,trellised ,,ground 7fig4 #ajj74--;,if you only have a small surface to embroider1 you can draw out all the threads at once4 ,but in the case of a large piece of work it is better to begin by removing the threads in one direction only1 and completing all the little bars1 one way first2 after which you draw out the threads the other way and embroider those you leave4 ,in this way you will secure greater equality and finish in your work4 ,illustration3 ,,fig4 #ajj4 ,,overcasting ,,the ,,trellised ,,ground4 ,,ground ,,for ,,square1 ,,fig4 #aje 7figs4 #aja and #ajb74--;,finish the first row of bars along the edge completely1 to begin with4 ,in the second row1 overcast the bar1 down to half its length1 then carry your thread over two empty spaces1 see the letter a1 come back to the bar1 overcasting the thread which you threw across first1 and passing the needle under the bars of the stuff4 ,in the second rows that intersect the first1 marked by letter b1 the threads meet in the middle of the empty space4 ,in fig4 #ajb1 finish the bars1 overcast both ways first1 and then fill in the ground with interlaced threads1 worked row by row1 throwing the thread from one square to the other as you go1 and doubling it1 as you return4 ,for the bars1 see the chapters on net embroidery1 and ,irish lace4 ,illustration3 ,,fig4 #aja4 ,,lattice-,,ground ,,for ,,square ,,in ,,fig4 #aje1 ,,showing ,,the ,,course ,,of ,,the ,,stitches4 ,illustration3 ,,fig4 #ajb4 ,,lattice-,,ground ,,for ,,square ,,in ,,fig4 #aje4 ,,lattice-,,ground ,,and ,,damask ,,stitch ,,for ,,square1 ,,fig4 #aje 7fig4 #ajc74--,our illustration shows a third kind of openwork ground with one corner in damask stitch1 of the square represented in fig4 #aje4 ,the little bars which intersect each square crossways1 are made in two divisions1 by carrying the thread to the opposite bar and back4 ,in the same way1 the second thread is carried over the first4 ,the damask stitches are described in the next chapter1 in figs4 #adc and #add4 ,illustration3 ,,fig4 #ajc4 ,,lattice-,,ground ,,with ,a ,,portion ,,of ,,square1 ,,fig4 #aje4 ,,lattice-,,ground ,,and ,,damask ,,stitches ,,for ,,square1 ,,fig4 #aje 7fig4 #ajd74--;,damask1 or gobelin stitches1 are given in figs4 #aeb1 #aec1 #aed4 ,the ground of this part of the square 7fig4 #ajd7 is adorned with narrow bars1 worked in darning stitch4 ,from the centre of one bar1 proceed three bars made on three foundation-threads1 and a fourth made on two1 on account of the passage to the next bar4 ,illustration3 ,,fig4 #ajd4 ,,lattice-,,ground ,,and ,,damask ,,stitch ,,for ,,square1 ,,fig4 #aje4 ,,quarter ,,of ,,the ,,square ,,in ,,single ,,and ,,cut ,,open-,,work1 ,,and ,,damask-,,stitch 7fig4 #aje74--,original size #dh c_/m4 square4 ,this handsome square is worked in unbleached cotton on a white ground2 it may also be worked in colours4 ,a very good effect is produced by using ,chin d'or ,d4,m4,c,a red1 blue1 or green for the gobelin stitch1 and a uniform pale tint for the cut open-work4 ,figs4 #aja1 #ajb1 #ajc1 #ajd illustrate in detail1 one quarter of the square1 which is represented here one third of the original size4 ,the centre piece 7fig4 #ajd7 is bordered by four stripes1 two long and two short2 the former containing two lozenge-shaped open-work figures separated and finished off by damask stitches2 the latter1 only one such figure4 ,for the insertion in single open-work1 that recurs three times1 you will find a variety of designs in figs4 #ha1 #hb1 #hc1 #hd1 #hg1 #hh4 ,illustration3 ,,fig4 #aje4 ,,quarter ,,of ,,the ,,square ,,in ,,single ,,and ,,cut ,,open-,,work1 ,,and ,,damask ,,stitch4 ,original size #dh c_/m4 square4 ,,materials suitable for ,holbein linen3 ,fil pointer ,d4,m4,c ,no4 #ae or #bj1 and ,coton repriser ,d4,m4,c ,no4 #be4;,a ,for antique linen3 ,fil dentelle ,d4,m4,c ,no4 #be or #cj1 or ,cordonnet #f fils ,d4,m4,c ,no4 #ej1 #fj1 or #gj1 and ,coton repriser ,d4,m4,c ,no4 #ej or1 in place of the latter1 ,coton broder surfin ,d4,m4,c ,no4 #aij4;,a ,,drawing ,,in ,,the ,,pattern 7fig4 #ajf74--;,darning in the threads1 as you do into a net foundation is a slower process and one that requires greater skill than drawing them in4 ,the illustration shows the proper order and direction of stitches for ,fig4 #ajh4 ,in this case likewise1 the little bars must be finished1 before the actual pattern is filled in4 ,illustration3 ,,fig4 #ajf4 ,,drawing ,,in ,,the ,,pattern4 7,explanation of fig4 #ajh7 ,,darning ,,in ,,the ,,threads 7fig4 #ajg7--;,in old needle-work we often find the pattern reserved1 that is1 left blank and outlined by the grounding4 ,as it is difficult1 especially in executing minute1 and delicate figures1 to withdraw the threads partially1 without injuring the linen foundation1 they are withdrawn throughout1 and new ones drawn in1 to form the pattern4 ,to explain this more clearly1 the original threads of the material are represented in a lighter shade than the new ones that are drawn in2 the course of the stitches is indicated in a darker shade4 ,illustration3 ,,fig4 #ajg4 ,,darning ,,in ,,the ,,threads4 7,explanation of fig4 #aji74 ,,broad ,,insertion ,,in ,,cut ,,open-,,work1 ,,with ,,the ,,pattern ,,drawn ,,in 7fig4 #ajh74--,this insertion1 suitable according to the foundation it is worked on1 for the decoration either of curtains1 table-covers1 bed-linen or underclothing1 is made as shown in fig4 #ajf4 ,if intended for the decoration of any article made of white linen1 we recommend unbleached materials for the lattice-work1 and bleached for the pattern1 to bring it out in strong relief4 ,illustration3 ,,fig4 #ajh4 ,,broad ,,insertion ,,in ,,cut ,,open-,,work1 ,,with ,,pattern ,,drawn ,,in4 ,,insertion ,,in ,,cut ,,open-,,work1 ,,with ,,pattern ,,darned ,,in 7fig4 #aji74--,this insertion can be introduced into any kind of linen material1 and used for ornamenting towels1 aprons1 bed-linen and table-linen4 ,when it is used to connect bands of cross-stitch embroidery1 the open-work should be of the same colour as the embroidery1 and the pattern worked in white or unbleached cotton1 to correspond with the foundation4 ,in fig4 #aji1 the pattern is half as large again as in the original4 ,illustration3 ,,fig4 #aji4 ,,insertion ,,in ,,cut ,,open-,,work1 ,,with ,,pattern ,,darned ,,in4 ,,materials--,for ,holbein linen3 ,fil pointer ,d4,m4,c ,no4 #ae or #bj1 ,cordonnet #f fils ,d4,m4,c ,no4 #h1 #aj or #ae for the bars4--,coton tricoter ,d4,m4,c ,no4 #af or ,coton repriser ,d4,m4,c ,no4 #ab or #be for darning or drawing in the pattern4 ,for finer linens3 ,fil dentelle ,d4,m4,c ,nos4 #be to #cj1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #dj for the bars and ,coton repriser ,d4,m4,c ,no4 #ej for darning or drawing in the pattern4 ,,cut ,,open-,,work ,,pattern 7figs4 #aaj and #aaa74--,this pattern1 more of the nature of lace than any of the former1 is well adapted for trimming1 not only household articles but also church furniture1 altar-cloths and the like1 which are required to wash1 as it can be worked in any width4 ,fig4 #aaj1 a magnified representation of the work in process of execution1 shows alternately1 ten threads withdrawn each way and six left1 with open spaces between4 ,the arcs are worked over three carefully laid threads1 carried across from the middle of one bar to the middle of the bar at right angles to it1 the wheels on the other hand are begun and finished at the same corner4 ,overcast the cut edges1 and hem-stitch the outside layer of stuff 7figs4 #fa and #fb74 ,illustration3 ,,fig4 #aaj4 ,,cut ,,open-,,work ,,pattern4 ,fig4 #aaa in process of execution4 ,illustration3 ,,fig4 #aaa4 ,,cut ,,open-,,work ,,pattern4 ,,materials3 ,fil pointer ,d4,m4,c ,no4 #bj or #cj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #ej or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4 ,,greek ,,cut ,,open-,,work ,,pattern 7fig4 #aab74--;,after the foregoing explanations1 no difficulty will be found in copying the beautiful ,greek cut open-work pattern1 illustrated in fig4 #aab4 ,here1 we have in the original1 #dh threads drawn out in the middle1 both ways1 from one straight bar to another1 7these bars being darned7 with open spaces between2 and in the lower and narrower division1 #ba threads drawn out each way4 ,the cut edges1 from bar to bar1 are hem-stitched on both sides1 leaving four threads of the stuff between4 ,the long bars1 in the second figure1 are button holed on both sides1 those with the picots1 on one side only4 ,illustration3 ,,fig4 #aab4 ,,greek ,,cut ,,open-,,work ,,pattern4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #ej1 ,fil d',alsace ,d4,m4,c ,nos4 #bj to #ajj or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4 ,,footnotes3 ,a ,see1 at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,net ,,stripe1 ,,in ,,imitation ,,of ,,brussels ,,lace4 ,net and damask stitches4 ,many net embroidery patterns and damask stitches consist of a combination of ordinary running and darning1 others of chain1 stem and cross stitch4 ,,net ,,embroidery4--,all these kinds of stitches can be worked on the coarse ,greek net1 as it is called1 as well as on the finest quality of real ,brussels net4 ,stripes of net1 finished off with button-hole edging1 and ornamented with one or other of the following patterns1 make very pretty washing laces and the like2 net laid upon ,irish point and converted by needlework into a lace ground1 makes an excellent substitute for a hand-made ground1 which demands much labour and time4 ,,materials ,,suitable ,,for ,,net ,,embroidery4--,the choice of material must be determined by the quality of the net and the effect to be produced4 ,for a coarse make of net and a very marked pattern1 the lowest numbers of ,d4,m4,c cottons1 or the narrowest braids1 such as ,soutache ,d4,m4,c ,nos4 #a1 #b1 #c should be used2 if the net be fine and the pattern a delicate one1 then the higher numbers of the following are preferable3 ,coton tricoter ,d4,m4,c ,nos4 #h to #bj1 ,coton repriser ,d4,m4,c ,nos4 #be to #gj1 ,coton broder ,d4,m4,c ,nos4 #af to #ej1 ,fil dentelle ,d4,m4,c ,nos4 #be to #ej1 ,coton broder surfin ,d4,m4,c ,nos4 #ajj1 #abj1 #aej4 ,the latter must be adjusted to the required size before being used1 that is to say as many strands of it removed1 as is necessary in order to reduce it to the proper thickness4 ,,tracing ,,with ,,running ,,stitches 7fig4 #aac74--;,have your pattern traced on linen or paper2 tack the net upon it1 and copy it carefully on the net with running stitches4 ,as in darning1 the stitches must run first above and then beneath1 alternating in each succeeding row4 ,at the turn of the lines1 the stitches cross each other1 as shown in the illustration4 ,illustration3 ,,fig4 #aac4 ,,tracing ,,with ,,running ,,stitches4 ,,net ,,pattern 7fig4 #aad74--;,here too the pattern is traced with running stitches1 which are run in on both sides of each row of meshes4 ,the thread is carried first to the right1 and then to the left1 under every alternate bar of the net and out again4 ,between the first and second rows1 one thread of the foundation must be left uncovered4 ,in the next row1 the thread is carried back again1 so that it encircles each mesh4 ,in the third row1 the thread passes under the same bar of net as in the second1 the threads touching each other4 ,the fourth row is a repetition of the first4 ,illustration3 ,,fig4 #aad4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #aae74--,this consists of two rows of stitches4 ,in the first1 the single stitches run diagonally from left to right1 over and under a mesh2 in the second row the triple stitches1 also carried diagonally across a mesh1 lie from right to left4 ,illustration3 ,,fig4 #aae4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #aaf74--;,begin with a double row1 as in fig4 #aad2 this is followed by a row of cross-stitch1 touching the others1 for which the thread has to be carried1 first under one of the straight bars of the mesh and then diagonally1 across it4 ,a second1 similar row of stitches backwards1 completes the crosses4 ,this can be further varied by the introduction of a row of triple stitches1 after the double row1 as in fig4 #aae1 and the repetition of the two first only4 ,illustration3 ,,fig4 #aaf4 ,,net ,,pattern4 ,these rows can also be worked in two colours1 or in white thread and washing gold4 ,,net ,,pattern 7fig4 #aag74--;,begin at the top1 carrying the thread1 first under and then over two bars and a mesh1 and then underneath as before4 ,in the second as in the first row1 the threads must be drawn in1 so that #d threads always meet in one mesh1 and two run parallel to each other through the same mesh4 ,illustration3 ,,fig4 #aag4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #aah74--,this pattern1 which resembles fig4 #aag in the execution1 is thickened by triple stitches4 ,above1 where in the preceding row three threads were laid1 the thread should be single4 ,illustration3 ,,fig4 #aah4 ,,net ,,pattern4 ,very pretty varieties are to be obtained by the introduction of several colours4 ,take white1 for instance1 for the first row1 and different shades of the same colour for the second1 third1 fourth and fifth rows2 such as1 ,bleu-,lapis #cde1 #cdd1 #cdc1 #ccc1 #cdb1 ,a or ,rouge-,cardinal #cdh1 #cje1 #cjd1 #cdg1 #cdf1 ,a or ,rouge-,granium1 ,brun-,caroubier or any other colour that is absolutely fast4 ,,net ,,pattern 7fig4 #aai74--;,after one row of cross-stitch1 such as was described in fig4 #aaf1 add a second1 carrying the thread under the bar that lies between the first stitches1 so that the two rows only cover three threads of the net4 ,the close bands of cross-stitch must be divided from each other by one row of net bars4 ,illustration3 ,,fig4 #aai4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #abj74--;,draw the thread twice backwards and forwards1 as in darning1 through one row of meshes4 ,in the next1 make four stitches over one mesh and two bars4 ,after the fourth stitch1 the thread is carried forward under two bars to the next group4 ,the meshes filled in thus are divided from each other by two double rows of darning stitches4 ,here you may introduce a variety in the colour1 using either white and unbleached1 or unbleached and pale blue1 or some other combination of the kind4 ,illustration3 ,,fig4 #abj4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #aba74--,make three diagonal stitches over three bars and two meshes1 then returning to the mesh out of which the first stitches come1 make three more in the opposite direction4 ,in the second row1 the stitches meet in the same mesh as those of the first4 ,illustration3 ,,fig4 #aba4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #abb74--;,carry the thread upwards from below1 over a bar of the net1 then pass it horizontally under another bar and carrying it downwards1 pass it under a diagonal bar and cover the other three4 ,in the second row1 your loops must be turned the opposite way4 ,when the whole foundation is finished1 run a thread over the whole surface and overcast it4 ,a good effect is produced by using white and unbleached cottons1 in alternate rows4 ,illustration3 ,,fig4 #abb4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #abc74--,this pattern consists of one row of overcasting1 one of stitches like those described in fig4 #aad1 and one of cross-stitch1 as in fig4 #ci1 running diagonally across the stuff4 ,besides the cottons already mentioned1 washing gold thread 7,or fin ,d4,m4,c pour la broderie71 may be used for the overcasting4 ,dead gold introduced into simple needlework of this kind enlivens it extremely4 ,illustration3 ,,fig4 #abc4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #abd74--,three kinds of stitches are required for this pattern4 ,in the first row the stitch lies crossed underneath the net2 in the second1 #c stitches are made over one mesh1 the first and the last of which are carried across three meshes4 ,in the third row1 button-hole stitches are carried from right to left over two diagonal bars1 in such a manner that the thread is drawn through the mesh facing the loops1 and the next stitch comes out under the loop of the preceding one4 ,illustration3 ,,fig4 #abd4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #abe74--;,fill in every other diagonal row of meshes with chain stitch1 inserting the needle into the same mesh it came out of1 so that the thread lies in front of the needle1 in a loop4 ,the rows of chain stitch may be made with two or three rows of meshes between them4 ,even the diagonal lines by themselves1 make a very pretty foundation for other stitches4 ,illustration3 ,,fig4 #abe4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #abf74--,the first row worked from left to right1 consists of three loop stitches upwards and three downwards1 each over one bar4 ,in the second row1 divided from the first by one row of stitches1 the inner loops must be turned towards each other2 in the third1 the outer ones4 ,any of the stitches1 already described1 can be introduced into this pattern to enliven it4 ,illustration3 ,,fig4 #abf4 ,,net ,,pattern4 ,,net ,,insertions 7figs4 #abg and #abh74--,these two1 as well as the subsequent patterns1 are most of them worked in darning stitch and simple overcasting4 ,the scallops in fig4 #abg are formed of darning stitches1 over #d1 #c1 #b and #a mesh1 respectively4 ,in the intervening space1 which is five meshes wide1 the stitch shown in fig4 #aah1 may be introduced4 ,illustration3 ,,fig4 #abg4 ,,net ,,insertion4 ,in repeating the pattern1 the stitches forming the scallops1 must be made to run in the opposite direction4 ,instead of the thread1 simply drawn through the middle1 little stars like those described in fig4 #acd1 have a very pretty effect4 ,in fig4 #abh1 the thread is first carried round one mesh and then on to the next scallop4 ,in the second scallop1 which turns the opposite way1 the thread is carried once more round the last mesh after the pyramid is completed1 and then on1 to the next figure4 ,illustration3 ,,fig4 #abh4 ,,net ,,insertion4 ,,net ,,pattern 7fig4 #abi74--,this checked pattern is also worked in darning stitch4 ,carry the thread1 as in fig4 #abe1 through every second row of meshes4 ,when the bottom rows are all finished1 the upper ones are worked across them in the same way4 ,here the stitches may1 if preferred1 be distributed more sparingly4 ,but if they are set wider apart1 the spaces between should be filled up in some way4 ,little dots1 made of ,coton repriser ,d4,m4,c1 will answer the purpose best4 ,illustration3 ,,fig4 #abi4 ,,net ,,pattern4 ,,net ,,insertions 7figs4 #acj1 #aca1 #acb74--,these three patterns are specially suitable1 for insertions1 neck-tie lappets and the like1 in the place of crochet1 pillow1 and other kinds of lace4 ,both design and stitch are clearly enough represented in the subjoined figure for further explanation to be unnecessary4 ,all three should be worked with rather coarse cotton1 and ,soutache ,d4,m4,c,a 7braid7 drawn in1 produces an excellent effect4 ,illustration3 ,,fig4 #acj4 ,,net ,,insertion4 ,illustration3 ,,fig4 #aca4 ,,net ,,insertion4 ,illustration3 ,,fig4 #acb4 ,,net ,,insertion4 ,,net ,,pattern 7fig4 #acc74--,these delicate little figures can be worked into a close pattern1 or can be strewn singly over the surface4 ,the closer you set the stitches1 the more clear and distinct the stars will be4 ,the thread must be drawn in to the centre mesh from without1 so as to be invisible if possible1 and then back again to the outside when the stitches are finished4 ,illustration3 ,,fig4 #acc4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #acd74--,these flowerets have a very pretty effect1 set either singly1 or in double or triple rows1 and are very useful for filling up gaps or supplementing rows4 ,illustration3 ,,fig4 #acd4 ,,net ,,pattern4 ,,net ,,pattern 7fig4 #ace74--,these star-shaped figures1 their longest stitch covering three straight bars and two meshes1 the shortest1 three diagonal bars and two meshes1 may like the above flowerets1 be ranged closely together in rows1 so that four stitches1 two horizontal and two vertical ones1 meet in one mesh4 ,cotton of two colours should be used1 in order that the figures may be distinct from each other3 white and unbleached are the best1 in cases where bright colours would be unsuitable4 ,illustration3 ,,fig4 #ace4 ,,net ,,pattern4 ,,net ,,insertion 7fig4 #acf74--,these diamonds make a very pretty grounding either set separately1 or in a continuous pattern4 ,the design is slight1 nevertheless1 when it is worked in coarse cotton1 the effect is exceedingly handsome1 especially if the inside1 in addition to the star here given1 be enriched with ordinary darning-stitches1 worked in fine gold thread1 as we have already mentioned4 ,illustration3 ,,fig4 #acf4 ,,net ,,insertion4 ,,net ,,tracery ,,with ,,border 7fig4 #acg74--;,in order to bring out the pattern and the colours1 use instead of cotton1 ,soutache ,d4,m4,c1 or ,lacets surfins ,d4,m4,c4 ,both are to be had in all the colours1 given in the list of colours of the ,d4,m4,c threads and cottons4 ,the little border can be used in conjunction with any of the preceding patterns1 but care must be taken not to let it get twisted in the working4 ,to prevent this1 slip a coarse needle under the last stitch1 and draw the braid flat over it4 ,illustration3 ,,fig4 #acg4 ,,net ,,tracery ,,with ,,braids4 ,,materials3 ,soutache ,d4,m4,c ,no4 #b in ,bleu-,indigo #ccd and ,rouge-,turc #cba4 ,,broad ,,net ,,lace ,,tracery 7fig4 #ach74--,the pattern of this pretty lace must first be transferred to stout paper1 or oil-cloth4 ,all the leaves and stalks1 and the button-holing round the open centres of the flowers1 are worked in a pale green1 the two bottom flowers in ,turkey red1 the star-shaped one in blue1 the calyx in which the stalks unite1 in dark red1 and the little bells1 in the lightest green4 ,illustration3 ,,fig4 #ach4 ,,broad ,,net ,,lace ,,tracery4 ,,materials3 ,coton broder ,d4,m4,c ,no4 #cj1 #ce or #dj4--;,,colours3 ,rouge-,turc #cba1 ,rouge-,cardinal #cdf1 ,bleu-,indigo #cbb1 ,gris-,tilleul #cic and ,vert-,pistache #cfi4 ,,net ,,darning4--,we conclude with some directions for darning net1 a valuable art1 by means of which many a curious piece of old needlework is preserved4 ,coarse and fine net are all darned in the same way4 ,laying the first thread 7fig4 #aci74--,tack the net which is to be darned1 closely to the defective part1 upon either oil-cloth or coloured paper and cut the edges straight to the thread2 ,your thread must be of exactly the same size1 as that of which the net is made4 ,it takes three rows of stitches to imitate the net ground2 in the first place1 as shown in fig4 #aci1 cross-threads must be laid from side to side1 carried as in darning1 a little beyond the edges of the hole and so as to surround each mesh with a slanting stitch4 ,illustration3 ,,fig4 #aci4 ,,net ,,darning4 ,,laying ,,the ,,first ,,thread4 ,,laying ,,the ,,second ,,thread 7fig4 #adj74--,secondly1 beginning from one corner1 threads are laid diagonally across the first layer4 ,the cross-threads of the foundation are encircled by a stitch1 made from right to left1 the needle is then carried under the next horizontal bar1 and the first layer of threads is overcast with similar stitches4 ,illustration3 ,,fig4 #adj4 ,,net ,,darning4 ,,laying ,,the ,,second ,,thread4 ,,laying ,,the ,,third ,,thread 7fig4 #ada74--,thirdly1 threads are carried across the second and first layers4 ,they must start1 far enough from the edge1 for the second layer of threads to be overcast at the same time1 so that there may be no loose threads left on the wrong side4 ,in this third journey1 every diagonal thread of the foundation is to be encircled with a stitch1 taken upwards from below1 the cut edges being strengthened in the same way4 ,then1 to form the little cross in the fabric1 the thread must be conducted by means of a second stitch1 under the single horizontal thread1 outwards1 to the next-diagonal thread4 ,illustration3 ,,fig4 #ada4 ,,net ,,darning4 ,,laying ,,the ,,third ,,thread4 ,in places where the net is worn1 it can be strengthened in the same manner1 the stitches being made the way of the stuff4 ,,damask ,,stitches4--,as a rule the pattern is simply outlined with stem and cord stitch1 and the inside spaces are left plain4 ,in spite of the time this simple tracing takes to do1 the effect is rather poor and scanty4 ,if however1 the inside of the leaves and flowers1 be filled in with damask stitch1 the result is very handsome4 ,not only can the following stitches1 which are suitable for any linen coarse or fine1 be used for this kind of embroidery1 but most of the net and lace patterns too1 and these combined with button-holing and flat stitch produce charming effects4 ,,materials ,,suitable ,,for ,,damask ,,stitches4--,all the threads and cottons used for net work can also be used for damask stitches1 according to the material and the kind of work4 ,we will enumerate them once more3 ,coton tricoter ,d4,m4,c ,nos4 #h to #bj1 ,coton repriser ,d4,m4,c ,nos4 #be to #gj1 ,coton broder ,d4,m4,c ,nos4 #af to #ej1 ,fil dentelle ,d4,m4,c ,nos4 #be to #ej1 ,coton broder surfin ,d4,m4,c ,nos4 #ajj1 #abj1 #aej4;,a ,this kind of embroidery is generally done with a very coarse needle1 to press the threads of the stuff closely together and make the light spaces between1 which appear in many of the following illustrations4 ,,first ,,pattern 7fig4 #adb74--;,carry the needle in a slanting direction over three threads and bring it out1 from right to left1 under three perpendicular ones1 then again slanting1 over three threads1 from left to right1 and out again underneath three horizontal ones1 downwards from above4 ,thus the first stitch lies across1 from right to left1 the second1 lengthways4 ,on the wrong side1 the stitch forms a regular succession of steps4 ,illustration3 ,,fig4 #adb4 ,,first ,,pattern ,,second ,,pattern 7fig4 #adc74--,this is worked exactly in the same manner as fig4 #adb1 only that the second row of stitches touches the first1 so that two threads enter and issue from the same hole4 ,illustration3 ,,fig4 #adc4 ,,second ,,pattern ,,third ,,pattern 7fig4 #add74--,though at first sight1 this stitch is very like the ,holbein or stroke stitch1 it is very different in the execution4 ,it is worked in two rows1 to and fro2 in the first1 you make all the vertical stitches side by side in the width of the stuff1 drawing your thread very tightly1 in the second1 coming back1 you make the horizontal stitches in a straight line1 at right angles to the first stitches4 ,on the wrong side the stitches are crossed2 they in thin stuffs1 show through1 and quite alter the appearance of the right side4 ,illustration3 ,,fig4 #add4 ,,third ,,pattern4 ,,fourth1 ,,pattern 7fig4 #ade74--;,in the first row1 the thread is carried slanting upwards from right to left1 over two threads1 then downwards under two4 ,coming back1 the stitches must be set the opposite way1 so that four threads meet in one hole4 ,illustration3 ,,fig4 #ade4 ,,fourth ,,pattern4 ,,fifth ,,pattern 7fig4 #adf74--,this is worked like fig4 #ade1 only that the stitches must cover three threads each way4 ,in the second row1 you take up one thread on the right and two on the left1 to form your stitches4 ,illustration3 ,,fig4 #adf4 ,,fifth ,,pattern4 ,,sixth ,,pattern 7fig4 #adg74--;,here1 the stitches form a chess-board pattern4 ,you begin with a diagonal stitch over two threads and bring your needle up again into the same line it started from4 ,the second stitch covers three threads1 the third six1 the fourth eight2 the next three decrease1 successively in length1 in the same proportion4 ,illustration3 ,,fig4 #adg4 ,,sixth ,,pattern4 ,,seventh ,,pattern 7fig4 #adh74--,two kinds of cotton have to be used for this pattern1 one of them soft and flat1 like ,colon repriser ,d4,m4,c,a 7darning cotton7 or ,coton tricoter ,d4,m4,c 7knitting cotton7,a for the flat stitches1 and the other strongly twisted1 like ,cordonnet #f fils ,d4,m4,c ,no4 #h1 #aj1 #ab or #ae1;,a for the cross stitches4 ,illustration3 ,,fig4 #adh4 ,,seventh ,,pattern4 ,the five flat stitches cover three threads in width and six in height1 and lie from right to left and from left to right4 ,in the second row1 which must be two threads distant from the first1 the stitches must lie in the contrary direction4 ,in the lozenge-shaped space between1 make four cross stitches1 over four threads in height and two in width4 ,,eighth ,,pattern 7figs4 #adi and #aej74--,make five stitches over #h horizontal threads1 miss #f threads and make another #e stitches4 ,the groups of long stitches above and beneath the first row1 encroach over two threads of the first group1 so that a space of only four threads remains between two groups4 ,the stitch between these groups is generally known as the rococo stitch4 ,illustration3 ,,fig4 #adi4 ,,eighth ,,pattern4 ,bring out your needle between the third and fourth of these threads1 and insert it again above1 drawing it out afterwards between the second and third horizontal thread1 and securing the first stitch with a back stitch4 ,make the three remaining stitches1 as explained in fig4 #aej4 ,illustration3 ,,fig4 #aej4 ,,explanation ,,of ,,the ,,rococo ,,stitch ,,in ,,fig4 #adi4 ,,ninth ,,pattern 7fig4 #aea74--,this consists of straight bands of flat stitches1 covering three threads each way1 with spaces #h threads wide between1 ornamented with a small pattern in stroke stitch1 7see chapter on ,tapestry and ,linen embroidery74 ,illustration3 ,,fig4 #aea4 ,,ninth ,,pattern4 ,,damask ,,stitch ,,for ,,figs4 #ajc ,,and #aje 7fig4 #aeb74--,the stitches1 here represented on a large scale1 form the border to the square in cut open-work in fig4 #aje4 ,the long diagonal stitches1 on either side1 can be made to look fuller and more distinct1 by using a soft1 coarse cotton4 ,illustration3 ,,fig4 #aeb4 ,,damask ,,stitch ,,for ,,figs4 #ajc ,,and #aje4 ,,tenth ,,and ,,eleventh ,,patterns 7figs4 #aec and #aed74--,the former of these is used for filling in the short stripe in fig4 #aje1 the second for the long inside one4 ,fig4 #aec is clear enough to need no explanation2 with reference to fig4 #aed1 it is however as well to point out that the shortest stitch should cover #d threads and the longest #ab1 the rest is easily learnt from the illustration4 ,this is a very suitable design for the decoration of large surfaces and combines well with any running diagonal pattern1 when it can be made to form a large star which can be worked as a separate figure4 ,illustration3 ,,fig4 #aec4 ,,tenth ,,pattern4 ,,damask ,,stitch ,,for ,,figs4 #ajd ,,and #aje4 ,illustration3 ,,fig4 #aed4 ,,eleventh ,,pattern4 ,,damask ,,stitch ,,for ,,fig4 #aje4 ,,twelfth ,,pattern 7fig4 #aee74--;,in cases where this and the following stitches are to be executed on a light1 transparent stuff1 it is best to use a very strongly twisted thread1 such as ,fil d',alsace ,d4,m4,c ,a or1 ,fil dentelle ,d4,m4,c ,a instead of a softer and looser material4 ,a stiff thread compresses the threads of the stuff better and the open spaces1 thus made in it1 are rendered more visible4 ,illustration3 ,,fig4 #aee4 ,,twelfth ,,pattern4 ,count #f threads vertically1 put in the needle and draw it through from right to left1 underneath #c diagonal threads4 ,for the next stitch1 carry it upwards over #f threads1 and back under #c4 ,the second row is worked back over the first in the same way4 ,leave #f threads between each row4 ,,thirteenth ,,pattern 7fig4 #aef74--;,carry the thread1 from right to left over four vertical threads1 and under the same number of horizontal ones4 ,the second row of stitches touches the first1 so that the thread it is worked with seems to be drawn through under the same threads of the stuff1 as the one the first row was worked with4 ,illustration3 ,,fig4 #aef4 ,,thirteenth ,,pattern4 ,,fourteenth ,,pattern 7fig4 #aeg74--;,here1 the stitches1 contrary to those in fig4 #adg1 are set vertically4 ,the first stitch covers #b threads1 the second #f1 the third #aj1 the fourth #ad1 the fifth #ah4 ,the longest stitches of two checks always meet in the same hole4 ,illustration3 ,,fig4 #aeg4 ,,fourteenth ,,pattern4 ,,fifteenth ,,pattern 7fig4 #aeh74--;,cover the whole expanse with rows of stitches1 such as are described in fig4 #aee1 with intervals of #ab threads between them4 ,illustration3 ,,fig4 #aeh4 ,,fifteenth ,,pattern4 ,these rows are intersected by others1 to which the thread is passed1 from between the sixth and seventh of the #ab threads between the first rows4 ,where the stitches of the two rows meet1 the working thread of the second row must be drawn through1 under that of the first4 ,,sixteenth ,,pattern 7fig4 #aei74--;,between every two rows of cross-stitch1 leave an interval of #f threads1 counting those on each side of the rows4 ,over these #f threads work #b rows1 as shown in fig4 #adh1 but so1 that in the second1 the lower stitch of the first row and the upper one of the second1 cover the same threads4 ,illustration3 ,,fig4 #aei4 ,,sixteenth ,,pattern4 ,,seventeenth ,,pattern 7fig4 #afj74--,this consists of stripes1 #d stitches wide1 like those of fig4 #aee1 with #c threads between1 which are overcast in the ordinary manner4 ,illustration3 ,,fig4 #afj4 ,,seventeenth ,,pattern4 ,,eighteenth ,,pattern 7fig4 #afa74--,small squares of #g stitches1 inclined alternately1 to the right and left1 and so formed1 that the longest stitch of one square is crossed by the first short stitch of the next1 so that a space only #f threads wide and #d long1 remains uncovered4 ,the intervening stripes are filled with #c rows of overcasting stitches1 covering #b threads each way4 ,illustration3 ,,fig4 #afa4 ,,eighteenth ,,pattern4 ,,nineteenth ,,pattern 7fig4 #afb74--,the steps formed by this pattern are #aa stitches high1 and #aa wide1 and each stitch covers #d threads4 ,illustration3 ,,fig4 #afb4 ,,nineteenth ,,pattern4 ,eight threads intervene between each row of steps1 which are covered at the bend1 by a square of stitches1 from the last of which1 the thread is carried on at once1 to the four single stitches4 ,,twentieth ,,pattern 7fig4 #afc74--,the #d squares set opposite to each other1 with #b threads between1 are edged all round by #c rows of overcasting4 ,illustration3 ,,fig4 #afc4 ,,twentieth ,,pattern4 ,,twenty-,,first ,,pattern 7fig4 #afd74--;,begin by rows of stitches1 like those described in fig4 #aee1 over #d and #b threads1 with #d threads between1 not counting those covered with cross-stitch4 ,between the two rows of cross-stitch1 join #f threads together by a back-stitch1 and carry your thread over the two last of the #f1 to the #b first of the next cluster4 ,the narrow diagonal stripes are separated by #bd threads1 exclusive of those covered by the cross-stitches4 ,these spaces are filled in with squares1 #aj threads wide and #aj long1 formed by back-stitches crossed on the wrong side4 ,illustration3 ,,fig4 #afd4 ,,twenty-,,first ,,pattern4 ,,twenty-,,second ,,pattern 7fig4 #afe74--;,in the closer stuffs1 of a coarse texture1 the threads of which do not admit of being drawn together1 as you can those1 of a loose thin stuff1 where1 by simply pulling your thread a little tighter you get open spaces1 you must begin by cutting out every fourth or fifth thread4 ,after which1 you overcast all the rows1 first one way1 and then the other1 with stitches covering #d threads1 each way4 ,on this foundation with strong1 loosely-twisted cotton1 ,coton broder ,d4,m4,c or ,coton tricoter ,d4,m4,c ,no4 #be1 #cj1 #ce1 or #dj1 make long stitches1 as indicated in the illustration4 ,illustration3 ,,fig4 #afe4 ,,twenty-,,second ,,pattern4 ,,twenty-,,third ,,pattern 7fig4 #aff47--;,from the point where the thread comes out of the stuff1 make #af stitches1 four times over1 all coming out of the same hole1 over #h1 #f1 #d and #f threads1 thus forming a star4 ,leave an interval of four threads between the stars1 and unite the intervening threads by cross-stitches one way1 and whip-stitches1 the other4 ,illustration3 ,,fig4 #aff4 ,,twenty-,,third ,,pattern4 ,,twenty-,,fourth ,,pattern 7fig4 #afg74--,make a succession of diagonal stitches1 increasing in length1 and advancing one thread at a time1 until the seventh stitch covers seven threads1 and completes the triangle4 ,then begin a second triangle on the nearest1 adjacent thread4 ,illustration3 ,,fig4 #afg4 ,,twenty-,,fourth ,,pattern4 ,,twenty-,,fifth ,,pattern 7fig4 #afh74--;,cover your whole surface with squares of #af stitches1 as in fig4 #adg1 and fill in the intervening squares with #bc stitches1 all radiating from one centre4 ,illustration3 ,,fig4 #afh4 ,,twenty-,,fifth ,,pattern4 ,,twenty-,,sixth ,,pattern 7fig4 #afi74--;,diagonal trellised stripes1 made as indicated in fig4 #afe1 and overcast1 form the ground4 ,twelve threads are to be left between the stripes1 upon which1 work six-cornered1 lozenge-shaped groups of stitches1 set at right angles to each other1 in diagonal rows4 ,illustration3 ,,fig4 #afi4 ,,twenty-,,sixth ,,pattern4 ,,twenty-,,seventh ,,pattern 7fig4 #agj74--,we conclude our chapter with a circular design1 which combines a variety of stitches1 and introduces our workers to two new patterns1 as well as to an advantageous way of hiding the junction of several kinds of stitches by semicircles of button-hole stitching4 ,illustration3 ,,fig4 #agj4 ,,twenty-,,seventh ,,pattern4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,stripe ,,in ,,flat ,,and ,,raised ,,satin ,,stitch1 ,,and ,,madeira ,,embroidery4 ,white ,embroidery4 ,we have retained the familiar term1 white embroidery1 for this kind of needlework1 for convenience sake1 in spite of its inaccuracy1 now that coloured materials are quite as much used for it as white4 ,it is executed1 either on a backing of oil-cloth1 or in an embroidery frame1 called tambour-frame4 ,only skilful workers can dispense with these1 for an untrained hand can hardly avoid puckering4 ,if you work without a foundation1 the material must be held1 quite smoothly over the forefinger1 so that the threads lie perfectly straight1 otherwise1 the pattern is very apt to get pulled out of shape in the working4 ,with your three other fingers you hold the material fast1 the thumb resting on the work itself1 beyond the outline of the pattern1 which must be turned towards the worker4 ,it is always the outside line of a pattern that is drawn in double lines1 that should be turned towards the palm of the hand4 ,,tracing ,,patterns4--,patterns are generally to be had ready traced1 but as it is often necessary to repeat1 enlarge1 or reduce them1 descriptions of several modes of doing so1 will be found at the end of the concluding chapter4 ,,materials4--,a loose1 soft make of cotton1 the looser the better1 and very little twisted1 is the best material for embroidery4 ,we recommend for white embroidery in general1 ,coton broder ,d4,m4,c ,nos4 #af to #aej2 for monograms on cambric1 ,coton broder surfin ,d4,m4,c ,nos4 #ajj1 #abj1 #aej2;,a and for ,english or ,madeira embroidery1 ,coton ,madeira ,d4,m4,c ,nos4 #dj1 #ej1 #fj2;,a for padding1 or raising the embroidery1 all the different kinds of ,coton repriser ,d4,m4,c,a can be used4 ,,outlining ,,and ,,padding4--,the outlining of a pattern is a very important preliminary4 ,a want of precision in the ultimate effect is often due1 merely to careless outlining4 ,this part of the work should be done with rather a coarser cotton than the embroidery itself4 ,fasten in the thread by a few running stitches1 never with a knot1 a rule to be observed also in embroidering1 except in very rare cases4 ,finish off your thread by drawing it through the tracing stitches1 or through some part of the pattern that is already finished4 ,fill in the spaces between the lines with a padding of run threads1 run loosely1 and so that they lie thickly and solidly in the centre1 and shade off on both sides4 ,the fullness1 and roundness of embroidery1 depends on the firmness of this sub-stratum of threads4 ,the outlining and the padding of the different rounded and pointed scallops1 as well as of other figures that occur in white embroidery1 are illustrated in figs4 #aha1 #ahb1 #ahc1 #ahd1 #ahe1 #ahg1 #ahi1 #aij and #aia4 ,,blanket1 ,,or ,,button-,,hole ,,stitch 7fig4 #aga74--,work from left to right2 run in a foundation line1 hold down the working thread below the run line with the right thumb2 insert the needle above and bring it out below the run line but above the working thread2 tighten the loop thus formed1 without drawing up the stuff1 and continue in this manner1 setting your stitches closely and regularly1 side by side4 ,illustration3 ,,fig4 #aga4 ,,blanket1 ,,or ,,button-,,hole ,,stitch4 ,,straight ,,stem ,,stitch 7fig4 #agb74--,work from left to right4 ,the needle must always be inserted above the run thread1 and brought out underneath it4 ,in the case of a very delicate pattern1 take up only just as much stuff as the run thread covers4 ,illustration3 ,,fig4 #agb4 ,,straight ,,stem ,,stitch4 ,,sloping ,,stem ,,stitch 7fig4 #agc74--,work without a run thread2 insert the needle from right to left in a slanting direction1 under #a or #b horizontal threads1 and #e or #f perpendicular ones2 so that each stitch reaches halfway back to the last4 ,illustration3 ,,fig4 #agc4 ,,sloping ,,stem ,,stitch4 ,this kind of stem stitch is chiefly used for the fine upstrokes of letters and numbers1 and for linen embroidery4 ,,back-,,stitching 7fig4 #agd74--;,back-stitching1 that is small1 even stitches set closely together1 is done from right to left1 along a straight line1 and is chiefly used for filling in the centres of letters1 leaves and flowers4 ,illustration3 ,,fig4 #agd4 ,,back-,,stitching4 ,,crossed ,,back-,,stitch 7figs4 #age and #agf74--,used1 generally speaking1 only for very transparent materials2 it forms a close seam of cross-stitch1 on the wrong side1 and two straight rows of back-stitching on the right4 ,to work1 insert the needle as if for an ordinary back-stitch1 pass it under the stuff1 sloping it a little towards the second outline of the pattern1 and draw it out almost in front of the first stitch4 ,after making a back-stitch1 pass the needle up again under the stuff and bring it out at the spot where the next stitch is to be4 ,illustration3 ,,fig4 #age4 ,,crossed ,,back-,,stitch4 ,,right ,,side4 ,illustration3 ,,fig4 #agf4 ,,crossed ,,back-,,stitch4 ,,wrong ,,side4 ,fig4 #agf shows the interlacing of the stitches on the wrong side1 and the way in which this stitch1 when it is used for filling in centres1 can be worked on the right side4 ,,simple ,,knot ,,stitch 7fig4 #agg74 ,this consists of two back-stitches1 side by side1 covering the same threads2 it is chiefly used for filling in leaves1 embroidered on very thin materials1 or in conjunction with flat stitch4 ,illustration3 ,,fig4 #agg4 ,,simple ,,knot ,,stitch4 ,,twisted ,,knot ,,stitch 7fig4 #agh74 ,to work hold the working thread down with the thumb close to the spot where you first brought it out1 twist it twice round the needle1 turn the needle round from left to right1 following the direction indicated by the arrow1 pass it through the fabric at the place which is marked by a dot1 and draw it out at the place where the next stitch is to be4 ,illustration3 ,,fig4 #agh4 ,,twisted ,,knot ,,stitch4 ,,post ,,stitch 7fig4 #agi74--,something like knot stitch and much used for patterns1 composed of small flowers and leaves1 where it often takes the place of raised satin stitch4 ,the illustration represents five leaves finished1 and the sixth in process of being worked4 ,illustration3 ,,fig4 #agi4 ,,post ,,stitch4 ,to work1 bring the needle up from the back and twist the thread round it as many times as the length of the stitch requires1 hold the left thumb on the species of curl thus formed1 and passing the needle and thread through it1 insert it at the end of the leaf where it first came out1 and draw it out at the right place for the next stitch4 ,,button-,,hole ,,bars 7fig4 #ahj74--,when a pattern is ornamented with open-work bars1 begin by tracing the outside parallel lines4 ,then button-hole the whole lower line and the upper one1 till you come to the place where the first bar is to be2 then you carry your thread across and bring up the needle from below through one of the loops1 as1 shown in the figure2 lay three threads in this manner1 inserting your needle the third time one loop further on4 ,then cover the three threads thickly with button-holing4 ,illustration3 ,,fig4 #ahj4 ,,button-,,hole ,,bars4 ,,different ,,kinds ,,of ,,scallops 7figs4 #aha1 #ahb1 #ahc74--,the outlining1 padding and button-holing of these scallops is executed in the manner already described4 ,be careful to adapt the length of the stitches to the shape and size of the scallops4 ,if they are pointed 7figs4 #ahb1 #ahc71 the stitches will have to be set very closely together on the inner line1 and a little play allowed them on the outer1 to come exactly to the point1 which should be very sharply defined4 ,illustration3 ,,fig4 #aha4 ,,round1 ,,button-,,holed ,,scallops4 ,illustration3 ,,fig4 #ahb4 ,,large1 ,,pointed1 ,,button-,,holed ,,scallops4 ,illustration3 ,,fig4 #ahc4 ,,small1 ,,pointed1 ,,button-,,holed ,,scallops4 ,,rose ,,scallops 7figs4 #ahd and #ahe74--,these are1 large button-holed scallops with indented edges1 in the one case1 rounded at the top and sharply pointed at the join2 in the other1 pointed at the top1 and joined at the bottom by a straight bar of button-holing4 ,illustration3 ,,fig4 #ahd4 ,,rounded ,,rose ,,scallops4 ,illustration3 ,,fig4 #ahe4 ,,pointed ,,rose ,,scallops4 ,,eyelet ,,holes 7figs4 #ahf1 #ahg1 #ahh74--,outline the eyelet holes very carefully first by running a thread round them1 then cut out the enclosed stuff with a sharp pair of finely pointed scissors1 and edge the hole with plain overcasting stitches1 worked from left to right4 ,illustration3 ,,fig4 #ahf4 ,,overcast ,,eyelet ,,holes4 ,when you have a long row of eyelet holes to make1 outline the upper and lower halves alternately1 first on one side and then on the other1 using two threads1 and then overcast them in the same way4 ,the double crossing of the working threads between the eyelet holes makes them much stronger1 than if each hole were finished off separately1 and the thread passed underneath from one to the other4 ,illustration3 ,,fig4 #ahg4 ,,button-,,holed ,,shaded ,,eyelet ,,holes4 ,illustration3 ,,fig4 #ahh4 ,,shaded ,,eyelet ,,holes ,,half ,,overcast1 ,,half ,,button-,,holed4 ,the lower halves of shaded eyelet holes1 7see figs4 #ahg and #ahh71 are worked with very short stitches1 and the upper halves with long ones2 they may be edged entirely1 either with button-holing or overcasting1 or half with one and half with the other4 ,,six ,,leaves ,,in ,,raised ,,satin ,,stitch 7fig4 #ahi74--,raised satin stitch is chiefly used for working flowers1 leaves1 petals1 dots1 initials and monograms4 ,after tracing the outline of the design1 fill in the centres with a padding of long1 close stitches for which you can again take ,coton repriser ,d4,m4,c,a and then1 beginning always at the point of the leaf1 see letter ,a1 cover it with flat1 perfectly even stitches1 worked from right-to-left4 ,b illustrates a leaf1 divided through the middle by a line of overcasting2 ,c1 one with a corded vein2 ,d1 a divided leaf worked in sloping satin stitch2 ,e1 a leaf1 with a corded vein and framed in sloping satin stitch2 ,f1 a leaf worked half in satin stitch1 half in back-stitch and straight stem stitch4 ,illustration3 ,,fig4 #ahi4 ,,six ,,leaves ,,in ,,raised ,,satin ,,stitch4 ,leaves and flowers of all descriptions1 can be executed in any of these stitches1 and in different combinations of the same4 ,,six ,,ways ,,of ,,making ,,dots 7fig4 #aij74--;,dots1 when they are well made1 are exceedingly effective in white embroidery1 particularly if they are worked in a variety of stitches4 ,dot ,a is worked in raised satin stitch2 ,b1 in raised satin stitch1 framed in back stitch2 ,c1 in raised satin stitch1 framed in twisted knot stitch2 ,d is composed of several post stitches of different lengths1 set in a frame of stem stitches2 ,e is worked in back-stitch1 and ,f consists of a small eyelet hole1 with a corded setting1 which forms the centre4 ,illustration3 ,,fig4 #aij4 ,,six ,,ways ,,of ,,making ,,dots4 ,,venetian ,,embroidery 7fig4 #aia74--,scallops1 worked in very high relief1 called ,venetian embroidery1 are an imitation on stuff of ,venetian lace4 ,real ,venetian point is entirely needle-made2 in the embroidered imitations of it1 the stuff takes the place of the needle-made lace foundation4 ,to make it more like the original however1 the ground is seldom left plain1 but is covered with fancy stitches1 such as are represented in the illustration1 or with one or other of the damask stitches in figs4 #adf to #agj4 ,the button-hole bars may be made with or without picots4 ,a full description of the latter will be found in the chapters on net embroidery1 and ,irish lace4 ,the space to be button-holed1 must be well padded1 for thereon depends the roundness of the embroidery4 ,for this purpose take #f or #h threads of ,coton repriser ,d4,m4,c ,no4 #be1;,a and fasten them down on to the pattern with loose stitches1 laying on extra threads1 and cutting them gradually away1 according to the width the line is to be4 ,the stuff underneath the bars should only be cut away when the embroidery is quite finished4 ,illustration3 ,,fig4 #aia4 ,,venetian ,,embroidery4 ,,renaissance ,,embroidery 7figs4 #aib and #aic74--,this is the term applied1 more especially in ,france1 to embroidery patterns1 which are worked entirely in button-holing1 and connected by button-hole bars without picots1 as shewn in the two accompanying figures4 ,the outside edge in fig4 #aic1 is embellished with picots1 described in the chapters just referred to4 ,illustration3 ,,fig4 #aib4 ,,renaissance ,,embroidery4 ,illustration3 ,,fig4 #aic4 ,,renaissance ,,embroidery4 ,,richelieu ,,embroidery 7fig4 #aid74--,the name given to embroidery of a similar kind to the former1 but in which the connecting bars1 instead of being left plain as they are in the ,renaissance embroidery1 are ornamented with picots4 ,illustration3 ,,fig4 #aid4 ,,richelieu ,,embroidery4 ,,madeira ,,work 7figs4 #aie1 #aif1 #aig74--,this kind of embroidery1 which consists chiefly of eyelet holes1 and is distinguished for the excellence of its workmanship used to be known as ,english1 but is now generally called ,madeira work1 from the island where it originated4 ,the scallops in figs4 #aie and #aig1 are bordered with shaded eyelet holes1 worked half in button-hole stitch1 half in overcasting2 the finely scalloped edge1 in fig4 #aif1 is entirely button-holed4 ,in working eyelet holes1 the material must always be turned in1 up to the inside line1 and completely worked in1 underneath the in order that no loose threads may be visible on the wrong side4 ,illustration3 ,,fig4 #aie4 ,,madeira ,,work4 ,illustration3 ,,fig4 #aif4 ,,madeira ,,work4 ,,materials3 ,coton ,madeira ,d4,m4,c ,no4 #dj1 #ej or #fj4 7,special cotton for ,madeira work7,a ,illustration3 ,,fig4 #aig4 ,,madeira-,,work4 ,,materials3 ,coton ,madeira ,d4,m4,c ,no4 #dj1 #ej or #fj4 7,special cotton for ,madeira-work74 ,,swiss ,,embroidery ,,frame 7fig4 #aih74--,letters1 monograms1 coronets and the like1 require extreme care in the working1 and can only be really well done in a frame4 ,the round ,swiss frame1 or tambour frame1 is the one most commonly used4 ,it consists of two wooden hoops1 fitting loosely into each other2 the inner one1 fastened to a support with a wooden screw let into the lower part of it1 with which to fasten the frame to the table4 ,the outside hoop is loose4 ,place the fabric to be embroidered over the smaller hoop1 the pattern in the middle1 and press the other down over it so that it is tightly stretched and fixed between the two hoops4 ,a leathern strap with holes and a buckle1 sometimes takes the place of the second hoop4 ,illustration3 ,,fig4 #aih4 ,,swiss ,,embroidery ,,frame4 ,,ordinary ,,embroidery ,,frame 7fig4 #aii74--,tambour frames can only be used for embroidering pocket-handkerchiefs and other small articles2 all larger work has to be done in an ordinary frame4 ,sew a piece of strong stuff into the frame1 stretch it as tightly and evenly as possible1 and cut out a square in the middle to the size of the pattern4 ,then tack your work in underneath1 straight to the thread1 dividing it out carefully with pins first1 to ensure its being set in perfectly evenly4 ,roll or fold up the rest of the stuff over the edges of the frame1 and secure it with a few stitches or pins1 to keep it out of the way of your hand as you work4 ,illustration3 ,,fig4 #aii4 ,,ordinary ,,embroidery ,,frame4 ,,alphabets ,,for ,,monograms 7figs4 #bjj to #bje74--,on account of the difficulty of devising a good monogram for marking under-linen1 we subjoin two alphabets1 by the aid of which our workers will be able to compose their own4 ,the letters are of a good medium size1 which can be magnified or reduced according to the worker's own taste4 ,for any such modifications1 we would again draw our reader's attention to the directions given in the concluding chapter4 ,the three first plates represent large wide letters1 intended to contain or encompass the more elongated ones1 represented in the fourth and fifth plates1 figs4 #bjc and #bjd4 ,the interlacing of the letters requires to be carefully done1 and our workers should study the following specimens1 so as to learn the stitches also1 which are most suitable for this branch of embroidery4 ,illustration3 ,,fig4 #bjj4 ,,alphabets ,,for ,,monograms4 ,outside letters ,a to ,h4 ,illustration3 ,,fig4 #bja4 ,,alphabets ,,for ,,monograms4 ,outside letters ,j to ,q4 ,illustration3 ,,fig4 #bjb4 ,,alphabets ,,for ,,monograms4 ,outside letters ,r to ,y4 ,illustration3 ,,fig4 #bjc4 ,,alphabets ,,for ,,monograms4 ,inside letters ,a to ,l4 ,illustration3 ,,fig4 #bjd4 ,,alphabets ,,for ,,monograms4 ,inside letters ,m to ,x4 ,illustration3 ,,fig4 #bje4 ,,alphabets ,,for ,,monograms4 ,last inside and outside letters4 ,,monogram ,,composed ,,of ,,letters ,a ,,and ,d 7fig4 #bjf74--;,here1 letter ,a is worked in flat satin stitch1 in ,bleu-,indigo #cab1 and set in stem stitch1 worked in ,rouge-,turc #cba4 ,d as a contrast to ,a1 is embroidered in transverse bars1 the left part in pale blue and white1 the right in pale blue and dark blue4 ,the little ornaments may be worked according to fancy1 either in white1 or in one of the given colours4 ,illustration3 ,,fig4 #bjf4 ,,monogram ,,composed ,,of ,,letters ,a ,,and ,d ,,drawn ,,from ,,the ,,alphabets ,,of ,,monograms4 ,,materials3 ,coton broder ,d4,m4,c ,nos4 #ajj to #aej4 ,,colours3 ,bleu-,indigo #ccd1 ,rouge-,turc #cba and white4,a ,,monogram ,,composed ,,of ,,letters ,v ,,and ,s 7fig4 #bjg74--,the flat satin stitch in both letters is worked in white2 the setting1 is in red1 in short stem stitch1 or if preferred1 in knotted back stitch4 ,illustration3 ,,fig4 #bjg4 ,,monogram ,,composed ,,of ,,letters ,v ,,and ,s ,,drawn ,,from ,,the ,,alphabets ,,of ,,monograms4 ,,materials3 ,coton broder ,d4,m4,c ,no4 #abj4 ,,colours3 ,white and ,rouge-,cardinal #cje4;,a ,,monogram ,,composed ,,of ,,letters ,r ,,and ,c 7fig4 #bjh74--,these are worked in black and grey1 for mourning2 the way ,c is divided1 admits of a variety in the stitch2 for instance1 the back-stitches1 in the illustration1 may be replaced by very small eyelet holes4 ,illustration3 ,,fig4 #bjh4 ,,monogram ,,composed ,,of ,,letters ,r ,,and ,c ,,drawn ,,from ,,the ,,alphabets ,,of ,,monograms4 ,,materials3 ,fil dentelle ,d4,m4,c ,no4 #aej4 ,,colours3 ,gris-,cendre #cah and ,noir grand ,teint #caj4 ,,monogram ,,composed ,,of ,,letters ,g ,,and ,e 7fig4 #bji74--,the flat satin stitching and back-stitching in ,e1 and the stem-stitched edges of ,g are worked in white ,coton broder ,d4,m4,c2 the inside of ,g in ivory white ,coton surfin ,d4,m4,c4 ,illustration3 ,,fig4 #bji4 ,,monogram ,,composed ,,of ,,letters ,g ,,and ,e ,,drawn ,,from ,,the ,,alphabets ,,of ,,monograms4 ,,materials3 ,coton broder ,d4,m4,c ,no4 #abj white and ,coton surfin ,d4,m4,c ,no4 #abj1 unbleached4 ,,border ,,in ,,gobelin ,,stitch 7fig4 #baj74--;,gobelin embroidery is merely raised satin stitch1 worked directly upon the pattern1 without any foundation1 or padding4 ,the effectiveness of this kind of embroidery1 which appears so complicated and is really so easy1 and the many ways in which it can be utilised1 soon brought it into favour4 ,it can be worked on the article itself1 or on stripes1 laid on afterwards1 with a hem-stitch bordering4 ,the original of fig4 #baj was in blue and red2 ,bleu ,indigo #cab for the grounding1 ,rouge-,turc #cba1 for the setting in stem-stitch4 ,the herring-boning along the edges of the pattern1 top and bottom1 is also in red4 ,illustration3 ,,fig4 #baj4 ,,border ,,in ,,gobelin ,,stitch4 ,,materials3 ,coton broder ,d4,m4,c ,no4 #ce in two different colours such as3 ,bleu-,indigo #cab and ,rouge-,cardinal #cjd1 ,rouge-,grenat #ceh and #cji or1 ,gris-,tilleul #cic and ,rouge-,cardinal #cje4;,a ,should a different selection of colours be made1 it is important to remember that in all cases a sharp contrast is desirable4 ,,alphabet ,,and ,,numerals1 ,,left ,,blank1 ,,and ,,outlined ,,by ,,the ,,grounding1 ,,worked ,,in ,,gobelin ,,stitch 7figs4 #baa to #bae74 ,illustration3 ,,fig4 #baa4 ,,alphabet ,,left ,,blank ,,and ,,outlined ,,by ,,the ,,grounding4 ,letters ,a to ,n4 ,illustration3 ,,fig4 #bab4 ,,alphabet ,,left ,,blank ,,and ,,outlined ,,by ,,the ,,grounding4 ,letters ,o to ,z4 ,illustration3 ,,fig4 #bac4 ,,letter ,o1 ,,from ,,the ,,alphabet ,,given ,,in ,,figs4 #baa ,,and #bab4 ,illustration3 ,,fig4 #bad4 ,,numerals ,,left ,,blank ,,and ,,outlined ,,by ,,the ,,grounding4 ,the border worked in ,gobelin stitch1 illustrated in fig4 #baj1 suggested to us the idea of an alphabet and numerals1 to be executed in a similar style1 left blank1 that is to say1 and outlined by a grounding in ,gobelin stitch1 which are better suited to embroideries of the kind than those generally used4 ,our limited space prevents us from giving all the letters in the diagonal position they are intended to occupy on the article itself4 ,o and ,w only1 are represented in the right position4 ,no difficulty will be found in copying the other letters1 in giving them the proper direction4 ,illustration3 ,,fig4 #bae4 ,,letter ,w1 ,,from ,,the ,,alphabet ,,given ,,in ,,fig4 #baa ,,and #bab4 ,in order to economize room1 ,j and ,h are represented in one square1 but they are easily distinguishable from each other4 ,fig4 #bad represents the numerals1 executed in the same way4 ,we should like to draw our readers attention to a few other ways in which letters and numerals may be outlined by the background2 for example1 the solid parts can be worked either in plain or twisted knot stitch 7figs4 #agg and #agh72 in very fine chain stitch2 in old ,german knot or bead stitch 7fig4 #hgc71 or even in piqu embroidery 7fig4 #hgg74 ,,border ,,outlined ,,by ,,grounding1 ,,worked ,,in ,,gobelin ,,and ,,stem ,,stitch 7fig4 #baf74 ,the grounding of this pattern is worked on stiff white linen1 and entirely in ,rouge-,turc #cba1 and the outlining in ,noir grand ,teint #caj4 ,the same pattern can equally well be worked on gauzes and other transparent stuffs1 but with ,coton repriser1 instead of ,coton broder ,d4,m4,c1 for the solid parts4 ,two shades of ,rouge-,grenat1 one dark and one very light1 may be taken instead1 or two of ,jaune-,rouille1 or of ,violet-,mauve1 employing always the lighter shade for the grounding and the darker for the setting4 ,illustration3 ,,fig4 #baf4 ,,border1 ,,outlined ,,by ,,the ,,grounding ,,worked ,,in ,,gobelin ,,and ,,stem ,,stitch4 ,first part4 ,illustration3 ,,fig4 #baf4 ,second part4 ,,materials3 ,coton broder ,d4,m4,c ,no4 #ej4--;,,colours3 ,rouge-,turc #cba and ,noir grand ,teint #caj4;,a ,be careful1 in the grounding1 not to make the red stitches near the edge1 longer than they are represented in the illustration and to set the black stem stitches as close as possible to the grounding4 ,the pattern1 which could only be reproduced in the original size1 had to be divided in two1 to fit the page4 ,in copying it1 join the ,a and ,b of the first part to the ,a and ,b of the second2 the same in fig4 #bag1 each time the pattern is repeated1 the flowers are to droop from the as seen from the position of the buds in the first part1 at the beginning of the drawing4 ,,flower ,,garland ,,in ,,different ,,kinds ,,of ,,stitches 7figs4 #bag and #bah74--,most of the stitches1 described at the beginning of this chapter1 will be found in this graceful garland1 in the execution of which a considerable variety of colours can be introduced4 ,the rose-buds may be worked in two shades of ,vert-,pistache and of ,rouge-,grenat1 in the stitches described in figs4 #agc1 #agg1 #ahi ,a2 the forget-me-nots1 in two or even three shades of ,bleu-,indigo1 in raised satin stitch and knotted stitch2 the slender green leaves in ,vert-de-gris1 or ,gris-,tilleul1 the stamens in ,jaune-,citron1 and the stalks of the roses in ,brun-,acajou4 ,illustration3 ,,fig4 #bag4 ,,flower-,,garland ,,in ,,different ,,kinds ,,of ,,stitches4 ,first part4 ,illustration3 ,,fig4 #bag4 ,second part4 ,,materials3 ,coton broder ,d4,m4,c ,no4 #dj4 ,,colours3 ,rouge-,grenat #cbf and #cce1 ,bleu-,indigo #cab and #ccd1 ,vert-,pistache #cai and #cbj1 ,vert-de-gris #dgd and #dge1 ,brun-,acajou #cja1 ,jaune-citron #ddf4 ,illustration3 ,,fig4 #bah4 ,,showing ,,the ,,working ,,of ,,the ,,outside ,,stitches ,,in ,,fig4 #bag4 ,the border that completes this charming pattern1 consists of four rows of button holing1 worked in four colours4 ,the first row in our illustration is worked in pale pink1 followed by three shades of green1 the palest of which is used for the second row of stitches4 ,when these rows are worked upon a satine or cambric foundation1 it is advisable to begin by making a small drawing1 in which the height of the stitches and the distance between them is accurately marked out1 then prick the pattern through and pounce it upon the material beneath4 ,when they are worked on a material1 the threads of which can be counted no such precaution is necessary4 ,,insertion ,,in ,,gobelin ,,and ,,stem ,,stitch 7fig4 #bai74--,owing to the shortness of the stitches1 this pattern is easier to work than the foregoing ones4 ,the little flowers are embroidered alternately in dark and light red2 the setting varies to correspond1 the light red flower being set in dark red1 and vice versa4 ,the interior of the leaves is in light green and the setting1 as well as the connecting bars1 in dark green4 ,illustration3 ,,fig4 #bai4 ,,insertion ,,in ,,gobelin ,,and ,,stem ,,stitch4 ,,materials3 ,coton broder ,d4,m4,c ,no4 #ce--;,,colours3 ,rouge-,cardinal #cdg and ,rouge-,granium #ceb with ,gris-,tilleul #cib and #cca1 or ,bleu-,indigo #cab and #ccd with ,vert-,mousse #dfi and #dga1 or ,violet-,mauve #cge and #cgf with ,jaune-,rouille #cfd #cfe4;,a ,,stripes ,,of ,,embroidery ,,with ,,lace ,,insertion ,,between 7fig4 #bbj74--,we conclude this chapter1 by showing how stripes of embroidery can be used alone1 or in conjunction1 either with bands of open-work1 or lace1 crochet1 or net insertion4 ,such combinations are useful for ornamenting aprons1 table-cloths1 curtains etc41 every description in short of household linen and of children's garments4 ,one great advantage1 moreover1 which stripes of this kind1 have over larger pieces of embroidery is that they require neither frame nor pillow1 nor wearisome counting of stitches1 but can be worked in the hand1 at all times and places4 ,illustration3 ,,fig4 #bbj4 ,,stripes ,,of ,,embroidery ,,with ,,insertion ,,between4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,stripe ,,of ,,gold ,,embroidery ,,in ,,gold ,,thread1 ,,purl1 ,,and ,,flattened ,,gold ,,wire4 ,flat stitch and ,gold embroidery4 ,the terms1 flat stitch and gold embroidery1 suggest as a rule1 needle-work upon rich materials1 such as velvet1 brocade1 plush and the like4 ,nevertheless1 a great deal of beautiful embroidery is to be met with1 in silk and gold thread upon quite common stuffs2 ,persian and ,moorish embroidery for instance1 both remarkable for their delicacy and minuteness1 and executed upon ordinary linen1 or cotton fabrics4 ,as a fact1 the material is quite a secondary matter2 almost any will do equally well as a foundation1 for the stitches described in these pages4 ,flat stitch1 and some of the other stitches used in gold embroidery1 can be worked with any kind of thread1 but best of all with the ,d4,m4,c cottons4 ,,flat ,,stitch ,,embroidery4--,decorative designs1 and conventional flowers1 are the most suitable for flat stitch embroidery2 a faithful representation of natural flowers should not be attempted1 unless it be so well executed1 as to produce the effect of a painting and thus possess real artistic merit4 ,,encroaching ,,flat ,,stitch 7fig4 #bba74--,small delicate flowers1 leaves1 and arabesques1 should in preference1 be worked either in straight flat stitch 7figs4 #ahi and #aij7 or in encroaching flat stitch4 ,the stitches should all be of equal length1 the length to be determined by the quality of the thread2 a fine thread necessitating short1 and a coarse one1 long stitches4 ,the stitches should run1 one into the other1 as shown in the illustration4 ,they are worked in rows1 those of the second row encroaching on those of the first1 and fitting into one another4 ,illustration3 ,,fig4 #bba4 ,,encroaching ,,satin ,,stitch4 ,work your flowers and leaves from the point1 never from the calyx or stalk4 ,if they are to be shaded1 begin by choosing the right shade for the outside edge1 varying the depth according to the light in which the object is supposed to be placed4 ,the stitches should always follow the direction of the drawing4 ,,oriental ,,stitch 7figs4 #bbb1 #bbc1 #bbd74--,the three following stitches1 which we have grouped under one heading1 are known also1 under the name of ,renaissance or ,arabic stitches4 ,we have used the term ,oriental1 because they are to be met with in almost all ,oriental needlework and probably derive their origin from ,asia1 whose inhabitants have1 at all times1 been renowned for the beauty of their embroideries4 ,illustration3 ,,fig4 #bbb4 ,,oriental ,,stitch4 ,illustration3 ,,fig4 #bbc4 ,,oriental ,,stitch4 ,these kind of stitches are only suitable for large1 bold designs4 ,draw in the vertical threads first2 in working with a soft1 silky material1 to economise thread1 and prevent the embroidery from becoming too heavy1 you can begin your second stitch close to where the first ended4 ,illustration3 ,,fig4 #bbd4 ,,oriental ,,stitch4 ,but if the thread be one that is liable to twist1 take it back underneath the stuff and begin your next stitch in a line with the first1 so that all the stitches of the first layer1 which form the grounding1 are carried from the top to the bottom4 ,the same directions apply to figs4 #bbc1 #bbd and #bbf4 ,when you have laid your vertical threads1 stretch threads horizontally across1 and fasten them down with isolated stitches1 set six vertical threads apart4 ,the position of these fastening stitches on the transverse threads must alternate in each row1 as indicated in fig4 #bbb4 ,for fig4 #bbc1 make a similar grounding to the one above described1 laying the horizontal threads a little closer together1 and making the fastening stitches over two threads4 ,in fig4 #bbd1 the second threads are carried diagonally across the foundation-threads1 and the fastening stitches are given a similar direction4 ,for these stitches1 use either one material only1 a fleecy thread like ,coton repriser ,d4,m4,c for instance1 or else two1 such as ,coton repriser ,d4,m4,c for the grounding1 and a material with a strong twist like ,cordonnet #f fils ,d4,m4,c or ,fil pointer ,d4,m4,c for the stem stitch4 ,,plaited ,,stitch 7fig4 #bbe74--,when the vertical stitches are laid1 a kind of plait is formed in the following way4 ,pass the thread three times1 alternately under and over three foundation threads4 ,to do this very accurately1 you must take the thread back1 underneath1 to its starting-point2 and consequently1 always make your stitch from right to left4 ,illustration3 ,,fig4 #bbe4 ,,plaited ,,stitch4 ,if you have chosen a washing material1 and ,d4,m4,c cottons to work with1 use one colour of cotton for the foundation1 and ,chin d'or ,d4,m4,c ,no4 #cj1 for the plaited stitch4 ,,mosaic ,,stitch 7fig4 #bbf74--;,in old embroideries we often find this stitch1 employed as a substitute for plush or other costly stuffs1 appliqud on to the foundation4 ,it is executed in the same manner as the four preceding stitches1 but can only be done in thick twist1 such as ,cordonnet #f fils ,d4,m4,c or ,ganse turque ,d4,m4,c4 ,illustration3 ,,fig4 #bbf4 ,,mosaic ,,stitch4 ,each stitch should be made separately1 and must pass underneath the foundation1 so that the threads which form the pattern are not flat1 as they are in the preceding examples1 but slightly rounded4 ,,border ,,in ,,persian ,,stitch 7fig4 #bbg74--,this stitch1 of ,persian origin1 resembles the one represented in fig4 #age4 ,instead of bringing the needle out1 however1 as indicated in fig4 #agf1 take it back as you see in the illustration1 to the space between the outlines of the drawing1 and behind the thread that forms the next stitch4 ,before filling in the pattern1 outline it with short stem stitches1 or a fine cord1 laid on1 and secured with invisible stitches4 ,illustration3 ,,fig4 #bbg4 ,,border ,,in ,,persian ,,stitch4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,no4 #ad1 #ae1 #bj or #be4 ,,colours3 ,noir grand ,teint #caj1 ,vert-,mousse #dfi and #dga1 ,rouge-,cardinal #cdf1 ,jaune-vieil-,or #fhj1 ,violet-,mauve #cae and #caf4 ,this graceful design which can be utilised in various ways is formed of leaves of #g lobes1 worked alternately in dark and light green2 of flowers of #c petals1 worked in red and the centres in yellow1 and of small leaves in violet4 ,the setting1 throughout1 is worked either in black or in dark brown4 ,,stripe ,,worked ,,in ,,flat ,,stitch 7fig4 #bbh74--,this pattern1 simple as it is1 will be found both useful and effective for the trimming of all kinds of articles of dress4 ,the bottom edge should be finished off with rounded scallops or toothed vandykes worked in button-hole stitch4 ,the flowers in flat stitch1 are worked alternately1 in ,rouge-,granium #cea and #ceb1 and the leaves alternately1 in ,vert-de-gris #dgd and #dge2 the centres of the flowers are worked in knot stitch1 in ,jaune-,rouille #cjh4 ,illustration3 ,,fig4 #bbh4 ,,stripe ,,worked ,,in ,,flat ,,stitch4 ,,materials--,according to the stuff3 ,fil dentelle ,d4,m4,c1 ,cordonnet #f fils ,d4,m4,c or ,coton repriser ,d4,m4,c,a ,,colours--,for the flowers3 ,rouge-,granium #cea and #ceb4--;,for the knot stitch3 ,jaune-,rouille #cjh4--;,for the foliage3 ,vert-de-gris #dgd and #dge4;,a ,,bouquet ,,in ,,straight ,,and ,,encroaching ,,flat ,,stitch 7fig4 #bbi74 ,as we have already observed1 it is by no means easy to arrange the colours in an embroidery of this kind1 so as to obtain a really artistic effect4 ,whether the design be a conventional one or not1 the great point is to put in the lights and shadows at the right place4 ,if you want to make a faithful copy of a natural flower1 take the flower itself1 or a coloured botanical drawing of it1 and if possible1 a good black and white drawing of the same1 match the colours in #f or #g shades1 by the flower itself1 keeping them all rather paler in tone1 and take the black and white drawing as a guide for the lights and shadows4 ,the colours for the leaves and petals1 which should always be worked from the outside1 should be chosen with a view to their blending well together4 ,the stamens and the centres of the flowers should be left to the last1 but the veins and ribs of the leaves1 should always be put in before the grounding4 ,illustration3 ,,fig4 #bbi4 ,,bouquet ,,in ,,straight ,,and ,,encroaching ,,flat ,,stitch4 ,,materials3 ,coton repriser ,d4,m4,c ,no4 #ej4 ,,colours--,for the forget-me-nots3 ,bleu-,indigo #cab1 #cbb and #ccd4--;,for the other flowers3 ,jaune-,rouille #cfe and #cff1 ,violet-,mauve #cgf1 #caf and #cgg1 ,vert-,pistache #cfi4--;,for the foliage3 ,vert-de-,gris #dgd1 ,vert-,mousse #dfh1 #dfi1 #dga and #dgb4--;,for the stalks3 ,brun-,havane #dee and #deg4;,a ,for embroideries of this kind1 suitable materials must be selected2 the more delicate and minute the design1 and the more varied the colouring1 the softer and finer should be the quality of the material employed4 ,specially to be recommended1 as adapted to every form of stitch and as being each of them capable of being subdivided1 are ,filoselle1 ,marseille1 open ,chinese silk and ,coton repriser ,d4,m4,c,a4 ,,flowers ,,embroidered ,,in ,,the ,,chinese ,,manner 7fig4 #bcj74--;,all ,chinese embroidery displays undoubted originality and wonderful skill and judgment in the choice of material and colour4 ,it excels particularly1 in the representation of figures1 flowers1 and animals1 but differs from ,european work in this1 that instead of using flat stitch and making the colours blend together as we do1 the ,chinese put them1 side by side1 without intermediate tones1 or they sometimes work the whole pattern in knot stitch4 ,the little knots1 formed by this stitch are generally set in gold thread4 ,illustration3 ,,fig4 #bcj4 ,,flowers ,,embroidered ,,in ,,the ,,chinese ,,manner4 ,often too1 instead of combining a number of colours1 as we do1 the ,chinese fill in the whole leaf with long stitches and upon this foundation1 draw the veins in a different stitch and colour4 ,even the flowers1 they embroider in the same way1 in very fine thread1 filling in the whole ground first1 with stitches set very closely together and marking in the seed vessels afterwards1 by very diminutive knots1 wide apart4 ,,chinese ,,encroaching ,,flat ,,stitch 7fig4 #bca74--;,another easy kind of embroidery1 common in ,china1 is done in encroaching flat stitch4 ,the branch represented in our drawing1 taken from a large design1 is executed in three shades of yellow1 resembling those of the ,jaune-,rouille series on the ,d4,m4,c colour card4,a ,illustration3 ,,fig4 #bca4 ,,chinese ,,encroaching ,,flat ,,stitch4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #bj to #ej or ,chin d'or ,d4,m4,c4 ,,colours--,for the cotton3 ,jaune-,rouille #cfc1 #cjh1 #cff4--;,for ,chin d'or3 ,red and gold1 blue and gold1 green and gold4,a ,the stitches of the different rows encroach upon one another1 as the working detail shows1 and the three shades alternate in regular succession4 ,flowers1 butterflies and birds are represented in ,chinese embroidery1 executed in this manner4 ,it is a style1 that is adapted to stuffs of all kinds1 washing materials as well as others1 and can be worked in the hand and with any of the ,d4,m4,c threads and cottons4,a ,,raised ,,embroidery 7figs4 #bcb and #bcc74--,raised embroidery worked in colours1 must be stuffed or padded first1 like the white embroidery in fig4 #aia4 ,if you outline your design with a cord1 secure it on the right side with invisible stitches1 untwisting the cord slightly as you insert your needle and thread1 that the stitch may be hidden between the strands4 ,use ,coton repriser ,d4,m4,c ,no4 #be1 for the padding4 ,these cottons are to be had in all the colours1 indicated in the ,d4,m4,c colour card1 and are the most suitable for the kind of work4 ,illustration3 ,,fig4 #bcb4 ,,raised ,,embroidery4 ,,preparatory ,,work4 ,illustration3 ,,fig4 #bcc4 ,,raised ,,embroidery4 ,,work ,,completed4 ,use ,coton broder ,d4,m4,c for the transverse stitches and over the smooth surface which is thus formed1 work close lines of satin stitch in silk or cotton2 the effect produced1 will bear more resemblance to appliqu work than to embroidery4 ,the centres of the flowers are filled in with knot stitches1 which are either set directly on the stuff or on an embroidered ground4 ,,embroidery ,,in ,,the ,,turkish ,,style 7figs4 #bcd and #bce74--,this again is a style of embroidery different from any we are accustomed to4 ,the solid raised parts are first padded with common coarse cotton and then worked over with gold1 silver1 or silk thread4 ,contrary to what is noticeable in the real ,turkish embroidery1 the preparatory work here is very carefully done1 with several threads of ,coton repriser ,d4,m4,c used as one4 ,a rope of five threads is laid down1 and carried from right to left and from left to right1 across the width of the pattern4 ,after laying it across to the right1 as explained in fig4 #bcd1 bring the needle out a little beyond the space occupied by the threads1 insert it behind them and passing it under the stuff1 draw it out at the spot indicated by the arrow4 ,the stitch that secures the threads1 should be sufficiently long to give them a little play1 so that they may lie perfectly parallel1 side by side1 over the whole width of the pattern4 ,this kind of work can be done on woolen or cotton materials1 and generally speaking1 with ,d4,m4,c cottons1 and gold thread shot with colour 7,chin d'or ,d4,m4,c47 ,very pretty effects can be obtained1 by a combination of three shades of ,rouge-,cardinal #cdg1 #cdf and #cjd1 with ,chin d'or gold and dark blue or with ,chin d'or1 gold and light blue4,a ,this kind of embroidery may be regarded as the transition from satin stitch to gold embroidery4 ,illustration3 ,,fig4 #bcd4 ,,embroidery ,,in ,,the ,,turkish ,,style4 ,,preparatory ,,work4 ,illustration3 ,,fig4 #bce4 ,,embroidery ,,in ,,the ,,turkish ,,style4 ,,work ,,completed4 ,,gold ,,embroidery4--,up to the present time1 dating from the end of the eighteenth century1 gold embroidery has been almost exclusively confined to those who made it a profession2 amateurs have seldom attempted what1 it was commonly supposed1 required an apprenticeship of nine years to attain any proficiency in4 ,but now1 when it is the fashion to decorate every kind of fancy article1 whether of leather1 plush1 or velvet1 with monograms and ingenious devices of all descriptions1 the art of gold embroidery has revived and is being taken up and practised with success1 even by those to whom needlework is nothing more than an agreeable recreation4 ,we trust that the following directions and illustrations will enable our readers to dispense with the five years training1 which even now1 experts in the art consider necessary4 ,,implements ,,and ,,materials4--,the first and needful requisites for gold embroidery1 are a strong frame1 a spindle1 two pressers1 one flat and the other convex1 a curved knife1 a pricker or stiletto1 and a tray1 to contain the materials4 ,,embroidery ,,frame 7fig4 #bcf74--,the frame1 represented here1 is only suitable for small pieces of embroidery1 for larger ones1 which have to be done piece by piece1 round bars on which to roll up the stuff1 are desirable1 as sharp wooden edges are so apt to mark the stuff4 ,illustration3 ,,fig4 #bcf4 ,,embroidery ,,frame ,,for ,,gold ,,embroidery4 ,every gold embroidery1 on whatever material it may be executed1 requires a stout foundation1 which has to be sewn into the frame1 in doing which1 hold the webbing loosely1 almost in folds1 and stretch the stuff very tightly4 ,sew on a stout cord to the edges of the foundation1 which are nearest the stretchers1 setting the stitches1 #c or #d c_/m4 apart4 ,then put the frame together and stretch the material laterally to its fullest extent1 by passing a piece of twine1 in and out through the cord at the edge and over the stretchers4 ,draw up the bracing until the foundation is strained evenly and tightly4 ,upon this firm foundation lay the stuff which you are going to embroider1 and hem or herring-bone it down1 taking care to keep it perfectly even with the thread of the foundation and1 if possible1 more tightly stretched to prevent it from being wrinkled or puckered when you come to take it off the backing4 ,for directions how to transfer the pattern to your stuff1 and prepare the paste with which the embroidery has to be stiffened before it is taken out of the frame1 see the concluding chapter in the book4 ,,the ,,spindle 7fig4 #bcg74--,the spindle to wind the gold thread upon1 should be #bj c_/m4 long and made of hard wood4 ,cover the round stalk and part of the prongs with a double thread of ,coton broder ,d4,m4,c ,no4 #af1 or pale yellow ,cordonnet ,d4,m4,c ,no4 #be1 and terminate this covering with a loop1 to which you fasten the gold thread that you wind round the stalk4 ,illustration3 ,,fig4 #bcg4 ,,the ,,spindle4 ,,the ,,pressers 7figs4 #bch and #bci74--,these1 so called #8pressers'1 are small rectangular boards with a handle in the middle4 ,the convex one1 fig4 #bch1 should be #ae c_/m4 long by #i broad2 the other1 fig4 #bci1 which is quite flat1 should be #cb c_/m4 by #bj4 ,illustration3 ,,fig4 #bch4 ,,convex ,,presser1 ,,for ,,pressing ,,the ,,stuff ,,on ,,the ,,wrong ,,side4 ,illustration3 ,,fig4 #bci4 ,,flat ,,presser ,,for ,,laying ,,on ,,the ,,pattern4 ,having cut out your pattern in cartridge paper1 lay it down1 on the wrong side1 upon a board thinly spread with embroidery paste4 ,let it get thoroughly impregnated with the paste and then transfer it carefully to its proper place on the stuff2 press it closely down with the large presser1 and with the little convex one rub the stuff firmly1 from beneath1 to make it adhere closely to the pasted pattern2 small1 pointed leaves and flowers will be found to need sewing down besides1 as you will observe in fig4 #bdb1 where each point is secured by stitches4 ,the embroidery should not be begun until the paste is perfectly dry1 and the pattern adheres firmly to the stuff4 ,,the ,,knife 7fig4 #bdj74--,most gold embroideries require a foundation of stout cartridge paper1 and1 in the case of very delicate designs1 the paper should further be covered with kid1 pasted upon it4 ,illustration3 ,,fig4 #bdj4 ,,the ,,knife4 ,,reduced ,,scale4 ,transfer the design on to the paper or kid1 in the manner described in the concluding chapter1 and cut it out with the knife4 ,you can only make very short incisions with this tool1 which should be kept extremely sharp and held1 in cutting1 with the point outwards1 and the rounded part towards you1 as shown in the drawing4 ,,tray ,,to ,,contain ,,the ,,materials 7fig4 #bda74--;,cut out as many divisions in a thin board1 or sheet of stout cardboard1 as you will require materials for your embroidery2 these include not only gold thread of all kinds1 but likewise beads and spangles of all sorts and sizes as well as bright and dead gold and silver purl1 or bullion1 as it is also called4 ,for the pieces of purl alone1 which should be cut ready to hand1 you should have several divisions1 in order that the different lengths may be kept separate4 ,illustration3 ,,fig4 #bda4 ,,tray ,,to ,,contain ,,the ,,materials4 ,,use ,,of ,,the ,,spindle 7fig4 #bdb74--;,gold embroidery thread should be wound double upon the spindle4 ,it is laid backwards and forwards and secured with two stitches at each turn1 as described in fig4 #bcd4 ,small holes where the stitches are to come1 have first to be pierced in the material with the pricker1 from the right side1 for the needle to pass through4 ,in soft stuffs1 this is unnecessary1 but in brocaded materials1 and in plush and leather1 where every prick shows and would often spoil the whole effect1 it is indispensable4 ,illustration3 ,,fig4 #bdb4 ,,use ,,of ,,the ,,spindle ,gold thread which is stiff and difficult to work with1 can be rendered soft and pliable by putting it into the oven1 or any other warm place1 for a short time4 ,,embroidery ,,with ,,gold ,,purl 7fig4 #bdc74--;,embroidery is the easiest kind of gold embroidery2 you have only to thread the little pieces of purl1 cut into the required lengths beforehand1 like beads on your needle1 and fasten them down upon the foundation like the beads in bead-work4 ,smooth and crimped gold purl1 or silver and gold purl used together1 look exceedingly well1 particularly where the pattern requires effects of light and shade to be reproduced4 ,illustration3 ,,fig4 #bdc4 ,,embroidery ,,with ,,gold ,,purl4 ,,embroidery ,,in ,,diamond ,,stitch 7fig4 #bdd74--,the diamond stitch is a charming novelty in gold embroidery4 ,short lengths of purl1 not more than #a m_/m4 long1 are threaded on the needle1 and the needle is put in and drawn out at the same hole4 ,these stitches which resemble knot stitches1 form so many little glittering knots1 turned alternately to the right and left1 and look like seed-diamonds in appearance1 more especially1 when they are made in silver purl4 ,the shorter the pieces are1 and the more closely you set the knots together1 the handsomer and richer the effect will be4 ,illustration3 ,,fig4 #bdd4 ,,diamond ,,stitch4 ,,chinese ,,gold ,,embroidery 7figs4 #bde and #bdf74--,we recommend the imitation of ,chinese gold embroidery to our readers as an easy and grateful recreation4 ,it consists simply in laying down a gold thread1 on a delicately outlined pattern and securing it by stitches4 ,it can be done on any material1 washing or other1 the costliest as well as the most ordinary4 ,illustration3 ,,fig4 #bde4 ,,chinese ,,gold ,,embroidery4 ,first part4 ,illustration3 ,,fig4 #bde4 ,second part ,illustration3 ,,fig4 #bdf4 ,,chinese ,,gold ,,embroidery4 ,first part4 ,illustration3 ,,fig4 #bdf4 ,second part4 ,for a washing material use1 ,or fin ,d4,m4,c pour la broderie1 ,no4 #bj1 #cj or #dj1;,a which1 as it washes perfectly1 is well adapted for the embroidery of wearing apparel1 and household linen4 ,plain gold thread and gold thread with a thread of coloured silk twisted round it1 are very effective used together4 ,thus in fig4 #bde1 the trees1 foliage and flowers1 are worked in plain gold1 the grasses1 in gold shot with green1 the butterflies in gold with red1 the two birds in gold with dark blue1 and gold with light blue4 ,two threads of gold should be laid down side by side and secured by small catching stitches1 set at regular intervals from one another1 and worked in ,fil d',alsace ,d4,m4,c ,no4 #bjj1;,a of the same colour4 ,where the design requires it1 you may separate the gold threads1 and work with one alone4 ,the second specimen of ,chinese embroidery1 fig4 #bdf1 resembles the first1 as far as materials and execution are concerned1 but the design is different4 ,the grotesque animals1 flowers and shells it represents1 can be worked separately1 or connected together so as to form a running pattern4 ,,stripe ,,worked ,,in ,,various ,,stitches 7fig4 #bdg74--;,all the designs described thus far1 are worked in the same way1 but the stripe now presented to our readers introduces them to several kinds of gold thread1 and a variety of stitches4 ,the small1 turned-back petals of the flowers are worked in plain gold thread1 and outlined with crimped2 the rest of the petals are worked in darning stitch1 with plain gold thread4 ,the latticed leaves are edged with picots1 worked with bright purl4 ,the other parts of the design are all worked with a double gold thread1 the stalks in dead gold1 the leaves in crimped4 ,the gold thread is secured by overcasting stitches in gold-coloured thread1 ,jaune d'or #ffg1 but it looks very well if you use black or red thread for fastening the crimped gold and dark or light green for the leaves and tendrils4 ,illustration3 ,,fig4 #bdg4 ,,stripe ,,worked ,,in ,,various ,,stitches4 ,,gold ,,embroidery ,,on ,a ,,foundation ,,of ,,cords 7fig4 #bdh74--;,in the old ecclesiastical embroideries1 especially those representing the figures of saints1 we often find thick whip cords used as a foundation1 instead of cardboard1 for the good reason that the stiff cardboard does not give such soft and rounded contours as a cord foundation1 which will readily take every bend and turn that you give to it4 ,in the following illustrations1 we have adhered strictly to the originals1 as far as the manner of working the surface is concerned1 but have substituted for the cord1 which in their case has been used for the foundation1 ,cordonnet #f fils ,d4,m4,c ,no4 #a1 which is better for padding than the grey whip cord1 as it can be had in white or yellow1 according to whether it is intended to serve as a foundation to silver or gold work4 ,illustration3 ,,fig4 #bdh4 ,,embroidery ,,in ,,flattened ,,gold ,,wire ,,and ,,purl4 ,lay down as many cords as are necessary to give the design the requisite thickness1 in many cases up to #h or #aj m_/m4 in height1 taking care to lay them closely and solidly in the centre1 and graduate them down at the sides and ends4 ,when you have finished the foundation1 edge it with a thick gold cord1 such as ,cordonnet d'or ,d4,m4,c ,no4 #f and then only begin the actual embroidery1 all the directions just given1 applying merely to the preparatory work4 ,only four of the many stitches that are already in use and might be devised are described here4 ,for the pattern1 represented in fig4 #bdh1 flattened gold or silver wire is necessary1 which should be cut into pieces1 long enough to be turned in at the ends so as to form a little loop through which the thread that fastens them down is passed4 ,over each length of gold or silver wire small lengths of purl are laid at regular intervals1 close enough just to leave room for the next stitch1 the pieces of one row1 alternating in position with those of the preceding one4 ,,plaited ,,stitch ,,in ,,gold ,,purl ,,on ,a ,,cord ,,foundation 7fig4 #bdi74--;,distribute the stitches as in the previous figure1 substituting purl1 for the flattened gold wire1 and covering the purl with short lengths of gold thread of the same kind4 ,all these stitches may be worked in gold and silver thread1 mixed or in the one1 or the other alone4 ,illustration3 ,,fig4 #bdi4 ,,plaited ,,stitch ,,in ,,gold ,,purl ,,on ,a ,,cord ,,foundation4 ,,scale ,,stitch ,,worked ,,in ,,gold ,,thread ,,and ,,purl ,,on ,a ,,cord ,,foundation 7fig4 #bej74--;,begin by covering the whole padded surface with gold or silver thread1 then sew on short lengths of purl1 long enough to cover six or eight threads1 #b or #c m_/m4 apart1 as shown in the engraving4 ,these stitches in dead gold purl are then surrounded by shining or crimped purl4 ,illustration3 ,,fig4 #bej4 ,,scale ,,stitch ,,in ,,gold ,,thread ,,and ,,purl ,,on ,a ,,cord ,,foundation4 ,you bring out the working thread to the left of the purl stitch1 which you take on your needle1 put the needle in on the other side1 draw it out above the little stroke1 and secure the crimped purl with an invisible stitch4 ,,conventional ,,flower ,,worked ,,on ,a ,,cord ,,foundation 7fig4 #bea74--,the half finished flower1 represented here1 was copied from a handsome piece of ecclesiastical embroidery enriched with ornament of this kind4 ,the three foregoing stitches and a fourth1 are employed in its composition4 ,the finished portions on the left hand side1 are executed in silver and gold purl1 whilst the egg-shaped heart of the flower is formed of transverse threads1 carried over the first padding1 and secured by a stitch between the two cords4 ,in the subsequent row1 the catching stitch is set between the cords1 over which the first gold threads were carried4 ,illustration3 ,,fig4 #bea4 ,,conventional ,,flower ,,worked ,,on ,a ,,cord ,,foundation4 ,,materials4--,for padding3 ,cordonnet #f fils ,d4,m4,c ,nos4 #a to #e or ,fil pointer ,d4,m4,c ,no4 #aj4--;,for sewing on the gold thread and purl3 ,soie de coton ,d4,m4,c ,no4 #ej or #gj1 ,fil dentelle ,d4,m4,c on reels ,nos4 #be to #ej4;,a ,the heavier the design is1 the thicker your padding should be1 and cords a good deal thicker than those which are represented in the drawing should be used1 as the more light and shade you can introduce into embroidery of this kind1 the greater will be its beauty and value4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,insertion ,,in ,,cross ,,stitch1 ,,alike ,,on ,,both ,,sides1 ,,the ,,pattern ,,left ,,blank4 ,tapestry and ,linen ,embroidery4 ,tapestry is one of the oldest kinds of needlework and one which has always been popular every where4 ,there are two distinct sorts of canvas in use for tapestry1 called respectively1 #8plain 7single thread7 canvas'1 and #8,penelope 7double thread7 canvas'4 ,the latter is generally preferred1 because it is easier to count the stitches upon it1 but both make an equally good foundation for the embroidery1 as the following examples will show4 ,besides canvas1 other fabrics bearing a close resemblance to it1 are often used1 especially ,java linen1 the close texture of which renders grounding unnecessary4 ,cloth1 velvet or plush can also be overlaid with canvas1 the threads of which are pulled away after the pattern is finished4 ,for work of this kind1 we however prefer a material with less dressing1 such as a twisted tammy1 or ,colbert linen1 because the pulling out of the harsh rough