|
ENCYCLOPEDIA
OF
NEEDLEWORK
BY
THÉRÈSE DE DILLMONT
[Illustration]
_ENGLISH EDITION_
* * * * *
ALL RIGHTS RESERVED
_To be had:_
_of TH. DE DILLMONT, DORNACH, Alsace, and at all booksellers, and
embroidery shops._
* * * * *
Price, English bound with gilt edges:
English edition Sh. 3.--
French edition Fr. 5.75
German edition Mk. 3.--
Preface.
The absolute want of any comprehensive book on needlework--such an one
as contains both verbal and pictorial descriptions of everything
included under the name of needlework--has led me to put into the
serviceable form of an Encyclopedia, all the knowledge and experience,
which years of unceasing study and practice have enabled me to
accumulate on the subject, with the hope that diligent female workers of
all ages, may be able, by its means to instruct themselves in every
branch of plain and fancy needlework.
All the patterns given, even the most insignificant, were worked afresh
for the purpose, and thus, not merely faithful representations, but also
lucid and intelligible explanations of the same, are secured.
In order that my readers may have something besides the dull theory, the
work is enlivened by a number of useful patterns, some new, some derived
from the artistic productions of such countries and epochs as have
become famous by special excellence in the domain of needlework.
Though, at first sight, the reproduction of many of these patterns may
seem to present insuperable difficulties, they will, after a careful
study of the text, and exact attention to the directions given, prove
easy to carry out.
Many of these interesting designs are drawn from private collections,
whose owners, with great kindness, placed their treasures at my
disposal, to copy and borrow from at discretion, for which I desire to
take the present opportunity, of tendering them my warmest thanks.
The choice of colours and material--a difficult matter to many--my
readers will find rendered comparatively easy to them by the notes
affixed to the illustrations; and I may point out, that most of the
patterns were worked with D.M.C cottons, which enjoy the well-earned
reputation of being, the very best of their kind, in the market of the
world.
Experience has convinced me that, in many instances, these cottons may
with advantage take the place of wool, linen thread, and even silk.
If this work meet with indulgent judges, and prove really useful, I
shall find ample reward in that fact for the trouble and difficulties
that have unavoidably attended its completion.
[Illustration: STRIPE SHOWING RUNNING, STITCHING, BUTTON-HOLING, AND
HERRING-BONING.]
Plain Sewing.
Many, on opening the Encyclopedia of needlework will be disposed to
exclaim as they read the heading of this first section: What is the use
of describing all the old well-known stitches, when machines have so
nearly superseded the slower process of hand-sewing? To this our reply
is that, of all kinds of needlework, Plain Sewing needs to be most
thoroughly learned, as being the foundation of all. Those who are able
to employ others to work for them, should at least know how to
distinguish good work from bad, and those who are in less fortunate
circumstances, have to be taught how to work for themselves.
POSITION OF THE BODY AND HANDS.--Before describing different kinds of
stitches, a word should be said as to the position of the body and hands
when at work. Long experience has convinced me that no kind of
needlework necessitates a stooping or cramped attitude. To obviate
which, see that your chair and table suit each other in height, and that
you so hold your work as hardly to need to bend your head at all. The
practice of fastening the work to the knee, besides being ungraceful, is
injurious to the health.
NEEDLES.--These should be of the best quality. To test a needle, try
to break it; if it resist, and then break clean in two, the steel is
good; if it bend without breaking, or break without any resistance, it
is bad. Never use a bent needle, it makes ugly and irregular stitches,
and see that the eye, whether round or egg-shaped, be well-drilled, that
it may not fray or cut the thread. Long or half-long needles are the
best for white work, long ones for dress-making, and longer ones still,
with long eyes, for darning. A stock of each, from No 5 to 12, is
advised. The needle should always be a little thicker than the thread,
to make an easy passage for it through the stuff.
To keep needles from rusting, strew a little stone alum in the packets,
and workers whose hands are apt to get damp, should have a small box of
it handy, to powder their fingers with. Blackened needles can be made
quite bright again by drawing them through an emery cushion.