threads of the canvas is very apt to injure the material beneath4 ,stitches1 worked upon two stuffs1 must be drawn very tight1 or they will look loose and untidy when the auxiliary fabric is taken away4 ,tapestry can be done either in a frame1 or in the hand2 in the latter case1 the ends of the piece of canvas should be weighted with stones or lead1 to prevent its puckering4 ,the stitches1 which ought completely to hide the canvas1 should all lean one way and the underneath ones always from left to right1 as the letters in writing4 ,,marking ,,out ,,the ,,embroidery ,,ground 7fig4 #beb74--;,before beginning a piece of canvas work and tacking on the auxiliary fabric1 count how many stitches it will contain1 and mark them out in tens1 with a coloured thread1 as shown in fig4 #beb1 along two sides at least1 in the length and breadth4 ,having ascertained the number of stitches both ways1 divide them in two1 and starting each time from the middle stitch1 trace two lines1 one horizontal1 the other vertical1 right across the canvas4 ,the point of intersection will be the centre4 ,this sort of ground-plan will be found most useful1 and should not be pulled out until1 at least1 half the work be finished4 ,if moreover1 you have corners to work1 or a pattern to reverse1 in the angle of a piece of embroidery1 trace a diagonal line besides1 from the corner to the centre4 ,illustration3 ,,fig4 #beb4 ,,marking ,,out ,,the ,,embroidery ,,ground4 ,,materials ,,suitable ,,for ,,tapestry4--,hitherto1 wool and silk1 were the materials chiefly used for canvas work2 a very thick wool for carpets1 as being warmer and more durable4 ,silk is too delicate a fibre to resist much wear and tear1 and cannot therefore be recommended for articles that are intended for constant use1 and wool1 though stronger1 is subject to the destructive agency of moths2 whereas cotton1 which is cheaper than both1 and quite as brilliant1 is free from all these disadvantages and is extremely easy to clean4 ,for most kinds of tapestry we can therefore with perfect confidence1 recommend the use of ,coton tricoter ,d4,m4,c ,nos4 #f to #bj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #ae1 and even ,coton repriser ,d4,m4,c ,no4 #be4;,a ,,cross ,,stitch 7fig4 #bec74--;,cross stitch is the foundation of every other stitch1 and the one in most common use4 ,it is also called marking-stitch1 being used for marking linen4 ,it is worked in two lines4 ,in the first1 the thread is carried diagonally from left to right across a square of threads1 and then1 downwards1 underneath the two horizontal threads2 in the second1 the stitches are carried from the right-hand lower corner of the square to the upper left-hand corner1 so that the four points of the two stitches form a perfect square4 ,illustration3 ,,fig4 #bec4 ,,cross ,,stitch4 ,,half ,,cross ,,stitch 7fig4 #bed74--;,if the cotton is too coarse1 or the canvas too fine1 to make the double stitch1 carry the thread back along the whole line and make the half-stitches across it1 from left to right2 the same in the case of a piece of work1 which you buy with a part of the pattern ready-worked4 ,illustration3 ,,fig4 #bed4 ,,half ,,cross ,,stitch4 ,,gobelin ,,stitch ,,on ,,plain ,,canvas 7fig4 #bee74--,this is worked over two horizontal threads and one perpendicular4 ,in a frame1 you can work the second row1 from right to left1 otherwise1 you must turn the work round1 and bring out your needle behind the last-made stitch4 ,illustration3 ,,fig4 #bee4 ,,gobelin ,,stitch4 ,,gobelin ,,stitch ,,on ,,penelope ,,canvas 7fig4 #bef74--;,for the same stitch on ,penelope canvas1 you need rather a coarse needle1 which will make its way easily between the threads of the canvas4 ,illustration3 ,,fig4 #bef4 ,,gobelin ,,stitch ,,on ,,penelope ,,canvas4 ,,reps ,,stitch 7fig4 #beg74--;,contrary to ,gobelin stitch1 this stitch which is an imitation of reps1 is worked in vertical lines1 over two vertical threads and one horizontal one4 ,illustration3 ,,fig4 #beg4 ,,reps ,,stitch4 ,,tent ,,stitch 7fig4 #beh74--,this stitch is simply the first half of a cross or marking stitch1 worked over a single thread each way4 ,the illustration shows the working of a row1 from right to left1 the thread being carried forward1 underneath the vertical threads4 ,tent stitch is used for the most part1 in conjunction with cross stitch1 for the more delicate lines and the shaded parts of flowers and figures4 ,illustration3 ,,fig4 #beh4 ,,tent ,,stitch4 ,,wide ,,gobelin ,,stitch 7fig4 #bei74--,this stitch covers two vertical and two horizontal threads1 and advances one thread at a time4 ,illustration3 ,,fig4 #bei4 ,,wide ,,gobelin ,,stitch4 ,,broad ,,cross ,,stitch 7fig4 #bfj74--,worked over two vertical and four horizontal threads1 and very useful for filling in large surfaces as it can be done twice as quickly as the ordinary cross stitch4 ,it may be varied by turning the crosses first one way and then the other4 ,illustration3 ,,fig4 #bfj4 ,,broad ,,cross ,,stitch4 ,,double ,,stitch 7fig4 #bfa74--;,begin with a simple cross stitch over every alternate intersection of the threads then make a second row of stitches between those of the first1 but in this case1 over two and six threads1 so that they extend beyond the first each way4 ,in the subsequent rows1 a square stitch should be opposed to a long one and a long stitch to a square one4 ,illustration3 ,,fig4 #bfa4 ,,double ,,stitch4 ,,rice ,,stitch 7fig4 #bfb74--;,fill in the whole ground first1 with large cross stitches1 over four threads each way1 then upon these1 make the so-called rice stitches4 ,these cross the four points of the large cross stitches1 and meet in the space between1 where they form another cross4 ,the large cross stitches should be worked in rather coarse cotton1 the rice stitches in one of a finer quality4 ,illustration3 ,,fig4 #bfb4 ,,rice ,,stitch4 ,,double ,,stitch1 ,,set ,,two ,,ways 7fig4 #bfc74--,this consists of diagonal and upright cross stitches1 alternately4 ,work from left to right1 and carry the thread over four vertical threads and downwards1 under two horizontal ones1 then diagonally upwards1 over four threads and downwards under two1 then again over four vertical threads1 and so on4 ,coming back1 you cross the first threads1 and pass the working thread each time in a straight line1 underneath the two threads of the canvas4 ,the stitches of the third and fourth rows are set1 as the illustration shows1 the opposite way to those of the two first1 the thread being laid the contrary way4 ,gold thread is generally used for this second set of stitches2 ,or fin ,d4,m4,c pour la broderie1 or ,chin d'or ,d4,m4,c will be found to be the most suitable for the purpose4,a ,illustration3 ,,fig4 #bfc4 ,,double ,,stitch ,,set ,,two ,,ways4 ,,plait ,,stitch 7fig4 #bfd74--;,it requires great attention to work this stitch1 to and fro2 the easier way is to carry the thread back each time1 to the starting point4 ,illustration3 ,,fig4 #bfd4 ,,plait ,,stitch4 ,carry the thread from left to right1 over two horizontal threads1 and downwards under four perpendicular ones1 then under two threads1 from right to left1 as the figure indicates4 ,,stem ,,stitch 7fig4 #bfe74--;,here1 the stitches are worked in separate rows1 over four threads each way4 ,the working thread passes first under the two middle threads1 from right to left1 and then under the two upper ones4 ,illustration3 ,,fig4 #bfe4 ,,stem ,,stitch4 ,,leaf ,,stitch 7fig4 #bff74--;,carry the thread diagonally over two double threads each way1 and back under one double thread1 to the row whence the stitch started4 ,make rows of back-stitches in a different colour between the rows of long ones4 ,illustration3 ,,fig4 #bff4 ,,leaf ,,stitch4 ,,fish-,,bone ,,stitch 7fig4 #bfg74--,the difference between this and the preceding stitch is1 that the working thread after passing over three perpendicular and three horizontal threads1 is secured by a back-stitch over the last intersection of the canvas threads4 ,these back-stitches lean to the right or left1 according to the direction of the long stitches4 ,illustration3 ,,fig4 #bfg4 ,,fish-,,bone ,,stitch4 ,,diagonal ,,web ,,stitch 7fig4 #bfh74--,stretch diagonal threads across the whole surface you are going to embroider1 and secure them with rows of overcasting stitches1 set1 if you are working on ,penelope canvas1 between the double threads of the canvas4 ,in the next rows the stitches must be set the opposite way1 which produces the effect of diagonal or twilled cloth4 ,illustration3 ,,fig4 #bfh4 ,,diagonal ,,web ,,stitch4 ,,cashmere ,,stitch 7fig4 #bfi74--,to imitate this texture in needlework first make one stitch over one crossing of the canvas threads1 and then two stitches over two crossings4 ,illustration3 ,,fig4 #bfi4 ,,cashmere ,,stitch4 ,,florentine ,,stitch 7fig4 #bgj74--;,florentine stitch is worked in slanting lines1 the thread being carried1 diagonally first over one and then over two double threads of the canvas4 ,illustration3 ,,fig4 #bgj4 ,,florentine ,,stitch4 ,,mosaic ,,stitch 7fig4 #bga74--,the first row consists of one short and one long stitch1 alternately2 the second1 of short stitches only1 set between the long stitches of the first row2 the third row is a repetition of the first1 and so on4 ,illustration3 ,,fig4 #bga4 ,,mosaic ,,stitch4 ,,knotted ,,stitch 7fig4 #bgb74--;,carry the working thread over two threads in width and six in height1 bring the needle back1 four threads lower down1 in front of the double threads1 and insert it behind the preceding stitch1 and over the middle threads1 and then carry it down to the line of the stitches4 ,in the subsequent rows1 the stitches extend over four threads and encroach on two of the previous row1 so that the stitches of the second row lie between those of the first4 ,illustration3 ,,fig4 #bgb4 ,,knotted ,,stitch4 ,,star1 ,,or ,,smyrna ,,stitch 7fig4 #bgc74--,make a plain cross stitch over four threads1 each way1 and then over that1 another cross stitch1 standing upright4 ,the same stitch can be made over six or seven threads2 if you work over more than four threads1 it follows that you increase the number of stitches accordingly4 ,illustration3 ,,fig4 #bgc4 ,,star1 ,,or ,,smyrna ,,stitch4 ,,rococo ,,stitch 7figs4 #bgd1 #bge1 #bgf74--;,after fastening in your thread1 lay it over four single or two double threads1 as the case may be1 and carry the needle through to the left1 under one double thread2 then1 as fig4 #bgd shows1 bring it back over the first stitch1 put it in by the side of it1 and bring it out below1 under half the horizontal threads covered by the first stitch4 ,then make a stitch to the right1 similar to the one just made to the left4 ,illustration3 ,,fig4 #bgd4 ,,rococo ,,stitch4 ,,first ,,stitches ,,on ,,the ,,wrong ,,side4 ,when you have finished one stitch1 carry the needle under one thread1 in an oblique line1 to the next stitch1 see fig4 #bgc4 ,the whole pattern is worked in diagonal lines4 ,illustration3 ,,fig4 #bge4 ,,rococo ,,stitch4 ,,stitches ,,on ,,the ,,right ,,side4 ,illustration3 ,,fig4 #bgf4 ,,rococo ,,stitch4 ,,completed4 ,,parisian ,,stitch 7fig4 #bgg74--,this stitch1 though it is generally worked on silk canvas1 can also be worked on the different cotton and linen materials already referred to more than once in this ,encyclopedia4 ,it makes a very good grounding in cases where the material is not intended to be completely hidden4 ,it consists of a long stitch over three threads1 and a short stitch over one thread1 alternately4 ,illustration3 ,,fig4 #bgg4 ,,parisian ,,stitch4 ,,greek ,,stitch 7fig4 #bgh74--,this differs from the ordinary cross stitch1 in the oblique inclination given to the threads1 and the manner in which it is begun4 ,instead of taking up the two threads that follow the first stitch1 you bring your needle back from right to left1 under the vertical threads of the first stitch1 carry it downwards1 and then from right to left1 to a distance of four threads beyond the first stitch4 ,the next stitch is made like the first4 ,the rows may be joined together1 either by the short or the long stitches1 but you must follow one rule throughout4 ,this stitch is much used in ,slavonic countries1 for the adornment of linen garments1 and there we have observed that the short stitches are generally made to encounter the long ones4 ,a coarse material that covers the ground well1 such as1 ,coton tricoter ,d4,m4,c ,nos4 #f to #ab1 is the best one to use for this stitch4 ,illustration3 ,,fig4 #bgh4 ,,greek ,,stitch4 ,,scotch ,,stitch 7fig4 #bgi74--,squares1 composed of slanting stitches1 made over one1 three1 five1 three threads respectively1 and then again over one thread1 and separated from each other by rows of ,gobelin stitches1 constitute what is ordinarily known by the name of ,scotch stitch4 ,illustration3 ,,fig4 #bgi4 ,,scotch ,,stitch4 ,,moorish ,,stitch 7fig4 #bhj74--;,for this stitch1 instead of surrounding squares of stitches1 made in the way we have just described1 with ,gobelin stitch1 the squares are made to touch1 rising like steps one above the other1 and bordered only at the sides by ,gobelin stitch4 ,illustration3 ,,fig4 #bhj4 ,,moorish ,,stitch4 ,,oriental ,,stitch 7fig4 #bha74--;,here1 you make four diagonal stitches over one1 two1 three and four double threads respectively2 which four stitches form so many triangles1 one above the other4 ,the empty spaces between are filled up with ,gobelin stitches covering two threads4 ,illustration3 ,,fig4 #bha4 ,,oriental ,,stitch4 ,,shell ,,stitch 7fig4 #bhb74--;,carry your thread upwards over six horizontal threads1 then from right to left1 under one vertical thread and downwards over six horizontal ones4 ,when you have made four vertical stitches in this way1 bring the needle out behind the third double thread1 counted lengthways1 and between the third and fourth1 counted across1 and fasten the four long stitches together with a back-stitch1 to the middle thread of the canvas4 ,draw a thread of a different colour twice through these back-stitches1 so as to form small knots like shells1 and then fill in the ground between the rows of long stitches1 with back-stitches4 ,illustration3 ,,fig4 #bhb4 ,,shell ,,stitch4 ,,jacquard ,,stitch 7fig4 #bhc74--;,if you have a large plain surface to cover1 you should choose a stitch that forms a pattern in itself4 ,jacquard stitch and others which we shall describe later on1 will be found to produce the effect of brocaded stuff4 ,to work ,jacquard stitch1 make six stitches underneath one another1 over two double threads1 and six by the side of one another1 from left to right1 over two double threads4 ,the second row consists of the same number of stitches1 similarly worked downwards and to the side1 but over one double thread only4 ,illustration3 ,,fig4 #bhc4 ,,jacquard ,,stitch4 ,,byzantine ,,stitch 7fig4 #bhd74--;,here1 you make the same number of stitches as in the preceding figure but with this difference1 that the two rows of stitches are made either over two1 or four threads4 ,illustration3 ,,fig4 #bhd4 ,,byzantine ,,stitch4 ,,milanese ,,stitch 7fig4 #bhe74--;,in the first row1 the back-stitch is made alternately1 first over four diagonal crosses and then over one2 in the second row1 over three and two2 in the third1 over two and three1 in the fourth1 over one and four4 ,the last long stitches should come under the last short ones and the short ones1 in the middle of the last long ones4 ,illustration3 ,,fig4 #bhe4 ,,milanese ,,stitch4 ,,plush ,,stitch 7fig4 #bhf74--,this stitch1 also called ,astrachan stitch1 by means of which a very good imitation of an ,oriental rug can be produced1 consists of loops1 each secured by a cross stitch2 the best way to ensure these loops being even and regular is to make them over a narrow wooden ruler1 or a piece of whalebone4 ,the effect can be varied by cutting the loops1 which gives the surface the appearance of velvet4 ,illustration3 ,,fig4 #bhf4 ,,plush ,,stitch4 ,the illustration represents the middle loops only1 as cut1 for the cut and the uncut stitch can both be introduced into the same piece of embroidery4 ,for example1 the borders in figs4 #bij1 and #bia1 are worked in open or cut plush stitch1 whilst in the centres1 the stitch is left uncut4 ,two stitches of a similar kind1 called ,smyrna and ,malta stitch1 suitable for making rugs or carpets1 are described in the last chapter but one in the book4 ,,chain ,,stitch 7fig4 #bhg74--;,generally speaking1 this stitch is only used for the adornment of under-linen or small articles of fancy-work but it can also be employed in copying cross stitch patterns4 ,in old collections we often meet with very interesting pieces of needlework1 which were used for hangings or screens1 where the figure-subjects1 are executed in chain stitch4 ,patterns in many colours1 gain immensely by being worked in this stitch1 the colours blend together better than in any other1 and even the shape of the stitch contributes to soften the contrasts of colour4 ,chain stitch cannot1 like other stitches1 be worked to and fro1 nor can all the stitches of one row be finished first1 as is generally possible in cross stitch work1 each row must be begun separately1 and always from the same side1 and a different needle should be used for each colour1 as the material has often to be changed4 ,illustration3 ,,fig4 #bhg4 ,,chain ,,stitch4 ,the stitch is worked as follows2 after fastening in your thread1 insert the needle at the same hole it came out of1 and bring it out two threads lower down4 ,keep the loop1 formed by the working thread1 under the point of the needle4 ,the thread should not be drawn up tightly but left to form a rather loose1 round loop4 ,for the next stitches1 insert the needle close to the thread that issues from the last loop4 ,,pattern ,,for ,,borders ,,or ,,grounding 7fig4 #bhh74--,this simple but most effective design1 copied from one of the most beautiful of ,oriental carpets1 can be executed in1 either cross stitch1 plush stitch1 or chain stitch4 ,to make a wider border still1 the diagonal lines that divide the figures shaped like an ,s1 have only to be prolonged1 and the figures repeated4 ,the colours have been chosen with the view of reproducing as nearly as possible the subdued and faded tones1 which time has imparted to the original4 ,illustration3 ,,fig4 #bhh4 ,,pattern ,,for ,,borders ,,or ,,groundings4 ,,materials3 ,coton broder ,d4,m4,c ,nos4 #f to #ab1 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #ae1 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 or ,coton repriser ,d4,m4,c ,no4 #be4 ,,explanation ,,of ,,the ,,signs ,,prefixed ,,to ,,the ,,colours3 7symbol7 ,rouge-,cardinal #cdf1 7symbol7 ,rouge-,cornouille #ddi1 7symbol7 ,bleu-,indigo #caa1 and 7symbol7 ,bleu-,indigo #cbb1 7symbol7 ,gris-,cendre #dad1 7symbol7 ,bronze dor #ehe and 7symbol7 ,vert-,mousse #dgj4;,a ,,pattern ,,for ,,grounding 7fig4 #bhi74--;,diagonal lines1 intersected by balls1 serve here as a setting for quaintly shaped flowers and leaves4 ,the outlines are all worked in cross stitch1 and the solid parts1 in either tent stitch or ,gobelin stitch4 ,illustration3 ,,fig4 #bhi4 ,,pattern ,,for ,,grounding4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #af1 ,cordonnet #f fils ,d4,m4,c ,nos4 #e to #ae or ,coton broder ,d4,m4,c ,no4 #af4;,a ,,explanation ,,of ,,the ,,signs ,,prefixed ,,to ,,the ,,colours3 7symbol7 ,noir grand ,teint #caj1 7symbol7 ,jaune d',ocre #fgf1 7symbol7 ,violet-,mauve #cae1 7symbol7 ,rouge-,granium #cdi1 7symbol7 ,rouge-,aurore #cfj1 7symbol7 ,bleu-,indigo #cab1 7symbol7 ,bleu ple #ffh1 7symbol7 ,rouge-,cornouille #ddi1 7symbol7 ,vert-de-gris #dgd1 7symbol7 ,vert-de-gris #dge1 7symbol7 ,grounding4,a ,,part ,,of ,a ,,design1 ,,suitable ,,for ,,carpets 7figs4 #bij and #bia74 ,our space will not admit of our reproducing more than a quarter of this design4 ,colours of the softest shades should be selected for it4 ,a black line divides the pattern into four quarters4 ,the upper quarter on the right1 and the lower one1 on the left1 should be worked in blue1 and the upper one on the left1 copied from fig4 #bij4 ,illustration3 ,,fig4 #bij4 ,,part ,,of ,a ,,design ,,suitable ,,for ,,carpets4 ,,materials3 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 ,coton tricoter ,d4,m4,c ,nos4 #f to #ab1 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #aj1 or ,coton repriser ,d4,m4,c ,no4 #ab4 ,,explanation ,,of ,,the ,,signs ,,prefixed ,,to ,,the ,,colours3 7symbol7 ,noir grand ,teint #caj1 ,rouge-,grenat #ceh1 7symbol7 ,rouge-,cornouille #dej1 7symbol7 ,bleu-,indigo #caa and 7symbol7 ,bleu-,indigo #cbb1 7symbol7 ,vert mtallique #dfe1 7symbol7 ,gris-,noisette #dbd4;,a ,the narrow border1 in red1 blue and green1 is to be repeated after the broad band1 which is represented in fig4 #bia1 has been added to the grounding4 ,a very good effect is obtained1 if in the broad border1 fig4 #bia1 you vary the background of the different subjects4 ,illustration3 ,,fig4 #bia4 ,,outer ,,border ,,of ,,the ,,design ,,for ,,carpets ,,fig4 #bij4 ,,materials3 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 ,coton tricoter ,d4,m4,c ,nos4 #f to #ab1 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #ae1 or ,coton repriser ,d4,m4,c ,no4 #ab4;,a ,,explanation ,,of ,,the ,,signs ,,prefixed ,,to ,,the ,,colours3 7symbol7 ,noir grand ,teint #caj1 7symbol7 ,rouge-,grenat #ceh1 7symbol7 ,bleu-,indigo #caa1 7symbol7 ,vert mtallique #dfe1 7symbol7 ,jaune-vieil-,or #fgi1 7symbol7 ,gris-,noisette #dbd1 7symbol7 ,rouge-,cornouille #dej4;,a ,,linen ,,embroidery4--,the stitches used in linen embroidery are very similar to those used in canvas work4 ,the ordinary cross stitch1 as represented in fig4 #bec1 is the one most commonly used1 but it is not so effective as the two-sided stitches1 which in the beautiful old needlework of the #aeth1 #afth and #agth centuries1 have always excited our wonder and admiration4 ,,stuffs ,,suitable ,,for ,,linen ,,embroidery4--,most embroidery of this kind1 and more especially the ,italian1 is done on very fine linen4 ,such fine work however1 requires more time and patience than people1 in these days1 are as a rule disposed to bestow on work intended merely for pleasure and recreation4 ,to meet the requirements of the day1 therefore1 in addition to the finer kinds of linen1 a great variety of textures1 are now manufactured1 the threads of which1 being thick and round1 can be easily counted4 ,the cross stitches that are worked on ,cuba1 ,ceylon or ,batavia linen1 are large and coarse1 those on linen-canvas1 ,russian linen1 twisted tammy1 and ,rhodes linen1 small and fine4 ,linen fabrics are either white1 unbleached or cream-coloured4 ,all three are used for embroidery1 but the coloured cottons show up best on the cream ground2 on the white1 they look hard and crude1 and on the unbleached1 dull and faded4 ,,materials ,,suitable ,,for ,,linen ,,embroidery--,as most linen embroidery is executed on articles that are subjected to frequent washing1 the ,d4,m4,c cottons1 which are to be had in every shade and colour1 are the best for the purpose4 ,for coarse stuffs1 coarse cotton should be used1 such as knitting cotton1 ,coton tricoter ,d4,m4,c ,nos4 #f1 #h1 #aj1 #ab and #ad1;,a which will be found a very good substitute for wool2 or six-cord crochet cotton 7,cordonnet #f fils ,d4,m4,c7 ,nos4 #c1 #d1 #e1 #aj and #ae1;,a which gives quite as full and brilliant a stitch1 as silk-twist4 ,finer cottons should be used for the finer stuffs1 such as embroidery cotton 7,coton broder ,d4,m4,c7 ,nos4 #f to #bjj1;,a and lace thread 7,fil dentelle ,d4,m4,c7 ,nos4 #cj to #aej4;,a ,in many cases1 even darning cotton 7,coton repriser ,d4,m4,c7 can be used1 as like ,algerian silk1 it can be split or taken double1 to suit the stuff4 ,,plain ,,cross ,,stitch ,,on ,,auxiliary ,,canvas 7fig4 #bib74--,plain cross stitch1 commonly called marking stitch1 has already been described in fig4 #bec4 ,but it may be well to observe1 that when an auxiliary material is used1 it should be most carefully tacked upon the stuff following the thread of the same1 and a sufficient margin left to allow of the drawing out of the canvas threads1 when the work is finished4 ,illustration3 ,,fig4 #bib4 ,,plain ,,cross ,,stitch ,,on ,,auxiliary ,,canvas4 ,,two-,,sided ,,cross ,,stitch1 ,,worked ,,in ,,four ,,rows ,,of ,,stitches 7figs4 #bic1 #bid1 #bie74--,straight lines of cross stitch1 alike on both sides1 can be worked in two journeys to and fro4 ,working from left to right1 begin by fastening in your thread1 never with a knot1 but by two or three little running stitches1 which are hidden afterwards by your first cross stitch4 ,directing your needle to the right1 pass it diagonally over a double cross of the warp and woof of the canvas1 and so on to the end of the line4 ,having reached the last stitch1 draw out your thread in the middle of it1 make an auxiliary diagonal stitch downwards to the right1 bring the needle up in the middle of the last stitch1 take it thence1 upwards to the left1 across two threads1 and begin the return journey1 from right to left1 crossing and thus completing the first row of stitches4 ,in the auxiliary stitch with which you begin the backward journey1 the thread lies double on both sides4 ,fig4 #bie shows how to pass down to the next row4 ,illustration3 ,,fig4 #bic4 ,,first ,,half ,,of ,,the ,,first ,,journey ,,and ,,auxiliary ,,stitch ,,for ,,returning4 ,illustration3 ,,fig4 #bid4 ,,one ,,journey ,,and ,,first ,,half ,,of ,,the ,,second ,,finished1 ,,and ,,auxiliary ,,stitch ,,leading ,,to ,,the ,,second ,,return4 ,illustration3 ,,fig4 #bie4 ,,the ,,two ,,journeys ,,to ,,and ,,fro1 ,,completing ,,one ,,row ,,of ,,cross ,,stitch1 ,,both ,,sides ,,alike4 ,,two-,,sided ,,marking ,,stitch 7figs4 #bif and #big74 ,the above mode of working two-sided cross stitch cannot be applied to letters1 or patterns in broken lines1 which both consist chiefly of isolated stitches4 ,figs4 #bif and #big explain the course of the stitches in embroidery of this kind4 ,the working detail ,a1 ,fig4 #bif1 indicates the spot for the thread to enter the stuff1 and the position of the needle for the first and second stitches2 ,b1 the first two stitches completed1 with an auxiliary stitch to the right1 the thread drawn out on the right1 and the position of the needle for the fifth stitch that completes the cross2 ,g shows the completion of the stitch begun at ,b and the position of the needle for a second stitch to the right2 ,d1 one cross stitch completed and another begun1 immediately beneath ,a4 ,in fig4 #big1 ,e shows how to work stitches to the left2 ,f1 an auxiliary stitch to reach an isolated cross stitch on the right1 ,g1 auxiliary stitches between two isolated cross stitches1 and ,h1 a second and last auxiliary stitch to complete the cross4 ,it requires both practice and care to do this two-sided marking stitch1 so as not to disfigure the stuff by superfluous stitches4 ,illustration3 ,,fig4 #bif4 ,,two-,,sided ,,marking ,,stitch4 ,,different ,,positions ,,of ,,the ,,needle4 ,illustration3 ,,fig4 #big4 ,,two-,,sided ,,marking ,,stitch4 ,,different ,,positions ,,of ,,the ,,needle4 ,,cross ,,stitch ,,forming ,a ,,square ,,at ,,the ,,back 7figs4 #bih and #bii74--,many of the alphabets we so admire in old samplers are worked in cross stitch1 that forms a square at the back4 ,each stitch has to be finished off before another is begun2 if you carefully examine figs4 #bih and #bii1 which show severally the right and the wrong sides of the stitch1 you will find no difficulty in mastering it4 ,letter ,a1 fig4 #bif1 shows the entrance of the thread1 the position of the needle for half the cross stitch on the right side1 and the second side of the square at the back1 as shown in fig4 #bii1 ,a4 ,letter ,b1 fig4 #bih1 shows the cross stitch finished1 and the position of the needle for the third side of the square on the wrong side1 indicated by the same letter in fig4 #bii4 ,c1 in both figures1 indicates a stitch which is double on the right side1 and on the wrong side forms the fourth side of the square1 whilst letter ,d1 explains how to continue the stitches4 ,illustration3 ,,fig4 #bih4 ,,right ,,side ,,of ,,the ,,cross ,,stitch1 ,,forming ,a ,,square ,,at ,,the ,,back4 ,illustration3 ,,fig4 #bii4 ,,square ,,stitch ,,forming ,,the ,,back ,,of ,,the ,,cross ,,stitch4 ,,two-,,sided ,,italian ,,stitch 7figs4 #cjj1 #cja1 #cjb1 #cjc74--,two-sided ,italian stitch consists of cross stitches1 alike on both sides1 divided from each other by horizontal and vertical stitches4 ,the upper and lower stitches should all slope one way1 as in plain cross stitch4 ,italian stitch is worked in one journey1 to and fro4 ,fig4 #cjj shows how to fasten in the thread1 and place the needle for the first stitch1 from right to left2 fig4 #cja1 the position of the needle from left to right1 to form the cross at the back1 and the vertical stitch to the left1 on the right side2 fig4 #cjb1 the position of the needle1 for a two-sided horizontal stitch at the bottom of the cross1 where upon you proceed as in fig4 #cjj4 ,fig4 #cjc explains the return of the thread1 which completes the double crosses and the lines between4 ,the horizontal lines1 not made on the first journey1 are added on the way back4 ,in conclusion1 pass the needle back1 horizontally1 from left to right1 to make the final stitch over the cross1 and then make the stitch between1 as shown in fig4 #cjc4 ,on a thin stuff1 this stitch produces an extremely pretty effect1 resembling lattice-work1 provided the thread be tightly drawn in the working4 ,illustration3 ,,fig4 #cjj4 ,,two-,,sided ,,italian ,,stitch4 ,,introduction ,,of ,,the ,,thread ,,and ,,position ,,of ,,the ,,needle ,,for ,,the ,,first ,,stitch4 ,illustration3 ,,fig4 #cja4 ,,two-,,sided ,,italian ,,stitch4 ,,position ,,of ,,the ,,needle ,,for ,,the #b,,nd ,,and #c,,rd ,,stitches4 ,illustration3 ,,fig4 #cjb4 ,,two-,,sided ,,italian ,,stitch4 ,,position ,,of ,,the ,,needle ,,for ,,the #d,,th ,,and #e,,th ,,stitches4 ,illustration3 ,,fig4 #cjc4 ,,two-,,sided ,,italian ,,stitch4 ,,return ,,journey1 ,,which ,,completes ,,the ,,cross ,,stitch4 ,,montenegrin ,,cross ,,stitch 7figs4 #cjd1 #cje1 #cjf74--,the ,slavonic tribes of the southern districts of ,e4 ,europe1 especially the ,montenegrins1 have a great partiality for this stitch1 which has been rarely noticed1 hitherto1 in books on needlework4 ,the right side shows cross stitches with a double thread underneath1 and divided by vertical stitches2 the wrong side1 regular cross stitches1 also divided by vertical stitches4 ,coarse cotton should be used for this stitch2 it produces a richer effect and not only covers the stuff better1 but also the underneath stitch which in the ,slavonic work1 is entirely hidden by the cross stitches4 ,begin1 as letter ,a indicates1 with a long1 slanting stitch1 across #d and #h threads1 then1 bringing your needle back from right to left1 under four threads1 draw it out1 carry it over the first long stitch1 and insert it again from left to right1 under the first four threads of the canvas4 ,these four stitches finished1 proceed to the fifth and sixth1 which as ,b shows1 cross the first four1 then repeat the first stitch4 ,the threads that form the stitches on the wrong side1 should always be opposed to each other1 that is1 one cross should lean to the right1 the other to the left1 as shown in fig4 #cje4 ,this variation in the inclination of the stitches1 which is regarded as a fault in plain cross stitch1 is indispensable here1 and produces a charming effect on the wrong side4 ,illustration3 ,a ,b ,,fig4 #cjd4 ,,montenegrin ,,cross ,,stitch4 #a,,st1 #b,,nd1 #c,,rd1 #d,,th ,,and #e,,th ,,stitch ,,and ,,transversal ,,stitch ,illustration3 ,a ,b ,,fig4 #cje4 ,,montenegrin ,,cross ,,stitch4 ,,position ,,of ,,the ,,stitches ,,on ,,the ,,wrong ,,side4 ,illustration3 ,,fig4 #cjf4 ,,montenegrin ,,cross ,,stitch4 ,a ,,row ,,of ,,stitches ,,finished4 ,,plaited ,,algerian ,,stitch 7fig4 #cjg74--,the distinguishing feature of this stitch is1 that it only advances one thread at a time4 ,it should be begun on an uneven number of threads1 and like the ,montenegrin stitch1 should be worked with coarse cotton4 ,the rows may touch1 either at the top or at the bottom of the stitch1 so long as you keep to one plan throughout4 ,illustration3 ,,fig4 #cjg4 ,,plaited ,,algerian ,,stitch4 ,,two-,,sided ,,spanish ,,plaited ,,stitch 7figs4 #cjh and #cji74--,this stitch has the advantage of being1 not only very effective1 but also very quickly executed4 ,it is worked in two rows1 forwards and backwards4 ,all cross stitch patterns can be worked in ,spanish stitch4 ,the gaps1 which are occasioned by the long stitches1 have to be filled in with short ones4 ,in itself1 the stitch consists of slanting stitches1 three threads a part1 alike on both sides1 and advances three threads at a time1 as shown in figs4 #cjh and #cji4 ,illustration3 ,,fig4 #cjh4 ,,two-,,sided ,,plaited ,,spanish ,,stitch4 ,illustration3 ,,fig4 #cji4 ,,two-,,sided ,,plaited ,,spanish ,,stitch4 ,,two-,,sided ,,line ,,stitch 7figs4 #caj and #caa74--,square stitch1 ,holbein stitch1 line1 or stroke stitch1 as it is sometimes called1 and setting stitch1 are all worked on one principle4 ,though all these two-sided stitches are related to each other1 and by no means difficult of execution1 those new to the work will find a little practice necessary1 to make the stitches follow in their proper order4 ,fig4 #caj explains how the needle has to pass1 alternately1 step by step1 over and under the threads of the stuff1 and fig4 #caa1 how the threads1 left blank the first time1 are covered on the way back4 ,the great difficulty is how to place your first row of stitches so as to ensure an unbroken course back4 ,it is as well before setting out1 to ascertain clearly the most direct course back1 so that you may not come to a stand-still1 or be obliged to make unnecessary stitches on the wrong side4 ,if you have to pass obliquely across the stuff1 as in patterns figs4 #cbf1 #cbg1 #cbh1 #cbi1 #cca and #ccc1 proceed in the same way as though you were covering the straight threads of a fabric4 ,illustration3 ,,fig4 #caj4 ,,two-,,sided ,,line ,,stitch4 ,,forward ,,row4 ,illustration3 ,,fig4 #caa4 ,,two-,,sided ,,line ,,stitch4 ,,backward ,,row4 ,,two-,,sided ,,insertion 7figs4 #cab1 #cac1 #cad1 #cae1 #caf1 #cag1 #cah74--,we conclude this series of stitches with a description of a pretty1 two-sided insertion1 suitable for joining stripes of work of different widths together4 ,in pieces of old needlework1 we often find handsome1 coloured patterns1 joined together by a piece of lace or some quite different kind of work4 ,the insertion represented in fig4 #cag1 is a very good substitute for either4 ,fig4 #cab explains the first stitch and the course of the second1 from left to right1 under #c vertical and #c horizontal threads2 the #crd stitch to the left1 over #f vertical threads1 and the beginning of the #dth stitch4 ,fig4 #cac shows the #dth stitch completed1 and the direction the #eth and #fth stitches have to take2 fig4 #cad1 the #fth completed1 and the position of the needle for the #gth and #hth2 fig4 #cae1 the #ith lower1 horizontal stitch1 over #f vertical threads1 the #ajth backward stitch1 and the position of the needle for the #aath and last stitch4 ,fig4 #cag represents a whole series of stitches1 and fig4 #cah1 the back of the work1 which though quite a different pattern1 will combine very well with any two-sided embroidery4 ,illustration3 ,,fig4 #cab4 ,,two-,,sided ,,insertion4 ,,first ,,detail4 ,illustration3 ,,fig4 #cac4 ,,two-,,sided ,,insertion4 ,,second ,,detail4 ,illustration3 ,,fig4 #cad4 ,,two-,,sided ,,insertion4 ,,third ,,detail4 ,illustration3 ,,fig4 #cae4 ,,two-,,sided ,,insertion4 ,,fourth ,,detail4 ,illustration3 ,,fig4 #caf4 ,,two-,,sided ,,insertion4 ,,fifth ,,detail4 ,these insertions can be worked on any stuff1 but the stitches1 must be done1 both ways1 on a number of threads1 divisible by #c4 ,thus1 the first stitch may cover #f1 #i1 or #ab threads1 but never #h1 #aj1 #ab or #ad4 ,transcriber's note3 #ab1 here1 appears to be an error in the original4 ,illustration3 ,,fig4 #cag4 ,,two-,,sided ,,insertion4 ,,row ,,of ,,stitches ,,finished4 ,illustration3 ,,fig4 #cah4 ,,two-,,sided ,,insertion1 ,,showing ,,the ,,back ,,of ,,fig4 #cag4 ,,gothic ,,borders ,,in ,,gobelin ,,and ,,cross ,,stitch 7figs4 #cai and #cbj74--,we are indebted for both these pretty patterns1 which are quite ,gothic in their character1 to a visit we paid to the national museum at ,munich1 where we discovered them amongst a heap of other old valuables1 lying un-heeded in a remote corner4 ,their simple graceful outlines render them peculiarly suitable for the decoration of table-cloths1 counterpanes1 curtains1 etc4 ,all embroideries of this kind should be finished off with a deep fringe1 made in the stuff itself1 or knotted on to it or may be trimmed with a heavy thread lace1 of a wide width1 corresponding with the work in character4 ,the design may be worked either in one shade1 as in fig4 #cai1 or in two1 as in fig4 #cbj1 where all the outside stitches are worked in the darker shade of the given colours4 ,illustration3 ,,fig4 #cai4 ,,gothic ,,border ,,in ,,cross ,,stitch4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #ab1 ,coton broder ,d4,m4,c ,nos4 #af to #ce1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #ae4;,a ,,colours3 ,rouge-,turc #cba1 or two shades of ,bleu-,indigo1 #caa and #ccd1 or two shades of ,rouge-,grenat1 #ceh and #cei or two shades of ,brun-,acajou1 #cjj and #djb4;,a ,illustration3 ,,fig4 #cbj4 ,,gothic ,,border ,,in ,,cross ,,stitch4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #af to #ce4 ,,colours3 ,bleu-,indigo #caa and #cdd1 or ,rouge-,cardinal #cdf and ,rouge-,granium #cce1 or ,gris-,tilleul #cia and #cca4;,a ,,powdering ,,and ,,border4 ,,albanian ,,subjects 7figs4 #cba and #cbb74--,the arrangement of colours for these charming patterns1 of ,albanian origin1 should be as follows2 the dark-coloured crosses1 red1 the lighter ones1 alternately blue and green1 the lightest1 yellow4 ,illustration3 ,,fig4 #cba4 ,,powdering4 ,,albanian ,,subject4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #ab1 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #be or ,coton repriser ,d4,m4,c ,no4 #ab1 #be or #ej4;,a ,,colours3 ,rouge-,cardinal #cdg1 ,bleu-,indigo #cbb1 ,vert mtallique #dfe1 ,jaune-,orange #ddd1 ,gris-,brun #dji4;,a ,in fig4 #cba1 most of the stitches in every other diagonal row1 are worked in red1 the others in green or blue2 in the intermediate rows the flowers are worked alternately1 in green and red1 or blue and red1 and throughout1 the centre of each figure should consist of #d stitches in yellow4 ,illustration3 ,,fig4 #cbb4 ,,albanian ,,subject4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #ab1 ,coton broder ,d4,m4,c ,nos4 #af to #ce or ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #be4;,a ,,colours3 ,rouge-,cardinal #cdg1 ,bleu-,indigo #cab1 ,jaune-,orange #ddd1 ,vert mtallique #dfe1 ,gris-,brun #dji4;,a ,in fig4 #cba1 which serves as a border to the above1 only the stalks of the #d conventional pinks1 which1 with the cross in their middle1 form a square1 are in brown4 ,these squares are separated from the bottom border by an insertion1 in ,gobelin stitch1 worked over #f threads1 in red1 blue1 green and yellow1 from #bj to #be stitches of each4 ,this band is edged on both sides with a row of stem stitches1 worked in yellow over #d threads4 ,the ,holbein stitches that border the band1 can be made in whichever colour the worker prefers1 or else in red and gold thread4 ,,borders ,,in ,,stroke ,,stitch 7figs4 #cbc1 #cbd1 #cbe74--,these three patterns will give our readers an opportunity of perfecting themselves in two-sided1 square stitch 7see figs4 #caj and #caa71 also called stroke1 or line stitch1 according as it is worked1 in oblique1 or straight rows4 ,illustration3 ,,fig4 #cbc4 ,,border ,,in ,,stroke ,,stitch4 ,,materials3 ,coton marquer ,d4,m4,c ,nos4 #e to #bjj4;,a ,,colours3 ,rouge-,turc #cba or ,bleu-,indigo #cab4;,a ,illustration3 ,,fig4 #cbd4 ,,border ,,in ,,stroke ,,stitch4 ,,materials3 ,coton repriser ,d4,m4,c ,no4 #ej4;,a ,,colours3 ,vert-,pistache #cai1 or ,vert-,mousse #dgj4;,a ,illustration3 ,,fig4 #cbe4 ,,insertion ,,in ,,stroke ,,stitch4 ,,materials3 ,coton broder ,d4,m4,c ,nos4 #af to #fj4;,a ,,colours3 ,rouge-,turc #cba1 or ,rouge-,grenat #cji1 or ,bleu-,indigo #caa4;,a ,we again recommend our readers1 to begin by ascertaining the course the stitches should take1 in order to avoid all unnecessary stitches and be sure of finding their way back according to the prescribed rule4 ,,corners ,,in ,,stroke ,,stitch 7figs4 #cbf and #cbg74--,these pretty little patterns are suitable for the decoration of ladies' and children's collars1 fine pocket-handkerchiefs and finger napkins1 and can be worked in one or two colours1 as preferred4 ,if two colours be used1 the darker should be taken for the interior1 the lighter for the narrow outside edge4 ,illustration3 ,,fig4 #cbf4 ,,fig4 #cbg4 ,,corners ,,in ,,line ,,stitch4 ,,materials3 ,coton broder ,d4,m4,c ,nos #ce to #bjj or ,fil dentelle ,d4,m4,c ,nos4 #be to #gj4;,a ,,colours3 ,bleu-,indigo1 or ,rouge-,cardinal1 or ,brun-,caroubier1 or ,violet-,lie-de-vin4,a ,,stripe ,,in ,,stroke ,,stitch 7fig4 #cbh74--,this is copied from a piece of ,italian work1 though from a resemblance in the different subjects to the rose1 thistle and shamrock1 if might have been supposed to be of ,english origin4 ,the original work was executed in a most brilliant purple red which time has toned down to the colour of ,jaune-,rouille #cjh1 or ,brun-,cuir #dcb1 one or other of which we recommend1 as being the only colours with which any thing approaching the refined distinguished look of the old embroidery1 can be given to the new4 ,illustration3 ,,fig4 #cbh4 ,,stripe ,,in ,,stroke ,,stitch4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #ej1 ,coton broder ,d4,m4,c ,nos4 #af to #ce1 or ,coton repriser ,d4,m4,c ,no4 #ab1 #be or #ej4;,a ,,colours3 ,jaune-,rouille #cjh1 or ,jaune-vieil-,or #fhj4;,a ,,grounding ,,in ,,diagonal ,,lines 7fig4 #cbi74--,this pattern can be worked1 in any of the previous stitches1 or in back-stitch4 ,it is only suitable for large surfaces1 on account of the diagonal lines1 and should be worked1 all in one colour4 ,it can be varied by adding sprays to the upper sides of the slanting stalks1 like those on the lower sides1 turned either the same way1 or upwards4 ,skilled workers will readily contrive the middles for themselves1 by combining the different subjects and putting them together in various positions1 either diagonally or at right angles to each other1 with the help of the ,penelope mirror4#b ,illustration3 ,,fig4 #cbi4 ,,grounding ,,in ,,diagonal ,,lines4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #af1 or ,coton broder ,d4,m4,c ,nos4 #af to #ajj4 ,,colours3 ,bleu-,indigo #cbb1 or ,rouge-,cardinal #cdg4 ,,powdering ,,in ,,cross1 ,,stroke ,,and ,,star ,,stitch 7fig4 #ccj74--,this charming combination of cross1 stroke and star stitches1 can be made use of wherever embroidery is available as a means of decoration4 ,the cross stitches1 in which the solid parts of the pattern are worked1 should be in one colour only1 the stroke and star stitches1 in ,chin d'or ,d4,m4,c4,a ,illustration3 ,,fig4 #ccj4 ,,powdering ,,in ,,cross1 ,,stroke ,,and ,,star ,,stitch4 ,,materials3 ,coton repriser ,d4,m4,c ,no4 #ej and ,chin d'or ,d4,m4,c4,a ,,colours--,for the ,cotton3 ,rouge-,grenat #cbf4--;,for the ,chin3 ,bleu-,indigo and gold4,a ,,border ,,in ,,greek ,,stitch 7fig4 #cca74--;,all the darker lines here1 should be worked in black1 colour #dgc1 the leaves in the form of steps1 alternately in light and dark red up to the stalks1 the line of demarcation being indicated by the different direction of the stitches1 so that two light leaves1 and two dark leaves1 should always face each other4 ,illustration3 ,,fig4 #cca4 ,,border ,,in ,,greek ,,stitch4 ,,materials3 ,coton broder ,d4,m4,c ,nos4 #af to #be1 or ,coton repriser ,d4,m4,c ,nos4 #ab to #ej4 ,,colours3 ,rouge-,granium #cdi and #cea1 ,jaune-,rouille #cfd1 ,bleu de ,france #cda1 ,bleu ple #ffh1 ,noir-,vert #dgc1 ,or fin ,d4,m4,c pour la broderie ,no4 #cj and ,chin d'or ,d4,m4,c ,no4 #cj4 ,in the original1 the cross bars that unite the leaves1 are in yellow1 whilst the detached figures that separate them1 are worked1 those that come between the light red leaves1 in pale blue1 and those between the dark red ones1 in gold thread4 ,the exterior part of the figure is filled in with the different colours1 indicated above2 with the exception of the small squares in ,gobelin stitch1 which should all be worked in plain gold1 or ,chin d'or ,d4,m4,c1 green and gold4 ,the ,,ss in the narrow outside border1 should be worked in two shades of blue2 the outside stitches in colour #cda and the solid parts in colour #ffh4 ,the little figures with the transverse bars that unite the ,,ss1 should be set in black1 and filled in1 alternately1 in light and dark red1 and in yellow4 ,,grounding 7fig4 #ccb74--,this grounding was copied from a beautiful old cushion-cover and will be found particularly useful in the confection of small embroidered articles1 because the pattern will always form a centre point in itself4 ,a light1 brilliant red1 such as either of the two colours indicated beneath the figure1 will best reproduce the tone of the original4 ,illustration3 ,,fig4 #ccb4 ,,grounding4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #aj1 or ,coton broder ,d4,m4,c ,nos4 #af to #ajj4;,a ,,colours3 ,rouge-,cardinal #hjd1 or ,rouge-,cornouille #dej4;,a ,in making the little stars that connect the different squares1 the mode we recommended for working stroke stitch should be adopted1 that is1 beginning1 by bringing the needle out in the middle1 making #g stitches1 and at the eighth1 carrying the needle back under the first1 to the spot whence you started4 ,the stitches will then be alike on both sides4 ,,wallachian ,,border 7fig4 #ccc74--;,a piece of ,wallachian needlework1 executed on rough linen1 and uncommon1 both in colour and design1 suggested the charming embroidery1 here represented4 ,in place of the somewhat violent colours1 which indicate an undeveloped taste1 we have substituted softer and more refined ones4 ,all the stroke stitches of the middle stripe and of the two border stripes1 top and bottom1 as well as the darker portions of the small dice1 subdivided into eight1 in the bottom border1 and of the small diagonal squares in the top border1 worked in ,gobelin stitch1 are in red1 colour #cdf4 ,the setting of upright stroke stitches round the large centre figures1 as well as the straight lines that divide these same figures into four1 are worked in yellow1 colour #fhj4 ,illustration3 ,,fig4 #ccc4 ,,wallachian ,,border4 ,,gobelin ,,stitch1 ,,stroke ,,stitch ,,and ,,spanish ,,half-,,stitch4 ,,materials4--,for ,rhodes linen ,no4 #a3 ,cordonnet #f fils ,d4,m4,c ,no4 #ae1 and ,or fin ,d4,m4,c pour la broderie ,no4 #cj4--;,for other stuffs3 ,coton tricoter ,d4,m4,c ,nos4 #f to #af1 or ,coton repriser ,d4,m4,c ,no4 #ab1 #be or #ej and ,or fin ,d4,m4,c4,a ,,colours3 ,rouge-,cardinal #cdf1 ,rouge-,granium #cbf1 ,vert-,pistache #cai and ,jaune-vieil-,or #fhj4;,a ,the squares and the half-squares are worked in colour #cbf1 green #cai1 and gold thread2 colour #cbf is indicated in the illustration by the darkest shade1 green #cai1 by the medium shade1 and the gold thread by the lightest shade4 ,the stitches in the right bottom quarter and top left one1 incline upwards from left to right1 in the two other quarters they incline the contrary way4 ,the ,spanish half-stitch as shown in fig4 #cji1 can only be done over #d and #b threads and worked one way1 not to and fro4 ,the general effect is very much heightened by the introduction of one or two rows of stitches1 worked in gold thread1 into the straight lines on either side of the stripes2 all the light parts of the design moreover1 should be worked in gold thread4 ,,borders ,,in ,,several ,,shades ,,of ,,one ,,colour 7figs4 #ccd and #cce74 ,in some beautifully embroidered ,chinese hangings1 that latterly came under our notice1 the principal subject was the figure of a mandarin1 in a very richly decorated dress4 ,the pretty pattern1 given in fig4 #ccd1 was copied from the collar and cuffs of this dress4 ,we should advise working it in several shades of pink or red1 or in a single one of the colours indicated above4 ,illustration3 ,,fig4 #ccd4 ,,border ,,in ,,several ,,shades ,,of ,,one ,,colour4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #ab to #bj1 ,coton broder ,d4,m4,c ,nos44 #af to #ce or ,coton repriser ,no4 #ab1 #be or #ej4 ,,colours3 ,three shades of either ,bleu-,indigo1 ,rouge-,grenat1 or ,violet-,mauve etc4 etc4 ,illustration3 ,,fig4 #cce4 ,,border ,,in ,,several ,,shades ,,of ,,one ,,colour4 ,the border of these hangings furnished us with pattern #cce1 which will be found to look best1 worked in three very distinct shades of blue4 ,the grotesque heads of animals1 and the flowers and branches which break the running pattern1 and are a ,chinese speciality1 distinguish this design from the more conventional patterns of the present day4 ,we recommend these two pretty patterns1 to our readers notice1 as likewise adaptable by transposition1 to centres1 or by repetition1 to broad stripes4 ,with very little trouble they can be converted1 into a variety of subjects1 such as it is often difficult to find ready made1 and exactly suited to the purpose in hand4 ,,border ,,in ,,greek ,,stitch ,,with ,a ,,footing1 ,,composed ,,of ,,branches 7fig4 #ccf74--,this design can be worked in ,greek1 ,slavonic1 ,montenegrin1 or plaited ,algerian stitch4 ,our illustration worked in ,greek stitch1 shows how one stitch encroaches upon another1 and how the thread is carried from one isolated stitch1 to another4 ,illustration3 ,,fig4 #ccf4 ,,border ,,in ,,greek ,,stitch ,,with ,a ,,footing1 ,,composed ,,of ,,branches4 ,it will be found to be an improvement if the stitches are so made as to follow the direction of the lines4 ,the central subject may be repeated two or three times1 according to the width of border required4 ,the edging is the same throughout4 ,the use of the #8,penelope mirror' for repeating patterns is described in the concluding chapter of the book4 ,,table-,,cover ,,in ,,gobelin ,,and ,,stroke ,,stitch 7figs4 #ccg1 #cch1 #cci1 #cdj74--,this tasteful little table-cover provides excellent practice in working two sided1 square stitch4 ,the square represented in fig4 #cci1 forms the middle of the cloth4 ,the ,gobelin stitches1 set very closely1 unite and form a star in the centre of the principal subject4 ,they begin in the corners1 in red and continue in green1 violet and blue1 successively2 the little branches in stroke stitch1 on each side of the ,gobelin stitches1 correspond with them in colour1 and the small figures1 that form the border of the square1 may be worked1 indiscriminately1 in any of the colours used for the ,gobelin stitches of the centre4 ,four branches run inwards from the corners of the square1 and four more advance to meet1 and pass them1 from the inner angles of the wide border4 ,four figures1 copied from the outside border1 fig4 #cci1 and worked in yellow1 and the little star1 fig4 #ccg1 besides the little subjects1 borrowed from the outside border1 fig4 #cch1 are strewn lightly over the foundation1 interspersed between the branches4 ,in fig4 #cdj1 nevertheless1 which represents the whole table-cover1 the edge is formed of the small subjects contained in the wide border and not of the little stars4 ,the ,gobelin stitches in the centre of fig4 #ccg1 are in dark green1 the star stitches and the stroke stitches on the outside in red4 ,the wide border consists of stars1 every other row of which1 is worked in red2 the intermediate rows1 successively1 in blue1 green1 and yellow4 ,the corners are composed of four detached stars1 framed by a row of stroke stitches1 one red and one blue1 alternately4 ,this line skirts both sides of the border1 and forms the base to the quaint figures1 that terminate the design and which can be worked in all the colours used for the inside4 ,illustration3 ,,fig4 #ccg4 ,,small ,,detached ,,subject ,,of ,,fig4 #cdj4 ,illustration3 ,,fig4 #cch4 ,,outer ,,border ,,of ,,fig4 #cdj4 ,illustration3 ,,fig4 #cci4 ,,middle ,,of ,,fig4 #cdj4 ,the original of our illustration1 which is on fine ,rhodes linen1 in ,coton broder ,d4,m4,c ,no4 #be1 is only a small table-cover2 for a larger one1 if you wish strictly to adhere to the pattern1 ,java or ,ceylon linen will be the best material to select1 with ,coton tricoter ,d4,m4,c ,no4 #ab1 for the stroke stitches and ,coton repriser ,no4 #be for the ,gobelin stitches4 ,illustration3 ,,fig4 #cdj4 ,,table-,,cover ,,in ,,gobelin ,,and ,,stroke ,,stitch4 ,,materials4--,according to the stuff3 ,coton tricoter ,d4,m4,c ,nos4 #f to #af1 ,coton broder ,d4,m4,c ,nos4 #af to #ce1 ,coton repriser ,d4,m4,c ,nos4 #ab1 #be1 #ej1 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #bj4;,a ,,colours3 ,rouge-,cornouille #dej1 ,vert-,pistache #cai1 ,violet-,lie-de-vin #cgb1 ,jaune-,rouille #cfd1 ,bleu-,indigo #cbb4;,a ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,insertion--,,plain ,,stitches ,,and ,,overs ,knitting4 ,knitting is one of the earliest forms of needlework1 and one1 which has been carried to the highest perfection4 ,it would be difficult to invent new stitches or patterns and1 we shall therefore confine ourselves to describing the stitches in general use1 and reproducing those of the old patterns we consider the most useful1 that our readers may make their own selection4 ,in former days1 knitting served mainly for the manufacture of stockings1 and even now1 in spite of machines1 hand-knit stockings1 and numberless other useful and ornamental articles1 such as shawls1 counterpanes1 cradle-coverings1 gloves1 laces etc4 are in great request4 ,besides its practical use1 knitting is an easy and pleasant pastime that can be taken up at odd minutes and even carried on1 whilst talking1 or reading4 ,knitting consists of loops1 or stitches1 as they are generally called1 formed by means of a thread and two needles4 ,in round knitting1 four1 or five needles are necessary for the better handling of the work4 ,through the loops formed in knitting1 being connected together in unbroken continuity1 a very elastic fabric is produced1 which is specially suitable for making warm1 and closely-fitting wearing-apparel4 ,,materials4--,threads with a slight twist1 such as ,coton tricoter ,d4,m4,c1 are the best4 ,with regard to the thickness of the needles1 whether they be of steel1 wood1 or bone1 your choice must be determined by the quality of the thread used4 ,the accompanying table is intended to help inexperienced knitters to match their needles and thread1 we advisedly say1 help1 as it is impossible exactly to determine the numbers that will correspond1 because every hand knits differently1 and a loose knitter has to use finer needles than a tight knitter4 ,other materials are enumerated here1 besides1 what is properly speaking1 called knitting-cotton1 as for caps1 lace edgings1 insertions and so forth1 finer kinds of thread and threads with a stronger twist which show up the pattern better1 should be used4 ,illustration3 ,,table ,,of ,,the ,,approximate ,,relation ,,of ,,the ,d4,m4,c ,,threads ,,and ,,cottons ,,to ,,the ,,numbers ,,of ,,the ,,knitting ,,needles4,a ,,position ,,of ,,the ,,hands ,,in ,,knitting 7fig4 #cda47--,lay the thread over the fifth finger of the right hand1 and twist it round it1 then carry it over the forefinger1 which should be kept close to the work1 the work being held between the third finger and the thumb4 ,the left hand remains more or less inactive1 having merely1 by a slight movement of the forefinger to pass the loops1 in succession1 on to the needle in the right hand1 which forms the stitches4 ,this position of the hands1 which is the one usually adopted in ,england and ,france1 is the one represented in our illustration4 ,the ,germans on the contrary1 lay the thread over the left hand1 and can move the hands much more quickly1 in consequence4 ,there are some ways of casting on1 which can only be done in the ,german fashion4 ,to prevent the irregularity in stitches1 the needles should never be allowed to protrude more than #a or #a c_/m1 from the work4 ,all exaggerated movement of the arms1 which renders knitting a very tiring occupation1 should be avoided4 ,illustration3 ,,fig4 #cda4 ,,position ,,of ,,the ,,hands ,,in ,,knitting4 ,,casting ,,on4--,casting1 or1 setting on1 as it is sometimes called1 is the formation of the first row of stitches which are to constitute the foundation of the work4 ,there are four methods of casting on3 7#a7 crossed casting on1 done in four different ways2 7#b7 knitting on2 7#c7 slipping on1 also done in two ways2 7#d7 casting on with picots4 7#a7 ,,crossed ,,casting ,,on ,,with ,a ,,single ,,thread 7fig4 #cdb74 ,lay the thread over your fingers as though you were beginning a chain of plain stitches1 fig4 #djc1 leaving a long end1 sufficient to make the number of stitches required1 lying within the palm of the hand4 ,put the needle in from below1 into the loop on the thumb1 and pass it from right to left under that part of the thread which lies between the forefinger and the thumb4 ,then bring the thread through the loop on the thumb1 draw the thumb out1 and lay the loop on the needle4 ,in making the next stitches1 lay the thread over the thumb1 so that the end lies outside4 ,put in the needle under the front thread and complete the stitch as before4 ,this method of casting on is generally done over two needles1 one of them being drawn out before the knitting-off is begun1 to ensure a loose edge4 ,illustration3 ,,fig4 #cdb4 ,,crossed ,,casting ,,on ,,with ,a ,,single ,,thread4 ,,crossed ,,casting ,,on ,,with ,a ,,threefold ,,thread4--,this method is similar to the last1 only that the thread is taken threefold and is drawn by the needle through the loop1 which is formed at the bend of the thread4 ,then you pass the single thread over the left hand1 and the triple one over the thumb1 as shown in fig4 #cdb1 and make the same stitches1 as above4 ,the threefold thread makes a broad chain at the bottom of the loops4 ,,double ,,crossed ,,casting ,,on 7fig4 #cdc74--,this can be done either with a single or a threefold thread4 ,in our drawing it is done with the latter4 ,the first stitch is made as we have already described1 only that you have to keep the loop on your thumb1 put the needle into it a second time1 lay hold of the thread behind1 cast on a second stitch1 and then only1 withdraw your thumb4 ,in this manner two loops are made at once1 close together4 ,illustration3 ,,fig4 #cdc4 ,,double ,,crossed ,,casting ,,on4 ,,crossed ,,casting ,,on1 ,,forming ,a ,,chain 7fig4 #cdd47--;,begin by making one such stitch1 as we have described in fig4 #cda2 for the second and following stitches1 bring the end of the thread to the inside of the palm of the hand1 so that it lies between the thumb and the forefinger4 ,illustration3 ,,fig4 #cdd4 ,,crossed ,,casting ,,on1 ,,forming ,a ,,chain4 7#b7 ,,knitting ,,on ,,stitches 7fig4 #cde74--;,begin with a plain crossed stitch2 then take the thread and the needle in the left hand1 a second needle in the right1 and catch it into the stitch on the left needle1 lay the thread under the right needle and draw it through in a loop1 through the loop on the left needle4 ,then transfer it as a fresh stitch to the left needle2 catch the needle into this second stitch1 and draw the thread through it1 to form the third1 and so on4 ,this method of casting on is used for articles1 that are to have a double edge1 7see figs4 #cee1 #cef71 because stitches1 made in this way1 are easier to pick up than the tighter ones2 but it should not be used1 where it will form the actual edge1 as the loops are always too open4 ,illustration3 ,,fig4 #cde4 ,,knitting ,,on ,,stitches4 7#c7 ,,casting ,,on ,,with ,,slip ,,loops 7fig4 #cdf74--;,begin by casting on one loop in the ordinary way1 next1 lay the thread1 as in ,german knitting1 over the left hand1 twisting it once only round the forefinger1 then put the needle in1 upwards from below1 under the thread that lies on the outside of the forefinger2 draw out the finger from the loop1 put the loop on the needle to the right1 take the thread on the forefinger again1 and so on4 ,illustration3 ,,fig4 #cdf4 ,,casting ,,on ,,with ,,slip ,,loops4 ,,casting ,,on ,,with ,,double ,,slip ,,loops 7fig4 #cdg74--;,begin by casting on a stitch in the ordinary way1 then lay the thread over the forefinger1 the reverse way1 so that it crosses between1 not outside the hand and the body of the knitter4 ,pass the needle upwards from below1 under the inside thread1 and slip this thread as a loop on to the needle4 ,continue to cast on1 inserting the needle under the front and back threads alternately4 ,this method is specially suitable for open patterns1 where you have to increase several times1 in succession4 ,illustration3 ,,fig4 #cdg4 ,,casting ,,on ,,with ,,double ,,slip ,,loops4 7#d7 ,,casting ,,on ,,with ,,picots 7fig4 #cdh74--;,cast on two stitches in the ordinary way and turn the work4 ,lay the thread over the needle1 put the needle into the first stitch1 from right to left1 and slip it on to the right needle1 knit off the second stitch plain1 and draw the slipped one over it4 ,illustration3 ,,fig4 #cdh4 ,,casting ,,on ,,with ,,picots4 ,cast on as many stitches as you want in this manner and then pick up the picots thus formed1 with an auxiliary needle1 and knit them off like ordinary stitches4 ,this method of casting on may be varied thus in the following manner3 having cast on the stitches as in fig4 #cdh1 throw the thread over the needle and knit two stitches together4 ,,plain ,,stitch 7fig4 #cdi74--,this is the easiest stitch and the first which a knitter has to learn4 ,it is executed as follows3 ,put the right-hand needle in1 upwards from below1 under the front part of the first stitch on the left-hand needle1 lay the thread from right to left under the needle1 draw it through the loop1 and drop the loop off the left needle4 ,illustration3 ,,fig4 #cdi4 ,,plain ,,stitch4 ,plain knitting is employed wherever a perfectly smooth1 even surface is required4 ,it looks quite differently on the wrong side from what it does on the right where it presents the appearance of vertical rows of plaiting4 ,,back1 ,,or ,,seam-,,stitch 7fig4 #cej74--,you may intentionally knit the wrong side of plain knitting4 ,this is called purling and is done1 in the following way3 lay the thread over the left needle1 and put the right one1 downwards from above1 behind the thread1 into the loop on the left needle1 lay the thread upwards from below1 over the right needle1 draw it through the loop1 and drop the loop off the left needle4 ,this stitch is used in knitting patterns1 and for marking horizontal lines in smooth surfaces1 such as the seam of a stocking1 for instance4 ,illustration3 ,,fig4 #cej4 ,,back ,,or ,,seam-,,stitch4 ,,plain ,,stitch ,,taken ,,from ,,behind 7fig4 #cea74--,put the needle in from right to left1 under the back part of the stitch2 leave the thread behind the needle1 then pass it from right to left over the needle and draw it through the stitch4 ,illustration3 ,,fig4 #cea4 ,,plain ,,stitch ,,taken ,,from ,,behind4 ,,back1 ,,or ,,seam-,,stitch ,,taken ,,from ,,behind 7fig4 #ceb74--,put the needle into the second part of the stitch1 upwards from below1 and knit it as a back or seam-stitch4 ,illustration3 ,,fig4 #ceb4 ,,back ,,or ,,seam-,,stitch ,,taken ,,from ,,behind4 ,in plain stitch1 taken from behind1 the two threads of the loop are crossed1 instead of lying side by side1 as they do in plain knitting4 ,back-stitch taken from behind1 is only used for certain open-work patterns4 ,,overs 7fig4 #cec74--,these form holes in plain knitting1 and are used for open-work patterns and for increasing4 ,illustration3 ,,fig4 #cec4 ,,overs4 ,to make an over1 lay the thread over the needle1 and in the next row1 knit this loop like any other stitch4 ,each over adds one to the existing number of stitches4 ,in cases1 therefore1 where the number is to remain the same1 you have to make as many intakes as overs4 ,overs can only be used in conjunction with other stitches4 ,,knot ,,stitch 7fig4 #ced74--,this forms a raised spot in plain knitting and is executed as follows3 knit #a1 and leave it on the left-hand needle2 put the stitch you have made with the right needle back on the left1 and knit it off4 ,make #d or #e similar stitches1 all issuing from the same stitch on the left needle1 so that you have #d or #e loops on the right needle2 then drop the stitch off the left needle1 and pull the #d first loops over the last one4 ,illustration3 ,,fig4 #ced4 ,,knot ,,stitch4 ,,cable ,,or ,,chain ,,stitch4--,chain stitches are used for strengthening and equalizing the edges of articles that are made in stripes4 ,they can be made in two ways2 either1 you knit off all the stitches on one needle1 turn the work1 put the needle into the first stitch1 as if you were going to knit it from the back1 and take it off the left needle without knitting it1 the thread to lie behind the needle2 or1 you knit off all the stitches on one needle1 turn the work1 and knit off the first stitch4 ,,the ,,names ,,of ,,the ,,stitches4--,out of the stitches that have been already described1 other stitches are formed1 which1 as they are frequently alluded to in knitting directions1 we shall here enumerate1 explaining all the terms1 usually employed in such directions4 ,,over1 ,,or ,,increase4--,explained in fig4 #cec4 ,throwing the thread once over the right needle4 ,,double ,,over1 ,,or ,,two ,,increases4--,throwing the thread twice over the needle4 ,,plain ,,intake4--,knitting two stitches together plain4 ,this is done when the intake is to lie from left to right4 ,,purled ,,intake4--,purling two stitches together4 ,this is done to make the stitches1 that are knitted together1 visible2 or in the case of a piece of work composed of stripes1 on the wrong side1 when the intake is to lean to the right1 on the right side4 ,,plain ,,decrease1 ,,taken ,,from ,,behind4--,knitting off two stitches together1 plain from behind4 ,this is done when the intake is to lie to the left4 ,,purled ,,decrease1 ,,taken ,,from ,,behind4--,purling two stitches together1 from behind4 ,this is done when1 in articles composed of stripes1 the decrease has to be made on the wrong side1 and is to lie to the left on the right side4 ,,pulling ,,over4--,slipping a stitch from the left needle to the right without knitting it1 knitting the next plain1 and pulling the slipped stitch over the knitted one4 ,in this manner two or three stitches can be pulled over the knitted one4 ,,casting ,,off4--,to prevent the stitches from unravelling they are finished off in the following manner4 ,knit off two plain1 pull the first over the second and drop it1 so that only one remains on the needle4 ,knit the next stitch1 and pull the one behind over it1 and so on4 ,this chain of stitches1 must neither be too tight1 nor too loose1 but just as elastic as the rest of the work4 ,,materials ,,for ,,stockings4--,stockings can be made of silk1 wool or cotton1 entirely according to fancy1 but for coloured stockings1 we cannot too highly recommend the ,d4,m4,c knitting cottons1 as more durable1 in all respects1 than either silk or wool4 ,they are manufactured in #cfj different shades1 whereas1 wool and silk are only to be had in a very limited assortment of colours4 ,for hand-knit stockings1 ,nos4 #be1 #cj1 #ce;,a are the best1 for machine-knit1 ,nos4 #dj and #ej4 ,,stocking ,,knitting4--,a stocking consists of five parts3 7#a7 the top1 7#b7 the knee1 7#c7 the leg1 7#d7 the heel1 7#e7 the foot4 7#a74 ,the top may be either ribbed1 or knitted in an openwork stitch of same kind or with a double-toothed edge1 fig4 #cef4 7#b7 and 7#c74 ,the knee1 and the leg down to the heel1 are generally plain knitted2 it is only children's stockings that are fancy knitted4 7#d74 ,the heel1 is worked as straight knitting backwards and forwards2 by knitting first one row plain and then turning back and knitting it purl4 ,it is shaped to the foot by the intakes at the top4 7#e74 ,the foot is knitted plain1 with intakes from the heel onwards1 to get rid of the superfluous stitches4 ,then knit a plain piece1 without a seam-stitch1 till you begin to decrease for the toe1 which can be worked in several different ways4 ,to ensure the right proportions between the several parts of a stocking1 the following directions should be attended to4 ,an ornamental top must never be taken into account1 in measuring the length of the leg4 ,when the top part is finished1 you make the seam1 at the beginning of the first needle of the round1 of one1 or two purled stitches1 or sometimes1 a narrow pattern of purled stitches4 ,this marks the middle of the stocking4 ,for ordinary-sized stockings1 knit plain from the top-band1 till the knitted piece1 forms a square4 ,for stockings that are to cover the knee1 knit half as much again1 that is one and a half times the width of the stocking4 ,this brings you to the calf of the leg4 ,pull the third stitch after the seam1 over the second1 and knit together the two last but one before the seam4 ,there should be #ab rounds between each of the first #c or #d intakes1 and after that #h1 until this part is one and a half times the width of the knee in length1 and a quarter narrower4 ,for the ankle1 knit a plain piece1 half the width of the knee in length1 without intakes4 ,for the heel1 count the stitches on the four needles1 exclusive of the seam1 and put two stitches more than the quarter of the whole number on to the needles1 to the right and left of the seam4 ,for a heel to fit well1 it should be as long as it is wide4 ,in order that they should wear better1 the heel and the toe are often knitted with double thread4 ,coton feutrer ,d4,m4,c,a is made expressly for that purpose1 and should be wound round the thread of which the whole stocking is made4 ,for the instep1 the part between the heel and toe1 you must go on decreasing from the heel1 until you have #b stitches less on each needle1 than you had at the ankle4 ,then knit the plain part of the foot1 which should be as wide as the ankle1 after which proceed to decrease for the toe1 which should be a quarter the length of the whole foot4 ,in spite of this careful subdivision1 it is always well to count the stitches1 to ensure perfect regularity4 ,the number of stitches cast on1 at the outset1 for the same-sized stockings1 must depend upon the size of the wool or cotton2 we can only give the numbers approximately4 ,our calculation is based on the use of #e needles2 the given number has therefore to be cast on four times4 ,coton tricoter ,d4,m4,c ,number of stitches to ,number of stitches to be cast on one needle for be cast on one needle ,numbers to be used stocking ordinary-sized for stockings that are to reach above the knee #be #cb #cf #cj #cd #ch #ce #cf #db #dj #dj #df #ej #db #ej ,,scalloped ,,edge 7figs4 #cee and #cef74--,this is the simplest and strongest edge you can have for a stocking1 and is called the cat's-teeth edge4 ,illustration3 ,,fig4 #cee4 ,,scalloped ,,stocking ,,edge4 ,,edge ,,open4 ,illustration3 ,,fig4 #cef4 ,,scalloped ,,stocking ,,edge4 ,,edge ,,folded ,,together4 ,having cast on the stitches1 knit #f to #aj rounds plain1 according to the size of the cotton1 then one round of alternate intakes and overs4 ,knit as many plain rounds as before1 and with a sixth needle take up as many of the cast on stitches1 as you have stitches on one of the upper needles4 ,turn this needle inwards1 and place it against the outside needle and knit off both needles together4 ,see that you knit the corresponding stitches off together1 otherwise the scallops that form the edge will be crooked4 ,,common ,,heel 7fig4 #ceg74--,this is the simplest form of heel1 and can be knitted either with or without an outside seam4 ,divide the stitches into four1 and put two more on each of the heel needles than on the others1 then make1 according to the size of the cotton1 from #ae to #bj seams2 knit off all the stitches on the right needle and a third of those on the left4 ,supposing that you have #bd stitches1 knit off #h1 then slip #a1 knit #a1 and pull the slipped stitch over1 knit #b plain1 turn the work1 slip the first1 and purl the next #h stitches of the second needle2 purl the #ith and #ajth together1 purl #b1 turn the work to the right side1 and slip the first stitch on to the right needle4 ,by means of these successive intakes after the #h stitches1 the knitting forms a plait on both sides of the heel4 ,illustration3 ,,fig4 #ceg4 ,,common ,,heel4 ,in all heels that are made after this pattern1 the intakes must begin on the right side and the last one must be made on the wrong1 so that once the heel is finished and the work turned1 you can go on knitting plain4 ,when you have finished the stitches of the two heel needles up to the outside seams1 take up the stitches on the sides of the heel with a spare needle and knit them on to the left heel needle1 then knit the stitches reserved for the instep1 take up the stitches on the right side of the heel again and knit them on to the fourth needle4 ,in the next round1 knit all the stitches of the first needle plain1 excepting the #d last2 knit the first and second of these together and the two last plain4 ,knit the two first stitches of the fourth needle plain1 slip the third1 knit the fourth and pull the slipped stitch over4 ,,heel ,,in ,,steps 7fig4 #ceh74--;,after dividing the stitches1 make from #ab to #ad seams4 ,then knit as many stitches of the first needle as you have seams at the side2 turn the work1 and begin the needle with the seam you made first4 ,knit off as many stitches from the second needle as from the first4 ,make the same number of seams1 as for the first part of the heel4 ,when the seams are finished1 take up the chain stitches1 on both sides1 make a decrease by knitting the last stitch of the small part and the first of the large1 together2 knit two2 turn the work2 slip the first stitch1 knit to the second side1 and decrease as in the first part4 ,illustration3 ,,fig4 #ceh4 ,,heel ,,in ,,steps4 ,when you have decreased all the stitches up to the last1 take up the slipped stitches of the first part1 and begin the intakes for the instep in the ordinary way4 ,there is not more work in this pattern of heel than in any other2 it fits closely and consequently wears well4 ,,plain ,,heel 7figs4 #cei and #cfj74--,those who are not fond of purling will appreciate this and the following pattern for a plain heel4 ,illustration3 ,,fig4 #cei4 ,,plain ,,heel4 ,illustration3 ,,fig4 #cfj4 ,,heel ,,knitted ,,on ,,the ,,right ,,side4 ,knit off the stitches of the first needle after the seam2 then on to two spare needles1 cast on1 #h more stitches than you had on one needle after dividing the stitches2 put the stitches of the third and fourth needles together and knit the first round plain4 #bnd round--knit together the #ast and #bnd1 and the #ith and #ajth of the first auxiliary needle2 and the #ajth and #ith and #bnd and #ast of the second4 #crd round--plain4 #dth round--knit together the #ast and #bnd and the #gth and #hth of the first needle4 #eth round--plain4 #fth round--knit together the #ast and #bnd and the #eth and #fth of the first auxiliary needle2 and the #fth and #gth and the last but one and the last1 of the second4 #gth1 #ajth1 #aath1 #acth1 #adth1 #afth1 #agth1 #aith1 #bjth rounds all plain4 #hth round--knit together the #ast and #bnd1 and the #crd and #dth of the first auxiliary needle1 and the #dth and #crd1 and the last stitch but one and the last1 of the second4 #ith round--,after the two last intakes1 purl together the #dth and #crd stitches before the end of the #ast and #crd needle1 and the #crd and #dth at the beginning of the #bnd and #dth needles4 #abth1 #aeth1 and #ahth rounds--,decrease1 the same as in the #ith round4 #bast round--knit #b plain1 at the beginning of the #ast and #crd needles2 knit the next #b together2 knit together the #dth and #crd1 before the end of the #bnd and #dth needles2 knit the last stitches plain2 go on decreasing in this way until the purled stitches meet4 ,after the plain round over the intakes1 add four plain rounds1 divide the stitches that remain for the sole1 on two needles and cast off on the wrong side4 ,now take up the auxiliary stitches1 and in the first #c plain rounds1 knit together the last and the first of the #ast and #bnd needles1 and the last and the first of the #crd and #dth4 ,with the rest of the extra stitches make purled intakes1 knitting two plain rounds after each round with an intake4 ,for the other kind of plain heel also 7fig4 #cfj71 auxiliary stitches are required4 ,supposing that you have #bj stitches on each needle1 you must cast on #bh stitches on to each auxiliary needle2 knit together the #dth and #crd stitches at the end of the #ast and #crd needles1 and the #crd and #dth of the #bnd and #crd needles1 so that you may have #d plain stitches between both intakes4 ,go on decreasing1 knitting #b plain rounds after each round with an intake1 until you have #f stitches left on each needle4 ,then knit together the first and last stitches of each needle1 one plain round over it1 and finish with a chain on the wrong side of the heel4 ,then take up the auxiliary stitches and knit the instep4 ,,italian ,,stocking 7fig4 #cfa74--,the heel1 sole and toe of a stocking always wear out before the instep4 ,the ,italians and ,greeks economise time and material and facilitate the renewal of those parts that wear out1 by knitting the upper part of the foot in two pieces4 ,after knitting the heel in on or other of the above ways1 work the foot as straight knitting with the two upper needles only1 until you have the necessary length4 ,then knit the underneath part separately1 in the same way4 ,you must keep a chain along all edges and a narrow seam of one or two stitches4 ,in the sole1 which you make after finishing the upper part1 your intakes must come directly after and before the seam4 ,when you have got the same number of rounds in each piece1 join them together and begin the toe4 ,illustration3 ,,fig4 #cfa4 ,,italian ,,stocking4 ,sew up the slits left open on either side1 with a needle and thread taking care to fit the corresponding stitches together4 ,in this manner1 when one part wears out1 you have only to unpick these side-seams and re-sole or re-heel the stocking as the case may be4 ,,toe 7fig4 #cfb74--,to begin as before1 with the simplest and most ordinary way of making this part of the stocking1 divide the stitches equally on to the #d needles2 knit together the #dth and #crd stitches before the end of the #ast and #crd needles1 knit the #b last and #b first stitches of the #bnd and #dth needles plain1 and make an intake by slipping the #crd stitch1 knitting the #dth1 and pulling the slipped stitch over4 ,begin by knitting #b plain rounds after each of the first #d rounds with an intake1 and afterwards only one4 ,when you have only #d stitches left on each needle1 collect them on two1 and knit them together1 two and two1 on the wrong side of the stocking4 ,illustration3 ,,fig4 #cfb4 ,,toe4 ,,toe 7fig4 #cfc74--;,here1 before beginning to decrease1 divide the stitches by #h1 #aj1 or #ab4 ,supposing that they have been divided by #aj1 knit #h plain2 knit the #ith and #ajth together1 #h plain1 knit two together1 and so on1 the whole way round4 ,then knit as many plain rounds as there are plain stitches between #b intakes4 ,in the next rounds with intakes1 you will have one stitch less between each intake1 in the second therefore1 there should be #g plain stitches between each intake1 and you knit #g plain rounds2 and so on to the #gth round1 when #b stitches will remain1 followed by #b plain rounds2 when there are only #d stitches left on the needles1 turn them in to the wrong side of the stocking1 and finish off with a chain4 ,illustration3 ,,fig4 #cfc4 ,,toe4 ,,toe 7fig4 #cfd74--;,begin the intakes with the two first stitches of each needle1 by the slip and pull over process1 knit one plain round after each round with an intake4 ,in the following rounds1 make the intake in the #bnd round with the #crd and #dth stitches1 in the #crd1 with the #eth and #fth stitches1 in the #dth1 with the #gth and #hth stitches1 so that when finished the intakes form a kind of spiral4 ,finish off in the ordinary way4 ,illustration3 ,,fig4 #cfd4 ,,toe4 ,,toe 7fig4 #cfe74--,we will describe one other kind of toe1 quite as shapely and easy to make as the others4 ,illustration3 ,,fig4 #cfe4 ,,toe4 #ast round--purl the first #b stitches on each needle together4 #bnd and #crd1 #eth and #fth1 #hth and #ith1 #aath and #abth1 #adth and #aeth1 #agth and #ahth rounds--plain4 #dth round--#a plain1 #a intake with the #bnd and #crd stitches1 and with the last #b on each needle4 #gth round--knit the #b first plain1 make #a intake with the #crd and #dth stitches1 and #a with the #b last4 ,in each of the next rounds with intakes1 knit #a plain stitch more4 ,when the two seams meet1 pull the last stitch on each needle over the first of the next2 knit the stitches between the intakes plain4 ,continue to decrease in this manner until the last stitches are reached4 ,,mending ,,knitting4--,knitted articles are repaired by reconstructing the web with a needle and thread4 ,when the stitches are not actually broken1 they can be strengthened by new ones made over them1 by means of a needle and thread4 ,,materials ,,for ,,darning ,,stockings4--,the thread used for darning a stocking should be a little finer than that of which it is made4 ,coton repriser ,d4,m4,c,a is the best1 for as it consists of several strands it can be subdivided as occasion requires4 ,,strengthening ,,the ,,stitches 7figs4 #cff and #cfg74--,this can be done in two ways4 ,in fig4 #cff1 the thread is brought out between two horizontal bars1 passed upwards over a perpendicular bar1 put in by the side of the same and brought out between the next horizontal bars4 ,work the second row of stitches backwards2 take up two threads on the left1 pass downwards to the right1 over one thread1 take up the thread you passed over1 and so on4 ,illustration3 ,,fig4 #cff4 ,,strengthening ,,the ,,loops4 ,,first ,,way4 ,illustration3 ,,fig4 #cfg4 ,,strengthening ,,the ,,loops4 ,,second ,,way4 ,the other way1 fig4 #cfg1 is1 when you have brought out your needle1 to carry it over one thread to the right and upwards over two1 take up the next two threads on the left1 pass downwards over two horizontal threads1 and over one thread to the right1 and put in the needle where it first came out2 then working from right to left1 take up two threads1 pass over one to the right1 and downwards over two horizontal ones1 and so on4 ,in the next row1 hold your work1 the finished part uppermost1 carry the needle downwards over one horizontal thread1 bring it out between two threads that lie separately and take it downwards again over two horizontal threads1 pick up two threads1 working from right to left1 pass upwards over two threads and over one to the right1 take up two to the left1 and so on4 ,,repairing ,,plain ,,knitting 7fig4 #cfh74--,when a broken piece of stocking web requires to be replaced by new1 draw the new and the old pieces together with a needle and thread1 using the same thread the stocking is made of4 ,illustration3 ,,fig4 #cfh4 ,,repairing ,,plain ,,knitting4 ,for this purpose1 you must clear the loops1 by ravelling them out top and bottom1 and slip them on to knitting needles4 ,the loops that are to be connected must lie exactly opposite to each other4 ,enter your threaded needle upwards from below through the first disengaged upper loop1 and slip it off the knitting needle1 then enter the needle1 downwards from above through the first lower loop1 and upwards from below through the next1 and draw out just enough thread to make the new loop the same size as the old ones4 ,then enter the needle1 downwards from above1 through the same upper loop you took up before1 taking up also the one next to it1 and passing your needle through it from underneath2 draw out the thread to form the new loop and descend again to the next1 and so on4 ,,repairing ,,purled ,,knitting 7fig4 #cfi74--,to repair ribbed surfaces consisting of alternate rows of plain and purl1 proceed as follows3 hold the article so that the row of purled stitches is exactly opposite the upper part4 ,enter your needle upwards from below1 through the first loop of the upper part2 join the two lower loops together as in fig4 #cfh2 carry the needle upwards again1 and enter it upwards from below through the first loop of the upper part and downwards from above1 through the loop next it4 ,join the lower loops again1 as in plain knitting4 ,illustration3 ,,fig4 #cfi4 ,,repairing ,,purled ,,knitting4 ,,disengaging ,,the ,,loops ,,for ,,darning 7fig4 #cgj74--,where the threads are broken1 new loops have to be made1 and the broken ones ravelled out and cut1 so that the horizontal loops may stand out clear and distinct4 ,cut the threads on the vertical sides so that the loops form an edge and the hole is square1 clear two or four loops in the corners of the hole1 fold them in and fasten them off at the back by a stitch or two4 ,the darns we are next going to describe should be made upon a ball to prevent drawing the threads too tightly4 ,illustration3 ,,fig4 #cgj4 ,,disengaging ,,the ,,loops ,,for ,,darning4 ,,darning ,,on ,,threads ,,stretched ,,horizontally 7figs4 #cga and #cgb74--;,carry a horizontal thread across on the wrong side1 in the place of each broken thread1 securing it in the sound part of the stocking1 about two threads from the edge of the hole4 ,when you have made this foundation1 put the needle in on the right side near the stitch that is nearest to the sound part on the left1 fig4 #cga4 ,illustration3 ,,fig4 #cga4 ,,darning ,,on ,,threads ,,stretched ,,horizontally4 ,,position ,,of ,,the ,,horizontal ,,threads4 ,illustration3 ,,fig4 #cgb4 ,,darning ,,on ,,threads ,,stretched ,,horizontally4 ,,how ,,to ,,cover ,,the ,,horizontal ,,threads4 ,then descending1 pick up the nearest horizontal thread from below1 so that the working thread lies to the right of the needle1 and cover all the horizontal threads you have laid in this manner4 ,when you have taken up the last thread1 pass the needle downwards from above1 through the nearest loop1 and bring it back through the one at which you entered it4 ,to make1 in reascending1 the second half of the loop1 you must lay your thread to the right of the needle1 fig4 #cgb4 ,when you have reached the last thread1 enter the needle at the loop1 opposite the one it came out of4 ,,darning ,,on ,,threads ,,stretched ,,obliquely ,,across 7figs4 #cgc and #cgd74--;,as the illustration shows1 you have to pick up all the cleared loops1 besides two or three on either side of the empty space4 ,the number and length of the threads which you carry across1 must correspond with those of the threads you have to replace4 ,illustration3 ,,fig4 #cgc4 ,,darning ,,on ,,threads ,,stretched ,,obliquely ,,across4 ,,position ,,of ,,the ,,threads4 ,illustration3 ,,fig4 #cgd4 ,,darning ,,on ,,threads ,,stretched ,,obliquely ,,across4 ,,how ,,to ,,cover ,,the ,,oblique ,,threads4 ,fasten in1 from the right side1 a rather finer thread than the one the original web is made of1 and make a few stitches over the existing ones1 in the row you are about to complete4 ,enter the needle upwards from below1 through the first disengaged loop1 pass it under two threads issuing from one loop1 and then bring it back again into the same loop between the two slanting threads1 drawing it out again upwards from below1 through the next loop1 and so on4 ,the new loop must be just equal to the old ones in size4 ,make in the same manner as at the beginning1 two or three stitches at the end of the row1 within the edge of the hole4 ,work back in a similar way1 with this difference only1 that you turn your work round4 ,,piqu ,,pattern 7fig4 #cge74--,the following patterns are suitable for making counterpanes1 petticoats1 vests and other articles of clothing4 ,select a suitable number of ,coton tricoter ,d4,m4,c4 ,cast on a number of stitches divisible by #g1 and begin by #f rows of #e plain stitches and #a purled1 taken from behind4 ,illustration3 ,,fig4 #cge4 ,,piqu ,,pattern4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #cj4 #gth row--purl from behind the #crd of the #e plain1 and knit #e plain more and so on4 ,,piqu ,,pattern 7fig4 #cgf74--;,cast on a number of stitches divisible by #ad4 ,illustration3 ,,fig4 #cgf4 ,,piqu ,,pattern4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #cj1 or ,coton pour crochet #d fils ,d4,m4,c ,nos4 #d to #bj4;,a #ast and #bnd row--99 purl #g1 knit #a1 purl #a1 knit #a1 purl #a1 knit #a1 purl #a1 knit #a2 repeat from 994 #crd and #dth row--99 knit #g1 purl #a1 knit #a1 purl #a1 knit #a1 purl #a1 knit #a1 purl #a2 repeat from 994 ,repeat the whole from the #ast row4 ,,piqu ,,pattern 7fig4 #cgg74--;,cast on a number of stitches divisible by #d4 ,illustration3 ,,fig4 #cgg4 ,,piqu ,,pattern4 ,,materials3 ,the same as for fig4 #cga4 ,the #h first rows--knit #b1 purl #b4 #ith and #ajth row--knit #b over the #b purled1 purl #b over the #b knitted of the #hth row4 #aath and #abth rows--the same as the first #h rows4 #acth and #adth row--the same as the #ith and #ajth row4 #aeth to the #bcrd--the same as the first #h rows4 ,,stripes ,,for ,,counterpanes 7fig4 #cgh74--,this pattern is to be worked in stripes1 of two colours2 we may here take occasion to mention that in choosing two colours1 one dark and one light1 for a piece of work1 the dark cotton should always be one or two numbers finer than the light1 because the dark dyes thicken the cotton more than the light ones do4 ,the blue1 red and dark brown dyes sink into the cotton more and cause it to swell1 whereas the lighter dyes do not affect its thickness4 ,illustration3 ,,fig4 #cgh4 ,,stripes ,,for ,,counterpanes4 ,,materials3 ,coton tricoter ,d4,m4,c ,no4 #f1 #h1 #aj or #ab4 ,,colours3 ,rouge-,turc #cba and ,gris-,tilleul #cia4;,a ,hence it comes1 that for the stripes1 here described1 we were obliged to take ,no4 #h of the red cotton and ,no4 #f of the green1 in order that the same number of stitches should make the same length of stripe4 ,cast on #bh stitches3 #ast needle--slip #a1 knit #b1 over1 knit #a1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #b1 knit #e1 purl #b1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a1 over1 knit #c1 #a chain stitch4 #bnd needle--wrong side3 slip #a1 purl #b1 purl #b together1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #b1 purl #e1 knit #b1 purl #a from behind1 knit #a from behind1 knit #b together1 purl #b1 #a chain stitch4 #crd needle--right side3 slip #a1 knit #b1 over1 knit #a1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #b1 knit #e1 purl #b1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a1 over1 knit #b1 #a chain stitch4 #dth needle--wrong side3 slip #a1 purl #b1 purl #b together1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #b1 purl #e1 knit #b1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #b together1 purl #b1 #a chain stitch4 #eth needle--on the right side3 slip #a1 knit #b1 over1 knit #a1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #b1 knit #e1 purl #b1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a1 over1 knit #b1 #a chain stitch4 #fth needle--on the wrong side3 slip #a1 purl #b1 purl #b together1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #b1 purl #e1 knit #b1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #a from behind1 knit #a from behind1 purl #b together1 purl #b1 #a chain stitch4 #gth needle like the #eth1 #hth needle like the #dth1 #ith needle like the #crd1 #ajth needle like the #bnd1 #aath needle like the #ast4 ,five plain stitches form a zigzag in the middle of the stripe4 ,join the stripes with crochet stitches2 of which several kinds are described in the next chapter4 ,,knitted ,,square 7fig4 #cgi74--;,cast on #b stitches on to each of the #d needles4 ,repeat always #c times after the asterisk4 ,illustration3 ,,fig4 #cgi4 ,,knitted ,,square4 ,,materials3 ,coton tricoter ,d4,m4,c ,no4 #h or ,fil pointer ,d4,m4,c ,no4 #bj4 #ast row--over1 knit #a1 over1 knit #a 994 #bnd row--knit #a1 over1 knit #a1 over1 knit #b 994 #crd row--knit #a1 purl #a1 over1 knit #a1 over1 purl #a1 knit #b 994 #dth row--knit #a1 purl #b1 over1 knit #a1 over1 purl #b1 knit #b 994 #eth row--knit #a1 purl #c1 over1 knit #a1 over1 purl #c1 knit #b 994 #fth row--knit #a1 purl #d1 over1 knit #a1 over1 purl #d1 knit #b 994 #gth row--knit #a1 purl #e1 over1 knit #a1 over1 purl #e1 knit #b 994 #hth row--knit #a1 purl #d1 knit #b1 over1 knit #b1 over1 knit #a1 purl #d1 knit #b 994 #ith row--knit #a1 purl #c1 knit #d1 over1 knit #a1 over1 knit #d1 purl #c1 knit #b 994 #ajth row--knit #a1 purl #b1 knit #f1 over1 knit #a1 over1 knit #f1 purl #b1 knit #b 994 #aath row--knit #a1 purl #a1 knit #h1 over1 knit #a1 over1 knit #h1 purl #a1 knit #b 994 #abth row--knit #a1 purl #b1 knit #e1 cross #b stitches 7that is1 first knit off the second stitch plain and then the first71 knit #a1 over1 knit #a1 over1 knit #a1 cross #b1 knit #e1 purl #b1 knit #b 994 #acth row--knit #a1 purl #c1 knit #h1 purl #a1 over1 knit #a1 over1 purl #a1 knit #h1 purl #c1 knit #b 994 #adth row--knit #a1 purl #d1 knit #d1 cross #b1 knit #a1 purl #b1 over1 knit #a1 over1 purl #b1 knit #a1 cross #b1 knit #d1 purl #d1 knit #b 994 #aeth row--knit #a1 purl #e1 knit #f1 purl #c1 over1 knit #a1 over1 purl #c1 knit #f1 purl #e1 knit #b 994 #afth row--knit #a1 purl #d1 knit #c1 cross #b1 knit #a1 purl #d1 over1 knit #a1 over1 purl #d1 knit #a1 cross #b1 knit #c1 purl #d1 knit #b 994 #agth row--knit #a1 purl #c1 knit #g1 purl #e1 over1 knit #a1 over1 purl #e1 knit #g1 purl #c1 knit #b 994 #ahth row--knit #a1 purl #b1 knit #e1 cross #b1 knit #a1 purl #d1 knit #b1 over1 knit #a1 over1 knit #b1 purl #d1 knit #a1 cross #b1 knit #e1 purl #b1 knit #b 994 #aith row--knit #a1 purl #a1 knit #i1 purl #c1 knit #d1 over1 knit #a1 over1 knit #d1 purl #c1 knit #i1 purl #a1 knit #b 994 #bjth row--knit #a1 purl #b1 knit #e1 cross #b1 knit #a1 purl #b1 knit #f1 over1 knit #a1 over1 knit #f1 purl #b1 knit #a1 cross #b1 knit #e1 purl #b1 knit #b 994 #bast row--knit #a1 purl #c1 knit #g1 purl #a1 knit #h1 over1 knit #a1 over1 knit #h1 purl #a1 knit #g1 purl #c1 knit #b 994 #bbnd row--knit #a1 purl #d1 knit #c1 cross #b1 knit #a1 purl #b1 knit #f1 cross #b1 knit #a1 purl #b1 knit #e1 cross #b1 knit #a1 over1 knit #a1 cross #b1 knit #e1 purl #b1 knit #a1 cross #b1 knit #c1 purl #d1 knit #b 994 #bcrd row--knit #a1 purl #e1 knit #c1 purl #c1 knit #g1 purl #a1 over1 knit #a1 over1 purl #a1 knit #g1 purl #c1 knit #e1 purl #e1 knit #b 994 #bdth row--knit #a1 purl #d1 knit #c1 cross #b1 knit #a1 purl #d1 knit #c1 cross #b1 knit #a1 purl #b1 over1 knit #a1 over1 purl #b1 knit #a1 cross #b1 knit #c1 purl #d1 knit #a1 cross #b1 knit #c1 purl #d1 knit #b 994 #beth row--knit #a1 purl #c1 knit #h1 purl #e1 knit #e1 purl #c1 over1 knit #a1 over1 purl #c1 knit #e1 purl #e1 knit #e1 purl #c1 knit #b 994 #bfth row--knit #a1 purl #b1 knit #e1 cross #b1 knit #a1 purl #d1 knit #c1 cross #b1 knit #a1 purl #d1 over1 knit #a1 over1 purl #d1 knit #a1 cross #b1 knit #c1 purl #d1 knit #a1 cross #b1 knit #e1 purl #b1 knit #b 994 #bgth round--knit #a1 purl #a1 knit #i1 purl #c1 knit #g1 purl #e1 over1 knit #a1 over1 purl #e1 knit #g1 purl #c1 knit #i1 purl #a1 knit #b 994 ,finish the square with several rows of purl and a chain4 ,,plain ,,patent ,,knitting1 ,,or ,,brioche ,,pattern 7fig4 #chj74--,this easy and extremely elastic stitch is used for all sorts of articles of clothing1 and is worked in two rows4 ,illustration3 ,,fig4 #chj4 ,,plain ,,patent ,,knitting1 ,,or ,,brioche ,,pattern4 ,cast on a number of stitches that divides by #c1 with #d extra for the edge4 #ast row--slip #a1 knit #a1 99 over1 put the needle into the next stitch1 as if to purl it1 slip the stitch from the left needle to the right1 knit #a1 repeat from 991 and finish with #b plain4 #bnd row--begin with #a chain1 knit #a1 knit the slipped stitch and the over together1 over1 slip the single stitch that remains1 from the left needle to the right4 ,when the knitting is round1 you purl and knit the intake alternately4 ,,double ,,patent ,,knitting 7fig4 #cha74--;,begin on the wrong side4 ,illustration3 ,,fig4 #cha4 ,,double ,,patent ,,knitting4 #ast row--like the #ast row of fig4 #chj4 #bnd row--knit all the stitches1 pass the over by putting the needle into it from right to left4 #crd row--like the second row of fig4 #chj4 ,now1 it is only the second and third row that should alternate4 ,patent knitting has a charming effect1 done in two colours1 by working them alternately backwards and forwards4 ,,plaited ,,stitch 7fig4 #chb74--,this kind of stitch is worked in stripes1 which1 for scarves1 counterpanes1 etc41 are generally joined together with stripes of plain knitting4 ,for counterpanes1 the lower numbers of ,d4,m4,c cottons are most suitable1 for smaller articles the higher numbers4 ,plaited stitch is formed by crossing the stitches1 that is1 by knitting the second stitch on the left needle to begin with1 and then the first stitch4 ,illustration3 ,,fig4 #chb4 ,,plaited ,,stitch4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #h to #bj1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #cj4 ,if you cross two or more stitches in a few successive rows without slipping them1 the stitches will be seen by degrees1 to form a plait1 as shown in fig4 #chb4 #ast row--purl #d1 cast on #c stitches on to an auxiliary needle1 and leave it hanging on the inside of the work2 knit #c and then knit the #c stitches on the extra needle1 purl #d4 ,then follow #e rows1 in which you purl all the purled stitches and knit all the plain ones4 ,after which #e rows you repeat from the beginning4 ,,turkish ,,stitch 7fig4 #chc74--ast row--slip #a1 knit #a1 over1 knit #b together1 over1 knit #b together1 and so on to the #b last stitches1 which you knit plain4 ,illustration3 ,,fig4 #chc4 ,,turkish ,,stitch4 #bnd row--slip the #ast1 knit the #bnd and the #crd plain1 the latter having been formed by the last over on the #ast needle2 #a over1 #a intake with the stitch and the over1 #a over1 #a intake and so on4 ,,turkish ,,stitch ,,with ,,beads 7fig4 #chd74--,string the beads on the thread before you begin to knit4 ,when you only use one kind of bead1 thread a needle with your knitting cotton and run it through the thread on which the beads are strung4 ,when you use several kinds1 you must count and thread them on in the required order4 ,beaded knitting is little in request now1 excepting for tobacco pouches and purses2 for which you should use ,cordonnet #f fils ,d4,m4,c ,nos4 #ce1 in any colour1 and small beads4 ,illustration3 ,,fig4 #chd4 ,,turkish ,,stitch ,,with ,,beads4 ,for close beaded knitting1 plain stitch is the best4 ,run the beads down singly at each stitch4 ,the beads will fall on the reverse side of the work so that in knitting with beads1 remember that the reverse side will be the right side4 ,to work fig4 #chd1 which represents the same stitch as fig4 #chc1 you run down #b or sometimes #c beads before knitting each stitch4 ,,knitting ,,pattern ,,with ,,two ,,kinds ,,of ,,cotton 7fig4 #che74--;,a variety of pretty things1 such as open-work stockings1 shawls1 curtains etc4 can be made in this pattern1 worked with two sizes of thread4 ,to give it its full effect it ought to be knitted with coarse needles1 ,nos4 #aj1 #aa1 or #ab4 ,illustration3 ,,fig4 #che4 ,,knitting ,,pattern ,,with ,,two ,,kinds ,,of ,,cotton4 ,,materials3 ,fil pointer ,d4,m4,c ,no4 #bj or #cj1 and ,cordonnet #f fils ,d4,m4,c ,no4 #fj or #hj1 cru4,a ,cast on a number of stitches that divides by #h4 ,take the coarse thread to begin with4 #ast and #bnd row--purl4 #crd row--purl #e1 #b overs1 purl #e4 #dth row--with the fine thread3 over1 knit #b together1 slip the next stitch of the previous row1 drop the double over1 slip the next stitch1 #a over1 knit #b together4 #eth row--over1 knit #b together1 over1 knit #b together1 and so on4 #fth row--like the last4 ,see that the #b slipped stitches1 in the coarse thread1 always come on the right side of the work4 #gth row--with the coarse thread3 purl #d1 purl the #b slipped stitches of the #crd row together1 then repeat from the #ast row4 ,see that in the #crd row the #b overs come between the stitches formed by the #b stitches that were formed by the #ast over1 and the #b stitches of the #fth row1 that were knitted together4 ,,knitting ,,pattern ,,with ,,two ,,kinds ,,of ,,thread 7fig4 #chf74--;,cast on a number of stitches that divides by #d4 ,illustration3 ,,fig4 #chf4 ,,knitting ,,pattern ,,with ,,two ,,kinds ,,of ,,thread4 ,,materials3 ,fil pointer ,d4,m4,c ,nos4 #be to #cj and ,cordonnet #f fils ,d4,m4,c ,no4 #fj or #hj4 #ast row--with coarse thread3 purl4 #bnd row--plain4 #crd row--with fine thread3 over1 #a intake1 knit #b4 #dth row--plain4 #eth row--knit #a1 over1 #a intake1 knit #a4 #fth row--plain4 #gth row--knit #b1 over1 #a intake4 #hth row--plain4 #ith and #ajth row--with the coarse thread3 purl4 #aath row--plain4 #abth row--with the fine thread3 over1 knit #b together4 #acth row--plain4 #adth row--purl4 ,then repeat from the #ast row4 ,,knitting ,,pattern ,,with ,,dropped ,,stitches 7fig4 #chg74--;,cast on a number of stitches that divides by #i4 ,illustration3 ,,fig4 #chg4 ,,knitting ,,pattern ,,with ,,dropped ,,stitches4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #af to #cj1 ,coton pour crochet ,d4,m4,c ,nos4 #f to #cj1 or ,fil pointer ,d4,m4,c ,nos4 #aj to #cj4 #ast row--over1 slip #c1 knit #a1 #b overs1 knit #c1 #b overs1 knit #a4 #bnd row--knit #c1 slip the next1 drop the #b overs1 knit #d1 turn the work1 purl #d1 turn the work1 knit #d1 drop the #b overs1 slip the next stitch4 #crd row--over1 slip #b1 knit #a1 pull slipped stitches over1 drop the first of the #d stitches1 knit first the stitch that follows the second double over1 then the #d others plain1 and lastly1 take up the dropped stitch and knit it plain on the right side of the work4 #dth row--knit plain4 #eth row--over1 slip #c1 over1 knit #f4 #fth row--knit plain1 and repeat from the #ast row4 ,,knitting ,,pattern 7fig4 #chh74--,this pattern may be worked with any one of the ,d4,m4,c cottons recommended for fig4 #chg1 but in the case of anything that is not wearing apparel1 ,fil pointer ,d4,m4,c will be found more suitable4 ,cast on a number of stitches that divides by #ah4 ,illustration3 ,,fig4 #chh4 ,,knitting ,,pattern4 #ast row--over1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 knit #d1 knit #b together1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c4 ,each row marked by an even number is to be knitted plain throughout4 #crd row--knit #a1 over1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b1 knit #b together1 over1 knit #c1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a4 #eth row--knit #b1 over1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b together1 over1 knit #e1 over1 knit #b together4 #gth row--knit #c1 over1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #b4 #ith row--knit #d1 over1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #b4 #aath row--knit #e1 over1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #f4 #acth row--knit #g1 over1 knit #b together1 over1 purl #b together1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #e4 ,repeat from the beginning4 ,,knitting ,,pattern 7fig4 #chi74--;,cast on a number of stitches that divides by #i4 #ast row--#b overs1 slip #a1 knit #a1 pull slipped stitch over1 knit #e1 knit #b together4 #bnd row--#b overs1 slip the first over on to the right needle1 knit the second over1 slip #a1 knit #a1 pull slipped stitch over1 knit #c1 knit #b together4 #crd row--#b overs1 slip the overs of the two first rows on to the right needle1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together4 #dth row--drop the overs of the #c first rows and knit #h double stitches1 that is1 knit #a stitch on the over1 slip it on to the left needle and knit it again4 ,these #h stitches finished1 make #b overs1 and slip #c1 knit #a1 pull slipped stitches over4 ,repeat from the beginning4 ,each time you repeat the #dth row1 make double stitches on #d overs1 that is1 on #d threads4 ,illustration3 ,,fig4 #chi4 ,,knitting ,,pattern4 ,,materials3 ,cordonnet #f fils ,d4,m4,c1 or ,fil pointer ,d4,m4,c ,,knitting ,,pattern 7fig4 #cij74--,this pattern is suitable for children's braces4 ,for ,coton repriser ,d4,m4,c ,nos4 #f to #bj1 which is the best for the purpose1 you will require fine bone needles4 ,cast on a number of stitches that divides by #d4 #ast row--over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b4 #bnd row--knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a4 #crd row--knit #b1 over1 slip #a1 knit #a1 pull slipped stitch over4 #dth row--slip #a1 knit #a1 pull slipped stitch over1 knit #b1 over4 #eth row--knit #b together1 over1 knit #b4 #fth row--knit #a1 knit #b together1 over1 knit #a4 #gth row--knit #b together1 over1 knit #b4 #hth row--knit #b1 knit #b together1 over4 ,repeat from the beginning4 ,illustration3 ,,fig4 #cij4 ,,knitting ,,pattern4 ,,materials3 ,coton repriser ,d4,m4,c ,nos4 #e to #bj4 ,,knitting ,,pattern 7fig4 #cia74--,the patterns shown in figs4 #cia and #cib1 are more particularly useful for comforters1 shawls1 hoods and the like4 ,the needles1 which may be either of bone or steel must match the cotton in size2 steel needles are the best for any thing finer than ,no4 #af1 of ,d4,m4,c ,coton tricoter4 ,illustration3 ,,fig4 #cia4 ,,knitting ,,pattern4 ,cast on a number of stitches that divides by #c4 #ast row--over1 slip #a stitch on to the right needle1 knit the #b next stitches1 and draw the first stitch over them4 #bnd row and #dth row--knit plain4 #crd row--like the first1 but note1 that the stitch that was the third in the first row1 will be the first here4 ,repeat from the beginning4 ,,knitting ,,pattern 7fig4 #cib74--;,cast on a number of stitches that divides by #c4 ,illustration3 ,,fig4 #cib4 ,,knitting ,,pattern4 #ast row--over1 knit the #b first together1 draw the #crd stitch through the stitch formed by the intake and knit it off plain1 then knit the stitch that was pulled over it4 #bnd and #dth row--knit plain4 #crd row--like the first2 the third stitch here is the same that was drawn through the third stitch in the first row4 ,,knitting ,,pattern 7fig4 #cic74--;,cast on a number of stitches that divides by #ad4 ,illustration3 ,,fig4 #cic4 ,,knitting ,,pattern4 #ast row--over1 knit #a1 over1 knit #b1 purl #c1 knit #c together1 purl #c1 knit #b4 #bnd row--knit #e1 purl #g1 knit #b4 #crd row--over1 knit #c1 over1 knit #b1 purl #b1 knit #c together1 purl #b1 knit #b4 #dth row--knit #g1 purl #e1 knit #b4 #eth row--over1 knit #e1 over1 knit #b1 purl #a1 knit #c together1 purl #a1 knit #b4 #fth row--knit #i1 purl #c1 knit #b4 #gth row--over1 knit #g1 over1 knit #b1 knit #c together1 knit #b4 #hth row--knit #aa1 purl #a1 knit #a4 ,repeat from the beginning but in the reverse order1 that is1 purling the knitted stitches and knitting the purled4 ,,knitted ,,lace 7fig4 #cid74--,knitted lace looks best1 made of a smooth1 silky thread which shows up the pattern better than any other material4 ,as a knitted edging makes a very pretty finish to almost any kind of knitted article1 we give a selection of some of the easiest and most effective patterns that we consider suitable for the purpose4 ,illustration3 ,,fig4 #cid4 ,,knitted ,,lace4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #fj1 ,fil dentelle ,d4,m4,c ,nos4 #be to #gj4;,a ,cast on #h stitches4 #ast needle--#a chain1 knit #b1 over1 knit #b together1 knit #b1 #b overs1 knit #b4 #bnd needle--knit #c1 purl #a1 knit #d1 over1 knit #b together1 #a chain4 #crd needle--#a chain1 knit #b1 over1 knit #b together1 knit #f4 #dth needle--#b chain1 knit #e1 over1 knit #b together1 #a chain4 ,repeat from the first needle4 ,,knitted ,,lace 7fig4 #cie74--;,cast on #aj stitches4 #ast needle--knit #b together1 #b overs1 knit #b together1 #b overs1 knit #c1 over1 knit #b together1 #a chain4 #bnd needle--#a chain1 knit #b1 knit #b together1 knit #b1 purl #a1 knit #b1 purl #a1 knit #a4 #crd needle--knit #b together1 #b overs1 knit #b together1 #b overs1 knit #d1 over1 knit #b together1 #a chain4 #dth needle--#a chain1 knit #b1 knit #b together1 knit #c1 purl #a1 knit #b1 purl #a1 knit #a4 #eth needle--knit #b together1 #b overs1 knit #b together1 #b overs1 knit #e1 over1 knit #b together1 #a chain4 #fth needle--#a chain1 knit #b1 knit #b together1 knit #d1 purl #a1 knit #b1 purl #a1 knit #a4 #gth needle--knit #aj1 over1 knit #b together1 #a chain4 #hth needle--#a chain1 knit #b1 knit #b together1 knit #h4 #ith needle--#d chain1 #b overs1 knit #b together1 #b overs1 knit #c1 over1 knit #b together1 #a chain4 ,repeat from the second needle4 ,,knitted ,,lace 7fig4 #cif74--;,cast on #ac stitches4 ,illustration3 ,,fig4 #cie4 ,,knitted ,,lace4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #be to #ej1 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #cj4;,a #ast needle--#a chain1 purl #a1 purl #b together1 over1 knit #h1 #a chain4 #bnd needle--#a chain1 knit #h1 over1 knit #b1 knit #a from behind1 #a chain4 #crd needle--#a chain1 purl #b1 over1 purl #b together1 over1 knit #h1 #a chain4 #dth needle--#a chain1 knit #h1 over1 knit #b together1 over1 knit #b1 knit #a from behind1 #a chain4 #eth needle--#a chain1 purl #b1 over1 purl #b together1 over1 purl #b together1 over1 knit #h1 #a chain4 #fth needle--#a chain1 knit #h1 over1 knit #b together1 over1 knit #b together1 over1 knit #b1 knit #a from behind1 #a chain4 #gth needle--#a chain1 purl #b1 over1 purl #b together1 over1 purl #b together1 over1 purl #b together1 over1 knit #h1 #a chain4 #hth needle--#a chain1 knit #h1 over1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 knit #b1 knit #a from behind1 #a chain4 #ith needle--#a chain1 purl #b1 over1 purl #b together1 over1 purl #b together1 over1 purl #b together1 over1 purl #b together1 over1 knit #h1 #a chain4 #ajth needle--#h chain1 knit #aj1 knit #a from behind1 #a chain4 ,repeat from the first needle4 ,illustration3 ,,fig4 #cif4 ,,knitted ,,lace4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #gj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #bj to #hj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #fj4;,a ,,knitted ,,lace 7fig4 #cig74--;,cast on #aa stitches4 ,illustration3 ,,fig4 #cig4 ,,knitted ,,lace4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #gj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #gj1 ,fil dentelle ,d4,m4,c ,nos4 #be to #hj4;,a #ast needle--#a chain1 knit #a from behind1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 #a chain4 ,the #bnd1 #dth1 #fth1 #hth1 #ajth1 #abth1 #adth1 and #afth needle1 purled4 #crd needle--#a chain1 knit #a from behind1 over1 knit #c1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 #a chain4 #eth needle--#a chain1 knit #a from behind1 over1 knit #e1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 #a chain4 #gth needle--#a chain1 knit #a from behind1 over1 knit #g1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 #a chain4 #ith needle--#a chain1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #c1 knit #b together1 over1 knit #b together1 over1 knit #b1 #a chain4 #aath needle--#a chain1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 knit #a1 #a chain4 #acth needle--#a chain1 slip #a1 knit #a1 pull slipped stitch over1 over1 knit #c together1 over1 knit #b together1 over1 knit #b together1 over1 knit #b1 #a chain4 #aeth needle--#a chain1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #b together1 over1 knit #a1 #a chain4 ,repeat from the first needle4 ,,rose ,,for ,,knitting 7fig4 #cih74--,repeat all the directions1 #h ending with the sign 991 #g times4 ,cast on #h stitches1 on to #d needles1 two on each2 close the ring4 #bnd round--#h times3 over1 knit #a4 ,the #crd1 #eth1 #gth1 #ith1 #aath1 #acth1 #aeth1 #agth1 #aith1 #bast1 #bcrd1 and #beth round1 knit plain4 #dth round--over1 knit #c1 over1 knit #a from behind 994 #fth round--over1 knit #d1 over1 knit #a from behind 994 #hth round--over1 knit #g1 over1 knit #a from behind 994 #ajth round--over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b together1 over1 knit #a 994 #abth round--over1 knit #b together1 over1 knit #c 994 #adth round--over1 knit #a from behind1 over1 knit #e 994 #afth round--over1 knit #a from behind1 over1 knit #g 994 #ahth round--over1 knit #a from behind1 over1 knit #i 994 #bjth round--over1 knit #a from behind1 over1 knit #aa 994 #bbnd round--over1 knit #a from behind1 over1 knit #ac 994 #bdth round--over1 knit #a from behind1 over1 knit #ae 994 #bfth round--over1 knit #c1 over1 knit #e1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 knit #e 994 ,illustration3 ,,fig4 #cih4 ,,rose ,,for ,,knitting4 ,,materials3 ,fil d',alsace ,d4,m4,c in balls1 ,no4 #fj or #gj1 ,fil dentelle ,d4,m4,c ,no4 #dj1 #ej or #fj4;,a #bgth round--knit #aa1 purl #a1 knit #f 994 #bhth round--over1 knit #e1 over1 knit #d1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 knit #d 994 #bith round--knit #ab1 purl #a1 knit #e 994 #cjth round--over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 over1 knit #c1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 knit #c 994 #cast round--knit #ac1 purl #a1 knit #d 994 #cbnd round--over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 knit #b1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 knit #b 994 #ccrd round--knit #ad1 purl #a1 knit #c4 #cdth round--over1 knit #aa1 over1 knit #a1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 knit #a 994 #ceth round--knit #ae1 purl #a1 knit #b4 #cfth round--over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 over1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over 994 #cgth round--knit #af1 purl #a1 knit #a4 #chth round--over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 knit #b1 over1 slip #b1 knit #a1 pull slipped stitches over 994 #cith1 #dast and #dcrd round--knit plain4 #djth round--over1 knit #d1 knit #b together1 over1 knit #e1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #d1 over1 knit #a4 #dbnd round--knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #b 994 #ddth round--knit #b1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c 994 ,finish with three purled rounds4 ,,knitted ,,edging 7fig4 #cii74--;,cast on #dc stitches4 #ast needle1 make a chain of #b stitches1 over1 knit #a from behind1 over1 knit #a from behind1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #a1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 purl #a1 knit #a1 knit #b together1 knit #a from behind1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 ,illustration3 ,,fig4 #cii4 ,,knitted ,,edging4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #dj to #gj or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #fj4;,a #bnd needle--#a chain1 knit #b1 purl #a1 purl #a from behind1 knit #a1 purl #a from behind1 purl #c1 knit #a1 purl #b1 knit #a1 purl #b1 knit #a1 purl #c1 purl #a from behind1 knit #a1 purl #a from behind1 purl #ad1 purl #a from behind1 purl #d4 #crd needle--slip #b stitches over for a chain1 over1 knit #a from behind1 over1 knit #a from behind1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #b together1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #a1 over knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 purl #a1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 over1 knit #a1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 #dth needle--slip #a1 knit #b1 purl #a1 purl #a from behind1 knit #a1 purl #a from behind1 purl #d1 knit #a1 purl #a1 knit #a1 purl #a1 knit #a1 purl #d1 purl #a from behind1 knit #a1 purl #a from behind1 purl #ae1 purl #a from behind1 purl #d4 #eth needle--slip #b stitches over for a chain1 over1 knit #a from behind1 over1 knit #a from behind1 over1 knit #b1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b together1 over1 knit #b1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b together1 over1 knit #b together1 over1 knit #a1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 purl #a1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 #fth needle--slip #a1 knit #b1 purl #a1 purl #a from behind1 knit #a1 purl #a from behind1 purl #f1 knit #a1 purl #f1 purl #a from behind1 knit #a1 purl #a from behind1 purl #af1 purl #a from behind1 purl #d4 #gth needle--slip #b stitches over for a chain1 over1 knit #a from behind1 over1 knit #a from behind1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #e1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #e1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 #hth needle--slip #a1 knit #b1 purl #a1 purl #a from behind1 knit #a1 purl #a from behind1 purl #ae1 purl #a from behind1 knit #a1 purl #a from behind1 purl #ag1 purl #a from behind1 purl #d4 #ith needle--slip #b stitches over for a chain1 over1 knit #a from behind1 over1 knit #a from behind1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #b together1 over1 knit #b together1 over1 knit #a1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #a1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 purl #a1 knit #a1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 #ajth needle--slip #a1 knit #b1 purl #a1 purl #a from behind1 knit #a1 purl #a from behind1 purl #c1 knit #a1 purl #b1 knit #a1 purl #b1 knit #a1 purl #c1 purl #a from behind1 knit #a1 purl #a from behind1 purl #ah1 purl #a from behind1 purl #d4 #aath needle--slip #b stitches over for a chain1 over1 knit #a from behind1 over1 knit #a from behind1 over1 knit #b1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b together1 over1 knit #b1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 knit #b together1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #a1 over1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 purl #a1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 over1 knit #a1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 #abth needle--slip #a1 knit #b1 purl #a1 purl #a from behind1 knit #a1 purl #a from behind1 purl #d1 knit #a1 purl #a1 knit #a1 purl #a1 knit #a1 purl #d1 purl #a from behind1 knit #a1 purl #a from behind1 purl #ai1 purl #a from behind1 purl #d4 #acth needle--slip #b stitches over for a chain1 over1 knit #a from behind1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a from behind1 purl #a1 knit #a1 from behind1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 purl #a1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 #adth needle--slip #a1 knit #b1 purl #a1 purl #a from behind1 knit #a1 purl #a from behind1 purl #f1 knit #a1 purl #f1 purl #a from behind1 knit #a1 purl #a from behind1 purl #ah1 purl #a from behind1 purl #d4 #aeth needle--slip #b stitches over for a chain1 over1 knit #a from behind1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 knit #b together1 purl #a1 knit #a from behind1 over knit #e1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 #afth needle--like the #hth4 #agth needle--slip #b stitches over for a chain1 over1 knit #a from behind1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b together1 over1 knit #b1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b together1 over1 knit #b1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #a1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 purl #a1 knit #a1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 #ahth needle--slip #a1 knit #b1 purl #a1 purl #a from behind1 knit #a1 purl #a from behind1 purl #c1 knit #a1 purl #b1 knit #a1 purl #b1 knit #a1 purl #c1 purl #a from behind1 knit #a1 purl #a from behind1 purl #af1 purl #a from behind1 purl #d4 #aith needle--slip #b stitches over for a chain1 over1 knit #a from behind1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a1 knit #b together1 over1 knit #a1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 knit #b together1 purl #a1 knit #a from behind1 over1 knit #a1 over1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 purl #a1 knit #b together1 purl #a1 slip #a1 knit #a1 pull slipped stitch over1 over1 knit #a1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 #bjth needle--like the #dth4 #bast needle--slip #b stitches over for a chain1 over1 knit #a from behind1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #c1 over1 slip #b1 knit #a1 pull slipped stitches over1 purl #a1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #c1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 #bbnd needle--slip #a2 knit #b1 purl #a1 purl #a from behind1 knit #a1 purl #a from behind1 purl #f1 knit #a1 purl #f1 purl #a from behind1 knit #a1 purl #a from behind1 purl #ad1 purl #a from behind1 purl #d4 #bcrd needle--slip #b stitches over for a chain1 over1 knit #a from behind1 over1 slip #a1 knit #a1 pull slipped stitch over1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b together1 over1 knit #b1 over1 slip #a1 knit #a1 pull slipped stitch over1 knit #b together1 over1 knit #b1 over1 knit #b together1 purl #a1 knit #a from behind1 over1 knit #e1 over1 slip #b1 knit #a1 pull slipped stitches over1 over1 knit #e1 over1 knit #a from behind1 purl #a1 knit #a from behind1 over1 knit #b together1 knit #a1 #a chain4 #bdth needle--slip #a1 knit #b1 purl #a1 purl #a from behind1 knit #d1 purl #a from behind1 purl #ae1 purl #a from behind1 knit #a1 purl #a from behind1 purl #ac1 purl #a from behind1 purl #d4 ,repeat from the first needle4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,crochet ,,lace4--,,close ,,leaves ,,and ,,bars ,,with ,,picots ,crochet ,work4 ,crochet work1 so called from the hook1 ,french croche or croc1 with which it is done1 is not only one of the easiest but in comparison with the cost and labour1 one of the most effective kinds of fancy-work4 ,it is also one of the most useful1 as it can be applied to the domestic requirements of every-day life1 to wearing apparel1 house-linen and upholstery2 and we are sure that the patterns contained in this chapter1 which have in addition to their other merits that of novelty1 will meet with a favorable reception4 ,hooks1 or needles1 as they are generally called1 made of wood1 bone or tortoise-shell are used for all the heavier kinds of crochet work in thick wool or cotton1 and steel ones for the finer kinds4 ,the ,tunisian crochet is done with a long straight hook1 which is made all in one piece4 ,the points should be well polished inside and not too sharp1 the backs slightly curved1 and the handles1 whether of bone1 steel or wood1 so light as not to tire the hand4 ,those represented here1 we consider the best1 as regards shape4 ,as it is most essential that the needle should be suited to the cotton in size1 we subjoin a comparative table of the numbers of the ,d4,m4,c threads and cottons and of the different needles4 ,illustration3 ,,fig4 #djj4 ,,crochet ,,needle ,,with ,,wooden ,,handle4 ,illustration3 ,,fig4 #dja4 ,,crochet ,,needle ,,with ,,steel ,,handle4 ,illustration3 ,,fig4 #djb4 ,,english ,,crochet ,,needle ,,with ,,wooden ,,handle4 ,,table ,,of ,,the ,,approximate ,,relation ,,of ,,the ,d4,m4,c ,,threads ,,and ,,cottons ,,to ,,the ,,numbers ,,of ,,the ,,crochet ,,needles4 ---------------------------------------- ------------------------------------- ,numbers of the crochet needles #i #aj #aa #ab #ac #ad #af #ah ---------------------------------------- ----------------------------- ,numbers of the cottons ,no4 ,no4 ,no4 ,no4 ,no4 ,no4 ,no4 ,no4 ---------------------------------------- ----------------------------- ,coton pour crochet --- #f #h-aj #ab-ad #af-bjbd-dj --- --- ,coton tricoter #f #h #aj-ab #ad-af #ah-bebe-dj #ej --- ,fil pointer #aj #ae #bj-cj --- --- --- --- --- ,cordonnet #f fils #a-a #b-b #c-d #aj-ae #bj-cjdj-fjgj-ijajj-aej ,fil d',alsace --- --- --- --- #cj #cf-ejfj-ijajj-aej ,fil dentelle --- --- --- --- #be #cj-ejfj-ijajj-aej ---------------------------------------- ------------------------------------- ,,explanation ,,of ,,the ,,signs 994--,in crochet1 as in knitting1 you frequently have to repeat the same series of stitches4 ,such repetitions will be indicated1 by the signs 991 99991 9999991 etc41 as the case may be4 ,,crochet ,,stitches4--,in point of fact1 there is only one1 because all crochet work consists of loops made by means of the hook or needle1 and connected together by being drawn the one through the other4 ,crochet work may however1 be divided into two kinds1 ,german crochet1 and ,victoria or ,tunisian crochet2 the latter is known also under the name of tricot-crochet4 ,in ,german crochet there are eight different kinds of stitches3 7#a7 chain stitch1 7#b7 single stitch1 7#c7 plain stitch1 7#d7 treble stitch1 7#e7 knot stitch1 7#f7 bullion stitch1 7#g7 cluster or scale stitch1 7#h7 double stitch4 ,the rows are worked1 according to the kind of stitch1 either to and fro1 or all from one end4 ,in the former case1 the work has to be turned at the end of each row1 and the subsequent row begun with #a1 #b or #c chain stitches to prevent the contraction of the outside edge4 ,when the rows are all worked one way1 the thread must be fastened on afresh each time1 which is done by putting the needle into the first chain stitch of the preceding row1 drawing the thread through it so as to form a loop1 and making one or more chain stitches according to the height required4 ,at the end of each row1 cut the thread and draw the end through the last loop2 in this manner all crochet work is finished off4 ,some crochet workers make a few extra chain stitches with the ends of the thread at the beginning and end of each row1 or fasten them off with a few stitches on the wrong side4 ,they can also1 when the occasion requires1 be formed into a fringe or tassels as a finish to the work4 ,,position ,,of ,,the ,,hands ,,and ,,explanation ,,of 7#a7 ,,chain ,,stitch 7fig4 #djc74--,take the thread in the left hand between the finger and thumb1 hold the needle between the thumb and first finger of the right hand1 letting it rest on the second finger1 in the same manner in which you hold your pen1 and put it into the loop1 which you hold between the finger and thumb of the left hand4 ,take up the thread1 lying on your finger1 with the needle and make your first stitch as you do in knitting1 tightening the loop just enough to leave an easy passage through it for the needle4 ,the end of the thread must be held by the thumb and forefinger4 ,the next stitches are made by taking up the thread with the needle and drawing it through the loop4 ,the throwing of the thread round the needle by a jerk of the wrist is called an #8over'4 ,illustration3 ,,fig4 #djc4 ,,position ,,of ,,the ,,hands ,,and ,,explanation ,,of ,,chain ,,stitch4 7#b7 ,,single ,,stitch 7fig4 #djd74--,put the needle in from the right side of the work1 into the uppermost loop of the preceding row1 take up the thread on the needle and draw it through both loops4 ,illustration3 ,,fig4 #djd4 ,,single ,,stitch4 7#c7 ,,plain ,,stitch 7fig4 #dje74--,put the needle through1 as in fig4 #djd1 from the right side to the wrong1 under the upper side1 either of a chain1 or of a stitch of the preceding row1 draw the thread through it in a loop1 turn the thread round the needle and draw it through both loops on the needle4 ,by making the rows of plain stitches follow each other in different ways1 a great variety of stitches can be produced1 as the illustrations and written instructions here given will show4 ,illustration3 ,,fig4 #dje4 ,,plain ,,stitch4 ,,rose ,,stitch 7fig4 #djf74--,this consists of rows of plain stitches1 worked backwards and forwards4 ,insert the needle from the right side1 under both the horizontal loops of the preceding row4 ,illustration3 ,,fig4 #djf4 ,,rose ,,stitch4 ,,russian ,,stitch 7fig4 #djg74--,this is worked like the foregoing1 only that all the rows have to be begun from the same end1 and the thread has to be cut off at the end of each row4 ,illustration3 ,,fig4 #djg4 ,,russian ,,stitch4 ,,ribbed ,,stitch 7fig4 #djh74--,worked backwards and forwards1 the hook being passed through the back part only of the stitches of the preceding row4 ,illustration3 ,,fig4 #djh4 ,,ribbed ,,stitch4 ,,chain ,,stitch4--,worked like fig4 #djh1 but on one side only4 ,,piqu ,,stitch4--,this stitch also is only worked on one side4 ,put the needle in under one of the vertical threads of a stitch and complete the plain stitch4 ,this is a stitch that looks very well on the wrong side2 the bars of the loop lie quite close together1 which makes it particularly suitable for unlined articles of clothing4 ,it requires a large-sized needle to do this stitch well1 especially if the material be a heavy one4 ,,slanting ,,stitch 7fig4 #dji74--,worked entirely on the right side4 ,take up the back thread of a stitch in the preceding row1 take hold of the crochet thread without turning it round the needle and draw it through in a loop1 and then finish the stitch like a plain stitch4 ,illustration3 ,,fig4 #dji4 ,,slanting ,,stitch4 ,,crossed ,,stitch4--,the name which is given to the preceding stitch when both the threads of the stitches in the row before1 are taken up together1 instead of the back one only4 ,,russian ,,crossed ,,stitch 7fig4 #daj74--,to work this stitch which runs in slanting lines1 put the needle in between the vertical threads of the stitches and underneath the two horizontal ones4 ,illustration3 ,,fig4 #daj4 ,,russian ,,crossed ,,stitch4 ,,counterpane ,,stitch 7fig4 #daa74--;,counterpanes can be made in a less close stitch than those just described4 ,illustration3 ,,fig4 #daa4 ,,counterpane ,,stitch4 ,to produce a soft and elastic fabric turn the thread round the needle and insert it under both the horizontal threads of a loop1 take up the thread without turning it round the needle1 draw it through in a loop1 make an over1 and draw the thread through all the three loops1 that you have on the needle4 ,,knotted ,,stitch 7fig4 #dab74--,this stitch likewise is composed of plain stitches1 which1 however differ in a slight degree from those we have described hitherto4 ,illustration3 ,,fig4 #dab4 ,,knotted ,,stitch4 ,make an over1 put the needle through the two horizontal threads of the stitch below1 make another over and draw it back through the two loops and the first over1 make another over1 and draw the thread through the last two loops4 ,,loop ,,stitch 7fig4 #dac74--,worked as follows3 when you have put the needle into the loop of a stitch below1 carry the thread1 downwards from above1 round a stripe of cardboard or a flat wooden ruler1 then finish the stitch in the usual way4 ,these long loops1 each about #b c_/m4 in length1 can also be made over the forefinger and held fast by the thumb as you work1 but it is more difficult to make them regular in this way4 ,each row of long stitches is followed by a row of plain stitches4 ,the side1 where the long loops lie1 becomes the right side4 ,if you wish this stitch to be very thick and handsome1 wind the thread three times round the ruler1 or finger1 and secure it with a plain stitch2 in this case1 you should make one plain stitch between every two clusters4 ,a loose1 fleecy thread is generally used for this stitch1 and for washing articles more especially1 we recommend ,coton repriser ,d4,m4,c4 ,illustration3 ,,fig4 #dac4 ,,loop ,,stitch4 ,,plain ,,stitches ,,for ,a ,,chain 7fig4 #dad74--;,begin with two chain stitches1 put the needle in between the two threads of the first chain stitch1 turn the thread round the needle and draw it through in a loop1 turn it round again and draw it through the two loops2 then1 put the needle into the left part of the stitch that was just made1 turn the thread round the needle1 draw it through the two loops and so on1 to the end4 ,illustration3 ,,fig4 #dad4 ,,plain ,,stitches ,,for ,a ,,chain4 ,a chain of this kind makes a very good substitute for mignardise when that can not be got of the right size and colour for the required purpose4 7#d7 ,,trebles4--,trebles are little columns1 or bars made of loops or stitches4 ,they can be worked1 like all other crochet1 either to and fro1 or all one way4 ,there are different kinds of trebles2 half or short trebles1 trebles1 double trebles1 called also #8long stitch'1 and quadruple and quintuple trebles1 called #8extra long stitch'1 connected trebles and crossed trebles4 ,,half ,,trebles 7fig4 #dae74--,turn the cotton round the needle from behind1 put the needle in between the trebles of the preceding row1 or into one edge of a chain stitch2 make an over1 bring the needle forward again with the thread1 make another over and draw the needle through all three loops4 ,illustration3 ,,fig4 #dae4 ,,half ,,trebles ,,trebles 7figs4 #daf and #dag74--;,begin1 as for the half treble1 by turning the thread round the needle1 and putting it in under one edge of the stitch beneath1 then take up the thread on the needle and bring it through two of the loops1 take it up again1 and draw it through the two remaining loops4 ,illustration3 ,,fig4 #daf4 ,,trebles ,,made ,,directly ,,above ,,one ,,another4 ,illustration3 ,,fig4 #dag4 ,,trebles ,,set ,,between ,,those ,,of ,,the ,,preceding ,,row4 ,in fig4 #dag1 we have trebles made in the same manner as fig4 #daf1 only that instead of putting the needle under one edge of the stitch beneath1 you put it under both1 and between the trebles of the last row4 ,illustration3 ,,fig4 #dah4 ,,double ,,trebles ,,or #8,,long ,,stitch'4 ,,double ,,trebles ,,or #8,,long ,,stitch' 7fig4 #dah74--,turn the thread twice round the needle1 put it into a stitch of the work and bring the thread through in a loop1 then take up the thread on the needle and bring it through two of the loops1 three times in succession4 ,illustration3 ,,fig4 #dai4 ,,triple ,,and ,,quadruple ,,trebles ,,or #8,,extra ,,long ,,stitch'4 ,,triple ,,and ,,quadruple ,,trebles ,,or #8,,extra ,,long ,,stitch' 7fig4 #dai74--;,for a triple treble1 twist the cotton three times round the needle1 for a quadruple one1 four times1 then form the treble in the usual way by bringing the needle through two of the loops at a time4 ,to make a series of trebles1 of gradually increasing length1 bring the needle1 at every other treble1 through the last three loops1 so that before making a triple treble you will have to make columns1 respectively1 #a treble1 #a treble1 #b trebles and #b trebles long4 ,columns like these1 of different lengths1 are often required in crochet work1 for leaves and scalloped edgings4 ,,connected ,,trebles 7fig4 #dbj74--,trebles1 connected together1 can be worked to and fro1 and take the place of plain stitches4 ,begin with a chain1 then make a treble of the required height1 form as many loops as you made overs for the treble1 take up the upper thread of the stitch nearest the treble1 turn the thread round the needle1 bring it back to the right side and draw the needle through the trebles1 two at a time4 ,illustration3 ,,fig4 #dbj4 ,,connected ,,trebles4 ,,crossed ,,trebles 7figs4 #dba and #dbb74--,trebles of this sort produce an open stitch1 which is often used for the footing of lace1 or for an insertion4 ,make a foundation of chain1 or other stitches1 and proceed as follows3 #c chain1 miss #b stitches of the row beneath1 make #a treble in the third stitch1 #e chain1 #a over1 put the needle in between the loops of the connected trebles and finish with a treble4 ,then make a double over1 put the needle into the next loop of the preceding row1 make another over1 draw the needle through the loops1 make another over and join the two next loops4 ,this leaves #c loops on the needle4 ,make an over1 put the needle into the third stitch of the row beneath1 make an over1 and bring the needle back to the right side4 ,illustration3 ,,fig4 #dba4 ,,crossed ,,trebles4 ,illustration3 ,,fig4 #dbb4 ,,crossed ,,trebles1 ,,set ,,between ,,those ,,of ,,the ,,preceding ,,row4 ,join the #e loops on the needle together1 #b and #b1 make #b chain1 #a over1 put the needle into the upper parts of the connected trebles and finish with a treble1 and so on4 ,these trebles also can be lengthened if necessary1 but in that case1 the width of the crossed treble must correspond with the height4 ,generally speaking you make the trebles over the same number of stitches as you made overs on the needle1 which should always be an even number4 ,,trebles ,,for ,a ,,chain4--,a quicker way of making a wide footing for a crochet lace is to make the trebles in the following manner4 ,make #d chain stitches1 #b overs1 put the needle into the first of the #d chain1 #a over1 draw the thread through the stitch 991 #a over1 draw the thread through the next #b loops and repeat twice from 99 9999 #b overs1 put the needle into the left bottom part of the treble1 close the treble as before and repeat from 99994 7#e7 ,,knot ,,stitch 7fig4 #dbc74--,this stitch which is composed of several loops forming a tuft1 can only be worked from one side1 consequently all one way4 ,it looks best in a coarse material to show the interlacing of the threads4 ,enter the needle through the two loops of the stitches of the bottom row1 turn the thread round the needle1 but away from you towards the back2 bring it forward to the right side1 put the needle again through one of the bottom stitches1 make another over like the first and draw the needle through all the bars at once4 ,illustration3 ,,fig4 #dbc4 ,,knot ,,stitch4 7#f7 ,,bullion ,,stitch 7figs4 #dbd and #dbe74--;,for bullion stitch1 select a needle1 a little thicker towards the handle1 and finer than you would use for any other crochet stitch4 ,illustration3 ,,fig4 #dbd4 ,,bullion ,,stitch4 ,illustration3 ,,fig4 #dbe4 ,,bullion ,,stitch4 ,begin by making a chain of very loose stitches1 then wind the thread several times1 very evenly1 round the needle4 ,insert the needle into a loop of the chain1 make a single over1 and draw it with the last over upon it1 through all the other overs4 ,trebles in bullion stitch1 fig4 #dbe1 are worked in just the same manner1 only that you have to turn the thread1 at least #aj or #ab times round the needle and draw it through all the overs at once4 ,to facilitate the passage of the needle1 keep the overs in their place with the thumb and forefinger of the left hand4 ,bullion stitch can only be worked with wool or a very fleecy thread1 such as ,coton repriser ,d4,m4,c1,a but trebles in bullion stitch can be worked in any of the ,d4,m4,c threads and cottons4 7#g7 ,,cluster ,,stitch 7fig4 #dbf74--;,generally used as an insertion between rows of plain crochet4 ,illustration3 ,,fig4 #dbf4 ,,cluster ,,stitch4 ,put the needle under one stitch of the preceding row1 make an over1 draw the thread through in a loop1 make another over1 put the needle in again under the same stitch1 bring it back1 make a third over1 and pass a third time under the same stitch2 bring the needle back1 make a fourth over and pass the needle through all the loops that are upon it4 ,then1 after making a chain stitch1 begin the same stitch over again1 placing it in the second stitch of the lower row4 ,cluster stitch may also be finished off by retaining the two last loops on the needle1 making an over1 and ending with a plain stitch4 7#h7 ,,double ,,stitch 7fig4 #dbg74--;,a rather coarse thread1 such as ,coton tricoter ,d4,m4,c ,nos4 #f to #ab1 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #aj1 or ,fil pointer ,d4,m4,c ,nos4 #aj to #cj;,a is better for this stitch than a loose fleecy thread which is apt to render it indistinct4 ,take up a loop right and left of a stitch of the preceding row1 so that counting the loop of the last stitch1 you have #c loops on the needle1 make an over and draw it through the #c loops4 ,then take up a loop again by the side of the one you made on the left1 and which now lies on the right4 ,take #b loops in the next stitch1 make an over and draw it through all the loops4 ,illustration3 ,,fig4 #dbg4 ,,double ,,stitch4 ,,raised ,,stitch 7fig4 #dbh74--;,all the stitches that come under this heading require a foundation of a few plain rows for the raised trebles4 ,in fig4 #dbh1 you will observe that the fourth stitch in the fourth row is a double treble1 connected with a loop of the fourth stitch of the first row4 ,illustration3 ,,fig4 #dbh4 ,,raised ,,stitch4 ,miss the stitch of the preceding row1 which is hidden under the treble1 make #c plain stitches1 #a double treble1 and so on4 ,having finished this row1 turn the work and make a plain row4 ,in the next row begin with #d plain stitches1 then make #a double treble between the #c stitches that are between the first trebles1 #c plain stitches1 #b double trebles and so on4 ,in the #hth row of plain stitches1 the trebles must be placed in the same order as in the #dth4 ,,raised ,,stitch ,,with ,,crossed ,,trebles 7fig4 #dbi74--;,begin1 as in fig4 #dbh1 by #c rows of plain stitches4 ,the #dth row begins with #b plain stitches followed by3 99 #a double treble joined to the upper part of the #ast stitch of the #ast row2 keep the #b last loops of this treble on the needle2 make a double over for the next treble1 pass the needle through the fourth stitch of the first row1 make an over1 turn the thread round the needle1 bring it back1 finish the treble all but the last #c loops1 which you crochet together4 ,miss the stitch behind the treble1 make #c plain stitches and repeat from 994 ,illustration3 ,,fig4 #dbi4 ,,raised ,,stitch1 ,,with ,,crossed ,,trebles4 ,then turn the work1 make one plain row1 and turn the work back to the right side4 ,the second row of trebles begins with a plain stitch4 ,the way in which the trebles are to be crossed is shewn in the illustration4 ,,raised ,,stitch ,,with ,,dots 7fig4 #dcj74--;,after making #c plain rows1 begin the #dth with #c plain stitches1 and proceed as follows3 99 #f trebles into the #dth plain stitch of the preceding row1 leaving the last loop of each treble on the needle1 so that altogether you have #g loops upon it2 then you turn the thread once round the needle and draw it through the loops2 miss the stitch that is underneath the dot1 make #c plain stitches and repeat from 994 ,illustration3 ,,fig4 #dcj4 ,,raised ,,stitch ,,with ,,dots4 ,then make #c rows of plain stitches2 in the #dth row1 the #ast dot is made in the #dth stitch1 so that the dots stand out in relief4 ,,raised ,,dots ,,with ,,trebles 7fig4 #dca74--,turn the work after making #c rows of plain stitches1 make #c stitches more in the #dth stitch of the #ast row1 99 #f trebles1 drop the last stitch of the #fth treble1 put the needle into the stitch between the last plain stitch and the #ast treble1 take the dropped loop of the last treble and draw it through the one on the needle2 miss the stitch under the dot1 make #e plain stitches and repeat from 994 ,illustration3 ,,fig4 #dca4 ,,raised ,,dots ,,with ,,trebles4 ,,raised ,,dots ,,in ,,slanting ,,lines 7fig4 #dcb74--,on the rows of stitches that have been previously prepared1 make1 for the #dth stitch of the #dth row1 a cluster stitch1 as in fig4 #dbf1 with #a quadruple over and then #d plain stitches1 #a cluster stitch and so on4 ,the next row is plain2 in the second you have to make #a plain stitch more1 and fasten the cluster stitches into the loops to the left of the second of the #c covered rows4 ,in this way you have to make each raised stitch1 one stitch1 in advance and to the left of the last1 so that they run in slanting lines over the surface4 ,illustration3 ,,fig4 #dcb4 ,,raised ,,dots ,,in ,,slanting ,,lines4 ,,close ,,shell ,,stitch 7fig4 #dcc74--,this pretty stitch which can only be worked in rows1 all one way1 is more especially suitable for children's jackets and petticoats2 it is easy1 and has the merit of being quickly done4 ,on a foundation of chain1 or other stitches1 make3 #b chain1 #g trebles on the #dth stitch1 99 #a chain1 #g trebles on the #eth stitch of the last row and repeat from 994 ,illustration3 ,,fig4 #dcc4 ,,close ,,shell ,,stitch4 #bnd row--9999 #g trebles on the chain stitch of the last row which connects #g bars1 #a plain stitch on the #dth of the #g trebles of the first row and repeat from 99994 ,,picots4--,the edges of most crochet work are ornamented with picots1 or small points of different shapes1 called severally close picots1 chain picots and lace picots4 ,close picots may be subdivided into1 large and small1 pointed1 and rounded1 picots with rounded leaves and picots with pointed leaves4 ,,small ,,rounded ,,picots4--,these may either be made separately and then sewn on1 or made at once1 on to a crochet border4 ,in the first case1 begin with #c chain1 then coming back1 make #a plain stitch on the second and on the first chain stitch4 ,in the second case make3 #a chain1 take the needle out of the stitch and put it in from the right side1 under both edges of the last stitch1 take up the dropped stitch1 bring it to the right side1 99 #c chain2 then returning3 #a plain stitch on each chain1 draw the needle out1 put it in from the right side into the second stitch of the row beneath1 take up the loop1 bring it back to the right side1 and repeat from 994 ,,large ,,rounded ,,picots4--#e chain1 miss #c1 #a treble on the #bnd and #a treble on the #ast chain stitch4 ,when you want to attach these picots at once to an existing piece of work1 drop the last loop and bring it back again with the needle from the wrong side to the right and miss #b stitches1 instead of one1 as in the case of the small picots4 ,,pointed ,,picots4--,cast on #f chain1 then returning1 and missing the #fth stitch3 #a single stitch1 #a plain stitch1 #a half treble1 #a treble1 #a double treble4 ,,picots ,,with ,,rounded ,,leaves4--99 #d chain1 and #c trebles on the first stitch1 and #a single on the same stitch on which the trebles were1 99991 or #f chain and repeat from 99 to 99994 ,when these picots serve as a finish to a straight edge1 make #b single stitches in the preceding row instead of #b chain4 ,,picots ,,with ,,pointed ,,leaves4--#f chain1 on the first chain stitch3 #c double trebles1 of which you retain the two last loops on the hook1 #a over1 draw the thread through the #d loops1 #e chain1 #a single on the stitch on which the trebles are4 ,,chain ,,picots4--,for the small chain picots1 make3 #e chain and #a plain stitch on the first of these #e stitches4 ,for the large ones3 #e chain and #a treble on the first stitch4 ,,picots ,,in ,,bullion ,,stitch 7figs4 #dbd and #dbe74--e chain1 #a treble in bullion stitch drawn up into a ring1 and joined to the #eth chain stitch4 ,illustration3 ,,fig4 #dcd4 ,,drooping ,,picots4 ,,drooping ,,picots 7fig4 #dcd74--e chain1 drop the loop1 put the needle into the first of the #e chain1 take up the dropped loop1 and draw it through the stitch4 ,illustration3 ,,fig4 #dce4 ,,empty ,,lace ,,picots1 ,,worked ,,in ,,crochet4 ,illustration3 ,,fig4 #dcf4 ,,lace ,,picots ,,attached ,,to ,a ,,row ,,of ,,stitches ,,made ,,before ,,hand4 ,,lace ,,picots 7figs4 #dce and #dcf74--;,fig4 #dce represents picots formed of chain stitches1 as follows3 #b chain1 put the needle into the first1 #a over1 bring the thread back to the front1 #b chain3 99 put the needle into the two loops1 and at the same time1 into the second loop and the first chain1 draw the thread through in a loop1 make #b chain and repeat from 994 ,in order to make the picots more even and regular1 it is advisable to form them over a coarse knitting needle or mesh4 ,fig4 #dcf represents picots attached by plain stitches to the edge of a finished piece of work2 this is done as follows3 #a plain stitch1 draw out the loop to the proper length for a picot1 and slip it on a mesh3 put the needle into the horizontal parts of the last stitches1 turn the thread round the needle1 draw it through in a loop1 and make #a plain stitch on the next stitch and so on4 ,illustration3 ,,fig4 #dcg4 ,,open-,,work ,,crochet ,,made ,,after ,a ,,tapestry ,,pattern4 ,illustration3 ,,fig4 #dch4 ,,plain ,,crochet ,,made ,,after ,a ,,tapestry ,,pattern4 ,,method ,,for ,,copying ,,tapestry ,,patterns ,,in ,,crochet ,,work 7figs4 #dcg and #dch74--,printed cross stitch and embroidery patterns can very well be copied in crochet work especially when they are in two colours only1 or rather1 are drawn in one colour1 on a plain ground4 ,the way in which such patterns are copied in crochet is by means of chain stitches and trebles1 which1 rising one above the other in rows1 form little squares4 ,for each square marked on the pattern1 you must count1 in the grounding1 #a treble and #b chain stitches2 in the solid parts1 #c trebles4 ,the squares formed by the chain stitches should always begin and end with a treble4 ,when1 therefore1 a solid square comes between empty or foundation squares1 count #d trebles for the solid square1 because the last treble of the last empty square touches the third treble of the solid one4 ,thus for #b solid squares1 side by side1 count #g trebles1 and for #c squares1 #aj4 ,embroidery patterns worked in several colours can be reproduced in crochet either by trebles and rows worked one way only1 cutting off the thread at the end of each row1 or by plain stitches1 worked in rows to and fro4 ,when only three colours are used1 pass two threads under the stitches2 when more than two1 leave those which are not in use1 at the back of the work and only bring them to the front as they are wanted4 ,the thread1 you lay aside1 takes at the back the place of the one in use4 ,of course1 the threads not in use can only can be disposed of in this way when the work has a wrong side1 otherwise they must be passed underneath the stitches4 ,the colours should alternate in the order the pattern prescribes2 moreover1 the last stitch before you take another colour cannot be finished with the same thread1 you must pass the new thread through the last loop and draw it up with that4 ,illustration3 ,,fig4 #dci4 ,,crochet ,,with ,,soutache ,,or ,,lacet 7,,braid74 ,illustration3 ,,fig4 #ddj4 ,,crochet ,,with ,,soutache ,,or ,,lacet 7,,braid74 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #ab or ,cordonnet #f fil ,d4,m4,c ,nos4 #c to #aj4 ,soutache ,d4,m4,c ,no4 #b or #c or ,lacets superfins ,d4,m4,c ,nos4 #b to #e4 ,,colours3 ,the cotton1 white or cru4 ,the ,soutache or ,lacet3 ,rouge-,cardinal #cdg1 or ,rouge-,grenat #cbf1 or ,bleu-,indigo #cab4;,a ,,crochet ,,with ,,soutache ,,or ,,lacet 7,,braid7 7figs4 #dci and #ddj74--,these are two patterns of crochet1 worked with the ordinary crochet cottons and with ,soutache or ,lacet ,d4,m4,c1 a material which has not been used for crochet work before4 ,both patterns are worked entirely with trebles2 in fig4 #dci1 the red braid passes over and under #b trebles2 in fig4 #ddj1 it is brought1 it will be observed1 from the wrong side to the right after every #b trebles1 and passed between them1 in such a manner as to form a slanting stitch between the rows of stitches4 ,,crochet ,,square 7fig4 #dda74--;,begin with #d chain stitches1 and work #a single on the #ast chain1 to make a round4 ,work1 #a chain and #b plain on the next chain1 #c plain on each of the next #c chain1 #a plain on the stitch on which the two first plain are worked4 ,slip the next stitch1 that is1 put the needle in between the horizontal bars of the #ast plain stitch of the previous row1 and draw the thread out without making a stitch4 ,then make #a chain and #b plain on the slipped stitch4 ,after which1 you make #c plain on the second of the #c plain that form the corner1 and #a plain on all the other stitches of the last row4 ,the beginning and end of each row1 are worked as described above4 ,fig4 #dda represents a square1 worked in consecutive rows4 ,in making a crochet square1 the rows may end in the middle of a side4 ,illustration3 ,,fig4 #dda4 ,,crochet ,,square4 ,when you use a stitch that has to be worked to and fro1 you turn your work at the end of every row and work back along the stitches you have just made4 ,illustration3 ,,fig4 #ddb4 ,,crochet ,,hexagon4 ,,crochet ,,hexagon 7fig4 #ddb74--,make a foundation chain of #f stitches1 join the round2 #ab plain on the #f chain2 finish the row as indicated for the previous figure turn the work 99 #a plain1 #c plain on the second plain of the last row2 repeat #e times from 994 ,finish the row with #a single turn the work #b plain1 #c plain on the second of the first #c plain2 #c plain and so on4 ,these hexagons can be made of any size4 ,,coloured ,,star ,,worked ,,into ,a ,,light ,,ground 7fig4 #ddc74--;,begin with #c chain1 join the ring #b plain on each of the #c chain2 then for the foundation1 #a plain with the dark thread1 and #a with the light on each of the #f plain4 ,in each subsequent row1 make one dark stitch more1 increasing regularly1 that is1 making #b stitches on the last light stitch that comes before the dark ones4 ,proceed in this manner until you have #f or #h dark stitches1 in all and then begin to decrease in every row by one1 until there is at last only one dark stitch remaining4 ,these stars are used in the making of purses1 cap-crowns and mats for lamps1 etc4 ,illustration3 ,,fig4 #dbc4 ,,coloured ,,star ,,worked ,,into ,a ,,light ,,ground4 ,,tunisian ,,crochet4--,tunisian crochet is also called crochet-knitting because1 you have to cast on all the first row of stitches1 as in knitting4 ,,materials--,every kind of cotton1 as well as wool and silk1 can be used for ,tunisian crochet3 the stitches look equally well in all these materials1 but for things that require frequent washing or cleaning1 a good washing material should be selected1 such as ,coton tricoter ,d4,m4,c and ,cordonnet #f fils ,d4,m4,c,a1 both strong and suitable in all ways4 ,as we have already said1 ,tunisian crochet requires to be done with a long straight needle1 with a knob at one end and it can only be worked on the right side4 ,illustration3 ,,fig4 #ddd4 ,,plain ,,tunisian ,,crochet4 ,,plain ,,tunisian ,,crochet 7fig4 #ddd74--;,after making a foundation chain of the required length1 begin the first1 or loop row as it is called4 ,put the needle into the #bnd chain stitch1 draw a loop through and so on1 until you have taken up all the chain stitches on the needle4 ,after having made the last stitch of the loop row1 make #a chain stitch and then pass to the second row that completes the stitch4 ,turn the thread round the needle1 draw it through two loops1 turn the thread round again1 and again draw it through two loops1 and so on to the end4 ,illustration3 ,,fig4 #dde4 ,,straight ,,plaited ,,tunisian ,,stitch4 ,,straight ,,plaited ,,tunisian ,,stitch 7fig4 #dde74--,worked thus3 miss the first loop in the #ast row1 take up the second1 and come back to the first1 so that the #b loops are crossed4 ,work the second row in the same manner as the second row of the preceding figure4 ,illustration3 ,,fig4 #ddf4 ,,slanting ,,plaited ,,tunisian ,,stitch4 ,,diagonal ,,plaited ,,tunisian ,,stitch 7fig4 #ddf74--,worked like the preceding1 taking up first the second loop and then the first3 the second row also1 in the same way as before4 ,in the third row1 take up the first stitch1 and draw the third through the second1 so as to produce diagonal lines across the surface of the work4 ,,open ,,tunisian ,,stitch4--,this is an easy kind of ,tunisian crochet4 ,the first row is worked as in fig4 #ddd4 ,in the row of plain stitches1 you alternately join #b and #c1 or #c and #d loops of the preceding row together1 and replace them by as many chain stitches4 ,,decreasing ,,and ,,increasing ,,in ,,tunisian ,,crochet 7fig4 #ddg74 ,our illustration shows how to decrease on both sides and by that means form scallops4 ,illustration3 ,,fig4 #ddg4 ,,decreasing ,,in ,,tunisian ,,crochet4 ,you miss a stitch alternately on the right and left4 ,on the right you crochet the first two stitches together1 and at the end of the row1 the last two1 and so on1 to the end4 ,you increase in the same order1 first on the right and then on the left4 ,,hairpin ,,crochet 7figs4 #ddh1 #ddi1 #dej74--,so called because it is worked on a kind of large steel hairpin or fork with two or more prongs4 ,wooden and nickel varieties of this implement1 which are patented by ,mme ,besson1 of ,paris1 are also used4 ,very pretty laces1 fringes1 gimp headings and the like can be made in this kind of crochet work4 ,it is often used in combination with ordinary crochet and plain and scalloped braids and gimps1 or as a heading for fringes made of tufts and pendant balls4 ,there are a great many stitches which can be worked in hairpin-crochet4 ,we shall only describe those here that will best teach our readers how the work is done4 ,,materials4--,for washing laces1 ,cordonnet #f fils ,d4,m4,c is the best2 for furniture fringes1 the lower numbers of ,coton tricoter ,d4,m4,c1 and for producing the appearance of filoselle1 the lower numbers of ,coton repriser ,d4,m4,c are to be taken4 ,illustration3 ,,fig4 #ddh4 ,,steel ,,hairpin ,,for ,,crochet4 ,illustration3 ,,fig4 #ddi4 ,,wooden ,,fork ,,for ,,crochet4 ,illustration3 ,,fig4 #dej4 ,,fork ,,with ,,several ,,prongs ,,for ,,crochet4 ,,stitches4--,begin by a chain stitch1 made with an ordinary crochet needle1 take the needle out of the loop1 and insert the left prong of the fork upwards from below1 holding the fork between the thumb and finger of the left hand4 ,the thread should always be in front4 ,then put the thread over the right prong and the needle into the loop on the left prong1 take up the thread1 draw it through the loop1 put the thread over the needle and draw it through the loop that is on the needle1 twist the loop round the left prong1 turn the needle round to the right 7the thread will now be wound round the right prong72 put the needle into the loop on the left prong1 throw the thread over the needle1 draw it through1 tighten the loops and so on4 ,these stitches may be doubled1 or you may make several trebles on each loop1 or arrange the plain stitches in different ways4 ,illustration3 ,,fig4 #dea4 ,,hairpin ,,insertion4 ,,materials3 ,fil pointer ,d4,m4,c ,no4 #bj or #cj1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #d to #ae1 white or cru4,a ,,hairpin ,,insertion 7fig4 #dea74--;,begin by making stripes with the fork1 covering each thread with two plain stitches4 ,then join the stripes together by the loops1 drawing the left loop over the right one and the right one over the left4 ,when you come to the end of the stripes fasten off the last loops by a few stitches4 ,to strengthen the edges1 join two loops together by #a plain1 #b chain1 #a plain and so on4 ,illustration3 ,,fig4 #deb4 ,,hairpin ,,lace ,,materials--,for the hairpin work3 ,fil pointer ,d4,m4,c ,nos4 #bj to #cj1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #aj1 white or cru4 ,for the edge4 ,coton tricoter ,d4,m4,c ,nos4 #af to #cj4 ,,colours3 ,rouge-,cardinal #cdg1 or ,jaune-,rouille #cfd1 or ,brun-,marron #djf4;,a ,,hairpin ,,lace 7fig4 #deb74--,when1 by making two half trebles in each loop1 you have got the necessary length of hairpin crochet1 join the loops two and two1 by means of a coloured thread which makes a good contrast with the thread of which the hairpin crochet is made4 ,work #a plain stitch joining #b loops on the right1 #b chain1 #a plain joining the #b loops on the left2 then #b chain and come back to the right1 and so on1 until you have taken up all the loops4 ,this forms the zigzag in the middle4 #ast row--join #c loops by3 #a plain1 #e chain4 #bnd row--on the #e chain stitches3 #a plain1 #a half-treble1 #c trebles1 #a picot1 made with #e chain 7for the chain picots1 see p4 #bcg71 #a half-treble1 #a plain4 ,the footing of this lace is made like the one in fig4 #dea4 ,illustration3 ,,fig4 #dec4 ,,hairpin ,,fringe ,,with ,,tassels4 ,,hairpin ,,fringes 7figs4 #dec1 #ded1 #dee1 #def74--;,fig4 #dec is made with a fork composed of one branch and #c or #d rulers1 round which the thread is wound in succession1 so as to form loops of different lengths4 ,you may use for this1 either a single very coarse thread1 or else several fine ones1 used together as one4 ,the heading of the fringe is plain1 and heavy tassels are fastened into the loops4 ,the tassels are made as follows3 take a thick skein of the same thread the fringe is made of1 pass it through the loop1 leaving just the length required for the tassel1 at one end1 thread a needle with the same thread and twist it round the skein1 the right distance from the top to form the head of the tassel and then cut the ends even1 at the bottom4 ,as the loops are of different lengths1 the tassels will hang in steps and the fuller and heavier they are1 the handsomer the fringe will be4 ,illustration3 ,,fig4 #ded4 ,,hairpin ,,fringe ,,with ,,tassels4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #af4;,a ,,colours3 cru and ,jaune-,rouille #cfc1 #cfh1 or ,gris-,tilleul #cca and ,rouge-,cornouille #ddi and #dej1 or three other shades4,a ,fig4 #ded represents another pattern of fringe1 the first part of which is made with the same fork as the preceding one4 ,instead however of winding the thread round the several prongs in succession1 you pass it alternately round the two first and the fourth1 thus making loops of two lengths only4 ,tassels of a length1 suited to the purpose the fringe is intended for1 depend from these loops and may be varied in the second row by balls made to issue from the middle1 or by long meshes1 which are made over the whole width of the fork and affixed to the loops4 ,figs4 #dee and #def represent two pretty patterns of fringes made of cru cotton with a strong twist4 ,these are very suitable for washing articles1 as the cotton balls wash perfectly4 ,illustration3 ,,fig4 #dee4 ,,hairpin ,,fringe ,,with ,,one ,,line ,,of ,,balls4 ,illustration3 ,,fig4 #def4 ,,hairpin ,,fringe ,,with ,,two ,,lines ,,of ,,balls1 ,,one ,,above ,,the ,,other4 ,,materials--,for the crochet-work3 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #aj1 or ,fil pointer ,d4,m4,c ,nos4 #aj to #cj4 ,for the balls3 ,coton repriser ,d4,m4,c ,nos4 #h to #af4 ,the loops in fig4 #dee are all of one length and a ball hangs from every third4 ,in the last chapter but one1 a minute description is given of the way in which these balls are made4 ,the heading of the loops is formed by a row of chain stitches1 varying in number from four to six1 according to the size of the cotton4 ,the edge is ornamented with little picots4 ,the fringe1 in fig4 #def1 consists of three long and three short loops alternately1 which causes1 the balls that are made to depend from them1 to form two parallel lines4 ,if you join the loops of the heading together1 three and three1 you will have to make enough chain stitches to cover the space that is to be filled4 ,the picots are made with #f chain stitches1 you put the needle back into the fifth stitch after closing the picot1 make #a chain1 #b plain1 in the preceding row1 #a picot and so on4 ,,fringe ,,made ,,with ,,lacet ,,or ,,braid 7fig4 #deg74--,this is an easy fringe to make and a very effective trimming for table-cloths1 curtains etc41 which are embroidered on coarse stuffs4 ,begin with a foundation chain1 in coarse cru twist1 the light stitch in the middle of the heading of the fringe being also made of the same material4 ,in the next row1 you use the twist and the braid together1 as follows--with the twist #a chain stitch1 put the needle into the first stitch of the foundation chain1 take up the braid1 draw it through1 turn the twist round the needle1 draw it through the braid and the chain stitch4 ,to make the braid loops longer1 they may be made over a wooden ruler4 ,to the two rows of braid stitches1 represented in the pattern1 you may add as many other rows as you please4 ,on the fringed side make3 #d plain1 #c chain1 draw out one very long loop and fasten into it a cluster of lengths of braid from #aj to #ab c_/m4 long1 and draw the loop tightly round it to secure the tassel2 #c plain on the chain stitches4 ,repeat from 994 ,illustration3 ,,fig4 #deg4 ,,fringe ,,made ,,with ,,lacet ,,or ,,soutache 7,,braid74 ,,materials3 ,lacet ,d4,m4,c ,no4 #d or ,soutache ,d4,m4,c ,,no4 #b in red4 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #aj4 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 cru4,a ,illustration3 ,,fig4 #deh4 ,,lace ,,made ,,on ,,point ,,lace ,,braid4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #ej1 or ,cordonnet #f fils ,d4,m4,c ,no4 #hj1 white,a and ,point ,lace braid4 ,,lace ,,made ,,on ,,point ,,lace ,,braid 7fig4 #deh74--;,for the rounds3 #a plain on the braid1 #aj chain1 then coming back1 #a single on the #dth chain4 ,in this first round you make3 #a chain1 #a half-treble1 #ab trebles 991 #a half-treble1 #a chain1 #a single on the #dth chain2 #c chain1 #a single on the braid1 far enough from the #ast chain for the rounds not to overlap each other4 ,then #aj chain1 #a single on the #dth chain1 #a single1 #a half-treble1 #d trebles1 join to the first round between the #hth and #ith trebles1 #h trebles and repeat from 994 ,for the footing3 #a treble1 #a chain1 miss a few threads of the edge of the braid1 #a treble4 ,illustration3 ,,fig4 #dei4 ,,crochet ,,guipure ,,lace4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #gj to #ij4 ,cordonnet #f fils ,d4,m4,c ,nos4 #hj to #abj1 or ,fil dentelle ,d4,m4,c ,nos4 #dj to #gj4 ,,crochet ,,guipure ,,lace 7fig4 #dei74--,this charming little lace makes a very good substitute for real guipure4 ,it can be made on a row of trebles1 just as well as on point lace braid1 or on a mignardise1 after you have raised the picots of it by single and chain stitches4 #f plain 991 #i chain1 leave an interval equalling in length #f bars of the point lace braid used in our pattern2 in the braid3 #f plain stitches1 very close together1 #h chain1 #a single on the #gth of the #i chain1 #aj chain1 #a single on the #c;d of the #i chain1 #h chain1 #a plain close to the first of the first #f plain4 #ast scallop--#g plain1 #e chain1 join to the #dth chain2 on the #eth chain3 #f plain2 on the #hth chain3 #c plain4 #bnd scallop--on the #aj chain3 #g plain1 #e chain1 join to the #dth chain on the #e chain3 #f plain on the #aj chain1 #e plain1 #e chain1 join to the #dth chain1 #f plain1 #e chain1 join to the #dth chain1 #f chain1 #a plain on the #ajth chain4 #crd scallop--like the first1 then repeat from 994 ,illustration3 ,,fig4 #dfj4 ,,lace ,,made ,,on ,,point ,,lace ,,braid4 ,,materials3 ,the same as for #deh4 ,,lace ,,made ,,on ,,point ,,lace ,,braid 7fig4 #dfj74--,on the braid1 work a row of trebles1 #a or #b chain stitches apart1 according to the size of the braid and on this row of trebles1 make two other rows as follows3 #ast row--#e chain1 #a treble on the treble of the preceding row1 #e chain1 #a treble1 on the same stitch to which the first treble is joined1 #e chain1 miss #c trebles1 #a treble on the #dth treble of the row beneath4 #bnd row--#a plain on the #crd of the #e first chain1 #c plain1 #a treble on the #crd of the chain stitches between the two trebles of the first row that come close together2 #c chain1 #a treble on the same stitch1 #c chain1 #a treble on the same stitch1 #c chain1 #a treble on the #crd of the next #e chain4 ,illustration3 ,,fig4 #dfa4 ,,crochet ,,lace4 ,,materials3 ,lacet superfin ,d4,m4,c ,no4 #ad and ,fil d',alsace ,d4,m4,c ,nos4 #cj to #gj4;,a ,,crochet ,,lace 7fig4 #dfa74--ast row--#c plain close together1 in the braid2 99 #ac chain1 join to the #ast plain4 ,on each of the first #f chain2 #a plain2 on the #gth chain3 #c plain1 then on the other chain stitches3 #f plain4 ,in the braid3 #g plain and repeat from 994 #bnd row--99 miss #b plain of the first row1 #e plain to reach the #bnd stitch added in the first row1 #d plain on the #bnd added stitch1 #d plain on the next stitches4 ,repeat from 994 ,for an insertion1 drop the thread after the #bnd of the #d stitches that are to be made at the point1 then put the needle into the stitch of the finished stripe1 take up the thread again1 draw it through the stitch and proceed to the second side of the scallop4 ,illustration3 ,,fig4 #dfb4 ,,crochet ,,lace ,,with ,,mignardise4 ,,materials--,according to the mignardise used4 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #gj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #gj4;,a ,,crochet ,,lace ,,with ,,mignardise 7fig4 #dfb74--,this and all the patterns that follow1 up to fig4 #dgc1 make very useful trimmings for all kinds of underclothing4 ,begin by raising the picots on both sides of the mignardise by3 #a plain stitch and #a chain4 ,the rows of crochet work between1 consist of3 #a treble on #a chain1 #d chain1 miss #b picots of the mignardise1 #a treble between the #crd and #dth picot4 ,work the edge in two rows4 #ast row--#a treble between #b picots1 #c chain1 miss #b picots1 #a treble4 #bnd row--#a treble on #c chain1 #c chain1 #a treble1 #c chain1 #c trebles1 #g chain1 turn back and join to the #ast of the #c trebles1 #b chain1 join them to the #bnd treble1 #b trebles on the #g chain2 keep the last loops of the last treble on the needle and join them to those of the next treble4 ,illustration3 ,,fig4 #dfc4 ,,lace ,,with ,,two ,,rows ,,of ,,leaves4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #bj to #ajj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #hj or ,fil dentelle ,d4,m4,c ,nos4 #be to #ajj4 ,,lace ,,with ,,two ,,rows ,,of ,,leaves 7fig4 #dfc74--,this is one of the pleasantest crochet patterns to work that we know4 ,the leaves are made separately and fastened into a foundation with thread1 at least two numbers finer than that of which the leaves are made4 ,leaf with #e petals3 #h chain1 make a ring #b plain on the ring #ast petal 99 #aa chain1 miss #c chain1 #a half-treble on the #hth chain1 #a chain1 miss the #gth chain1 #a treble on the #fth chain1 #a chain1 #a treble on the #dth chain1 #a chain1 #a treble on the #crd chain1 #b chain1 #b plain on the ring4 #bnd petal3 #ae chain1 miss #c chain1 #a half-treble 991 #a chain1 miss #a chain1 #a treble 994 ,repeat #d times from 99 to 992 add3 #a chain1 #b trebles on the ring4 #crd petal3 #ba chain1 miss #c chain1 #a half-treble 991 #a chain1 miss #a1 #a treble 994 ,repeat #g times from 99 to 992 add3 #a chain1 miss #a1 #b trebles in the ring4 ,the #dth petal to be worked like the #crd2 the #eth like the #ast4 ,when the #e petals are finished1 make #b plain stitches on the ring2 then on the chain stitches of the #ast petal3 #b plain1 #g trebles1 #b trebles on the #ajth stitch2 then descending again3 #g trebles1 #b plain and #c single on the #c plain stitches of the ring4 ,on the #bnd petal work3 #c plain1 #aj trebles1 #b trebles on the #adth chain1 #aj trebles1 #c plain1 #b single1 on the #b trebles on the ring4 #crd petal3 #b single1 #c plain1 #ad trebles1 #b trebles on the #bjth chain1 #ad trebles1 #c plain1 a single4 ,the #dth petal is worked like the #bnd2 the #eth like the #ast1 to be followed by #a single on the #ast of the #c chain stitches of the ring4 ,for the stalk3 #ad chain2 miss #a1 #i plain on the #i chain2 #f chain1 miss #a1 #e plain on the #e chain1 #d plain on the chain stitches that are still disengaged1 #b single on the ring and then fasten the thread off with a few stitches4 ,when you have enough leaves1 join them together by a row of picots1 working from left to right as follows3 99 take the second petal on the right side of a leaf1 put the thread into the #abth stitch2 make #b plain1 #a picot1 #a plain on the stitch on which the picot was made in all the leaves1 the #crd plain before the picot and the first after1 meet in the same stitch beneath #b plain1 #a picot1 #c plain1 #b chain on the #hth stitch of the #crd petal3 #a plain1 #b plain more on the next stitches 99991 #a picot1 #c plain4 ,repeat #f times from 9999 and finish with #b chain4 ,on the #gth stitch of the #dth petal3 #a plain1 #b plain on the next stitches 9999991 #a picot1 #c plain4 ,repeat #d times from 9999994 ,on the #eth stitch of the #eth petal3 #a plain1 and on the #d next1 #d plain 999999994 ,repeat from 99 to 9999 round each leaf1 then instead of a picot1 make #d chain1 join between the #ast and #bnd picot1 #d chain1 close the picot4 ,from this point the preceding series of stitches takes the place of the picot that immediately follows the sign 99992 proceed to 999999994 ,foundation for the footing of the lace1 with a single row of leaves4--,when all the leaves are joined together1 take the finer number of cotton and fasten your thread to the last stitch of the small stalk2 then make3 99 #b chain1 #a plain on the #ith stitch of the #eth petal2 #f chain1 miss #b1 #a plain on the #crd stitch2 #f chain1 #a plain on the #crd stitch1 #a chain1 #a plain on the #eth stitch of the #dth petal2 #f chain1 #a plain on the #crd chain2 #b chain1 #a plain on the #dth stitch 7counting from the bottom7 of the #eth petal of the next leaf2 #c chain1 #a single on the last stitch of the long stalk2 #c chain1 join to the #crd chain stitch1 #c chain1 draw the thread again in coming back through the #crd of the second set of #f chain stitches in the #ast petal2 #a single2 turning back and from left to right3 #a single on the plain stitch between the chain stitches1 #f chain1 #a plain on the #bnd of the last #c chain1 #f chain1 #a plain on the stalk1 #f chain1 #a plain on the #crd stitch of the stalk2 #f chain1 #a plain on the #dth stitch of the stalk2 #g chain1 #a plain at the top of the little stalk1 then repeat from 994 ,the network in the next rows1 which may be of any width1 is composed of3 #f chain stitches and1 #a plain on the loop of the last row4 ,for the last row but one of the network1 make3 #d chain1 #a plain over each loop1 and complete the lace by a row of plain stitches4 ,to make the leaves stand out from the foundation1 use two shades of thread1 white and cru1 white and ,jaune-,rouille #cfe1 or white and ,gris-,cendre #dae4 ,the following is the way to join two rows of leaves together1 that have previously been edged with picots4 ,fasten the thread on to the little stalk1 99 #c chain1 #a plain on the #hth stitch of the leaf1 #b chain1 join to the middle picot of the #crd petal of the top leaf2 #b chain1 #c plain on the #eth petal of the bottom row1 #a picot1 #c plain4 ,for the #bnd petal of the bottom leaf3 #c plain1 #a picot1 #c plain4 ,for the #eth petal of the next leaf below3 #c plain1 #d chain1 #a single on the long stalk1 #e chain1 #a plain on the #bnd picot of the #ast petal of the preceding leaf1 #e chain1 #a single on the #bnd picot of the #dth petal of the top leaf1 #d chain1 #a plain on the #dth single of the stalk1 #c chain1 #a single on the #gth picot of the #crd petal of the top leaf1 #c chain1 miss #a stitch of the stalk1 #a plain on the stalk1 #c chain1 #a plain on the #fth picot of the top leaf1 #c chain1 #a plain on the little stalk4 ,repeat from 994 ,three and even four rows of leaves may be joined together in this manner and make a very handsome lace1 particularly suitable for church linen4 ,,insertion ,,with ,,waved ,,braid 7fig4 #dfd74--a plain stitch at the point of the braid1 #g chain1 #a single on the #bnd chain4 ,on the next chain stitches3 #a half-treble1 #a treble1 #a double treble1 #a triple treble1 #a plain on the next point of the braid4 ,repeat the same stitches on the second side1 only that after the #fth chain stitch1 you draw the thread through the #gth of the #ast finished row4 ,little wheels1 set between the crochet pyramids1 and described in the chapters on filet-guipure and ,irish lace1 complete the insertion4 ,illustration3 ,,fig4 #dfd4 ,,insertion ,,with ,,waved ,,braid4 ,,materials4--,according to the size of the braid3 ,fil d',alsace ,d4,m4,c ,nos4 #bj to #gj1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #dj to #gj4;,a ,,crochet ,,lace1 ,,made ,,with ,,leaf ,,braid 7fig4 #dfe74--;,introduce the thread into one of the leaves of the braid and working from right to left1 make for the outer border3 99 #a plain1 #b chain1 #a picot in bullion stitch1 with #e twists of the thread1 #b chain1 #a treble near the end of the leaf4 ,leave the last #b loops of the treble on the needle 99994 ,take #b leaves of the braid1 fold them one upon the other3 #a treble near the stalk of these folded leaves1 tighten the loops of the #b trebles2 chain 9999991 #a picot1 #b chain1 #a plain1 #b chain4 ,repeat #e times from 9999994 ,proceed with #a picot1 #b chain1--there will be #g picots round the folded leaves--#a treble on the folded leaves and repeat from 9999 to 991 therefore the inverse way1 and begin again from 994 ,for the footing of the lace1 #d rows are required4 #ast row--99 #a double treble close to the stalk of the leaf1 #e chain1 #a treble1 at the third of the leaf1 #a double treble at the #bnd third of the leaf1 #e chain1 #b double trebles1 one on the right leaf1 one on the left1 draw the last loops of the #b trebles up together and repeat from 994 #bnd row--,on each of the little loops formed by the #e chain of the last row3 #a plain1 #c chain1 #a picot in bullion stitch1 #g chain1 #a picot1 #c chain2 #a plain on the next loop and so on4 #crd row--#a plain on the #dth of the #g chain1 #e chain1 #a plain and so on4 #dth row--#a plain on each loop of the last row4 ,illustration3 ,,fig4 #dfe4 ,,crochet ,,lace ,,made ,,with ,,leaf ,,braid4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #ej to #ajj or ,fil dentelle ,d4,m4,c ,nos4 #ej to #hj4;,a ,,crochet ,,lace ,,made ,,with ,,leaf ,,braid 7fig4 #dff74--;,begin with the outside edge3 #ast row3--,at the end of a leaf3 #a treble1 #f chain1 #a picot in bullion stitch1 #f chain1 #a treble at the beginning of a #bnd leaf3 #f chain1 #a picot1 #f chain1 #a treble at the end of the leaf #g chain1 #a picot1 #g chain1 #a treble on the #crd leaf #f chain1 #a picot1 #f chain1 #a treble at the end of the #crd leaf #f chain1 #a treble1 #f chain1 #a treble on the #dth leaf #a double treble joined to the #dth and #ast leaf of the next scallop #a treble at the end of the #ast leaf1 join and draw the last loops of these #c trebles together4 #bnd row--over each treble and picot3 99 #a plain1 #c chain1 #a picot1 #g chain1 #a picot1 #c chain1 #a plain repeat #f times from 994 ,at the indent and before the last picot3 #b chain1 #a picot1 #b chain #a plain before the #ast picot of the next scallop4 #crd row--#a treble1 #h chain1 repeat #f times4 ,in the indent join the #dth of the #g chain stitches right and left together by #a treble4 #dth row--#ae single on each loop of #h chain4 ,inside junction4--,begin at the edge of the first leaf1 fasten on the thread and make #aj chain and1 #a double treble at the end of the leaf1 #a triple treble1 and draw up both together1 #e chain1 #b triple trebles on the leaves to the right and left #e chain1 #b triple trebles1 one at the end and the other at the beginning of the #crd and #dth leaf #b chain1 #a picot in bullion stitch1 #b chain1 #a plain on the last stitch of the first trebles1 #aj chain1 #a plain on the last stitch of the last trebles2 #e chain1 #a triple treble at the end of the #dth leaf4 ,illustration3 ,,fig4 #dff4 ,,crochet ,,lace ,,made ,,with ,,leaf ,,braid4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #dj to #hj or ,fil dentelle ,nos4 #ej to #hj4;,a ,going back to the beginning3 #e chain1 #a single on the #aj chain above the picot #e chain1 #a single on the #eth of the first #aj chain #ab chain1 #a plain on the loop of the last triple treble1 #g chain1 #a picot in bullion stitch1 #f chain #a plain on the stalk between the #b leaves2 #f chain1 #a picot1 #g chain1 #a triple treble on the leaf1 #e chain1 repeat from 994 #bnd row--#e chain1 #a treble on the lower loops4 ,distribute the chain stitches equally4 #crd row--#a plain in the braid that forms the footing of the lace1 #b chain1 #a plain on the last chain stitches1 #b chain1 #a plain in the braid1 continuing in this manner to join the crochet work and the braid together4 ,,irish ,,lace 7fig4 #dfg74--;,begin with the semicircles in the middle of the pattern1 which arch over two scallops1 and cast on #aag chain4 ,then lay a double or threefold thread of ,cordonnet #f fils ,d4,m4,c ,no4 #b1 over the chain stitches1 and make one plain stitch on each2 then cut the padding thread short off4 ,illustration3 ,,fig4 #dfg4 ,,irish ,,lace4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #ajj1 ,fil pointer ,d4,m4,c ,no4 #cj or ,fil d',alsace ,d4,m4,c ,nos4 #cj to #ajj4;,a ,on the other side of the chain make #b plain1 99 #b chain1 #a picot1 #g chain1 #a picot1 #b chain1 miss #g2 #a plain on each of the #b next stitches 99994 ,repeat #aa times from 99 to 99992 the #aath time making only #f chain4 #bnd and #crd row--,on the upper side1 over a double thread of twist3 #a plain on each stitch of the last row2 cut off the padding thread #b chain1 #a picot1 #g chain1 #a picot1 #b chain1 #a plain on the #dth of the #g chain stitches after the first picot of the preceding row #c chain1 #a picot1 #c chain1 #a plain on the #dth of the next #g chain stitches 99994 ,repeat #aa times from 99 to 9999 and then make3 #b chain1 #a picot1 #g chain1 #a picot1 #b chain1 #a plain4 ,on the upper side and without a padding thread3 #c plain1 #a picot1 99 #e plain1 #a picot1 99994 ,repeat #bj times from 99 to 99994 ,continue with3 #c plain1 #aj chain1 #a picot1 #b chain1 #b plain on the #dth of the first #g chain of the #bnd row on the inside of the semicircle #b chain1 #a picot1 #g chain1 #a picot1 #b chain1 #a plain on the plain stitch of the previous row #a plain on the #ast of the #c chain #b chain1 #a picot1 #g chain1 #a picot1 #b chain1 #b plain as before1 #b chain1 #a picot1 #g chain1 #a picot1 #b plain #b chain1 #a picot1 #i chain1 #a plain1 return and make on the #i chain3 #g plain1 #b chain1 #a picot1 #b chain1 #b plain make #d more scallops like the previous one #b chain1 #a picot1 #i chain1 #a plain return and make on the #i chain3 #g plain1 #b chain1 #a picot1 #b chain1 #b plain make #b more scallops1 and then a #crd joined to the scallop that terminates the semicircle on the right by the #b plain stitches #b chain1 #a picot1 #g chain1 #a picot1 #b chain1 #b plain on the point of the crescent #bb scallops consisting of3 #b chain1 #a picot1 #g chain1 #a picot1 #b chain1 #b plain4 #i plain on the scallop that terminates the semicircle on the left1 #g chain1 #b plain on the next scallop1 #b chain1 #a picot1 #b chain1 #b plain on the next scallop make #b bars more of the same kind #g chain1 #b plain #c bars like the previous ones #g chain1 #b plain #c bars as before #b plain1 #g chain1 #g plain on the next scallop #a bar consisting of #c chain1 #a picot1 #c chain1 #b plain over all the scallops of the preceding row 7#bd scallops in all74 #dth row--#c chain 991 #h trebles on the #g chain that follow the #g plain turn the work #a single on the last treble1 #c chain1 #a treble on the #gth and #a on the #fth of the #h trebles1 #b chain1 #a treble on the #eth and #a on the #dth of the #h trebles1 #b chain1 #a treble on the #crd and #a on the #bnd of the #h trebles1 #c chain1 #a single on the #ast of the #h trebles turn the work 9999 on the #c chain3 #a plain1 #a half-treble1 #a treble1 #a half-treble1 #a plain #a plain between the #b trebles below on the #b chain1 #a plain1 #a half-treble1 #a treble1 #a half-treble1 #a plain 999999 #a plain between the #b trebles beneath1 repeat from 999999 to 99991 therefore the reverse way4 ,go on with #b scallops consisting of #b chain1 #a picot1 #g chain1 #a picot1 #b chain1 #b plain after the #bnd scallop3 #b chain1 #a picot1 #e chain #h trebles on the #g chain over the #g plain and finish the little flowers consisting of #d scallops each1 like the first from 99 to 999999 and from 999999 to 9999 #b plain to get back to the scallop #a chain1 #a picot1 #b chain1 #b plain1 #c chain1 #a picot1 #g chain1 #a picot1 #b chain1 #b plain1 #c chain1 #a picot1 #c chain1 and make a #crd flower of #d scallops like the #b others #b single to come back to the scallop1 #b chain1 #a picot1 #b chain1 #b plain #b more scallops like the previous ones1 then make the #dth flower of #d scallops1 which must come before the #g plain stitches of the previous row #bj scallops consisting of3 #b chain1 #a picot1 #g chain1 #a picot1 #b chain1 #b plain the last scallop is to be joined to the #ast scallop of the #ast flower1 under the left point of the semicircle #c single along the small scallop1 #c trebles1 #b chain1 #a picot1 #b chain1 #b plain on the point of the scallop #c bars like the previous ones to be joined to the #b next scallops #c similar bars between the small scallops #a single on the scallop between the #b flowers and #a single on the #bnd set of chain stitches in the scallop that precedes the #crd flower #a single on the point of the #ast scallop of the #crd flower continue the little bars along the #bnd side until past the #dth flower after the #dth flower make #b bars consisting of #b chain1 #a picot1 #b chain1 #b plain #c chain1 #a picot1 #c chain1 #b plain on the next scallop 99999999 #g chain1 #b plain on the next scallop1 #c chain1 #a picot1 #c chain1 #b plain on the next scallop1 #c chain1 #a picot1 #c chain1 #b plain on the next scallop1 #c chain1 #a picot1 #c chain1 #b plain on the next scallop 9999999999 repeat five times from 99999999 to 99999999994 ,at the #bnd repetition make #a bar with #a picot more1 so that you have #d bars instead of #c4 ,at the #eth repetition you decrease by #a bar1 so that you have #b instead of #c4 #a plain on the point of the scallop of the flower1 #c chain1 #a picot1 #g chain1 #a picot1 #c chain1 #c plain1 one of which is made on the #bnd plain of the previous row1 and the #bnd on the bar of chain stitches #c plain1 #a picot1 #g chain1 #a picot1 #c chain1 #b plain #b more similar scallops then #c chain1 #a picot1 #i chain1 #a plain on the #bnd plain of the previous