SCISSORS.--Scissors are a very important accessory of the work-table,
and two varieties are indispensable; a pair of large ones for
cutting-out, with one point blunt and the other sharp, the latter to be
always held downwards; and a pair of smaller ones with two sharp points.
The handles should be large and round; if at all tight, they tire and
disfigure the hand.
THIMBLE.--Steel thimbles are the best; bone are very liable to break,
and silver ones are not deeply enough pitted, to hold the needle. A
thimble should be light, with a rounded top and flat rim.
THE THREAD.--Except for tacking, your thread should never be more than
from 40 to 50 c/m. long.[1] If the thread is in skeins, it does not
matter which end you begin with, but if you use reeled cotton, thread
your needle with the end that points to the reel, when you cut it; as
the other end will split, and unravel, when twisted from left to right,
which is generally done, to facilitate the process of threading. The
cotton should always be cut, as it is weakened by breaking.
KNOTTING THE THREAD INTO THE NEEDLE (fig. 1).--When the thread becomes
inconveniently short, and you do not want take a fresh one, it may be
knotted into the needle, thus: bring it round the forefinger close to
the needle, cross it on the inside next to the finger, hold the crossed
threads fast, with the thumb draw the needle out through the loop thus
formed, and tighten the loop round both ends.
[Illustration: FIG. 1. KNOTTING THE THREAD INTO THE NEEDLE.]
MATERIALS.--For tacking, use Coton à coudre D.M.C qualité supérieure
(black and gold stamp) Nos. 2 to 6.[A] For hand-sewing, Fil d'Alsace
D.M.C Nos. 30 to 700,[A] and Fil à dentelle D.M.C, balls or reels, Nos.
25 to 100[A] will be found most useful. For machine-work: Câblé 6 fils
pour machines D.M.C, Nos. 30 to 300,[A] black and white, or white and
blue stamp. These can also be used for hand-work. Both these and the
lace-thread (Fil à dentelle) on reels, are superfine in quality. The
medium sizes are the most useful; but the only suitable ones for very
fine and delicate fabrics are the Fil à dentelle D.M.C, and Fil
d'Alsace, and the latter only is manufactured in the higher numbers.
All these threads are to be had, wound in balls, or on reels, the buyer
may make his own choice; balls are apt to get tangled, but the cotton
preserves its roundness better than when it is wound on reels. Linen is
generally sewn with linen-thread, but Fil à dentelle and the Fil
d'Alsace are very good substitutes.
POSITION OF THE HANDS (fig. 2).--The stuff, fastened to a cushion,
must be held with the left hand, which should neither rest on the table,
nor on the cushion, the needle must be held between the thumb and
forefinger, of the right hand, and the middle finger, armed with the
thimble, pushes the needle far enough through the stuff, for the other
fingers to take hold of it and draw it out; the thread then comes to lie
between the fourth and fifth fingers in the form of a loop, which must
be tightened gradually to avoid its knotting.
[Illustration: FIG. 2. POSITION OF THE HANDS.]
POSITION OF THE HANDS WITHOUT CUSHION (fig. 3).--When the work cannot
be fastened to a cushion it should be held between the forefinger and
the thumb, and left hanging down, over the other fingers. If it need to
be more firmly held, draw it between the fourth and fifth fingers, which
will prevent it from getting puckered or dragged.
[Illustration: FIG. 3. POSITION OF THE HANDS WITHOUT CUSHION.]
STITCHES.--Plain-Sewing comprises 4 varieties of stitches, (1)
running, (2) back-stitching, (3) hemming and (4) top or over-sewing.
(1) RUNNING-STITCH (fig. 4).--This is the simplest and easiest of all.
Pass the needle in and out of the material, at regular intervals, in a
horizontal direction, taking up three or four threads at a time. If the
stuff allow, several stitches may be taken on the needle at once, before
the thread is drawn out. Running-stitch is used for plain seams, for
joining light materials, for making gathers and for hems.
[Illustration: FIG. 4. RUNNING-STITCH.]
(2) BACK-STITCH (fig. 5).--Insert the needle, and draw it out six
threads further on, carry your thread back, from left to right, and
insert the needle three threads back from the point at which it was last
drawn out, and bring it out six threads beyond. Stitching and
back-stitching are better and more quickly done by machine than by hand.
[Illustration: FIG. 5. BACK-STITCH.]
STITCHING (fig. 6).--The production of a row of back-stitches, that
exactly meet one another, constitutes what is called stitching. Only one
stitch can be made at a time, and the needle must be put in, exactly at
the point where it was drawn out to form the preceding back-stitch, and
brought out as many threads further on as were covered by the last
back-stitch. The beauty of stitching depends on the uniform length of
the stitches, and the straightness of the line formed, to ensure which
it is necessary to count the threads for each stitch, and to draw a
thread to mark the line. If you have to stitch in a slanting line across
the stuff, or the stuff be such as to render the drawing of a thread
impossible, a coloured tacking thread should be run in first, to as a
guide.
[Illustration: FIG. 6. STITCHING.]
STITCHED HEM (fig. 7).--Make a double turning, as for a hem, draw a
thread two or three threads above the edge of the first turning, and do
your stitching through all three layers of stuff; the right side will be
that on which you form your stitches.
[Illustration: FIG. 7. STITCHED HEM.]
(3) HEMMING-STITCH (fig. 8).--To make a good hem, your stuff must be
cut in the line of the thread. Highly dressed stuffs, such as linen and
calico; should be rubbed in the hand, to soften them, before the hem is
laid. Your first turning should not be more than 2 m/m. wide; turn down
the whole length of your hem, and then make the second turning of the
same width, so that the raw edge is enclosed between two layers of
stuff.
[Illustration: FIG. 8. HEMMING-STITCH.]
Narrow hems do not need to be tacked, but wide ones, where the first
turning should only be just wide enough to prevent the edge from
fraying, ought always to be. In hemming you insert the needle and
thread directed in a slanting position towards you, just below the edge
of the hem, and push it out two threads above, and so on to the end,
setting the stitches, two or three threads apart, in a continuous
straight line. To ensure the hem being straight, a thread may be drawn
to mark the line for the second turning, but it is not a good plan,
especially in shirt-making, as the edge of the stuff, too apt in any
case, to cut and fray, is, thereby, still further weakened. Hems in
woollen materials, which will not take a bend, can only be laid and
tacked, bit by bit. In making, what are called rolled hems, the needle
must be slipped in, so as only to pierce the first turning, in order
that the stitches may not be visible on the outside.
FLAT SEAM (fig. 9).--Lay your two edges, whether straight or slanting,
exactly even, tack them together with stitches 2 c/m. long, distant 1 to
2 c/m. from the edge, and then back-stitch them by machine or by hand,
following the tacking-thread. Cut off half the inner edge, turn the
outer one in, as for a hem and sew it down with hemming-stitches.
[Illustration: FIG. 9. FLAT SEAM.]
Smooth the seam underneath with the forefinger as you go, to make it lie
quite flat. Beginners should flatten down the seam with their thimbles,
or with the handle of the scissors, before they begin to hem, as the
outer and wider edge is very apt to get pushed up and bulge over, in the
sewing, which hides the stitches.
ROUNDED SEAM.--Back-stitch your two edges together, as above directed,
then cut off the inner edge to a width of four threads, and roll the
outer one in, with the left thumb, till the raw edge is quite hidden,
hemming as you roll. This kind of seam, on the wrong side, looks like a
fine cord, laid on, and is used in making the finer qualities of
underclothing.
FASTENING THREADS OFF, AND ON (fig. 10).--Knots should be avoided in
white work. To fasten on, in hemming, turn the needle backwards with the
point up, take one stitch, and stroke and work the end of the thread in,
underneath the turning. To fasten on, in back-stitching or running,
make one stitch with the new thread, then take both ends and lay them
down together to the left, and work over them, so that they wind in, and
out of the next few stitches.
[Illustration: FIG. 10. FASTENING THREADS OFF AND ON.]