row join and on the #i chain make #g plain #c chain1 #a picot1 #c chain1 #b plain4 ,over the #ast little flower inside the semicircles1 make #a scallop like the previous ones then #c chain1 #a picot1 #g chain1 #b plain on the #crd point of the first flower #b chain1 #b plain on the #bnd point of the second flower #f plain on the scallop and joined to the #crd point of the first flower #c chain1 #a picot1 #c chain #b plain #a scallop like the previous ones1 #b plain on the #dth point of the small flower1 #c chain1 #a picot1 #i chain1 #a plain #g plain over the #i chain #c chain1 #a picot1 #c chain1 #b plain4 ,make #g scallops of3 #c chain1 #a picot1 #g chain1 #a picot1 #c chain1 #b plain1 after the #gth scallop make #a chain only1 which must come just before the #gth chain to the left without a picot and above the point of the semicircle4 ,over the #g chain make a flower like the first with #d scallops then #c scallops1 #c chain1 #a picot1 #g chain1 #a picot1 #c chain1 #b plain4 ,make one more flower with #d scallops1 #c scallops like the previous ones a third flower with #d scallops1 #b chain1 #b plain1 one of them above the point of the row beneath1 #ab chain1 #a plain over the next scallop turn the work and coming back over the row just made1 make3 #g plain on the first #g of the #ab chain1 #a plain on the point of the scallop1 #d chain1 #a picot1 #d chain1 #a plain on the next scallop1 carry on the bars over the flowers and scallops1 making #a plain on the scallops of the flower and #b plain on the other scallops1 up to the #e plain stitches between the #b flowers underneath the semicircle4 ,after the plain stitch that joins the last bar1 turn the work and make #bc scallops consisting of3 #d chain1 #a picot1 #g chain1 #a picot1 #d chain1 #b plain4 ,cut off the thread and fasten it on above the semicircle and at the plain stitch which precedes the #g chain without picot and make the second side like the first having reached the middle1 close to the #e plain1 turn the work make the half round of bars and fasten off at the #dth scallop of the flower above the semicircle4 ,fasten on at the point under the flowers where the work was turned and on the wrong side1 and from right to left1 work3 #ba scallops consisting of #d chain1 #a picot1 #g chain1 #a picot1 #d chain1 #b plain then add3 #d chain1 #a picot1 #aj chain1 #a plain above the point of the scallop of the small flower turn the work3 #g plain over the #aj chain4 #bb bars of #c chain1 #a picot1 #c chain1 #b plain after the #bbnd bar1 #aj chain come back and join to the picot of the #bast bar #b chain1 #h trebles over the #aj chain and complete the flower as before4 ,after the #dth scallop of the flower3 #b chain1 #a single1 quite close to the #h trebles1 #c chain1 #b plain on the next bar1 #c chain1 #a picot1 join to the #bnd stitch of the #dth scallop of the flower1 #c chain1 carry on the bars the same distance as on the first side4 ,footing of the lace--,on the chain stitches that follow the #crd plain stitch and above the last little figure3 #a triple treble1 #f chain1 join to the middle plain stitch miss #a scallop1 #a treble1 #f chain miss #a scallop1 #a double treble1 #f chain1 miss #a scallop1 #a triple treble1 #f chain1 miss #a scallop of the figure on the left1 #a double treble1 #f chain miss #a scallop1 #a treble1 #f chain miss #a scallop1 #a double treble1 #f chain miss #a scallop1 #a treble1 #f chain miss #a scallop1 #a treble1 #f chain miss #a scallop1 #a double treble1 #f chain1 #a triple treble1 #f chain1 #a quadruple treble on the next plain stitch4 ,repeat the whole1 reversed1 and finish off the footing with a row of plain stitches4 ,edge of the lace4--,fasten on1 where the semicircles join3 #a double treble on the first #c chain stitches of the empty scallop1 #e chain1 #a double treble on the next disengaged chain stitches of the half scallop2 continue the same on all the chain scallops and distribute the trebles so that there may be in all1 #ac times #e chain stitches4 ,add #b triple trebles1 the last loops of them1 connected by a plain stitch2 the #ast triple treble on the #c last chain stitches of the last scallop1 the #bnd on the plain stitch1 that follows the #ast scallop of the middle figure #d chain1 #a treble on the plain stitch of the #bnd point4 ,repeat the same1 reversed4 #bnd row--,on the first #e chain of the last row3 #e plain on the next #e chain3 #e plain on the #c chain1 leave a space3 #e plain1 #ab chain1 come back and join to the #hth chain stitch by a single stitch on the scallop3 #d plain1 #a picot1 #c plain1 #a picot1 #d plain and so on1 until you have #h points altogether4 ,the plain stitches must be distributed as follows3 ,for the #bnd point3 in the #dth space #d plain1 in the #eth space #c plain for the #crd point3 in the #eth space1 #b plain1 in the #fth space1 #e plain for the #dth point3 in the #fth space #a plain1 in the #gth space #f plain for the #eth point3 in the #hth space #d plain1 in the #ith space #c plain for the #fth point3 in the #ith space #c plain1 in the #ajth space #d plain for the #gth point3 in the #aath space #g plain for the #hth point3 in the #abth space #g plain #e plain in each of the #b remaining spaces4 ,,crochet ,,lace 7fig4 #dfh74--,this is always an effective pattern1 in any number of thread4 ,it is not new1 however1 and is probably already known to many of our readers as a pillow lace4 ,those who are not fond of making pillow lace1 will be glad to learn how to reproduce it in crochet1 as it makes a pretty trimming1 both for wearing apparel and furniture4 ,for furniture1 it should be made in unbleached cotton1 for articles of dress1 in any of the of the finer numbers1 referred to above4 ,for the separate squares1 cast on #aj chain stitches1 and close the ring4 #ast row--99 #e chain1 #a plain on the ring4 ,repeat #c times from 994 #bnd row--#a chain1 #a plain on the first #e chain3 99 #e chain1 #a plain on the first #e chain of the #ast row3 #b chain1 #a plain on the second #e chain of the #ast row4 ,repeat #c times from 994 #crd row--#a plain on the first #e of the #bnd row3 99 #e chain1 #a plain1 #b chain1 #a plain1 #b chain1 #a plain4 ,repeat #c times from 994 ,in the #dth and following rows1 go on increasing1 as in the #crd row1 until1 on all #d sides1 you have #aa plain stitches between every #e chain4 #abth row--#a plain1 #e chain1 #a plain1 99 #a picot made of #d chain1 #a plain between the #ast and the #bnd plain of the last row1 #b chain1 #a plain between the next #b plain4 ,repeat #c times from 991 and fasten off4 ,crochet the squares together1 as you finish them4 ,after the #abth and last plain stitch1 make3 #b chain1 drop the loop1 put the hook into the #crd of the #e chain stitches that form one corner of the square1 draw the dropped loop through1 #b chain1 close the picot1 finish the square4 ,illustration3 ,,fig4 #dfh4 ,,crochet ,,lace4 ,,materials4--,for trimming curtains and coarse linen table covers3 ,fil pointer ,d4,m4,c ,no4 #be or #cj1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #be cru4 ,for articles of dress3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #gj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #gj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #gj cru4,a ,for the star that connects the squares--#aj chain1 close the ring2 99 #d chain1 #a picot1 #d chain1 #a over1 join the #b picots right and left of the squares that are to be joined together1 by #a treble2 #d chain1 #a picot1 #c chain1 drop the loop1 put the needle into the first of the first #d chain stitches1 draw the thread through1 #b plain on the ring1 #h chain1 #a treble on the #crd picot and #a treble on the #dth picot of the square coming back3 #a plain on each of the #h chain2 #b plain on the ring1 and repeat #c times from 994 ,for the half-star1 that fills the space under the footing of the lace3 #aj chain1 close the ring #i chain1 #a treble on the #ast picot of the square2 #d chain1 #a picot1 #c chain2 draw the thread through the #ast of the #i chain #b plain1 #h chain1 join the #crd and #dth picots of the square by #a treble bar on each picot #h single stitches on the #h chain1 #b plain on the ring2 #d chain1 #a picot1 #d chain on the #ast and last picot of the #b opposite squares3 #a treble1 #d chain1 #a picot1 #c chain1 drop the loop1 draw it through the #ast of the #d chain stitches #b plain1 #h chain1 join #b picots by #b trebles #h single1 #b plain on the ring1 #d chain1 #a picot1 #d chain1 #a treble on the last picot #h chain1 draw the thread through the #ast of the #d chain4 ,the footing is made as follows--99 #a plain on the #e upper chain stitches of the square2 #ag chain up to the ring1 #c plain1 #ag chain and repeat from 994 ,a row of plain stitches completes the footing4 ,outer edge--99 #b treble on the #ast picot1 #d chain1 and repeat #e times from 994 ,on the #e chain stitches1 in the corner1 make3 #a treble #d chain1 #a treble on the #e chain and finish the second side of the square like the first4 ,omit the chain stitches1 between the #ast and last trebles of the squares4 ,the next and last row consists of3 #b plain1 #a picot1 #b plain every #d chain4 ,on the last #d chain1 at the point where #b scallops join1 make #d plain stitches1 without picots4 ,,lace ,,with ,,stars 7fig4 #dfi74--;,begin with the stars1 make a chain of #ah stitches1 close the ring1 mount it on a mould1 wind a soft thread1 such as ,coton repriser ,d4,m4,c ,no #fj1 seven or eight times round it1 and make #cj plain stitches upon it1 joining the last to the first by a single stitch4 ,then3 99 #ac chain1 and returning1 miss the #ast chain on the #ab chain3 #a single1 #b plain1 #b half-trebles1 #b trebles1 #b double trebles1 #a double treble and a half1 #b triple trebles2 keep the two last loops of the last treble but one1 on the needle1 and join them1 to those of the last treble4 ,repeat #e times from 994 #bnd row--#a plain1 on the upper stitch that was missed in the #ast row2 99 #ag chain1 #a plain on the next point4 ,repeat #e times from 994 #crd row--99 #f plain1 #c chain1 miss #b stitches of the lower row4 ,repeat from 994 ,illustration3 ,,fig4 #dfi4 ,,lace ,,with ,,stars4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #gj1 ,fil pointer ,d4,m4,c ,no4 #be or #cj1 ,coton pour crochet ,d4,m4,c ,nos4 #h to #ab4;,a #dth row--,all round the last row1 on each of the bottom stitches #a plain2 after every #f stitches1 #a picot4 ,this will give you #ai picots in all1 separated from each other by #f stitches4 ,inner connection--,fasten on the thread at the #eth treble1 counting from the ring3 #a single1 #h chain4 ,draw out the thread1 from the back1 through the #ith of the #ag chain round the star #h chain 99 join with #a chain to the #eth treble1 passing the thread through to the back work on the wrong side3 #c chain1 bring the thread back between the #eth treble to the right side1 and repeat #e times from 994 ,in joining the stars1 place them so that #i picots are turned to the edge1 and #h to the footing4 ,the #ajth and the #aith picots serve to join the stars4 #ast row--#b trebles between the #aith and the #ith of the 99 #i picots1 #g chain1 #a treble2 repeat #i times from 994 ,after the #ajth treble1 make no more chain stitches1 but #a treble immediately between the #aith and the #ast picot of the next row4 #bnd row--,on the #g first chain stitches of the last row3 #c plain1 #d half-trebles1 #c trebles1 #a picot1 #c trebles1 #a picot1 and so on1 until in the semicircle over the picots1 you have #g times #g chain stitches and #af picots on the ninth set of #g chain3 #c trebles1 #d half trebles1 #c plain4 ,the scallops are joined by smaller ones1 formed of3 #c plain1 #d half trebles1 #c trebles1 #a picot1 #b trebles1 #g chain1 drop the loop1 put the needle into the same treble of the last scallop2 draw the loop through and make on the #g chain3 #a plain1 #a half-treble1 #e trebles1 #a picot1 #e trebles1 #a half-treble1 #a plain2 continue the large scallop1 as described above4 ,the footing is composed of rings and trebles4--,begin with a ring1 like those in the middle of the stars1 worked as follows3 #ah chain1 with #bh plain upon them miss #a plain stitch of the ring1 #c plain1 #aj chain miss #a plain1 #c plain1 #aj chain miss #a plain1 #c plain1 #e chain1 #a single on the #gth picot of the #ast star1 #e chain miss #a plain1 #c plain1 #e chain1 #a single on the #hth picot1 #e chain miss #a plain1 #c plain1 #e chain1 #a single on the #bnd picot1 #e chain1 finish off4 ,straight edge--,worked from right to left #a chain 99 turn the thread #g times round the needle1 join to the plain stitch between the #gth and #fth picot1 complete the long treble1 #g chain1 join #a treble1 consisting of six overs to the #ast treble2 #a quintuple treble between the #fth and the #eth picot2 #g chain1 #a quadruple treble joined to the previous treble in all1 #aj trebles1 the #ast made with #g overs1 the #bnd with #f1 the #crd with #e1 the #dth with #d1 the #eth and #fth with #c1 the #gth with #d1 the #hth with #e1 the #ith with #f1 the #ajth with #g2 and between every #b trebles1 #g chain4 ,the #c long trebles of the ring are taken up with #a plain and #g chain between4 ,,guipure ,,lace 7fig4 #dgj74--,we advise our readers to work this charming pattern1 in unbleached ,fil dentelle ,d4,m4,c ,no #ej1 because it imitates the appearance of old lace better than any other material4 ,lozenge-shaped figures in the centre--#e chain1 close the ring4 ,illustration3 ,,fig4 #dgj4 ,,guipure ,,lace4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #ajj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #ajj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ajj4;,a #ast row--#e chain1 #a picot1 #b chain1 #a treble on the ring #e chain1 #a treble on the ring #b chain1 #a picot1 #b chain1 #a treble on the ring #e chain on the #crd of the first #e chain4 #bnd row--#ab chain1 99 #a treble on the #ast treble of the #ast row #d chain1 #a treble on the #crd of the next #e chain #e chain1 #a treble on the same stitch as the last treble #d chain1 9999 #a treble on the #bnd treble of the #ast row1 #i chain4 ,repeat from 99 to 99992 join the last #d chain1 to the #crd of the first #ab chain1 by a single stitch4 #crd row--#a chain1 #d plain1 #c plain on the #eth of the #i chain of the last row #ab plain1 #e plain on the #crd of the #e chain1 between the #b trebles1 #ab plain1 #c plain on the #eth of the lower #i chain #ab plain1 #e plain on the #crd of the #e chain1 #g plain2 finish the row with a single stitch4 #dth row--#c chain1 #a treble on each of the next #e plain2 #c trebles on the #fth plain2 #a treble on each of the next #ae plain1 #e trebles on the #afth stitch2 #ae trebles on the #bnd side2 and again #c trebles on the #afth stitch2 #ae trebles on the #crd side2 #e trebles on the #afth stitch1 #i trebles and join to the #crd of the #c chain4 #eth row--#a chain1 #f plain1 #c plain on the #gth stitch beneath1 99 #ah plain1 #c plain on the #aith stitch4 ,repeat twice from 994 #fth row--#a chain1 #a picot1 #b plain1 #a picot1 #b plain1 #a picot towards the point3 #c plain1 #a picot on the #bnd side of the square3 #c plain1 #a picot1 and #e times #b plain1 #a picot towards the point3 #d plain1 #a picot4 ,on the #crd side as on the #bnd1 only reversed1 first #d plain1 and at the point #c plain2 on the #dth side as on the #bnd2 on the #ast side must still be added #c plain1 #a picot1 #b plain1 #a picot1 #b plain1 #a picot1 #b plain2 draw the thread through the loop and fasten off4 ,the oblong squares1 that connect the lozenges1 take #g rows of plain stitches4 ,make a chain of #ad turn the work #ac plain2 add #e rows of the same number of stitches4 ,on the short side1 and at the edge of the square3 #a picot1 #c plain1 99 #i chain1 miss #a chain returning3 #a plain on the #hth chain on the next #g chain3 #a half treble1 #c trebles1 #a half treble1 #b plain on the last chain stitches on the #bnd half of the short side3 #c plain1 #a picot on the long side3 #c plain 99991 #a picot1 #c plain 9999994 ,repeat the whole twice from 99 to 9999991 and then once from 99 to 9999 only4 ,the row of bars1 that encircles the small leaves1 begins with #b single stitches on the first picot1 then add3 99999999 #c chain1 #a picot1 #c chain1 #a treble on the #ith chain of the small leaf2 on the short side3 #a chain1 #a picot1 #a chain1 #a triple treble on the #ith chain of the leaf2 drop the thread1 bring it out from the back1 by the side of the picot that forms the corner on the long side of the lozenge #a chain1 #a picot1 #a chain1 #a treble on the small leaf #c chain1 #a picot1 #c chain1 #a treble on the picot1 forming the corner of the oblong square #c chain1 #a picot1 #c chain1 #a treble on the leaf on the long side of the square #c chain1 #a treble on the same stitch as the #ast treble is on #c chain1 #a treble on the same stitch as the #b first trebles are on2 #c chain1 #a picot1 #c chain1 #a treble on the picot at the corner4 ,repeat once from 999999994 ,upper and lower edge--#f chain1 #a sextuple treble on the #bnd picot of the lozenge #f chain1 #a triple treble on the #dth picot of the lozenge4 ,coming back over the #b trebles of #f chain1 work in #c journeys to and fro1 #ac plain stitches4 ,after the #bnd row of plain stitches1 #a quintuple treble on the #fth treble of the lozenge1 and then #d rows of plain stitches4 ,after the #fth row1 pass at once to the leaves above the lozenge3 9999999999 #ae chain1 #a plain on the picot that forms the point of the lozenge turn the work to the wrong side on the chain stitches work3 999999999999 #c plain1 #a half treble1 #d trebles1 #a half treble1 #c plain turn the work to the right side returning and starting from the point of the leaf3 #a chain and #a plain on each of the lower stitches4 ,for the #bnd leaf3 #ab chain turn the work and repeat1 as for the former leaf1 from 9999999999 to 9999999999994 ,this leaf1 being finished like the first1 with this difference that it ends at the upper point1 you pass to the #bnd little square3 #f chain1 #a sextuple treble on the picot next to the leaves2 #c chain1 #a triple treble on the #crd picot1 counted from the leaves #f chain1 #a sextuple treble on the #eth picot of the lozenge2 keep the #b last loops of the treble on the needle1 #a sextuple treble on the picot between every #c chain of the small square with leaves2 draw up the #b last loops together with those already on the needle #f chain1 #a triple treble on the picot on the long side of the small square #c rows of #ac plain each4 ,with the last stitch of each of these rows1 take #a of the chain stitches between the long trebles4 ,after the #crd row3 #a sextuple treble on the first treble on the small leaf of the small middle square #c rows of plain stitches to finish the square1 and repeat from 99999999994 ,the upper row is similar to this but should be worked from right to left4 ,scalloped edge4--,in the right corner of the #ast oblong figure of the outside corner3 #a double treble1 #b chain1 #a double treble on the #dth plain stitch #b chain1 #a double treble on the stitch that forms the corner stitch of the square #b chain1 #a plain at the extremity of the first long leaf1 #i chain #a quadruple treble on the stitch between the #b leaves #b chain1 #a quadruple treble on the same stitch and on the #ast treble #b chain1 #a quadruple treble on the same stitch #i chain1 #a plain on the last stitch of the #bnd long leaf turn the work3 #a chain1 #a plain on each of the chain stitches1 and on each treble1 #bg plain stitches in all turn the work3 #a chain1 #a plain1 #b chain1 #a plain on the #bnd plain2 repeat the last #ab times4 ,take in #a stitch on each side in every row1 turn the work after each row1 and at the end of the last fasten off4 ,fasten on at the foot of the scallop1 not at the point1 and work plain stitches all round it2 #bj plain to the upper point1 #dj in all4 ,the open-work edge of the scallops consists entirely of double trebles4--,after the #dj plain stitches of the edge3 #b chain1 #a treble on the #ast plain stitch of the small square turn the work3 99 #b chain1 #a treble on the #bnd of the plain stitches1 forming the edge of the scallop 99992 repeat #g times from 99 to 9999 999999 #b chain1 #a treble on the next plain stitch #b chain1 #a treble on the next plain repeat #d times from 9999992 and then #g times from 99 to 9999 #b chain1 #a plain on the #dth treble of the square2 #b chain1 #a plain on the #crd treble4 ,work on1 on the right side 99999999 #b chain and #a treble on the preceding treble as far as the #hth treble2 after the #hth3 9999999999 #aj chain1 back to the #gth1 and returning1 join to the #gth treble on the #aj chain3 #af plain1 after the #afth draw the loop through the upper loop of the #hth treble 999999999999 #b chain1 #a treble1 #b chain1 #a treble1 #aj chain1 return1 and fasten the chain stitches to the last treble but one #f plain1 #a picot1 #b plain1 #a picot1 #f plain and join as before 99999999999999 ,repeat once from 9999999999 to 999999999999991 then twice1 from 9999999999 to 9999999999991 then from 99999999 to 99999999991 as on the first side1 only #a treble less then #a treble on the #dth plain stitch of the small square1 #b chain1 #a treble on the #gth plain stitch of the square1 #b chain1 #a treble on the #ajth plain stitch1 #a treble on the outside stitch1 at the corner of the square1 #b chain1 #a plain on the last stitch of the leaf2 #i chain and so on1 as above described4 ,having reached the second scallop1 on the #bnd row of trebles1 at the sign 9999991 work3 #b chain1 #a treble to the left on the scallop just finished1 keeping the last loops of the treble on the needle1 #a double treble to the right of the scallop and join it to the #bnd treble2 draw the #d loops together #b chain1 #a treble to the left1 #a quadruple treble to the right #aa chain1 drop the loop1 bring it to the right side through the #dth treble of the right scallop on these #aa chain stitches3 #a single1 #a plain1 #a half treble1 #b trebles1 #a half treble1 #a plain1 #a single #a double treble on the open-work edge1 then #b chain1 #a treble1 #b chain1 #a treble1 #ab chain2 join to the #fth treble of the right scallop working back3 #d plain1 #a picot1 #d plain1 #a picot1 #d plain1 #a picot1 #d plain1 join to the treble1 thrice #b chain1 #a treble4 ,go back to 9999999999 and repeat twice to 999999999999994 ,the footing of the lace is worked in #e rows from right to left4 #ast row--#a single1 99 #a double treble on the #fth plain stitch of the square #a chain1 #a double treble on the #bnd plain stitch of the square #c chain1 #a picot downwards1 #c chain1 #a plain on the stitch at the extremity of the long leaf #c chain1 #a picot downwards1 #c chain1 #b quadruple trebles between the two leaves #c chain1 #a picot downwards1 #c chain1 #a plain on the last stitch of the #bnd leaf1 #c chain2 repeat from 994 #bnd row--#a plain on each stitch of the previous row4 #crd row--count #b stitches before and above the #b trebles on the squares and make3 99 #a treble1 miss #a stitch1 #a treble1 miss #a stitch1 #a treble1 miss #a stitch1 #a treble turn the work3 #a plain on each of the #d trebles turn the work1 come back and make #d plain on the first #d #e chain1 miss #b stitches of the #bnd row1 #a treble on the #crd plain1 and continue from 994 #dth row--#a treble on each of the #d plain1 #a chain between each treble1 #b chain and so on4 #eth row--#a plain stitch on each of the stitches of the #dth row4 ,,crochet ,,reticella ,,lace 7fig4 #dga74--,this pattern1 copied in crochet from an old piece of ,reticella lace1 only looks well1 worked in very fine cotton1 as indicated in our illustration1 namely1 in unbleached ,fil dentelle ,d4,m4,c ,no #aej4 ,to make it resemble the original more closely1 the method adopted in ,venetian point1 of making all the stitches over a padding thread1 has1 in the case of the outside edge1 been followed here4 ,at the end of each row of plain stitches1 draw out a sufficiently long loop to lay it back over the stitches just made1 and to work the next row of stitches over this double foundation4 ,these loops must be long enough1 not to pucker or tighten the scallops4 ,for the inner squares #d chain1 close the ring4 #ast row--#h chain1 #a treble1 #c chain1 #a double treble1 #c chain1 #a treble1 #c chain1 #a double treble1 #c chain1 #a treble1 #c chain1 #a double treble1 #c chain1 #a treble1 #c chain1 #a single stitch on the #eth of the #h chain4 #bnd row--99 #a chain1 #e plain on the first #c chain1 #e plain on the next #c chain4 ,on these #aj plain stitches1 working to and fro1 #i rows of plain stitches1 decreasing by #a in each row2 after the last stitch1 come back along the side of the little triangle1 and make #a single stitch in every row1 #a plain on the treble of the #ast row 99992 repeat #c times from 99 to 99994 ,illustration3 ,,fig4 #dga4 ,,crochet ,,reticella ,,lace4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #ajj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #aej4 ,these small triangles must be worked over #a single treble and between #b double trebles4 ,when the #dth triangle is finished1 make directly1 starting from the last stitch at the point1 and along the side3 #c plain1 #a picot1 #c plain1 #a picot1 #c plain2 #a single stitch on the treble2 all the triangles must be edged1 in this same manner on both sides2 on the stitch that forms the point3 #c plain stitches4 #crd row--99 #ag chain1 drop the loop bring it to the front1 through the plain stitch that lies between #b triangles2 returning1 make #aj single stitches backwards on the #aj chain4 ,you make stitches like this1 backwards1 in all the trebles that follow1 that is1 the loop is dropped after each stitch1 and brought forward from the wrong side to the right #ac chain1 join to the #eth single1 counting upwards from below #g single on the chain stitches2 #ac chain1 join to the other trebles2 #f chain1 #a single on the stitch at the point of the triangle 99992 repeat #c times from 99 to 99994 ,the chain stitches for the trebles1 must be drawn up very tight4 #dth row--#a plain on each of the stitches of the preceding row1 #c plain on the corner stitch4 ,on each side there must be #bi plain stitches1 not counting the corner ones4 #eth row #f chain1 miss #b stitches of the row beneath1 99 #a double treble1 #b chain2 repeat #c times from 99 #b chain1 #a double treble1 #b chain1 #a double treble on the same stitch as the #ast treble #b chain1 #a double treble on the same stitch as the #ast treble #b chain1 #a double treble on the same stitch as the two first trebles #aj times to the next corner3 #b chain1 #a double treble1 #c double trebles1 each of them with #b chain stitches at the corner2 repeat the same on each of the #d sides4 #fth row--#a plain on each of the stitches of the last row1 #c plain on the corner stitch cut off the thread4 ,join the next squares together at once by the last corner stitch4 ,lower edge--,you begin by making the large scallop at the point of the square1 and pass the double thread over the #crd treble that comes before the #c trebles at the point of the square and make3 #a plain stitch on each stitch of the square1 up to the #crd treble on the opposite side2 then draw out a long loop which you carry back to the beginning4 ,in the #bnd row increase by #b stitches1 right and left of the middle stitches1 for the rounding of the scallop1 and decrease by #a on each side4 ,make #aj rows in all1 and in each row1 decrease by #d stitches and increase by #b4 ,fasten off after the #ajth row4 ,the two little scallops1 right and left of the big one1 are worked in #e rows1 over #e trebles and #d intervals of chain stitches1 taking off #b stitches in every row4 ,for the small triangle between1 worked in #d rows1 you must increase on both sides by #b stitches4 ,when all the scallops are finished1 edge them with #c plain stitches1 #a picot and #c plain and work in all the ends of thread from the preceding rows at the same time4 ,for the footing and the small triangles1 that fill up the spaces between the squares3 #bb chain1 miss #a1 #aj rows of plain stitches1 worked to and fro1 decreasing by #a in every row4 ,when the triangle is finished1 make on one side1 #a single in every row2 then1 on the #aa remaining chain stitches1 a second triangle1 like the first1 which you then join to the plain stitches1 above the #eth treble2 then returning along the side of the triangle1 add #c plain1 #a picot1 #c plain1 #a picot1 #c plain2 #a single on each of the #bb chain stitches4 ,edge the next side of the #bnd triangle like the first1 join the corner stitch to the #eth treble2 edge the two inner sides #c times with #c plain stitches and #b picots4 ,then from right to left on the plain stitches3 #f plain1 #ae chain1 join them to the middle of the #b triangles #a single on each chain1 #e plain on the square2 #aa chain1 #a single on the #ith of the first #ae chain2 #a single stitch on each of the chain stitches2 #a plain on each stitch of the square1 to the point where the squares join1 #h chain1 #a single on the #fth of the #aa chain1 #a single on each of the #h chain4 ,on the #bnd side3 #g plain1 #e chain1 #a single on the #fth of the #aa chain1 #a single on each of the #e chain1 #e plain1 #i chain1 #a single on the #ith of the #ae chain1 #a single on each of the #i chain1 #f plain on the square2 fasten off4 ,fasten on1 at the #bnd of the #c corner stitches #ag chain1 #a plain on the corner stitch of the triangle2 #h chain1 #a plain on the next corner stitch1 #ag chain1 and so on4 ,a row of plain stitches1 or trebles1 completes the lace4 ,,lace ,,with ,,corner1 ,,formed ,,by ,,increasing ,,on ,,the ,,outside 7fig4 #dgb74--ast row--,on a row of chain stitches or trebles1 work alternately3 #a chain1 #a treble on the corner3 #a chain1 #a treble1 #b chain1 so that the last #c trebles come on one stitch4 #bnd row--#a plain on each stitch of the #ast row1 #c plain on the #bnd of the #c corner trebles4 #crd row--,counting from the #bnd of the #c corner stitches1 and towards the left1 make #a plain on the #ecrd1 #ebnd1 #east and #ejth plain stitches2 #h chain1 miss #a chain1 #a plain on each of the #g chain stitches on the other side of the #h chain1 also #a plain on each stitch1 #c plain on the #hth chain1 #a plain on each of the first #g plain4 ,illustration3 ,,fig4 #dgb4 ,,lace ,,with ,,corner1 ,,formed ,,by ,,increasing ,,on ,,the ,,outside4 ,,materials3 ,fil d',alsace ,d4,m4,c ,no4 #cj1 ,fil pointer ,d4,m4,c ,nos4 #bj to #cj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #cj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4;,a ,on the next #aa stitches of the #bnd row3 #a plain #d chain1 miss #d1 #a triple treble on the #eth of the #bnd row1 #d chain1 #a triple treble on the same stitch1 #d chain1 #a triple treble on the same stitch1 #d chain1 miss #d1 #a single on the #eth turn the work on each treble of #d chain3 #g plain2 #bh in all2 #a single on the #ajth of the #aa plain turn the work miss the #bhth plain1 and on the #bg others make3 #c plain1 #a picot1 #c plain #aa chain1 miss the #aath1 #aj plain on the others on the #bnd side of the chain3 #d plain1 #aj chain1 join them to the #fth of the first #aa plain of this row on the #aj chain3 #e plain1 #c chain1 join them to the #eth plain of the #ast leaf1 made in this row on the #c chain3 #c plain on those of the #aj remaining chain stitches3 #f plain along the leaf3 #c plain1 #a picot1 #c plain on the stitch at the point of the leaf3 #c plain then down the #bnd side3 #c plain1 #a picot1 #g plain over the next of the #bh plain3 #c plain1 #a picot1 #d plain 99 #aa chain1 miss the #aath1 #aj plain on the second side of the chain3 #d plain1 #f chain1 join them to the #dth of the last #g plain of the #bnd leaf on the #f chain3 #i plain4 ,continue on the #crd leaf of this row3 #c plain1 #a picot1 #c plain and #c plain on the stitch at the point of the leaf on each of the next #c stitches3 #a plain1 then #a picot1 #g plain on the #bh stitches3 #d plain1 #a picot1 #c plain 99994 ,repeat from 99 to 99991 and here follow3 #c plain1 #a picot1 #c plain4 ,on the #bnd row3 999999 #e plain1 #aj chain1 join them to the #dth of the last #g plain of the #crd leaf2 #aa plain over the #aj chain on the #bnd row3 #e plain1 #h chain1 miss #a chain1 #a plain on each chain on the second side3 #d plain1 #c chain1 join them to the #fth of the last #aa plain #c plain on the leaf1 #c plain on the stitch at the point1 #g plain1 and repeat from 994 ,on the #bnd row and for the corner3 #i plain1 99999999 #d chain1 #a triple treble on the #bnd of the #c corner stitches and repeat #d times from 99999999 #d chain1 miss #d of the preceding row1 #a plain on the #eth turn the work1 on each bar of #d chain1 #f plain1 #cf in all1 join the last to the #hth of the #i plain going back over the #cf plain3 #c plain1 #a picot1 #c plain1 #aa chain1 miss the #aath1 #a plain on each of the #aj chain on the #bnd side of the chain3 #d plain1 #aj chain1 join them to the #dth of the #i plain over the #aj chain3 #e plain1 #c chain1 join them to the #dth plain of the last leaf1 #c plain on the remainder of the #aj chain3 #f plain4 ,proceeding along the leaf3 #c plain1 #a picot1 #c plain1 #c plain on the stitch at the point1 #c plain1 #a picot1 #g plain 99999999994 ,again on the #cf plain1 make3 #c plain1 #a picot1 #c plain1 #aa chain1 miss the #aath1 #aj plain on the #bnd side of the chain3 #d plain1 #f chain1 join them to the #dth of the last #g plain of the last leaf1 #i plain over the chain stitches on the leaf3 #c plain1 #a picot1 #c plain1 #c plain on the stitch at the point1 #c plain1 #a picot1 #g plain 9999999999994 ,repeat #c times from 9999999999 to 999999999999 and add #c plain1 #a picot1 #c plain4 ,continue along the #bnd row3 #d plain1 #aj chain and on these #aa plain #d plain1 #h chain1 returning1 miss the #hth1 #g plain on the others on the #bnd side of the chain3 #d plain1 #c chain1 join them to the #fth of the last #aa plain on the #c chain3 #c plain on the leaf3 #c plain1 #c plain on the stitch at the point of the leaf1 #g plain4 #dth row--#a plain on the #ast leaf of the #crd row3 99 #g chain1 #a plain on the #bnd leaf #g chain1 #a triple treble on the #eth of the #i plain between #b leaves #g chain1 #a plain on the #crd leaf #g chain1 #a triple treble1 #g chain1 #a plain on the #dth leaf #g chain1 #a plain on the #eth leaf2 #e chain1 #a plain on the #ast leaf of the corner scallop4 ,repeat from 991 with this difference1 that1 in the corner scallop you must have #d triple trebles4 #eth row--on the first #g chain of the #dth row3 #g plain1 99 on the next chain stitches3 #ab plain turn the work1 and crochet to and fro1 decreasing by #a stitch in each row1 until you have only #b stitches left along the leaf3 #aj plain and repeat #c times from 99 #g plain on the next #g chain1 #f plain on the #e chain1 #g plain on the #g chain4 ,the corner scallop has #g points the #ab first stitches must be divided as follows3 99 #ast point3 #ab plain in the first interval #bnd point3 #aj plain in the #bnd interval and #b plain in the #crd interval #crd point3 #g plain in the #crd interval and #e plain in the #dth 99994 ,repeat once from 9999 to 994 #fth row--99 #a plain in the #ast leaf1 #e chain1 #a crossed quadruple treble1 the branches of which are joined by #e chain2 repeat twice from 99 #a plain1 #d chain1 #a plain in the #ast leaf of the next scallop #e chain1 #a crossed quadruple treble1 the branches of which are joined by #e chain and joined to the #fth stitch of the #b next points #e chain and so on4 #gth row--#f plain on the first #e chain of the #fth row1 #f plain on the next chain #h chain2 carry the chain back to the right1 and join it on1 between the #fth and #gth plain #d plain on the #h chain1 then #h chain1 take it back1 and join to the #ast plain #ab plain on the #h chain continue on the small scallop3 #c plain1 #a picot1 #h plain on the other #e chain3 #f plain #h chain1 join them again to the #dth of the #h plain on the scallop on the last #h chain3 #c plain1 #a picot1 #h plain on the #b next bars of #e chain3 #ab plain #h chain1 join them to the #gth of the last #ab plain on the #h chain3 #e plain #h chain1 join them to the #ast of the last #ab plain on the #h chain3 #e plain1 #c chain1 join them to the #dth plain of the #crd finished scallop over the #c chain3 #b plain1 #a picot1 #b plain on the next scallop3 #c plain1 #a picot1 #c plain in the half finished scallop3 #f plain #h chain1 take it back and join it to the #ast of the last #f plain on the #h chain3 #e plain1 #a picot1 #c plain1 #a picot1 #e plain to finish the scallop below3 #e plain on the #fth row3 #f plain1 #h chain1 join them to the first of the last #e plain of the last scallop on the #h chain3 #c plain1 #a picot1 #h plain4 ,the little scallops must be carried on round the corner point1 as they were on the #crd1 #dth and #eth trebles of the other points4 ,,lace ,,with ,,corner1 ,,formed ,,by ,,decreasing ,,on ,,the ,,inside 7fig4 #dgc74--;,for the stars--#h chain1 close the ring2 #c chain1 #ae trebles in the ring2 close #c chain1 miss #a treble of the last row1 #a treble1 #e chain1 #a treble on the upper part of the last treble alternate #g times3 #a chain1 #a crossed treble divided by #b chain1 lastly #a chain1 close the ring1 fasten off4 ,make #aa stars1 and join them together as follows1 counting the third from the left1 in the engraving1 as the first4--,when you have joined the #ast star to the #bnd by the #fth and #gth cross trebles1 join the next stars so that when the #crd is fastened on1 there should be #b crossed trebles on the inside and outside of the #bnd star4 ,the #crd star will have3 #a crossed treble on the outside1 #c on the inside the #dth3 #b crossed trebles inside1 #b outside the #eth1 the #fth1 and the #gth3 #a inside1 #c outside the #hth3 #b on the inside and outside the #ith3 #c inside1 #a outside the #ajth3 #b outside1 #b inside the #aath3 #c outside1 #a inside4 ,for the next scallops1 repeat from the #bnd to the #eth star4 #bnd row--99 over the #b chain stitches of the #crd crossed treble of the #aath star3 #a treble1 #c chain over the #ast chain stitch between the #crd and #dth crossed trebles3 #a treble1 #c chain over the next #b chain stitches3 #a double treble1 #c chain #c overs1 in the next space3 #a double treble and #a double treble in the #ast space of the #ajth star2 connect the two trebles together1 #c chain1 #a double treble1 #c chain1 #a treble1 #c chain1 #a treble1 #c chain1 #a connected treble as before1 #c chain 9999 #a plain over the #b chain stitches of the last crossed treble of the #ith star4 ,repeat from 9999 to 991 therefore backwards4 ,illustration3 ,,fig4 #dgc4 ,,lace ,,with ,,corners ,,formed ,,by ,,decreasing ,,on ,,the ,,inside4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #gj1 ,fil pointer ,d4,m4,c ,no4 #bj or #cj1 ,coton pour crochet ,d4,m4,c ,nos4 #aj to #ah1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #d to #fj4;,a ,,colours3 ,white1 cru naturel or any other colour of the #dej shades of the ,d4,m4,c colour card4 ,each of the next trebles comes1 either over #b chain stitches of the crossed treble1 or over the chain stitch between the crossed trebles 999999 #c chain1 #a treble1 #c chain1 #a double treble1 #c chain1 #a triple connected treble1 #c chain1 #a double treble1 #c chain1 #a treble1 #c chain 99999999 #a single2 repeat1 in the reverse order1 therefore1 from 99999999 to 9999994 ,when the outside row is finished1 make a similar row on the inside of the stars2 at the corner #c trebles are to be made #c times over each of the middle stars4 #crd row--#a treble above and below1 on each stitch of the second row4 #dth row--consists entirely of crossed trebles 99 miss on the upper edge3 #c times #a treble1 and #e times #b trebles on the next trebles of the preceding row3 #a double treble1 miss #b stitches1 #a double treble1 miss #b stitches1 #a double treble draw up the last loops of the #c trebles together repeat the same thing backwards here follow3 #h crossed trebles separated each by #a treble of the preceding row 99992 the #hth and the #ith crossed trebles are together in the corner treble of the preceding row4 ,repeat from 9999 to 99 here follows #a row with #a treble on every stitch below4 ,the row on the side of the footing is worked as above described at the corner1 and after having made the #crd connected treble1 99 miss #e times #b stitches1 #f times #a stitch1 #c times #b stitches1 #c times #c stitches1 9999 #c triple trebles connected together above1 miss #c stitches underneath2 repeat from 9999 to 991 followed on both sides by a row of trebles4 ,in the corner of the inside row of trebles connect the loops of #e pairs of trebles1 in the centre connect the loops of #c trebles1 and again the loops of #e pairs of trebles4 ,for the #ast star of the footing3 #h chain1 close the ring2 #c chain in the ring1 #ae trebles1 close #c chain1 miss #a treble1 #a treble1 99 #c chain1 #a treble on the stitch of the #ast treble1 miss #a1 #a treble in the #bnd stitch1 draw the loops of the #b trebles together 99994 ,repeat #f times from 99 to 99992 add #c chain and close #e chain1 join them to the #aeth treble of the last row2 #e chain1 #a plain on the first chain stitches between #b trebles2 #d chain1 join them to the #gth treble2 #d chain1 #a plain on the next chain stitches1 #c chain1 join to the treble over the #c connected triple trebles1 #c chain1 #a plain on the next chain stitches1 #d chain1 join them to the #hth treble1 #e chain1 #a plain on the #eth treble1 cut off the thread4 ,the corner star is made like the one just described1 and is joined on1 as follows3 #c chain1 join them to the #agth treble on the left of the last row 7counting from the triple treble7 #c chain1 #a plain on the first chain stitches between #b trebles #c chain1 miss #d trebles1 join them to the #eth #c chain1 #a plain on the #bnd set of chain stitches between #f chain1 miss #e trebles1 join them to the #fth #c chain1 #a plain on the #crd of the #f last chain #c chain1 join them to the corner stitch1 #c chain1 #a plain on the last #c chain towards the right3 #c chain1 join to the #eth treble #c chain1 #a plain on the preceding1 #c chain1 #a plain on the #crd set of stitches between1 #c chain1 miss #d trebles1 join to the #eth treble #c chain1 #a plain on the #dth set of stitches between1 #c chain1 miss #d stitches and join #c chain1 #a plain on the #eth double treble1 fasten off4 ,on the #c first trebles of the preceding row of the inside edge1 counting from the outermost stitches which are to be seen to the right in the illustration1 #a plain1 #c chain1 miss #d trebles1 #a treble #c chain1 miss #c trebles1 #a double treble1 #c chain1 #c overs1 pass the needle over the double treble1 crochet off one over miss #c stitches1 #a double treble1 crochet off the #b remaining loops #c chain1 #d overs1 crochet off #b loops1 #a double treble over the chain treble of the star1 crochet off the remaining loops #c chain1 #c overs over the treble made on the #e chain1 crochet off #b loops #a treble on the #eth set of stitches between1 crochet off the remaining loops #c chain1 #a treble on the #fth set of stitches between #c chain1 #a treble on the #gth set of stitches between #c chain1 #c overs1 #a treble on the #hth set of stitches between2 crochet off #a over1 #a double treble on the #e first chain stitches of the star1 crochet off the remaining loops #c chain1 #c overs1 #a treble over the #bnd double treble1 #a double treble1 miss #b trebles of the preceding row1 complete the treble #c chain1 #c overs1 crochet off #a over1 joining it to the last double treble2 crochet off the overs #a treble on the #eth treble of the preceding row1 crochet off the loops #c chain1 #a treble on the #dth treble #c chain1 miss #d stitches on each of the #f following trebles3 #a plain #c chain1 miss #c trebles1 #a treble1 #c chain1 miss #c trebles1 #a double treble2 #c chain1 #c overs1 over the double treble crochet off #a loop1 #a double treble on the #dth treble after the plain stitches1 crochet off the last overs #c chain1 #c overs1 over the last double treble crochet off #a loop1 #a double treble on the #eth intervening space of the corner star1 crochet off the loops #c chain1 #a plain on the #gth double treble of the star #c chain1 #a double treble on the #hth intervening space #c chain1 #c overs1 over the last double treble crochet off #b loops1 #a double treble on the #crd treble of the preceding row1 complete the treble #c chain1 #c overs1 over the double treble crochet off #b loops1 #a treble on the #dth treble1 complete the treble #c chain1 #a treble on the #dth treble1 #c chain1 miss #c1 #c plain4 ,one row of trebles to finish with2 draw the #e corner trebles together and add3 #a row of crossed trebles and #a row of plain trebles1 each time drawing the #e corner loops together into one4 #ast row of the outside border--#a plain on every one of the #g next trebles of the row beneath1 #e chain2 turn back1 join them to the #gth plain and so on4 #bnd row--#a plain on the #dth of the #g plain1 #i trebles on the #e chain4 #crd row--#a plain on each of the first #b trebles of the #bnd row1 #a picot1 #b plain1 #a picot1 miss #a stitch1 #b plain1 #a picot1 #b plain and so on4 ,illustration3 ,,fig4 #dgd4 ,,square ,,with ,,coloured ,,tufts4 ,,materials3 ,coton pour crochet ,d4,m4,c ,nos4 #f to #aj1 or ,coton tricoter ,d4,m4,c ,nos4 #f to #ab4;,a ,,colours4 ,white and ,rouge-,turc #cba1 or cru and ,bleu-,indigo #cba1 ,rouge-,granium #cec and ,brun-,caroubier #cef1 ,bleu d',azur #ccbe and ,brun-,rouille #ccab1 ,vert-,bouteille #did and ,bleu-,prunelle #dhi4;,a ,,square ,,with ,,coloured ,,tufts 7fig4 #dgd74--,the following are different counterpane patterns which should be worked in coarse cotton2 our engraving represents a single square1 worked in two colours1 in raised crochet4 ,by joining a number of such squares together1 #d or #f colours can be introduced into one covering with very good effect4 ,cast on #ac chain and close the ring4 #ast row--#a plain on the #ast of the #ac chain1 #e chain1 #a plain on the #dth chain1 #e chain1 #a plain on the #gth chain1 #e chain1 #a plain on the #ajth chain1 #e chain1 #a plain on the #acth chain4 #bnd row--#a plain on the #ast plain of the #ast row 99 #a plain on the #ast of the #e chain2 #e chain1 #a plain on the #eth chain4 ,repeat #c times from 994 #crd row--#e plain on the #e chain1 #e chain1 #e plain and so on4 #dth and #eth rows--continue to increase1 as in the #crd row4 #fth row--after the #crd plain1 #a tuft in the contrasting colour 7see fig4 #dca74 ,the contrasting colour is to be introduced into the work at the first tuft1 and cut off when the last is finished4 ,the ends of the coloured threads must be worked in under the stitches of the next row4 ,the square may be of any size2 it is bordered by small picot scallops by means of which the different squares are joined together4 ,illustration3 ,,fig4 #dge4 ,,stripes ,,for ,,counterpanes4 ,,materials3 ,coton pour crochet ,d4,m4,c ,nos4 #f to #h1 or ,coton tricoter ,d4,m4,c ,nos4 #f to #ab and ,lacets surfins ,d4,m4,c ,no4 #d1 or ,soutache ,d4,m4,c ,no4 #b4;,a ,,colours3 ,gris-,lin #gaf and ,rouge-,bordeaux #dig1 ,gris-,tilleul #cic and ,bleu-,faience #dhd or ,brun-,caroubier #cef and ,jaune-,rouille #cjh etc4,a ,,stripes ,,for ,,counterpanes 7fig4 #dge74--,we recommend the use of ,soutache ,d4,m4,c or ,lacets superfins ,d4,m4,c 7braids7 for the coloured stitches1 in the place of cotton4 ,the dark stitches standing1 so to speak1 on another ground of stitches the pattern will look brighter1 if it be worked in a flat material that will spread out more than cotton does4 ,the stripe1 worked in its entire length and always on the right side1 must be begun by a chain of stitches of the length the stripe is to be4 #ast row--#a plain stitch on each chain stitch4 #bnd row--#a plain stitch with white or unbleached cotton1 on each second stitch of the preceding row2 #a long plain stitch with the coloured cotton or the braid1 in each second loop of the chain stitch4 ,when red and white cotton are used1 only one thread must be drawn through the #ast loop1 and the other through the two last loops4 #crd1 #eth1 #gth1 #ith1 #aath rows--plain stitches of the colour of the grounding #dth row--between every #e coloured stitches #c white #fth row--between every #d red1 #e white #hth row--between every #c red1 #g white #ajth row--between every #b red1 #i white #abth row--between the single red stitches1 #aa white plain4 ,in the second half of the pattern the red stitches must increase in the same proportion as that in which they decreased before4 ,,pattern ,,of ,a ,,counterpane ,,in ,,tunisian ,,crochet 7fig4 #dgf74 ,this pattern1 on a reduced scale1 of a counterpane in ,tunisian crochet1 though it is worked here in several colours1 can be done all in one4 ,the numbers of the stitches1 as they are here given1 refer of course to the pattern represented in our figure2 if worked on a larger scale1 the number of stitches would have to be increased every way in the proper proportion4 ,for the inner square1 which is worked in a light material1 make #bj chain stitches1 on which you make #ag rows of plaited ,tunisian crochet1 fig4 #dde1 then fasten off4 ,illustration3 ,,fig4 #dgf4 ,,pattern ,,of ,a ,,counterpane ,,in ,,tunisian ,,crochet4 ,,materials3 ,coton pour crochet ,d4,m4,c ,nos4 #f to #h1 or ,coton tricoter ,d4,m4,c ,nos4 #f to #ab4;,a ,,colours3 ,gris-,amadou #che and ,rouge-,cardinal #cdf1 ,vert-,bouteille #dib and ,violet-,mauve #caf1 or ,bleu-,gentiane #dgi and ,gris-cru #gjf4 ,for the first coloured border1 which immediately surrounds the centre square1 take a coloured thread and make #b chain stitches and upon these the common ,tunisian stitch1 fig4 #ddd4 ,increase to the right in every row by one stitch1 to the number of #f then put the needle into the first stitch on one side of the square1 turn the thread round and draw it through4 ,here you must be careful to observe1 in the first instance1 that the second part which is now to be joined to the square1 should always remain on the left side of the square and secondly1 that the thread with which you join the two parts together1 should lie to the left and be drawn through1 from the wrong side to the right4 ,having now got #g ,tunisian stitches on the needle1 make #ah double rows1 and join the last stitch of each row to a stitch of the square4 ,when these rows are finished1 you proceed to decrease on the right till you have only #b stitches left2 and then again to increase as at the beginning of the stripe4 ,at each increase1 after each double row you must pass the thread through the corresponding stitch opposite of the same row4 ,when you have again got #g stitches on the needle1 join them as before to the square4 ,work round the #d sides of the square in this manner and when you come to the last decrease1 join the stitches to those of the first increase1 and fasten off4 ,the next stripes are to be worked in the same way2 they may be made either wider or narrower1 plain1 or ornamented with a cross stitch pattern which you work upon them4 ,illustration3 ,,fig4 #dgg4 ,,pattern ,,of ,,counterpane ,,worked ,,in ,,stripes4 ,,materials3 ,coton pour crochet ,d4,m4,c ,nos4 #f to #ab1 ,coton tricoter ,d4,m4,c ,nos4 #f to #ad1 or ,cordonnet #f fils ,d4,m4,c ,no4 #ae4;,a ,,pattern ,,of ,,counterpane ,,worked ,,in ,,stripes 7fig4 #dgg74--,this is intended for a child's coverlet and is worked in pale blue1 ,bleu-,indigo #ccd1 and white2 the stripes and the lace border1 in white1 the setting1 partly in white1 partly in blue4 ,for the first stripe1 make a foundation chain of #bf stitches2 then counting back1 draw the needle through the #fth and #gth chain stitches1 drawing up all the three loops together #b chain1 then put the needle again through #b chain stitches1 draw up the #c loops together #b chain and so on4 ,coming back1 make the loop of the first stitch and that of the second on the chain stitches of the preceding row begin every row with #c chain1 which form picots along the edge of the stripe2 when the stripes are finished1 take a blue thread and make #a plain stitch on each picot and #c chain4 ,this blue row is followed by a white one1 worked in cluster stitch1 fig4 #dbf1 with #b chain stitches between every #b clusters4 ,then follows another blue row of one plain stitch on each chain stitch of the previous row4 ,the second blue row consists entirely of plain stitches worked along the long sides of the stripes1 which are joined together afterwards1 but not along the short sides until the counterpane is finished2 then the stitches should border all the #d sides4 ,the second stripe1 which should be of the same width as the first1 is worked in ,tunisian crochet2 for the edge make one row of plain stitches in blue1 one of cluster stitches in white1 and then again a row of plain in blue4 ,join the stripes together on the wrong side with plain stitches1 taking up one loop on the right and one on the left1 alternately4 ,when you have joined the stripes1 make the outer border1 which consists of #g straight rows and a scalloped lace edging4 #ast row--in blue3 #c chain and #a plain on each picot1 #a plain1 and so on1 down the long sides of the stripes along the short sides1 the side of the chain stitches or that of the previous row3 #a plain1 #c chain1 miss #b1 #a plain4 #bnd row--in white or unbleached3 #a cluster stitch1 fig4 #dbf1 on each picot formed by the #c chain stitches of the #ast row2 on the corner picots1 you must make #c cluster stitches4 #crd1 #dth1 #eth rows--in blue3 similar to the first4 ,increase at the corners by making3 #a plain1 #c chain1 #a plain on the same stitch4 #fth row--in white or unbleached3 similar to the #bnd row4 #gth row--in blue3 #a treble on each of the stitches of the previous row4 ,lace edging4--,the scallops extend over #bb stitches of the previous row and on that account it is better to make the corners first1 to count the stitches both ways so as to distribute the stitches that are left over1 between the scallops4 ,corner scallop4--,fasten on the thread to the left of the second of the stitches that were added to make the turn1 make #f chain1 #a single on the #dth treble to the right #a single on the next treble turn the work 99 #b chain1 #a treble on the #fth chain1 repeat #g times from 991 in all therefore #h trebles after the #hth treble3 #b chain1 miss #a treble1 #a single on the #b next trebles turn the work #b chain1 #a cluster stitch between each treble1 in all #i cluster stitches1 then #b chain1 miss #b trebles1 #a single stitch on the next #b trebles turn the work #b chain1 #a cluster stitch over the #ast1 #bnd1 #crd and #dth pairs of chain stitches in the preceding row1 and #b cluster stitches and #b chain over the #eth1 #fth and #gth chain stitches2 over the other chain stitches again3 #a cluster stitch2 then #b chain1 miss #b trebles1 join to the #crd treble fasten off4 ,for the scallops on the right side1 divide the stitches between the corner scallops into equal portions4 ,supposing that they are divisible by #bb1 count #i stitches to the right1 fasten on the thread at the #ith2 99 #g chain1 miss #b trebles of the row beneath1 #a plain on the #crd1 #a single stitch on the next turn the work #b chain1 #a treble on the #g chain1 repeat #e times from 99 and finish with #b chain1 #a single on the #bnd lower treble1 #a single on the next treble turn the work #b chain and #a cluster stitch between each treble of the preceding row1 #b cluster stitches between the #crd and #bnd trebles after the #hth stitch3 #b chain1 miss #a treble1 #a single on each of the #b next stitches repeat #c times over #b chain stitches of the previous row3 #b chain1 #a cluster stitch on the #dth1 #eth and #fth chain stitches3 #b cluster and #b chain2 on the #c last chain the same stitches as on the #c first then #a single over each of the next #ah and repeat from 994 ,the final row consists of open picots1 formed of #e chain stitches and #a plain1 between each cluster stitch2 after the last of these stitches and in the indent of the scallops on the straight line1 only #b chain stitches and #a plain on the #crd stitch4 ,illustration3 ,,fig4 #dgh4 ,,pattern ,,in ,,squares ,,for ,,counterpanes4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #ab1 ,cordonnet #f fils ,d4,m4,c ,nos4 #a to #e1 or ,coton pour crochet ,d4,m4,c ,nos4 #f to #ab4 ,,colours3 ,gris-,coutil #cbc and ,brun-,caroubier #cjc or ,bleu-cendr #ddh and ,rouge-,cornouille #ddi1 ,vert-,mousse #dgj and ,bleu d',azur #ccbe4;,a ,,pattern ,,in ,,squares ,,for ,,counterpanes 7fig4 #dgh74--,this pattern may be worked in the same stitch as the previous one1 either in ,tunisian crochet or in any other of the stitches already described4 ,make a foundation chain of #ah stitches on which you work #aj rows to and fro in the dark colour4 ,the #aath and following rows up to the #bast are worked in the light colour1 then take up the dark colour again4 ,each stripe should be #c squares long4 ,the #bnd stripe is begun in the light colour1 and the stitches1 made at the beginning of each row1 are joined to those of the first stripe1 as the stitches of the #crd are to those of the #bnd and so on4 ,when you have made sufficient big squares1 each consisting of #i small ones1 border them with seven rows of plain stitches1 worked to and fro4 ,the #d squares that form the corners are only to be bordered in this manner on two sides2 the squares along the straight edges1 on #c sides1 and only those that are intended for the centre of the counterpane1 on all #d sides4 ,the separate parts are then either sewn or crocheted together on the wrong side4 ,the dark squares are ornamented with small stars worked in the light colour1 the light ones with scallops in the dark colour4 ,for the small stars--#d chain1 close the ring2 #b plain on each stitch of the chain2 #h plain in all after the #hth stitch3 #h chain1 #a plain on the #ast plain of the #h plain stitches4 ,repeat the #h chain #g times and fasten off1 then sew the star on in the centre of the dark square1 taking care to spread out the little points formed of chain stitches at regular distances from each other4 ,the scallops are worked from left to right2 fasten the thread on at the point where #d squares touch1 then make a chain of #ah stitches and secure it at the opposite point4 ,on the chain stitches3 #f plain1 #a picot1 #g plain1 #a picot1 #g plain1 #a picot1 #f plain fasten off4 ,repeat the same scallop over the second half of the square2 when you come to the #bnd picot of the first scallop join the two picots4 ,when both scallops are completed1 fasten them on to the foundation by a few stitches on the wrong side4 ,the outside border of the counterpane is made separately1 and is worked inwards from without and from left to right4 #ast row--begin with the dark colour and make 99 #aj chain stitches1 drop the loop1 put the needle into the #ast of the #aj chain1 take up the loop and draw it through the stitch2 #b chain and on the #aj stitches3 #f trebles quite close together4 ,repeat from 99 and go on repeating the sequence until the lace is long enough to trim the counterpane handsomely4 #bnd row--in the light colour and similar to the #ast only that in joining the chain stitches together1 you make the single stitch on the chain stitches of the #ast row4 #crd row--in the dark colour and similar to the #bnd4 #dth1 #eth and #fth rows--in the light colour and from right to left3 #g chain1 #b plain on each loop of chain stitches of the previous row4 #gth row--in the light colour and from left to right3 99 #b plain on the treble of the lace1 #aa chain1 #b plain on the next loop of chain stitches these #b stitches are made on the wrong side of the work drop the loop1 turn the work to the right1 #c plain on the last #c chain1 #h chain 99991 and repeat always from 99 to 99994 ,one row of plain made on each chain stitch and a #bnd row of trebles on the plain stitches completes the lace edging1 which is afterwards sewn on to the counterpane4 ,,counterpane ,,with ,,fringed ,,border 7fig4 #dgi74--,this pattern requires three colours2 we suggest the following as making a very effective combination3 ,rouge-,turc #cba1 ,bleu-,indigo #caa and white4 ,the stripes1 one red1 the other blue1 may be worked in any stitch4 ,they are edged with #h plain stitches of #c different lengths worked in red4 99 ,the first stitch passes only under the loops of the stitches2 the #bnd over #b stitches2 the #crd over #a1 the #dth inwards1 over #c4 ,repeat from 994 ,these stitches must be worked parallel to each other along the two edges that are to be joined together4 ,the stripes are fastened together on the wrong side by single or plain stitches4 ,the outside edge consists of #ae rows3 #ast row--in red3 #a row of plain stitches on the right side of the work4 #bnd row--in red1 and on the wrong side of the work3 plain stitches4 #crd and #dth rows--in red1 and on the right side of the work3 plain stitches4 #eth row--in dark blue and on the right side3 #a treble1 #a chain1 miss #a plain of the row beneath1 #a treble and so on4 #fth row--in white1 and similar to the #eth4 #gth row--in blue1 and similar to the #eth4 #hth row--in red3 #a plain on each stitch of the preceding row4 ,illustration3 ,,fig4 #dgi4 ,,counterpane ,,with ,,fringed ,,border4 ,,materials3 ,coton pour crochet ,d4,m4,c ,nos4 #f to #aj1 or ,coton tricoter ,d4,m4,c ,nos4 #f to #ad4 ,,colours3 ,white1 ,gris-,tilleul #cca and ,rouge-,cornouille #ddi4;,a #ith row--in red and on the wrong side3 #a plain on each stitch of the preceding row4 #ajth and #aath rows--in red3 and both on the right side1 #b rows of plain stitches4 #abth row--in white3 #e chain1 miss #c1 #a plain on the #dth stitch4 #acth row--in dark blue and similar to the #abth4 #adth row--in white3 99 #a plain on the #eth stitch of the blue row2 #aj chain1 drop the loop1 lay the chain stitches from left to right1 put the needle into the #crd chain stitch1 counting from the beginning1 take up the loop and draw it through the #crd chain stitch1 #b chain and repeat from 994 #aeth row--in white3 #a plain on the picot formed by the chain stitches2 #e chain1 #a plain4 ,into this last row you draw clusters of lengths of red cotton to form the fringe1 and knot them together with blue1 or if you prefer it1 you may finish off the coverlet with a hairpin fringe4 ,,counterpane ,,composed ,,of ,,squares ,,and ,,olive ,,shaped ,,figures 7fig4 #dhj74--,there are many who shrink from undertaking a large piece of work because it becomes inconvenient to handle and carry about4 ,the counterpane here represented has the advantage of being made up of a number of quite little pieces1 which are worked separately and joined together afterwards4 ,two colours1 which can be clearly distinguished from each other in the engraving1 should be chosen from among the various combinations suggested2 one of them should be very light1 say1 cream or white for the olive shaped figures and squares1 and the other of some soft shade only darker1 for the connecting rows and the knotted fringe1 described in the chapter on ,macram4 ,the olive shaped figures begin with #i chain stitches1 on which you make #h plain stitches and on the #ith3 #c plain for the corner4 ,on the second side of the chain3 #h plain and #c besides on the corner stitch1 and so on for #c rows2 in the last row there should be #bh stitches4 ,these #c rows are to be considered as one only4 #bnd row--#c chain1 #a treble on the plain stitch that follows 99 #a chain1 #a treble and repeat #aa times from 992 #a chain1 #c trebles with #a chain between them on the corner stitch1 9999 #a chain1 #a treble1 repeat #ab times from 99994 ,on the last stitch at the corner1 again #c trebles with #a chain2 close the round with #a single stitch4 #crd row--#a chain1 #a single on the chain stitch that follows the #ast treble of the last row2 #c chain1 #a double treble between the lower trebles1 #a chain and so on1 until you have #ce trebles1 counting the two sets of #c trebles at the corner4 #dth row--here you can change the colour3 #a plain on each of the stitches of the last row2 #c plain at the corners4 #eth row--similar to the #dth4 ,illustration3 ,,fig4 #dhj4 ,,counterpane ,,composed ,,of ,,squares ,,and ,,olive ,,shaped ,,figures4 ,,materials3 ,coton pour crochet ,d4,m4,c ,nos4 #f to #aj1 or ,coton tricoter ,d4,m4,c ,nos4 #f to #aj4 ,,colours3 ,white and ,rouge-,turc #cba1 or cru and ,rouge-,cerise #ccah1 ,gris-,coutil #cbc and ,bleu-,gentiane #dgh4;,a #fth row--#b plain1 #a cluster of #b double trebles on the same stitch of the #dth row as the #eth stitch of the last row is on2 miss #a plain4 ,continue in this manner along the whole row1 taking care that the #ith and #bbnd cluster come just at the corner4 #gth and #hth rows--these two last rows should be worked in the same colour as the inside of the figure4 ,be careful always to make the increase at the point2 a #ith row in the dark colour may further be added1 to connect the figures1 by passing the thread from the wrong side to the right1 between the #ac last stitches of two of the points of the figures4 ,the space between these olive shaped figures is filled by a pointed square of chain stitches4 ,in the #ast and following rows you miss #e stitches at the point where the figures meet1 and continue to decrease in this manner until the space is filled up4 ,the fringe is made in the dark colour1 either directly on to the plain crochet1 or after a few rows of open-work4 ,,squares ,,for ,,chair-,,backs 7fig4 #dha74--,this is a design for cut-work1 out of an old collection by ,sibmacher1 which we have adapted to crochet4 ,it will be found most effective1 worked in any of the given materials2 we have worked it with admirable result1 both in ,cordonnet #f fils ,d4,m4,c ,no4 #ae and ,fil dentelle ,d4,m4,c ,no4 #aej4 #ast row--#d chain1 close the ring4 #bnd row--#a chain1 #b plain on each chain1 #h in all2 draw the loop of the last stitch through the #ast chain4 #crd row--#f chain1 #a treble 991 #c chain1 #a treble1 repeat #f times from 994 ,in all1 with the #c chain1 #h trebles4 #dth row--#d plain1 over each treble of #c chain4 #eth row--#f chain1 #a plain on the #bnd of the plain stitches beneath1 99 #c chain1 #a treble1 over the treble beneath1 #c chain1 #a plain on the #bnd stitch of the row beneath4 ,repeat #f times from 991 then add #c chain1 #a plain on the #crd of the #f chain4 #fth row--#g chain1 #a plain over the treble of the last row2 repeat the same series #g times4 #gth row--#c chain1 #a treble over the treble beneath2 #a treble on each chain stitch1 #b trebles on each plain stitch of the row beneath2 in all1 #gb trebles1 including the #c chain4 #hth row--99 #h chain1 #a plain between the #b trebles that were added1 therefore between the #hth and the #ith turn the work make #ab plain on the wrong side turn the work back to the right side take up #a loop of each of the #ab stitches for the ,tunisian stitch that is made on #aj rows1 and decreasing by one stitch in each row1 alternately on the right and left draw up the #c last loops together and make1 descending on the right side3 #a single stitch on each row of the pyramid you have just made1 finish with #a plain on the stitch that follows the #h chain4 ,repeat #g times from 994 ,illustration3 ,,fig4 #dha4 ,,squares ,,for ,,chair-,,backs4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #ajj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #bj to #ej1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #gj in white or cru4,a #ith row--all along the pyramid3 #c plain1 #a picot1 #c plain1 #a picot1 #c plain1 #a picot1 #b plain1 #b plain at the point4 ,repeat the same number of stitches on the #bnd side1 and down the sides of all the pyramids after the #ith row1 fasten off4 #ajth row--fasten on the thread at a stitch at the point of a pyramid1 99 #g chain1 #e overs1 join the loop to the #bnd picot on the side of the pyramid where you are working1 draw the needle back through #b overs1 make #b overs more1 and put the needle into the middle picot opposite and draw the needle twice through #b loops1 thirdly through #c and each time after that1 through #b loops #f chain1 #a double treble1 join to the #crd over1 #g chain1 #a plain on the next pyramid #g chain1 #a septuple treble1 join it to the next middle picot draw the needle thrice through #b loops1 #a triple treble to join to the middle picot opposite1 draw the needle back through the loops1 and at the #dth over1 through #c loops1 and each time after that1 through #b loops1 #g chain1 #a quadruple treble1 join it to the #dth over1 #g chain1 #a triple treble1 #g chain1 #a plain on the next pyramid4 ,repeat #c times from 994 #aath row--#a chain1 #a plain on each of the stitches of the previous row and #b plain on those forming the corner2 fasten off4 #abth row--#a single on the first plain1 #e chain1 #a treble on the #crd plain1 #b chain1 #a treble on the #crd plain and so on to the corner and until you have #ad trebles on the corner stitch3 #b chain and #a treble more2 then proceed as you did on the first side4 ,there should be #ah trebles and #ai times #b chain between the corner trebles2 all four sides should be alike4 #acth row--#a plain on each stitch of the last row1 not counting the #c which are to be made at the corner4 #adth row--#ad single over the preceding stitches 991 #a chain1 #bd plain2 miss #d plain of the last row1 not counting the #b increased stitches which must be left empty after the #bdth stitch turn the work1 miss #b1 #ba plain1 passing the needle under the #b loops of the row beneath turn the work #a chain1 #bj plain turn the work #ai plain continue to decrease in the same proportion1 until you have #c stitches left and fasten off4 ,in all the intakes miss the last stitch but one1 coming back1 and the #ast going1 and always begin on the right side with #a chain4 ,for the second half of these triangular figures which are worked from right to left1 fasten on the thread to the #eth stitch after the increase and make #bd plain #g plain should remain between the two triangular figures formed of plain stitches turn the work #ba plain1 miss the #b last stitches1 #a plain on the stitch the thread is fastened to turn the work miss #a stitch1 #ai plain1 #e overs1 put the needle through the #dth of the #g stitches between1 bring it back twice1 each time through #b loops1 make #b overs more1 put the needle through the last stitch of the #crd row opposite1 bring it back twice through #b loops1 then once through #c loops and twice through #b loops turn the work #ah plain and so on1 until you have made #aj transverse trebles fasten off1 then repeat the same series of rows on the other sides4 #aeth row--do not cut off the thread on the #dth side but work backwards3 #c single over the chain1 #e chain 99 #a treble on the stitch whence the #e chain proceeded1 #b chain1 #a treble on the last plain of the first half of the close parts of the pattern2 #b chain1 #a treble in the middle of the first part of the #ajth transverse treble2 #b chain1 #a treble on the second half of the preceding treble1 #b chain1 #a treble on the #ast plain of the second half of the close parts2 #b chain1 #a treble on the #crd and last upper stitch of the close part2 #b chain1 #a treble on the same stitch as the last treble4 ,then along the edge1 #aj trebles1 joined by #b chain1 one of which trebles should always be on a row of plain stitches after the #ajth treble3 #c chain1 #a plain on the #eth plain of the #acth row1 #c chain1 again #aa trebles connected by #b chain after the #aa trebles3 #b chain 9999 and repeat #c times from 99 to 99994 #afth row--on every #b chain stitches3 #c plain4 #agth row--#g chain1 #a plain on the #fth plain of the last row2 repeat #g times for the #ith and #ajth scallops only3 99 #e chain4 ,the plain stitch that follows the #ith scallop should come exactly over the corner stitch of the #acth row after the #ajth scallop3 #a plain2 then #ac scallops with #g chain1 #a plain on the #fth #e stitch of the row beneath4 ,repeat twice from 99 after the #dth scallop #b smaller scallops1 and up to the end of the row1 #e scallops more of #g chain each4 #ahth row--make #g plain over #g chain1 #e chain1 drop the treble1 bring the needle back with the loop through the #crd plain on the #e chain3 #c plain1 #a picot1 #c plain on the #g remaining stitches3 #b plain--on the #ith scallop of #e chain1 only3 #e plain on the #ajth scallop of #e chain1 only3 #c plain then #g chain1 bring them back and join them to the #crd plain of the #ith scallop and finish the picot4 ,when these squares are made use of in any number and have to be joined together1 you must join #ac picots and leave the #adth free4 ,the four empty picots in the centre are connected by a small star4 ,,crochet ,,star 7fig4 #dhb74--,this is one of the most graceful and delicate crochet patterns we know4 ,for the purpose of reproduction here1 we have had it worked in all the different sizes of ,d4,m4,c cotton but it looks best in a fine material2 in ,fil dentelle ,no4 #aej1 it can bear comparison with the finest needle-made lace4 #ast row--#f chain1 close the ring4 #bnd row--#i chain1 #a double treble1 99 #d chain1 #a double treble2 repeat #f times from 99 after the #gth treble3 #d chain1 #a single on the #eth of the #i chain4 #crd row--#a chain1 #d plain1 99 #a picot1 #d plain2 repeat #g times from 99 carry the thread to the last stitch through the #ast plain4 #dth row--#ab chain1 #a treble on the stitch over the treble beneath1 99 #i chain1 #a treble2 repeat #f times from 99 after the #gth treble and the #i chain3 #a single on the #crd of the #ab chain4 #eth row--#c chain1 #a treble on each stitch of the row beneath2 including the #c chain1 #hj trebles in the whole circumference after the last treble3 #a single on the #c chain4 #fth row--#aa chain1 #a quadruple treble on the #bnd treble of the last row2 #d chain1 #a quadruple treble on the #crd treble and so on1 in all #cb trebles including the #g chain4 #gth row--#a chain1 #e plain on #d chain4 #hth row--#c plain on the #c first chain1 99 #af chain1 miss #a1 9999 #a single1 #a plain1 #a half treble1 #b trebles1 #a treble #a long1 #b double trebles1 #a triple treble1 #a treble #c trebles long1 #a quadruple-treble 9999991 #c chain1 miss #d plain of the #gth row1 #e plain1 #af chain1 join them1 counting upwards from below1 to the #eth treble of the first pyramid on #g chain3 #c plain1 #a picot1 #c plain1 #a picot1 #c plain1 #a picot1 #c plain2 join the last loop of the last plain and the loop of the #gth chain2 #h chain4 ,repeat from 9999 to 999999 on the middle of the last quadruple treble3 #a double treble towards the bottom1 finish the treble1 #c chain1 miss #d1 #e plain 999999994 ,repeat #g times from 99 to 999999994 ,illustration3 ,,fig4 #dhb4 ,,crochet ,,star4 ,,materials3 ,fil d',alsace ,d4,m4,c ,no4 #cj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #hj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #aej4;,a ,coming back to the #ast point make along it3 #h single stitches1 then #g chain1 join them to the #eth treble of the #afth point over the chain3 #c plain1 #a picot1 #c plain1 #a picot1 #c plain1 #a picot1 #c plain and finish with #i single to carry the thread to the top of the point4 #ith row--#a chain1 #a plain1 99 #ae chain1 #a plain at the top of the point and repeat #ae times from 994 #ajth row--#c chain2 #a treble on each stitch of the #ith row2 #bef trebles in all1 including the #c chain4 #aath row--,the star is bordered by small and large scallops1 surmounted by points similar to those inside4 ,you begin by the small scallop and make on the #ajth row3 #e single1 99 #h chain1 bring them back and join them to the #ast of the #e single2 #a plain1 #h chain1 miss #d trebles1 join them to the #eth2 #ad plain on the #h chain1 #f plain on the first #h chain turn the work #e chain1 #a treble on the plain stitch between two scallops2 #e chain1 #a plain on the #gth plain of the #ast scallop2 #b plain in the #eth chain1 #b chain1 #a picot1 #aj chain1 miss #a1 and make on the following ones3 #a single1 #a plain1 #a half treble1 #b trebles1 #a treble #a treble long1 #a picot1 #b chain1 #b plain on the #e chain2 #h plain on the #h chain4 ,to pass to the large scallop make3 #af single1 #h chain1 bring them back1 #a plain on the #eth single1 #h chain1 bring them back again to the #eth turn the work on the second set of #h chain3 #f plain1 #a picot1 #i plain on the first #h3 #f plain1 then #h chain1 bring them back and join them to the #dth plain behind the picot of the finished scallop on the #h chain3 #e plain1 #a picot1 #e plain1 #a picot1 #e plain on the remaining chain below3 #c plain1 #a picot1 #f plain2 add #d single on the trebles and pass to the outer scallop #ah chain1 #a plain on the #crd of the #e plain of the small upper scallop2 #ah chain1 #a plain on the #dth of the #af single turn the work #be plain on the last chain stitches1 and #be on the first2 #a single on the #crd single turn the work #a plain on each of the preceding #ej plain stitches2 join the last to the under row with a single stitch turn the work #aj plain1 #a picot1 #c plain1 #a picot1 #c plain1 #a picot1 #d plain1 #b chain1 #a picot1 #aj chain1 miss #a1 #a single1 #a plain1 #a half treble1 #b trebles1 #a treble #a treble long1 #a double treble1 #a treble #b trebles long1 #a triple treble1 #a picot1 #b chain and join them to the #fth plain stitch1 counting from the middle4 ,then #d plain1 #a picot1 #c plain1 #a picot1 #c plain1 #a picot1 #aj plain1 #aa single on the trebles4 ,repeat #g times from 994 ,,star ,,with ,,little ,,squares 7fig4 #dhc74--;,begin with #d chain stitches1 close the ring4 #ast row--#e chain1 99 #a treble1 #b chain4 ,repeat #f times from 991 to number altogether #h trebles including the #e chain2 #a single on the #crd chain4 #bnd row--#f chain1 99 #a triple treble on the #ast chain stitch1 #b chain4 ,repeat #bc times from 99 and join to the #dth chain4 ,illustration3 ,,fig4 #dhc4 ,,star ,,with ,,little ,,squares4 ,,materials3 ,the same as for fig4 #dhb4 #crd row--#f chain1 99 #a double treble on the treble beneath1 #c chain4 ,repeat from 99 through the row2 join to the #dth chain4 #dth row--#a plain on the treble on the #c chain3 #e plain1 #a plain on the treble2 work #e times to and fro over these stitches1 put the needle through the #b threads of the last stitch after the #eth row3 #aj chain1 then #e plain on the #c next chain4 ,in turning the work and going from the #bnd to the #crd1 from the #dth to the #eth row1 carry the thread behind the chain stitches1 so that they may blend with the plain stitches2 make in all #ab little squares with #aa spaces between2 after the #abth1 square3 #e chain1 #a single on the #eth row of the first square4 #eth row--on each of the #f plain of the #ast square3 #a single on the #gth3 #a plain #g plain on the #e chain #a plain on the #ast stitch of the #bnd square #f rows of plain1 #ad chain1 #a plain on the #eth stitch of the next square then make #f rows of plain and wind the thread round the chain stitches4 #fth row--#a single on every stitch of the last square1 #a plain on the last stitch above the #g chain on the #g chain3 #i plain1 #a plain on the #ast stitch of the next square below #i rows to and fro4 #gth row--after the #abth square3 #i chain1 #a single on the #ast plain1 99 #ad chain1 #a plain on the last plain on the #i chain3 9999 #a chain1 #a plain1 #a treble #a treble long1 #b double trebles #b trebles long 9999991 #e triple trebles 999999994 ,repeat from 999999 to 99991 then proceed from 99 to 999999994 #hth row--#ai plain over the #ad chain1 #a single on each treble2 stop them at the #abth square and at the #crd triple treble4 #ith row--#ab chain1 #a plain on the #ajth of the #ai plain2 #ab chain1 #a plain on the triple treble1 and proceed in the same way throughout the whole length of the row4 #ajth row--on the first #ab chain stitches3 99 #e plain1 #a picot1 #ab plain on the second #ab chain3 #g plain1 #aj chain1 bring them back to the #eth of the #ab plain of the first scallop on the #aj chain3 #d plain1 #a picot1 #d plain1 #a picot1 #d plain1 #a picot1 #d plain1 on the #ab chain3 #e plain1 #a picot1 #g plain4 ,repeat #ab times from 994 ,,crochet ,,collar 7fig4 #dhd74--,we have avoided as far as possible describing articles in this book that are subject to the changes of fashion1 the present collar composed of squares1 stars1 lozenge-shaped figures and a lace edge1 is of a shape that will never be out of date4 ,fine and delicate work like this can only be executed in a very fine material1 and we recommend unbleached thread as being more effective than white4 ,the soft tone and the gloss of unbleached thread give the work an antique look1 unobtainable in a white material4 ,fil dentelle ,d4,m4,c ,no4 #abj is the best for the purpose4 ,illustration3 ,,fig4 #dhd4 ,,crochet ,,collar4 ,,materials3 ,fil d',alsace ,d4,m4,c ,no4 #ajj1 ,cordonnet #f fils ,d4,m4,c ,no4 #abj or ,fil dentelle ,d4,m4,c ,no4 #abj1 cru4 ,begin with the straight-edged figures1 and then make the connecting pieces between4 ,the four squares with half stars at both ends of the collar and on the right and left of the centre square1 have their four sides all alike1 whereas the #c figures within the scalloped edge are rather narrower on the outer than on the inner side where they join to the foundation4 ,inner squares3 #ast row--#d chain1 close the ring2 #e chain1 99 #a treble on the ring1 #b chain2 repeat #f times from 99 and fasten the thread to the #crd chain stitch4 #bnd row--#a chain1 #c plain over #b chain2 #a plain over each treble4 #crd row--#h chain1 99 #a treble on each treble of the #ast row1 #f chain4 ,repeat #f times from 99 #h trebles in all1 including the first chain stitches4 #dth row--99 #aj chain2 returning over the chain stitches3 #a plain1 #a half treble1 #d trebles1 #a half treble1 #a plain1 join to the #ast chain stitch on the #f chain of the #crd row3 9999 #a plain1 #a half treble1 #a treble1 #c double trebles1 #a treble1 #a half treble1 #a plain 9999994 ,repeat once more from 9999 to 9999991 then #c times from 99 to 999999 along the first leaf to the #ajth stitch3 #aj single4 #eth row--starting from the point3 99 #g chain1 #a triple treble on the #eth stitch of the small scallop of the #dth row3 #g chain1 #a triple treble on the next scallop1 #g chain1 #a plain on the #ajth stitch of the #bnd leaf4 ,repeat #c times from 994 #fth row--#a chain1 99 #c plain on the stitch that forms the point of the leaf2 #a plain on each chain stitch and each treble of the last row #af stitches in all1 up to the #bnd treble turn the work coming back3 #a chain1 #a double treble on the #dth plain1 #a chain1 #a double treble1 #a chain1 #a double treble1 #a chain1 #a double treble1 #a chain1 #a double treble1 #a chain1 miss #c plain1 join to the #dth plain turn the work make on each chain stitch1 #b plain and on each treble #a plain and #a picot over the #ast1 #bnd1 #dth and #eth treble2 #h plain 99994 ,repeat #c times from 99 to 99994 #gth row--#a chain1 #a plain on the #bnd of the #c stitches at the point1 99 #i chain1 #a double treble between the two first picots of the semicircle formed in the last row2 #h chain1 #a triple treble on the #crd treble of the semicircle1 #h chain1 #a double treble between the #crd and #dth picots of the semicircle1 #i chain1 #a plain on the stitch at the corner4 #hth row--#ai single on the chain stitches of the #gth row1 #a chain1 #c plain on the corner stitch1 #bd plain on the chain stitches and trebles turn the work coming back3 #b chain1 #a double treble on the #bjth plain2 on the same stitch add3 #b double trebles with #b chain2 finish with3 #b chain1 join them to the #eth plain turn the work on the chain stitches3 #a plain1 #a picot1 #a plain1 #a plain on the treble4 ,repeat this series #d times add3 #d plain on the chain stitches of the #gth row turn the work #e chain1 #a double treble on the #ast treble of the small semicircle2 then again #c times1 #c chain1 and twice #a double treble on each of the trebles beneath after the last #e chain3 join to the #dth plain4 ,the points in this row are made with3 99 #a plain on the chain stitches1 #h chain1 miss #a stitch coming back3 #a single1 #a plain1 #a half treble1 #a treble #a treble long1 #c double trebles1 #a plain on the #e chain stitches4 ,the #bnd point must be placed one half of it1 before1 and the other half behind the picot2 make altogether #g points after the #gth3 #h plain on the chain stitches of the #gth row then work backwards1 without however turning the work3 #g chain1 #a chain on the stitch at the top of the point and repeat #g times from 99 after the #hth set of #g chain stitches3 #a chain2 #a plain on the #ith plain1 bringing the thread forwards from the right side to the wrong #b chain2 take the thread back to the #crd plain from the wrong side to the right #a treble on each chain stitch1 #a picot above each point1 add #d trebles and #ad chain1 join them to the #dth treble that comes after the #ast picot4 ,on the #ad chain3 #e plain1 #a picot1 #d plain1 #a picot1 #d plain1 #a picot1 #e plain1 #d trebles to the next picot1 #a picot1 #d trebles2 #ad plain1 join them to the treble nearest the #ast scallop and so on make #g scallops in all2 after the #gth add #b trebles on the #b chain stitches after the #bnd treble make #b plain1 followed by the #c stitches at the corner in the next scallop1 you fasten by #a single1 the #ast picot of the #ast scallop to the #crd picot of the last scallop4 ,when you have finished the four sides of the figure above-described1 fasten off your thread4 ,the edging of these squares should be begun on the narrower of the inner sides and at the #crd little scallop3 99 #a plain on the middle picot of the #crd little scallop1 #g chain1 #a double treble on the #ast picot of the #dth scallop2 #g chain1 #a triple treble on the #bnd picot of the same scallop1 #f chain1 #a double treble on the #crd picot of the same scallop1 #f chain1 #a plain on the middle picot of the #eth scallop2 #aj chain1 #a treble on the middle picot of the #fth scallop1 #aa chain 99991 #a quadruple treble on the middle picot of the #gth and #a quadruple treble on the middle picot of the #ast scallop following and draw the last loops of the #b trebles up together4 ,repeat once from 99 to 99994 ,carry the trebles all round the figure on the picots just referred to4 ,for the second half of the edging which becomes a little wider3 999999 #aj chain1 #a treble on the #fth scallop1 #aa chain1 #b quadruple trebles1 the last loops of which you join to the middle picots of the #gth and #ast scallop2 #aa chain1 #a treble in the next scallop2 #aj chain1 #a treble in the #crd scallop2 #g chain1 #a treble #b long1 #h chain1 #a treble #c long1 #h chain2 #a double treble1 #h chain1 #a plain1 #ab chain1 #a treble1 #ad chain1 99999999 #b quadruple trebles1 the last loops of which are joined together4 ,repeat from 99999999 to 9999991 that is the reverse way finally add #a more whole row of plain and #c plain stitches at the corners on the wider side you should have #ii stitches1 not counting the increases at the corner4 ,to make the same figure1 forming a part of the large outside scallops1 repeat the same rows you have in the inner square up to the #gth row1 the first half of which you make exactly the same as before4 ,in the second half of the row of chain there should be #a chain stitch less in each intervening space than there were in the first half4 #hth row--make the first half of this row like the #hth row of the inner square over the #bnd half1 one quarter of which is #d chain stitches narrower1 the little wheels are made like the others with #g picots4 ,the number of chain stitches and the trebles of the setting are also the same1 but instead of #g points you have to make #e and over these1 #e small scallops instead of #g4 ,the setting1 towards the top is made exactly in the same manner as the wide part of the upper square1 that is1 as from the #crd scallop of the first semicircle to the #eth scallop of the #bnd4 ,from this point1 the series of stitches changes1 so as to form a rounded edge3 99 #g chain1 #a plain on the #fth scallop2 #ae chain1 #b triple trebles joined by the last loops to the #gth and #ast scallop2 #ad chain1 #a plain on the #bnd of the #e scallops2 #ae chain1 #a plain on the #crd scallop2 #ae chain1 #a plain on the #dth scallop1 #ae chain 99991 #b triple trebles joined by the last loops in the #eth and #ast scallop4 ,repeat once again from 9999 to 99 add #a row of plain on each stitch of the preceding row2 #c plain on the two top corner stitches4 ,you will thus have #c figures with a rounded edge on one side4 ,the second kind of square consists of #h leaves inside and is begun in the same way by #f chain formed into a ring4 #ast row--#e chain1 #a treble1 #b chain1 99 #a treble1 #b chain4 ,repeat #f times from 99 and join to the #crd of the #e chain4 #bnd row--#a chain1 #c plain over #b chain1 #a plain on each treble4 #crd row--#i chain1 99 miss #a stitch coming back3 #a single1 #a plain1 #a half treble1 #a treble1 #a double treble1 #a triple treble1 #a treble over the treble of the #bnd row2 #g chain4 ,repeat #g times from 99 after the #hth point3 #g single along the #ast4 #dth row--99 #a plain on the stitch you missed at the point1 #e chain1 #a triple treble on the treble of the #crd row1 #e chain4 ,repeat #g times from 994 #eth row--#c chain1 #a treble on each stitch of the #dth row2 join to the #crd of the #c chain4 #fth row--#aj chain1 #a plain on the treble over the triple treble of the #dth row3 #aj chain1 #a plain on the treble above the little point4 #gth row--#ae plain on the #aj chain on the #crd scallop only3 99 #g plain1 #aj chain1 come back to the second scallop1 bring the thread back from the wrong side to the right between the #gth and #hth plain stitches1 #ae plain on the #crd scallop1 #h plain on the next scallop1 #ae plain and repeat #f times from 994 ,when the #afth scallop is finished1 pass to the point of the #ast scallop by means of #g single1 then add the #aj chain to pass to the #hth scallop above2 when that is finished1 fasten off1 and fasten on again to one of the #h scallops4 #hth row--99 #ba chain1 miss #a stitch1 #a plain1 #a half treble1 #a treble1 #a treble #a treble long1 #a double treble1 #a treble #b trebles long1 #a triple treble1 #a treble #c trebles long1 #a quadruple treble1 #a treble #d trebles long1 #a quintuple treble4 ,after passing through the #crd loop1 make #a quadruple treble1 between the #b plain scallops2 then finish the quintuple treble1 #g chain1 #a plain on the #bnd scallop and repeat #g times from 994 #ith row--99 #g plain on the #g chain2 #a plain on each stitch of the pyramid1 #c plain on the stitch at the point2 #d plain on the #g chain on the opposite side turn the work 9999 #a chain1 miss #a plain1 #a treble on the #bnd stitch after the #eth treble1 leave out no more stitches between the trebles 9999992 place the #hth1 #ith and #ajth trebles on the #bnd of the increased stitches4 ,repeat on the opposite side from 999999 to 9999 and join to the #dth of the plain stitches make #ag trebles in all1 then one plain over each chain1 #a plain on each treble and #a picot after every #crd plain after the #dth and up to the #hth picot1 leave only #b plain between3 #aa picots in all in conclusion3 #c plain more on the #g chain and repeat the whole #g times from 994 ,the little wheel at the top of the square is begun with #aj chain for the ring #af plain on the ring1 #d chain1 99 #a treble1 #a chain repeat #ad times from 992 #af trebles in all1 including the chain stitches then on each treble and each chain stitch3 #a plain2 after #d plain3 #a picot2 connect the wheel first on the right4 ,the #bnd picot is to be fastened to the #ith picot of the large scallop proceed with3 #c times #d plain with #a picot after the #crd plain1 fasten the picot to the #crd picot of the next large scallop and complete the small wheel4 ,the left wheel is made and inserted in the same manner as the right one4 ,the wheels at the bottom of the square require for the foundation ring3 #ad chain1 on which you make #ba plain on these3 #d chain1 99 #a treble1 #a chain repeat #ai times from 992 #ba trebles in all1 including the chain stitches #c plain1 #a picot1 #c plain1 #a picot1 #c plain1 #a picot1 #c plain1 #d chain1 join to the #hth picot of the #bnd scallop2 #d chain1 finish the picot1 #c plain1 #a picot1 #c plain1 #h chain1 join to the #ajth picot of the scallop1 #h chain1 complete the picot2 #c plain1 #a picot1 #c plain1 #h chain1 join to the #bnd picot of the #crd scallop1 #h chain1 close the picot1 #c chain1 #a picot1 #c plain1 #d chain1 join to the #dth picot of the #crd scallop2 #d chain1 complete the picot1 #c plain1 #a picot and so on1 until you have #ad picots round the wheel4 ,repeat the same wheel to the left between the #dth and #eth scallop4 ,the edging of this second kind of square is also slightly different2 fasten the