(4) TOP OR OVER-SEWING STITCH (fig. 11).--This stitch is used for
joining selvedges together. To keep the two pieces even, it is better,
either to tack or pin them together first. Insert the needle, from right
to left, under the first thread of the selvedge, and through both edges,
and sew from right to left, setting your stitches not more than three
threads apart. The thread must not be drawn too tightly, so that when
the seam is finished and flattened with the thimble, the selvedges may
lie, side by side.
[Illustration: FIG. 11. TOP OR OVER-SEWING STITCH.]
ANOTHER KIND OF SEWING-STITCH (fig. 12)--For dress-seams and patching;
sew left to right, tacking or pinning the edges together first, and
holding them tightly with the thumb and finger, to keep perfectly even.
[Illustration: FIG 12. ANOTHER KIND OF SEWING-STITCH.]
ANTIQUE OR OLD-GERMAN SEAM (figs. 13 and 14).--Tack or pin the
selvedges together as above, then, pointing your needle upwards from
below, insert it, two threads from the selvedge, first on the wrong
side, then on the right, first through one selvedge, then through the
other, setting the stitches two threads apart. In this manner, the
thread crosses itself, between the two selvedges, and a perfectly flat
seam is produced. Seams of this kind occur in old embroidered linen
articles, where the stuff was too narrow to allow for any other. A
similar stitch, fig. 14, only slanting, instead of quite straight, as in
fig. 13, is used in making sheets.
[Illustration: FIG. 13. ANTIQUE OR OLD-GERMAN SEAM.]
[Illustration: FIG. 14. ANTIQUE OR OLD GERMAN SEAM.]
FRENCH DOUBLE SEAM (fig. 15).--For joining such stuffs as fray, use
the so-called French-seam.
[Illustration: FIG 15. FRENCH DOUBLE-SEAM.]
Run your two pieces of stuff together, the wrong sides touching, and the
edges perfectly even, then turn them round just at the seam, so that the
right sides come together inside, and the two raw edges are enclosed
between, and run them together again. See that no threads are visible on
the outside. This seam is used chiefly in dress-making, for joining
slight materials together which cannot be kept from fraying by any other
means.
HEMMED DOUBLE SEAM (figs. 16 and 17).--Turn in the two raw edges, and
lay them one upon the other, so that the one next the forefinger, lies
slightly higher than the one next the thumb. Insert the needle, not
upwards from below but first into the upper edge, and then, slightly
slanting, into the lower one. This seam is used in dress-making, for
fastening down linings. Fig. 17 shows another kind of double seam, where
the two edges are laid together, turned in twice, and hemmed in the
ordinary manner, with the sole difference, that the needle has to pass
through a sixfold layer of stuff.
[Illustration: FIG. 16. HEMMED DOUBLE-SEAM.]
[Illustration: FIG. 17. OPEN HEMMED DOUBLE-SEAM.]
GATHERING (fig. 18).--Gathers are made with running-stitches of
perfectly equal length; take up and leave three or four threads,
alternately, and instead of holding the stuff fast with your thumb, push
it on to the needle as you go, and draw up your thread after every four
or five stitches.
[Illustration: FIG. 18. GATHERING.]
STROKING GATHERS (fig. 19).--When you have run in your gathering
thread, draw it up tight, and make it fast round the finger of your left
hand, and then stroke down the gathers with a strong needle, so that
they lie evenly side by side, pushing each gather, in stroking it, under
your left thumb, whilst you support the stuff at the back with your
other fingers.
[Illustration: FIG. 19. STROKING GATHERS.]
RUNNING IN A SECOND GATHERING THREAD (fig. 20).--This is to fix the
gathers after they have been stroked, and should be run in 1 or 2 c/m.
below the first thread, according to the kind of stuff, and the purpose
it is intended for: take up five or six gathers at a time, and draw your
two threads perfectly even, that the gathers may be straight to the line
of the thread.
[Illustration: FIG. 20. RUNNING IN A SECOND GATHERING-THREAD.]
SEWING ON GATHERS (fig. 21).--To distribute the fulness equally,
divide the gathered portion of material, and the band, or plain piece,
on to which it is to be sewn, into equal parts, and pin the two together
at corresponding distances, the gathered portion under the plain, and
hem each gather to the band or plain piece, sloping the needle to make
the thread slant, and slipping it through the upper threads only of the
gathers.
[Illustration: FIG. 21. SEWING ON GATHERS.]
WHIPPING (fig. 22).--Whipping is another form of gathering, used for
fine materials. With the thumb and forefinger of the left hand, roll the
edge over towards you, into a very tight thin roll, insert the needle on
the inside of the roll next the thumb, and bring it out on the outside
next the forefinger, at very regular distances, and draw up the thread
slightly, from time to time, to form the gathers.
[Illustration: FIG 22. WHIPPING.]
ORNAMENTAL HEM (fig. 23). For an ornamental hem, make a turning, 2 or
3 c/m. deep, and run in a thread, with small running-stitches up and
down, as shown in fig. 23. By slightly drawing the thread, the straight
edge will be made to look as if it were scalloped.
[Illustration: FIG. 23. ORNAMENTAL HEM.]
SEWING ON CORD (fig. 24).--For sewing on cord, use strong thread,
either Fil d'Alsace D.M.C, Fil à dentelle D.M.C or Câblé 6 fils D.M.C
No. 25, 30, 35 or 40.[A] Be careful not to stretch the cord, but to hold
it in, as you sew it, as it invariably shrinks more than the stuff in
the first washing. Fasten it with hemming stitches to the edge of the
turning, taking care that it does not get twisted.
[Illustration: FIG. 24. SEWING ON CORD.]
SEWING ON FLAPS (fig. 25).--These should be back-stitched on to the
right side of the article they are to be affixed to, quite close to the
edge, then folded over in half, and hemmed down on the wrong side. Like
the cord, the flap must, in the process, be held in very firmly with the
left hand. Though the back-stitching could be more quickly done by
machine, hand-work is here preferable, as the holding in cannot be done
by machine.
[Illustration: FIG. 25. SEWING ON FLAPS.]
SEWING ON TAPE-LOOPS (figs. 26 and 27).--These, in the case of the
coarser articles of household linen, are generally fastened to the
corners. Lay the ends of your piece of tape, which should be from 15 to
17 c/m. long, side by side, turn in and hem them down, on three sides:
the loop should be so folded as to form a three-cornered point, shewn in
the illustration. Join the two edges of the tape together in the middle
with a few cross-stitches, and stitch the edge of the hem of the article
to the loop, on the right side.
[Illustration: FIG. 26. SEWING ON TAPE-LOOPS TO THE CORNER.]
[Illustration: FIG. 27. SEWING ON TAPE-LOOPS IN THE MIDDLE OF THE
ARTICLE.]
Fig. 27 shows how to sew on a loop in the middle of an article, the two
ends separately, one on one side, the other on the other.
STRINGS AND LOOPS FOR FINE UNDER-LINEN (fig. 28).--Sew these on,
likewise, on the wrong side of the article, hemming down the ends, and
fastening them on the right side, with two rows of stitching crossing
each other, and a third row along the edge.
[Illustration: FIG. 28. STRINGS AND LOOPS ON FINE UNDER-LINEN.]
BUTTON-HOLES IN LINEN (fig. 29).--Cut your hole perfectly straight,
and of exactly, the diameter of the button, having previously marked
out the place for it, with two rows of running-stitches, two or three
threads apart. Put in your needle at the back of the slit, and take up
about three threads, bring the working thread round, from right to left
under the point of the needle, and draw the needle out through the loop,
so that the little knot comes at the edge of the slit, and so on to the
end, working from the lower left-hand corner to the right. Then make a
bar of button-hole stitching across each end, the knotted edge towards
the slit.
[Illustration: FIG. 29. BUTTON-HOLES IN LINEN.]
BUTTON HOLES IN DRESS MATERIALS (fig. 30).--Mark out and cut them as
above described; if however, the material be liable to fray, wet the
slit as soon as you have cut it, with liquid gum, and lay a strand of
strong thread along the edge to make your stitches over; one end of
dress button-holes must be round, the stitches diverging like rays from
the centre, and when you have worked the second side, thread the needle
with the loose strand, and pull it slightly, to straighten the edges;
then fasten off, and close the button-hole with a straight bar of
stitches across the other end, as in fig. 29.