thread to the #fth picot of the #ast scallop before the small wheel1 then working from right to left1 count3 99 #aj chain1 #a treble on the #bnd empty picot of the small wheel2 #h chain1 #a triple treble on the #dth picot of the wheel upwards3 #i chain1 #a double treble on the #fth picot of the wheel2 #i chain1 #a plain on the #fth picot of the #hth scallop1 #ab chain1 #a plain on the #gth picot of the scallop1 #aa chain 99991 #a quadruple treble on the #ith picot of the #hth scallop and on the #crd picot of the #gth2 draw the last loops of the two trebles up together4 ,repeat once more from 9999 to 991 then3 #a plain on the #fth picot of the #fth scallop2 999999 #ab chain1 #a sextuple treble on the #ith picot of the #fth scallop1 retain #b loops of the treble on the needle1 make #d more overs1 join the treble to the #crd picot of the #eth scallop2 finish the bars1 #ab chain1 #a plain in the #fth picot of the next scallop #ab chain1 #a double treble on the #bnd picot of the #g empty picots of the bottom wheel2 #i chain1 #a quadruple treble on the #dth picot2 #ab chain1 #a double treble on the #fth picot1 #ad chain1 #a plain on the #fth picot of the #dth scallop1 #ad chain 9999991 #a septuple treble1 in the #ith and #crd picots of the #dth and #crd scallops 999999994 ,for the preceding treble1 you pass first through #d loops only1 then make #d more overs for the other half of the treble1 and finish the last loops one by one4 ,repeat from 99999999 to 9999994 ,one row of plain stitches completes the square4 ,after having made the square similar to that of the upper one1 you have merely to add the large wheels at the top4 ,the setting of chain stitches and trebles is begun at the first scallop between #b wheels #a plain on the #fth picot of the #ast scallop2 #ad chain1 #b quintuple trebles1 of which the last loops only are joined together1 on the #ith and #crd picot of the #ast and #bnd scallop1 #ad chain1 #a plain on the #fth picot of the next scallop2 99 #ad chain1 #a treble on the #bnd empty picot of the wheel2 #aj chain1 #a quadruple treble on the #dth picot1 #aj chain1 #a treble on the #fth picot2 #ad chain1 #a plain on the #fth picot of the #crd scallop2 #ad chain1 #b sextuple trebles on the #ajth and #bnd picot of the #crd and #dth scallop2 #ae chain1 #a plain on the #fth picot of the #dth scallop2 #af chain1 #b sextuple trebles on the #ajth and #bnd picot of the #dth and #eth scallop2 #af chain1 #a plain on the #fth picot of the #eth scallop2 #ae chain 9999 #c septuple trebles on the #ajth and #bnd picot of the #eth and #fth scallop4 ,repeat from 9999 to 992 and make #d figures with rounded edges4 ,when all the figures are finished1 join them together by trebles of a suitable length4 ,introduce the thread at the corner stitch on the widest side of the #bnd #h pointed star and make3 #a plain1 #f chain1 miss #c stitches1 #a plain on the #c next stitches1 #d chain1 miss #b1 #a plain on the next #c plain stitches4 ,make #aa loops in this manner1 each consisting of #d chain and #c plain1 then #b loops of #c chain and #b plain then miss as many stitches of the square at the edge of the collar as were left empty in the second square2 #b plain and draw the loop each time through the #b last stitches of the opposite square #a chain1 #a single on the #bnd chain stitch of the opposite side2 #a chain1 #c plain on the edge of the first square1 #a chain1 #a single1 #a chain1 miss #c stitches1 #c plain1 #e chain1 bring the loop from the wrong side to the right on the chain stitches3 #d plain1 #b chain1 miss #c1 #c plain4 ,from this point onwards1 fasten all the bars of chain stitches to the loops produced by the same stitches in the #bnd square4 ,thus1 the #ast bar consisting of #e chain1 the #bnd will consist of #g chain on which make #g plain1 and then add #b more chain4 ,nowhere must the two first chain stitches be uncovered4 ,the #crd bar must consist of #i chain1 #i plain and #b chain the #dth of #aa chain1 #e plain1 #a picot1 #e plain1 #b chain the #eth of #ac chain1 #d plain1 #a picot1 #d plain1 #a picot1 #d plain1 #b chain the #fth of #af chain1 #f plain1 #a picot1 #f plain1 #a picot1 #f plain1 #b chain the #gth of #ah chain1 #e plain1 #a picot1 #d plain1 #a picot1 #d plain1 #a picot1 #e plain1 #b chain the #hth of #ba chain1 #e plain1 #a picot1 #e plain1 #a picot1 #e plain1 #a picot1 #e plain1 #b chain the #ith of #bd chain1 #e plain1 #a picot1 #e plain1 #a picot1 #e plain1 #a picot1 #e plain1 #a picot1 #e plain1 #b chain the #ajth of #bf chain1 #f plain1 #a picot1 #e plain1 #a picot1 #e plain1 #a picot1 #e plain1 #a picot1 #f plain1 #b chain the #aath and last of #bh chain1 #cb plain1 #b chain1 fasten off4 ,as the square with the semicircles in it1 has more plain stitches in the edge than the one with the eight-pointed star in it1 the stitches must be divided so that you miss #c from time to time1 instead of two4 ,when the #g top figures are finished1 join the #g bottom ones to them1 each separately1 by a row of plain stitches1 made on the wrong side of the work4 ,below the first square with the semicircles1 comes the eight-pointed star1 below the next eight-pointed star1 the square with the semicircles1 and so on4 ,a narrow edging forms the outside border1 the foundation of which is a row of plain stitches running all along the squares4 ,at the middle of the square you decrease by #b stitches1 and at the point where two squares meet1 by #c4 ,when you reach the left side and the end of the row1 make #c plain on the corner stitch1 then3 99 #e plain1 #a picot1 #e plain1 #ad chain1 join them to the first of the #e first plain 7drop the thread at each scallop and bring it forward from the wrong side to the right7 on the #ad chain3 #e plain1 #a picot1 #aa plain1 #a picot1 #e plain along the square3 #e plain1 #a picot1 #e plain1 then #ad chain1 join them to the first plain over the #ad chain3 #e plain1 #a picot1 #e plain1 #ad chain1 join them in turning back between the #eth and #fth of the #aj plain of the #ast scallop2 #e plain1 #a picot1 #e plain1 #a picot1 #e plain1 #a picot1 #e plain2 on the half-finished scallop3 #e plain1 #a picot1 #e plain 9999 on the plain stitches of the edge3 #d plain1 #a picot1 #d plain1 #ab chain1 come back1 join to the #ast of the #d plain on the #ab chain3 #d plain1 #a picot1 #d plain1 #a picot1 #d plain1 #a picot1 #d plain 999999 repeat on the same figure once from 99 to 999999 and once from 99 to 99994 ,this makes #gg stitches1 the number there ought to be on the wide side of the straight-edged figures4 ,the scallops vary a little on the rounded sides4 ,there1 you should have #aaj stitches1 counting from the corner to the treble that marks the middle at the bottom4 ,the single scallops1 between the triple scallops of the border1 are also all made over #h stitches2 the first triple scallop is made over #bj stitches1 the #bnd1 #crd and #dth triple scallop over #af stitches4 ,make no single scallop after the #dth triple one2 which is immediately succeeded by the #eth triple scallop1 over #af stitches4 ,altogether1 round each star1 there are #i triple and #h single scallops4 ,after the #hth single one1 make #c plain stitches on the #b chain stitches of the connecting bar4 ,on the #cb plain stitches of the last bar3 #h plain1 #a picot1 #d plain1 #ab chain1 bring them back and join to the #eth of the #h plain on the #ab chain3 #e plain1 #b chain1 draw the loop through the picot in the middle of the last single scallop1 #b chain1 close the picot1 #h plain1 #a picot1 #e plain in the bar3 #d plain1 #a picot1 #d plain1 #ab chain1 bring them back and fasten them to the #ast plain #e plain1 #a picot1 #d plain1 #ab chain1 join them to the #dth plain of the #ast scallop2 #e plain1 #a picot1 #h plain1 #a picot1 #e plain in the half-finished scallop3 #d plain1 #a picot1 #d plain in the bar3 #d plain1 #a picot1 #d plain #ab chain1 bring them back and fasten them to the #ast plain4 #d plain1 #a picot1 #d plain1 #ab chain1 join them close to the scallop above #e plain1 #a picot1 #d plain1 #ab chain1 bring them back and join them to the #dth plain of the #bnd scallop2 #e plain1 #a picot1 #e plain1 #a picot1 #e plain1 #a picot1 #e plain in each of the #b half-finished scallops3 #d plain1 #a picot1 #e plain finish with #d plain1 #c plain on the #b chain and repeat from 99 round all the rounded parts4 ,the lozenges that fill the empty spaces between the large figures are made in #g rows1 on a ring formed of #d chain4 #ast row--#e chain1 #a treble on the ring1 #b chain1 #h trebles in all1 including the bar of chain stitches4 #bnd row--#c plain over #b chain1 #a plain over each treble4 #crd row--#g chain1 #a treble over the treble beneath1 #e chain1 #a treble2 #h trebles in all4 #dth row--99 #a plain1 #a half treble1 #a treble1 #a double treble1 #a treble #b trebles long2 9999 repeat the reverse way to 99 #a plain on the treble1 #g chain1 miss #a stitch1 #a plain1 #a treble1 #a double treble1 #a treble1 #a plain4 ,repeat twice from 99 to 99991 followed by3 #i chain1 miss #a1 #a single1 #a plain1 #a half treble1 #b trebles1 #a half treble1 #a plain1 #a single 9999994 ,repeat once from 99 to 9999991 then again from 99 to 99991 and add #e single all along the scallop4 #eth row--#i chain 99 #a plain on the top stitch of the small leaf1 #g chain1 #a treble on the middle stitch of the scallop1 #g chain1 #a treble on the next scallop #i chain1 #a plain on the leaf1 #i chain1 #a treble on the scallop1 #g chain1 #a treble on the next scallop1 #g chain and repeat once from 994 #fth row--#a plain on each stitch of the row before1 #c plain on the points4 #gth row--on each side of the lozenge #c little scallops on #h chain1 with #c picots and #a picot below the scallops and between every #d plain2 the scallops at the points extend over #d stitches only1 so that the picot below is left out4 ,these lozenges are fastened on two sides to the middle picot of the triple scallop2 then1 starting from the #crd scallop of the lozenge you make1 #h chain1 join them to the middle picot of the #ast triple scallop2 coming back over the #h chain3 #e plain1 #a picot1 #e plain and finish the scallop4 ,the next scallop1 at the point of the lozenge1 is fastened by a picot of #f chain1 to the middle picot of the #fth scallop underneath the connecting bar4 ,repeat the same on the #bnd side and make #f lozenges in all4 ,the lace that finishes off the collar at the neck must be made to stand up1 and is begun by a row of trebles on the plain stitches4 ,from the corner as far as the #bnd treble of the #dth scallop1 make triple trebles1 from the #dth scallop to the #fth chain stitch after the #eth scallop1 make double trebles1 from this point to the #bnd scallop of the next semicircle1 only single trebles1 then again double trebles and finish with triple trebles as at the beginning4 ,decrease by #b or #c stitches in each square4 ,when this row of trebles is finished1 fasten off1 and fasten on again on the right and on the base of the #ast treble which you border with #d chain1 then follow3 99 #ae plain on the row of trebles1 put the needle in under the #b loops of the trebles turn the work #b chain1 #a double treble1 miss #d plain1 #a double treble on the #eth stitch1 #b chain1 #a double treble1 #b chain1 #a double treble1 #b chain1 miss #d plain turn the work bring the loop to the front2 9999 #a plain1 #a picot1 #a plain1 #a plain on the treble2 repeat #c times again from 9999 and add #d plain on the trebles turn the work #f chain1 #a double treble over the treble beneath2 again #c times #f chain stitches and #a double treble2 join the #dth set of #f chain to the #dth plain bring the thread back to the front3 #a plain on the #f chain #h chain1 miss #a1 and make on the others3 #a plain1 #a half treble1 #b trebles1 #a treble #a treble long1 #b double trebles1 #a plain stitch on the #f chain4 ,the next point comes above a treble2 you make #g points in all4 ,after the #gth3 #e plain1 then #g chain1 #a plain on each point between the points and join4 ,join the #hth set of #g chain on to the #dth plain of the first treble then add3 #b chain1 draw the loop from the wrong side to the right through the #ast plain stitch2 #h trebles1 #a picot1 #d trebles1 #ab chain1 bring them back over the picot1 join it between the #dth and #eth trebles2 #e plain1 #a picot1 #e plain1 #a picot1 #e plain1 #a picot1 #e plain4 ,over each point3 #a picot and over the picot #a scallop1 like the one made in the square4 ,on the #gth point only #a picot after the last treble on the last chain3 #b chain2 then go on with the plain stitches until you have #bg and repeat from 994 ,in the semicircles that follow you leave out the first and last little scallops1 the first and the last scallop must be joined together by the first and the last picot2 in the last semicircle1 make #f little scallops1 the same as you did in the first4 ,,crochet ,,chair-,,back 7fig4 #dhe74--,the close leaves in plain stitch of the large centre star1 the #d corner figures forming a cross and the diagonal figures1 all have to be made separately and sewn on afterwards in their proper place4 ,to join the separate parts neatly together1 draw a square the size of the work on a piece of thick paper or waxcloth1 divide it into #h parts by means of straight and diagonal lines1 sew the separate pieces of crochet upon it1 face downwards1 in their proper places and make the trebles on the wrong side of the work4 ,begin by the centre star and make3 #ab chain1 close the ring4 #ast row--#bc plain on the #ab chain4 #bnd row--#i chain1 #a double treble on the #bnd plain1 #d chain1 #a treble and so on until you have #ab trebles1 including the #e chain4 #crd row--#a plain on each chain stitch and each treble2 #fj plain in all4 #dth row--#c plain1 #a picot1 altogether #bj picots in the row1 then fasten off4 ,illustration3 ,,fig4 #dhe4 ,,crochet ,,chair-,,back4 ,,materials3 ,fil dentelle ,d4,m4,c ,no4 #ej for the close figures and ,no4 #abj for the connecting bars4,a ,the leaves round the ring have #c petals1 #a large and #b small2 you begin by the large one1 and make the small ones afterwards4 ,the petals should be begun from the point and not from the bottom as is generally done--#cj chain2 coming back3 #d single1 #d plain1 #e half trebles1 #h trebles1 #d half trebles1 #d plain stitches1 #c plain on the #ast chain on the second side of the chain make the same number of stitches but in the reverse order4 ,small petal on the left--#ba chain1 miss #a1 #e plain1 #c half trebles1 #e trebles1 #c half trebles1 #c plain1 #c plain on the top4 ,repeat the same series of stitches in the reverse order on the second side at the #ajth stitch of the large petal and counting upwards from below1 draw the thread through the #ajth stitch of the small petal1 and do the same through the #i next stitches for this purpose drop the loop each time and draw it back through the opposite stitch1 from the wrong side to the right4 ,after making the same petal on the right1 fasten off2 fasten on again at the outer edge and edge the #c petals with #a plain on each stitch and #c plain on the stitch at the point2 make #d leaves with #c petals each4 ,between the pointed leaves1 which are afterwards placed on the diagonal line of the square1 come some very long leaves which are rounded towards the top--#bi chain1 miss #a1 #e plain1 #b chain1 #a treble on the #crd of the chain stitches2 carry on the trebles until you have1 on coming to the last chain1 #g trebles turn the work and make #a plain on each stitch of the row turn the work #a plain on every stitch all round turn the work 99 #i plain1 #d half trebles1 #c trebles1 #b double trebles1 join the last loops of the #b last trebles together2 set the #bjth and #bast double treble on the same stitch the #bjth treble #b trebles long2 the #bast a triple treble on the next plain stitch2 #a treble #c trebles long and #a quadruple treble again on the next stitch3 #b trebles1 the first of them #d trebles long1 the #bnd a quintuple one on the #crd plain3 #b quintuple trebles1 #d chain1 #a plain on the plain stitch of the #bnd row and next to the last quintuple treble1 #a half treble1 #a treble1 #b double trebles on one stitch1 #b triple trebles on one stitch 99991 #a quadruple treble on the #b next stitches4 ,repeat from 9999 to 991 therefore in the reverse order4 ,to make the large star which is the first of the figures placed on the diagonal line1 make3 #d chain1 close the ring4 #ast row--#aj chain199 #a double treble on the #d chain1 #e chain4 ,repeat #d times from 991 #f trebles in all4 #bnd row--over #e chain3 #a half treble1 #a treble1 #a treble #a treble long1 #a double treble1 #a treble #b trebles long 99991 #a triple treble4 ,repeat once from 9999 to 99 and #e times from 99 to 99994 #crd row--#a plain on each stitch of the #bnd row4 #dth row--#c plain1 #a picot1 #b plain1 99 #b chain1 #a picot1 #e chain1 miss #a coming back3 #d plain1 #a picot1 #b plain on the plain stitches of the #crd row3 #b plain1 #a picot1 #c plain4 ,repeat from 991 with this difference that the trebles that are placed over the half trebles of the #bnd row must begin with #c chain4 ,make1 altogether1 #ab long bars1 #f of them beginning with #b chain and #f with #c2 these bars remain empty2 after the #abth you fasten off4 #eth row--fasten on the thread to the top stitch of a treble1 #aa chain1 #a plain4 ,repeat this series #aa times4 #fth and #gth row--#a plain on each stitch of the #eth row1 then #a plain on each stitch of the #fth row4 #hth row--over #i bars and #h spaces3 #c plain1 #a picot1 #c plain and so on4 ,add nothing further to the #b rows of plain stitches of the #ajth1 #aath and #abth picots4 ,for the second star of the corner figure #d chain1 close4 #ast row--#h chain1 #a treble1 99 #e chain1 #a treble4 ,repeat #c times from 992 #e trebles in all1 including the chain stitches4 #bnd row--99 #a chain1 #a half treble1 #a treble1 #a treble #a treble long1 #a double treble1 #a triple treble 99994 ,repeat from 9999 to 991 and the whole series #d times4 #crd row--99 #a chain1 #c plain1 #a picot1 #b plain1 #b chain1 #a picot1 #d chain coming back1 #d plain on the #d chain1 #a picot1 #b chain on the stitches of the #bnd row3 #b plain1 #a picot1 #b plain1 #c chain1 #a picot1 #e chain1 miss #a1 #d plain coming back3 #a picot1 #c plain4 ,repeat #d times from 991 fasten off4 #dth row--fasten on at the point of one of the bars and make from one bar to the other3 #i chain1 #a plain on each bar4 #eth row--#a plain on each stitch of the last row4 #fth row--#a plain on each stitch of the last row and join the #d last stitches to the #d that are under the #aath treble of the #ast star1 taking care to put the trebles one above the other4 ,the #crd star also begins with #d chain formed into a ring4 #ast row--#h chain1 #a treble1 #e chain1 #a treble1 #e chain1 #a treble1 #e chain1 join them to the #dth of the #h chain4 #bnd row--#b chain1 99 #a half treble1 #a treble1 #a treble1 #a treble long1 #a double treble 99994 ,repeat from 9999 to 99 and then1 #c times from 99 to 99994 #crd row--#a plain on each stitch of the #bnd row4 #dth row--#a chain1 #b plain1 99 #a picot1 #c chain1 #a picot1 #e chain4 ,repeat #c times from 992 after the #hth picot3 #c chain4 #eth row--#ae chain1 #a triple treble on the #eth and on the #bnd plain stitch between #b picots1 #i chain1 #a triple treble and so on4 ,altogether1 including the chain stitches1 #h trebles and #h times #i chain2 join to the #gth chain4 #fth and #gth row--#a plain on each stitch of the previous row2 join the #d last stitches again to the #dth stitch of the #bnd star and fasten off4 ,the open work border is made from the #ast large star1 beginning near the #ith treble at the point where the picots leave off4 ,after fastening on the thread3 #e chain1 miss #b plain1 #a plain on the #crd at the point where the circles meet1 miss #c or #d stitches on each side and carry the treble over the indent of the scallop4 ,after finishing the picots of chain stitches on the two sides and as far as the #crd treble of the large star1 fasten off2 fasten on again on the right of the large star3 #d chain1 #a plain on the #crd chain2 put the needle only through the #b upper loops of the chain stitch2 in the indent1 connect #c picots by #a chain stitch2 #b chain and #a plain between the next plain stitches4 ,fasten off4 ,the #b next rows both begin on the right and consist of plain stitches only2 in the indent of the rings join #c stitches of the preceding row together by #a plain4 ,the #e leaves over the circles--,begin with the middle and largest one--#be chain1 miss #a1 #c plain1 #b chain1 miss #b1 #a treble1 #b chain and so on1 #g trebles in all turn the work #a plain on each stitch1 passing under only #a loop of the stitches on the stitch you missed3 #c plain2 on the second side3 #a plain on each stitch turn the work do as in the last row turn the work do as in the #b last rows1 excepting as regards the #e last stitches which you leave untouched turn the work #ae plain1 99 #a chain turn the work #ab plain turn the work #ab plain on the #ab plain and on all those you missed 99994 ,fasten off the thread4 ,on the #bnd side of the leaf3 draw the thread through the #fth stitch1 counting upwards from below and on the side that is not indented1 #ae plain and repeat from 99 to 9999 then make3 #a row of plain1 putting the needle through both the loops of the lower stitches at the points of the leaves3 #c plain1 in the indents of the leaves miss #a stitch4 ,first leaf on the right of the large leaf--#be chain1 miss #a1 #c plain1 #a chain1 #a treble on the #crd chain2 #g trebles in all turn the work #a plain on each stitch1 #ah stitches altogether1 to the corner stitch2 #c plain on the corner stitch4 ,the #bnd side is worked like the #ast4 ,add #c more rows of plain stitches and increase #c plain on the stitch at the point in the #crd row leave the #e last stitches empty turn the work #aa plain1 #a chain turn the work #aa plain and #e plain on the #e stitches that were passed over2 fasten off4 ,on the opposite side fasten on the thread on the wrong side at the #hth stitch counting from the point3 #ab plain1 #a chain turn the work #ab plain turn the work make plain stitches up to the end of the leaf and border it1 like the large leaf1 with plain stitches join the #h first stitches to the corresponding ones in the large leaf make #d leaves all alike4 #bnd leaf on the left--#ai chain1 miss #a1 #c plain1 #b chain1 #a treble on the #bnd chain2 #g trebles in all turn the work #a plain on each of the preceding stitches1 #c plain on the stitch at the point turn the work #a row of plain stitches turn the work #a row of plain turn the work #a row of plain1 excepting on the last #g stitches turn the work #ad plain1 #a chain #c more rows to and fro with #aa plain2 fasten off1 and fasten on again on the #bnd side at the #fth stitch counting from below3 #b rows of #aa plain and #a row to the end of the leaf then encircle this leaf1 like the others with plain stitches1 join the #h last stitches to the last #h of the large leaf make #d leaves all alike4 #crd leaf on the right--#ah chain1 miss #a1 #b plain1 #a chain1 #a treble on the #crd chain1 #e trebles in all turn the work #d rows of plain worked to and fro2 on the stitch at the point3 #c plain after the #dth row3 #d trebles1 #h plain1 #a chain1 #d plain1 #a chain1 #d plain1 #a chain1 then plain stitches to the end fasten off4 ,on the second side1 fasten on to the #fth stitch counting downwards from the top3 #i plain coming back3 #c plain1 #a chain1 #g plain coming back3 #g plain1 #a chain then to the end of the leaf1 #a plain on each stitch4 #crd leaf on the left--#ad chain1 miss #a1 #b plain1 #b chain1 #a treble1 #b chain1 #a treble1 #b chain1 #a treble1 #b chain1 #a treble2 #d rows of plain all round1 #c plain on the stitch at the point1 and #c plain on the added stitch4 ,after the #dth row3 #ad plain turn the work #aj plain turn the work #c single1 #g plain coming back3 #g plain coming back again3 #g plain2 after the last plain1 #a single on each plain up to the top fasten off4 ,on the second side of the leaf3 #i plain turn the work #e plain turn the work #e plain1 #a single on each of the remaining stitches turn the work surround the whole leaf with plain stitches2 #c plain on each stitch at the point2 join the #h last stitches to the #h last of the #bnd leaf4 ,branch on the right and #ast leaf--#bh chain1 miss #a1 #d plain1 #a chain1 #a treble on the #crd chain1 #a chain1 #a treble on the #crd chain1 #a chain1 #a treble #a treble long on the #crd chain1 #a chain1 #a treble #a treble long on the #crd chain1 #a chain1 #a treble on the #crd chain1 #a chain1 #a half treble on the #crd chain1 #a chain1 miss #b stitches1 #e plain on the second side of the chain3 99 #a plain on each stitch1 #c plain on the #bnd of the missed stitches4 ,repeat #c times from 994 ,after the #dth row of plain3 #f chain turn the work #a row of plain on both sides and plain stitches on the #f chain2 fasten off the thread4 ,counting back the last stitches1 fasten on the thread at the #ahth stitch1 make one more row of plain1 fasten off4 #bnd leaf of the branch--#bb chain1 miss #a1 #c plain1 #a chain1 #a half treble on the #crd chain1 #a chain1 #a treble on the #crd chain1 #a chain1 #a treble on the #crd chain1 #a chain1 #a half treble on the #crd chain1 #a chain1 #a plain on the #crd chain1 #a plain on each of the remaining stitches2 #d rows of plain1 to and fro1 in each of the stitches of the last row4 ,the rows touch1 and therefore encircle the leaf4 #crd leaf--#af chain1 miss #a1 #b plain1 #a chain1 #a treble on the #crd chain1 #a chain1 #a treble on the #crd chain1 #a chain1 #a treble on the #crd chain1 #a plain on each of the remaining stitches1 #d rows of plain1 to and fro round the leaf2 #c plain on the stitch at the top of the leaf and #c on the one at the bottom4 ,when these #c leaves are finished1 join them together on the wrong side so that the end of the #bnd leaf is parallel with the last treble of the #ast leaf1 and the end of the #crd leaf parallel with the #ast of the last plain stitches of the #bnd leaf4 ,having sewn these #c leaves together1 carry on the plain stitches with the thread of the #crd little leaf over the two others4 ,fasten off the thread1 join it on again at the #ajth plain stitch of the #crd little leaf1 counting the stitches downwards from the top #dj chain1 #a single on the #cdth chain on the ring3 #aj plain1 #a plain each chain and #a plain on each stitch of the leaves then1 make #c more rows of plain and #b plain on every second stitch of the #aj stitches in the ring4 ,having reached the chain stitches1 fasten on the thread1 turn the work and continue the other rows4 ,when the rows of plain stitches are finished1 draw a thread through the chain stitches and pull them gently together4 ,branch on the left and #ast leaf--#bb chain1 miss #a1 #c plain1 #b chain1 #a treble on the #bnd chain1 #b chain1 #a treble #a treble long1 #b chain1 miss #a1 #a treble1 #a treble long1 #b chain1 miss #a1 #a treble1 #b chain1 miss #a1 #a treble1 #b chain1 miss #a1 #a plain on each of the remaining stitches4 ,the remainder the same as for the right leaf4 #bnd leaf--#af chain1 miss #a1 #b plain1 #b chain1 #a treble1 #b chain1 miss #a1 #a treble1 #b chain1 miss #a1 #a treble1 #b chain1 miss #a1 #a treble1 #b chain1 miss #a1 #a plain on each of the remaining stitches4 ,the rest the same as for the right leaf4 #crd leaf--#ab chain1 miss #a1 #b plain1 #b chain1 miss #a1 #a treble1 #b chain1 miss #a1 #a treble1 #b chain1 miss #a1 #a treble1 #b chain1 miss #a1 #a plain on each of the remaining stitches4 ,the remainder1 as well as the little ring1 the same as for the right leaf4 ,make altogether #d leaves for the right side and #d for the left4 ,calyx of the small flowers4--#aa chain turn the work #a plain on the first #e chain1 #c plain on the #fth chain1 #a plain on the #e other chain turn the work 99 #b chain1 #a treble on the #ast plain1 #a chain1 #a treble1 #a chain1 #a treble1 #a chain1 9999 #c trebles on the second of the #c plain1 on the #fth chain1 repeat once from 9999 to 99 turn the work #a plain on each of the preceding stitches1 #c single on the added stitch turn the work #a single on the first #b plain2 plain stitches as far as the middle stitch2 #ac chain1 miss #a1 #a plain on each chain stitch1 #f plain1 #b single4 ,fasten off4 ,make #h calices in all4 ,small flowers of three different sizes--,make altogether1 #bd large1 #ab of medium size1 and #af small4 ,for the large flowers--#ah chain1 close the ring1 #bd plain on the #ah chain2 #a plain on every stitch of the preceding row and #a picot after every second plain stitch4 ,join the first and the last picots of #b large flowers to the calyx1 the #bnd and the #crd picots of one large flower to the #ajth and #aath picots of the other4 ,join the #ast and #aath picots of the #crd flower to the #hth picot of the first and to the #eth of the second flower4 ,for the medium-sized flowers--#ad chain1 close the ring #bj plain on the ring1 then a second row of plain with #a picot after every second plain stitch4 ,these flowers connect the centre figure with the corner one4 ,for the small flowers--#aj chain1 close the ring #af plain on the ring1 then a second row of plain stitches with a picot after every second stitch4 ,sew the medium-sized flowers and the small ones to the big ones with overcasting stitches4 ,as regards the bars of chain stitches that complete the pattern they can easily be copied from the illustration4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,tatted ,,insertion4--,,double ,,knots1 ,,single ,,picots ,,and ,,josephine ,,picots4 ,tatting4 ,on account of a similarity in their construction1 a chapter on tatting seems to form a natural sequence to the one on crochet and is in some ways a preparation for that on macram which succeeds it4 ,the ,english name of tatting is said to be derived from tatters and to denote the frail disconnected character of the fabric4 ,by the ,italians it was formerly called occhi1 whilst in the ,east it still bears the name of makouk1 from the shuttle used in making it4 ,in the eighteenth century1 when tatting was in great vogue1 much larger shuttles than our present ones were used1 because of the voluminous materials they had to carry1 silk cord being one4 ,,shuttles4--,the tatting shuttle consists of two oval blades of either bone1 ivory1 mother of pearl or tortoise-shell1 pointed at both ends1 and joined together in the middle4 ,a good shuttle contributes materially to the rapid and perfect execution of the work and attention should be paid in its selection to the following particulars3 that it be not more than #g c_/m4 long and #b or #c c_/m4 wide3 that the two ends be close enough to prevent the thread from protruding2 this is more especially important in tatting with two shuttles and lastly1 that the centre piece that joins the two oval blades together should have a hole bored in it1 large enough for the thread to pass through4 ,in filling the shuttle1 be careful not to wind on too much thread at once1 or the blades will gape open at the ends and the thread get soiled by constant contact with the worker's hands4 ,,materials4--,a strongly twisted thread such as ,fil d',alsace ,d4,m4,c1 ,fil dentelle ,d4,m4,c1 or ,cordonnet #f fils ,d4,m4,c1 is best for tatting4 ,we particularly recommend ,fil d',alsace1 as forming the best shaped knots and picots4 ,a soft material such as ,coton tricoter ,d4,m4,c1 can also be used where it suits the purpose better4 ,illustration3 ,,fig4 #dhf4 ,,first ,,position ,,of ,,the ,,hands4 ,,first ,,position ,,of ,,the ,,hands 7fig4 #dhf74--,the construction of the knots or stitches1 appears at first sight to present great difficulties but will be easily mastered by attention to the indications here given4 ,one thing1 to be constantly borne in mind is1 that when the right hand has passed the shuttle through the loop1 it must stop with a sudden jerk and hold the thread tightly extended until the left hand has drawn up the knot4 ,after filling the shuttle1 take the end of the thread between the thumb and forefinger of the left hand1 and the shuttle in the right1 pass the thread over the third and fourth fingers of the left hand1 bring it back towards the thumb and cross the two threads under the fingers1 as indicated in fig4 #dhf4 ,pass the thread that comes from the shuttle round the little finger of the right hand1 and give the shuttle the direction shown in the engraving4 ,,second ,,and ,,third ,,position ,,of ,,the ,,hands 7figs4 #dhg and #dhh74--,make the shuttle pass between the first and third fingers1 in the direction indicated by the arrow in fig4 #dhg1 and bring it out behind the loop4 ,illustration3 ,,fig4 #dhg4 ,,second ,,position ,,of ,,the ,,hands4 ,illustration3 ,,fig4 #dhh4 ,,third ,,position ,,of ,,the ,,hands4 ,here the first difficulties for beginners arise and until they have sufficiently mastered the movements of both hands not to confuse them1 we advise them to pay careful attention to the following instructions4 ,as soon as you have put the shuttle through the loop1 place the right hand on the table with the thread tightly extended1 leaving the left hand perfectly passive4 ,then1 raising the third and fourth fingers of the left hand with the loop upon them1 pull up the loop1 stretching the thread tightly in so doing by extending the fingers4 ,by this movement a knot is formed1 the first part of the double knot1 which is the most common one in tatting4 ,remember that the right hand must be kept perfectly still as long as the left is in motion and that the knot must be formed of the loop thread that is in the left hand4 ,the right hand1 or shuttle thread1 must always be free to run through the knots2 if it were itself formed into knots it would not have the free play1 needed for loosening and tightening the loop on the left hand1 as required4 ,illustration3 ,,fig4 #dhi4 ,,fourth ,,position ,,of ,,the ,,hands4 ,,fourth ,,position ,,of ,,the ,,hands 7fig4 #dhi74--,the second part of a knot is formed by the following movements3 pass the shuttle1 as indicated in fig4 #dhi1 from left to right1 between the first and third fingers through the extended loop2 the right hand seizes the shuttle in front of the empty loop and extends the thread2 the left hand pulls up this second part of the knot as it did the first4 ,illustration3 ,,fig4 #dij4 ,,single ,,or ,,half ,,knots4 ,,small ,,josephine ,,picot4 ,illustration3 ,,fig4 #dia4 ,,single ,,or ,,half ,,knots4 ,,large ,,josephine ,,picot4 ,,single ,,or ,,half ,,knots4 ,,josephine ,,picots 7figs4 #dij and #dia74--,the ,josephine picot or purl1 as it is also called in tatting1 consists of a series of single or half knots formed of the first knot only4 ,these picots may be made of #d or #e knots1 as in fig4 #dij1 or of #aj or #ab knots1 as in fig4 #dia4 ,,fifth ,,position ,,of ,,the ,,hands 7fig4 #dib74--,when the second knot forming the double knot has been made1 the two hands resume the position shown in fig4 #dhg4 ,fig4 #dib reproduces the same and shows us a few finished knots as well4 ,illustration3 ,,fig4 #dib4 ,,fifth ,,position ,,of ,,the ,,hands4 ,illustration3 ,,fig4 #dic4 ,,position ,,of ,,the ,,hands ,,for ,,making ,a ,,picot4 ,,position ,,of ,,the ,,hands ,,for ,,making ,a ,,picot 7fig4 #dic74--,picots are introduced into tatting patterns as they are into knitting and crochet4 ,they also serve to connect the different parts of a pattern together and render a great many pretty combinations feasible4 ,,open ,,and ,,close ,,picot 7figs4 #did and #die74--,these are formed of single knots1 leaving a loop on the extended thread1 as shown in fig4 #did1 and a short length of thread between the knots2 finish the second half knot and when you have pulled it up1 join it to the preceding knot4 ,in this manner the picot represented in fig4 #die is formed quite naturally4 ,illustration3 ,,fig4 #did4 ,,open ,,picot4 ,illustration3 ,,fig4 #die4 ,,close ,,picot4 ,in every kind of tatting the knot that comes after the picot is independent of the loop4 ,thus if the directions say3 #b knots1 #a picot1 #c knots1 #a picot1 #b knots1 etc41 you must count the knot that served to form the loop and not make3 #b knots1 #a picot1 #d knots1 etc4 ,to join the different rings1 ovals1 etc41 together by means of picots1 take up the thread that runs over the left hand with a crochet needle1 inserting it into the picot downwards from above1 draw the thread through and pull it up like any other knot4 ,illustration3 ,,fig4 #dif4 ,,tatting ,,with ,,two ,,shuttles4 ,,tatting ,,with ,,two ,,shuttles 7fig4 #dif74--,two shuttles are used in tatting when the little rings are not to be connected together at the bottom by a thread1 when you want to hide the passage of the thread to another group of knots and when threads of several colours are used4 ,when you work with two shuttles1 tie the two threads together4 ,pass one thread over the third finger of the left hand1 wind it twice round the fourth finger and leave the shuttle hanging down4 ,pass the second shuttle into the right hand and make the same movements with it as you do in working with one shuttle only4 ,,detached ,,scallops 7fig4 #dig74--,make #ab double knots with one shuttle1 then tighten the thread so as to draw them together into a half ring2 the next knot must touch the last knot of the scallop before it4 ,illustration3 ,,fig4 #dig4 ,,detached ,,scallops4 ,,materials3 ,fil d',alsace ,d4,m4,c in balls ,nos #cj to #gj or ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #ej4;,a ,,scallops ,,joined ,,together ,,at ,,the ,,top 7fig4 #dih74 ,with one shuttle make #d double1 #a picot1 99 #h double1 #a picot1 #d double1 close the half ring1 #d double1 draw the thread through the picot and repeat from 994 ,illustration3 ,,fig4 #dih4 ,,scallops ,,joined ,,together ,,at ,,the ,,top4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #gj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #dj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #fj;,a ,,scallops ,,with ,,picots 7fig4 #dii74--,make with one shuttle3 #d double1 #a picot1 99 #c double1 #a picot1 #b double1 #a picot1 #b double1 #a picot1 #c double1 #a picot1 #d double1 close the ring4 ,illustration3 ,,fig4 #dii4 ,,scallops ,,with ,,picots4 ,,materials3 ,fil d',alsace ,d4,m4,c in balls ,nos4 #cj to #gj1 cru or white4,a ,leave sufficient length of thread before beginning the next ring1 for the rings not to overlap each other make #d double1 draw the left hand thread through the #eth picot of the preceding ring and repeat from 994 ,,tatted ,,insertion 7fig4 #ejj74--,make with one shuttle a ring like the ones in fig4 #dii1 then leaving a length of1 from #e to #aj m_/m4 of thread1 make a second ring turn the work leave the same length of thread again1 begin a third ring which you join after the #dth double1 to the #eth picot of the #ast ring turn the work after each ring is made1 so that all the upper rings represent the right side of the work and all the lower ones the wrong4 ,illustration3 ,,fig4 #ejj4 ,,tatted ,,insertion4 ,,materials3 ,fil d',alsace ,d4,m4,c in balls ,nos4 #cj to #gj1 cru or white4 ,illustration3 ,,fig4 #eja4 ,,tatted ,,insertion4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #gj1 or ,cordonnet #f fils ,d4,m4,c ,no4 #bj4 ,illustration3 ,,fig4 #ejb4 ,,edging ,,of ,,tatting ,,and ,,crochet4 ,,materials--,for the tatting3 ,fil d',alsace ,d4,m4,c in balls ,no4 #cj4 ,for the crochet3 ,cordonnet #f fils ,d4,m4,c ,no4 #fj4 ,,tatted ,,insertion 7fig4 #eja74--,to be worked with two shuttles4 ,begin with one thread and one shuttle and make a ring1 as in figs4 #dii and #ejj2 and a second close to it2 then pass the thread over the left hand1 take the second shuttle in the right hand and make #f double on the #bnd thread1 after which you again make a ring above and one below with one shuttle only4 ,,edging ,,of ,,tatting ,,and ,,crochet 7fig4 #ejb74--,make with one shuttle3 #a double1 #a picot1 #b double1 #a picot1 #b double1 #a picot1 #b double1 #a picot twice as long as the others1 #b double1 #a picot1 #b double1 #a picot1 #b double1 #a picot1 #b double1 #a long picot1 #a double close the ring fasten off the two threads on the wrong side with two or three stitches4 ,after the first knot join the next ring to the preceding one by the long picot1 and work the remainder as has been already described4 ,when you have a sufficient number of rings1 pick up the picots by crochet trebles with #c chain stitches between them4 ,on this first row1 crochet a second1 consisting of3 #b chain1 #a picot1 #b chain1 #a single in the treble of the #ast row4 ,to finish the bottom part of the work1 make #a plain in the #ast picot1 #c chain2 #a plain in the #bnd picot1 #c chain1 #a plain in the #crd picot1 #a chain1 #a plain in the #ast picot of the next ring4 ,one row of single crochet serves as a footing to the edging4 ,illustration3 ,,fig4 #ejc4 ,,tatted ,,edging ,,in ,,three ,,rows4 ,,materials3 ,fil d',alsace ,d4,m4,c in balls ,nos4 #cj to #gj1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #bj to #fj4 ,,tatted ,,edging ,,in ,,three ,,rows 7fig4 #ejc74--,worked with two shuttles4 ,the first row is worked like fig4 #die1 with one shuttle4 ,the second and third are worked with two4 ,fasten the thread of the right hand shuttle into the first picot2 then work on this thread the same number of double knots and picots as in the #ast row and join each half ring to the picot of the row before4 ,in the #crd row1 insert #c picots between the #h double knots of the row above4 ,here the ,josephine picot may be substituted for the plain picot4 ,illustration3 ,,fig4 #ejd4 ,,tatted ,,edging4 ,,materials3 ,fil d',alsace ,d4,m4,c in balls ,nos4 #cj to #gj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4 ,,colours3 cru and ,bleu-,indigo #ccd1 or ,jaune d',ocre #ffg and ,rouge-,cornouille #dej1 ,gris-,tilleul #cca and ,brun-,caroubier #cef4 ,,tatted ,,edging 7fig4 #ejd74--,worked with two shuttles and two colours4 ,after making a string of rings like those in fig4 #ejb1 with ,fil d',alsace ,d4,m4,c ,no4 #cj cru1 fasten the blue and unbleached threads of the respective shuttles to the middle picot4 ,holding the light thread in the right hand1 and the dark one laid over the left hand1 work3 #c double1 #a picot1 #c double then put the right hand thread separately through the #b picots of the rings and continue to make3 #c double1 #a picot1 #c double4 ,the next row also is made with two shuttles4 ,hold the light thread in the right hand2 with the dark thread1 laid across the left hand1 make3 99 #d double1 #a picot1 #b double1 #a picot1 #b double turn the work with the right hand shuttle make3 #f double1 put the thread through the little picot formed above the middle picot of the rings1 #f double1 close the ring turn the work make with two shuttles3 #b double1 #a picot1 #b double1 #a picot1 #d double1 put the light thread through the #b blue picots and repeat from 994 ,the first row of crochet for the footing consists of chain and plain stitches only1 the second1 of chain stitches and trebles4 ,,medallion 7fig4 #eje74--,take two colours of thread and fill two shuttles with the light colour and two with the dark4 ,make with one shuttle3 #bd double and #ab picots1 #f of them short and #f long2 close the ring1 break off the thread and fasten off the ends by a stitch or two on the wrong side4--,for the next #d rows take two shuttles4 ,illustration3 ,,fig4 #eje4 ,,medallion4 ,,materials3 ,fil d',alsace ,d4,m4,c in balls ,nos4 #cj to #ej4;,a ,,colours3 ,white and ,rouge-,granium #ceb1 or cru and ,vert-,mousse #dga1 ,bleu ple #ffh and ,jaune d',or #fgf4 #ast row--with the shuttles containing the light colour fasten the ends on to a short picot and make3 99 #c double1 #a short picot1 #b double1 #a long picot1 #b double1 #a long picot1 #b double1 #a long picot1 #b double1 #a short picot1 #c double2 pass the right hand thread through one of the short picots of the first ring1 repeat the series #e times from 994 ,when you reach the #fth half ring1 instead of making the second picot1 put the left hand thread through the short picot of the first half ring1 then complete the last double knots1 cut the threads off1 pass them through the picot of the ring and fasten them off on the wrong side4 #bnd row--with the shuttles filled with the light colour fasten the ends on to a long picot1 then make3 99 #d double1 #a picot1 #d double1 pass the right hand thread through the picot of the first row and repeat the series #ag times from 994 #crd row--with the shuttles filled with the dark colour fasten the ends on to one of the picots of the last row and make3 99 #d double1 pass the right hand thread through the picot of the #bnd row1 make a long picot1 #d double and repeat this series all round the medallion1 until you have #ah scallops4 #dth row--with the shuttles filled with the dark colour 99 #b double1 #a picot1 #b double1 #a picot1 #b double1 #a picot1 #b double1 pass the right hand thread1 from the wrong side1 through the picot of the #bnd row and begin again from 994 ,illustration3 ,,fig4 #ejf4 ,,insertion ,,of ,,tatting ,,and ,,crochet4 ,,materials3 ,fil d',alsace ,d4,m4,c in balls ,nos4 #cj to #gj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4 ,,colours3 ,bleu de ,france #cdd and ,jaune-,rouille #cfe4 ,,insertion ,,of ,,tatting ,,and ,,crochet 7fig4 #ejf74--;,fill two shuttles1 one with a light colour1 say1 ,bleu de ,france #cdd1 the other with a darker1 such as ,jaune-,rouille #cfe1 and two numbers coarser than the thread you intend to use for the crochet4 ,begin with the dark colour and make3 99 #d double1 #a picot1 #h double1 #a picot1 #d double1 close the ring4 ,with both shuttles1 the light colour in the left hand3 #d double1 #a picot1 #b double1 #a picot1 #b double1 #a picot1 #d double1 put the right hand thread through the picot of the first circle2 then add3 #d double1 #a picot1 #b double1 #a picot1 #b double1 #a picot1 #d double4 ,with the shuttle1 filled with the dark colour3 #e double1 pass the thread through the picot of the first ring1 make #h double1 #a picot1 #e double1 close the ring4 ,then1 leaving a short length of thread between1 make3 #d double1 put the thread through the picot of the preceding ring1 #h double1 #a picot1 #d double1 close the ring 99992 then repeat from 99 to 99994 ,when you have thus made two equal lengths1 join them together with crochet1 using a thread two numbers finer than the tatting thread2 if the latter for instance was ,fil d',alsace ,no4 #cj1 you would take ,no4 #ej of the same material for the crochet--#a plain in the #ast picot1 #e chain1 #a plain in the middle picot1 #e chain1 #a plain in the #crd and #ast picot then1 over #e chain3 #a sextuple cluster stitch 7fig4 #dbf71 #e chain4 ,in the row on the opposite side of the tatting1 take out the crochet needle at the #crd chain stitch and put it in from beneath into the corresponding stitch of the opposite row2 in this manner join the two insertions together so as to complete the pattern4 ,illustration3 ,,fig4 #ejg4 ,,insertion ,,of ,,tatting ,,and ,,crochet4 ,,materials--,for the tatting3 ,fil d',alsace ,d4,m4,c in balls ,nos4 #cj to #gj1 or ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #ej1 cru or white4,a ,for the crochet3 ,the same materials1 but two numbers finer4 ,illustration3 ,,fig4 #ejh4 ,,working ,,detail ,,of ,,fig4 #ejg4 ,,insertion ,,of ,,tatting ,,and ,,crochet 7figs4 #ejg and #ejh74--,worked with one shuttle4 ,the tatting thread should be two numbers coarser than the crochet thread4 ,begin with #b strings of half rings consisting of3 #d short picots and #c long4 ,leave a length of thread between1 equal to the diameter of the ring4 ,when the two strings of half rings are finished1 crochet with the fine thread3 #f plain over each length of thread between1 and at the base of the scallops4 #bnd row--#e chain1 #a plain in the #dth plain of the #ast row4 ,in the row that connects the two rows of tatting1 put the #crd chain stitch into the corresponding stitch of the opposite row4 ,for the outside edge make3 #a plain in the #ast short picot1 #h chain 991 #a treble in the #bnd short picot1 #g chain1 #a treble in the #crd short picot1 #h chain1 #a plain in the #dth short picot1 #a plain in the short picot opposite1 #c chain1 pass the thread through the #dth of the #h chain stitches1 #d chain and repeat from 994 ,for the last row make3 #c plain in each of the #c last of #h chain1 99 #a picot of #e chain above the treble1 #d plain in the #d next chain1 #a picot1 #a single in the same stitch as the plain before the picot1 #c plain1 #a picot1 #c plain1 miss the #ast and the last stitch1 then make #c plain on the next scallop and repeat from 994 ,illustration3 ,,fig4 #eji4 ,,edging ,,of ,,tatting ,,and ,,crochet4 ,,materials--,for the tatting3 ,fil d',alsace ,d4,m4,c in balls ,no4 #cj in two shades of one colour4 ,for the crochet3 ,fil d',alsace ,d4,m4,c in balls ,no4 #ej in one colour only4 ,,edging ,,of ,,tatting ,,and ,,crochet 7fig4 #eji74--,worked with two shuttles and in two shades4 ,with the light shade3 #b double1 #a short picot1 #b double1 #a long picot1 99 #b double1 #a picot of the ordinary size1 #b double1 #a picot1 #b double1 #a picot1 #b double1 #a long picot1 #b double1 #a short picot1 #b double1 close the ring with #b shuttles3 #c double1 pass the thread through the #ast picot1 make #c double1 #a long picot1 #b double with the light shade3 #d double1 pass the thread through the #ith picot of the #ast ring1 make #c double1 #a picot1 #d double1 close the ring with #b shuttles3 #b double1 #a picot1 #c double1 #a short picot1 #c double with one shuttle3 #b double1 pass the thread through the empty picot of the small ring1 make #b double1 pass the thread through the long picot of the big ring1 then repeat from 994 ,to complete the edge1 crochet first one row1 consisting of3 99 #a plain in the #ast of the #e picots of the big ring1 #d chain1 #a plain in the #bnd picot1 #d chain1 #a plain in the #crd picot1 #d chain1 #a plain in the #dth picot1 #d chain1 #a plain in the #eth picot and repeat from 994 #bnd row--#b plain on the #crd and #dth of the first chain stitches over the #bnd and #crd chain3 #a plain1 #a half treble1 #b trebles1 #a half treble1 #a plain2 on the #d last chain3 #b plain4 ,for the footing make3 #a plain in the long picot1 #e chain1 #a plain in the next picot1 #e chain1 #a double treble in the short picot1 leave the #b last loops of the treble on the needle #c trebles in the first lower loop of the double treble1 keep the last loops of these #c trebles on the needle1 after the #dth treble1 draw the needle through the #d trebles4 ,the last row consists of3 #c chain1 #a treble over #e chain4 ,,tatted ,,medallion 7fig4 #eaj74--,worked with two shuttles and two colours4 #ast row--with one shuttle3 #ab double and #f picots1 close the ring4 #bnd row--with two shuttles and the dark coloured thread laid across the left hand knot the threads into one of the picots of the #ast ring3 #a double1 #a long picot1 #b double1 pass the right hand thread through one of the picots of the ring1 #a picot1 #b double and so on4 ,after the #abth picot fasten off the threads on the wrong side by two or three stitches4 ,illustration3 ,,fig4 #eaj4 ,,tatted ,,medallion4 ,,materials3 ,fil d',alsace ,d4,m4,c ,nos4 #cj to #ej4;,a ,,colours3 ,gris-,tilleul #ccj and ,rouge-,cardinal #cjd4;,a #crd row--with one shuttle3 99 #c double1 pass the thread through one of the picots of the #bnd row1 make #c double1 close the ring leave #e m_/m4 of thread turn the work #d double1 #a picot1 #d double1 close the ring leave #e m_/m4 of thread again and repeat #aa times from 994 #dth row--with two shuttles2 fasten the ends to one of the picots of one of the #ab rings of the #crd row3 99 #c double1 #a picot1 #c double with one shuttle3 #c double1 pass the thread through the picot1 #c double1 #a picot1 #b double1 #a picot1 #c double1 close the ring close to this3 #c double1 pass the thread through the #bnd picot of the #ast ring1 #c double1 #a picot1 #c double1 close the ring again1 close to the last ring3 #c double1 pass the thread through the picot of the #bnd ring1 #b double1 #a picot1 #c double1 close the ring with #b shuttles3 #c double1 pass the thread through the #bnd picot of the #crd ring1 #c double1 fasten the thread to the picot of the ring of the #crd row and repeat #aa times from 994 #eth row--with two shuttles and the dark colour across the left hand3 #f double and #b picots over the lower rings and #aj double and #d picots over the upper rings4 ,illustration3 ,,fig4 #eaa4 ,,tatted ,,edging4 ,,materials3 ,fil d',alsace ,d4,m4,c in balls ,nos4 #cj to #gj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #dj to #ej1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #dj4 ,,colours3 ,gris-,tilleul #ccj and ,rouge-,grenat #cbf4 ,,tatted ,,edging 7fig4 #eaa74--,with two shuttles and with the two colours indicated1 or in any other combination of colours4 ,begin with two shuttles1 the red thread across the left hand #aj double1 #a picot1 #f double with one shuttle3 #f double1 #a picot1 #f double1 close the ring turn the work make a second ring like the first and close to it turn the work with two shuttles3 #f double1 #a picot1 #f double with one shuttle3 #f double1 pass the thread through the picot of the ring opposite1 #f double1 close the ring #f double1 #a picot1 #f double1 close the ring turn the work to make the next half ring4 ,make #c rows of half rings connected by rings4 ,in the #bnd row1 you pass the thread from the ring through the picot to which the #bnd ring was fastened in the #ast row4 ,for the outside scallops1 make with one shuttle3 99 #e double1 pass the thread through the picot that connects #b rings1 #e double1 close the ring with two shuttles3 #d double with one shuttle3 #b double1 #a picot1 #b double1 #a picot1 #b double1 pass the thread through the picot of the half ring of the #crd row1 #b double2 then #h picots more with #b double between each1 close the ring with two shuttles3 #d double1 #a long picot1 #b double1 #a short picot1 #b double1 #a short picot1 #c double with one shuttle3 #e double1 pass the thread through the #crd picot of the big ring1 #e double1 close the ring with two shuttles3 #b double1 #f picots with #b double after each picot with one shuttle3 #e double1 pass the thread through the #crd picot of the big ring1 #e double1 close the ring with two shuttles3 #c double1 #a picot1 #b double1 #a picot1 #b double1 #a picot1 #d double1 pass the right hand thread through the #fth picot of the big ring with two shuttles3 #d double1 then repeat from 994 ,the footing is worked in crochet and consists of one row of chain stitches and one of trebles4 ,,square ,,of ,,tatting 7fig4 #eab74--,worked with two shuttles and two colours4 ,with the light colour3 #b double1 #a picot1 #d double1 #a picot1 #d double1 #a picot1 #d double1 #a picot1 #b double1 close the ring4 #ast row--with two shuttles1 the dark coloured thread across the left hand fasten the thread to a picot and make3 99 #b double1 #a picot1 #b double1 #a picot1 #b double1 #a picot1 #b double1 pass the right hand thread through the picot of the ring2 #a picot over the connecting thread1 then repeat #c times from 994 ,the last picot over the picot of the small ring is made at the end4 #bnd row--with two shuttles1 the light thread over the left hand fasten the thread to the picot over the light picot3 99 #b double1 pass the right hand thread through the picot of the #ast row1 #a long picot over the lower picot1 #c double1 pass the thread through the next picot of the #ast row in the corner1 #a rather longer picot than the one before1 #c double1 pass the right hand thread through a picot1 #a long picot1 #b double1 pass the thread through a picot2 repeat #c times from 994 ,to form the last picot1 fasten off the thread on the wrong side by two or three stitches4 ,illustration3 ,,fig4 #eab4 ,,square ,,of ,,tatting4 ,,materials3 ,fil d',alsace ,d4,m4,c in balls ,nos4 #cj to #ajj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #fj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #gj4;,a ,,colours3 ,jaune-,rouille #cff and ,brun-,caroubier #cei4;,a #crd row--with one shuttle and the dark colour3 99 #d double1 pass the thread through the picot above the picot of the small ring1 #d double1 close the ring leave #aj m_/m4 of thread1 make a second ring like the #ast leave #aj m_/m4 of thread1 make #f double1 pass the thread through the long picot1 #f double1 close the ring leave #aj m_/m4 of thread1 make another ring of #ab knots1 fasten it to the same picot1 the preceding knot is fastened to2 then make a ring of #h double knots and repeat #c times from 994 #dth row--with one shuttle and the light colour and worked like the #crd row1 leaving a rather longer length of thread between2 then make3 #af instead of #ab double for the corner rings4 #eth row--with one shuttle and the light colour #h double1 fasten the thread to one of the corner loops and between #b rings of the #dth ring3 #h double1 close the ring turn the work leave a length of thread1 #c double1 #a picot1 then #d times #b double knots and #a picot1 #c double1 close the ring4 ,make the second ring as close as possible to the first1 beginning and finishing the second with #e double knots make a #crd ring like the #ast1 join it to the #bnd ring by the #dth picot turn the work make another ring of #af knots and join it to the same loop of the #dth row1 to which the two other rings are already joined turn the work #a ring above1 with #d picots1 like the first one we described1 then a ring of #ab double knots below4 ,at the top1 #f detached half rings1 placed between #c connected rings1 which form the corners4 ,the top rings are to be joined after the #crd double knot1 to the #dth picot of the preceding ring4 #fth row--with two shuttles and the dark colour only fasten the threads to a picot that serves as a connecting link1 take the dark thread over the left hand and make3 #c double1 #a picot1 #b double1 #a picot1 #b double1 #a picot1 #c double fasten the thread to the connecting picot and carry the half rings all round the square4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,macram ,,stripe--,,arabic ,,subject4 ,macram4 ,macram is an ,arabic word1 signifying an ornamental fringe or trimming1 which has been adopted as the term for a certain kind of hand-work1 known also as knotted fringe or ,mexican lace and produced by the knotting1 interweaving and tying together of threads4 ,we have given the preference to the ,arabic name because of its less definite meaning1 seeing that not only fringe and lace1 but trimmings of all kinds1 in the shape of bands and stripes and headings1 can be worked in macram4 ,until its revival about ten years ago1 when it was regarded by many as a new invention1 the art of macram making had for centuries become almost extinct and save here and there in the convents1 was quite unknown4 ,the multitude of uses to which it can be turned as a trimming1 the infinite variety it admits of and its great durability and strength1 make macram well worth a study2 the difficulties that repel many at first sight are only on the surface and any one who carefully follows the instructions given in the following pages1 will soon overcome them and be able without pains to copy the charming designs that accompany them1 which remind us of the wooden lattices in the windows of ,eastern houses1 doubtless familiar to many of our readers1 under the name of moucharabieh4 ,,materials4--,these may be of almost any kind2 silk1 gold thread1 cord1 wool or cotton1 can all be employed with good effect4 ,almost any of the ,d4,m4,c cottons can be used for macram2 but the ones especially to be recommended are3 ,fil dentelle ,d4,m4,c,a1 ,cordonnet #f fils ,d4,m4,c,a and ,coton broder ,d4,m4,c,a for the finer kinds of work1 and for the coarser1 ,fil pointer ,d4,m4,c,a1 ,coton tricoter ,d4,m4,c,a and ,ganse turque ,d4,m4,c,a4 ,the twist in all these is so regular as to admit of a high degree of perfection being attained with them3 they are moreover very agreeable to the touch1 a great recommendation considering how much they have to be handled by the worker4 ,illustration3 ,,fig4 #eac4 ,,macram ,,cushion4 ,,macram ,,cushion ,,and ,,other ,,accessories 7figs4 #eac and #ead74--,the only really important requisite for macram work is the cushion1 which should be well stuffed1 and weighted with lead 7fig4 #eac74 ,it is convenient to have it made to screw on to a table like the ,swiss tambour frames4 ,there are other kinds of macram cushions but none1 in our opinion1 as practical as these because any pattern can be worked upon them and patterns that have a heading or a border of picots can not be worked on any others4 ,the pegs at the ends of the cushion are for fixing and winding the long threads upon1 which carry the knots1 and which we shall in future call cords4 ,for making long lengths of macram fringe1 metal clamps1 with round-headed pegs attached to them top and bottom1 to fasten the cords to1 as represented in fig4 #ead1 will be found far better than a cushion1 as any number of threads can be knotted on to them at a time by pushing them more or less closely together on the cord4 ,illustration3 ,,fig4 #ead4 ,,clamps ,,for ,,macram ,,fringe4 ,besides the cushion and clamps1 you will require1 some big glass-headed pins1 made expressly for the purpose1 a crochet needle for pulling the threads through the stuff when they have to be knotted on to an edge1 and a ,french mtre or yard measure to measure the threads with2 to these implements may further be added1 scissors and a metal comb and ruler for cutting and straightening the ends of the threads4 ,the length of the threads must depend on their substance and size2 that is to say1 that a knot will take up more of a coarse stiff thread than of a fine pliable one1 on which account1 to avoid the necessity of preliminary trials1 the right length of thread1 for the quality and size of material1 is given with each pattern4 ,if1 for any reason1 our workers should not follow the directions given1 they must bear in mind that the thicker and stiffer the material1 the more they will have to allow for the knots and vice versa4 ,,formation ,,of ,,the ,,knots4--,beginners must be careful1 in macram as in tatting1 not to move or slacken the cord1 or horizontal thread that carries the knots4 ,the knots made by the knotting-thread1 as it will be called in future1 consist of loops formed over the cord and then tightened4 ,the knotting-thread and the cord are constantly changing places1 as you work1 loops having to be made now with the one and now with the other4 ,illustration3 ,,fig4 #eae4 ,,knotting ,,on ,,the ,,threads4 ,,knotting ,,on ,,the ,,threads 7fig4 #eae74--;,excepting when you work with the threads of a material obtained by unravelling and drawing out the cross threads1 you must knot on lengths of thread on to a cord2 cut them double the length the fringe is to be and fold them in half1 so as to form a loop by means of which you attach them to the cord1 in the following manner4 ,put the loop over the cord from the front and bring it back underneath1 put the ends down through the loop1 detail a1 and tighten it1 detail b1 as shown in the engraving4 ,illustration3 ,,fig4 #eaf4 ,,knotting ,,on ,,the ,,threads ,,on ,,to ,a ,,stuff ,,edge ,,and ,,formation ,,of ,a ,,flat ,,double ,,knot4 ,,knotting ,,on ,,the ,,threads ,,on ,,to ,a ,,stuff ,,edge ,,and ,,formation ,,of ,a ,,flat ,,double ,,knot 7fig4 #eaf74--,push your crochet needle through the edge of the stuff from the right to the wrong side and catch hold of the loop1 formed by the folding in half of the thread that is to be knotted on2 pull it out to the right side1 put the ends through1 and tighten the loop1 detail a4 ,detail b shows two double threads1 knotted on near to each other in this way1 and the first tying together of the two outer threads for the flat knot which is formed as follows3 you take the two outer of the four threads hanging down and cross the right hand one under1 and the left hand one over the two centre threads4 ,whilst doing this1 hold the inner ones tightly stretched out on the #crd and #dth fingers of the left hand1 detail b4 ,the manner in which the two threads are brought back and tied together again is shown in detail c2 the drawing up of the threads completes the so-called flat double knot1 detail d4 ,detail e1 of the same figure1 shows two flat double knots1 side by side1 and the first step towards the formation of a third1 connecting together the two right threads of the one with the two left threads of the other4 ,illustration3 ,,fig4 #eag4 ,,knotting ,,on ,,threads ,,onto ,a ,,knotted ,,heading4 ,,knotting ,,on ,,threads ,,on ,,to ,a ,,knotted ,,heading 7fig4 #eag74--,make flat double knots as in fig4 #eaf1 detail d1 on a double cord and then knot on your threads on to the loops of the double knots1 putting the loop through from the right side1 so that it may lie at the back4 ,use double threads so that the work beneath the heading may not be too open4 ,illustration3 ,,fig4 #eah4 ,,knotting ,,on ,,threads ,,on ,,to ,a ,,picot ,,heading4 ,,knotting ,,on ,,threads ,,on ,,to ,a ,,picot ,,heading 7fig4 #eah74--;,first1 crochet a row of chain stitches1 then make flat double knots on the chain1 far enough apart for the thread between to form picots on the chain1 then a second chain of crochet drawn through the picots on one side1 on to which tie triple or quadruple lengths of thread1 as shown in the engraving4 ,,knotting ,,on ,,threads ,,with ,,round ,,picots 7fig4 #eai74--;,fasten the lengths of thread to the cushion with pins1 about half a c_/m4 apart1 fix the cord to one of the pegs at the left end of the cushion1 hold it tightly extended in a horizontal line with the right hand4 ,with the left hand knot the threads that are pinned down on to the cord1 looping each end twice round it1 upwards from below and then drawing it through between the two loops or knots thus formed1 pulling each knot to the left as you tighten it round the cord4 ,make the second row of knots in the same way1 taking care to lay the second cord as close to the first as possible that the vertical threads may not be visible between4 ,one series of knots forms a bar2 there are both horizontal and slanting bars as will be seen later on4 ,illustration3 ,,fig4 #eai4 ,,knotting ,,on ,,threads ,,with ,,round ,,picots4 ,illustration3 ,,fig4 #ebj4 ,,knotting ,,on ,,with ,a ,,fringe ,,heading4 ,,knotting ,,on ,,threads ,,with ,a ,,fringe ,,heading 7fig4 #ebj74--,knot the threads on with a picot heading1 as explained in the preceding figure1 then cut the picots through and unravel and comb out the threads4 ,for this way of knotting on threads1 a very strongly twisted material is better than a loose one1 as when it is cut and untwisted1 it makes a much richer and fuller fringe4 ,,knotting ,,on ,,with ,,picots ,,and ,,flat ,,double ,,knots 7fig4 #eba74--,take two threads1 pin them on close together1 make a flat double knot1 fig4 #eaf1 tying the outer threads over the inner ones1 and loop the ends over a cord to make a horizontal bar of knots4 ,,knotting ,,on ,,threads ,,with ,,picots ,,and ,,two ,,flat ,,double ,,knots 7figs4 #ebb and #ebc74--,pin the two threads on as before and make two flat double knots1 one below the other2 detail a shows the first knot begun1 detail b the two knots completed4 ,fig4 #ebc shows the picots secured by a horizontal bar of knots beneath them4 ,illustration3 ,,fig4 #eba4 ,,knotting ,,on ,,threads ,,with ,,picots ,,and ,,two ,,flat ,,double ,,knots4 ,illustration3 ,,fig4 #ebb4 ,,fig4 #ebc4 ,,knotting ,,on ,,threads ,,with ,,picot ,,and ,,two ,,flat ,,double ,,knots4 ,illustration3 ,,fig4 #ebd4 ,,knotting ,,on ,,threads ,,with ,,scallops4 ,,knotting ,,on ,,threads ,,with ,,scallops 7fig4 #ebd74--,the threads for the scallops must be cut much longer than those that are to be knotted on below them4 ,the button-hole loops must be so made that they turn upwards2 and there must be #ab of them1 all made with the left hand thread over the right hand thread1 detail a4 ,then1 knot on two double threads underneath the scallop and besides1 make knots with the threads that come from the scallops1 detail b4 ,illustration3 ,,fig4 #ebe4 ,,knotting ,,on ,,threads ,,with ,,loops4 ,,knotting ,,on ,,threads ,,with ,,loops 7fig4 #ebe74--,pin on two threads folded in half1 a little distance apart1 detail a1 and bind them together with a flat double knot4 ,pin on more lengths close to them1 the inner threads of which are held by a 8collecting knot01 as the flat double knot is called when it is made over more than two threads 7see also fig4 #ecj74 ,the ends of the threads can then be looped over one or two cords1 so as to form a single or double bar of knots1 as required4 ,illustration3 ,,fig4 #ebf4 ,,knotting ,,on ,,threads ,,with ,,triple ,,scallops4 ,,knotting ,,on ,,threads ,,with ,,triple ,,scallops 7fig4 #ebf74--,knot on three single threads in succession2 first1 the middle one1 then the second1 with the knot right and left and the loop long enough to form the scallop1 then the third in the same manner4 ,,knotting ,,on ,,threads ,,for ,,ribbed ,,picots 7fig4 #ebg74--,take a double thread and make two slanting bars of knots1 see details a and b1 then secure them1 like the preceding scallops by a horizontal bar of knots1 see detail c4 ,,knotting ,,on ,,threads ,,for ,a ,,gimp ,,heading 7fig4 #ebh74--,this mode of knotting on forms a broad gimp1 consisting of vertical bars of knots1 made over a single cord4 ,on the one side1 that which is afterwards turned downwards1 the cord1 the ribs are made on1 forms loops1 held with pins1 into which meshes of threads can be knotted when the gimp is finished1 for making either a fringe or a grounding4 ,patterns in several colours may likewise be knotted into gimp headings of this kind4 ,illustration3 ,,fig4 #ebg4 ,,knotting ,,on ,,threads ,,with ,,ribbed ,,picots4 ,illustration3 ,,fig4 #ebh4 ,,knotting ,,on ,,threads ,,for ,a ,,gimp ,,heading4 ,,flat ,,double ,,knots ,,with ,,half ,,knots 7fig4 #ebi74--,these are double knots followed by a third knot1 or more correctly speaking1 a half one of the first flat knots4 ,,collecting ,,knots 7fig4 #ecj74--;,as explained in fig4 #ebe1 these are flat double knots1 made over more than two threads4 ,the engraving shows1 in the first place on the left1 a flat double knot made over two threads1 completed1 and the first crossing of the thread for the collecting knot2 secondly1 the second crossing of the threads2 thirdly how the collecting knot can1 if necessary1 be continued over #d threads1 and fourthly1 how the collecting knot should be made to finish with a flat double knot4 ,,plaited ,,and ,,waved ,,knots 7fig4 #eca74--,plaited knots are formed by a continuous repetition of the first crossing of the threads for making a flat knot1 detail a2 waved knots by a slight twist given to the plaited knots from left to right1 detail b4 ,these plaits of waved knots are secured by joining together the threads of opposite meshes1 two and two1 by a flat double knot4 ,illustration3 ,,fig4 #ebi4 ,,flat ,,double ,,knots ,,with ,,half ,,knots4 ,illustration3 ,,fig4 #ecj4 ,,collecting ,,knots4 ,,single ,,crossed ,,knots ,,and ,,double ,,crossed ,,knots 7figs4 #ecb and #ecc74--,two plain crossings of the threads1 detail a1 to begin with2 after which you rapidly reverse the threads1 turning the knot to the wrong side1 drawing it up tightly at the same time2 this forms the first knot1 detail b4 ,the second knot1 fig4 #ecc1 is formed by #c crossings1 detail a2 reverse the threads rapidly1 to form the double crossed knot1 detail b4 ,for the following knots tie the threads together1 as for the flat double knot1 detail c4 ,,looped ,,picot ,,and ,,knotted ,,picots 7figs4 #ecd and #ece74--,looped picots are made along a row of knots by setting the knots1 far enough apart for the loop between1 to form a picot when the knots are drawn up close together4 ,in fig4 #ecd1 the detail a represents the picot1 in its first open stage1 detail b the same picot when it is finished4 ,knotted picots1 fig4 #ece1 are formed after one or more flat double knots1 by a knot made in the outer thread2 to get this knot into the right place1 make it on a big pin and draw it up close to the flat knot before you take out the pin4 ,illustration3 ,,fig4 #eca4 ,,plaited ,,and ,,waved ,,knots4 ,illustration3 ,,fig4 #ecb4 ,,single ,,crossed ,,knot4 ,illustration3 ,,fig4 #ecc4 ,,double ,,crossed ,,knot4 ,these picots are always made on both sides and can be repeated several times along a row of knots4 ,detail a shows the crossing of the threads for the picots1 detail b the picots completed and followed by a flat knot4 ,illustration3 ,,fig4 #ecd4 ,,looped ,,picot4 ,illustration3 ,,fig4 #ece4 ,,knotted ,,picot4 ,illustration3 ,,fig4 #ecf4 ,,bead ,,knots4 ,,bead ,,knots 7fig4 #ecf74--;,a bead knot is made by turning back the threads after a row of flat double knots4 ,detail a shows three flat double knots finished1 detail b the inner threads turned back over the flat double knots1 detail c the two knotting threads1 brought between the two threads coming from the left to the right1 and detail d the bead knot finished and followed by a flat double knot4 ,,bars ,,of ,,knots ,,to ,,the ,,right ,,and ,,left 7figs4 #ecg1 #ech1 #eci1 #edj1 #eda1 #edb1 #edc1 #edd74--;,after knotting on the requisite number of threads on to a double cord1 make two button-hole loops with the right thread round the left one1 fig4 #ecg1 then knot each thread twice over the second cord1 fig4 #ech4 ,these knots must be as close together as possible4 ,this done1 begin to make the slanting bars1 inclining from left to right1 with #d threads4 ,the first thread on the left1 marked #a in fig4 #edj1 serves as cord to the threads #b1 #c1 #d1 which are looped in succession over thread #a4 ,fig4 #eda represents threads #b1 #c and #d1 knotted thread #a and in the second bar1 thread #b becoming in its turn the cord1 and having threads #c1 #d and #a knotted over it1 whilst it is being held1 tightly stretched in the right hand4 ,the knotting should be done with the left hand4 ,in fig4 #edb1 which represents a bar inclining from right to left1 threads #c1 #b and #a are knotted over thread #d2 and in fig4 #edc1 in the second row1 threads #b1 #a1 #d over thread #c4 ,here1 it has to be the left hand that holds the thread extended from right to left1 whilst the right hand does the knotting4 ,illustration3 ,,fig4 #ecg4 ,,button-,,hole ,,loop ,,to ,,the ,,right4 ,illustration3 ,,fig4 #ech4 ,,fastening ,,the ,,threads ,,to ,,the ,,cord4 ,illustration3 ,,fig4 #eci4 ,,bar ,,slanting ,,to ,,the ,,right4 ,,the ,,knot ,,open4 ,illustration3 ,,fig4 #edj4 ,,bar ,,slanting ,,to ,,the ,,right4 ,,thread #b ,,knotted ,,over ,,thread #a4 ,illustration3 ,,fig4 #eda4 ,,bar ,,slanting ,,to ,,the ,,right4 ,,threads #c1 #d1 #a ,,to ,,be ,,knotted ,,over ,,thread #b4 ,fig4 #edd explains how the double bars are bound together by an ordinary double knot4 ,illustration3 ,,fig4 #edb4 ,,bar ,,slanting ,,to ,,the ,,left4 ,illustration3 ,,fig4 #edc4 ,,bar ,,slanting ,,to ,,the ,,left4 ,illustration3 ,,fig4 #edd4 ,,bars ,,joined ,,together4 ,,single ,,chain 7fig4 #ede74--,this is made with two single threads1 by knotting them alternately over each other1 that is1 each in turns serving as cord to the other4 ,,double ,,chain 7fig4 #edf74--,the double chain is made in the same manner as the single1 only with a double thread4 ,both the double and single chain are generally used in macram gimps and borders as a means of conducting threads of different colours1 from one part of a pattern to another1 which could be done in no other way2 also1 as a continuation to the ,chinese knot1 fig4 #fjg1 as described at the end of this chapter4 ,illustration3 ,,fig4 #ede4 ,,single ,,chain4 ,illustration3 ,,fig4 #edf4 ,,double ,,chain4 ,,ribbed ,,border 7fig4 #edg74--;,here1 the same cord runs to and fro2 the #d threads that hang down1 form little ribbed bars running right and left4 ,to distinguish from the knotting threads1 the thread that runs to and fro it1 is represented in a darker colour4 ,,macram ,,fringe 7figs4 #edh1 #edi1 #eej74--;,entire length of the threads for ,no4 #h of ,coton tricoter ,d4,m4,c3 #hj c_/m4 ,illustration3 ,,fig4 #edg4 ,,ribbed ,,border4 #ast row--knot on the threads1 as in fig4 #eae1 and in the following order3 #a double white thread1 #b double red1 #a double blue and so on4 #bnd row--make a horizontal bar of knots1 see figs4 #eai1 #ebj and #eba1 over a second cord4 #crd row--#c button-hole knots1 fig4 #ebd1 each with #b threads4 #dth row--like the #bnd4 #eth row--make slanting bars of double knots right and left1 counting #f threads for each bar1 consequently #ab for #b4 ,the #ast and #abth thread serving as the cords for the knots4 ,in the #bnd series of knots which forms the double slanting bar1 make another double knot over the cord with the thread that served as cord in the preceding row4 ,when the slanting bars are finished1 bring them as close together as possible1 tighten the last thread on the right and make another double knot with the left thread2 the position of all the threads is clearly described in fig4 #edi4 ,then continue the bars in the opposite direction1 so that the #bnd thread on the left is stretched over the right hand group of threads1 and the #aath thread on the right over the left hand group4 ,illustration3 ,,fig4 #edh4 ,,macram ,,fringe4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #af1 ,cordonnet #f fils ,d4,m4,c ,nos4 #e to #be1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #gj4 ,,colours3 ,bleu-,indigo #caa1 ,rouge-,turc #cba and white1 or ,bleu tendre #gaj1 ,rouge-,maroquin #ccbg and ,vert-,fauve #fia4 ,make #c rows of double bars and then take always #c threads of a left hand group and #c of a right hand one1 tie them loosely together in a plain knot1 put in1 above the knot1 a bunch of #h threads1 #ae c_/m4 long1 fig4 #eej detail a1 draw up the knot close to the bars and wind thread of a different colour several times round it1 detail b1 to form the tassel4 ,the other bunches of threads which are hung on between two bars of knots must be tied on the same level with the first1 but do not1 nevertheless1 come into close contact with the bars4 ,illustration3 ,,fig4 #edi4 ,,working ,,detail ,,of ,,fig4 #edh4 ,illustration3 ,,fig4 #eej4 ,,working ,,detail ,,of ,,fig4 #edh4 ,,insertion ,,or ,,fringe 7figs4 #eea and #eeb74--;,entire length of the threads for ,no4 #h of ,coton tricoter ,d4,m4,c3 #ej c_/m41 including the fringe4 #ast row--knot on the threads as in fig4 #eae4 #bnd row--#a double horizontal bar of knots1 as in figs4 #eai or #ebj1 over double cords4 #crd row--,take #h threads for a group of bars2 #b light and #b dark ones on each side2 the two sets of threads are numbered in fig4 #eeb1 a working detail of fig4 #eea1 from #a to #d4 ,begin by making all the knots over threads #a and #b of the left set1 so that threads #c and #d on the left will be outside and threads #a and #b inside the group4 ,make the same knots over the #crd and #dth thread on the right1 then repeat the left group again and so on4 ,illustration3 ,,fig4 #eea4 ,,insertion ,,or ,,fringe4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #ac1 ,cordonnet #f fils ,d4,m4,c ,nos4 #a to #bj1 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4 ,,colours3 ,bleu-indigo #caa and ,brun-,chamois #dah1 or ,brun-,rouille #ccab and ,bleu-,gris #ccjc4 ,repeat from the beginning1 and make #b double knots over thread #c on the right1 fig4 #eeb1 with threads #a and #b on the left1 then again #b knots over thread #d on the right4 ,when this series of knots is finished1 make3 #c double knots over thread #a 7dark-coloured in the engraving7 with the left thread #b and the right threads #a and #b2 make on the left3 #c knots over thread #d with the right thread #c and the left threads #b and #a1 and so on4 ,when this pattern is worked for a gimp and not a fringe1 the threads are made to end in knots1 as explained in fig4 #eeh4 ,illustration3 ,,fig4 #eeb4 ,,working ,,detail ,,of ,,fig4 #eea ,,gimp ,,made ,,with ,,macram ,,shuttles 7figs4 #eec1 #eed1 #eee74--;,cut #h double threads of the length the gimp is to be4 ,in order not to have to add on threads in the middle of the work1 or have long ends hanging down1 which are very much in the way1 we recommend the employment of a new macram shuttle1 a kind of spool1 such as are used in the making of pillow lace4 ,these shuttles simplify the work enormously and are made hollow so that they can be mounted and filled on the spindle of any sewing machine4 ,knot on the threads1 as in fig4 #eae1 and make a single bar of knots4 ,then leaving #b threads on the right and #b on the left disengaged1 make #c flat double knots with every set of #d threads between4 ,make a slanting bar of double knots over the #afth right thread1 with the #aeth1 #adth1 #acth1 #abth1 #aath1 #ajth and #ith thread2 then make knots with the same threads and with the #afth over the #aeth thread4 ,make a similar bar on the left1 over the #ast thread1 with the #bnd1 #crd1 #dth1 #eth1 #fth1 #gth and #hth thread4 ,illustration3 ,,fig4 #eec4 ,,gimp ,,made ,,with ,,macram ,,shuttles4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #af1 ,cordonnet #f fils ,d4,m4,c ,nos4 #a to #aj1 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4;,a ,,colours3 ,bleu-,indigo #caa and ,brun-,marron #djf4;,a ,illustration3 ,,fig4 #eed4 ,,macram ,,shuttle4 ,on both sides1 and with the #d outer threads3 #d flat double knots1 fig4 #eaf1 detail d2 #b more bars on the right and left1 but in the opposite direction1 and knotting all the threads even to the last one1 fig4 #eee4 ,take the #d middle threads and make #f flat double knots and then turn the bars of knots inwards2 the return of the cord is indicated as before in fig4 #eee4 ,,macram ,,borders 7figs4 #eef1 #eeg1 #eeh1 #eei74--,length of the single threads for ,no4 #f of ,coton tricoter ,d4,m4,c3 #ej c_/m4 ,knot the threads on for both these borders in the ordinary way1 followed by a single horizontal bar of knots4 ,for fig4 #eef1 make a triple slanting bar of knots1 with #d threads1 slanting one from right to left and one from left to right2 then make a single horizontal bar and add another series of triple bars slanting the opposite way2 complete the pattern by a vertical bar1 lay another cord and make a horizontal bar upon it on the wrong side of the work and finish by tying the threads together1 two and two1 as shown in fig4 #eeh1 detail a1 cut them1 detail b1 and push the knot upwards1 detail c4 ,illustration3 ,,fig4 #eee4 ,,slanting ,,bar ,,and ,,the ,,return ,,of ,,the ,,cord4 ,,working ,,detail ,,of ,,fig4 #eec4 ,illustration3 ,,fig4 #eef4 ,,macram ,,border4 ,illustration3 ,,fig4 #eeg4 ,,macram ,,border4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #aj1 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #gj4;,a ,,colours--,for fig4 #eef3 ,bleu-,lapis #cdb or ,bleu-,gentiane #dhj--;,for fig4 #eeg3 ,rouge-,turc #cba or ,rouge-,cerise #ccah4;,a ,for fig4 #eeg take #h threads for a group of knots4 ,make all the bars slanting from right to left first1 fig4 #eei1 then take the #eth thread1 counting from left to right1 for the cord1 fig4 #eei again1 and begin the second series of bars of knots1 slanting from left to right4 ,fasten off the threads as already explained in fig4 #eeh4 ,the same pattern can also be used as an insertion3 bags for instance1 look very well made of alternate stripes of this insertion and stripes made of flat knots4 ,the openwork stripes must be wider than the close ones4 ,illustration3 ,,fig4 #eeh4 ,,working ,,detail ,,of ,,figs4 #eef ,,and #eeg4 ,illustration3 ,,fig4 #eei4 ,,working ,,detail ,,of ,,fig4 #eeg4 ,,macram ,,fringe 7figs4 #efj and #efa74--;,entire length of the threads1 including the fringe1 for ,no4 #e of ,cordonnet #f fils ,d4,m4,c3 #abj c_/m4 ,illustration3 ,,fig4 #efj4 ,,macram ,,fringe4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #be or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4 ,,colours3 ,brun-,cuir #dca and #dcb1 ,bleu-,indigo #ca #ast row--knot on the threads1 as in fig4 #ebj1 in the following order3 #d double blue threads1 #c single dark brown1 #a double light brown1 #c single dark brown2 then again #d double blue1 and so on4 #bnd row--divide the threads into groups1 so that the brown threads come in the middle with #d blue ones on either side4 ,begin on the left cover the #dth blue thread1 which comes nearest to the first brown one1 with flat double knots1 made over the #ast1 #bnd and #crd brown thread and the light brown one cover the #crd blue thread with the #d brown threads and the #dth blue1 which served as the cord in the #ast row of knots cover the #bnd blue thread with the #d brown and the #dth and #crd blue cover the #ast blue with the #d brown and the #dth1 #crd and #bnd blue4 ,illustration3 ,,fig4 #efa4 ,,working ,,detail ,,of ,,fig4 #efj ,in the working detail1 fig4 #efa1 the dark lines represent the blue threads1 the light ones1 the brown4 ,when the quadruple bar1 slanting from left to right1 is finished1 make a similar one1 from right to left1 then connect the #ast and #afth thread by a double knot and pass the first blue thread on the left over to the right group4 #bnd row--make similar groups1 reversed1 so that the brown knots come next to the last blue ones and the blue knots again terminate the groups of bars2 the brown threads will be stretched flat between the preceding group and the next4 #crd and #eth row--like the first4 #dth row--like the #bnd4 ,illustration3 ,,fig4 #efb4 ,,macram ,,fringe4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #ae or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4;,a ,,colours3 cru1 or any light shade mentioned in the ,d4,m4,c colour card4,a ,after the #eth row of groups1 take #d brown threads on either side of the blue knots1 and make them into a double chain1 fig4 #edf1 consisting of #ab knots1 and make #f flat double knots with the last threads4 ,lastly1 unite all the threads of one group of bars1 and make them into a handsome tassel by the addition of other threads4 ,,macram ,,fringe 7fig4 #efb74--;,entire length of the threads for ,no4 #c of ,cordonnet #f fils ,d4,m4,c3 #ge c_/m4 #ast row--,knot on the threads as in fig4 #ebg1 succeeded by a double horizontal bar of knots4 #bnd row--twisted or waved knots with #d knots1 fig4 #eca4 #crd row--double horizontal bar of knots4 #dth row--with #f threads3 #a double bar1 slanting from left to right1 and #a bar1 from right to left1 joined together by the last threads4 #eth row--with the #d threads coming from the groups of bars3 #a single chain1 fig4 #ede1 with #d crossings of the threads1 quite close to the point where the groups meet1 and #a single chain with #g crossings1 made with the outside threads4 #fth row--similar groups of bars to those of the #dth row1 but set the reverse way and terminating in a horizontal bar4 ,for the tassels1 add a thick bunch of threads to each group of #f threads that issues from the work4 ,illustration3 ,,fig4 #efc4 ,,fringe ,,with ,,mosaic ,,border4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #h to #cj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4 ,,colours3 cru1 ,brun-,acajou #dja and ,rouge-,cardinal #cdg4 ,illustration3 ,,fig4 #efd4 ,,knot ,,open4 ,,working ,,detail ,,of ,,fig4 #efc4 ,illustration3 ,,fig4 #efe4 ,,knot ,,shut4 ,,working ,,detail ,,of ,,fig4 #efc4 ,,fringe ,,with ,,mosaic ,,border 7figs4 #efc1 #efd1 #efe74--;,entire length of the threads for ,no4 #h of ,cordonnet #f fils ,d4,m4,c3 #ge c_/m4 #ast row--knot the threads on1 as in fig4 #eae1 one cru and one brown alternately1 succeeded by a single horizontal bar of double knots4 #bnd1 #crd1 #dth and #eth row--#d rows of knots1 such as are seen in fig4 #efd1 in process of being made1 and in fig4 #efe1 finished1 and succeeded by a flat knot4 ,the colours alternate in the knots2 in the #bnd and #dth row the knot is set in the light colour1 in the #crd and #eth1 in the dark4 #fth row--#a horizontal bar of double knots over a fresh cord4 #gth row--lay down another cord1 make another horizontal bar of knots and between every second of the light double knots1 loop on #a red thread2 the loop1 that fastens it to the cord1 taking the place of the knot4 #hth row--lay down a third cord1 and make #b double knots with the red threads between the knots of cru thread4 #ith row--lay down a fourth cord1 make a half knot with every red thread4 #ajth row--lay down a fifth cord1 then make a horizontal bar of double knots1 as in the #fth row2 the red threads are taken to the wrong side and passed over4 ,knot the ends of the threads together in clusters of #f1 about #ae m_/m4 below the last cord of knots4 ,illustration3 ,,fig4 #eff4 ,,macram ,,ground4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #cj or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4;,a ,,colours3 cru and ,bleu-,indigo #cbb1 or ,vert-,perroquet #fig and ,rouge-carlate #dih4;,a ,illustration3 ,,fig4 #efg4 ,,shell ,,bar4 ,,working ,,detail ,,of ,,fig4 #eff4 ,illustration3 ,,fig4 #efh4 ,,open-,,work ,,part ,,of ,,fig4 #eff4 ,,macram ,,ground 7figs4 #eff1 #efg1 #efh74--;,fill the shuttles with the length of thread that you think will be required for the work4 #ast row--knot the threads on1 as in fig4 #eae1 #d blue and #d cru alternately1 and make a double horizontal bar4 #bnd row--beginning in the middle1 make #b flat double knots with #h blue threads2 with the #d blue threads on the left1 make a quadruple group of bars over the #d blue threads on the right4 ,these quadruple groups of bars1 called shell bars are illustrated in detail in fig4 #efg4 ,unite the blue threads at the sides by flat double knots4 ,the beginning and continuation of the openwork parts of the pattern are explained in fig4 #efh4 ,the threads that issue from the last group of knots are used for making the second shell bar1 the two inner bars of which are made in cru cotton1 and the two outer in blue4 ,when this striped shell bar is finished1 the blue threads are again united for the openwork figure4 ,illustration3 ,,fig4 #efi4 ,,fringe ,,with ,,foundation ,,worked ,,on ,,the ,,wrong ,,side4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #h to #af1 ,cordonnet #f fils ,d4,m4,c ,nos4 #e to #be1 ,fil pointer ,d4,m4,c ,nos4 #f to #cj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4;,a ,,colours3 ,white1 ,bleu-,indigo #caa and #cab or ,gris-,amadou #che1 ,brun-,caroubier #cef1 #ceg4;,a ,,fringe ,,with ,,foundation ,,worked ,,on ,,the ,,wrong ,,side 7figs4 #efi1 #egj1 #ega1 #egb74--;,entire length of the threads for ,no4 #h of ,coton tricoter ,d4,m4,c3 #hj c_/m4 ,knot the threads on1 as in fig4 #eae and after finishing the horizontal bar1 make from left to right1 over the #ast thread1 #a double knot made with the #bnd and with the #crd thread4 ,then1 over the #bnd thread1 which has now become the #ast1 make double knots with the #crd1 #ast1 #dth and #eth thread2 then1 over the #crd thread1 counting now from right to left1 which in the knotting on figured as the #dth3 #a double knot with the #eth and #bnd thread4 ,make the same group from right to left1 only at the #crd change of thread make #e double knots instead of #b1 and let the last knots count for the new group of bars1 turned the opposite way4 ,illustration3 ,,fig4 #egj4 ,,opposing ,,bars4 ,,working ,,detail ,,of ,,fig4 #efi4 ,illustration3 ,,fig4 #ega4 ,,formation ,,of ,,the ,,knots ,,on ,,the ,,wrong ,,side4 ,,working ,,detail ,,of ,,fig4 #efi4 ,illustration3 ,,fig4 #egb4 ,,appearance ,,of ,,the ,,knots ,,on ,,the ,,right ,,side4 ,,working ,,detail ,,of ,,fig4 #efi4 ,in the middle of two opposing groups of bars1 make a flat double knot with #b of the right threads and #b of the left4 ,when the second horizontal bar is finished1 turn the work round1 and go on working on the wrong side1 making plain double knots1 as in fig4 #ega1 turned in one row1 all from right to left1 and in the next1 from left to right4 ,when you have worked #aj such rows of knots1 begin to make one knot less on either side of a group1 so as to form pointed scallops of knots which you finish off with a plain bar4 ,tassels are then made with the threads that issue from each scallop1 and when these are sewn up1 turn the work round to the right side1 where the knots1 made on the wrong side1 will present the appearance indicated in fig4 #egb4 ,illustration3 ,,fig4 #egc4 ,,macram ,,fringe4 ,,materials3 ,coton tricoter ,d4,m4,c ,no4 #f1 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #be1 or ,fil pointer ,d4,m4,c ,nos4 #aj to #cj4;,a ,,colours3 cru1 ,rouge-,turc #cba and ,rouge-,grenat #ceh or ,violet-,mauve #cae and #caf1 and ,vert-,bouteille #did4;,a ,,macram ,,fringe 7fig4 #egc74--;,entire length of the threads for ,no4 #f of ,coton tricoter ,d4,m4,c3 #fe c_/m4 ,knot on double threads1 as in figs4 #eag and #ebd1 to count as single in the working directions 99 #a thread of red1 colour #ceh1 #c of cru1 #a of red1 colour #ceh1 #a of red1 colour #cba1 #c of cru1 #a of red1 colour #cba1 and repeat from 994 #ast row--#f chain knots made with every #d threads4 #bnd row--a single horizontal bar of knots4 #crd row--collecting knots1 fig4 #ecj1 made with the cru threads over the #d dark and the #d light red ones1 and flat double knots over the #d cru threads4 #dth row--collecting knots over #d cru threads with #d red and #b cru threads4 #eth row--collecting knots in the centre of the groups1 with the cru threads4 #fth row--similar to the #dth4 #gth row--similar to the #eth4 ,then take the red threads on the right and left and twist them1 each cluster separately1 from left to right between the thumb and forefinger1 as you do in making a cord1 then unite them together1 twisting them from left to right4 ,fasten off the cord by a knot1 beneath which the ends of thread form a little tassel4 ,collect all the cru threads together and make them into a heavy tassel with the aid of supplementary threads4 ,illustration3 ,,fig4 #egd4 ,,border ,,with ,,shell ,,knots4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #e to #be4;,a ,,colours3 ,vert-,mousse #dga and ,rouge-,cornouille #dej1 or ,rouge-,framboise #fhf and ,gris-,coutil #cbc4;,a ,,border ,,with ,,shell ,,knots 7figs4 #egd1 #ege1 #egf1 #egg74--;,fill the macram shuttles with the requisite length of thread4 ,knot the threads on1 as in fig4 #ebj1 in the following order2 #a double thread of colour #dga1 #f double threads of colour #dej1 #b of colour #dga1 #f of colour #dej1 #a of colour #dga4 ,from left to right and over the #ast thread3 #a double knot with the #bnd thread2 over the #dth thread of colour #dej1 and from right to left1 double knots with the #crd1 #bnd and #ast thread of the same colour from left to right3 #a double knot with the #fth thread of colour #dej over the #eth1 and with the #crd thread over the #bnd from right to left3 #e double knots over the #hth thread of colour #dej from left to right3 #a double knot over the #ajth thread1 #a double knot over the #eth thread1 #a double knot over the #ast thread from right to left3 #g double knots over the #abth thread from left to right3 #c detached double knots4 ,then1 from left to right1 and subsequently from right to left with #f green threads3 #b double bars slanting over the #b red threads 7see the top of fig4 #egg72 unite the #d red threads in the middle and make a shell knot with them1 fig4 #ege1 consisting of #f flat knots1 fig4 #egf2 take #b threads on the right and #b on the left1 turn them down to the left and right1 and then from the wrong side to the right1 over the threads that come from the bars and close with a flat knot4 ,on the sides1 make double bars and between each bar1 #b single chain knots4 ,illustration3 ,,fig4 #ege4 ,,large ,,shell ,,knot1 ,,open4 ,,working ,,detail ,,of ,,fig4 #egd4 ,illustration3 ,,fig4 #egf4 ,,large ,,shell ,,knot1 ,,shut4 ,,working ,,detail ,,of ,,fig4 #egd4 ,illustration3 ,,fig4 #egg4 ,,open-,,work ,,part ,,of ,,fig4 #egd4 ,fill the empty spaces under the outside shell knots1 with #i flat double knots2 under the middle knot make bars of inter-crossed knots1 of which a clear explanation will be found in fig4 #egg4 ,to join two borders of the kind together1 pass the thread of the second border over the thread on which the bar in the middle of the outer scallop is knotted4 ,,fringe ,,with ,,shell ,,knots 7fig4 #egh74--;,entire length of the single threads for ,no4 #ab of ,coton tricoter ,d4,m4,c3 #ij c_/m4 ,illustration3 ,,fig4 #egh4 ,,fringe ,,with ,,shell ,,knots4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #ae4 ,,colours3 cru and ,rouge-,turc #cba4 ,the threads must be taken double1 counting as one4 ,knot them on1 as in fig4 #ebd4 ,this exceedingly effective pattern is a very simple one to work and can easily be copied from the engraving by following1 for the bars1 figs4 #ecg to #edd2 for the collecting knots fig4 #ecj1 for the large shell knots figs4 #ege and #egf1 and for the chain of flat double knots1 fig4 #ecf detail a4 ,the tassels that complete the fringe must depend from the last collecting knot and hang between the triple bars of knots and beneath the collecting knot4 ,illustration3 ,,fig4 #egi4 ,,macram ,,border ,,or ,,fringe4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #bj1 ,fil dentelle ,d4,m4,c ,nos4 #be to #ej1 or ,fil pointer ,d4,m4,c ,no4 #cj4;,a ,,colours3 cru1 ,rouge-,turc #cba and ,bleu-,indigo #cab4;,a ,,macram ,,border ,,or ,,fringe 7fig4 #egi74--;,entire length of the threads for ,no4 #aj of ,cordonnet #f fils ,d4,m4,c3 #agj c_/m4 #ast row--knot on the threads with double round picots1 and one horizontal double bar4 ,the colours should succeed each other as follows3 99 #d blue scallops1 #d cru1 #e red1 #d cru1 repeat from 994 #bnd row--begin working from right to left3 #a single chain with #b single threads1 fig4 #ede1 and #g changes of the threads2 after the #crd change of the threads1 connect the #bnd chain with the #crd1 the #dth with the #eth4 ,finish off every #b chains with a flat double knot4 ,make1 over the first blue threads2 #a waved plait1 fig4 #eca detail b1 over the #adth cru thread3 #a bar of double knots1 #c going and #d returning over the last #b red threads3 waved knots1 and repeat from 99 then lay down #b fresh cords1 to make a double horizontal bar of knots4 #crd row--with the blue threads3 #e large shell knots1 fig4 #egf1 #a triple bar of double knots to the left and right between the bars #i large shell knots #a triple bar of double knots to the right and left and finish with #e large shell knots1 as above4 ,with the cru threads3 #c flat double knots1 #a double horizontal bar of knots over the last cru thread3 #c waved knots with #ab changes of the threads #a more double bar of knots join the cord to the outside thread of the blue triple bar4 ,with the red threads3 #a shell knot1 figs4 #egf and #egg1 over #ab threads2 #a double bar on both sides of the shell knot with the outside threads1 #a single chain1 consisting of #g changes of the threads1 made with the outside red threads2 join the red thread and the light one that comes from the double bar together1 on the left4 ,the light thread is afterwards looped into the blue thread on the right #d collecting knots over #f red threads on the right and left1 #a collecting knot over all the red threads and one1 on both sides1 over #f red threads4 ,after joining the threads on both sides1 carry on the single chain with #c changes of the threads over the first red thread of the left chain1 make #a double horizontal bar with all the disengaged threads below the bar1 #d flat double knots #a single horizontal bar #h double knots1 each over a single thread #a double bar of knots4 ,from this point1 continue with the cru threads3 #a row of double knots1 #a double horizontal bar and #a waved plait2 then join3 #b blue threads and #b cru1 and #b cru and #b red1 together1 to make flat double knots2 the double knots between remain of one colour4 ,the bottom border is like the top one with the exception of the picots4 ,when this pattern is to be used for an insertion or a gimp1 the threads should be fastened off1 as indicated in fig4 #eeh4 ,illustration3 ,,fig4 #ehj4 ,,macram ,,border4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #ae to #cj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #cj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej and ,chin d'or ,d4,m4,c,a ,,colours3 ,noir grand teint #caj1 ,gris-,tilleul #cib and #ccj1 ,brun-,cuir #dcj and #dcb1 ,bleu-,indigo #ccd or ,chin d'or ,d4,m4,c1 ,bleu et ,or4,a ,illustration3 ,,fig4 #eha4 ,,crossed ,,bar ,,slanting ,,to ,,the ,,left4 ,,working ,,detail ,,of ,,fig4 #ehj4 ,illustration3 ,,fig4 #ehb4 ,,crossed ,,bar ,,slanting ,,to ,,the ,,right4 ,,working ,,detail ,,of ,,fig4 #ehj4 ,,macram ,,border 7figs4 #ehj1 #eha1 #ehb74--,wind the threads on shuttles and knot them on1 as in fig4 #eae1 in the following order3 #b threads of1 either colour #ccd or ,chin d'or 7blue and gold71 #b of colour #ccj1 #b of colour #cib1 #a of colour #dcb1 #a of colour #caj1 #b of colour #dcj1 #a of colour #caj1 #a of colour #dcb1 #b of colour #cib1 #b of colour #ccj1 #b of colour #ccd1 or of ,chin d'or blue and gold4 ,begin with the open work on either side of the crossed bars1 figs4 #eha and #ehb1 with #d blue threads and by #d changes of the threads outwards and #c inwards the same with #d light green threads with #c changes outwards and #b inwards then with the dark green threads1 with #b changes outwards and #c inwards over the #dth dark green thread1 #a double knot with the #ast dark green thread with the #dth light green one and with the #d blue4 ,over the #c next1 dark green threads1 knot the #d light green threads and the #d blue1 from right to left1 and from left to right1 thus forming altogether #h bars across the first bar then knot the #h first threads over the last dark green one add a crossed bar with #g changes of the threads outwards and #e inwards4 ,middle group1 left side3 #a double knot with the first light brown thread over the second thread2 #c double knots with the black threads 7the only ones that are to be taken double7 and #b light brown threads over the #ast and #bnd dark brown ones4 ,in the #bnd bar1 knot the #ast dark brown thread1 and in the #crd1 the #d dark brown ones1 over the black thread4 ,on the right1 a similar group1 slanting towards the one on the left4 ,on the left--over the #ast light brown thread coming from the right1 #a double knot1 made with #b light and #b dark brown threads1 and the black one1 all coming from the left4 ,on the right--over the #ast light brown thread coming from the left1 #a double knot with #a light and #b dark brown threads and the black one 7used double74 ,on the left--over the light brown thread coming from the right1 #a double knot with one light and #b dark brown threads and the black one4 ,on the right--over the light brown thread1 #a double knot with #b dark brown threads and the black one4 ,on the left--the same knots as on the right4 ,on the right--over the #a dark brown thread #a knot with #a brown thread and the black one4 ,on the left--the same knots as on the right4 ,on the right--over the #ast dark brown thread1 #a knot with a brown thread and the black one4 ,on the left--the same knots over the last thread4 ,on the right--over the last brown thread one knot with the black one4 ,on the left--over the #d light green threads and the #d blue ones1 double knots with the #d brown threads and the black one #a double knot with the #ast light brown thread over the #bnd1 #c double knots over the #bnd dark brown thread1 with #b light threads and #a dark brown #d double knots with the #b light and the #b dark brown threads over the black one2 after which you make #e other bars1 taking the last thread turned inwards for the cord4 ,make similar groups1 slanting from right to left1 then1 beginning again on the left1 make the knots with the #d light green threads over the #ast thread of the same colour running from right to left4 ,illustration3 ,,fig4 #ehc4 ,,macram ,,fringe4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #cj1 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 or ,fil dentelle ,nos4 #be to #ej4 ,,colours3 cru and ,brun-,havane #dee1 or ,gris-,tilleul #cia and #cca4 ,on the right--knot #c light green threads over the #ast thread coming from the left and repeat the same group twice1 on both sides4 ,the third bar forms1 at the same time1 the first scallop of a triple crossed bar1 which has also to be made on the right4 ,the two crossed bars finish with a triple group of bars2 the last bar of which1 on the right1 consists of only one double knot4 ,there remain to be made1 on both sides1 crossed bars with three whole scallops inside1 one outside1 and one half one1 top and bottom4 ,illustration3 ,,fig4 #ehd4 ,,working ,,detail ,,of ,,fig4 #ehc4 ,knot all the other threads over the #d blue and the #d light green ones in the middle1 knot the right and the left threads1 alternately1 till the black threads meet at the point4 ,turn the group of bars1 edged with blue and light green1 inwards1 and finish it off by a crossed bar1 with #c scallops inside4 ,,macram ,,fringe 7figs4 #ehc and #ehd74--;,entire length of the threads for ,no4 #ae of ,cordonnet #f fils ,d4,m4,c3 #abj c_/m4 #ast row--knot the threads on with picots1 fig4 #eai1 #f cru and #f brown4 #bnd row--double and slanting bars made with #f single threads1 succeeded by a double horizontal bar4 #crd row--begin with the light threads and make bars with double knots between1 as in fig4 #egg1 and finish at the sides with #b bars made with the brown threads2 for the dark brown bars1 see also figs4 #eee1 #efa1 #efh1 for the crossed bars1 fig4 #ehd4 ,this pattern should always end in such a manner that the light openwork figure form the scallop and be framed with the brown knot4 ,illustration3 ,,fig4 #ehe4 ,,macram ,,fringe4 ,,materials3 ,coton tricoter ,d4,m4,c ,nos4 #f to #af1 ,cordonnet #f fils ,d4,m4,c ,nos4 #h to #bj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4;,a ,,colours3 ,brun-,cuir #cbe and ,brun-,marron #djc1 #dje1 #djg4;,a ,,macram ,,fringe 7fig4 #ehe74--;,entire length of the threads for ,no4 #ab of ,coton tricoter ,d4,m4,c3 #if c_/m4 ,this pattern is so easy that we refer our readers to figs4 #edd and #efa for the working of it1 merely remarking1 that the bars are made alternately from right to left1 and from left to right1 and that #c threads are knotted over the cord that runs from the left and #d1 over the one from the right4 ,this fringe will always be found most effective in appearance if it be made in four shades of one colour1 knotted on in succession4 ,illustration3 ,,fig4 #ehf4 ,,macram ,,fringe4 ,,materials3 ,the same as for fig4 #ehe4 ,,colours3 ,gris-,tilleul #cca and ,violet-,mauve #cae or1 ,bleu cendr #ddh and ,rouge-,cornouille #dej1 ,bleu-,canard #ccji and ,rouge-,maroquin #ccbh1 etc4 ,illustration3 ,,fig4 #ehg4 ,,working ,,detail ,,of ,,fig4 #ehf4 ,,macram ,,fringe ,,or ,,ground 7figs4 #ehf and #ehg74--;,entire length of the threads for ,no4 #h of ,cordonnet #f fils ,d4,m4,c3 #aej c_/m4 ,this effective pattern is not difficult1 save in appearance1 so that it is unnecessary to describe it in detail2 for the knotting on1 see fig4 #ebe2 for the plain bars1 figs4 #eci to #edd2 for the collecting knots1 fig4 #ecj4 ,the only difficult point is where the threads cross each other inside the bars and form a check and by carefully following the course of the knots in fig4 #ehg1 that will be easily overcome4 ,,fringe ,,or ,,ground ,,with ,,picots 7fig4 #ehh74--,wind the threads on shuttles and do the knotting on1 as in fig4 #eba1 followed by a double horizontal bar4 ,leave a small space between the double bar and the #crd bar1 which is a single one1 in which you cross the threads without knotting them4 ,beginning on the left--over the #bnd and #crd thread3 #b button-hole knots1 #a picot1 #b button hole knots over the #ast1 #bnd and #crd thread3 #a double knot with each of the #c next threads over the #fth and #gth with the #eth thread3 #d button-hole knots with #a picot after the #bnd knot4 ,with each of the #d next threads1 that is the #hth1 #ith1 #ajth and #aath3 #a flat double knot followed by3 #a bar of double knots over the #abth thread as the cord1 made with the #aath1 #ajth and #ith thread add #a bar with the #aath thread as the cord1 and the #g next ones as the knotting threads add #a bar with the #ajth thread as the cord1 and the #g next ones as the knotting threads4 ,leave #c threads free on the right with the #h threads on the left3 #a bar over the thread before these #c threads leave #c free again on the right #a quintuple bar with the remaining threads4 99 #a flat double knot with the #aeth1 #afth and #agth thread with the #bjth thread1 over the #aith1 #ahth and #agth thread3 #d button-hole knots with #a picot after #b knots knot #d threads over the #acth thread and from left to right from left to right1 #b bars with all the threads 99994 ,illustration3 ,,fig4 #ehh4 ,,fringe ,,or ,,ground ,,with ,,picots4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #dj or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4;,a ,,colours3 ,white1 cru1 or any light shade mentioned in the ,d4,m4,c colour card4,a ,over the #b threads on the left and with the #crd thread3 #d button-hole knots and #a picot with the #f threads from the left3 #b bars consisting of button-hole knots and picots a #crd bar with #f double knots join it to the last bar4 ,leave #b threads of the bar of button-hole knots free with the outer thread make3 #d button-hole knots and #a picot over the #bnd thread and the cord of the bar4 ,repeat from 99 to 9999 along the bar1 also from right to left4 ,left group--knot the #c last threads over the #dth thread and from left to right4 ,right group--make1 from right to left1 #a bar consisting of #f double knots1 over the #dth thread counting from right to left4 ,after these last changes of the threads no difficulty will be found in copying the rest of the pattern4 ,illustration3 ,,fig4 #ehi4 ,,double ,,fringe4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #cj and ,coton broder ,d4,m4,c ,nos4 #af to #ce4 ,,colours3 ,white for the ,cordonnet1 ,rouge-,grenat #cce for the ,coton broder4 ,illustration3 ,,fig4 #eij4 ,,knotted ,,berry ,,for ,,fig4 #ehi4 ,illustration3 ,,fig4 #eia4 ,,large ,,shell ,,knot1 ,,open4 ,illustration3 ,,fig4 #eib4 ,,large ,,shell ,,knot1 ,,shut4 ,,double ,,fringe 7figs4 #ehi1 #eij1 #eia1 #eib74--;,entire length of the threads for ,no4 #aj of ,cordonnet #f fils ,d4,m4,c3 #ajj c_/m41 and entire length for ,no4 #af of ,coton broder ,d4,m4,c3 #dj c_/m4 ,knot on1 as in fig4 #eae1 #a thread of ,cordonnet1 #d of ,coton broder 7these are to be taken double7 #b of ,cordonnet1 #d of ,coton broder1 and so on4 ,in the second horizontal bar1 you only use the red threads of ,coton broder for knotting1 not the white ,cordonnet ones4 ,to supply their place1 knot on two threads of red ,coton broder under the white threads4 ,with the red threads 7#d count as one7 make #c rows of collecting knots1 followed by a single horizontal bar4 ,divide the white threads into twos and make single chains with them1 the whole length of the fringe2 the thread must be changed #h times for each chain2 then pass the right chain under the left one and join them by a flat double knot4 ,you then1 with the threads turned outwards1 right and left1 make the single chain with #e changes of the threads and join them together again by a flat knot4 ,the other single chains are made with #f and #h changes of the threads and crossed under the double knots4 ,the tassels1 which the red threads serve as a foundation to1 are begun by3 #a waved plait with two knots1 then #d single chains1 again a waved plait and #a berry composed of knots4 ,this berry is made over the #h threads that come from the chains1 with a long auxiliary thread1 knotted as shown in fig4 #eij4 ,illustration3 ,,fig4 #eic4 ,,macram ,,border4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #bj and ,or fin ,d4,m4,c ,no4 #cj4 ,,colour--,for the cotton3 ,vert mtallique #dfe;,a ,illustration3 ,,fig4 #eid4 ,,beaded ,,ground4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,no4 #be or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej and gold beads4,a ,large shell knots1 as described in figs4 #eia and #eib may be substituted in the place of the berry1 fig4 #eij4 ,,macram ,,border 7fig4 #eic74--;,fill #bd shuttles1 knotted together1 that is1 #b and #b1 and knot on #c green threads1 #f gold and #c green4 ,the changing of the threads and the course of the knots can be so easily copied from the pattern that a description in detail is not necessary1 it is sufficient to observe that all the dark parts in the engraving should be worked in green and the light ones in gold4 ,illustration3 ,,fig4 #eie4 ,,square ,,of ,,mosaic ,,macram4 ,,materials3 ,fil pointer ,d4,m4,c ,no4 #cj1 ,coton broder ,d4,m4,c ,no4 #af and ,or fin ,d4,m4,c pour la broderie ,no4 #bj;,a4 ,,colours3 ,rouge-,cardinal #cdf1 ,rouge-,grenat #cbf and #cji1 ,bleu-,indigo #cab and #ccd1 ,gris-,tilleul #cia and #cic;,a4 ,,beaded ,,ground 7fig4 #eid74--,knot on #d threads for every group of knots1 and secure them by a knot and a picot1 as shown in the engraving4 ,work the groups of knots1 as indicated in fig4 #efh1 and after each group is finished1 thread a gold bead on to every #b threads4 ,our model is worked in cru thread and gold beads2 the latter go very well with any colour and especially with the more subdued shades of green1 such as the ,vert-,mousse1 ,vert ,bouteille and ,gris-,tilleul of the ,d4,m4,c colour card4 ,,square ,,of ,,mosaic ,,macram 7figs4 #eie and #eif74--,this little pattern illustrates the way in which tapestry and cross-stitch patterns can be utilised for macram4 ,all patterns that are drawn on checked paper can be copied in macram and even in several colours4 ,for every square1 you count either one single or one double thread1 according to the scale on which the work is to be4 ,in the case of a single thread1 you count one double knot per square1 in that of a double one1 #d double knots1 two in the first and two in the second row4 ,after knotting the threads together1 two and two1 and pinning them to the cushion1 see letter a1 make #b single chains with #b changes of the thread1 letters b and c1 then take a very long cord1 letter d1 and knot on the threads4 ,the cord forms picots along two sides of the square2 into which you fasten threads1 letters e and f1 for the single chain formed1 on the two other sides by the knotting threads4 ,illustration3 ,,fig4 #eif4 ,,working ,,detail ,,of ,,fig4 #eie4 ,the coloured threads for the flowers are knotted on as the pattern requires it1 taking the place for the time being1 of those with which the foundation is made1 which are left hanging on the wrong side until they are wanted again4 ,the top leaves of the iris shaped flower1 are worked in two shades of blue2 the bottom ones1 in three shades of red1 the stalk and the leaves in green1 and the little stars1 with which the ground is powdered1 in real gold thread4 ,when the ground is finished1 you make the same openwork border at the sides and along the bottom1 as at the top and finish off with very full tassels1 hung on over #c double threads and made of all the colours used in the square1 tied up with gold thread1 fig4 #eif letter g4 ,,fringe ,,with ,,three ,,rows ,,of ,,tassels 7fig4 #eig74--;,as this kind of fringe is chiefly used for trimming carpets1 curtains and furniture1 it is best to make it in the coarsest numbers of the materials indicated at the foot of the engraving4 ,illustration3 ,,fig4 #eig4 ,,fringe ,,with ,,three ,,rows ,,of ,,tassels4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #cj1 or ,fil pointer ,d4,m4,c ,nos4 #aj to #cj;,a4 ,,colours3 ,bleu-,indigo #cab and cru4 ,the pattern is so simple in its construction that it is sufficient to refer our readers to fig4 #ebh1 for the knotting on of the threads and to fig4 #eca1 for the waved plait4 ,the little tassels between the knots1 are made separately from the rest of the work and fastened on by the thread with which you sew them together at the top4 ,illustration3 ,,fig4 #eih4 ,,macram ,,ground4 ,,materials3 ,ganse turque ,d4,m4,c ,no4 #ab and ,coton broder ,d4,m4,c ,no4 #af4 ,,colours3 ,rouge-,cardinal #cdg1 or ,rouge-,cerise #ccah4 ,,macram ,,ground 7fig4 #eih74--,the work represented in the engraving was made for a purse and copied from a beautiful piece of ,arabian stuff4 ,ganse turque ,d4,m4,c was used for the light background and ,coton broder ,d4,m4,c for the design4 ,it is very easy to copy this pattern from the illustration by paying scrupulous attention to the number of knots2 we do not therefore enter into any detailed description of the same1 merely referring the worker to figs4 #ebh and #eif and the accompanying directions1 for the adding on and the taking off of threads4 ,,macram ,,square 7figs4 #eii and #fjj74--,length of the single threads of both kinds3 #bjj c_/m4 ,knot upon a ring consisting of one thread3 99 #a thread of white ,cordonnet1 #a of ,coton broder colour #cji1 #a of colour #ceh1 #a of colour #cji and repeat three times from 994 7,the embroidery cotton is to be taken double47 ,begin with the light red thread and make3 #a single chain with #c changes of the threads1 #a single chain with the dark red thread with #d changes of the threads4 ,add1 or rather thread1 #h supplementary threads in succession on to the white thread1 which in fig4 #fjj1 comes in the middle of the group of knots1 and over each of these supplementary threads1 make #b double knots with the light red thread and #b with the dark4 ,illustration3 ,,fig4 #eii4 ,,macram ,,square4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,no4 #ae and ,coton broder ,d4,m4,c ,no4 #af or ,fil dentelle ,d4,m4,c ,no4 #be and ,coton broder ,d4,m4,c ,no4 #cj4;,a ,,colours3 ,white1 ,rouge-,grenat #cji and #ceh1 or ,gris-,lin #gaf and ,rouge-,maroquin #ccbg and #ccbi4;,a ,when all the red threads are knotted over the white ones1 make crossed bars with the red threads by themselves1 thus producing a point at the bottom of the leaf4 ,then1 over the first white thread coming from the right1 knot all the white threads on the left of it and in the last place1 the cord itself1 over the #c red threads4 ,make the same series of threads on the left4 ,this is succeeded by a second bar of white knots1 the last thread of which is left unknotted4 ,make #d double knots with the #h white threads and close the square by a double bar4 ,add a supplementary thread to the first bar1 so that you may have #aj threads coming from each side of the second bar and over these you knot the red threads1 which form a dark setting to the leaves4 ,illustration3 ,,fig4 #fjj4 ,,gradual ,,increase ,,of ,,the ,,threads4 ,,working ,,detail ,,of ,,fig4 #eii4 ,when this is done on both sides1 make #aj flat double knots with a supplementary knot1 taking #d single threads for each knot1 and decreasing the number of knots successively to #b4 ,at the point of the inside square1 knot the white threads over the red ones and turn back the second white thread to serve as a cord to the first of the outside bars4 ,join the first thread on the left and the first on the right1 to form a flat knot with them in the middle1 the threads of which are then passed over the red threads2 the last white threads become the cords for the second outer bar4 ,make a group of bars with the red threads and cross them #c times1 then finish with a handsome tassel and join the white threads together all round the square with tassels4 ,in the case of your wishing to use these squares for making a larger piece of work1 through joining several of them together1 you can knot the ends of the threads into short double chains1 finishing off these again with ring knots1 fig4 #fjh1 and loops2 through these loops1 when you come to join on the next square1 the knotting thread is drawn1 forming them thus into connecting picots1 like those which you make in tatting4 ,,fringe ,,with ,,corner 7figs4 #fja1 #fjb1 #fjc74--,macram fringes are not capable of being drawn up1 as knitted1 crochet1 and netted fringes are1 on the inside1 so as to turn the corners4 ,consequently1 according to the pattern1 a greater or less number of supplementary threads have to be knotted in so as to form the corners4 ,illustration3 ,,fig4 #fja4 ,,fringe ,,with ,,corner4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #cj or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4;,a ,,colours3 ,white and ,rouge-,cardinal #cdh4;,a ,the working detail1 fig4 #fjb1 shows us how the #e first supplementary threads1 are looped on to the #dth row of knots4 ,a group of crossed bars requires #af threads1 which answer to #d groups of little squares1 placed between the lozenges4 ,the #fth supplementary thread is put into the double connecting knot at the corner1 fig4 #fjc1 and on this1 the bar of knots which runs right and left is subsequently made4 7,in order to make it clearer1 the supplementary threads are represented in the engraving in a darker shade74 ,on the two middle threads1 which are a continuation of the connecting knot1 #g supplementary threads have next to be knotted1 thread #g singly1 threads #h and #i together1 threads #aj1 #aa1 #ab and #ac1 all singly4 ,in this manner the supplementary threads #g1 #aj1 #aa1 #ab and #ac connect the two cords1 whilst threads #h and #i only1 are mounted separately on both sides4 ,illustration3 ,,fig4 #fjb4 ,,addition ,,of ,,the ,,first ,,supplementary ,,threads4 ,,working ,,detail ,,of ,,fig4 #fja4 ,the bars1 formed by the knots which are made with the supplementary threads1 must be drawn tight1 like any other double bar4 ,the space left between the cords in the engraving is intentional1 to distinguish the supplementary threads from the others4 ,a long1 coloured thread is looped on to the topmost thread1 between the two bars1 and with this1 knots are made over all the #ad threads that come from the bars and run inwards4 ,in the middle of the square there must be #i flat double knots2 when these are made1 you continue knotting the red thread from the right and left1 down to the bottom point of the square1 and complete the figure by a single bar of knots1 made of the white thread4 ,illustration3 ,,fig4 #fjc4 ,,addition ,,of ,,the ,,second ,,supplementary ,,threads4 ,,working ,,detail ,,of ,,fig4 #fja4 ,knotted tassels1 hanging from the points of the scallops1 and others ornamented with flat double knots made of #aj threads1 suspended between the scallops1 form the outside finish to this fringe4 ,,fringe ,,with ,,pointed ,,scallops ,,and ,,large ,,tassels 7figs4 #fjd1 #fje1 #fjf1 #fjg1 #fjh1 #fji1 #faj74--;,entire length of the threads for ,no4 #ae of ,cordonnet #f fils ,d4,m4,c3 #bjj c_/m4 ,illustration3 ,,fig4 #fjd4 ,,fringe ,,with ,,pointed ,,scallops ,,and ,,large ,,tassels4 ,,materials3 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #ej1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4;,a ,the present pattern1 which concludes our chapter on macram work1 is one of the most difficult of all1 requiring great accuracy in every particular1 but more especially1 extremely careful attention to the direction of the cords1 that the groups of double knots and the bars may be drawn up very tightly together1 so as to make the pattern very distinct and give each figure its proper value4 ,illustration3 ,,fig4 #fje4 ,,addition ,,of ,,the ,,first ,,supplementary ,,threads4 ,,working ,,detail ,,of ,,fig4 #fjd4 ,for each repetition of the subject #af threads are wanted4 ,you begin the half stars1 on each side of the lozenges1 with the #aeth and #afth double thread of the first figure and make #c double knots with #c threads over a #dth thread1 fig4 #fjf4 ,over #b cords on the left and #b on the right1 consequently over #d threads3 #e button-hole knots1 with the #d threads and the disengaged threads1 #a flat double knot over each of the #d threads4 ,this forms a shell knot1 on either side of which1 make #c button-hole knots over #c threads4 ,illustration3 ,,fig4 #fjf4 ,,addition ,,of ,,the ,,other ,,supplementary ,,threads4 ,,working ,,detail ,,of ,,fig4 #fjd4 ,for the groups of bars on either side of the shell1 take the #aath1 #abth1 #acth and #adth double thread on the left1 and the #crd1 #dth1 #eth and #fth on the right4 ,these groups are joined by button-hole knots4 ,knot the #d threads of the left group over the cord on the right2 and over them again the #b next threads on the right2 knot the #d threads on the left over the #dth thread on the right2 make #b button-hole knots with the #dth thread over the #c threads at the bottom and on the side4 ,over the #d threads1 that come from the left and right1 make quadruple bars2 cross the upper threads after the second row of bars1 make #b button-hole bars with the next thread over the #dth thread1 then finish the #crd and #dth bar of knots4 ,illustration3 ,,fig4 #fjg4 ,,chinese ,,knot ,,and ,,double ,,chain ,,for ,a ,,ring ,,knot4 ,to make the olive-shaped group of knots on both sides1 take the threads1 that come out from the shells1 as cords4 ,fig4 #fje shows the adding on of the first supplementary thread1 fig4 #fjf1 that of #ab more which1 knotted on to the first1 form with it1 the group of bars on the diagonal corner line4 ,the knots1 of which the next large shell is composed1 are made with #b more supplementary threads and one thread from the preceding figure4 ,add on #b more supplementary threads to the disengaged threads1 which #d then serve as cords for the groups of bars1 left and right4 ,the #dth group of bars which forms the corner of the fringe1 is made on the #d threads that come from the large shell1 on to which the fourth set of #ab supplementary threads is knotted4 ,illustration3 ,,fig4 #fjh4 ,,ring ,,knot ,,formed ,,of ,a ,,single ,,chain4 ,the pattern ends at the bottom with a half star1 and a double bar2 beneath these1 large scallops are added1 consisting of #b half stars1 #d ovals1 #a whole star and #b ovals4 ,all the threads that come from the groups are then collected at the top of the scallops and overcast with strong thread1 so as to form a thick round cord along the edges of the scallops1 widening towards the point1 as more and more threads are taken in4 ,at the point1 these threads are knotted into a big tassel with another bunch of supplementary threads added to them4 ,the other small tassels1 represented in fig4 #fjd1 are made separately and then fastened on4 ,the fringe is further ornamented by large knotted tassels1 introduced between the scallops1 for which1 a large knotted berry1 fig4 #eij1 over #ba cords1 has first to be made4 ,collect the #ba threads all together1 to begin with2 then make3 #b rows of knots over #ab threads1 #a over #ae1 #c over #ba1 #a over #ae and #b over #ab2 then cut the ends of the #ba threads to the same length1 and turn them inwards1 to fill up the hollow space inside the berry1 stuffing it besides1 if necessary1 with wadding to make it perfectly firm and hard and sewing it together at the ends4 ,to this you attach #e large and #f small pendants2 the smaller ones are begun with a ,chinese knot1 figs4 #fjg and #fji1 which terminates in a double chain1 formed into a ring knot4 ,illustration3 ,,fig4 #fji4 ,,small ,,pendant ,,of ,,the ,,tassels ,,in ,,fig4 #fjd4 ,illustration3 ,,fig4 #faj4 ,,large ,,pendant ,,of ,,the ,,tassels ,,in ,,fig4 #fjd4 ,these ring knots take the place1 in macram1 of bead drops1 in gimp trimmings2 when they are made of a double chain1 you cut away #c threads1 when of a single1 #a thread1 conceal the ends carefully inside the knot1 make a loop with the #dth or #bnd thread1 fig4 #fjh1 and lastly1 fasten off all the ends with two or three invisible stitches4 ,into the loop formed by the #dth thread1 you hang #c small ring knots1 made of a single chain1 with a loop1 top and bottom1 formed of the ends of the thread4 ,fig4 #fji represents the small pendant1 of which six are required for a tassel2 fig4 #faj1 the large one1 of which there should be five4 ,the berry1 or head of the tassel1 is attached to a crochet1 or knotted cord1 of which a description will be found in the last chapter but one of this work4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,insertion ,,in ,,embroidered ,,netting4--,,ornament ,,with ,,various ,,stitches4 ,netting4 ,netting is a handicraft1 so ancient that it would be difficult to trace it to its origin1 or determine the date of its invention4 ,there is evidence to show that the making of nets for fishing and game catching was as familiar to the earlier races of mankind as it is to us4 ,practised in the first instance for the wants of life1 it by degrees developed into an art1 in conjunction with embroidery1 to which it was made to serve as a foundation4 ,the netting of every country1 almost1 has a distinctive character of its own3 that of ,persia is known by its fine silken meshes and rich gold and silver embroidery2 that of ,italy1 by the varied size and shape of its meshes and a resemblance in the style of its embroidery to the ,punto tagliato2 whilst the netting of ,france1 known by the name of ,cluny guipure1 consists of a groundwork of fine meshes with stiff close designs embroidered upon it1 outlined in coarse glazed thread4 ,netting1 which divides itself under two headings1 netting proper1 or plain netting and net embroidery1 has never yet gone out of fashion and places are still to be found where the entire population is engaged in this industry4 ,,plain ,,netting ,,and ,,the ,,implements ,,used ,,in ,,netting 7figs4 #faa1 #fab1 #fac74--,plain netting consists of loops1 secured and rendered independent of one another by knots4 ,for forming and tightening these loops and knots the following implements are necessary2 in the first place1 a netting needle2 these are generally made of steel1 split and flattened at both ends1 with a hole bored through them below the fork at the one end1 in which the thread1 fig4 #faa1 is secured1 before it is wound on lengthwise between the forks4 ,they are numbered as to size like knitting needles4 ,there are netting needles likewise of bone1 ivory1 wood and tortoise-shell for twine and thick materials2 these are without hole1 fig4 #fab4 ,illustration3 ,,fig4 #faa4 ,,netting ,,needle ,,of ,,steel4 ,illustration3 ,,fig4 #fab4 ,,netting ,,needle ,,of ,,ivory4 ,the thread must be wound on very tightly1 and not too much of it at a time1 that the needle may slip easily through the loops4 ,the mesh1 or spool1 fig4 #fac1 whether of ivory1 bone1 steel or wood1 should be smooth and round and of the same thickness throughout1 so that the loops1 made upon it1 may be all of one size and easily slipped off4 ,illustration3 ,,fig4 #fac4 ,,mesh ,,or ,,spool ,,of ,,ivory4 ,for long loops a flat mesh is best1 and in all cases1 the needle and mesh should be selected with a view1 both to the material employed1 and the size of loop required4 ,in addition to these two implements1 a cushion1 weighted with lead will be required1 to pin the foundation loop to1 on which the first row of netting is worked4 ,,materials ,,suitable ,,for ,,netting4--,these1 of course depend on the purpose of the netting3 silk1 twine1 wool and cotton1 can all be used and each possesses its advantages and disadvantages4 ,silk has the finest gloss but when it is strongly twisted it is very apt to knot1 and when loosely twisted1 does not make firm knots4 ,it is difficult to get linen thread with a smooth uniform twist and moreover it soon frays in the working2 wool is too elastic a fibre and is unsuitable for washing purposes1 cotton remains therefore1 in every respect the most desirable material1 being both smooth and uniformly twisted2 as qualities1 more especially adapted for netting we may mention the following3 ,fil pointer ,d4,m4,c1 ,cordonnet #f fils ,d4,m4,c 7crochet cotton71 ,fil dentelle ,d4,m4,c 7lace thread71 and even ,coton tricoter ,d4,m4,c,a 7knitting cotton74 ,,netting ,,stitches4--,the loops are always the same--four-cornered whether they be square or oblong--and connected together1 though secured and rendered independent of one another by knots4 ,by different ways of passing the thread over the mesh and connecting the loops together1 the following stitches are produced3 #a plain loop1 #b double loop1 #c oblong loop1 #d honeycomb loop1 #e twisted loop4 ,illustration3 ,,fig4 #fad4 ,,first ,,position ,,of ,,the ,,hands4 #a ,,plain ,,loop4 ,,first ,,position ,,of ,,the ,,hands 7fig4 #fad74--;,every kind of netting requires a foundation loop1 from #aj to #bj c_/m4 long1 made either of ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #aj1 or ,fil pointer ,d4,m4,c ,no4 #aj;,a1 which is pinned to the cushion4 ,fasten the working thread to the foundation loop2 then take the mesh in the left hand1 holding it between the thumb and forefinger1 with the other fingers extended beneath4 ,take the needle filled with thread in the right hand and pass the thread downwards over the mesh and over the second1 third and fourth fingers1 inside1 carry it up behind the third finger and lay it to the left under the thumb by which it has to be held fast4 ,illustration3 ,,fig4 #fae4 ,,second ,,position ,,of ,,the ,,hands4 ,,second ,,and ,,third ,,position ,,of ,,the ,,hands 7figs4 #fae and #faf74--;,carry the thread down behind the second1 third1 fourth and fifth fingers1 and put the needle through the loop on the fingers and behind the mesh1 through the foundation loop1 thus forming a second loop1 which you hold back with the little finger of the left hand4 ,then gradually drawing up the thread that runs from the mesh1 let go the loop held down by the thumb2 then by degrees let go also1 the loop which lies over the second1 third and fourth fingers1 still holding the last loop fast with the little finger2 finally you release this too and pull up the knot thus formed close to the mesh with the right hand4 ,this completes the stitch4 ,the next stitches are made in the same way2 whether they are to serve for casting on or for a netted foundation4 ,the mesh is drawn out at the end of each row1 the work turned and the mesh held beneath the last row1 in readiness for the next1 in making which you pass your needle through each loop4 ,these diamond-shaped loops form a diagonal net4 ,illustration3 ,,fig4 #faf4 ,,third ,,position ,,of ,,the ,,hands4 #b ,,double ,,loop4--,to make a double loop put the thread two or three times round the mesh4 #c ,,oblong ,,loop4--,for oblong loops1 the knots must be made a little distance from the mesh4 #d ,,honeycomb ,,loop4--,make an oblong loop1 pass the thread round the fingers1 but not over the mesh as in plain netting1 put the needle1 not into the loop of the previous row1 but between the loop1 just made4 ,the knot which is made in the same way as in plain netting1 must be drawn close up to the mesh2 the two threads of the loop should lie side by side on the mesh4 ,the loops in honeycomb netting are six-sided4 #e ,,twisted ,,loops4--,pass the thread1 as in plain netting1 over the mesh and fingers1 but before letting the thread which is under the thumb go1 pass the needle from right to left under the loop you are making and the thread1 and only then draw up the knot4 ,although in netting the loops cannot be formed in as many different ways as in knitting or crochet1 they admit of a certain variety1 as the following explanations will show4 ,,patterns ,,produced ,,in ,,netting ,,by ,,using ,,meshes ,,of ,,different ,,widths4--,plain netting can be varied by making one row of loops over a large mesh and one over a small one1 or several rows over the large and several over the small1 alternately1 changing the meshes at regular intervals4 ,illustration3 ,,fig4 #fag4 ,,patterns ,,produced ,,in ,,netting ,,by ,,increasing ,,and ,,decreasing4 ,,patterns ,,produced ,,in ,,netting ,,by ,,increasing ,,and ,,decreasing 7fig4 #fag74--,patterns of this kind are made by netting the meshes together in regular sequence and taking up as many meshes as you have netted together1 or vice versa4 ,you may increase and decrease in the same rows1 or at an interval of so many rows4 ,illustration3 ,,fig4 #fah4 ,,loose ,,loops ,,in ,,clusters4 ,two sizes of thread should be used for this patterns4 ,to show the relation they should bear to one another1 we instance3 ,fil pointer ,d4,m4,c ,no4 #cj with ,fil dentelle ,d4,m4,c ,no4 #ej;,a1 or ,coton tricoter ,d4,m4,c ,nos4 #ad and #cj;,a1 with ,coton tricoter ,d4,m4,c ,no4 #ej;,a1 or ,coton repriser ,d4,m4,c ,no4 #be with ,no4 #ajj4;,a ,begin by #c rows of plain netting with the finer thread over the small mesh1 followed by one row with the coarser thread over the large mesh2 then1 with the coarse thread over the large mesh1 one row1 in which you net every two loops together and one row1 with two loops in every one1 so that the number of loops remains the same4 ,these are followed by #c rows of plain netting with the fine thread on the small mesh4 ,illustration3 ,,fig4 #fai4 ,,loose ,,loops ,,in ,,clusters4 ,,working ,,detail ,,of ,,fig4 #fah4 ,,loose ,,loops ,,in ,,clusters 7figs4 #fah and #fai74--,these clusters of loose loops are made in the following manner3 #ast row--one loop1 the knot of which must be a little distance from the mesh2 put the thread over the mesh and the needle through the loop where the knot is2 repeat this three or four times1 making the loops all of the same length4 ,then unite all the loops with one knot1 carrying the needle from right to left1 round the loops1 instead of putting it through the loop of the previous row4 #bnd row--make one loop over each loop of the first row1 leaving out the loops that form the cluster4 ,as may be gathered from the drawing1 many different patterns can be worked upon the netting in this manner4 ,illustration3 ,,fig4 #fbj4 ,,netting ,,composed ,,of ,,plain1 ,,double ,,and ,,oblong ,,loops4 ,,netting ,,composed ,,of ,,plain1 ,,double ,,and ,,oblong ,,loops 7fig4 #fbj74--,netting composed of large and small loops is the kind generally used as a groundwork for embroidery4 ,the loops of it are straight2 diamond netting will serve the same purpose1 but as it is less commonly used we have given the preference to the straight4 ,the whole first row consists of a double and a plain loop alternately2 the second1 entirely of oblong loops1 which are made by passing the thread only once over the mesh1 and so1 that in netting on the double loop1 the knot is brought close to the needle1 where as1 in netting the plain loop1 it hangs free2 so that1 as shown in fig4 #fbj1 all the loops of the #bnd row are of the same length4 ,in the #crd row1 which is like the first1 the plain loops should come between the small holes and the double ones between the large holes4 ,illustration3 ,,fig4 #fba4 ,,circular ,,netting ,,composed ,,of ,,long ,,and ,,short ,,loops4 ,,circular ,,netting ,,composed ,,of ,,long ,,and ,,short ,,loops 7fig4 #fba74--,make thirty or thirty one loops over a large mesh with a very stout material1 such as ,fil pointer ,d4,m4,c ,no4 #bj1 or a double thread of ,cordonnet #f fils ,d4,m4,c ,no4 #cj1 then draw up the thread on which the loops are strung1 as tightly as possible1 so as to form quite a small ring for the centre1 and fasten off4 ,for the next row1 also made in coarse thread1 fasten the thread on to a long loop and make one loop into each loop of the first row1 over a small mesh4 ,use the same mesh for all the subsequent rows1 which should be worked in a finer thread1 such as ,cordonnet #f fils ,d4,m4,c ,no4 #ej or #fj4 ,if you want to avoid fastening on the thread afresh for each row1 make a loop over the thumb4 ,,making ,,loops ,,over ,,the ,,thumb4--,put the thread1 as for a plain loop over the mesh and fingers1 and put the needle through the loop1 likewise as for a plain loop1 but before tightening the knot1 draw the mesh out of the loop just made and make it exactly as long as the loop above4 ,illustration3 ,,fig4 #fbb4 ,,circular ,,netting ,,formed ,,by ,,increases4 ,,circular ,,netting ,,formed ,,by ,,increases 7fig4 #fbb74--,make #aj loops on the foundation loop1 close the ring1 then go on1 making a row with one knot in the first loop and two knots in the second1 until the net attains the right circumference2 in the subsequent rows1 increase by one loop1 that is to say1 make two knots in each of the previous increases4 ,illustration3 ,,fig4 #fbc4 ,,square ,,of ,,netting4 ,,begun4 ,,square ,,of ,,netting 7figs4 #fbc and #fbd74--,to make squares of netting with straight loops1 begin by making two loops or three knots4 ,make two knots in each of the following rows so that each row is increased by one loop4 ,continue to increase until you have one loop more than the square should number4 ,illustration3 ,,fig4 #fbd4 ,,square ,,of ,,netting4 ,,completed4 ,following this row with the extra stitch1 make a row without either increase or intake and begin the intakes in the next row1 joining the two last loops of each row together by a knot4 ,finish the two last loops over the thumb4 ,illustration3 ,,fig4 #fbe4 ,,square ,,of ,,netting ,,begun ,,from ,,the ,,middle4 ,,begun4 ,illustration3 ,,fig4 #fbf4 ,,square ,,of ,,netting ,,begun ,,from ,,the ,,middle4 ,,completed4 ,,square ,,of ,,netting ,,begun ,,from ,,the ,,middle 7figs4 #fbe and #fbf74--;,instead of beginning a square from the corner1 in the manner just described1 it may be begun from the middle4 ,illustration3 ,,fig4 #fbg4 ,,stripe ,,of ,,straight ,,netting ,,edged ,,with ,,empty ,,loops4 ,cast on the required number of loops1 make an intake in each row1 by omitting to take up the last loop of a row4 ,in coming back1 your first knot will thus be made over the last loop but one of the previous row1 fig4 #fbe4 ,to complete the square1 fasten the thread on again1 to the end of the thread of the last row1 then make a similar to it1 and repeat the same rows you made at the beginning 7see fig4 #fbf74 ,illustration3 ,,fig4 #fbh4 ,,stripe ,,of ,,straight ,,netting4 ,,stripes ,,of ,,straight ,,netting 7figs4 #fbg and #fbh74--,these can be begun and finished in two ways4 ,the simplest way1 more especially when they are to be embroidered afterwards1 is to cast on the necessary number of loops1 to decrease on one side by dropping a loop1 fig4 #fbg1 or by joining two loops together with a knot1 fig4 #fbh1 and to increase on the other side1 by making two knots over one loop4 ,great care must be taken not to change the order of the intakes and increases1 as any mistake of the kind would break the lines of squares1 and interfere with the subsequent embroidery1 unless there happened to be more loops in the stripe than stitches in the pattern1 in which case the superfluous loops might be cut away when the embroidery is finished4 ,,straight ,,netting ,,with ,a ,,scalloped ,,edge 7fig4 #fbi74--,the second way of making stripes of straight netting is to begin by a square4 ,after making two loops on the foundation loop1 make rows with increases1 until you have the required number of loops4 ,then make an increase in every row to the left and leave the last loop empty in every row to the right4 ,continuing the increases on the left1 you net #d rows1 without increasing or decreasing on the right1 whilst in the next #d1 you again leave the outside loop empty4 ,illustration3 ,,fig4 #fbi4 ,,straight ,,netting ,,with ,a ,,scalloped ,,edge4 ,,square ,,frame ,,of ,,netting 7fig4 #fcj74--;,handkerchief1 counterpane and chair-back borders can be netted in one piece1 leaving an empty square in the centre4 ,after casting on the loops as for an ordinary square of netting1 letter a1 increase them to double the number required for the border4 ,thus1 for example1 if the border is to consist of #c squares1 you make #f loops1 then leave #c loops empty on the left and continue to work to the right and decrease to the left1 up to the dotted line from c to c4 ,after this you begin to decrease on the right and increase on the left1 up to the dotted line from e to e4 ,illustration3 ,,fig4 #fcj4 ,,square ,,frame ,,of ,,netting4 ,leaving the right side of the net1 you now fasten on the thread at c1 where the #c empty loops are1 and here you make your increases on the right side and your intakes on the left1 till you come to the corner1 from whence you decrease on the right and increase on the left1 up to letter g4 ,stop on the left side and then work from left to right1 passing over the row that is marked e4 ,the fourth corner1 letter b1 is worked like any other piece of straight netting1 with an intake in each row1 until there are only two loops left4 ,illustration3 ,,fig4 #fca4 ,,diagonal ,,netting ,,with ,,crossed ,,loops4 ,,original ,,size4 ,,materials--,for the netting3 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #cj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #dj4;,a ,for the darning stitches3 ,coton tricoter ,d4,m4,c ,nos4 #ab to #bj1 or ,coton repriser ,d4,m4,c ,nos4 #ab to #ej4;,a ,,diagonal ,,netting ,,with ,,crossed ,,loops 7figs4 #fca and #fcb74 ,to work this simple and effective pattern1 begin by making a stripe of plain netting1 #ad loops in width1 for the middle4 ,when it is long enough for your purpose1 take up all the loops on one side on a strong thread2 fasten the work to the cushion again and work #c rows1 along the other edge in the following manner4 #ast row--long loops1 to be made by the thread being passed thrice over the mesh4 #bnd row--here1 #c loops are so made as to cross each other1 that is1 you begin by putting your netting-needle at first into the #crd loop1 counting from left to right1 then into the #ast1 and lastly into the middle one of the three1 so that the right loop leans to the left and the left one to the right4 #crd row--one plain loop in each of the loops of the previous row4 ,you now1 draw out the thread1 run in on the other side1 and run it in through the loops last made1 in order to make #c rows again1 as above described1 on the bottom side4 ,illustration3 ,,fig4 #fcb4 ,,working ,,detail ,,of ,,fig4 #fca4 ,when this is done1 you begin the scallops1 composed of #ab knots or #aa loops1 or #ad loops and #ae knots net #e rows1 leaving the outside loops empty1 fig4 #fcb1 stop on the left and proceed with3 #f knots or #e plain loops1 #b or #c long loops with #c overs1 #c plain loops turn the work #c plain loops1 #c knots turn the work #b loops with #c overs1 #c knots turn the work #b plain loops1 #b knots turn the work cross #b or #c loops1 according to the number you crossed in the middle1 then carry the working thread to the middle of the long loops1 and connect them by #b knots pass the needle under the knot of the last long loop1 then1 on the right side net3 #c plain loops turn the work #c plain loops1 #c knots turn the work #b plain loops1 #b knots turn the work and continue the rows of plain netting until you have only #b loops left4 ,to reach the next scallop1 pass the netting-needle through each hole of the net and round each thread4 ,finish off the scallops with a row of plain netting1 made with a coarser thread than the foundation4 ,illustration3 ,,fig4 #fcc4 ,,netted ,,fringe4 ,,materials--,for the netting3 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #cj or ,fil pointer ,d4,m4,c ,no4 #cj4;,a ,for the fringes3 ,soutache ,d4,m4,c ,no4 #c or ,lacets superfins ,d4,m4,c ,no4 #d4;,a ,these netted edgings are generally made in unbleached cotton1 because the patterns afterwards embroidered upon them in coarse1 white knitting or darning cotton1 show best upon it4 ,the thread for this purpose should be used double1 and the pattern worked in darning stitches1 made over #h squares of the netting2 the #hth knot is then encircled by a loop and the thread carried down over #h squares and a loop again made round the #hth knot4 ,after making #d rows of stitches on the netting1 cut #c bars between the rows of white stitches4 ,the row of openwork produced in this way has a very good effect and greatly improves the look of the lace4 ,,netted ,,fringe 7fig4 #fcc74--,plain netting1 pretty as it is1 looks rather poor1 unless ornamented with embroidery of some kind4 ,the double netting1 illustrated in fig4 #fcc1 will prove a welcome novelty4 ,the footing is worked in crochet1 with braid1 secured on both sides by chain stitches4 ,into every fourth of these chain stitches1 net one loop1 missing the #c between4 ,at the end of the row1 turn the work and make the knot in the middle of the #c chain stitches1 so that the #b loops of netting cross each other4 ,in the second1 or rather the third row1 the knots are again made first into the front loops1 into those of the first row that is2 in the fourth row1 into those of the second row4 ,when the stripe is sufficiently wide1 finish it off with tassels1 made of ,soutache ,d4,m4,c ,no4 #c4 ,instead of tying up the lengths of braid with a thread1 twisted round them and fastened off with a stitch1 make #b looped knots round them with an end of the braid1 where the neck of the tassel should come4 ,illustration3 ,,fig4 #fcd4 ,,wire ,,frame ,,for ,,embroidered ,,netting4 ,,embroidered ,,netting4--,embroidered netting1 also known as ,filet ,guipure1 ,cluny ,guipure1 and ,richelieu ,guipure1 is a netted ground1 with patterns of one kind or another1 worked upon it in a variety of stitches4 ,,implements ,,required ,,for ,,embroidered ,,netting4--,besides scissors1 needles and thread1 a light steel frame is the only thing required1 and this renders embroidered netting very popular4 ,the needles should be long1 and blunt2 those called saddlers needles are the best4 ,,wire ,,frame ,,for ,,embroidered ,,netting 7fig4 #fcd74--,the frame on which the net is stretched should be made of strong iron wire1 that will not bend in the using4 ,in shape1 it may be square or oblong1 according to whether squares or edgings are to be made upon it1 but the sides must be straight1 so that the net can be evenly stretched4 ,illustration3 ,,fig4 #fce4 ,,mounting ,,the ,,netting ,,on ,,the ,,frame4 ,this wire frame must be covered1 first with wadding or tow1 as shown in fig4 #fcd1 and then with silk ribbon1 which must be wound tightly round it1 and more particularly at the corners1 very closely1 so that it may be quite firm and not twist about when the netting is sewn in4 ,the ends of the ribbon should be secured by two or three stitches4 ,illustration3 ,,fig4 #fcf4 ,,mounting ,,the ,,netting ,,on ,,the ,,frame ,,with ,,an ,,auxiliary ,,tape4 ,,mounting ,,the ,,netting ,,on ,,the ,,frame 7fig4 #fce74--,when the netting is exactly the size of the inside of the frame1 it need only be secured to it with overcasting stitches1 set very closely at the corners4 ,,mounting ,,the ,,netting ,,on ,,the ,,frame ,,with ,,an ,,auxiliary ,,tape 7fig4 #fcf74--,when the netting1 is smaller1 the space between it and the frame1 must be filled up with strong very evenly woven1 linen tape1 sewn on all round the netting4 ,the tape must be very tightly held in the sewing1 so that it even forms little gathers all round2 this will help you to stretch the netting in mounting it without injuring it1 and is especially necessary when the netting is not quite evenly made4 ,fig4 #fcf shows how the tape is sewn on1 the fold that has to be made at the corners1 and the way to fix the netting into the frame4 ,long stripes or large pieces of work1 can be mounted on waxcloth1 but we cannot recommend shortening the preparatory work in this manner1 as the squares of netting are never so regular as when they are made in a frame4 ,,materials ,,for ,,embroidered ,,netting4--,thick threads with a strong twist are the best for darned1 or embroidered netting1 such as ,cordonnet #f fils ,d4,m4,c,a 7crochet cotton71 or ,fil dentelle ,d4,m4,c,a 7lace thread74 ,there are however certain old kinds of embroidered netting made in soft loose silk1 for imitating which it is best to use1 ,coton repriser ,d4,m4,c,a that being quite the best substitute for the original material4 ,,the ,,stitches ,,used ,,for ,,embroidered ,,netting4--,these are so multifarious and admit of so many different combinations1 that not a few of them seeing that be quite new to our readers1 willsome we have never yet come across in any book on the subject that has come under our notice4 ,,ordinary ,,darning ,,stitch 7fig4 #fcg74--,the simplest stitch of all for covering a netted ground is the ordinary darning stitch2 drawing the thread1 that is to say1 in and out of the number of squares1 prescribed by the pattern1 and backwards and forwards as many times as is necessary to fill them up4 ,illustration3 ,,fig4 #fcg4 ,,ordinary ,,darning ,,stitch4 ,illustration3 ,,fig4 #fch4 ,,linen ,,stitch4 ,,first ,,stitches4 ,the number of stitches depends1 to a certain extent1 on the material employed2 with ,coton broder ,d4,m4,c for example1 you will have to make more stitches than with one of the coarser numbers of ,coton repriser ,d4,m4,c4 ,this is the stitch generally used for reproducing a cross stitch pattern on a netted ground and is especially to be recommended for covering large surfaces1 curtains1 counterpanes and so forth1 as it is quickly done and shows up the pattern well4 ,illustration3 ,,fig4 #fci4 ,,linen ,,stitch4 ,,second ,,stitches4 ,illustration3 ,,fig4 #fdj4 ,,linen ,,stitch4 ,,formation ,,of ,,the ,,corners4 ,,linen ,,stitch 7figs4 #fch and #fci74--,this is the stitch most often met with in the old embroideries1 it being the one the solid parts of the leaves and flowers1 and the borders are generally worked in4 ,fasten on the thread to a knot of the netting and carry it twice to and fro1 over and under the threads of the netting1 so that at the end of the row1 every second thread passes under and over the thread of the netting1 as it is carried upwards again4 ,this constitutes the first layer of threads1 the second completes the linen stitch and is made in the same way1 only across the first1 alternately taking up and missing a thread as is done1 in darning4 ,the thread may also be carried both ways over the threads of the squares4 ,in this case you must draw an uneven number of threads through the squares1 otherwise the crossing of the threads will be irregular in the last square4 ,,linen ,,stitch4 ,,formation ,,of ,,the ,,corners 7fig4 #fdj74--,when linen stitch is used for the border of a pattern1 and a corner has to be formed1 you begin by carrying the threads over a given number of squares4 ,this first layer1 especially in the case of long stripes1 must be kept very slack1 and to ensure the threads being all of the same length1 lay a fine mesh or a thick knitting needle at one end and stretch the threads over it4 ,after carrying the second layer across a few squares1 take away the mesh or needle4 ,the threads of the first layer become gradually shorter1 from the passage of the cross threads in and out between them1 and end by being just long enough to prevent the last embroidered squares from being too tightly stretched4 ,on reaching the corner1 you cross the threads of the next row1 as shown in fig4 #fdj4 ,the first threads of the second side form the foundation of the corner square2 from the second corner square you pass to the third2 from the third to the fourth1 carrying your thread alternately over and under the threads that were stretched for the first corner4 ,,loop ,,stitch 7,,point ,d',,esprit7 7figs4 #fda and #fdb74--,this is a light open stitch1 chiefly used for making a less transparent foundation than plain netting4 ,fasten the thread to the middle of one bar of the netting1 then make a loose loop to the middle of the top bar of the same square1 fig4 #fda1 by carrying the thread1 from left to right1 over one vertical and one horizontal bar of the net and inserting the needle downwards from above under the bar and in front of the working thread4 ,for the second row back1 also represented in fig4 #fda1 you draw the needle through1 underneath the bar above the loop stitch and make the loop upwards from below2 in doing this the working thread must lie to the left1 in front of the needle4 ,fig4 #fdb shows how to join the rows and pass the needle through the stitches of the preceding row4 ,illustration3 ,,fig4 #fda4 ,,loop ,,stitch4 #a,,st ,,and #b,,nd ,,course ,,of ,,the ,,thread4 ,illustration3 ,,fig4 #fdb4 ,,loop ,,stitch4 ,,several ,,rows ,,completed4 ,illustration3 ,,fig4 #fdc4 ,,star ,,formed ,,of ,,loose ,,threads ,,laying ,,the ,,underneath ,,threads4 ,illustration3 ,,fig4 #fdd4 ,,star ,,formed ,,of ,,loose ,,threads4 ,,laying ,,the ,,upper ,,threads4 ,,star ,,composed ,,of ,,loose ,,threads 7figs4 #fdc1 #fdd1 #fde74--,this star covers #af squares of netting4 ,fasten the thread to the middle knot of the #af squares1 then carry it diagonally over #d squares1 three times from left to right under a knot of the foundation and three times from right to left4 ,in this way1 the bottom rays of the star are formed4 ,for the stitches that complete the figure1 you start from the middle and following the direction of the little arrow in the illustration1 you cover the netting with #c horizontal and #c vertical threads1 carried over #d squares4 ,when you have laid the vertical threads1 slip the needle #d or #e times round in a circle1 under the diagonal and over the straight threads1 but always over the bars of the netting4 ,this completes the star1 as it is represented in fig4 #fde4 ,care must be taken to make the stitches lie quite flat side by side1 and not one on the top of the other4 ,illustration3 ,,fig4 #fde4 ,,star ,,formed ,,of ,,loose ,,threads4 ,,finished4 ,,darning ,,stitch 7,,point ,,de ,,reprise7 7figs4 #fdf and #fdg74--,little flowers and leaves are generally executed in this stitch2 the first course of the thread is shown in fig4 #fdf4 ,leaves can be made with one1 two or three veins4 ,carry the needle1 invariably from the middle1 first to the right and then to the left1 under the threads of the foundation and push the stitches close together1 as they are made1 with the point of your needle4 ,this you will be able to do most easily by holding the work so as to make the stitches towards you4 ,illustration3 ,,fig4 #fdf4 ,,leaves ,,worked ,,in ,,darning ,,stitch4 ,,begun4 ,illustration3 ,,fig4 #fdg4 ,,leaves ,,worked ,,in ,,darning ,,stitch4 ,,completed4 ,for a leaf with only one division or vein1 like the left leaf in fig4 #fdf1 merely run the needle through the middle of the threads1 whereas for a leaf with two or three veins1 you must run it1 over and under1 either one1 or two threads 7see the right leaf in fig4 #fdf74 ,in working leaves of this kind in darning stitch1 you must draw your stitches at the top and bottom of the leaf rather tighter than in the middle1 so as to give them the proper shape4 ,if you wish to make them very slender at the bottom1 you can finish them off with a few overcasting stitches4 ,fig4 #fdg represents two leaves completed1 one with one vein and the other1 with two4 ,,pointed ,,scallops ,,in ,,darning ,,stitch 7fig4 #fdh74--,the simplest way to work these scallops is to carry a thread1 as shown in the illustration1 to and fro over the square1 from the knot in one corner to the middle of the bar above and downwards to the opposite knot1 round which the thread is carried and passed upwards again to the middle4 ,as the scallop must always be begun from the top1 you will have1 two foundation threads on one side and three on the other4 ,here likewise1 you must push the threads as closely together as possible with the needle4 ,illustration3 ,,fig4 #fdh4 ,,pointed ,,scallops ,,in ,,darning ,,stitch4 ,illustration3 ,,fig4 #fdi4 ,,pointed ,,scallops ,,in ,,button-,,hole ,,stitch4 ,,pointed ,,scallops ,,in ,,button-,,hole ,,stitch 7fig4 #fdi74--;,another quite as pretty and easy way of working pointed scallops on a netted foundation is by making two button-hole stitches before crossing to the opposite side4 ,as shown in the foregoing illustration1 you begin by stretching single or double foundation threads across2 then beginning at the point1 you make1 alternately right and left1 #b button-hole stitches over the foundation threads1 so that the working thread is only carried across to the opposite side after every second stitch4 ,,veined ,,pointed ,,scallops 7fig4 #fej74--;,a third way of making pointed scallops is by first stretching a thread to and fro across the middle of the square1 after which you slip the needle from left to right under the middle thread1 and underneath the left bar from above4 ,then you carry the needle1 from right to left1 over the foundation thread and under the right bar and so on4 ,the one thread must be drawn tightly round the other1 in order that the stitches may form close and evenly shaped veins1 like small cords1 on the wrong side of the scallop4 ,there must be enough stitches to completely cover the foundation thread that crosses the middle of the square4 ,illustration3 ,,fig4 #fej4 ,,veined ,,pointed ,,scallops4 ,illustration3 ,,fig4 #fea4 ,,pointed ,,scallops ,,in ,,venetian ,,stitch4 ,,pointed ,,scallops ,,in ,,venetian ,,stitch 7fig4 #fea74--,the prettiest scallops of all are those worked in ,venetian stitch4 ,you begin1 by making from #h to #aj button-hole stitches over one bar of the netting1 then you work on with the same stitch backwards and forwards1 making one stitch less in each row1 until you come to the one which forms the point of the scallop and is fastened to the bar above2 you carry the working thread back on the wrong side to the lower bar1 and then under the button-hole stitches to the next square of the netting4 ,scallops worked in this manner1 can be overcast round the edges in the way described further on1 in fig4 #ffj4 ,,wheels ,,embroidered ,,on ,,netting 7figs4 #feb and #fec74--,to make wheels or spiders1 as they are also called1 you have first to fasten the thread to the middle knot of four squares1 thence you carry it diagonally right and left1 fig4 #feb1 right detail1 across the empty squares of netting and the knot1 and return to the middle1 overcasting your first thread by the way1 so as to form a closely twisted cord4 ,this is called cording a thread4 ,having reached the centre1 carry the working thread round and round1 under and over the corded threads and under the bars of the netting till the wheel covers half the bars4 ,illustration3 ,,fig4 #feb4 ,,laying ,,the ,,threads ,,for ,a ,,wheel ,,and ,,beginning ,,of ,,the ,,wheel4 ,illustration3 ,,fig4 #fec4 ,,wheels ,,worked ,,in ,,two ,,ways4 ,fig4 #fec shows1 on the right1 a finished wheel1 and on the left1 another way in which it can be made1 and indicates the course of the thread over and under the lines1 as in a darn4 ,these details show also how1 when the foundation thread of the wheel starts from a corner1 it is left single in the first square until the wheel is finished2 then the needle is slipped back along the little spoke1 opposite to the single thread1 and through the wheel1 and the single thread is corded like the others4 ,illustration3 ,,fig4 #fed4 ,,ribbed ,,wheels4 ,illustration3 ,,fig4 #fee4 ,,ribbed ,,squares ,,or ,,lozenges4 ,,ribbed ,,wheels 7fig4 #fed74--,make the foundation of the wheels as before1 over #h threads4 ,to form the ribs at the back of the wheels1 see fig4 #fed2 make a back stitch1 on the right side1 over a bar of the netting1 and carry on the needle under one bar1 so that the thread that lies outside always crosses #b bars of the netting4 ,in this case you must make circles of thread enough1 to cover the bars completely1 not half1 as before4 ,the same stitches1 as fig4 #fed shows1 can be made on either side of the embroidery1 and so as to form1 either a square or a lozenge 7see fig4 #fee74 ,illustration3 ,,fig4 #fef4 ,,wheels ,,set ,,with ,,button-,,holing4 ,,wheels ,,set ,,with ,,button-,,holing 7fig4 #fef74--;,a very pretty lace-like effect is produced by encircling the wheels in large squares of netting with a double setting of stitches4 ,the left detail of fig4 #fef shows how the thread1 having been passed under the wheel and twisted once round the single thread1 is carried all round the square and forms #h loops4 ,the arrow shows the way in which the loops are taken up1 and the first ring of stitches round the wheel is finished4 ,the second detail of the same figure explains the course the thread1 that forms the second ring1 has to take through the loops and between the bars2 whilst the white line shows the passage of the thread over the second ring4 ,the third detail represents a wheel1 completed4 ,illustration3 ,,fig4 #feg4 ,,star ,,with ,,one-,,sided ,,button-,,hole ,,stitches4 ,,star ,,with ,,one-,,sided ,,button-,,hole ,,stitches 7fig4 #feg74--,the pattern represented in fig4 #feg1 is the quickest to work that we know of4 ,two button-hole stitches made upon the outside bar of a square and a simple crossing of the thread at the bottom1 produce elongated triangles which should always be begun from the knot4 ,two triangles stand exactly opposite to each other in one square1 and the square that comes in the middle of the four thus filled1 is ornamented with a small wheel4 ,illustration3 ,,fig4 #feh4 ,,rounded ,,corners ,,on ,,netting4 ,illustration3 ,,fig4 #fei4 ,,linen ,,stitch ,,set ,,with ,,darning ,,stitch4 ,illustration3 ,,fig4 #ffj4 ,,linen ,,stitch ,,set ,,with ,,cord ,,stitch4 ,,rounded ,,corners ,,of ,,netting 7fig4 #feh74--;,darning stitches1 made over a thread carried diagonally across one square and the adjacent corners of that and two other squares1 produce the figure illustrated in fig4 #feh4 ,the accompanying detail shows the mode of working4 ,the number of stitches depends on the material you use2 there should be no more than can lie quite flat1 side by side1 on the diagonal thread4 ,,linen ,,stitch1 ,,set ,,with ,,darning ,,stitch 7fig4 #fei74--,there are some patterns it would hardly be possible to work on netting unless you could soften the outlines by darning stitches1 as shown in the foregoing figure4 ,when employed as a setting to linen stitch1 there should be fewer than in fig4 #feh2 you may also1 instead of interrupting them at every corner1 carry them all round a square1 7see the right detail of the figure74 ,,linen ,,stitch ,,set ,,with ,,cord ,,stitch 7fig4 #ffj74--,many figures are also either corded or edged with twisted thread2 both ways are represented in the illustration4 ,in the latter case you can use the same thread as for the linen stitch1 or if you wish the setting to be very pronounced1 a thicker one4 ,for instance1 if the netting be made of ,cordonnet #f fils ,d4,m4,c ,no4 #be;,a we recommend ,fil pointer ,d4,m4,c ,no4 #ae or #bj;,a for the setting4 ,this difference of material is especially noticeable in the old ,cluny ,guipure1 where the figures worked in linen stitch are edged with a thread like a cord4 ,but if the linen stitch be bound with cord stitch1 the same thread must be used for it1 as for the foundation4 ,a soft material1 like ,coton repriser1 makes the best padding for the overcasting stitches4 ,illustration3 ,,fig4 #ffa4 ,,flower ,,in ,,dot ,,stitch ,,on ,a ,,foundation ,,of ,,linen ,,stitch4 ,,flower ,,in ,,dot ,,stitch ,,on ,a ,,foundation ,,of ,,linen ,,stitch 7fig4 #ffa74--,with the help of this stitch1 which is described in the chapter on white embroidery and represented in fig4 #agi1 a great variety of little supplementary ornaments can be made1 on every description of netted ground4 ,illustration3 ,,fig4 #ffb4 ,,bordering ,,in ,,button-,,hole ,,stitch4 ,,bordering ,,in ,,button-,,hole ,,stitch 7fig4 #ffb74--,scalloped edges in netting should be button-holed2 #b or #c padding threads should be run in first1 following the bars of the netting1 over which the button-holing is done2 the bars of the netting must not be cut away until the edge be finished4 ,,cut ,,work ,,in ,,embroidered ,,netting 7fig4 #ffc74--;,cut work here means half covering the bars of the netting with button-hole stitches and half cutting them away with scissors4 ,the inner bars are frequently ornamented with a double button-hole edging and knotted picots1 see figs4 #fih and #fii in the next chapter4 ,you slightly separate the stitches of the first row of button-holing so as to be able to introduce the thread of the second row between them4 ,illustration3 ,,fig4 #ffc4 ,,cut ,,work ,,in ,,embroidered ,,netting4 ,illustration3 ,,fig4 #ffd4 ,,straight ,,loop ,,stitch4 ,,straight ,,loop ,,stitch 7fig4 #ffd74--;,in the first row you carry the thread over one bar and slip it through behind a knot2 in the second you do the same thing1 only that above1 your needle will pass under #c threads1 two of them the threads of the loop of the first row and the third a bar of the net4 ,in every square #d threads cross each other4 ,illustration3 ,,fig4 #ffe4 ,,waved ,,stitch4 ,,waved ,,stitch 7fig4 #ffe74--,this stitch1 which forms a close waved ground1 is produced by passing the thread in each row of the netting over a square and behind a knot4 ,when the pattern admits of it1 as it mostly does1 a considerably thicker thread is used for this stitch and for the stitches represented in figs4 #ffg1 #ffh1 #ffi and #fgj1 than that in which the netting is made4 ,when the netted ground is of ,fil dentelle ,d4,m4,c ,no4 #ej1;,a the embroidery upon it may very well be done in ,cordonnet #f fils4 ,d4,m4,c ,no4 #aj;,a1 or ,fil pointer ,d4,m4,c ,no4 #cj4;,a ,,intersected ,,loop ,,stitch 7fig4 #fff74--;,begin by covering the whole surface to be embroidered with plain loop stitches1 then stretch threads diagonally across the squares of the netting and the loop stitches2 one set of threads running over the stitches and under the knots of the netting1 the other under the first and second threads of the loop stitches and over the first crossed threads and the knots4 ,the laying and stretching of these threads must1 it is hardly necessary to say1 be systematically and regularly done4 ,illustration3 ,,fig4 #fff4 ,,intersected ,,loop ,,stitch4 ,,ground ,,worked ,,in ,,horizontal ,,lines 7fig4 #ffg74--,make half cross stitches over #d squares of netting1 by passing the thread alternately over and under #c knots1 and under #c squares of the netting4 ,in the second row1 cross the threads over those of the first row1 as is shown in our engraving4 ,,ground ,,worked ,,in ,,stitches ,,placed ,,one ,,above ,,the ,,other 7fig4 #ffh74--;,cover a whole row of squares with cross stitches and leave #c rows of squares empty4 ,when you have a sufficient number of rows of cross stitches1 take a long needle and pass it upwards from below1 and from right to left1 under the two bars of the third upper square2 then pass downwards to the first square of the #c bottom rows and under the bars from right to left1 so as again to leave #c squares between the fresh stitches4 ,the next row of stitches is made in the same manner1 so that the stitches are not only set contrary ways but reciprocally cover each other4 ,,latticed ,,ground 7fig4 #ffi74--;,begin by running the thread1 to and fro1 under two vertical bars and over three horizontal ones4 ,when the ground is entirely covered1 carry your thread from right to left1 under the bars over which the first rows of threads are crossed2 then take it over the long crosses1 that correspond to #e squares of netting1 and pass it in the same line under the bars of the netting4 ,in coming back1 the long stitches cross each other over the stitches of the first rows4 ,illustration3 ,,fig4 #ffg4 ,,ground ,,worked ,,in ,,horizontal ,,lines4 ,illustration3 ,,fig4 #ffh4 ,,ground ,,worked ,,in ,,stitches ,,placed ,,one ,,above ,,the ,,other4 ,illustration3 ,,fig4 #ffi4 ,,latticed ,,ground4 ,illustration3 ,,fig4 #fgj4 ,,ground ,,worked ,,in ,,russian ,,stitch4 ,,ground ,,worked ,,in ,,russian ,,stitch 7fig4 #fgj74--,pass the thread from left to right1 under a bar of the netting1 carry it downwards over #d squares and pass it again1 from left to right1 under the bar1 then upwards1 again over #d squares of netting and so on4 ,the stitches of the next rows are made in the same manner2 you have only to see that the loops formed by the stitches all come on the same line of knots4 ,,ground ,,worked ,,in ,,two ,,sizes ,,of ,,thread 7fig4 #fga74--;,herewith begins the series of stitches1 referred to at the beginning of the chapter1 copied in part from one of the oldest and most curious pieces of embroidered netting we have ever met with4 ,the copies were worked with ,cordonnet #f fils ,d4,m4,c ,no4 #be and cru ,fil dentelle ,d4,m4,c ,no4 #gj;,a2 the former being used for the darning and the almond-shaped stitches between2 the latter for the button-hole stitches4 ,wherever two sizes of thread are used for one pattern1 all the stitches in the coarse thread should be put in first and those in the fine1 last4 ,illustration3 ,,fig4 #fga4 ,,ground ,,worked ,,in ,,two ,,sizes ,,of ,,thread4 ,,ground ,,with ,,wheels ,,and ,,loop ,,stitch 7fig4 #fgb74--,you begin with the coarse thread and finish all the wheels first1 making them each over #d threads of the netting2 then with the fine thread1 you make loop stitches between them1 in rows1 as shown in figs4 #fda and #fdb4 ,,ground ,,worked ,,in ,,darning ,,and ,,loop ,,stitch 7fig4 #fgc74--,the darning stitches are made in the coarse thread1 over #d squares of the netting1 in a horizontal direction1 with loop stitches1 in the fine thread1 made between them1 over the same number of squares4 ,illustration3 ,,fig4 #fgb4 ,,ground ,,with ,,wheels ,,and ,,loop ,,stitch4 ,,ground ,,worked ,,in ,,two ,,sizes ,,of ,,thread 7fig4 #fgd74--;,carry the coarse thread1 from right to left1 under the first knot of the netting1 and then under the next1 from left to right4 ,this has to be done twice1 to and fro1 so that the squares of the netting are edged on both sides with a double layer of threads4 ,when the whole foundation has been thus covered1 take the fine thread and make loop stitches in the squares between the other rows of stitches1 passing the needle for that purpose over the double stitch4 ,lastly1 intersect the loop stitches with straight threads and pass the needle each time through the knot of the netting4 ,illustration3 ,,fig4 #fgc4 ,,ground ,,worked ,,in ,,darning ,,and ,,loop ,,stitch4 ,illustration3 ,,fig4 #fgd4 ,,ground ,,worked ,,in ,,two ,,sizes ,,of ,,thread4 ,illustration3 ,,fig4 #fge4 ,,ground ,,worked ,,with ,,cross ,,stitches ,,in ,,one ,,size ,,of ,,thread4 ,,ground ,,worked ,,with ,,cross ,,stitches ,,in ,,one ,,size ,,of ,,thread 7fig4 #fge74--,this pattern1 very like the foregoing one1 consists of #c diagonal rows of stitches1 worked to and fro1 with cross stitches made over them4 ,you may also begin with the cross stitches1 in the fine thread1 and work the triple stitches over them1 in the coarse4 ,,ground ,,worked ,,with ,,darning ,,and ,,cord ,,stitches 7fig4 #fgf74--,patterns1 executed chiefly in darning stitches1 in a comparatively coarse thread1 present a closer and heavier appearance than those we have been describing4 ,here1 every other square of the netting is filled1 as closely as possible1 with stitches2 the empty squares between are intersected diagonally with corded threads4 ,illustration3 ,,fig4 #fgf4 ,,ground ,,worked ,,with ,,darning ,,and ,,cord ,,stitches4 ,illustration3 ,,fig4 #fgg4 ,,ground ,,worked ,,with ,,squares ,,and ,,wheels4 ,illustration3 ,,fig4 #fgh4 ,,ground ,,worked ,,with ,,squares ,,and ,,wheels4 ,,ground ,,worked ,,with ,,squares ,,and ,,wheels 7figs4 #fgg1 #fgh1 #fgi74--;,a ground very often met with in old embroidered netting1 consists of diagonal lines of squares1 closely filled with darning stitches1 alternating with diagonal lines of squares1 each with a small wheel in the middle4 ,in fig4 #fgh1 the darning stitches1 and the wheels1 which are both worked with the same material1 cover #d squares of the netting4 ,larger expanses of netting may also be entirely filled with wheels1 fig4 #fgi4 ,to make a really satisfactory grounding of this kind1 you should be careful always to carry your thread over the bars of the netting and under the threads that are stretched diagonally across4 ,,ground ,,worked ,,in ,,cross ,,and ,,darning ,,stitch 7fig4 #fhj74--,you begin1 as before1 by making the close darning stitches1 and then proceed to the cross stitches4 ,to give them the right shape1 finish all the rows of stitches one way first2 in the subsequent rows1 that cross the first ones1 you introduce the thread between the stitches that were first crossed4 ,illustration3 ,,fig4 #fgi4 ,,ground ,,with ,,large ,,wheels4 ,,ground ,,of ,,geometrical ,,figures 7fig4 #fha74--,this pattern1 quite different from all the others1 consists of simple geometrical lines4 ,fasten the thread to a knot of the netting1 then carry it1 always diagonally1 under #c other knots and repeat this #c times1 after which1 carry it once round the bar of the netting1 to fasten it1 and back again to the knot which it already encircles1 and from thence begin a new square4 ,owing to your having always to bring the thread back to the knot whence the next square is to begin1 you will have #d threads on two of the sides and #f on the two others4 ,illustration3 ,,fig4 #fhj4 ,,ground ,,worked ,,in ,,cross ,,and ,,darning ,,stitch4 ,in the second and subsequent rows1 the needle has to pass twice under the angles that were first formed1 in order that1 over the whole surface1 all the corners may be equally covered and connected4 ,,netted ,,insertion ,,worked ,,in ,,plain ,,darning ,,stitch 7fig4 #fhb74--,the taste for ornamenting not only curtains but bed and table linen also1 with lace and insertion of all kinds1 to break the monotony of the large white surfaces1 is becoming more and more general and the insertion here described will be welcome to such of our readers as have neither time nor patience for work of a more elaborate nature4 ,the way to make straight netting has already been fully described in figs4 #fbe1 #fbf1 #fbg1 #fbh1 #fbi and #fcj1 and darning stitch in fig4 #fcg4 ,to those who wish to be saved the trouble of making the netting themselves1 we can strongly recommend various fabrics1 intended to take its place1 more especially ,filet ,canevas1 which is an exact imitation of the finest hand-made netting4 ,the centre part of the pattern in fig4 #fhb1 is worked in rows of horizontal darning stitches1 the narrow border in vertical ones4 ,illustration3 ,,fig4 #fha4 ,,ground ,,of ,,geometrical ,,figures4 ,illustration3 ,,fig4 #fhb4 ,,netted ,,insertion ,,worked ,,in ,,plain ,,darning ,,stitch4 ,,materials--,for the netting3 ,cordonnet #f fils ,d4,m4,c ,no4 #be4--;,for the darning stitch3 ,coton broder ,d4,m4,c ,no4 #be1 or ,coton repriser ,d4,m4,c ,nos4 #ab to #ej1 white or cru4,a ,illustration3 ,,fig4 #fhc4 ,,embroidered ,,ground ,,of ,,netting4 ,,materials--,for the netting3 ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4 ,for the darning stitch3 ,cordonnet #f fils ,d4,m4,c ,no4 #ae1 or ,fil pointer ,d4,m4,c ,no4 #cj4--;,for the loop stitch3 ,fil dentelle ,d4,m4,c or ,cordonnet #f fils ,d4,m4,c according to the size of the netting thread4 ,,ground ,,of ,,netting ,,embroidered 7fig4 #fhc74--,we have already had occasion1 in the foregoing explanations1 to point out the advantage of embroidering with two sizes of thread1 but it is only in a piece of work of a certain size that it is possible really to judge of the excellent effect produced by the use of two threads of different sizes4 ,the principal lines of the pattern1 which are in darning stitch1 are worked in a very coarse thread with a strong twist1 ,fil pointer ,d4,m4,c1 whilst the loop stitches are in ,cordonnet #f fils ,d4,m4,c4 ,our model was worked in cru thread but there is nothing to prevent several colours being introduced1 for instance cru1 black or ,gris-,ficelle #dfb for the netted foundation2 ,rouge-,cardinal #cdf1 for the darning stitches1 and ,chin d'or ,d4,m4,c green and gold or blue and gold1 for the loop stitches and the threads that are carried across inside4 ,illustration3 ,,fig4 #fhd4 ,,embroidered ,,square ,,of ,,netting4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #cj1 or ,fil dentelle ,d4,m4,c ,nos4 #ae to #dj1 white or cru4,a ,,embroidered ,,square ,,of ,,netting ,,with ,,two ,,kinds ,,of ,,lace ,,suitable ,,for ,,the ,,border 7figs4 #fhd1 #fhe1 #fhf74--,large pieces of embroidered netting are generally made up of squares and stripes1 joined together with ribbon and fine linen insertions4 ,it is easier and less cumbrous to make the netting in separate pieces4 ,squares of different patterns can also be combined with crochet and pillow lace1 in this case of course the squares have to be arranged with some system4 ,fig4 #fhe represents a lace edging intended for the square fig4 #fhd1 which shows how even in such a simple pattern as this1 several colours may be successfully introduced4 ,fig4 #fhf is a handsomer and more elaborate pattern for the same kind of purpose4 ,the loop stitches and the linen stitches should be worked in a very light shade2 instead of the colour indicated at the foot of the engraving1 ,rouge-,granium #cec1 ,violet-,mauve #cgg or ,jaune-,rouille #cfe may be used2 for the netting and the loop stitches you may combine1 with the first shade1 two shades of ,brun-,caroubier #cjc and #ceg1 with the second1 two shades of ,jaune-vieil ,or #fgh and #fhj and with the third1 two shades of ,rouge-,cardinal #cdf and #cdh4 ,illustration3 ,,fig4 #fhe4 ,,lace ,,edging ,,for ,,the ,,square1 ,,fig4 #fhd4 ,,materials3 ,the same as for fig4 #fhd1 and ,or fin ,d4,m4,c pour la broderie ,no4 #cj4 ,,colours--,for the netting and the loop stitch3 ,white or cru4--,for the darning stitch3 ,brun-,caroubier #cjc and ,rouge-,grenat #cce4;,a ,illustration3 ,,fig4 #fhf4 ,,lace ,,edging4 ,,materials3 ,the same as for #fhd4 ,,colours--,for the netting3 cru4--,for the ground in loop and linen stitch3 ,bleu ple #ffh4--;,for the bars in darning stitch3 ,gris-,tilleul #cia and #cic4;,a ,,pattern ,,for ,,ground 7fig4 #fhg74--,the peculiar charm of this most unpretending pattern is chiefly due to the variety of material and colour introduced into it4 ,the netted ground is made of dark brown ,cordonnet #f fils ,d4,m4,c ,no4 #be1 worked over1 in the first instance1 with loop stitches in a pale grey1 which are afterwards connected by darning stitches in ,coton repriser ,gris-,tilleul #cib4 ,illustration3 ,,fig4 #fhg4 ,,pattern ,,for ,,ground4 ,,materials--,for the netting3 ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #cj4 ,for the embroidery3 ,coton repriser ,d4,m4,c ,no4 #be4 ,,colours3 ,brun-,havane #dee1 ,gris-,noisette #dbc1 ,jaune-vieil-,or #fhj1 ,gris-,tilleul #cia and ,rouge-,granium #ceb4;,a ,the same material in ,rouge-,granium1 is used for the little centre squares and the pink crosses1 and isolated darned squares are framed with loose cord stitches in ,coton repriser colour ,jaune-vieil-,or #fhj4 ,we can also recommend1 for the same pattern1 the following combination of colours1 all to be found on the ,d4,m4,c colour card2 namely1 ,bleu ple #ffh for the netting2 ,chin d'or1 gold with dark blue for the loop stitches2 ,ganse turque ,d4,m4,c ,no4 #ab 7,turkish gold cord7 for the darning stitches1 between the loop stitches2 ,coton broder or ,cordonnet #f fils in ,rouge-,cornouille #dej1 for the detached darned squares and ,coton repriser1 in ,jaune-d',or #ffg for the setting of all the different parts of the pattern4 ,illustration3 ,,fig4 #fhh4 ,,embroidery ,,on ,,netting ,,with ,,different-,,sized ,,loops4 ,,materials--,for the netting3 ,fil dentelle ,d4,m4,c ,no4 #dj4 ,for the embroidery3 ,coton broder ,d4,m4,c ,no4 #af1 white or cru4,a ,,embroidery ,,on ,,netting ,,with ,,different-,,sized ,,loops 7fig4 #fhh74--,the netting1 described and represented in fig4 #fbj1 with plain1 oblong and double loops1 here forms the ground for the embroidery4 ,illustration3 ,,fig4 #fhi4 ,,square ,,in ,,cut ,,netting4 ,illustration3 ,,fig4 #fij4 ,,lace ,,edging ,,in ,,cut ,,netting4 ,,materials3 ,fil dentelle ,d4,m4,c ,nos4 #be to #ej1 in three shades of one colour4 ,in order to make the isolated loop stitches1 the thread which forms the cross in the middle must be carried to the middle of the bar1 the loops that form the stitches must be finished and the thread carried back to the knot whence it started4 ,it must then be taken three times backwards and forwards over the foundation thread and the two bars of the netting1 when the stitches1 into and over #c squares of the netting1 should be made4 ,the last row in the engraving shows the pattern in the successive stages of its development4 ,illustration3 ,,fig4 #fia4 ,,netting ,,insertion ,,materials--,for the netting3 ,cordonnet #f fils ,d4,m4,c ,no4 #dj white or cru4--,for the embroidery3 ,ganse turque ,d4,m4,c ,nos4 #f and #ab4 ,,square ,,and ,,edging ,,in ,,cut ,,netting 7figs4 #fhi and #fij74--;,few patterns admit of such a successful application of all the stitches hitherto described1 as the square and edging presented to our readers in the two subjoined figures4 ,on a netted ground of rather fine thread1 we have in the first place1 linen stitch1 in the border1 worked in rather a coarser thread than the ground2 then raised wheels1 button-holed bars with picots in the centre1 plain wheels very close together1 and long ribbed bars worked in darning stitch4 ,the edging1 to match the square1 is worked in the original in pale shades1 in contrast to the square which is executed entirely in cru thread4 ,the squares in the netted footing of the lace are loosely overcast with pale ,violet-,mauve #caf1 the same colour is also used for the wheels in the outside edge1 each of which fills a square1 and for the loop stitches round them2 whilst the middle one of the three upper ribbed wheels and the star are worked in dark ,violet-,mauve #cae4 ,the crosses in linen stitch1 the three lower ribbed wheels and the long ribbed bars in darning stitch1 are in ,gris-,tilleul #cib4 ,,netted ,,insertion 7fig4 #fia74--,this is a copy of a beautiful piece of embroidered netting1 to all appearance1 several centuries old1 and in a state that rendered1 even the most delicate handling almost impossible4 ,after several experiments1 the best result has been arrived at1 and the ,turkish