[Illustration: FIG. 30. BUTTON-HOLES IN DRESS-MATERIALS.]
SEWING ON BUTTONS (figs. 31 and 32).--To sew linen, or webbed buttons
on to underclothing, fasten in your thread with a stitch or two, at the
place where the button is to be; bring the needle out through the middle
of the button, and make eight stitches, diverging from the centre like a
star, and if you like, encircle them by a row of stitching, as in fig.
32. This done, bring the needle out between the stuff and the button,
and twist the cotton six or seven times round it, then push the needle
through to the wrong side, and fasten off.
[Illustration: FIG. 31. SEWING ON LINEN BUTTONS.]
[Illustration: FIG. 32. SEWING ON WEBBED BUTTONS.]
BINDING SLITS (figs. 33, 34, 35, 36).--Nothing is more apt to tear
than a slit whether it be hemmed or merely bound. To prevent this, make
a semicircle of button-hole stitches at the bottom of the slit, and
above that, to connect the two sides, a bridge of several threads,
covered with button-hole stitches.
[Illustration: FIG. 33. BINDING SLITS WITH HEM.]
[Illustration: FIG. 34. BINDING SLITS WITH PIECE ON CROSS.]
[Illustration: FIG. 35. BINDING SLITS WITH BROAD BAND.]
[Illustration: FIG. 36. STRENGTHENING SLITS WITH GUSSET.]
In fig. 33, we show a hemmed slit, and in figs. 34 and 35, are two slits
backed the one with a narrow, the other, with a broad piece of the
material, cut on the cross.
In under-linen, it often so happens that two selvedges meet at the slit,
which renders binding unnecessary; in that case take a small square of
stuff, turn in the raw edges, top-sew it into the slit on two sides,
turn in the other two, fold over on the bias, and hem them down over the
top-sewing, as shewn in fig. 36. Such little squares of material,
inserted into a slit or seam, to prevent its tearing, are called
gussets.
SEWING ON PIPING (fig. 37). Piping is a border, consisting of a cord or
bobbin, folded into a stripe of material, cut on the cross, and affixed
to the edge of an article to give it more strength and finish. It is a
good substitute for a hem or binding on a bias edge, which by means of
the cord, can be held in, and prevented from stretching. Cut your
stripes diagonally, across the web of the stuff, and very even; run them
together, lay the cord or bobbin along the stripe, on the wrong side, 5
m/m. from the edge, fold the edge over, and tack the cord lightly in.
Then lay it on the raw edge of the article, with the cord towards you,
and with all the raw edges turned away from you. Back-stitch the piping
to the edge, keeping close to the cord. Then turn the article round,
fold in the raw outside edge over the others, and hem it down like an
ordinary hem.
[Illustration: FIG. 37. SEWING ON PIPING.]
FIXING WHALE-BONES (fig. 38).--Before slipping the whale-bone into its
case or fold of stuff, pierce holes in it, top and bottom, with a red
hot stiletto. Through these holes, make your stitches, diverging like
rays or crossing each other as shown in fig. 38.
[Illustration: FIG 38. FIXING WHALE-BONES.]
HERRING-BONING (fig. 39).--This stitch is chiefly used for seams in
flannel, and for overcasting dress-seams, and takes the place of
hemming, for fastening down the raw edges of a seam that has been run or
stitched, without turning them in. Herring-boning is done from left to
right, and forms two rows of stitches. Insert the needle from right to
left, and make a stitch first above, and then below the edge, the
threads crossing each other diagonally, as shewn in fig. 39.
[Illustration: FIG. 39. HERRING-BONING]
FOOTNOTES:
[1] Our readers should be provided with a French metre, with the English
yard marked on the back for purposes of comparison.
[A] See at the end of the concluding chapter, the table of numbers and
sizes and the list of colours of the D.M.C threads and cottons.
[Illustration: SPECIMENS OF PATTERN DARNS.]
Mending.
The mending of wearing-apparel and house-linen, though often an
ungrateful task, is yet a very necessary one, to which every female hand
ought to be carefully trained. How best to disguise and repair the wear
and tear of use or accident is quite as valuable an art, as that of
making new things.
Under the head of mending, we include the strengthening and replacing of
the worn and broken threads of a fabric, and fitting in of new stuff in
the place of that which is torn or damaged. The former is called
darning, the latter, patching.
DARNING.--When only a few of the warp or woof threads are torn or
missing, a darn will repair the mischief, provided the surrounding parts
be sound. When the damage is more extensive, the piece must be cut out.
In some cases the warp of the stuff itself can be used for darning,
otherwise thread as much like the stuff as possible should be chosen.
MATERIALS SUITABLE FOR MENDING.--Coton à repriser D.M.C is used for
most kinds of darning. It can be had in 18 different sizes, from Nos. 8
to 100, white and unbleached, and in all the colours of the D.M.C
colour-card in Nos. 12, 25 and 50.
It is but very slightly twisted and can be split or used double, if
necessary, according to the material. For all the coarser articles of
house-linen, unbleached cotton is the best, and for the finer white
fabrics, Coton surfin D.M.C Nos. 110, 120 and 150[A]. This cotton, which
is not the least twisted, and is to be had both white and unbleached,
can be used, by subdividing it, for darning the finest cambric.
VARIETIES OF DARNING.--These are four, (1) Linen darning, (2) Damask
darning, (3) Satin or Twill darning, and (4) Invisible darning, called
also, Fine-drawing.
(1) LINEN DARNING (figs. 40 and 41).--All darns should be made on the
wrong side of the stuff, excepting fig. 54, which it is sometimes better
to make on the right side. The longitudinal running, to form the warp,
must be made first. The thread must not be drawn tightly in running your
stitches backwards and forwards, and be careful to leave loops at each
turning, to allow for the shrinking of the thread in the washing,
without its pulling the darn together.
[Illustration: FIG. 40. LINEN DARNING. DRAWING IN THE WARP THREADS.]
[Illustration: FIG. 41. LINEN DARNING. DRAWING IN THE WOOF THREADS.]
Run your needle in, about one c/m. above the damaged part, take up one
or two threads of the stuff and miss the same number, working straight
to a thread; on reaching the hole, carry your cotton straight across it,
take up alternate threads beyond, and proceed as before. Continue the
rows backwards and forwards, taking up in each row, the threads left in
the preceding one. Turn the work round and do the same for the woof;
alternately taking up and leaving the warp threads, where the cotton
crosses the hole. The threads must lie so alone both ways, that the
darn, when completed, replaces the original web. The threads are only
drawn so far apart in the illustrations, for the sake of clearness.
When the material to be darned does not admit of a fleecy thread, such
as Coton à repriser D.M.C, one that as nearly as possible matches the
material, should be chosen from the D.M.C cottons.[A]
DIAGONAL LINEN DARNING (fig. 42).--Darns are sometimes begun from the
corner, so as to form a diagonal web, but they are then much more
visible than when they are worked straight to a thread, and therefore
not advisable.
[Illustration: FIG. 42. DIAGONAL LINEN DARNING.]
(2) SATIN OR TWILL DARNING (fig. 43).--By twill darning, the damaged
web of any twilled or diagonal material can be restored. It would be
impossible to enumerate all the varieties of twilled stuffs, but the
illustrations and accompanying directions will enable the worker to
imitate them all.
[Illustration: FIG. 43. SATIN OR TWILL DARNING.]
Begin, as in ordinary darning by running in the warp threads, then take
up one thread, and miss three. In every succeeding row, advance one
thread in the same direction. Or, miss one thread of the stuff and take
up two, and as before, advance, one thread in the same direction, every
succeeding row. The order in which threads should be missed and taken
up, must depend on the web which the darn is intended to imitate.
When the original is a coloured stuff, it is advisable to make a
specimen darn first, on a larger scale, so that you may be more sure of
obtaining a correct copy of the original web.