cord in which the original is made1 has now been manufactured for netting purposes1 as well as for other kinds of decorative work1 already alluded to1 and referred to again later on4 ,the first foundation1 that is1 the actual netting1 for a thing of this kind1 should be made in white or cru thread1 with very small meshes2 the pattern itself is embroidered on the netting with ,ganse turque ,d4,m4,c ,no4 #ab2 this material1 cru and gold mixed1 gives the work a glittering and peculiarly elegant appearance1 unobtainable in any other4 ,the execution is extremely easy1 it being worked entirely in darning stitch2 but the drawing should be copied with great accuracy and the wide braid very carefully sewn on with close stitches round the squares1 which are filled in with darning stitches made in ,ganse turque ,no4 #ab4 ,any netting pattern can be copied in this braid1 and the simplest piece of work of the kind is worth mounting on a rich foundation of silk1 brocade1 velvet or plush4 ,to give a single example1 the insertion here described and illustrated1 was mounted on slate-blue plush and has been universally admired4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,insertion4--,,irish ,,lace ,,with ,,raised ,,ornaments4 ,,irish ,,lace4 ,irish lace1 also known under the name of ,renaissance lace1 from its having been first made in the sixteenth century1 is an imitation of the earliest pillow laces2 it ought1 properly speaking1 to be called ,french lace1 having been invented in ,france and thence introduced into ,england and ,ireland4 ,it is composed of braid or tape1 formed into figures1 joined together by needle-made1 corded or button-hole bars and fillings of different kinds1 or by bars alone4 ,the lace stitches and bars are almost the same as those used in fine ,venetian point1 but they are executed in a coarser material so that this section of our work may be considered as a preparation for the different kinds of lace1 to be described in the next chapter4 ,,materials 7fig4 #fib74--,the braids used for making ,irish lace are an ,english speciality and manufactured exclusively in ,england2 they are very various in shade1 width and thickness1 and are to be had white1 unbleached1 grey and pale yellow1 narrow and wide1 coarse and fine in texture1 with and without holes1 open edge and picots1 with large medallions and small4 ,fig4 #fib represents the kinds most commonly used1 in their original size1 together with a specimen picot1 or purl1 as they are called in ,england1 for the outside edge1 also to be had ready made1 for those who do not care for the trouble of making them themselves4 ,for the stitches and bars by which the braids are joined together1 the best material is ,fil dentelle ,d4,m4,c1,a 7lace thread7 a smooth even thread1 now made in every colour to match the braids4 ,illustration3 ,,fig4 #fib4 ,,patterns ,,of ,,the ,,different ,,tapes ,,and ,,braids ,,used ,,for ,,irish ,,lace4 ,,transferring ,,designs ,,for ,,irish ,,lace4--,the best way is to trace them on oiled tracing linen with a watery ink1 free from greasy matter4 ,this tracing linen1 which is of ,english make1 is white1 glazed on one side only2 the unglazed surface should be turned uppermost1 as it takes the ink better4 ,as this tracing linen is quite transparent1 the pattern can be transferred to it at once without recourse to any other process4 ,it will be found less trying for the eyes to lay a piece of transparent coloured paper1 or stuff1 under the pattern whilst you are copying it4 ,the ,irish lace designs are almost all drawn with double lines1 between which the braid is tacked on with small back stitches4 ,we may mention at once that it is advisable to make the stitches longer on the right side than on the other1 or at any rate to make them of the same length4 ,,tacking ,,down ,,and ,,gathering ,,in ,,the ,,braids 7fig4 #fic74--,where the lines of the pattern describe a curve or a circle1 the outside edge of the braid1 as shown in fig4 #fic1 must be sewn down firmly1 so as to form little folds or gathers on the inside edge1 which are first tacked down and then gathered in with small overcasting stitches in fine thread1 so as to fit exactly to the pattern4 ,illustration3 ,,fig4 #fic4 ,,tacking ,,down ,,and ,,drawing ,,in ,,the ,,braids4 ,the stitches1 made for the bars and the fillings1 must never be drawn so tightly as to drag out the edges of the braids and thus spoil the outlines of the pattern4 ,nor should the stitches be caught into the tracing cloth1 but only rest upon it4 ,when the embroidery is finished1 turn the work the wrong side up1 cut every second or third tacking stitch and pull the threads carefully out1 from the wrong side1 when the lace will separate itself from the backing without difficulty2 it has then to be damped and ironed also on the wrong side4 7,see the concluding chapter on the different processes for finishing off needlework74 ,it is of no consequence which are made first1 the bars or the fillings2 we however incline to the former1 more especially in the case of button-hole bars1 as they are easier to do than the fillings and once done1 there is less risk of puckering or drawing the edges together1 in making the fillings4 ,,the ,,stitches4--,we shall now proceed to describe a series of bars and stitches1 which1 if carefully studied1 will serve as a preparation for making all the finer kinds of laces described in the ensuing chapter4 ,without pretending to have exhausted the infinite variety of lace stitches that exists1 we hope to have brought before our readers' notice a sufficiently numerous selection to satisfy all tastes and capacities4 ,with regard to the names1 the same stitches are known by so many different ones1 that excepting in the case of those universally accepted1 we have disregarded them altogether and merely numbered the stitches in their order4 ,illustration3 ,,fig4 #fid4 ,,plain ,,twisted ,,bar4 ,,plain ,,twisted ,,bar 7fig4 #fid74--,secure the thread to the braid and throw it across from one braid edge to the other1 put the needle in downwards from above1 and overcast the first thread1 so as to form the two into a cord4 ,if you do not make enough overcasting stitches to tighten the two threads1 the bars will be loose and untidy and spoil the general appearance of the work4 ,illustration3 ,,fig4 #fie4 ,,double ,,twisted ,,bar4 ,,double ,,twisted ,,bar 7fig4 #fie74--,throw three foundation threads across the space to be filled and overcast them loosely1 so that they remain visible between the stitches4 ,,plain ,,button-,,hole ,,bar 7fig4 #fif74--,throw three threads across and cover them with button-hole stitches1 made from right to left4 ,in making this and the subsequent bars1 we recommend turning the needle round and holding it as it were the reverse way1 so that the eye not the point passes first under the threads2 strange as it may seem1 it is easier in this manner to avoid splitting the threads4 ,the working thread should always issue from the edge of the braid1 one or two threads before the foundation threads of the bar1 to prevent the bars being of unequal width1 or getting twisted at the beginning4 ,,button-,,hole ,,bars ,,with ,,pinned ,,picots 7figs4 #fig and #fih74 ,after covering half1 or a third of the bar with button-hole stitches1 pass the thread without making a loop1 under the foundation threads1 and fasten the loop with a pin1 fig4 #fig1 then slip the needle1 horizontally from right to left1 under the #c threads and tighten the knot close to the last button-hole stitch4 ,illustration3 ,,fig4 #fif4 ,,plain ,,button-,,hole ,,bar4 ,illustration3 ,,fig4 #fig4 ,,button-,,hole ,,bar ,,with ,,pinned ,,picots4 ,illustration3 ,,fig4 #fih4 ,,button-,,hole ,,bar ,,with ,,pinned ,,picots4 ,illustration3 ,,fig4 #fii4 ,,bar ,,with ,,lace ,,picot4 ,fig4 #fih shows a picot made in the same manner1 but with several button-hole stitches inserted between the loop and the button-holed bar4 ,,bar ,,with ,,lace ,,picot 7fig4 #fii74--;,here the picot is made by bringing the thread out through the loop and beginning the button-hole stitches1 #d or #e in number1 according to the size of the thread1 quite close to the pin1 so that they entirely cover the loop4 ,the pin must be stuck in the width of #d stitches1 distant from the bar1 and the foundation threads should be completely hidden under the bar4 ,,bar ,,with ,,picot ,,made ,,in ,,bullion ,,stitch 7fig4 #gjj74--,put the needle halfway into the last button-hole stitch1 twist the thread ten or twelve times round it from left to right1 draw it through and tighten the thread1 so that the spiral on the thread form a semicircle1 then continue the bar 7see also for the bullion stitch figs4 #agi and #ffa74 ,,bar ,,with ,,button-,,hole ,,picot 7fig4 #gja74--;,cover rather more than half the bar with button-hole stitches1 carry the thread three times to the #fth stitch and back1 then button-hole these threads that are attached to the bar in the same way as the bar itself and finish the bar in the usual way4 ,these button-hole picots are generally used for edging lace2 they may in their turn be adorned with small pinned picots to produce a richer effect4 ,illustration3 ,,fig4 #gjj4 ,,bar ,,with ,,picot ,,made ,,in ,,bullion ,,stitch4 ,illustration3 ,,fig4 #gja4 ,,bar ,,with ,,button-,,hole ,,picot4 ,illustration3 ,,fig4 #gjb4 ,,bar ,,with ,,two ,,rows ,,of ,,knots4 ,,bar ,,with ,,two ,,rows ,,of ,,knots 7fig4 #gjb74--,over two foundation threads1 make double knots1 far enough apart to leave room for the knots of the next row between4 ,these double knots consist1 in the first place1 of one plain button-hole stitch and then one reversed1 that is1 made by bringing the needle out in front of the thread and passing it under the loop2 the result being that the thread will lie behind the thread and not before it1 as in an ordinary button-hole stitch4 ,illustration3 ,,fig4 #gjc4 ,,branched ,,bars4 ,,branched ,,bars 7fig4 #gjc74--,where you have a larger surface to cover with bars1 you are generally obliged to make them with branches4 ,for this purpose you prepare the threads as for an ordinary bar and cover them halfway with button-hole stitches2 then you carry on the foundation thread to the next bar1 button-hole it also halfway1 lay the next foundation thread1 and finally button-hole all the half-covered bars till you reach the dotted line1 from whence you lay the last foundation threads4 ,the last bar is worked over #b or #d threads1 so that the working thread can be taken back to the edge of the braid by means of the last button-hole stitches4 ,illustration3 ,,fig4 #gjd4 ,,plain ,,russian ,,stitch4 ,,plain ,,russian ,,stitch 7fig4 #gjd74--,stitches of all kinds can be used1 as well as bars1 for joining braids together that run parallel to each other1 and for filling up the spaces between4 ,these stitches1 which serve as an insertion1 are some of them very elementary1 whilst others require great skill and patience to execute4 ,the simplest of all is the ,russian stitch1 which bears a great resemblance to the crossed stitch1 shown in fig4 #ci1 and the crossed back-stitch1 fig4 #agf4 ,you pass the needle from left to right1 under the edge of the braid1 then again from right to left under the opposite edge1 taking care always to leave the thread in front of the needle4 ,illustration3 ,,fig4 #gje4 ,,twisted ,,russian ,,stitch4 ,,twisted ,,russian ,,stitch 7fig4 #gje74--;,instead of passing the needle behind the thread1 pass it before it and round it1 so that the needle always comes out again beneath the thread1 which will then be twice twisted4 ,illustration3 ,,fig4 #gjf4 ,,column ,,stitch4 ,,column ,,stitch 7fig4 #gjf74--;,at the bottom1 the stitch is made like the plain ,russian stitch1 and at the top1 like the one in fig4 #gje1 with the difference that the second thread is passed three times round the first4 ,illustration3 ,,fig4 #gjg4 ,,insertion ,,of ,,single ,,button-,,hole ,,stitches4 ,illustration3 ,,fig4 #gjh4 ,,insertion ,,of ,,plain ,,button-,,hole ,,stitches4 ,,insertion ,,of ,,single ,,button-,,hole ,,stitches 7figs4 #gjg and #gjh74--,make very loose button-hole stitches along both edges of the braid1 all the same size and the same distance apart1 and vertically1 opposite to each other4 ,when these two rows are finished1 pick up each loop with ,russian stitch1 either single1 fig4 #gjd1 or twisted1 fig4 #gje4 ,fig4 #gjh shows the double ,russian stitch made in each loop2 it may be trebled or quadrupled1 according to whether you wish your insertion to be very transparent or not4 ,illustration3 ,,fig4 #gji4 ,,insertion ,,with ,,bead ,,stitches4 ,,insertion ,,with ,,bead ,,stitches 7fig4 #gji74--;,join the opposite rows of loops together by four stitches4 ,the threads of these stitches must lie quite flat1 side by side1 and not one on the top of the other4 ,after the fourth stitch1 you wind the thread round the bottom loop and then carry it on to the next1 whence you repeat the four stitches as above4 ,,cluster ,,insertion 7fig4 #gaj74--,over the middle of two finished plain bars and one half-finished one1 a short distance apart1 you make five button-hole stitches and overcast the remainder of the third bar4 ,the first bar of the next cluster must be set quite close to the last4 ,,insertion ,,with ,,branches 7figs4 #gaa and #gab74--,throw the thread across the middle of the space between two edges of braid1 and lengthways1 from one end to the other1 pass the needle horizontally under four or five threads of the braid1 across the insertion2 then carry it in a similar manner1 first to the left and then to the right1 take up the same number of threads of the braid and connect the three loops together by a knot1 as is clearly shown in fig4 #gaa4 ,illustration3 ,,fig4 #gaj4 ,,cluster ,,insertion4 ,illustration3 ,,fig4 #gaa4 ,,insertion ,,with ,,plain ,,branches4 ,illustration3 ,,fig4 #gab4 ,,insertion ,,with ,,branches ,,and ,,wheels4 ,fig4 #gab represents a similar beginning1 and a similar interlacing of the threads1 but ornamented this time with a wheel1 added after the knot has been made over the loops4 ,illustration3 ,,fig4 #gac4 ,,insertion ,,with ,,leaves ,,worked ,,in ,,darning ,,stitch4 ,,insertion ,,with ,,leaves ,,in ,,darning ,,stitch 7fig4 #gac74--;,fasten on the thread where1 according to the illustration1 the first leaf in the insertion ought to come1 carry it across to the opposite side1 draw it through the edge of the braid and bring it back to the point whence it started1 lay threads across to both sides1 like in figs4 #gaa and #gab1 unite them by a knot1 such as described in fig4 #gaa1 lay the thread once more round the middle leaf1 and finish the leaf in darning stitch1 working downwards from the top1 as described in the preceding chapter in figs4 #fdf and #fdg4 ,as may be seen from the second middle leaf1 your darning stitches have to be made over five threads1 subdivided into two and three4 ,illustration3 ,fig4 #gad4 ,,insertion ,,with ,,small ,,wheels4 ,,insertion ,,with ,,small ,,wheels 7fig4 #gad74--;,here1 you have to make two rows of ,russian stitches opposite each other and carry the thread to the point of intersection1 then1 you make a wheel over five threads and pass the needle under the completed wheel to reach the next point of intersection4 ,half wheels may also be added at the edge of the braid1 as in figs4 #feh and #fei4 ,illustration3 ,fig4 #gae4 ,,insertion ,,with ,,big ,,wheels4 ,,insertion ,,with ,,big ,,wheels 7fig4 #gae74--;,carry the thread horizontally across the middle of the space intended for the insertion1 to the opposite side1 and then conduct it by means of overcasting stitches into the corner2 thence make a loose loop over to the opposite corner1 pass the needle under six or eight threads of the braid edge1 slip it under the horizontal thread first laid and behind the loop1 and finish the stitch on the other side in the edge of the braid4 ,throw the thread again across the empty space and over the first thread1 bring your needle back to the middle1 make a big wheel over four threads1 passing each time under the same threads1 then overcast the single thread1 come back to the edge of the braid and make the second loop1 bringing out the thread at the same place where the other stitches came out4 ,,insertion ,,with ,,cones 7figs4 #gaf and #gag74--,over plain but very distended ,russian stitch1 make darning stitches backwards and forwards1 beginning at the point and reaching to the middle1 so as to form small cone-shaped figures4 ,to reach the point of the next cone you overcast the thread of the ,russian stitch several times4 ,you may also1 as in fig4 #gag1 double the ,russian stitch and make the darning stitches in such a manner that the points of the cones touch each other and their bases meet the edge of the braid4 ,the same thing1 worked the reverse way1 that is1 with the points turned outwards to the edge1 produces a not less pretty effect4 ,illustration3 ,fig4 #gaf4 ,,insertion ,,with ,,cones4 ,illustration3 ,fig4 #gag4 ,,insertion ,,with ,,cones4 ,illustration3 ,fig4 #gah4 ,,insertion ,,with ,,embroidered ,,squares4 ,,insertion ,,with ,,embroidered ,,squares 7fig4 #gah74--;,after making rows of loose button-hole stitches along the braid edges1 as in figs4 #gjg1 #gjh1 #gji1 run a thread through the button-hole stitches2 this thread serves as the foundation to the ,russian stitches by which the two edges are joined together4 ,the empty square space left between the ,russian stitches is then filled up with button-hole stitches1 like those in fig4 #fea1 in the foregoing chapter4 ,illustration3 ,fig4 #gai4 ,,insertion ,,with ,,half ,,bars4 ,,insertion ,,with ,,half ,,bars 7fig4 #gai74--;,fasten on the thread in one of the corners of the braid and conduct it by means of overcasting stitches to the middle of the insertion1 draw it through the edge of the braid on the right and make button-hole stitches over it1 to the middle of the space to be filled1 then carry the thread to the left1 draw it through the left edge1 a little higher up than on the other side1 and make the same number of stitches over it as over the first4 ,you can vary this insertion with very good result by making more stitches on one side than on the other1 but it should never be more than #aj or #ab stitches wide4 ,illustration3 ,,fig4 #gbj4 ,,plain ,,net ,,stitch4 ,,first ,,lace ,,stitch4 ,,plain ,,net ,,stitch4 ,,first ,,lace ,,stitch 7fig4 #gbj74--,make rows of button-hole stitches to and fro1 loose enough to form loops into which the stitches of each subsequent row are set4 ,you must be careful to make the same number of stitches in all the spaces that are of the same size1 and also1 when you begin a row with a whole stitch1 to begin the return row with a half1 and so on1 in regular rotation4 ,the number of stitches should vary with the width of the pattern and the decreasing and increasing should always be done at the edge4 ,the loops must be as many threads of the braid edge long1 as they are wide4 ,illustration3 ,,fig4 #gba4 ,,double ,,net ,,stitch4 ,,second ,,lace ,,stitch4 ,,double ,,net ,,stitch4 ,,second ,,lace ,,stitch 7fig4 #gba74--,you leave the same distance between the stitches here as in the preceding figure1 but in each of the loops of the first row1 you must make two button-hole stitches close together4 ,it is as well to round the loop a little less than is usually done in net stitch4 ,illustration3 ,,fig4 #gbb4 ,,third ,,lace ,,stitch4 ,,third ,,lace ,,stitch 7fig4 #gbb74--;,here1 you make three button-hole stitches close together1 joined to the next three by a loop of thread1 just long enough to hold the three button-hole stitches of the subsequent row4 ,illustration3 ,,fig4 #gbc4 ,,fourth ,,lace ,,stitch4 ,,fourth ,,lace ,,stitch 7fig4 #gbc74--,working from left to right1 make two button-hole stitches rather near together1 and leave twice as long a loop between them and the next two stitches as between the two first4 ,in the next row1 which is worked from right to left1 make one stitch in the loop between the two stitches that are close together and three or four in the long loop4 ,illustration3 ,,fig4 #gbd4 ,,fifth ,,lace ,,stitch4 ,,fifth ,,lace ,,stitch 7fig4 #gbd74--;,as in fig4 #gbc1 you begin this stitch from left to right1 but making three stitches very close together with an intermediate loop as long as the three stitches in one4 ,in the second row1 you make one button-hole stitch in each of the loops between the three stitches and six or eight in the long intermediate loop4 ,illustration3 ,,fig4 #gbe4 ,,sixth ,,lace ,,stitch4 ,,sixth ,,lace ,,stitch 7fig4 #gbe74--,over wide loops1 made from left to right in the first row1 make in the second1 enough button-hole stitches entirely to cover the thread4 ,in the third row of stitches1 put the needle into the small loop between two sets of button-hole stitches1 so that the close stitches shall form vertical lines across the surface they cover4 ,this stitch admits of every sort of modification1 such as1 for instance1 making the third row of stitches on the button-hole stitches1 in the middle of the ones on the small loop2 or making one row of close stitches first1 and then three open rows2 in the former case you should always make an uneven number of button-hole stitches1 so that you have the same number on both sides of the needle1 which you must put in between the two threads that form the middle button-hole stitch4 ,illustration3 ,,fig4 #gbf4 ,,seventh ,,lace ,,stitch4 ,,seventh ,,lace ,,stitch 7fig4 #gbf74--;,begin1 working from right to left1 by making one row of pairs of button-hole stitches1 a very short distance apart2 in the second row you make one button-hole stitch between each of these pairs1 and in the third row1 two button-hole stitches in every long loop4 ,here1 the stitches must not be crowded together but have a small gap left between them4 ,illustration3 ,,fig4 #gbg4 ,,eighth ,,lace ,,stitch4 ,,eighth ,,lace ,,stitch 7fig4 #gbg74--,this stitch is generally known as the 8pea-stitch0 on account of the holes occasioned by the different distribution of the stitches4 ,the first row consists of stitches1 set rather closely together1 and all the same distance apart4 ,in the second row1 you make one button-hole stitch in the last stitch of the first row1 then1 missing two loops and three button-hole stitches1 you make two stitches in the next loops and so on4 ,in the third row1 you make three stitches in the big loop1 and one in the loop between the stitches of the second row4 ,illustration3 ,,fig4 #gbh4 ,,ninth ,,lace ,,stitch4 ,illustration3 ,,fig4 #gbi4 ,,tenth ,,lace ,,stitch4 ,,ninth1 ,,and ,,tenth ,,lace ,,stitch 7figs4 #gbh and #gbi74--;,both1 the small and the big pointed groups of stitches1 begin with a row of close button-hole stitches4 ,fig4 #gbh requires three rows2 in the second you miss two stitches and make two in the next loops2 in the third1 only one stitch is introduced between the two loops of the lower row4 ,fig4 #gbi requires five rows4 ,the stitches of the first must be set as closely together as possible2 in the second row you make four stitches and miss two of the first row1 in the third row you make three stitches1 in the fourth1 two and in the fifth1 one only4 ,the long loops of the last row must not be too slack so that the first stitches of the next scallop may quite cover them4 ,illustration3 ,,fig4 #gcj4 ,,eleventh ,,lace ,,stitch4 ,,eleventh ,,lace ,,stitch 7fig4 #gcj74--,this stitch is not really more difficult to work than those we have been describing1 but requires rather more attention to learn4 ,the first row consists of plain net stitches2 in the second1 you have three button-hole stitches in the middle net stitch2 in the third1 three button-hole stitches in the whole loops on either side of the three button-hole stitches of the second row1 and one stitch in the half loops that precede and immediately follow them2 the fourth row is similar to the second4 ,in the fifth row the close stitches are changed4 ,the three button-hole stitches are made in the third whole loop1 before and after those of the fourth row1 so that between two groups of three stitches you have six single button-hole stitches and seven loops4 ,illustration3 ,,fig4 #gca4 ,,twelfth ,,lace ,,stitch4 ,,twelfth ,,lace ,,stitch 7fig4 #gca74--;,fasten on your thread1 take it by overcasting stitches over the braid edge1 half a c_/m4 from the corner1 and make three button-hole stitches downwards1 quite close together4 ,the next loops1 over four or six threads of the braid1 must be left long enough to be on a level with the first stitch reaching downwards from the edge4 ,in the second row1 you cover the long loops with three button-hole stitches and draw the intervening thread quite tight4 ,the third row is like the first1 with the difference1 that you put the needle in between the two threads of the button-hole stitch1 instead of through the loops4 ,illustration3 ,,fig4 #gcb4 ,,thirteenth ,,lace ,,stitch4 ,,thirteenth ,,lace ,,stitch 7fig4 #gcb74--,the stitch here represented1 as well as the two next ones are looped from left to right and then again from right to left4 ,as it is more unusual to make the loops from left to right than the reverse way1 the proper position of the needle and the course of the thread are shown in the illustrations4 ,fig4 #gcb requires1 in the first place1 two button-hole stitches very close together in the edge of the braid1 then a third stitch covering the two first stitches and set quite close to them2 the connecting thread between these stitches must be tightly stretched so as to lie almost vertically1 that the stitches may form straight lines4 ,illustration3 ,,fig4 #gcc4 ,,fourteenth ,,lace ,,stitch4 ,,fourteenth ,,lace ,,stitch 7fig4 #gcc74--,this begins1 likewise1 with two button-hole stitches1 above which you make two button-hole stitches instead of one1 as in fig4 #gcb1 producing an open ground with vertical bars4 ,illustration3 ,,fig4 #gcd4 ,,fifteenth ,,lace ,,stitch4 ,,fifteenth ,,lace ,,stitch 7fig4 #gcd74--,this resembles the two foregoing stitches and consists of three button-hole stitches1 made over the edge of the braid or the intermediate bars1 and joined together afterwards under one transverse stitch4 ,illustration3 ,,fig4 #gce4 ,,sixteenth ,,lace ,,stitch4 ,,sixteenth ,,lace ,,stitch 7fig4 #gce74--,you begin this by a row of net stitches worked from right to left1 or as the engraving shows1 by a row of stitches called seed stitches4 ,illustration3 ,,fig4 #gcf4 ,,seventeenth ,,lace ,,stitch4 ,the second row1 worked from left to right1 consists of short bars1 set slanting and shaped like a seed1 and made the same way as the picot in fig4 #fii4 ,the first stitch is carried through the loop of the row below1 the second over both threads and far enough from the loop to leave room for three other stitches4 ,the first of the four button-hole stitches of the next group must be set quite close to the last4 ,,seventeenth ,,lace ,,stitch 7fig4 #ghf74--;,here we have the same pattern as the preceding one without the row of net stitches2 the engraving shows us at the same time1 the proper direction of the needle and thread for the row that is worked from right to left4 ,illustration3 ,,fig4 #gcg4 ,,eighteenth ,,lace ,,stitch4 ,,eighteenth ,,lace ,,stitch 7fig4 #gcg74--,this is the first of a series of lace stitches1 often met with in old ,venetian lace1 and which can therefore with perfect right be called1 ,venetian stitches4 ,owing to the manner and order in which the rows of stitches are connected and placed above one another1 they form less transparent grounds than those we have hitherto described4 ,in these grounds you begin by making the row of loops1 then you throw a thread across on the same level and in coming back1 pass the needle through the row of loops under the thread stretched across1 and under the stitch of the previous row4 ,illustration3 ,,fig4 #gch4 ,,nineteenth ,,lace ,,stitch4 ,,nineteenth ,,lace ,,stitch 7fig4 #gch74--,the close stitch here represented is more common in ,venetian lace than the loose stitch given in fig4 #gcg4 ,illustration3 ,,fig4 #gci4 ,,twentieth ,,lace ,,stitch4 ,,twentieth ,,lace ,,stitch 7fig4 #gci74--;,by missing some loops of the close ground in one row and replacing them by the same number in the next1 small gaps are formed1 and by a regular and systematic missing and taking up of stitches1 in this way1 extremely pretty grounds can be produced4 ,illustration3 ,,fig4 #gdj4 ,,twenty-,,first ,,lace ,,stitch4 ,,twenty-,,first ,,lace ,,stitch 7fig4 #gdj74--,these close lace stitches1 can be varied in all sorts of other ways by embroidering the needle-made grounds4 ,in fig4 #gdj1 you have little tufts in darning stitch1 and in a less twisted material than the close stitches of the ground1 worked upon the ground4 ,if you use ,fil dentelle ,d4,m4,c 7lace thread7 for the ground1 you should take either ,coton repriser ,d4,m4,c 7darning cotton71 or better still1 ,coton surfin ,d4,m4,c,a for the tufts4 ,the ground can also be ornamented with little rings of button-holing1 stars or flowerets in bullion or some other fancy stitch4 ,illustration3 ,,fig4 #gda4 ,,twenty-,,second ,,lace ,,stitch4 ,,twenty-,,second ,,lace ,,stitch 7fig4 #gda74--;,for the above three stitches and the three that follow1 the work has to be held1 so that the finished rows are turned to the worker and the needle points to the outside of the hand4 ,in the first row1 from left to right1 take hold of the thread near the end that is in the braid1 lay it from left to right under the point of the needle1 and bring it back again to the right1 over the same4 ,whilst twisting the thread in this way round the needle with the right hand1 you must hold the eye of the needle under the left thumb4 ,when you have laid the thread round draw the needle through the loops2 the bars must stand straight and be of uniform length4 ,were they to slant or be at all uneven1 we should consider the work badly done4 ,in the row that is worked from left to right1 the thread must be twisted round the needle1 likewise from left to right4 ,illustration3 ,,fig4 #gdb4 ,,twenty-,,third ,,lace ,,stitch4 ,,twenty-,,third ,,lace ,,stitch 7fig4 #gdb74--,this is begun with the same stitches as fig4 #gda1 worked from right to left4 ,you then take up every loop that comes between the vertical bars with an overcasting stitch1 drawing the thread quite out1 and tightening it as much as is necessary after each stitch4 ,you cannot take several stitches on the needle at the same time and draw out the thread for them all at once1 as this pulls the bars out of their place4 ,illustration3 ,,fig4 #gdc4 ,,twenty-,,fourth ,,lace ,,stitch ,,twenty-,,fourth ,,lace ,,stitch 7fig4 #gdc74--,this is often called the ,sorrento stitch4 ,every group of three bars of stitches is separated from the next by a long loop1 round which the thread is twisted in its backward course4 ,in each of the succeeding rows you place the first bar between the first and second of the preceding row1 and the third one in the long loop1 so that the pattern advances1 as it were in steps4 ,illustration3 ,,fig4 #gdd4 ,,twenty-,,fifth ,,lace ,,stitch4 ,illustration3 ,,fig4 #gde4 ,,twenty-,,sixth ,,lace ,,stitch4 ,,twenty-,,fifth ,,and ,,twenty-,,sixth ,,lace ,,stitches 7figs4 #gdd and #gde74--,these two figures show how the relative position of the groups of bars may be varied4 ,both consist of the same stitches as those described in fig4 #gda4 ,the thread that connects the groups should be tightly stretched1 so that the rows may form straight horizontal lines4 ,illustration3 ,,fig4 #gdf4 ,,twenty-,,seventh ,,lace ,,stitch4 ,,twenty-,,seventh ,,lace ,,stitch 7fig4 #gdf74--;,begin by making two rows of net stitches1 fig4 #gbj1 then two of close ones1 fig4 #gch1 and one row like those of fig4 #gda4 ,if you want to lengthen the bars1 twist the thread once or twice more round the needle4 ,you can also make one row of bars surmounted by wheels1 as shown in fig4 #gfe1 then one more row of bars and continue with close stitches4 ,,twenty-,,eighth ,,lace ,,stitch 7fig4 #gdg74--;,between every group of three bars1 set close together1 leave a space of a corresponding width2 then bring the thread back over the bars1 as in figs4 #gcg1 #gch and #gci1 without going through the loops4 ,in the second row1 you make three bars in the empty space1 two over the three bars of the first row and again three in the next empty space4 ,the third row is like the first4 ,illustration3 ,,fig4 #gdg4 ,,twenty-,,eighth ,,lace ,,stitch4 ,illustration3 ,,fig4 #gdh4 ,,twenty-,,ninth ,,lace ,,stitch4 ,,twenty-,,ninth ,,lace ,,stitch 7fig4 #gdh74--,this stitch1 known as ,greek net stitch1 can be used instead of button-hole bars for filling in large surfaces4 ,make bars from left to right1 a little distance apart as in fig4 #gda1 leaving the loops between rather slack1 so that when they have been twice overcast by the returning thread1 they may still be slightly rounded4 ,in the next row1 you make the bar in the middle of the loop and lift it up sufficiently with the needle1 for the threads to form a hexagon like a net mesh4 ,illustration3 ,,fig4 #gdi4 ,,thirtieth ,,lace ,,stitch4 ,,thirtieth ,,lace ,,stitch 7fig4 #gdi74 ,after a row of pairs of button-hole stitches set closely together1 with long loops between1 as long as the space between the pairs1 throw the thread across in a line with the extremities of the loops1 fasten it to the edge of the braid and make pairs of button-hole stitches1 as in the first row above it4 ,the loops must be perfectly regular1 to facilitate which1 guide lines may be traced across the pattern1 and pins stuck in as shown in the figure1 round which to carry the thread4 ,illustration3 ,,fig4 #gej4 ,,thirty-,,first ,,lace ,,stitch4 ,,thirty-,,first ,,lace ,,stitch 7fig4 #gej74--;,at first sight this stitch looks very much like the preceding one1 but it differs entirely from it in the way in which the threads are knotted4 ,you pass the needle under the loop and the laid thread1 then stick in the pin at the right distance for making the long loop1 bring the thread round behind the pin1 make a loop round the point of the needle1 as shows in the engraving1 and pull up the knot4 ,illustration3 ,,fig4 #gea4 ,,thirty-,,second ,,lace ,,stitch4 ,,thirty-,,second ,,lace ,,stitch 7fig4 #gea74--,to introduce a greater variety into lace stitches1 netting can also be imitated with the needle4 ,you begin with a loop in the corner of a square and work in diagonal lines4 ,the loops are secured by means of the same stitch shown in fig4 #gej1 and the regularity of the loops ensured1 as it is there1 by making them round a pin1 stuck in at the proper distance4 ,the squares or meshes must be made with the greatest accuracy2 that being the case1 most of the stitches described in the preceding chapter can be worked upon them1 and the smallest spaces can be filled with delicate embroidery4 ,,thirty-,,third ,,lace ,,stitch 7fig4 #geb74--,this stitch is frequently met with in the oldest ,irish lace1 especially in the kind where the braids are joined together by fillings not bars4 ,at first sight1 it looks merely like a close net stitch1 the ground and filling all alike1 so uniform is it in appearance1 but on a closer observation it will be found to be quite a different stitch from any of those we have been describing4 ,the first stitch is made like a plain net stitch1 the second consists of a knot that ties up the loop of the first stitch4 ,fillings of this kind must be worked as compactly as possible1 so that hardly any spaces are visible between the individual rows4 ,illustration3 ,,fig4 #geb4 ,,thirty-,,third ,,lace ,,stitch4 ,illustration3 ,,fig4 #gec4 ,,thirty-,,fourth ,,lace ,,stitch4 ,,thirty-,,fourth ,,lace ,,stitch 7fig4 #gec74--,to fill in a surface with this stitch1 known as the wheel or spider stitch1 begin by laying double diagonal threads to and fro1 at regular distances apart1 so that they lie side by side and are not twisted4 ,when the whole surface is covered with these double threads1 throw a second similar series across them1 the opposite way4 ,the return thread1 in making this second layer1 must be conducted under the double threads of the first layer and over the single thread just laid1 and wound two or three times round them1 thereby forming little wheels or spiders1 like those already described in the preceding chapter in figs4 #fec and #fed4 ,,thirty-,,fifth ,,lace ,,stitch 7fig4 #ged74--;,begin by making a very regular netted foundation1 but without knots1 where the two layers of threads intersect each other4 ,then1 make a third layer of diagonal threads across the two first layers1 so that all meet at the same points of intersection1 thus forming six rays divergent from one centre4 ,with the fourth and last thread1 which forms the seventh and eighth ray1 you make the wheel over seven threads1 then slip the needle under it and carry it on to the point for the next wheel4 ,illustration3 ,,fig4 #ged4 ,,thirty-,,fifth ,,lace ,,stitch4 ,illustration3 ,,fig4 #gee4 ,,thirty-,,sixth ,,lace ,,stitch4 ,,thirty-,,sixth ,,lace ,,stitch 7fig4 #gee74--;,after covering all the surface to be embroidered1 with threads stretched in horizontal lines1 you cover them with loops going from one to the other and joining themselves in the subsequent row to the preceding loops4 ,the needle will thus have to pass underneath two threads4 ,then cover this needle-made canvas with cones worked in close darning stitches1 as in figs4 #fdh1 #gaf and #gag4 ,illustration3 ,,fig4 #gef4 ,,thirty-,,seventh ,,lace ,,stitch4 ,,thirty-,,seventh ,,lace ,,stitch 7fig4 #gef74--;,here1 by means of the first threads that you lay1 you make an imitation of the ,penelope canvas used for tapestry work1 covering the surface with double threads1 a very little distance apart1 stretched both ways4 ,the second layer of threads must pass alternately under and over the first1 where they cross each other1 and the small squares thus left between1 must be encircled several times with thread and then button-holed2 the thicker the foundation and the more raised and compact the button-holing upon it is1 the better the effect will be4 ,each of these little button-holed rings should be begun and finished off independently of the others4 ,,thirty-,,eighth ,,lace ,,stitch 7fig4 #geg74--,plain net stitch being quicker to do than any other1 one is tempted to use it more frequently2 but as it is a little monotonous some openwork ornament upon it is a great improvement2 such for instance as small button-holed rings1 worked all over the ground at regular intervals4 ,here again1 as in the preceding figure the rings must be made independently of each other4 ,illustration3 ,,fig4 #geg4 ,,thirty-,,eighth ,,lace ,,stitch4 ,illustration3 ,,fig4 #geh4 ,,thirty-,,ninth ,,lace ,,stitch4 ,,thirty-,,ninth ,,lace ,,stitch 7fig4 #geh74--;,corded bars1 branching out into other bars1 worked in overcasting stitches1 may also serve as a lace ground4 ,you lay five or six threads1 according to the course the bars are to take2 you overcast the branches up to the point of their junction with the principal line1 thence you throw across the foundation threads for another branch1 so that having reached a given point and coming back to finish the threads left uncovered in going1 you will often have from six to eight short lengths of thread to overcast4 ,overcasting stitches are always worked from right to left4 ,,fortieth ,,lace ,,stitch 7fig4 #gei74--,of all the different kinds of stitches here given1 this1 which terminates the series1 is perhaps the one requiring the most patience4 ,it was copied from a piece of very old and valuable ,brabant lace1 of which it formed the entire ground4 ,our figure of course represents it on a very magnified scale1 the original being worked in the finest imaginable material1 over a single foundation thread4 ,in the first row1 after the three usual foundation threads are laid1 you make the button-hole stitches to the number of eight or ten1 up to the point from which the next branch issues1 from the edge of the braid1 that is1 upwards4 ,then you bring the needle down again and button-hole the second part of the bar1 working from right to left4 ,illustration3 ,,fig4 #gei4 ,,fortieth ,,lace ,,stitch4 ,a picot1 like the one described in fig4 #gja1 marks the point where the bars join4 ,more picots of the same kind may be added at discretion4 ,illustration3 ,,fig4 #gfj4 ,,wheel ,,composed ,,of ,,button-,,hole ,,bars4 ,,making ,,and ,,taking ,,up ,,the ,,loops4 ,illustration3 ,,fig4 #gfa4 ,,wheel ,,composed ,,of ,,button-,,hole ,,bars4 ,,the ,,button-,,holing ,,begun4 ,,wheel ,,composed ,,of ,,button-,,hole ,,bars 7figs4 #gfj1 #gfa1 #gfb1 #gfc74--;,as we have already more than once given directions for making wheels1 not only in the present chapter1 but also in the one on netting1 there is no need to enlarge on the kind of stitches to be used here1 but we will explain the course of the thread in making wheels1 composed of button-hole bars in a square opening4 ,fig4 #gfj shows how the first eight loops which form the foundation of the bars are made4 ,illustration3 ,,fig4 #gfb4 ,,wheel ,,composed ,,of ,,button-,,hole ,,bars4 ,,passing ,,from ,,one ,,bar ,,to ,,the ,,other4 ,illustration3 ,,fig4 #gfc4 ,,wheel ,,composed ,,of ,,button-,,hole ,,bars4 ,,bars ,,and ,,ring ,,finished4 ,in fig4 #gfa you will see that a thread has been passed through the loops1 for the purpose of drawing them in and making a ring in addition to which1 two threads added to the loop serve as padding for the button-hole stitches2 the latter should always be begun on the braid side4 ,fig4 #gfb represents the bar begun in fig4 #gfa completed1 and the passage of the thread to the next bar1 and fig4 #gfc the ring button-holed after the completion of all the bars4 ,illustration3 ,,fig4 #gfd4 ,,filling ,,in ,a ,,round ,,space ,,with ,,net ,,stitch4 ,,filling ,,in ,,round ,,spaces 7figs4 #gfd1 #gfe1 #gff74--,the stitches best adapted for filling in round spaces are those that can be drawn in and tightened to the required circumference1 or those that admit of the number being reduced1 regularly1 in each round4 ,in tacking braids on to circular patterns1 the inside edges1 as we pointed out at the beginning of this chapter1 have to be drawn in with overcasting stitches in very fine thread4 ,fig4 #gfd shows how to fill in a round space with net stitches4 ,it will be observed that the loop which begins the row1 has the thread of the loop with which it terminates1 wound round it1 which thread then passes on to the second series of stitches4 ,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 loops1 following the course indicated by the dotted line4 ,illustration3 ,,fig4 #gfe4 ,,filling ,,in ,,round ,,spaces4 ,,first ,,circle ,,of ,,wheels ,,begun4 ,illustration3 ,,fig4 #gff4 ,,filling ,,in ,,round ,,spaces4 ,,the ,,two ,,circles ,,of ,,wheels ,,finished4 ,fig4 #gfe shows how to finish a row of loops with wheels worked upon three threads only4 ,in the first row1 you make a wheel over each bar2 in the second1 you make a bar between every two wheels2 in the third1 the wheels are only made over every second bar2 a fourth row of bars which you pick up with a thread completes the interior of the circle1 then you work along the bars with overcasting stitches1 fig4 #gff1 to carry the thread back to the edge of the braid where you fasten it off4 ,,needle-,,made ,,picots 7figs4 #gfg1 #gfh1 #gfi74--,the edges and outlines of ,irish lace are generally bordered with picots1 which as we have already said can be bought ready-made 7see fig4 #fib74 ,they are not however very strong and we cannot recommend them for lace that any one has taken the pains to make by hand4 ,illustration3 ,,fig4 #gfg4 ,,connected ,,needle-,,made ,,picots4 ,illustration3 ,,fig4 #gfh4 ,,isolated ,,needle-,,made ,,picots4 ,illustration3 ,,fig4 #gfi4 ,,button-,,hole ,,picots ,,with ,,picots ,,in ,,bullion ,,stitch4 ,in fig4 #gfg1 the way to make picots all joined together is described4 ,you begin1 as in fig4 #gfb1 by a knot1 over which the thread is twisted as indicated in the engraving4 ,it is needless to repeat that the loops should all be knotted in a line1 all be of the same length and all the same distance apart4 ,fig4 #gfh represents the kind of needle-made picots which most resemble the machine-made ones1 and fig4 #gfi show us the use of little scallops surmounted by picots1 made in bullion stitch4 ,one or two rows of lace stitch fig4 #gcf1 or the first rows of figs4 #gdi1 #gej1 can also be used in the place of picots4 ,,irish ,,lace 7fig4 #ggj74--;,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 edge1 wherever the lines are curved1 as explained in fig4 #fic2 in cases however where only ,lacet superfin ,d4,m4,c,a is used1 the needle should be slipped in underneath the outside threads1 so that the thread with which you draw in the braid be hidden4 ,the braids are joined together where they meet with a few overcasting stitches1 as shown in the illustration4 ,here1 we find one of the lace stitches used instead of picots2 the first row of fig4 #gcf always makes a nice border for ,irish lace4 ,,irish ,,lace 7fig4 #gga74--,this pattern1 which is more complicated and takes more time and stitches than the preceding one1 can also be executed with one or other of the braids mentioned at the beginning of the chapter2 but it looks best made with a close braid4 ,illustration3 ,,fig4 #ggj4 ,,irish ,,lace4 ,illustration3 ,,fig4 #gga4 ,,irish ,,lace4 ,,materials3 ,lacet surfin ,d4,m4,c ,no4 #e1 white or cru and ,fil d',alsace ,d4,m4,c ,nos4 #dj to #aej1 or ,fil dentelle ,d4,m4,c ,nos4 #ej to #aej4 ,the bars1 which in the illustration are simply button-holed may also be ornamented with picots of one kind or another2 the interior spaces of the figure on the left can be filled1 instead of with corded bars1 with one of the lace stitches we have described1 either fig4 #gbj1 #gba1 or #gcb1 any one of which is suitable for filling in small spaces like these4 ,in the figure on the right1 the ring of braid may be replaced by close button-hole stitches1 made over several foundation threads or over one thick thread1 such as ,fil pointer ,d4,m4,c ,no4 #aj or #bj;,a to make them full and round4 ,you begin the ring on the inside and increase the number of stitches as the circumference increases4 ,illustration3 ,,fig4 #ggb4 ,,irish ,,lace4 ,,materials3 ,english braid with open edge4--,for the lattice work3 ,fil d',alsace ,d4,m4,c in balls ,nos4 #ej to #ajj or ,fil dentelle ,d4,m4,c ,nos4 #ej to #ajj1 white4 ,for the cord3 ,cordonnet #f fils ,d4,m4,c ,no4 #ae1 cru4,a ,any of the stitches1 from fig4 #gbj to fig4 #gdc1 can be introduced here4 ,,irish ,,lace 7fig4 #ggb74--;,here we find one of the fillings above alluded to1 fig4 #gea1 used as a ground for the flowers and leaves4 ,for the design itself some of the closer stitches described in this chapter1 should be selected4 ,when the actual lace1 is finished you sew upon the braid a thin cord1 made of cru ,cordonnet #f fils ,d4,m4,c1 as described in the chapter on different kinds of fancy work4 ,cords of this kind can be had ready made1 but the hand-made ones are much to be preferred1 being far softer and more supple than the machine-made4 ,illustration3 ,,fig4 #ggc4 ,,irish ,,lace4 ,,materials--,for the cord3 ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #be4 ,for the bars and lace stitches3 ,fil dentelle ,d4,m4,c ,no4 #bjj4;,a ,,irish ,,lace 7fig4 #ggc74--,this lace1 more troublesome than the preceding ones to make1 is also much more valuable and effective4 ,the ground is composed entirely of bars1 like the ones described in fig4 #gfa1 the branches1 true to the character of the work are worked in the close stitch represented in fig4 #gee1 and the flowers in double net stitch1 fig4 #gba4 ,in working the above fillings1 the thread must not1 as in lace made with braid1 be carried on from one point to the other by overcasting stitches along the braid edges1 but should be drawn out horizontally through the cord and back again the same way1 giving the needle in so doing a slightly slanting direction4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,venetian ,,lace ,,of ,,the ,,xvi ,,century4 ,laces of different kinds4 ,in general1 to the uninitiated1 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 countries4 ,but besides ,venetian1 ,french1 ,english1 ,chantilly1 ,brussels1 ,sedan point1 names familiar to every one1 there are all kinds of other laces1 likewise of great antiquity1 and named as the above are1 after the country they belong to4 ,as it would be impossible in these pages to give a comprehensive account of them all1 we have restricted ourselves to such as seem more especially suited to the amateur1 to whom needlework is a mere recreation and pastime4 ,worked like the above-named entirely with the needle1 but much less elaborate and minute in character and workmanship1 they are quicker and easier to make and we are sure that by the help of the directions that accompany the illustrations1 any careful worker will be able to imitate them without difficulty4 ,,materials4--,it will be observed that we do not bind ourselves in the following directions to one size of cotton1 that as in point of fact1 one and the same piece of work can be executed in either fine or coarse cotton1 we have only indicated the most suitable kind of material to use3 as for instance for ,armenian lace1 ,fil pointer ,d4,m4,c,a or ,cordonnet #f fils ,d4,m4,c,a1 for ,smyrna or knotted lace1 ,fil pointer ,d4,m4,c1 ,cordonnet #f fils ,d4,m4,c and ,fil dentelle ,d4,m4,c,a1 for ,reticella and ,venetian lace1 ,fil d',alsace ,d4,m4,c,a1 for ,brussels lace1 the finest numbers of ,fil dentelle and for pillow lace1 any one of those enumerated1 excepting ,coton broder surfin4 ,,pillow ,,lace ,,and ,,the ,,necessary ,,articles ,,for ,,its ,,manufacture4--,pillow lace derives its name from the cushion or pillow on which all bobbin lace is made1 which distinguishes it from point lace1 so-called because it consists of points or stitches made with a needle and thread4 ,various articles are required for the making of pillow lace2 in the first place a cushion or pillow1 then bobbins and a winder1 parchment patterns1 pins and a pricker4 ,,the ,,lace ,,pillow 7figs4 #ggd1 #gge1 #ggf74--,the pillows used for pillow lace are of different kinds and vary in shape with where the country1 and the manner in which the lace is made4 ,illustration3 ,,fig4 #ggd4 ,,the ,,lace ,,pillow4 ,fig4 #ggd represents the shape in use in the mountains of ,bohemia and ,saxony1 where pillow lace has always been one of the chief industries of the inhabitants4 ,any one can make a cushion of this kind themselves with a piece of stuff1 #fj c_/m4 long and #dj wide4 ,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 up4 ,a disc of stout cardboard is put inside the case after you have gathered up the one end2 you then stuff the case as full as possible with bran1 sawdust or horsehair1 lay a second disc of cardboard in at the top and draw up the other end4 ,these pillows are then put into cardboard boxes with rather high sides1 or into a kind of basket1 weighted at the bottom1 to keep it firm and steady4 ,pillows of this most primitive kind have the great advantage of being perfectly easy to make4 ,illustration3 ,,fig4 #gge4 ,,pillow ,,with ,,movable ,,cylinder ,,for ,,making ,,lace4 ,illustration3 ,,fig4 #ggf4 ,,position ,,of ,,the ,,bobbins ,,and ,,the ,,work ,,on ,,the ,,cushion ,,fig4 #gge4 ,fig4 #gge represents a pillow of a more complicated kind1 which can be stood upon the table or mounted on a stand4 ,the cylinder is movable so that you can go on working without interruption4 ,the whole apparatus consists of a board or stand1 #ej c_/m4 long and #dj wide1 resting upon two transverse pieces of wood1 #c c_/m4 high behind and #a c_/m4 in front4 ,the board should be covered1 first with a very thick flannel or ,bath coating and then with a fine dark green flannel or cloth4 ,two small supports are fixed on to the outside edge of the stand to hold the cylinder1 which consists of two discs that revolve on a rod about #bb c_/m4 long4 ,this rod should be covered1 in the first place with a thick layer of tow and then with flannel or cloth4 ,on the left side of the cylinder is a cog-wheel and a metal spring is attached to the board1 by means of which the wheel is prevented from turning the wrong way4 ,fig4 #ggf shows how the bobbins are placed upon the pillow4 ,in ,normandy a kind of stuffed box is used instead of a pillow4 ,the board is #c c_/m4 higher behind than in front and is deeply grooved to hold the cylinder1 which is stuffed and shaped like the one represented in fig4 #gge4 ,this cylinder scarcely projects above the stand1 a second groove in the back edge receives the lace as it is worked off the cylinder4 ,the pillows used for ,valenciennes lace are of again a different construction1 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 made4 ,illustration3 ,,fig4 #ggg4 ,,the ,,bobbin 7,jamnig's patent74 ,,the ,,bobbins 7fig4 #ggg74--;,a bobbin is a sort of little wooden spool with a handle to it2 there are several varieties of them but we have confined ourselves to a representation of the kind considered best for beginners4 ,as a considerable number are wanted for every pattern and they are apt to slip about and get entangled in inexperienced hands1 they are now to be had with the handles weighted with lead to steady them and counteract any independent motion of their own4 ,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 lace4 ,,the ,,winder 7fig4 #ggh74--;,every one who means to take the work seriously should provide themselves with a winder1 as here represented1 which is affixed to a polished wooden stand4 ,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 stand2 one of these rods serves as the axle to the little wheel1 the other can be drawn in and out and fitted to the length of the bobbin4 ,illustration3 ,,fig4 #ggh4 ,,the ,,winder 7,jamnig's patent74 ,when the bobbin is fixed in its place1 you take the thread in the left hand and wind it round it1 turning the wheel with the right hand from right to left in the direction indicated by the arrow4 ,the thread is wound round the handles of the bobbins that are used for making very fine lace1 and a wooden shield that is so contrived that you can slip it over the handle prevents the thread from getting soiled4 ,illustration3 ,,fig4 #ggi4 ,,stoppage ,,of ,,the ,,thread ,,at ,,the ,,end ,,of ,,the ,,bobbin4 ,,stoppage ,,of ,,the ,,thread ,,at ,,the ,,end ,,of ,,the ,,bobbin 7fig4 #ggi74--;,after cutting off the thread1 you make a loop close to the top of the bobbin to prevent it from unwinding too easily4 ,this loop is formed by taking the bobbin in the right hand1 the thread between the fourth and fifth fingers of the left hand and laying it away from you round the left thumb2 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 hand4 ,,machine ,,for ,,crossing ,,the ,,threads 7fig4 #ghj74--,this ingenious little machine is of great assistance in making straight running patterns and ,irish lace braids1 and is particularly useful for ,russian lace and braid lace of all kinds4 ,it renders the even crossing of the threads in those parts of a pattern that imitate linen in texture comparatively easy4 ,two implements like combs1 fitting into one another1 and movable1 are mounted at two thirds of their length on a steel axle4 ,the long teeth have holes bored through the ends1 from the sides to the middle of the points and through these holes the threads from the bobbins are passed4 ,illustration3 ,,fig4 #ghj4 ,,machine ,,for ,,crossing ,,the ,,threads 7,jamnig's patent74 ,the short teeth also are pierced with transverse holes1 through which a needle with the threads threaded in the long teeth resting upon it1 is passed4 ,the points of the short teeth are covered with a hollow metal cylinder1 split through from end to end1 which can be removed when new threads have to be added4 ,when the threads are all on1 a small spring is fixed to the two ends of the axle1 which is independent of the machine1 and the two ends of the spring are introduced into the hollow of the cylinder4 ,by the pressure you exercise on the teeth in the cylinder1 the long teeth change their position1 the lower ones rise and the upper ones fall and the threads cross each other1 as in a loom4 ,after each movement of the machine1 the bobbin that makes the woof must be passed between the crossed threads2 the edges are made like those of any other kind of lace4 ,fig4 #gha explains how the bobbins are passed between the threads that are held between the teeth of the machine4 ,illustration3 ,,fig4 #gha4 ,,passage ,,of ,,the ,,bobbins ,,through ,,the ,,machine4 ,,the ,,pattern4--,the pattern is one of the most important things in making pillow lace4 ,the outlines must be clear and exact1 as upon that in great measure the perfection of the lace depends4 ,the drawing transferred to parchment1 paper or cardboard1 usually of a yellowish tint1 should be lined with a very thin stuff such as muslin to prevent its tearing4 ,illustration3 ,,fig4 #ghb4 ,,pricker ,,and ,,holder4 ,a stripe of quadrille1 or point paper as it is called1 should be laid upon the pattern and then holes pricked with a medium-sized needle at every intersection of the lines4 ,all the curved long lines of the pattern must first be traced upon the point paper with ink and then pricked4 ,the pattern should be adapted to the thickness of the thread the lace is to be made of2 for a coarse lace large point paper should be used and small1 for the finer kinds of lace4 ,the pricking of the pattern beforehand is particularly important in the case of the common torchon lace1 where the real beauty of the design consists in its regularity2 in the case of fine close patterns the pricking can only be done as you proceed4 ,prickers and holders of the kind represented in fig4 #ghb or very much resembling it1 are to be had at every stationer's shop4 ,illustration3 ,,fig4 #ghc4 ,,position ,,and ,,movements ,,of ,,the ,,hands4 ,the holes made by the prickers are to receive the pins1 stuck in as you go along1 round which you form and by which these are kept in their place4 ,the pins must be long1 with round heads and of a size suited to the thread4 ,when your pattern is ready fasten it to the pillow or cylinder as the case may be1 stretching it as smoothly as possible and being careful in so doing to fit the lines of the pattern together4 ,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 it4 ,the value of lace depends not only on the work but on the thread it is made of2 all the ,d4,m4,c cottons,a can be recommended for lace-making and coloured laces of all kinds are greatly improved by the addition of a little ,chin d'or ,d4,m4,c or ,or fin ,d4,m4,c pour la broderie4,a ,,position ,,and ,,movements ,,of ,,the ,,hands 7fig4 #ghc74--,pillow lace is always made with two pairs of bobbins at once and the stitches are formed by the different ways of passing1 plaiting1 crossing and twisting the threads4 ,to begin with the simplest operation1 making a plait1 hang #b pairs of bobbins to a pin1 take #b bobbins in each hand and lay the right bobbin of each pair over its left fellow and draw up the threads slightly4 ,then take the bobbins in the #bnd1 #crd and #dth fingers of the right hand and with the same fingers of the left1 lay the #bnd bobbin over the #crd with the #bnd and #crd fingers of the left1 so that the two middle bobbins are crossed1 then take the #dth bobbin in the #bnd and #crd fingers of the right hand and the bobbin that is now the #bnd1 in the #crd and #dth fingers of the left hand and lay the former over the #crd1 the latter over the #ast4 ,this constitutes a half passing4 ,the plait1 fig4 #ghd1 is formed by the repetition of the half passing4 ,two half passings make a whole or double passing4 ,on the kind of lace you are making1 depends how many pairs of bobbins you will have to use4 ,but as one part of the lace is often made before the other1 or you have to put on supernumerary bobbins1 you fasten up those not in use on one side with pins1 as shown in fig4 #ghc4 ,illustration3 ,,fig4 #ghd4 ,,passing ,,with ,,two ,,pairs ,,of ,,bobbins4 ,,net ,,pattern ,,or ,,ground 7figs4 #ghe and #ghf74--,this consists of half passings1 worked in rows to and fro2 the pins are stuck in at the end of each row4 ,the pattern1 fig4 #ghe1 is fastened upon the pillow and #f pins are stuck in at the top1 at regular intervals from each other2 hang one pair of bobbins on every pin and lay the second bobbin of each pair over its fellow1 so that the threads cross each other4 ,illustration3 ,,fig4 #ghe4 ,,pattern ,,for ,,net ,,passings4 #a half passing with the #ast and #bnd pair lay the #ast pair aside #a half passing with the #bnd and #crd pair lay the #bnd pair aside #a half passing with the #crd and #dth pair lay the #crd pair aside #a half passing with the #dth and #eth pair lay the #dth pair aside #a half passing with the #eth and #fth pair stick in a pin at point #b1 then work back from right to left surround the pin with a half passing made with the #eth and #fth pair lay the #fth pair aside #a half passing with the #eth and #dth pair lay the #eth pair aside #a half passing with the #dth and #crd pairs lay the #dth pair aside #a half passing with the #crd and #bnd pair lay the #crd pair aside #a half passing with the #bnd and #ast pair stick in a pin at point #c and repeat from the beginning4 ,fig4 #ghf shows the net ground completed2 the thread that runs to and fro1 to make it more clear1 is represented in a darker shade than the others4 ,before proceeding further1 it is as well to prepare our readers for the many trials they will have to make1 even with the help of the most minute explanations1 before they succeed in carrying out the directions2 for the whole art of making pillow lace lies in a manual dexterity1 only attainable by practice4 ,illustration3 ,,fig4 #ghf4 ,,net ,,ground4 ,,completed4 ,even copying the patterns from description is only possible at first in a qualified sense2 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 former1 trying at once to rectify the difference4 ,,linen ,,or ,,cloth ,,ground4--,the pattern used for net passing can also be used for linen passing or ground but #g pins1 instead of #f1 have to be stuck in at the top first4 ,as in net passing1 you work first from left to right1 running #b threads to and fro in perfectly horizontal lines1 so as to produce a ground resembling linen in its texture4 ,the threads that run to and fro are held at the edge with pins and changed by a half passing1 so that the one that was first in going1 is first also in returning4 ,illustration3 ,,fig4 #ghg4 ,,pattern ,,for ,,plain ,,hole ,,ground4 ,illustration3 ,,fig4 #ghh4 ,,plain ,,hole ,,ground4 ,the use of the machine for crossing the threads is especially to be recommended in working linen ground2 by pressing the short branches of the machine1 the position of the threads is changed and the bobbin is pushed through2 by a second pressure the second bobbin is driven through1 the pin is stuck in for the picot or the cord1 when the bobbins are taken back again1 four movements being thus all that is required4 ,illustration3 ,,fig4 #ghi4 ,,wheel ,,begun ,,in ,,hole ,,ground4 ,illustration3 ,,fig4 #gij4 ,,wheel ,,in ,,hole ,,ground ,,completed4 ,,plain ,,hole ,,ground 7figs4 #ghg and #ghh74--;,hole ground can be worked in various ways2 we will begin by describing the plain hole ground1 which as a rule forms the ground of all torchon laces4 ,after fixing the pattern1 as represented in fig4 #ghg1 upon the pillow1 stick in #e pins1 hang #b pairs of bobbins on to each and throw the #bnd bobbin of each pair over its fellow #a half passing with the #bnd and #crd pairs put up a pin at point #a #a half passing with the same pair this encloses the pin lay the #crd pair aside #a half passing with the #bnd and #ast pair put up a pin at point #b enclose it with the same pairs #a half passing with the #eth and #dth pair put up a pin at point #c enclose it with the same pairs lay the #eth pair aside #a half passing the #dth and #crd pair put up the pin at point #d enclose the same lay the #dth pair aside work on in the same way over points #e and #f #a half passing with the #fth and #gth pair put up the pin at point #g enclose the same work on in the same way over points #h1 #i1 #aj1 #aa and #ab #a half passing with the #hth and #ith pair put up the pin at point #ca enclose the same work on over points #ad1 #ae1 #af1 #ag1 #ah1 #ai and #bj #a half passing with the #ith and #ajth pair put up the pin at point #ba enclose the same and proceed as in the preceding rows1 from point #bb to #bi4 ,illustration3 ,,fig4 #gia4 ,,pattern ,,for ,,rose ,,ground4 ,illustration3 ,,fig4 #gib4 ,,rose ,,ground4 ,hole ground with twisted thread is made in the same way we have just been describing1 only that after every half passing enclosing the pin1 each pair of bobbins is twisted once4 ,a ground which is worked in this way is stronger than the other4 ,twisted hole ground is seen again in figs4 #gib and #gid4 ,,wheels ,,in ,,hole ,,ground 7figs4 #ghi and #gij74--;,for the wheels1 which are often worked on pillow-made grounds1 #d1 #f1 #h pairs of bobbins1 sometimes even more are used 7see likewise fig4 #hja74 ,in fig4 #ghi1 the wheel is worked with the #d middle pairs of bobbins4 ,each pair has first to be twisted once #a linen passing with the #crd and #bnd pair lay aside the #crd pair #a linen passing with the #bnd and #dth pair lay both pairs aside #a linen passing with the #dth and #crd pair lay aside the #dth pair #a linen passing with the #crd and #bnd pair put up the pin at the next point and between the #bnd and #crd pair #a linen passing with the #crd and #bnd pair lay aside the #crd pair #a linen passing with the #bnd and #ast pair lay both pairs aside #a linen passing with the #dth and #crd pair lay the #dth pair aside #a linen passing with the #crd and #bnd pair the last passing completes the wheel1 such as it is represented in fig4 #gij4 ,twist the pairs of bobbins again as you did before beginning the wheel and then proceed with the plain ground4 ,,rose ,,ground 7figs4 #gia and #gib74--;,after preparing the pattern1 as in fig4 #gia1 put up pins at a1 b1 c1 d1 e1 f1 g1 h and i and hang on #b pairs of bobbins to the first pin1 and one pair to each of the other #h #a half passing with the #ast and #bnd 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 #a half passing twist the pair once lay the #ast pair aside #a half passing with the #bnd and #crd pair twist the pair again take out the pin at b1 put it in again at the same point between the pair enclose the pin twist the pairs again lay the #bnd pair aside #a half passing with the #crd and #dth 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 #a half passing with the #crd and #bnd pair twist the pair again put up a pin at point #a enclose the pin twist the pair again #a half passing with the #bnd and #ast pair twist the pair again put up a pin at point #b enclose the pin work point #b and #a with the #crd and #bnd pair #a half passing with the #dth and #eth 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 #eth and #fth pair work point #d like point #c with the #dth and #eth pair work points #e1 #f and #g in a slanting direction from right to left carry out point #h with the #eth and #dth pair lay both pairs aside work point #i with the #crd and #bnd pair work point f like point e with the #fth and #gth pair work point g like point f with the #gth and #hth pair then work points #aj to #ae with the #fth and #gth pair point #af with the #gth and #fth pair point #ag with the #eth and #dth pair point #ah with the #crd and #bnd pair point h like point g with the #hth and #ith pair point i with the #ith and #ajth pair points #ai to #bf with the #ith and #ajth pair point #bg with the #ith and #hth pair point #bh with the #gth and #fth pair point #bi with the #eth and #dth pair point #cj with the #crd and #bnd pair4 ,proceed in this manner until the whole ground be finished4 ,illustration3 ,,fig4 #gic4 ,,pattern ,,for ,,fig4 #gid ,illustration3 ,,fig4 #gid4 ,,double ,,or ,,ornamental ,,ground4 ,,double ,,or ,,ornamental ,,ground 7figs4 #gic and #gid74--,this ground should be worked in a comparatively fine material2 we should recommend ,fil dentelle ,d4,m4,c ,nos4 #cj to #ajj4 ,put up pins at points a and g in the pattern and hang on a pair of bobbins put up pins likewise at b1 c1 d1 e and f and hang on a pair of bobbins to each #a half passing with the #bnd and #crd 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 #a half passing with the #bnd and #ast pair put up a pin at point #a enclose the pin #a half passing with the #dth and #eth pair take out the pin at point l and put it in again between the pairs at the same place enclose the needle #a half passing with the #dth and #crd pair put up a pin at point #b enclose the needle #a half passing with the #crd and #bnd pair put up a pin at point #c enclose the needle #a half passing with the #crd and #dth pair #a half passing with the #bnd and #ast pair put up a needle at point #d enclose the needle work point d like point c with the #fth and #gth pair #a half passing with the #fth and #eth pair put up a pin at point #e enclose the pin work over point e like point d with the #gth and #hth pair #a half passing with the #gth and #fth pair put up a pin at point #f enclose the pin #a half passing with the #fth and #eth pair put up a pin at point #g enclose the pin #a half passing with the #fth and #gth pair lay the #b pairs aside #a half passing with the #eth and #dth pair1 by which the threads are made to cross each other in the square work over point f as over point e with the #ajth and #aath pair work over points #ag to #ai as over points #e to #g when the square is finished #a half passing with the #ajth and #aath pair half passings between all the squares4 ,illustration3 ,,fig4 #gie4 ,,tulle ,,ground4 ,,tulle ,,ground 7fig4 #gie74--,prepare your pattern for the ground represented here on a magnified scale1 by pricking holes at regular distances so as to form diagonal lines intersecting each other1 as shown in the engraving1 and set more or less closely together1 according to the thickness of the thread you use4 #a half passing put up the pin at the next point1 twist both pairs twice1 but without enclosing the pin1 and pass the inner left thread over the inner left one twist the two pairs again cross as before and so on4 ,,valenciennes ,,ground 7fig4 #gif74--,the ,valenciennes ground is formed of little plaits for which #b pairs of bobbins are used4 ,these plaits are often used in other kinds of lace as well1 as may be seen for instance in figs4 #hja1 #hjb and #hjf which are not ,valenciennes patterns4 ,illustration3 ,,fig4 #gif4 ,,valenciennes ,,ground4 ,illustration3 ,,fig4 #gig4 ,,brussels ,,ground4 ,according to the size of the squares the plaits are made with either #d1 #f or #h half passings1 #b pairs of bobbins being invariably used4 ,the plaits are joined by a half passing1 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 pairs4 ,,brussels ,,ground 7fig4 #gig74--;,for the sake of greater clearness1 this ground too has been worked and reproduced here on a magnified scale4 ,it is worked in diagonal lines1 as follows3 #a double passing with #b pairs of bobbins put up a pin at the next point enclose the pin with a double passing1 twist both pairs each time once and so on4 ,this ground1 when it is worked by the hand in very fine thread1 takes a long time to do and is therefore often made by machinery4 ,illustration3 ,,fig4 #gih4 ,,eternelle ,,with ,,two ,,rows ,,of ,,holes4 ,,eternelle ,,with ,,two ,,rows ,,of ,,holes 7fig4 #gih74--,the so-called eternelle laces have no definite pattern2 they can be made of any width1 in the form of insertions or edgings4 ,for a single row of holes1 you want #f pairs of bobbins2 for two rows1 #g2 for three1 #i1 adding two pairs of bobbins for every additional row of holes4 ,the upper part of fig4 #gih shows how the points are distributed2 here #g pairs of bobbins are used4 ,put up a pin at the topmost point hang on #b pairs of bobbins #a double passing take out the pin and put it in again between the two pairs tighten the pair hang on #a pair of bobbins again on the left #a double passing with the #ast 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 #a double passing with the #bnd and #crd pair that enclose the pin hang on #b pairs of bobbins in the middle #a double passing with both pairs lay the #eth pair aside #a double passing with the #dth and #crd pair lay the #dth pair aside #a double passing with the #bnd and #ast pair twist the #ast pair once and lay it aside #a double passing with the #bnd and #crd pair that enclose the pin put up #a pin at the #crd lower point1 hang on #b pairs of bobbins #a double passing with these bobbins lay the #gth pair aside 99 #a double passing with the #fth and #eth pair lay the #fth pair aside #a double passing with the #eth and #dth pair lay the #eth pair aside #a double passing with the #dth and #crd pair lay the #dth pair aside #a double passing with the #crd and #bnd pair put up a pin at the next point #a double passing with the #bnd and #ast pair twist the #ast pair once #a double passing with the #bnd and #crd pair1 to enclose the pin lay the #c first pairs aside #a double stitch with the #dth and #eth pair lay the last two pairs aside #a double passing with the #fth and #gth pair put up a pin at the next point enclose the pin with the last pairs repeat from 994 ,illustration3 ,,fig4 #gii4 ,,lace ,,with ,,torchon ,,ground ,,and ,,edge ,,in ,,net ,,ground4 ,,materials3 ,fil pointer ,d4,m4,c ,no4 #cj4 ,cordonnet #f fils ,d4,m4,c ,nos4 #bj to #ajj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #aej1 white or cru4,a ,,lace ,,with ,,torchon ,,ground ,,and ,,edge ,,in ,,net ,,ground 7fig4 #gii74--,worked with #aj pairs of bobbins4 ,put up a pin at 99 make net passings1 fig4 #ghf1 to point #a put up a pin at point #a enclose the pin with the two last pairs on the right net passings to point #b put up a pin at point #b lay one pair of bobbins aside net passings to point #c put up a pin at point #c enclose the pin net passings to point #d put up a pin at point #d lay one pair of bobbins aside net passings to point #e put up a pin at point #e net passings1 back to point #f put up a pin at point #f take up the bobbins on the left again #a half passing with the #ast pair on the left put up a pin at point #g work the torchon ground1 at the top of the lace1 as in fig4 #ghh1 with the #bnd and #crd pair #a half passing with the #crd and #dth pair put up a pin at point #h twist the #ast and #bnd pair #a double passing with the #ast and #bnd pair put up a pin at point #i #a double passing with the #bnd and #crd pair lay the #bnd pair aside make hole or torchon stitch1 fig4 #ghh1 with the #crd and #dth pair put up a pin at point #aj work on to point #aa in hole ground put up a pin at point #aa cross the #ast and #bnd pair on the left put up a pin at point #ab enclose the pin lay #e pairs of bobbins aside on the left take up #e pairs on the right put up a pin at point #ac net passings with the #e pairs on the right take up1 in addition1 the #fth pair on the left hole ground with the #eth and #fth pair put up a pin at point #ad net passings to point #ae with #e pairs of bobbins put up a pin at point #ae net passings with #f pairs of bobbins take up a #gth pair of bobbins in addition hole ground with the #fth and #gth pair put up a pin at point #af net passings with #f pairs of bobbins put up a pin at point #ag net passings with #f pairs of bobbins put up a pin at point #ah and then repeat from the first point 99 on the left4 ,,pillow ,,lace 7figs4 #hjj1 #hja1 #hjb74--,we here give as an example the same pattern of lace worked in two thicknesses of thread2 fig4 #hja in ,cordonnet #f fils ,d4,m4,c ,no4 #be;,a1 fig4 #hjb in ,fil pointer ,d4,m4,c ,no4 #cj;,a1 which is of course much thicker4 ,as this pattern is especially suitable for trimming household articles1 made of unbleached linen1 such for instance as table-covers1 curtains and hangings of all kinds1 we prefer it made in the thicker thread2 even then it looks very well as a trimming for articles of dress4 ,it is worked with #dj pairs of bobbins hang them on one after the other in a row put up a pin at point #a twisted linen passing work all the pairs to point #b with linen passing put up the pin at the last pair go back through #c pairs with linen passing twist #b pairs once go back with linen passing through all the pairs to point #c twist each pair separately at point #d twist the #b pairs and put up the pin twist the last pair twice and so on and coming back to point #e put up the pin come back again to point #f return to point #g put up the pins at the two points4 ,illustration3 ,,fig4 #hjj4 ,,pattern ,,for ,,the ,,pillow ,,lace ,,figs4 #hja ,,and #hjb4 ,divide the #cj other pairs into twos put up a pin between every set of two pairs linen passing4 ,the ground is all worked alike3 twist the pairs twice linen passing put up the pins linen passing to points #f and #g twist the threads in taking them through make a plait1 fig4 #gif1 for the scallop point #h put up a pin at the point marked for the picot pass the thread of the outside bobbin from right to left1 round the pin1 to form the picot continue the plait to the next picot put up a pin form the picot continue the plait to point #i connect the plait with the bobbins of points #i and #g make #d linen passings with #c pairs continue the plait carry the last pair to point #aj twist the threads make #a linen passing put up a pin and enclose it go on in this manner to point #ab make the wheel1 as in figs4 #ghi and #gij1 with #f pairs of bobbins1 hanging on #d new pairs at point #ab work with twisted linen passing twist the #d pairs once and cross with linen passing take the last pair out from the middle to point #ac1 join it to the first pair of the scallop make all the wheels before continuing the ground then go back from point #ac to #ad cross the pairs again at point #ab twist #d pairs #b twisted linen passings right and left with the bobbins of points #ad and #ae #a twisted linen passing put up the pins and work all the spiders alike4 ,illustration3 ,,fig4 #hja4 ,,pillow ,,lace4 ,,material3 ,cordonnet #f fils ,d4,m4,c ,no4 #cj4;,a ,,pillow ,,lace ,,insertion 7figs4 #hjc and #hjd74--;,hang on #ab pairs of bobbins4 ,divide the bobbins and put #b pairs at point #a put up a pin twist once #b linen passings from point #b to point #h #e 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 #b linen passings #e twisted linen passings to point #aj #b linen passings twist the #b last pairs go back with linen passing through #b pairs join together with the two pairs and the first pair by means of a twisted stitch put up the pin lozenge stitch 7for lozenge stitch in which the lozenges or close leaves are made1 you take #d or #f threads2 in the execution it resembles the darning stitch represented in figs4 #fdf and #fdg7 to point #aa twist at point #ab take #b pairs from point #aj plait to point #ac twist with the bobbins of point #a double passing plait on the right1 twist on the left put up the pin tie up as described4 ,illustration3 ,,fig4 #hjb4 ,,pillow ,,lace4 ,,material3 ,fil pointer ,d4,m4,c ,no4 #cj4;,a ,take the second pair at points #ac and #ae put up the pin #b twisted double passings on the right #b linen passings twist the #b latter put up the pin at point #af lay one pair of bobbins aside with simple passing go back through #b linen passings join the latter and the former with linen passing put up the pin at point #ag lozenge stitch with the bobbins of points #ae and #ag to point #ah connect the same at point #aa carry on the lozenge stitch to points #ai1 #bj and #ba put up a pin at each number and enclose with a linen passing with the first pair of bobbins of point #ba1 #b linen passings to the left and #b twisted linen passings1 that is to say1 crossing the threads put up the pin at point #bb4 ,illustration3 ,,fig4 #hjc4 ,,pattern ,,for ,,pillow ,,lace ,,insertion ,,fig4 #hjd4 ,illustration3 ,,fig4 #hjd4 ,,pillow ,,lace ,,insertion4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #be to #ej1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ajj4;,a ,twist the threads from point #af to point #bc make a plait from point #ae to point #bc then join the two parts together by half passings put up a pin twist the threads and make plaits to point #bd join the threads as at point #bc4 ,on the left and with the first pair of point #ai1 #b linen passings with the #b latter #a twisted passing put up the pin at point #be returning1 #b linen passings to point #bf #b linen passings to the left with the #b latter pairs #b double passings and put up the pin4 ,,pillow ,,lace 7figs4 #hje and #hjf74--;,hang on #ad pairs of bobbins4 ,illustration3 ,,fig4 #hje4 ,,pattern ,,for ,,pillow ,,lace ,,fig4 #hjf4 ,illustration3 ,,fig4 #hjf4 ,,pillow ,,lace4 ,,material3 ,cordonnet #f fils ,d4,m4,c ,no4 #be4;,a ,these are divided into #c groups #c pairs at point #a put up a pin twisted linen passing twist both pairs once put up the pin at point #c add on #e pairs at point #b put up the pin go back through #c pairs twist the #b last pairs linen passing put up the pin at point #c twist both pairs linen passings1 as seen in the illustration1 to the right and left as far as point #aa at point #ac intervert #f pairs by a twisted linen passing make a plait at point #ad put up a pin in the middle of the same pass through #b pairs of bobbins with twisted linen passing put #a pair of bobbins aside at point #bb put up a pin at the #b first pairs at point #ae work the leaf in lozenge stitch put up a pin at point #af near the first pair twist both pairs once linen passing put up the pin at point #ag go back in the same manner work on in the same way to point #ba put up the pin at point #bb twisted linen passing to point #aa tie up the first pair of the scallop with the bobbins of point #aa bring the last pair back and work as at point #a then repeat and proceed in the same way to point #bg twist the #b pairs up to point #bf put up the pin make one lozenge stitch and join the plait1 stitch to point #bh continue the lozenge stitch to point #bi join the bobbins of point #bi to those of point #ba 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 #ca twist both pairs once #b linen passings put up the pin at point #hb #b linen passings tie up the bobbins of point #cc with those of point #bi plait stitch put up the pin join to point #cd with lozenge stitch with the bobbins at point #bh make lozenge stitch to point #bg put up a pin twist #c pairs once make #b linen passings join with linen passing continue the scallop according to the preceding description1 from point #bg to point #ce4 ,at point #cd make a leaf in lozenge stitch put up the pin continue from point #cc to point #cf with twisted linen passings carry the first pair of bobbins of the lozenge to point #ce by means of #b twisted linen passings put up a pin in the middle of the #b pairs make a plait to point #cg cross the pairs again as at point #ac1 in the beginning4 ,,pillow ,,lace 7figs4 #hjg and #hjh74--,worked with #cj pairs of bobbins4--,these are divided3 #ad pairs at point #a put up a pin on the left and right with the last pairs make plaits to point #ab add #b pairs make a double passing as for a plait put up a pin in the middle of the pairs plait with #b pairs of bobbins to point #c add #b 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 #d add #d pairs of bobbins put up the pin at point #e1 add #b pairs of bobbins make a plait put up a pin and join to point #d by a double passing4 ,illustration3 ,,fig4 #hjg4 ,,pattern ,,for ,,pillow ,,lace ,,fig4 #hjh4 ,illustration3 ,,fig4 #hjh4 ,,pillow ,,lace4 ,,material3 ,fil dentelle ,d4,m4,c ,no4 #ej4;,a ,at point #a1 lay the two last pairs to the right put up a pin make a plait to point #f add #b pairs of bobbins #a double passing put up a pin make a plait to point #g with a pairs of bobbins add #b pairs of bobbins #a double passing put up the pin make a plait to point #h add #d pairs of bobbins #e linen passings put up a pin at the last passing at point #i add #b pairs of bobbins make a plait put up a pin join to point #h with linen passing make plaits from point #i to point #aj put up a pin leave the pairs hanging #e linen passings with the bobbins of point #aj put up the pin at point #aa go back to point #aj with #e passings put up the pin make a plait and tie up the bobbins at point #f leave these bobbins hanging down4 ,with the two first pairs at point #aa1 make a plait to point #ab #a linen passing at point #g and join to point #ab by a plait plait stitch put up a pin then plait stitch to point #ac and make the same connection as at points #ab and #g continue to plait to point #ad put up the pin at the first pair #g linen passings leave these bobbins hanging down tie up the plait of point #e with the #ast pair of point #d make a plait on the left put up a pin at point #ae make #e linen passings on the right and put up the pin at point #af make a plait to point #ag make the same connection as at point #g and #ab the same connection also at point #ah make a plait to point #ai put up the pin make a plaited lozenge with one pair leave #b pairs hanging at point #bj1 left and right continue to point #ba leave #b pairs hanging1 left and right make a plait to point #bb begin again at point #ag and make a leaf in lozenge stitch to point #bc make a second leaf from point #af to point #bc join the leaves at point #bc make a plait with the first pair of point #af to point #bd put up a pin enclose it with a double passing and make a plait tie up the bobbins at point #ae continue the edge to point #bf make a leaf in lozenge stitch from point #cb to point #bf tie up the bobbins at point #bf and make linen passings with the united bobbins to point #bg with the bobbins of point #ah and point #bj1 therefore with #d pairs1 make a square in lozenge stitch join the #c leaves at point #bc from point #bc to point #bh make a plait with the two first pairs of bobbins put up a pin at point #bh make a plait with picots to point #bi lozenge stitch from point #cb to point #bb and point #cc join to point #cj by a plait plait to point #bb work from point #cd to #ce in the same way as from point #a to point #cc at point #bb and point #ce the pairs cross each other4 ,,pillow ,,lace 7figs4 #hji and #haj74--;,hang on #bh pairs of bobbins4 ,begin at point #a with a plait1 fig4 #gij put up a pin 99 hang on #e pairs at point #b and put up a pin at the last pair with the last pair make a plait to point #c 99 hang on a pair of bobbins #a linen passing hang on a pair of bobbins #a linen passing hang on #c pairs of bobbins #a linen passing #c linen passings put up a pin #a leaf in lozenge stitch to point #d hang on #b pairs of bobbins #b plait stitches put up a pin make a leaf to point #e hang on #b pairs of bobbins #a plait stitch put up a pin repeat in the reverse order to point #c4 ,illustration3 ,,fig4 #hji4 ,,pattern ,,for ,,the ,,lace ,,fig4 #haj4 ,illustration3 ,,fig4 #haj4 ,,pillow ,,lace4 ,,material3 ,fil dentelle ,d4,m4,c ,no4 #ej4;,a ,put up a pin at point #i hang on a pair of bobbins #a linen passing hang on a pair of bobbins #a linen passing hang on a pair of bobbins make a plait to point #aa put up a pin hang on #b pairs of bobbins at point #ab make a plait and tie the threads together with those of point #aa on the left with #b pairs1 on the right with #c pairs to point #ac for the edge put up #b pins and continue the edge with linen passings to point #ad4 ,return to point #ae and make a plait put up a pin divide the bobbins and put one pair on the right1 the other on the left take the bobbins at point #e and #g and make plaits to points #af and #ag make linen passings with the two pairs to point #ah put up a pin and make a plait to point #ba4 ,make leaves in lozenge stitch from points #d and #h to points #ai and #bj one leaf from point #af to point #ai make another leaf to point #bb and one to point #ba make the same leaves on the left to points #bj1 #ba and #bc cross the bobbins at point #ba make leaves from point #ba to points #bd1 #bf and #bf4 ,make lozenge stitch with picots1 with #c pairs of bobbins from points #i and #aj to point #bb join the bobbins to leaf #bb carry on the braid to point #bf join #b pairs of bobbins to the leaf leave the #b pairs at point #bh hanging down carry on the braid to point #be4 ,make a leaf at point #bg to point #ad tie the threads together as at point #aj carry on the edge to point #bi put up a pin make a plait with picots to point #cj tie up the threads with those of leaf #bh make a leaf to point #ca introduce the threads into the edge put up a pin tie the threads together4 ,make a plait on the left leave #d pairs of bobbins hanging down on the right1 #b pairs for the plait and #b for the leaf carry on the edge to point #cb leave #b pairs hanging for another leaf continue the edge to point #cc4 ,make a plait from point #ba to point #cd4 ,begin again on the left at points #a and #b and work1 as on the right1 to point #ce cross the threads at point #be linen passing distribute the pairs to point #cf #b pairs at point #cg #b at point #ch #c pairs at point #cd plait to point #cg join to point #ch continue the plait and join to points #cf1 #ce1 #ci at points #ce1 #cf1 #cg lozenge stitch with every #b pairs of bobbins to point #dj then join the next #f pairs together and work on with lozenge stitch to point #da work exactly in the same manner at points #ca1 #cb1 #cd1 #ce1 #ci1 #db as at points #cf1 #cg1 #ch1 #dj to #da at point #da1 all the threads are interwoven1 and then divided into #c sets continue the leaves to points #de1 #df and #dg4 ,then repeat in the reverse order from points #ca1 #ch1 #be1 #cb and #ci4 ,illustration3 ,,fig4 #haa4 ,,armenian ,,lace4 ,,materials3 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #dj or ,fil dentelle ,d4,m4,c ,nos4 #be to #gj4 ,,colours3 cru and ,brun-,caroubier #cjc4;,a ,illustration3 ,,fig4 #hab4 ,,working ,,detail ,,of ,,fig4 #haa4 ,,armenian ,,lace 7figs4 #haa and #hab74--,the dresses of the ,turkish women are often ornamented with flowers and leaves1 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 work2 though1 as such1 they do not always accord with our ,western notions of good taste1 the ,armenian work is in itself1 both sufficiently interesting and easy of execution1 to deserve description here amongst other kinds of needlework that are adaptable to use4 ,it may be imitated with capital effect in strong stiff washing materials1 such as those indicated in our illustration1 either upon a linen or cotton foundation or upon plush or silk4 ,the thread is first drawn into the edge of the stuff2 you then carry it from right to left1 determine the length of the squares1 and working from left to right make on this first thread as many knots as you have room for4 ,fig4 #hab shows the formation of the knot1 the manner in which the thread1 passing from left to right1 forms a loop1 and how to pass your needle under the straightly extended thread and through the loop4 ,you leave a space of one or two m_/m4 between the knots1 according to the thickness of the thread you are using4 ,having covered the first thread with knots1 you return to the edge for the next row of knots1 but passing your needle this time under three threads4 ,the number of knots should be the same in each row1 and the four sides of the square should be all equal4 ,when the squares are finished they are edged with picots on the two lower sides1 as shown in fig4 #hab4 ,thread of two colours was used for fig4 #haa1 the squares being worked alternately in cru and ,brun-,caroubier and the picots1 all in the latter colour4 ,,lace ,,and ,,insertion ,,in ,,knotted ,,stitch 7fig4 #hac74--;,excepting in the case of the returning thread1 the same stitches are used for the pretty border and insertion given in fig4 #hac1 as for the ,armenian lace4 ,the stitches that form the insertion are attached1 on both sides1 to an ,english braid1 something of the nature of ,rhodes linen1 which is open-worked before the knotted work upon it is begun4 ,as in the preceding figure1 two colours are used alternately1 the change from one to the other is distinctly marked in the engraving4 ,the outside edge consists of light scallops1 formed by the regular increase and decrease of the stitches4 ,the original piece of work from which our drawing was taken1 forms the border of a dark blue plush carpet2 the red and cru hues of the lace harmonize exceedingly well with the soft colour of the plush4 ,illustration3 ,,fig4 #hac4 ,,lace ,,and ,,insertion ,,in ,,knotted ,,stitch4 ,,materials3 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #be1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4 ,,colours3 cru and ,rouge-,cardinal #df4;,a ,,insertion ,,in ,,knotted ,,stitch 7figs4 #had and #hae74--,this kind of work1 similarly composed of knotted stitches1 can be used instead of crochet insertion or single and cut openwork in linen4 ,it looks exceedingly well as a trimming for bed and table linen and is executed on foundation threads or cords1 which connect the different figures together1 with closely connected rows of knots between4 ,illustration3 ,,fig4 #had4 ,,insertion ,,in ,,knotted ,,stitch4 ,,materials3 ,fil pointer ,d4,m4,c ,no4 #cj1 ,cordonnet #f fils ,d4,m4,c ,nos4 #ae to #cj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4;,a ,illustration3 ,,fig4 #hae4 ,,working ,,detail ,,of ,,fig4 #had4 ,,insertion ,,in ,,knotted ,,stitch 7figs4 #haf and #hag74--,the mode of making the insertion in knotted stitch1 which is represented in the two accompanying engravings1 is supposed to be of ,italian origin1 but we have met with quite as perfect specimens of work done in the same way1 which were the products of ,persia and ,asia ,minor4 ,we have called it by the same name as the preceding patterns1 for even the way in which the stitch is worked is almost the same4 ,through some slight difference however in the interlacing of the threads1 shown by the open loops in fig4 #hag1 the stitches lie closer together and are alike on both sides of the work4 ,illustration3 ,,fig4 #haf4 ,,insertion ,,in ,,knotted ,,stitch4 ,,materials3 ,the same as for fig4 #had4;,a ,illustration3 ,,fig4 #hag4 ,,working ,,detail ,,of ,,fig4 #haf4 ,no difficulty will be found in making out the course of the rows2 it is best to begin by the two rows of stitches that form the perpendicular bars and make the stitches1 that compose the #d staves between the bars next4 ,for the little picots see fig4 #gjj4 ,illustration3 ,,fig4 #hah4 ,,lace ,,in ,,knotted ,,stitch4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #be or ,fil dentelle ,d4,m4,c ,nos4 #be to #ej4;,a ,illustration3 ,,fig4 #hai4 ,,working ,,detail ,,of ,,fig4 #hah4 ,illustration3 ,,fig4 #hbj4 ,,reticella ,,lace4 ,,materials--,for the open-work3 ,cordonnet #f fils ,d4,m4,c ,nos4 #aj to #ajj1 or ,fil dentelle ,d4,m4,c ,nos4 #be to #aej1 white or cru4 ,for the bars3 ,lacets superfins ,d4,m4,c ,nos4 #c to #h4;,a ,,lace ,,in ,,knotted ,,stitch 7figs4 #hah and #hai74--,this charming little lace1 which is of ,italian origin1 was taken from a cushion cover1 used for church purposes4 ,the stitches1 made in the order indicated in the working detail1 fig4 #hai1 are overcast at the last with a fleecy thread1 such as ,coton repriser ,d4,m4,c1 of a rather sober colour1 such for instance as ,bleu-,indigo #ccd1 ,rouge-,granium #ceb1 or ,jaune-,rouille #cfc4 ,you overcast the slanting bars and pass over the stitches that connect the two picots4 ,illustration3 ,,fig4 #hba4 ,,working ,,detail ,,of ,,fig4 #hbj4 ,,reticella ,,lace 7figs4 #hbj and #hba74--,the ,reticella laces are generally made on a design traced upon parchment1 similar to those required for the laces described later on4 ,but as the manner of working has been modified in the lace represented here1 we thought it as well to adopt the same simplification1 often used in beautiful pieces of old needlework1 which consists in substituting a braid made upon a pillow1 for the bars made with the needle4 ,illustration3 ,,fig4 #hbb4 ,,venetian ,,lace4 ,illustration3 ,,fig4 #hbc4 ,,venetian ,,lace4 ,you begin by laying and fastening down the braid by means of very small stitches upon the lines of the pattern1 which should be traced upon black paper2 you next proceed to make the centre bars1 covered with plain button-hole stitches1 on which you mount a row of stitches1 like those of fig4 #gee2 these are followed by another bar1 to make which1 you pick up the loop of the stitches of the preceding row and by another row like the second1 finished off with picots1 like those illustrated in fig4 #gjj4 ,the bases of the pyramids likewise consist of bars1 button-holed on both sides and edged on the inside with picots4 ,the stitches of the first row should not be too close together1 that there may be room for those of the second row between1 as we have already explained in fig4 #gjb1 in the chapter on ,irish lace4 ,the inside of the pyramids is worked in the stitch represented in fig4 #gee1 the picots round them are like the ones in fig4 #eii4 ,illustration3 ,,fig4 #hbd4 ,,venetian ,,lace4 ,illustration3 ,,fig4 #hbe4 ,,venetian ,,lace4 ,the lace1 represented in fig4 #hbj in its original size1 was worked in ,fil dentelle ,d4,m4,c ,no4 #hj1 whilst the second engraving1 representing the same subject1 shows us how perfectly well it can also be made in heavier and coarser materials1 these being in this instance1 ,lacets superfins ,d4,m4,c ,no4 #d and ,cordonnet #f fils ,d4,m4,c ,no4 #bj4 ,,venetian ,,laces 7figs4 #hbb1 #hbc1 #hbd1 #hbe1 #hbf1 #hbg1 #hbh74--,under the name of ,venetian point are comprised1 not only certain kinds of pillow lace1 but even more generally1 the beautiful needle-made lace1 the outlines of which are bordered with handsome scallops in high relief4 ,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 lace4 ,illustration3 ,,fig4 #hbf4 ,,venetian ,,lace4 ,illustration3 ,,fig4 #hbg4 ,,venetian ,,lace4 ,the preparation of the pattern1 in most kinds of needlework1 is a most important matter and one requiring the greatest care1 but in the case of needle-made lace and pillow lace the processes are different4 ,the paper on which the design is traced must first be backed or lined with unglazed black paper 7made specially for this purpose74 ,prick holes all along the lines of the pattern1 at exactly the same distance from each other1 remove the tracing and tack the black paper upon rather coarse linen4 ,this done1 you take from three to five lengths of the thread of which the lace is to be made1 lay them down together upon the lines marked by the prickings and secure them at each hole by a stitch made over the threads4 ,fig4 #hbb1 with the others of the same series in their natural size1 show the proper distance that should be left between the prickings1 and the laying down of the threads begun2 whilst in fig4 #hbc1 we have the threads laid down throughout1 even for the little eyelet holes1 which are to be open-worked afterwards4 ,illustration3 ,fig4 #hbh4 ,,venetian ,,lace4 ,,materials--,for the open stitches3 ,fil dentelle ,d4,m4,c ,nos4 #ajj to #bjj4 ,for the outlining and for the padding3 ,coton surfin ,d4,m4,c ,nos4 #abj to #aej4;,a ,when all this preliminary work is finished1 the pattern is ready for the lace stitches that are to form the filling in1 between the raised outlines4 ,in order to keep your work perfectly clean and preserve it from unnecessary contact with your fingers1 cover all those parts of the pattern you are not immediately engaged on1 with a piece of blue paper with a hole1 about the size of a pea1 cut in it4 ,this you move along as you go1 working only at the part of the pattern which is visible through the hole1 keeping all the rest carefully covered up and sewing paper over each part as soon as it is finished2 this should not be removed until you are ready to join all the separate parts together with bars or latticed ground and work the button-hole edges4 ,all the different lace stitches that are used as fillings must be begun and fastened off at the outline threads1 which you must be careful not to drag out of their place4 ,we again remark1 for the benefit of those of our readers who may not have read the preceding chapter attentively1 that in working all the finer lace stitches1 the needle should be held with the eye towards the worker and the point turned outwards4 ,all the inside portions of the pattern have to be worked in separately2 7for a choice of stitches to serve as fillings see figs4 #gbj to #gfb7 until all the spaces are filled1 as represented in figs4 #hbe and #hbf4 ,the stitches should be selected as far as possible1 to suit the style of the design4 ,flowers look best worked in an open or lattice stitch1 leaves on the other hand in a thick close stitch4 ,when all the insides are done1 the edges and outlines have to be closely button-holed4 ,the old ,venetian laces are bordered with scallops in high relief1 worked over a thick pad of laid threads1 as described on p4 #hc1 fig4 #aia1 relating to ,venetian embroidery4 ,illustration3 ,fig4 #hbi4 ,,venetian ,,lace ,,with ,,net ,,ground4 ,,materials--,for the open stitches3 ,fil dentelle ,d4,m4,c ,nos4 #ajj to #bjj4--;,for the outlining and for the padding3 ,coton surfin ,d4,m4,c ,nos4 #abj to #aej4 ,,venetian ,,lace ,,with ,,net ,,ground 7fig4 #hbi74--,the outlining of the figures with several strands of ,coton surfin ,d4,m4,c1 should1 in the case of detached pieces of lace1 be done at once1 but where the figures are connected by bars or by a net ground as in fig4 #hbe1 the button-holed outlines should be done last4 ,thus in making the lace1 fig4 #hbi1 you should begin by working all the insides of the flowers and foliage1 then the net ground which may be replaced by bars with picots and then only proceed to the outside button-holing and the scallops4 ,as all this kind of lace-work is very laborious and takes a long time to do1 we advise our readers to use thread that is slightly tinted2 in the first place it does not turn yellow as white thread is liable to do and secondly1 being softer and less twisted it takes every bend and turn more readily than the stiffer white material does4 ,of all the different kinds of thread1 so frequently alluded to in these pages1 the higher numbers of ,fil d',alsace ,d4,m4,c and ,fil dentelle ,d4,m4,c are the best for the finer kinds of lace1 and they all have the soft ivory tint1 we so admire in the old needlework4 ,illustration3 ,,fig4 #hcj4 ,,spray ,,in ,,needle-,,point4 ,,materials--,for the open stitches3 ,fil dentelle ,d4,m4,c ,no4 #bjj4--;,for the outlining3 ,coton surfin ,d4,m4,c ,nos4 #abj to #aej4;,a ,,spray ,,in ,,needle-,,point 7fig4 #hcj74--,needle-point lace1 also called ,brussels lace1 requires the same preparatory work as ,venetian lace2 but it seldom contains such a variety of stitches and openwork as the latter4 ,the flowers are generally worked in one of the stitches1 represented in figs4 #gbj and #gdj2 the outlines are less thickly button-holed and the stitches1 set everywhere less closely4 ,here also1 the finished parts should be carefully covered with paper to keep them from getting soiled4 ,the needle-point lace designs are ordinarily speaking more realistic and as regards the composition1 less artistic and severe than the ,venetian point ones4 ,the spray1 represented in our engraving1 is a specimen of an ordinary ,brussels lace pattern and of the stitches it is worked in4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,appliqu ,,work ,,on ,,satin ,,set ,,with ,,fine ,,cord4 ,miscellaneous fancy work4 ,as the plan on which this book was constructed rendered a systematic classification of the different subjects it treats of necessary1 a certain amount of miscellaneous fancy work1 which does not come under any of the previous headings remains to be dealt with in the present chapter4 ,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 follows4 ,,knotted ,,cord 7figs4 #hca1 #hcb1 #hcc1 #hcd1 #hce74--,the knotted cord referred to in the letter press belonging to figs4 #ggb and #ggc in the chapter on ,irish lace1 comes under the present heading3 in making it1 the fingers take the place of a crochet needle4 ,you tie two ends of thread or braid together1 take one thread in the left hand fig4 #hca1 and with the forefinger of the right1 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 hand4 ,then draw the left forefinger backwards through the loop and behind the thread that is round the loop and lies in the left hand1 fig4 #hcb4 ,as you lay the thread round the left forefinger1 you must pass the knot and the ends of thread as well1 over into the left hand1 and with the right hand pull the thread that lies on the right and draw up the loop1 fig4 #hcc4 ,illustration3 ,,fig4 #hca4 ,,knotted ,,cord4 ,,first ,,position ,,of ,,the ,,hands4 ,illustration3 ,,fig4 #hcb4 ,,knotted ,,cord4 ,,second ,,position ,,of ,,the ,,hands4 ,illustration3 ,,fig4 #hcc4 ,,knotted ,,cord4 ,,third ,,position ,,of ,,the ,,hands4 ,in fig4 #hcd1 representing the fourth position of the hands1 you are shown how the forefinger of the right hand lifts up the thread and passes through the loop on the left hand2 the end will consequently also pass immediately into the right hand and the left hand will tighten the knot4 ,it is by thus drawing up first a loop on the right and then one on the left that this pretty cord is produced4 ,skilful hands will soon learn to make a cord of the same kind with four threads1 as follows3 knot the four ends of thread together1 make a few knots1 using two threads as one1 then dropping the loop on your forefinger1 put the next one upon it and draw up the knot1 passing however the threads over those that you dropped4 ,then drop the loop you have on your finger again and take up the first loops4 ,illustration3 ,,fig4 #hcd4 ,,knotted ,,cord4 ,,fourth ,,position ,,of ,,the ,,hands4 ,for the cord made with double threads1 represented in fig4 #hce on a magnified scale1 use ,cordonnet #f fils ,d4,m4,c or one of the other materials mentioned at the foot of the illustration4 ,soutache ,d4,m4,c will always be found to be very suitable for this purpose4 ,,balls ,,for ,,trimmings 7figs4 #hcf1 #hcg1 #hch1 #hci1 #hdj1 #hda74--;,amongst the crochet patterns are two that are finished off with balls2 to make these1 begin by cutting a number of rounds of cardboard1 two for every ball1 with holes in the middle1 fig4 #hcf4 ,illustration3 ,,fig4 #hce4 ,,knotted ,,cord4 ,,materials3 ,fil pointer ,d4,m4,c ,nos4 #aj to #cj1 ,coton tricoter ,d4,m4,c ,nos4 #f to #ab1 ,cordonnet #f fils ,d4,m4,c ,nos4 #c to #be or ,soutache ,d4,m4,c ,nos4 #a to #c4;,a ,if you have a great many balls to make it is well worth your while providing yourself with a metal die of the proper size1 to cut the rounds with4 ,illustration3 ,,fig4 #hcf4 ,,balls ,,for ,,trimmings4 ,,circle ,,of ,,cardboard4 ,illustration3 ,,fig4 #hcg4 ,,balls ,,for ,,trimmings4 ,,overcasting ,,the ,,circle ,,of ,,cardboard4 ,illustration3 ,,fig4 #hch4 ,,balls ,,for ,,trimmings4 ,,cutting ,,the ,,stitches ,,round ,,the ,,edge4 ,illustration3 ,,fig4 #hci4 ,,balls ,,for ,,trimmings4 ,,putting ,,in ,,the ,,loop4 ,illustration3 ,,fig4 #hdj4 ,,balls ,,for ,,trimmings4 ,,cutting ,,out ,,the ,,cardboard4 ,illustration3 ,,fig4 #hda4 ,,ball ,,completed ,,with ,,loop ,,attached4 ,lay two of these rounds together and cover them closely with stitches1 fig4 #hcg1 using for this purpose ,coton tricoter ,d4,m4,c 7knitting cotton7 or ,coton repriser ,d4,m4,c 7darning cotton74,a ,when the round is entirely covered1 put the scissors in between the two circles of cardboard and cut open the stitches all round the outer edge1 fig4 #hch2 then draw a piece of thread between the two circles and knot it firmly round the stitches that meet in the centre hole1 fig4 #hci2 leave sufficiently long ends of thread hanging to form a loop by which the ball can afterwards be fastened to the heading of the fringe2 when the stitches are knotted together you cut and pull out the cardboard1 fig4 #hdj1 and snip the thread with your scissors until it becomes quite fluffy and the ball is perfectly round1 as shown in fig4 #hda4 ,,tambour ,,work 7figs4 #hdb1 #hdc1 #hdd1 #hde74--,since the introduction of the sewing machine1 by means of which this charming kind of embroidery can be so quickly and easily executed1 it has somewhat gone out of favour4 ,as however1 the fine patterns with a good deal of shading in them1 can be far more accurately worked by hand than by machine1 tambouring1 which is in point of fact merely a form of crochet1 has lately been revived4 ,the piece of stuff on which the tambour work is to be done must be mounted on a frame4 ,illustration3 ,,fig4 #hdb4 ,,thimble ,,for ,,tambouring4 ,illustration3 ,,fig4 #hdc4 ,,tambour ,,needle4 ,the loops which are made with a small hook1 called a tambour needle1 form a fine chain stitch and must be regular and even2 to facilitate this a sort of thimble1 fig4 #hdb1 is worn on the forefinger of the right hand1 formed of a small plate of sheet brass1 rolled up but not joined1 so as to fit any finger2 it is open at the top like a tailor's thimble and has a little notch on the side which is placed above the nail1 and in which you lay the tambour needle whilst you work4 ,from the thimble being cut slightly slanting at the top1 it follows that the inside where the two ends meet is a little shorter than the outside4 ,the thread is drawn through in a loop to the front of the work by means of the hook1 whilst it is held at the back in the left hand1 and when the needle is put downwards through the stuff1 laid round it4 ,the needle in its downward and upward passage1 should be kept in the notch in the thimble and the stuff pressed down with the thimble1 as the needle is drawn up to the surface of the work1 fig4 #hdd4 ,illustration3 ,,fig4 #hdd4 ,,position ,,of ,,the ,,hands ,,in ,,tambouring4 ,a little practice is necessary to acquire the right action of the hands1 there being always a tendency1 the same as in tatting and macram1 to confuse the movements of the two4 ,as soon as you realize that the upward drawing of the needle and the downward pressure of the stuff with the thimble must be simultaneous1 you will find that you can work with great rapidity and with admirable results4 ,thread with a very strong twist1 which the hook will not split1 is the only suitable kind for tambouring4 ,of the ,d4,m4,c materials1 ,fil d',alsace,a and ,fil dentelle,a are the most to be recommended4 ,numbers of patterns1 originally intended for other kinds of embroidery can be executed in tambour work2 amongst those contained in this ,encyclopedia1 figs4 #aib1 #baj1 #baf1 #bai1 and #bbg are the ones that are best adapted to the purpose4 ,illustration3 ,,fig4 #hde4 ,,drawing ,,out ,,the ,,thread ,,with ,,the ,,needle4 ,,smyrna ,,stitch ,,worked ,,with ,a ,,crochet-,,needle 7figs4 #hdf1 #hdg1 #hdh1 #hdi74--;,in the chapter on tapestry1 p4 #acg we remarked that ,oriental carpets and mats could be worked in different other ways1 to be subsequently alluded to at greater length4 ,illustration3 ,,fig4 #hdf4 ,,smyrna ,,stitch ,,worked ,,with ,a ,,crochet ,,needle4 ,,first ,,detail4 ,illustration3 ,,fig4 #hdg4 ,,smyrna ,,stitch ,,worked ,,with ,a ,,crochet ,,needle4 ,,second ,,detail4 ,illustration3 ,,fig4 #hdh4 ,,smyrna ,,stitch ,,worked ,,with ,a ,,crochet ,,needle4 ,,appearance ,,of ,,the ,,knots ,,underneath4 ,illustration3 ,,fig4 #hdi4 ,,smyrna ,,stitch ,,worked ,,with ,a ,,crochet ,,needle4 ,,appearance ,,of ,,the ,,work ,,when ,,finished4 ,smyrna stitch requires only a crochet needle and is worked on very coarse canvas or ,java linen4 ,you take a coarse mesh of cotton1 such as ,nos4 #f1 #h or #aj of ,colon tricoter ,d4,m4,c 7knitting cotton71 cut it into lengths of #h c_/m41 fold two lengths together in half1 stick in the crochet needle from above1 under two threads of the canvas1 take hold of the loop with the hook1 fig4 #hdf1 and draw it in2 then push out the hook to seize the ends of the cotton and draw them through the loop which is on the needle1 as indicated by the little arrow in fig4 #hdg4 ,the stitches or tassels should be two or three double threads of the canvas apart4 ,as you finish each row1 comb the ends of the tassels out carefully with a fine metal comb4 ,when the whole piece of work is finished shear the entire surface1 quite even1 with a pair of sharp scissors4 ,fig4 #hdi shows a square of the work completed1 presenting that warm velvety appearance which distinguishes the ,smyrna carpets4 ,illustration3 ,,fig4 #hej4 ,,malta ,,stitch4 ,,first ,,detail4 ,illustration3 ,,fig4 #hea4 ,,malta ,,stitch4 ,,second ,,detail4 ,illustration3 ,,fig4 #heb4 ,,malta ,,stitch4 ,,third ,,detail4 ,illustration3 ,,fig4 #hec4 ,,malta ,,stitch4 ,,fourth ,,detail4 ,,malta ,,stitch 7figs4 #hej1 #hea1 #heb1 #hec1 #hed74--,this stitch is much used by the ,maltese2 it is the same as the point tricot excepting that in the latter1 the loops formed by the return of the thread are open and the stitches packed very closely together1 whereas in the ,maltese work there is always one close loop and two open tassels4 ,illustration3 ,,fig4 #hed4 ,,malta ,,embroidery4 ,,materials3 ,coton repriser ,d4,m4,c ,no4 #be4;,a ,,colours3 ,jaune-vieil-,or #fhj1 ,vert-,mousse #dfi1 ,bleu-,indigo #caa and ,rouge-,cornouille #ddi4;,a ,it is worked as follows3 take a thick bunch of lengths of ,coton repriser ,d4,m4,c1 pass it under two vertical threads of the stuff1 from right to left1 fig4 #hej1 leaving an end1 #a or #b c_/m4 long1 lying on the surface of the work2 put the needle in again under the two threads that are in front of the first stitch and leave the tassel1 formed by the first stitch1 above the one by which you bring the needle back between the two stitches4 ,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 tassel2 you then repeat the second stitch1 carrying back the working thread however this time above the loop1 after which you cut the two open ends the same length as the loop4 ,in the ,maltese work1 three times as many threads have to be left between the tassels as are covered by the stitch4 ,thus if your stitch cover #d threads of the foundation1 you should leave #ab threads between the tassels1 and if it cover #f1 you should leave an interval of #ah threads1 that the stuff may always be visible between the little tassels or balls4 ,fig4 #hed represents a portion of a curtain1 embroidered on ,flemish linen in the colours indicated at the foot of the engraving2 these may be arranged according to the taste of the worker4 ,malta embroidery is mostly done on coarse coloured linen fabrics or on single thread canvas4 ,,triangular ,,turkish ,,stitch 7figs4 #hee1 #hef1 #heg1 #heh1 #hei74 ,amongst the many pretty stitches for which ,turkish embroideries are distinguished1 there is one in particular1 which though apparently very difficult1 is in reality quite the reverse2 it resembles line stitch upon straight threads1 only that in the ,east it is generally worked in diagonal lines1 each row requiring two journeys to and fro4 ,in the first1 fig4 #hee1 the needle must always be carried1 first over1 then under two threads in a diagonal line and so on to the end of the row4 ,coming back1 you pass the needle under the stuff and the stitch on the right side1 and bring it out at the bottom of the stitch2 then you make a back stitch over two horizontal and two vertical threads1 pass the needle over two straight threads1 put it in behind the same1 bring it out again near the upper stitch and then insert it near the bottom vertical stitch2 after this you carry it to the second stitch lower down and pass it over the same4 ,four threads should meet in every hole which the needle makes4 ,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 stitches1 fig4 #hef4 ,figs4 #heg1 #heh and #hei show how the same stitch can be worked in straight1 instead of in diagonal rows4 ,illustration3 ,,fig4 #hee4 ,,triangular ,,turkish ,,stitch ,,worked ,,diagonally4 ,,first ,,journey ,,completed ,,and ,,second ,,back1 ,,begun4 ,illustration3 ,,fig4 #hef4 ,,triangular ,,turkish ,,stitch ,,worked ,,diagonally4 ,,two ,,journeys ,,to ,,and ,,fro ,,forming ,,the ,,complete ,,row4 ,the dark shade in fig4 #hei shows the first row of stitches1 the light1 the second1 or rather the third and fourth1 as four rows of stitches are required to make one complete row of triangular ,turkish stitch4 ,illustration3 ,,fig4 #heg4 ,,triangular ,,turkish ,,stitch ,,worked ,,horizontally4 ,,first ,,journey4 ,illustration3 ,,fig4 #heh4 ,,triangular ,,turkish ,,stitch ,,worked ,,horizontally4 ,,first ,,journey ,,back4 ,,pattern ,,worked ,,in ,,triangular ,,turkish ,,stitch ,,and ,,gobelin ,,stitch 7fig4 #hfj74--,the diagonal lines are all worked with ,chin gold and blue1 and gold and red4 ,the stitch we have just described is most effective in conjunction with other kinds of embroidery1 as illustrated in fig4 #hfj1 where it is combined with ,gobelin stitch4 ,illustration3 ,,fig4 #hei4 ,,triangular ,,turkish ,,stitch ,,worked ,,horizontally4 ,,second ,,journey ,,back4 ,the running foundation is divided into slanting squares2 the diagonal lines are all worked in gold and red4 ,the squares number #i stitches inside1 these are followed by a tenth which is covered by the first stitch of the next square4 ,where two kinds of coloured gold thread are used1 one square will be framed on all sides by one kind1 say1 gold and blue for instance1 the next by the other1 gold and red4 ,illustration3 ,,fig4 #hfj4 ,,pattern ,,worked ,,in ,,triangular ,,turkish ,,stitch4 ,,materials3 ,chin d'or ,d4,m4,c4 ,,colours3 ,gold and red1 gold and dark blue1 gold and light blue1 gold and green4 ,the stalk that divides the two little leaves and has a small lozenge at the top1 is begun above the fifth of the #i stitches2 you make #e stitches1 but in such a manner as to end at the top of these #e with the stitch that runs in a diagonal direction over the threads1 turned to the inside of the stalk1 so that the last stitch of the first row may form with the first stitch of the second row1 a triangle at the top of the stalk1 which is surmounted by the aforesaid lozenge4 ,the lozenges in ,chin gold and light blue1 of which there are three in each of the half squares1 besides those that terminate the stalk1 consist of #i stitches1 the first1 extending over #c threads1 the second over #e1 the third over #g1 the fourth over #i and the fifth over #aa2 the four next decreasing in a similar manner4 ,the leaves in ,chin gold and green1 on either side of the stalk1 also begin with a stitch over #c threads of the stuff1 followed by #h1 each increasing in length by one thread on the side of the stalk1 but all equal on the other1 the last extending over #ab threads of the stuff4 ,after these #i1 the subsequent #h must decrease in the same manner by one thread on the opposite side2 then you make #d more extending over only #c threads and set the contrary way to the others4 ,the zigzag border and the small squares of #e stitches within it are worked entirely in ,chin gold and red4 ,illustration3 ,,fig4 #hfa4 ,,turkish ,,embroidery4 ,,materials3 ,chin d'or ,d4,m4,c ,no4 #cj and ,coton broder ,d4,m4,c ,no4 #dj4;,a ,,colours--,for the ,chin3 ,gold and red1 gold and dark blue and gold and green4 ,for the ,coton broder3 ,noir grand-teint #caj4;,a ,,turkish ,,embroidery 7fig4 #hfa74--,the powdering of flowers and also the border are worked like the preceding pattern in two-sided ,gobelin stitch4 ,embroidery of this kind looks best on ,algerian linen1 which is exactly like the ,turkish stuff4 ,it is not absolutely necessary to count the threads for the little flowers and stalks1 but it is as well to do so for the border1 that you may be sure to get the zigzags perfectly regular4 ,the petals of the flowers are worked alternately in ,chin gold and red1 and gold and blue1 the centre in ,or fin ,d4,m4,c pour la broderie and the leaves and stalks in ,chin gold and green4 ,the petals are set with stem stitch in fine black ,coton broder and if the embroidery is to be the same on both sides this setting must be repeated at the back4 ,the distribution of colours in the border is left to the taste of the worker1 but we should recommend for the zigzags ,chin gold and red1 as being the most effective4 ,,appliqu ,,work 7fig4 #hfb74--;,appliqu work means the laying on of pieces of one kind of stuff on to a foundation of a different kind1 so as to form a pattern--these pieces of stuff of various shapes and sizes1 taking the place of solid needle-made embroidery4 ,appliqu work may be done on linen1 silk1 velvet1 plush and leather4 ,the stuff out of which the pattern is cut has1 in most cases1 to be backed first with very fine tissue paper4 ,this is done in the following manner with starch paste1 which dries quicker than any other4 ,spread the paste on the paper with a brush1 carefully removing all the little lumps2 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 stuff4 ,when the paper has been evenly spread with the paste1 lay your stuff upon it and smooth and press it down with a clean cloth1 stroking it out carefully in the line of the thread to prevent its becoming in the least dragged or puckered1 or any air remaining between it and the paper4 ,you next lay several sheets of paper without a mark or a fold in them1 on a perfectly smooth flat board1 and upon these1 your paper-lined stuff1 covered in its turn with several loose sheets of paper1 all being kept in their place by another board with several stones or heavy weights laid upon it to act as a press4 ,leave the stuff in the press until it be quite dry4 ,you will find that any kind of fabric1 even the slightest1 can be rendered available in this manner for appliqu work1 not even plush or velvet being in the least injured by the process4 ,you then transfer the whole pattern on to the foundation1 whatever it happen to be1 but only the detached figures on to the paper-lined stuff1 carefully cutting out the latter with a very sharp pair of scissors so as to avoid unravelling the threads along the edges4 ,the foundation1 stretched in a frame1 as described on page #aae1 fig4 #bcf1 is to be placed on a board or table in such a manner that only the stuff rests upon it1 whilst the frame projects on all four sides4 ,then cover the cut-out figures with paste on the wrong side and fit them into their proper places upon the foundation4 ,in larger pieces of work especially1 this should be done as quickly as possible so that a board with weights upon it1 to serve as a press1 may be laid over them all at once4 ,the board must not be removed until the paste be dry2 then you can begin the needlework1 fastening down the appliqu figures and finishing them off round the edges by laying down a fine round1 cord1 or by flat stitches4 ,illustration3 ,,fig4 #hfb4 ,,appliqu ,,work4 ,you either sew on the cord with invisible stitches1 opening it a little at each stitch so as to slip the needle and thread in between the twist1 or else with ordinary overcasting stitches4 ,illustration3 ,,fig4 #hfc4 ,,morocco ,,embroidery4 ,,materials--,according to the stuff3 ,fil pointer ,d4,m4,c1 ,cordonnet #f fils ,d4,m4,c1 ,coton broder ,d4,m4,c or ,coton repriser ,d4,m4,c4,a ,,colour3 ,rouge-,cardinal #cdf;,a4 ,in either case it must be so laid on as completely to hide the cut edges and keep them from fraying4 ,should you wish to frame the appliqu figures with flat embroidery1 you must bring your needle out close to the cut edge and enter it1 #a or #b m_/m4 within the edge from above4 ,both1 cord and flat stitch setting1 should be of a subdued shade and if possible1 of a colour to match the foundation4 ,,morocco ,,embroidery 7figs4 #hfc1 #hfd1 #hfe1 #hff74--,this work named after the country where it was originated1 belongs both to the class of darned and damask embroidery4 ,illustration3 ,,fig4 #hfd4 ,,morocco ,,embroidery4 ,,quarter ,,of ,,the ,,subjects ,,of ,,fig4 #hfc4 ,in fig4 #hfd1 the stitches are formed by passing over #e threads and taking up the sixth4 ,coming back you take up the third of the #e threads first missed and proceed in the same manner over the whole surface of the work1 unless the lines of the pattern require you to depart from this rule2 as1 for instance1 in certain parts of fig4 #hfd1 where you will notice stitches1 carried over #g or #h threads2 also in the borders1 fig4 #hfe and #hff1 where the stitches are arranged in a rather arbitrary manner1 in order to bring out the pattern more clearly4 ,fig4 #hfd represents the fourth part of one of the subjects that make up the design fig4 #hfc2 that is1 four such1 joined together1 form one of the squares of fig4 #hfc4 ,illustration3 ,,fig4 #hfe4 ,,morocco ,,embroidery4 ,,small ,,outer ,,border ,,of ,,fig4 #hfc4 ,figs4 #hfe and #hff are patterns of two little borders and an insertion1 suitable as a finish to fig4 #hfc1 which can be enlarged to any size by the addition of other squares to those that are represented here4 ,illustration3 ,,fig4 #hff4 ,,morocco ,,embroidery4 ,,border ,,and ,,insertion ,,suitable ,,for ,,fig4 #hfc4 ,most of the stuffs1 already so frequently alluded to in this work1 can be used as a foundation for this kind of embroidery1 provided the right working materials to go with it are chosen2 ,coton tricoter or ,fil pointer should only be used for the coarser stuffs1 such as ,rhodes linen ,no4 #a1 or ,russian linen and the different kinds of tammy cloth1 whereas the other kinds of ,d4,m4,c threads and cottons and especially the finer numbers1 are best adapted for embroidery on fine stuffs1 such as ,rhodes linen ,no4 #b1 and ,spanish or ,algerian linen4 ,,spanish ,,embroidery 7figs4 #hfg and #hfh74--,spanish embroidery consists almost exclusively of button-hole stitch1 fig4 #aga1 and flat stitch1 fig4 #bba4 ,illustration3 ,,fig4 #hfg4 ,,square ,,of ,,spanish ,,embroidery4 ,,materials3 ,or fin ,d4,m4,c pour la broderie ,no4 #dj1 ,coton broder ,d4,m4,c ,nos4 #ej and #ajj1 or ,fil dentelle ,d4,m4,c ,no4 #hj4;,a ,,colours3 ,bleu-,indigo #cab1 #cbb1 #ccd and ,bleu ple #ffh4;,a ,the button-hole stitches1 for which the more subdued shade of the colours indicated should always be taken1 or else yellow1 dark or pale1 to match the gold thread1 are made over two threads of gold and follow the outlines of the pattern1 which should be more or less appropriate to this style of embroidery4 ,one of the gold threads always keeps the inside of the line and follows it throughout in an unbroken course1 whilst with the second1 the outside one1 you form picots1 folding the gold thread over from right to left and catching down the loop by a button-hole stitch1 which is introduced into the loop itself and carried over the combined gold threads1 as shown in the left corner of fig4 #hfh1 representing one quarter of the whole design1 where the position of the needle and the way in which the picot is secured are plainly indicated4 ,for the scallops1 a round material with rather a strong twist should be used1 such as ,soie de coton ,d4,m4,c ,no4 #ajj;,a or ,fil dentelle ,d4,m4,c ,nos4 #gj to #ajj;,a1 wound on reels4 ,illustration3 ,,fig4 #hfh4 ,,quarter ,,of ,,the ,,pattern ,,for ,,fig4 #hfg1 ,,in ,,the ,,natural ,,size4 ,where the picots have to fill up empty spaces of a larger size1 you can join several together by connecting them each in turn with the first4 ,when you have bordered all the outlines with button-hole stitches and picots1 fill up the spaces enclosed within the lines1 which properly speaking form the pattern1 with flat stitch embroidery1 worked in ,coton broder or ,coton repriser2 after which the whole surface is sewn over with fine little spangles which give the sparkling look that constitutes the peculiar charm of this kind of embroidery4 ,the flowers are covered with a fancy stitch that forms regular little lozenges1 and every second row of stitches is hidden under a spangle4 ,with regard to the colours indicated at the foot of fig4 #hfg1 this is how they were distributed in the original1 from which our engraving was taken2 all the outlines in button-hole stitch1 in ,bleu ple #ffh2 the tops of the flowers in ,bleu-,indigo #ccd2 the bottom parts in ,bleu-,indigo #ccb1 and all three shades of blue so blended together in the solid parts of the design as to be undistinguishable from each other4 ,it is not absolutely necessary to keep to the colours here indicated2 there is no reason whatever why a greater variety should not be introduced1 but in every case the more subdued shades should be selected2 a pale red1 for instance1 for the flowers1 a green and a brown for the arabesques1 will always be found to produce a very pretty and harmonious effect4 ,when all the needlework is finished1 you cut away the stuff underneath the network formed by the picots1 with a pair of sharp scissors4 ,a word remains to be said with regard to the copying of fig4 #hfh4 ,our readers will notice that in fig4 #hfg the flowers and arabesques succeed and grow out of each other2 that whilst the four quarters are symmetrical1 yet at the same time1 the curves in each quarter take a different inclination4 ,you cannot therefore simply repeat the subject four times2 when you have copied the one quarter1 given in fig4 #hfh1 you must lay this first quarter on again at the cross on the left side2 when the second quarter is finished1 you again turn the copy to the left and tack it on at the 2 when you come to the fourth quarter the lines of the first quarter must exactly meet those of the last4 ,we beg here to draw attention to the directions1 relative to the copying of patterns1 given in the subsequent chapter4 ,,basket ,,stitch ,,on ,,linen 7fig4 #hfi74--,this stitch has some resemblance with the ,greek stitch1 fig4 #bgh1 and the ,montenegrin1 fig4 #cjf1 only that it is not crossed like the latter4 ,illustration3 ,,fig4 #hfi4 ,,basket ,,stitch ,,on ,,linen4 ,basket stitch can be worked on all kinds of stuffs1 on counted threads or on a wide or narrow tracing1 with fine or coarse thread1 and more or less closely1 according to the taste of the worker4 ,you insert the needle from right1 and pass it under1 from #c to #f threads of the foundation1 according to the stuff and the material you are using1 then downwards from left to right1 and over1 from #f to #h threads1 into the stuff again from right to left2 then you push it under the stuff in an upward direction and bring it out on the left in the middle of the space left between the last stitch and the top of the second4 ,the dotted line in the engraving indicates the course of the stitches4 ,illustration3 ,,fig4 #hgj4 ,,old ,,german ,,knotted ,,stitch4 ,,old ,,german ,,knotted ,,stitch 7fig4 #hgj74--,this is a stitch often met with in old church and house linen embroidery4 ,a beautiful design worked in this way is given further on4 ,contrary to most stitches1 this is worked upwards2 the needle is put in horizontally under the stuff1 the thread tightly drawn1 then laid from left to right and drawn through underneath the first stitch and a tight knot made4 ,we find the same stitch1 worked in a variety of ways1 according to the taste and skill of the worker2 for instance the knots may be set slanting1 as in fig4 #hgj1 or else straight and very close together1 as in fig4 #hgc1 where they present the appearance of a close string of beads1 or again wide apart1 as they are in fig4 #hgf4 ,all these ways are admissible but care should be taken in each case1 to make the stitches perfectly regular2 it is the direction which is given to the stitch and the number of threads taken up with the needle that changes the appearance of the stitch4 ,illustration3 ,,fig4 #hga4 ,,raised ,,stem ,,stitch4 ,illustration3 ,,fig4 #hgb4 ,,another ,,kind ,,of ,,raised ,,stem ,,stitch4 ,,raised ,,stem ,,stitch 7figs4 #hga1 #hgb74--,take a very thick thread1 such as ,fil pointer ,d4,m4,c ,no4 #aj or #bj1 or one of the coarser numbers of ,cordonnet #f fils ,d4,m4,c1 lay it as a foundation thread along the line of your pattern and work over it wide stem stitches1 as represented in figs4 #agb and #agc1 either in the same number of thread used for the foundation thread1 or a finer1 according to the stuff you are embroidering upon4 ,you may overcast the same stitch in the manner indicated in fig4 #hgb1 using a different colour for the second layer of stitches to produce an agreeable variety4 ,,border ,,in ,,different ,,kinds ,,of ,,stitches 7fig4 #hgc74--,the straight lines of this border are all worked in old ,german knotted stitch in cru thread1 forming a thick round cord which stands out from the surface in high relief2 the flatter outlining of the outside figures is done in basket stitch in soft blue knitting cotton4 ,the little oblong figures within the two inner lines of the border are worked in ,gobelin stitch1 in red embroidery cotton1 and the filling of the figures1 outlined in basket stitch1 in one or other of the ,irish lace stitches1 worked in white lace thread1 either so that all the stitches enter the stuff1 or form a network over it4 ,the work may be simplified by sewing ,soutache ,d4,m4,c or ,lacet superfin ,d4,m4,c along the straight lines instead of embroidering them in basket stitch4 ,illustration3 ,,fig4 #hgc4 ,,border ,,in ,,different ,,kinds ,,of ,,stitches4 ,,materials--,for the old ,german knotted stitch3 ,cordonnet #f fils ,d4,m4,c ,no4 #b1 cru--,for the basket stitch3 ,coton tricoter ,d4,m4,c ,no4 #af1 ,bleu-,indigo #cab--;,for the ,gobelin stitches3 ,coton broder ,d4,m4,c ,no4 #bj1 ,rouge-,turc #cba--;,for the lace stitches3 ,fil dentelle ,d4,m4,c ,no4 #dj1 white4 ,,roumanian ,,stitch 7figs4 #hgd1 #hge74--,this consists of stitches that are worked in the width of the stuff1 intersected by back-stitches set slightly slanting4 ,though the engraving is so clear as to render it hardly necessary1 we subjoin an exact description of the way the stitches run4 ,bring out the needle on the left1 #b or #f threads beyond the line your embroidery is to follow2 with regard to the number of threads you take up1 you must be guided by the quality of the stuff and the material you have selected3 put the needle in on the right1 the same distance in advance of the line as before and bring it out in the middle of the stitch2 then passing the needle over the first stitch1 put it in again one or two threads in advance of the point where it came out1 and draw it out close to where the first stitch began4 ,the border1 represented in fig4 #hge1 is worked in great part in ,roumanian stitch4 ,illustration3 ,,fig4 #hgd4 ,,roumanian ,,stitch4 ,the original1 still very well preserved1 notwithstanding its age1 is worked in silk of a brilliant red on a stiff stuff which has been coloured by time and use4 ,willems satin1 ,rhodes linen ,no4 #b and ,algerian linen1 make very suitable foundations for this kind of embroidery and have that soft tint which is almost indispensable to a satisfactory imitation of old needlework4 ,any one of the shades of red named at the foot of the illustration1 will be found to be a good match for the original colours4 ,roumanian stitch is used wherever the lines of the pattern are widest2 there where they narrow1 in the indentures of the leaves and the twists of the stalks1 flat stitch is used instead4 ,by the repetition of the detached subject1 this pattern may be made to serve either for a stripe or for a grounding2 if you use it for a stripe1 the centre flower of the principal subject with the stalks lengthened1 will look very well worked as a separate subject between the large bouquets4 ,worked in a double row1 base to base1 on any stuff and in any material1 these large figures form a very handsome border which makes an effective trimming for furniture and curtains4 ,,pattern ,,for ,,piqu ,,embroidery 7fig4 #hgf74--,the stuff1 called piqu1 such as it is now manufactured1 is simply an imitation of an old kind of needlework1 almost unknown in these days1 but very popular in the fifteenth and sixteenth century in ,italy1 for making coverlets and more especially curtains and blinds2 the latter being highly esteemed1 because without intercepting the light altogether1 they tempered it agreeably4 ,a similar kind of work was common in ,bohemia until a recent date for the making of caps4 ,it is done on two layers of stuff1 of different kinds1 the upper one fine and transparent1 the lower1 more substantial4 ,the pattern is drawn upon the fine stuff1 because on that side the different kinds of stitches are made4 ,illustration3 ,,fig4 #hge4 ,,border ,,in ,,roumanian ,,stitch4 ,,materials3 ,coton broder ,d4,m4,c ,no4 #af1 ,coton repriser ,d4,m4,c ,no4 #ej1 or ,cordonnet #f fils ,d4,m4,c ,no4 #bj4;,a ,,colours3 ,rouge-,cardinal #cdf1 ,rouge-,grenat #ceh1 ,brun-,caroubier #cee1 ,rouge ,maroquin #ccbg et #ccbh1 or ,rouge-,cerise #ccag et #ccah4;,a ,you then tack the two stuffs together and work all the outlines of the pattern in ,old ,german knotted stitch with cru ,fil pointer ,d4,m4,c ,no4 #bj2 that done1 thread a tapestry needle with white ,cordonnet #f fils ,d4,m4,c ,no4 #a or #b1 slip it in between the two layers of stuff and secure the end by two or three stitches2 then push the twist quite close to the knotted stitch and fasten it in between the two layers of stuff1 with small and very regular running stitches1 in a fine pliable material1 such as ,fil d',alsace ,d4,m4,c on reels4 ,illustration3 ,,fig4 #hgf4 ,,pattern ,,for ,,piqu ,,embroidery4 ,,materials3 ,cordonnet #f fils ,d4,m4,c ,nos4 #a and #be1 ,fil d',alsace ,d4,m4,c ,no4 #ajj1 ,fil pointer ,d4,m4,c ,no4 #cj and ,fil dentelle ,d4,m4,c ,no4 #cj4;,a ,fill up in this manner all the ground of the pattern1 leaving the arabesques and the ornaments plain1 or embellishing them with some kind of lace or embroidery stitch4 ,when these stripes are intended for blinds1 you can produce pretty transparent effects in them by cutting away the underneath stuff1 in places4 ,,alphabet ,,in ,,soutache 7braid7 7figs4 #hgg1 #hgh1 #hgi1 #hhj1 #hha1 #hhb74--,this alphabet1 which is one of the best of its kind1 was taken from a work published in ,venice in #affb1 by ,giovan' ,antonio ,tagliente1 secretary and calligraphist to the ,republic4 ,the letters lend themselves1 better than any we know1 to being executed in ,soutache ,d4,m4,c4 ,illustration3 ,,fig4 #hgg4 ,,letter ,t ,,of ,,the ,,soutache ,,alphabet4 ,,mode ,,of ,,interlacing ,,the ,,soutache4 ,the sewing on of the braid is done with very small running stitches and the interlacing with a tapestry needle1 into which the braid is threaded2 both operations are shown in figs4 #hgg and #hhj4 ,the embroidery of the connecting bars1 and the small leaves and tendrils that complete the letter are explained in fig4 #hha1 whilst fig4 #hhb represents the letter ,a in its finished state4 ,for sewing on the braid1 a fine soft material is the best1 such as ,soie de coton ,d4,m4,c,a and for embroidering the small accessories1 ,coton broder ,d4,m4,c ,no4 #ej;,a4 ,illustration3 ,,fig4 #hgh4 ,,alphabet ,,in ,,soutache4 ,,letters ,a ,,to ,n4 ,illustration3 ,,fig4 #hgi4 ,,alphabet ,,in ,,soutache4 ,,letters ,o ,,to ,z4 ,for the ears of corn in fig4 #hhc1 use either ,soutache cru1 or ,jaune-d',ocre #fgg ,no4 #b2 for the marguerites1 white ,soutache ,no4 #b and for the corn flowers1 ,soutache ,bleu-,indigo #cbb ,no4 #b4 ,nothing could be simpler than the mode of working these flowers4 ,illustration3 ,,fig4 #hhj4 ,,letter ,m ,,of ,,the ,,alphabet ,,in ,,soutache4 ,,mode ,,of ,,sewing ,,on ,,the ,,soutache4 ,illustration3 ,,fig4 #hha4 ,,letter ,w ,,of ,,the ,,alphabet ,,in ,,soutache4 ,,mode ,,of ,,placing ,,the ,,bars ,,and ,,embroidering ,,the ,,leaves4 ,illustration3 ,,fig4 #hhb4 ,,letter ,a ,,of ,,the ,,alphabet ,,in ,,soutache ,,in ,,its ,,finished ,,state4 ,,flowers ,,executed ,,in ,,soutache ,,and ,,embroidery 7fig4 #hhc74 ,flowers and sprays1 such as here represented1 make a charming trimming for summer dresses1 sunshades1 aprons etc4 and can be executed with admirable effect in the ,d4,m4,c ,soutache1 now to be had in all the colours of the ,d4,m4,c colour card4 ,a very pretty running pattern can be formed out of the spray1 fig4 #hhc1 by turning the flowers first to the right and then to the left and making the stalks come out underneath the ears of corn4 ,in order to reverse the position of the flowers thus1 you will have to make two tracings of the spray1 one negative and one positive4 ,thread a tapestry needle with the ,soutache and draw it into the stuff1 and then pass it through from the right side to the wrong at the bottom of one of the petals of the flowers1 secure it on the wrong side by two or three stitches and then bring the working thread1 which should be of the same colour as the ,soutache1 out again at the point of the petal1 then carry the ,soutache back to the bottom of the petal and fasten it down1 like the gold threads in fig4 #bdb1 by a stitch rather wider than the ,soutache1 fold the ,soutache over again to the starting point1 and secure it by a stitch1 and so on4 ,in order to give a different character to the flowers1 use ,soutache of different widths1 fold it over more or less closely and lay it down in shorter or longer lengths1 as required4 ,the natural irregularity of the petals of a flower can be very faithfully imitated in this manner4 ,fig4 #hhc shows the way in which1 for the ears of corn1 the braid is folded back upon itself and fastened down1 whilst in the white flowers the two layers of the braid that form each petal are separated at the bottom4 ,the stamens of the marguerites are worked in knot stitch with yellow cotton and those of the cornflowers with dark blue4 ,the other little details are executed in flat and stem stitch in the colours indicated at the foot of the engraving4 ,with the pattern to go by1 the distribution of the colours for the different parts can present no possible difficulty4 ,illustration3 ,,fig4 #hhc4 ,,flowers ,,executed ,,in ,,soutache ,,and ,,embroidery4 ,,materials3 ,soutache ,d4,m4,c ,nos4 #a to #c and ,coton broder ,d4,m4,c ,no4 #ce4;,a ,,colours--,for the ,soutache3 ,white1 cru or ,jaune d',ocre #fgg1 and ,bleu-,indigo #cbb4--;,for the ,coton broder3 cru1 ,jaune-,orange #ddd1 ,bleu-,indigo #caa1 ,gris-,tilleul #cia and #ccj1 ,vert-,pistache #cai1 #cbj and #cfi1 ,rouge-,cardinal #cdh4;,a ,we need only point out that ,rouge-,cardinal #cdh is intended for the little knot that connects the stalks of the flowers4 ,,chinese ,,subject 7fig4 #hhd74--,this quaint and graceful composition1 copied from an interesting piece of ,chinese embroidery1 gives our readers the opportunity of turning the different damask stitches1 already described in these pages1 to quite a new use4 ,the kind of gauze which forms the foundation of the original work can be replaced either by ,spanish or ,rhodes linen ,no4 #b1 by any stuff1 in fact1 the threads of which can be counted4 ,the drawing has to be transferred to the stuff1 and the different parts are filled in with the stitches1 clearly indicated in the illustration4 ,illustration3 ,,fig4 #hhd4 ,,chinese ,,subject4 ,,materials3 ,coton repriser ,d4,m4,c ,no4 #ej1 ,or fin ,d4,m4,c pour la broderie ,no4 #dj and ,chin d'or ,d4,m4,c,a4 ,by the introduction of several colours1 this pattern is capable of being infinitely varied4 ,thus1 in the model before us1 the neck and bulb of the flask1 the leaves it stands upon and those attached to the flowers in it1 are worked in ,vert-,pistache #cfg1 the handles1 the ornament on the bottle1 and the triangular figure in the centre are in white2 the little flower on the left1 the second on the right1 the straight staff1 the upper wings of the butterfly1 as well as the three leaves underneath the triangle are in ,bleu-,indigo #ccd2 the first flower on the right of the flask1 the knot above the triangle1 the lower wings of the butterfly and the middle part of the bottom subject on the right of the engraving are in ,gris-,amadou #chc2 and ,violet-lie-de-vin and ,brun-,caroubier #ceg alternate in the pointed leaves that support the flask2 the former colour recurs in the ornaments of the staff1 and ,rouge-,cardinal #cdg1 black and ,gris-,tilleul alternate in the other details of the drawing4 ,for the setting it will be best to take ,or fin ,d4,m4,c pour la broderie or else ,chin d'or ,d4,m4,c1 used either double or single1 according to whichever the drawing seems to require4 ,,footnotes3 ,a ,see at the end of the concluding chapter1 the table of numbers and sizes and the list of colours of the ,d4,m4,c threads and cottons4 ,illustration3 ,,ornament ,,after ,,holbein4 ,practical directions4 ,hitherto we have been chiefly occupied with descriptions and explanations of the different kinds of needlework2 to render these complete1 it remains for us to give a few practical directions with regard to the copying1 adjustment and transposition of the patterns1 as well as to the different processes1 often so essential to the ultimate success of a piece of needlework4 ,for this success will soon be found not to depend on the stitches only but very largely on the proper adaptation of the design to the space it is intended to fill4 ,then1 in the case of new lace1 it is necessary to know the amount of dressing it will require to give it the right stiffness and when this dressing has worn off how to renew it2 whilst in the case of appliqu work more especially1 it is indispensable to know exactly what the ingredients are1 of which the paste should be composed and how to make and lay it on in the proper manner4 ,,tracing ,,patterns ,,against ,a ,,window ,,pane4--,in order to copy a pattern in this way1 the first step is to tack or pin the piece of stuff or paper on which the copy is to be made upon the pattern4 ,in the case of a small pattern1 the tacking or pinning may be dispensed with and the two sheets held firmly pressed against the window pane with the left hand1 whilst the right hand does the tracing1 but even then it is safer to pin or gum the four corners of the two sheets together1 in case of interruption1 as it is difficult to fit them together again exactly4 ,the tracing may be done with a pencil1 or better still1 with a brush dipped in ,indian ink or water-colour paint4 ,the process of tracing is easy enough1 so long as the hand does not get tired but as this generally comes to pass very soon it is best1 if the pattern be a large and complicated one1 to stick the sheets to the pane with strong gum or suspend them on a string1 fastened across the pane by pins stuck into the window frame on either side4 ,,to ,,take ,,off ,a ,,pattern ,,by ,,rubbing4--,if you want to take a pattern of a piece of embroidery direct from the work itself1 lay it1 the right side up1 flat upon a board or table and cover it with letter or tissue paper4 ,the paper should be of a good medium thickness1 if it be too thick it will not take a clear impression of the pattern1 and if very thin it is apt to tear4 ,fasten the paper down upon the embroidery with drawing-pins and rub off the pattern with drawing-wax4 ,in default of the right kind of wax1 the bowl or handle of a spoon1 or a large silver coin will serve the purpose equally well1 as will also some powdered graphite or charcoal4 ,the outlines will not of course1 in any case1 be very clearly defined upon the paper and will have to be gone over and carefully supplemented afterwards with a pencil4 ,taking off the pattern with charcoal or graphite is less injurious to the embroidery than rubbing it off with wax or metal1 as the pressure required in the latter case flattens the needle-work very considerably4 ,as soon as you have fixed the lines of the pattern by drawing them over with ink1 it is ready for use4 ,,to ,,transfer ,a ,,pattern ,,direct ,,on ,,to ,,the ,,stuff4--,patterns cannot be copied by either of the above methods direct on to the stuff and can only be used when the stuff on which the embroidery is to be executed is transparent2 in the case of thick close fabrics the drawing must be made on the stuff itself4 ,the following is the simplest way of transferring a pattern on to a transparent stuff2 begin by going over all the lines of the drawing with ,indian ink so as to make them quite thick and distinct1 and tacking the paper with large stitches on to the back of the stuff4 ,then1 mix some very dark powdered indigo diluted with water1 in a glass with a small pinch of sugar and powdered gum arabic1 and using this as ink and a fine pen very slightly split1 trace the pattern that shines through on the stuff4 ,the tracing must be very slight1 for if the embroidery be not done till some time afterwards the lines get so firmly fixed in the stuff that one washing will not obliterate them2 the tracing ink moreover makes the work unpleasantly sticky4 ,,to ,,copy ,,with ,,oiled ,,paper4--,another rather expeditious mode of transferring patterns on to thin and more especially smooth glossy stuffs1 is by means of a special kind of tinted paper1 called autographic paper1 which is impregnated with a coloured oily substance and is to be had at any stationer's shop4 ,this you place between the pattern and the stuff1 having previously fastened the stuff1 perfectly straight by the line of the thread1 to a board1 with drawing-pins4 ,when you have fitted the two papers likewise exactly together1 you go over all the lines of the pattern with a blunt pencil1 or with1 what is better still1 the point of a bone crochet needle or the edge of a folder4 ,you must be careful not to press so heavily upon the pattern paper as to tear it2 by the pressure exercised on the two sheets of paper1 the oily substance of the blue paper discharges itself on to the stuff1 so that when it is removed all the lines you have traced are imprinted upon the stuff4 ,this blue tracing paper is however only available for the reproduction of patterns on washing stuffs1 as satin and all other silky textures are discoloured by it4 ,,to ,,pounce ,,patterns ,,upon ,,stuffs4--,the modes of copying1 hitherto described1 cannot be indiscriminately used for all kinds of stuff2 for cloth1 velvet and plush1 for instance1 they are not available and pouncing is the only way that answers4 ,the patterns1 after having been transferred to straw or parchment paper1 have to be pricked through4 ,to do this you lay the paper upon cloth or felt and prick out all the lines of the drawing1 making the holes1 which should be clear and round1 all exactly the same distance apart4 ,the closer and more complicated the pattern is1 the finer and closer the holes should be4 ,every line of the outline must be carefully pricked out4 ,if the paper be sufficiently thin1 several pouncings can be pricked at the same time1 and a symmetrical design can be folded together into four and all pricked at once4 ,the pricked pattern has next to be tacked upon the material1 the side from which the pricking was done next to the stuff and the little funnel-shaped holes uppermost4 ,paper and stuff must be firmly fastened down and kept in position by drawing pins1 so that neither of them may move during the process1 otherwise you will have double lines on the stuff which you will find very confusing afterwards4 ,for the pouncing1 use either powdered chalk or charcoal1 according to whether the stuff be dark or light in colour4 ,dip the pouncing implement1 a thing like a small drum-stick1 stuffed and covered with cloth1 into the powder and rub it lightly over the whole surface of the pricked pattern1 so that the powder penetrates through the pin-holes to the stuff4 ,in default of a proper pouncing implement take a small stripe of cloth1 roll it up round a stick and wind a string round1 and dip this into the powder4 ,when the powder has penetrated to the stuff1 remove the paper and if the pattern is to be repeated1 lay it on again further on1 taking care to make the lines meet exactly so that the join may not be seen4 ,when you have finished the pouncing and taken off the paper1 you proceed to draw or rather paint in the pattern with water-colour paints3 ,ackermann's are the best for the purpose2 no others1 as far as our experience has proved1 adhere so well to even the roughest fabrics or so little affect the brilliancy of the embroidery thread4 ,four paints1 blue1 black1 yellow and white are sufficient for all purposes1 whatever the colour of the stuff may be4 ,on a smooth surface the tracing may be done with a pen but a small sable-hair brush is preferable under all circumstances4 ,the rougher and more hairy the surface1 the finer the brush ought to be1 in order that the colour may sink well in between the fibres4 ,before beginning to paint in the pattern1 gently blow away all the superfluous powder from the surface4 ,this process may be objected to as being an old one which has been superseded by new inventions2 a resinous powder for instance1 by the use of which patterns can be fixed1 as soon as they have been pounced1 by passing a hot iron over the stuff1 a sheet of paper having first been laid upon it to protect it2 or else a mixture of gum and powder which can be dissolved on the stuff itself by the steam of spirits-of-wine1 and various other processes needless to mention here1 as some are only useful in tracing patterns on a large scale1 whilst others require a variety of appliances1 not as a rule1 within the reach of those to whom needle-work is a simple recreation4 ,,the ,,preparation ,,of ,,the ,,stuffs ,,and ,,the ,,subdivision ,,of ,,the ,,patterns4--,long years of experience and practice have brought us in contact with a good many designers1 many of them artists in their way1 so long as it was only a question of putting their own compositions on paper but who yet found themselves confronted by real difficulties the moment they were called upon to transfer them to stuff4 ,we shall1 as far as possible1 point out to our readers the precautions to be taken in tracing patterns and must for that purpose go back to one of the first operations1 namely that of pricking4 ,to begin with1 the paper on which the pattern is should always be large enough for there to be a clear margin of from #d to #e c_/m4 all round the pattern1 so that the pouncing instrument may never come in contact with the stuff beneath4 ,in transferring patterns to stuff1 no lines of division should ever be made directly upon it either with lead1 chalk or charcoal1 as it is hardly ever possible entirely to obliterate them and they often become very confusing afterwards4 ,before beginning the tracing1 divide your stuff into four1 then decide what the width of the border outside the pattern is to be2 it is quite an exceptional thing to carry a pattern right up to the edge4 ,stuffs that will take a bend1 such as all linen and cotton textures1 can be folded in four1 like the paper1 the folds ought then to be pinched and pressed down so that the lines may remain clear and distinct until the tracing be finished4 ,after dividing it into four1 mark out the diagonal lines2 these are absolutely necessary in order to get the corner figures rightly placed4 ,though most of our readers know how to make these lines on paper with a pencil and ruler1 few1 easy as it is1 know how to make them upon stuff4 ,you have only to fold over the corner of your piece of stuff so that the outside thread of the warp or cut edge run parallel with the woof edge which marks the angle of the fold-over4 ,this double folding over divides the ground into #h parts4 ,to arrange for the outside border or margin1 is easy enough if the stuff and the kind of work you are going to do upon it admit of the drawing out of threads1 as then a thread drawn out each way serves as a guide for tracing the pattern1 straight to the line of the stuff4 ,it is often better however1 not to draw out the threads for an open-work border till the pattern be traced4 ,if you do not wish or are not able to draw out threads to mark the pattern and you are working on a stuff of which the threads can be counted1 follow the directions given on page #abh1 and explained in fig4 #beb4 ,you cannot mark cloth1 silk stuffs or plush by folding them in the above way1 cloth and some kinds of silken textures will not take a bend and others that will would be spoiled by it4 ,all such stuffs should be mounted in a frame1 before the pattern be traced and the ground be then divided out in the following way3 take a strong thread1 make a knot at one end1 stick a pin into it and tighten the knot round it2 with a pair of compasses1 divide one of the sides into two equal parts1 stick the pin with the knot round it in at the middle and the same on the opposite side1 putting in a second pin by means of which you stretch the thread2 carry other threads across in a similar way1 in the width of the stuff and from corner to corner and you will have your ground correctly marked out1 in such a manner as to leave no marks when1 after pouncing in the pattern1 you remove the threads4 ,before finishing the pouncing of a pattern1 see that it is the right size for the purpose it is intended for4 ,supposing that you are tracing a border with a corner1 you should measure the length it will occupy and then by a very light pouncing1 you can mark the points from which the pattern will have to be repeated4 ,it may be that a gap will be left in the middle1 which1 if not too large1 can be got rid of without altering the pattern by pushing the whole thing a little further in and so shortening the distance between the two corners4 ,should the gap however be too large for this1 you will have to make a supplementary design to fill up the place4 ,the same thing would be necessary in the case of your having to shorten a pattern4 ,,to ,,transpose ,,and ,,repeat ,,patterns ,,by ,,means ,,of ,,looking-,,glasses 7fig4 #hhe74--,we have referred to the necessity that often occurs of adapting patterns to certain given proportions2 this can in most cases be done easily enough without the help of a draughtsman1 especially in the case of cross stitch embroideries1 by means of two unframed looking-glasses 7,penelope mirrors1 as they are called7 used in the following manner4 ,if you want to utilize a piece only of a straight border1 or after repeating it several times1 to form a corner with it1 you place the mirror in the first instance across it at right angles1 at the place from which the pattern is to be repeated1 and then exactly diagonally inwards4 ,to make a square out of a straight pattern1 you take two mirrors and so place them that they touch at the point where the diagonal lines meet1 as represented in fig4 #hhe1 and you have your square at once4 ,this is all easy enough1 but before beginning any large piece of work it is necessary to consider carefully which parts of the drawing will best fill the centre and which are best suited to form the corners1 as it is not every part of a straight pattern that is adapted for repetition4 ,a few preliminary trials with the help of the mirrors will better show the importance of these explanations than anything further we can say on the subject4 ,illustration3 ,,fig4 #hhe4 ,,to ,,transpose ,,and ,,repeat ,a ,,straight ,,pattern ,,by ,,means ,,of ,,looking ,,glasses4 ,,to ,,alter ,,the ,,proportions ,,of ,a ,,pattern ,,by ,,dividing ,,the ,,ground ,,into ,,squares 7figs4 #hhf and #hhg74--;,cases will occur where it will be found necessary to subject the pattern to greater modifications still than those we have hitherto been dealing with4 ,you want1 for example1 to embroider a rather large running ground pattern on a piece of stuff1 that is relatively too small for the subject2 or a small and rather minute pattern on a large surface on which it is likely to look1 either too insignificant1 or too crowded and confused and the chances are1 if you do not know how to draw1 you will either think it necessary to get a draughtsman to help you or you will give up the piece of work altogether1 deterred by the difficulties that confront you4 ,you need not do either if you will follow the directions here given4 ,take a sheet of large-sized quadrille paper which if necessary you can prepare for yourself2 trace your pattern upon it1 or rule the squares direct upon the drawing1 as shown in fig4 #hhf4 ,illustration3 ,,fig4 #hhf4 ,,dividing ,,the ,,ground ,,into ,,squares ,,before ,,copying4 ,on a second sheet of vegetable paper1 rule squares1 a fourth1 a third or half as small again as those on the first sheet4 ,thus1 if the sides of the first squares be #ae m_/m4 long and you want to reduce your pattern by one fifth1 the sides of your new squares should measure only #ab m_/m4 ,if1 on the contrary1 you want to enlarge the pattern by one fifth1 make the sides of your squares #ah m_/m4 long4 ,then you follow1 square by square1 the lines of the drawing1 extending or contracting them1 according to whether the pattern is to be enlarged or diminished4 ,to copy a pattern directly from a piece of embroidery and enlarge or diminish it at the same time1 proceed as follows3 fix the embroidery on a board1 stretching it equally in every direction2 then measure the length of the drawing1 divide the centimetres by the number of units corresponding to whatever the proportions of your copy are to be1 and if there be any fractions of centimetres over1 subdivide them into millimetres1 if necessary1 into half millimetres and make your division by whatever measure you have adopted2 take a pair of compasses with dry points1 open them sufficiently for the opening to correspond to the number and the distance obtained by the division2 plant a pin with a thread fastened to it1 at the point indicated by the point of the compasses and repeat the last operation all along one side of the embroidery and1 if possible a little beyond it1 so that it may not be defaced by the marks of the pins4 ,all you now have to do is to pull the threads in perfectly straight lines to the opposite side and carry other threads across them in a similar manner so that the whole surface be divided into squares4 ,illustration3 ,,fig4 #hhg4 ,,pattern ,,reduced ,,by ,,marking ,,out ,,the ,,ground ,,in ,,small ,,squares4 ,it is needless to say that if you have to trace a pattern from a mounted piece of work you cannot stretch it on a board2 with a little invention however some way can always be found of planting the pins so as not to injure the work4 ,illustration3 ,,fig4 #hhh4 ,,pattern ,,in ,,soutache4 ,original size4 ,illustration3 ,,fig4 #hhi4 ,,pattern ,,in ,,fig4 #hhh ,,drawn ,,out ,,in ,,the ,,width4 ,illustration3 ,,fig4 #hij4 ,,pattern ,,in ,,fig4 #hhh ,,compressed ,,in ,,the ,,width4 ,,to ,,alter ,,the ,,width ,,of ,a ,,pattern ,,retaining ,,the ,,original ,,height 7figs4 #hhh1 #hhi1 #hij74--,sometimes it is necessary to lengthen out a pattern without however altering its height4 ,in this case you modify the shape of the square and make long or narrow squares1 according to the general shape of the design you wish to reproduce4 ,fig4 #hhh represents a pattern in ,soutache ,d4,m4,c1 marked out in squares2 in fig4 #hhi the squares are lengthened out a third beyond their original size and the pattern is expanded2 in fig4 #hij1 the squares are compressed to a third less than their original size4 ,this method of subdividing patterns greatly facilitates the alterations they have so often to undergo and we are sure that there are few amongst those who have any real aptitude for needlework1 who cannot draw enough to be able to copy the contents of a square4 ,,to ,,prepare ,,the ,,paste ,,for ,,appliqu ,,work4--,it may seem strange to devote a separate paragraph to such an apparently simple operation2 but in appliqu work it is a most important one1 as not only the stuff on which the work is done but all the expensive accessories are liable to be spoilt by paste that has been badly prepared4 ,put some wheaten 7not rice7 starch into a vessel with a rounded bottom1 pour on just enough water to dissolve the starch and stir it with a wooden spoon till it becomes perfectly smooth4 ,in the meantime put about of a pint of clean water on the fire to boil and when it boils add to it a little powdered pitch or carpenter's glue1 in quantity about the size of a pea and pour in the starch1 stirring it the whole time4 ,when the mixture has boiled up several times take it off the fire and go on stirring it till it gets cold1 otherwise lumps will form in it1 which as we specially pointed out in the preceding chapter1 must never be allowed to get in between the stuff and the paper4 ,this kind of paste makes no spots and does not injure even the most delicate colours as it contains no acid4 ,in winter it will keep for several days1 but in hot weather it very soon begins to ferment and should then on no account be used4 ,gum arabic ought never to be used for appliqu work1 as it becomes so hard that it is impossible to get the needle through1 whilst the saccharine it contains almost always causes ugly spots to appear in the stuff when it dries4 ,when the work is finished it is a good plan to spread a very thin layer of paste over the entire back of it with a fine brush made of hog's bristles1 and not to take it out of the frame until it is perfectly dry4 ,,to ,,stiffen ,,new ,,needlework4--,in the chapter on ,irish lace1 page #dda1 we said that new needlework of that kind had to be ironed2 this should be done in the following manner3 when the lace has been taken off its foundation1 lay it1 face downwards1 on a piece of fine white flannel2 then dip a piece of very stiff new organdie muslin into water1 take it out again almost immediately and wring it slightly1 so that no drops may fall from it1 and then dab the wrong side of the lace all over with this pad of damp muslin and iron it with a hot iron which should be moved slowly forwards so that the moisture which the organdie has imparted to the lace may evaporate slowly4 ,not until you are quite sure that the lace is dry should it be taken off the board4 ,there is no better way than this of giving new lace that almost imperceptible degree of stiffness by which alone it is often to be distinguished from old4 ,water only does not stiffen the thread sufficiently and it is difficult with starch to hit upon exactly the right consistency1 whereas the organdie muslin supplies just the needful quantity4 ,embroidered network can be stiffened in the same manner and should be damped in the frame on the wrong side and not taken off until it is quite dry4 ,we even recommend embroidery on linen being treated in the same way but when the linen is very creased1 cover it with a damp cloth and iron upon that first1 then take the cloth away and iron the embroidery itself so as to dry it completely4 ,,to ,,wash ,,ordinary ,,lace4--,wind it round a bottle the same width top and bottom and cover it entirely with muslin1 fastened to the lace by a few stitches4 ,fill the bottle half full of sand1 so that it may not get knocked about too violently when the water boils4 ,immerse the bottle in a saucepan of cold water with a piece of soap the size of a nut in it1 and if the lace be very dirty1 a small pinch of salt1 and let it boil for about an hour pouring off the water as it gets dirty and adding clean4 ,when all the dirt has been boiled out of the lace1 which you will know to be the case when the water remains perfectly clear1 rinse out the soap before you take the lace off the bottle1 by plunging it into cold water4 ,,to ,,wash ,,real ,,lace4--,the process is the same as the above1 but as real lace is so seldom washed and is generally very yellow and fragile1 particularly if it has been roughly used1 it is rather difficult to clean4 ,if stained or greasy1 it should be left to soak for some hours or even days1 in good olive oil4 ,this restores to the thread that softness and smoothness which use and bad washing had impaired4 ,after the oil bath it should be washed on a bottle in the manner already described4 ,,to ,,stiffen ,,lace4--,dip the lace when perfectly dry in thin starch prepared as follows4 ,take as much fine wheaten starch1 as you think you will require1 divide it into two portions and dissolve both in cold water4 ,boil the one portion and when it has so far cooled as to have ceased to steam1 stir the cold starch into it and dilute the whole with cold water to the consistency of thick cream4 ,if the lace is to be slightly coloured1 add a few drops of black coffee1 or dilute the starch with weak tea or guimauve water2 the coffee will give it a dark cream colour1 either of the latter a pale greenish hue4 ,dip the lace in the mixture and squeeze it out gently without wringing it to get rid of all the superfluous liquid1 then lay it flat on the left hand and beat it for a few minutes with the right to work the starch well in2 repeat the whole process twice1 then roll the lace in fine linen and leave it there till you are ready to iron or pin it out1 as the case may be4 ,,to ,,iron ,,lace4--,after the lace has lain for an hour or two in the cloth1 iron it if it be machine-made and if it be ,irish ,guipure or real point lace of any sort1 pin it out4 ,before you begin to iron1 hold the lace tight in your left hand by the footing and with the right hand pull out all the picots1 along the edge of the lace1 to an equal length1 then lay it out flat upon a board covered with white flannel and iron it with a moderately hot iron1 passing the iron backwards and forwards over it until it be quite dry4 ,if creases should come in the ironing where they ought not to be1 dab them over lightly with a sponge moistened with water and a few drops of starch and pass the iron over them again4 ,after ironing the whole length of lace1 pull it out crossways from left to right1 and from right to left and iron it all over once more4 ,this does away with the artificial stiffness and gives it the agreeable softness and pliancy of new lace4 ,,to ,,pin ,,out ,,lace4--,in order to pin out lace in a thoroughly satisfactory manner1 you should provide yourself with a wooden drum1 about #cj c_/m4 high and from #ej to #fj c_/m4 in diameter1 large enough to rest upon the knees4 ,the outside circumference of the wood should be padded and covered with grey or white ticking4 ,the pins must be exactly the size of the picots they are to pin down2 you will require extremely fine ones for ,valenciennes and coarser for other kinds of lace3 steel pins are of no use whatever1 because of their liability to rust4 ,cover the cylinder with blue paper 7less trying for the eyes than any other7 and take only just as much lace out of the damp cloth as you are likely to be able to pin out before it gets dry1 keeping the remainder covered up4 ,lay the lace upon the drum and pin the footing down first in a straight line1 sticking the pins in pretty closely and at regular distances apart2 then pin down each picot separately1 taking care not to open them if they have kept their original shape and to shut them up by twisting them if they have got untwisted4 ,if you find the pinning out troublesome and cannot get it all done before the lace dries1 damp the picots with a sponge as you proceed4 ,lace should never be pinned out when it is dry as the threads of the picots are then very apt to break and torn picots destroy the value of even the choicest lace4 ,raised lace has to be stamped out from the wrong side with a lace awl or kind of pricker of bone made for the purpose4 ,some professional lace-cleaners use this implement even for ,valenciennes lace but we cannot recommend it1 seeing that it is a lace that is by nature perfectly flat4 ,let the length of lace you have pinned out remain on the drum till it be quite dry2 if you have several yards to pin out1 wind it round and round the cylinder4 ,cover up the lace as you proceed and put each length away as soon as it is ready in a blue paper bag1 so as to keep the whole perfectly clean4 ,in conclusion we may remark that the cleaning of lace should only be undertaken when you are fairly sure of not being interrupted1 as more especially the pinning requires to be finished off as quickly as possible4 ,,to ,,wash ,,coloured ,,cottons ,,and ,,work ,,done ,,with ,,the ,,same4--,in order to test the fastness of the dyes1 untie the skeins and pour boiling water upon them1 leave them to soak for about a quarter of an hour1 soap and rub them lightly with the hand from end to end and rinse them out thoroughly in as many changes of cold water as may be found necessary1 until the water remain perfectly colourless4 ,squeeze out all the water you can and let them dry quickly without exposing them to the sun4 ,coloured cottons are often washed in vinegar1 because it is supposed to affect the colour less than water does4 ,we have come to the conclusion after several trials that this is a delusion1 for the good dyes keep their colour without the aid of vinegar and the bad ones wash out in spite of it4 ,the fast colours lose none of their beauty in the process nor does it affect the quality of the cotton2 any excess of colouring matter which the fibres of the cotton may have absorbed in the process of dyeing is got rid of by this means4 ,if a piece of work has been done with unwashed cottons and the colours run in the first washing1 you have only to rinse it out in several changes of tepid water to restore it to its original freshness and if you want to give it a yellowish tinge1 it should be dipped it in weak tea or coffee4 ,,materials4--,it was stated in the preface that our readers would find the choice of colours and material rendered comparatively easy to them by the notes affixed to the illustrations1 but these notes1 in spite of all the care bestowed upon them must still have remained very incomplete had it not been for the following tables which we were fortunately enabled to append to our work and which will help every one to choose their own materials without having them actually before them4 ,the strokes that are affixed to each number indicate the exact size of the thread1 so that to find out the number you want to buy you have but to lay your pattern thread1 stretching it slightly1 on the strokes1 in succession1 till you come to the one that matches it in size4 ,with regard to the colours1 the names and shades of which have been classed in the second table with the greatest care1 and of which our workers have no less than #dfj to choose from #c1 all those referred to in connection with our illustrations are quite fast dyes #d1 save in a few instances in which we were forced to make an exception in favour of a doubtful colour to secure a harmonious effect4 ,a complete table of colours must of necessity include certain more or less staring shades1 which though they may not be to every one's taste cannot on that account be left out4 ,we conclude our work with the well-meant and by no means useless recommendation to our readers1 never to begin a piece of work of any considerable size without first making sure that the colours they intend to use are fast and providing themselves with a larger supply of materials than even on a close calculation they think they are likely to require1 lest they should find themselves under the disagreeable necessity of having either to leave their work unfinished or finish it with materials that do not match4 ,there is generally a slight difference in tone between cottons that have been bought at different times1 and there is also a reasonable likelihood1 considering their great variety1 of some mistake being made in the number by either buyer or seller in ordering a fresh supply4 ,illustration3 ,all of the above articles1 excepting those marked with an asterisk1 are contained in the ,d4,m4,c colour card4 ,illustration3 ,made in all numbers in cru1 white1 black and the #dej shades names of the colours1 see next page4 ---------------------------------------- ------------------------------- ,alphabetical list of the names and the numbers of the #dej shades ,d4,m4,c ,alsace ,thread1 ,sewing and ,embroidery ,cottons1 contained in the ,d4,m4,c colour-card1 in any of which shades the knitting ,cotton1 ,soutaches and ,braids etc4 are to be had4 ---------------------------------------- -------------------------- ,couleurs ,trs-fonc ,fonc ,moyen ,clair ,trs-clair ,colours ,very dark ,dark ,medium ,light ,very light ---------------------------------------- -------------------------- ,bleu d',azur #ccbe ,bleu-,canard #ccie #ccjf #ccjg #ccjh #ccji ,bleu cendr #ddh ,bleu de ,ciel #eae #eaf #eag #eah #eai ,bleu-,fayence #dha #dhb #dhc #dhd #dhe ,bleu de ,france #ccg #cch #cci #cdj #cda ,bleu-,gentiane #dgf #dgg #dgh #dgi #dhj ,bleu-,gris #ccjj #ccja #ccjb #ccjc #ccjd ,bleu-,indigo #ccf #caa #cab #cbb #ccd ,bleu-,lapis #cdb #ccc #cdc #cdd #cde ,bleu-,marin #eje #ejf #ejg #ejh #eji ,bleu-,outremer #fhb #fhc ,bleu ple #ffh ,bleu-,prunelle #dhf #dhg #dhh #dhi #dij ,bleu tendre #gji ,bleu vert #ebe #ebf #ebg #ebh #ebi ,bleu violac #fgd #fge ----- ,bronze dor #ehe #ehf #ehg #ehh #ehi ----- ,brun-,acajou #cjj #djj #cja #dja #djb ,brun-,cachou #dcc #dcd #dce #dcf #dcg ,brun-,cannelle #ffj #ffa #ffb #ffc #ffd ,brun-,caroubier #ced #cee #cjc #cef #ceg ,brun-,chamois #daf #dag #cbd #dah #dai ,brun-,cuir #dcj #dca #cjb #dcb #cbe ,brun-,feuille-morte #fae #faf #fag #fah #fai ,brun-,havane #ded #dee #def #deg #deh ,brun-,loutre #dch #dci #ddj #dda #ddb ,brun-,marron #djc #djd #dje #djf #djg ,brun-,myrthe #dfc ,brun-,puce #dei ,brun-,rouille #ccaj #ccaa #ccab #ccac #ccad ----- ,gris-,acier #fej #fea #feb #fec #fed ,gris-,amadou #cbi #chc #chd #che #chf ,gris d',argent #gai ,gris-,bleu #eij #eia #eib #eic #eid ,gris-,bois #faj #faa #fab #fac #fad ,gris-,brun #djh #dji #daj #daa #dab ,gris-,castor #fde #fdf #fdg #fdh #fdi ,gris-,cendre #dac #cag #dad #cah #dae ,gris-,coutil #chg #chh #cbc #chi #cij ,gris-,deuil #fee #fef #feg #feh #fei ,gris-cru #gjd #gje #gjf ,gris-,etoupe #gjg #gjh ,gris de ,fer #fjj #fja #fjb #fjc #fjd ,gris-,feutre #fce #fcf #fcg #fch #fci ,gris-,ficelle #dfj #dfa #dfb ,gris-,foin #ebj #eba #ebb #ebc #ebd ,gris-,fume #fdj #fda #fdb #fdc #fdd ,gris-,lin #gaf #gag ,gris-,mastic #gah ,gris neutre #fbj #fba #fbb #fbc #fbd ,gris-,noisette #dbj #dba #dbb #dbc #dbd ,gris-,perle #fbe #fbf #fbg #fbh #fbi ,gris de ,plomb #cgh #cgi #chj #cha #chb ,gris-,poussire #fcj #fca #fcb #fcc #fcd ,gris-,souris #dbe #dbf #dbg #dbh #dbi ,gris-,tilleul #cia #cib #cic #ccj #cca ,gris verdtre #eie #eif #eig #eih #eii ---------------------------------------- -------------------------- ,couleurs ,trs-fonc ,fonc ,moyen ,clair ,trs-clair ,colours ,very dark ,dark ,medium ,light ,very light ---------------------------------------- -------------------------- ,jaune-,citron #cjg #dde #ddf ,jaune-,crme #gaa #gab ,jaune-,mas #ege #egf #egg #fgh #egi ,jaune d',ocre #fgf #fgg ,jaune-,orange #ddc #ddd ,jaune-,rouille #cfc #cfd #cjh #cfe #cff ,jaune d',or #ffg ,jaune-vieil-,or #fgh #fgi #fhj ----- ,lilas gris #cac #cih #cad #cbh #cii ----- ,noir grand-teint #caj ,noir-,jais #fha ,noir vert #dgc ----- ,rose-,eglantine #egj #ega #egb #egc #egd ,rose tendre #ccbf ,rose vif #efe #eff #efg #efh #efi ----- ,rouge-,aurore #cfj #cjf #cfa #ccb #cfb ,rouge-,bordeaux #dif #dig ,rouge-,cardinal #cdf #cdg #cjd #cje #cdh ,rouge-,cerise #ccae #ccaf #ccag #ccah #ccai ,rouge-,corinthe #ddg ,rouge-,cornouille #ddi #dej ,rouge-,ecarlate #dih #dfd ,rouge-,framboise #fhd #fhe #fhf #fhg #fhh ,rouge-,granium #cdi #cej #cea #ceb #cec ,rouge-,grenat #ceh #cei #cbf #cji #cce ,rouge-,groseille #fje #fjf #fjg #fjh #fji ,rouge-,maroquin #ccbg #ccbh #ccbi ,rouge-,turc #cba ,rouge-,vermillon #fff ----- ,vert-,bouteille #dia #dib #dic #did #die ,vert-,bronze #ffi #fgj #fga #fgb #fgc ,vert-,canard #ede #edf #edg #edh #edi ,vert-,corbeau #ffe ,vert dor #ehj #eha #ehb #ehc #ehd ,vert d',eau #gac #gad #gae ,vert-de-gris #dgd #dge ,vert-,emeraude #eee #eef #eeg #eeh #eei ,vert-,fauve #fhi #fij #fia #fib #fic ,vert-,lierre #ejj #eja #ejb #ejc #ejd ,vert-,madeira #gaj ,vert-,malachite #efj #efa #efb #efc #efd ,vert mtallique #dfe #dff #dfg ,vert-,mousse #dfh #dfi #dgj #dga #dgb ,vert-,myrthe #ece #ecf #ecg #ech #eci ,vert-,olive #eaj #eaa #eab #eac #ead ,vert-,perroquet #fid #fie #fif #fig #fih ,vert-,pistache #cai #cfg #cbj #cfh #cfi ,vert-,pr #fii #gjj #gja #gjb #gjc ,vert russe #dii ----- ,violet-,amthyste #ccbj #ccba #ccbb #ccbc #ccbd ,violet-,evque #dea #deb #dec ,violet-,lie-de-vin #cgj #cga #cgb #cgc #cgd ,violet-,mauve #cge #cae #cgf #caf #cgg ,violet-de-,parme #edj #eda #edb #edc #edd ,violet-,pense #ecj #eca #ecb #ecc #ecd ,violet-,prune #eej #eea #eeb #eec #eed ,violet-,scabieuse #cid #cbg #cie #cif #cig ---------------------------------------- -------------------------- ,couleurs ,trs-fonc ,fonc ,moyen ,clair ,trs-clair ,colours ,very dark ,dark ,medium ,light ,very light ---------------------------------------- -------------------------- ,to avoid mistakes the public is urgently requested to designate the colours by the number1 never by name4 ,the colours whose numbers begin with #c or #d are the fastest4 99 99 99 99 99 ,further information respecting mode of execution1 materials and so forth may be had by applying to the firm of ,,th4 ,,de ,,dillmont1 ,,dornach 7,,alsace74 ,,footnotes3 #c ,the ,d4,m4,c colour-card consists of #dej shades about half of which are fast dyes4 ,see the list of names on pp4 #egb and #egc4 #d ,by fast 7bon-teint7 colours are meant those which will bear ordinary and repeated washing4 ,there are only very few which are really fast1 or grand-teint1 that is to say1 which will resist the action of chemical agents1 amongst of these1 the black1 ,noir #caj1 is quite indestructible4 ,,table ,,of ,,contents4 ,,preface4 ,page ,,plain ,,sewing ,stitches ,seams ,gathering ,sewing on cord and flaps #aj ,button-holes #aa ,sewing on buttons #ab ,binding slits #ac ,sewing on piping #ac ,fixing whale-bones--,herring-boning #ad ,,mending #ae ,linen darning #af ,satin or twill darning #ag ,damask darning #ah ,fine-drawing #bj ,patching #bj ,,single ,,and ,,cut ,,open-,,work #bc ,hem-stitching #bd ,open-work patterns #bg ,cutting out threads at the corners #ci ,cut open-work #dj ,patterns for cut open-work #db ,,net ,,and ,,damask ,,stitches #ea ,net embroidery #ea ,net patterns #eb ,net darning #fb ,damask stitches #fc ,,white ,,embroidery #gf ,stitches #gg ,different kinds of scallops #gi ,eyelet holes #hj ,six ways of making dots #ha ,venetian embroidery #hb ,patterns and alphabets #hc ,,flat ,,stitch ,,and ,,gold ,,embroidery #aje ,encroaching satin stitch #aje ,oriental stitch #ajf ,plaited stitch and mosaic stitch #ajh ,persian stitch #aji ,straight and encroaching flat stitch patterns #aaj ,chinese embroidery #aaa ,raised embroidery #aac ,turkish embroidery #aac ,implements and materials for gold embroidery #aae ,stitches used in gold embroidery #aai ,patterns for gold embroidery #abj ,,tapestry ,,and ,,linen ,,embroidery #abg ,marking out the embroidery ground #abh ,tapestry stitches #abi ,tapestry patterns #ach ,stitches for linen embroidery #adc ,patterns for linen embroidery #aeb ,,knitting #aga ,position of the hands #agb ,casting on #agc ,stitches #agh ,stocking knitting #ahb ,scalloped edge #ahc ,heels #ahd ,toes #ahi ,mending knitting #aij ,piqu patterns #aie ,patent knitting #bja ,turkish stitch #bja ,knitting patterns #bjc ,,crochet ,,work #bba ,position of the hands #bbc ,stitches #bbc ,method for copying tapestry patterns in crochet #bch ,crochet with soutache or lacet #bci ,crochet square1 hexagon and star #bdj ,tunisian crochet #bda ,hairpin crochet #bdc ,patterns for hairpin crochet #bde ,crochet lace patterns #bdi ,crochet counterpanes #bhd ,crochet stars #cjj ,crochet collar #cjd ,crochet chair-back #caf ,,tatting #cbe ,position of the hands #cbf ,knots #cbh ,patterns of scallops and medallions #cca ,,macram #cdc ,materials and implements #cdd ,formation of the knots #cde ,macram shuttles #cfj ,macram patterns #cfa ,,netting #cie ,implements and materials #cie ,stitches #cig ,patterns produced in netting #djj ,mounting the netting on the frame #daj ,stars and wheels #dad ,grounds and lace #dbc ,embroidery on netting #dcd ,netted insertion #dch ,,irish ,,lace #dci ,materials #dci ,tacking down the braids #ddj ,bars of different kinds #ddb ,insertion stitches #dde ,lace stitches #dej ,needle-made picots #dfg ,irish lace patterns #dfh ,,laces ,,of ,,different ,,kinds #dgc ,pillow lace and the implements for its manufacture #dgd ,stitches or passings #dha ,patterns or grounds #dha ,armenian lace #ejc ,laces in knotted stitch #eje ,reticella-lace #ejh ,venetian-lace #eaj ,brussels-lace #eae ,,miscellaneous ,,fancy ,,work #eag ,knotted cord #eah ,balls for trimmings #eai ,tambour work #eba ,smyrna stitch #ebc ,malta stitch #ebe ,triangular ,turkish stitch #ebf ,turkish embroidery #ecj ,appliqu-work #eca ,morocco embroidery #ece ,spanish embroidery #ecf ,different kinds of linen stitches #edj ,pattern for linen stitches #eda ,pattern for ,roumanian stitch #edd ,pattern for ,piqu embroidery #edf ,embroideries with ,soutache #edf ,chinese subject #eea ,,practical ,,directions #eec ,tracing and drawing the designs #eec ,the preparation of the stuffs and the subdivision of the patterns #eeg ,to transpose and repeat patterns by means of looking glasses #eei ,to alter the proportions of a pattern by dividing the ground into squares #efj ,to prepare the paste for appliqu work #efd ,to stiffen new needlework #efe ,to wash ordinary lace #efe ,to wash real lace #eff ,to stiffen lace #eff ,to iron lace #eff ,to pin out lace #efg ,to wash coloured cottons and work done with the same #efh ,materials #efi ,by the same ,author ,,album ,,de ,,broderies ,,au ,,point ,,de ,,croix4 7,album of cross-stitch embroidery7 ,,by ,,th4 ,,de ,,dillmont #cb ,plates with #bgh ,designs1 and a complete treatise on the embroidery itself4 ,quarto2 artistic boards1 price #as4 #f;d4 ,illustration3 ,,fig4 #aec4 ,to be had by applying to the ,author and ,editor ,,th4 ,,de ,,dillmont1 ,,dornach1 ,alsace1 and at all the leading booksellers and ,embroidery shops4 ,illustration ,,printed ,,by ,,brustlein ,co41 ,,mulhouse 7,alsace7