(3) DAMASK DARNING (figs. 44, 45, 46, 47, 48, 49).--A damask darn is
begun in the same way as all other darns are; the pattern is formed by
the cross-runnings and will vary with the number of warp threads taken
up and missed, in each successive running. The woven design which you
are to copy with your needle must therefore be carefully examined first.
Figs. 44 and 45 show the wrong and right sides of a damask darn, in
process of being made.
[Illustration: FIG. 44. DAMASK DARNING. WRONG SIDE.]
[Illustration: FIG. 45. DAMASK DARNING. RIGHT SIDE.]
Fig. 46 represents a completed one. In the case of coloured webs, a
light shade of cotton is generally used for the warp, one that matches
the stuff, for the shot or woof.
[Illustration: FIG. 46. DAMASK DARNING. COVERED GROUND.]
Figs. 47 and 48, illustrate two specimens of darning, formerly done in
the convents, from which it will be seen, that the warp and the woof
were first drawn in with rather fine thread and the pattern then worked
into this foundation with coarser, or else, coloured thread. When this
kind of darn is in two colours, take, for the darker shade, Coton à
broder D.M.C, or Coton à repriser D.M.C, which are both of them to be
had in all the bright and faded shades, to match alike both old and new
linen.
[Illustration: FIG. 47. DAMASK DARNING ON NEEDLE-MADE GROUND.]
[Illustration: FIG. 48. DAMASK DARNING ON NEEDLE-MADE GROUND.]
Fig. 49, which is executed in two colours, and is likewise copied from
an old work on darning, shows you the manner in which a dice-pattern is
to be reproduced.
[Illustration: FIG. 49. DAMASK DARNING WITH COLOURED THREAD.]
(4) DARNING, LOST IN THE GROUND (fig. 50).--A kind of darn used for
repairing rents, the edges of which fit exactly into one another.
Neither the torn threads of the material nor the rough edges must be cut
off; the torn part is to be tacked upon a piece of oil-cloth, wrong side
uppermost, and the edges, drawn together by a thread, run in backwards,
and forwards, across them. The stitches must be set as closely together
as possible, and regularly inverted, as in every other darn. A much
finer thread relatively than that of which the material is composed
should, in all cases be used for darning. In this instance also, for the
sake of greater distinctness, the size of the thread has been magnified
in the illustration. Coton surfin D.M.C, will be found the best for
darning both calico and linen.
[Illustration: FIG. 50. DARNING LOST IN THE GROUND.]
FINE DRAWING (fig. 51).--The art of making invisible darns in cloth,
though such a useful one, is all but unknown. It is a tedious process
and one which, though easy enough to understand, requires great care in
the execution.
[Illustration: FIG. 51. FINE DRAWING.]
Use as fine a needle as possible and thread it with hair, instead of
silk, or any other kind of fibre. Red and white hair is the strongest,
and stronger than the ravellings of the stuff. Of course the hair has
first to be carefully cleansed from grease. Pare the edges of the rent,
on the right sides, quite clean and even, with a razor, so that both
rent and stitches may be lost in the hairy surface of the cloth.
Scissors do not cut so closely, and are liable moreover, to disturb the
nap, and render the darn more visible. When this is done, fit the edges
exactly together, and overcast them. Then thread a needle with a hair by
the root, and slip it in, 2 or 3 m/m. from the one edge and back again
pointed towards you, through the other, so that, neither needle nor
hair, are visible on either side. The stitches should be set slightly
slanting and must be quite lost in the thickness of the cloth. The
needle must always be put in, exactly at the place where it came out,
and the hair not be too tightly drawn.
When the darn is finished, lay the article on a bare table, or
ironing-board, cover it with a damp cloth, and iron it. The sharpest eye
will fail to detect a rent, when carefully darned in this manner.
PATCHING.--As we have already said, when the defective part is past
darning, it must be cut out, and a new piece of stuff inserted in its
place. If the garment be no longer new, it should be patched with a
slighter material than that of which it was originally made. The patch
should be of the same shape, and cut the same way of the stuff, as the
piece it is to replace, it should also be, just so much larger, as to
allow for the turnings in, and can either be top-sewn, or else, run and
felled in.
BACK-STITCHING AND FELLING IN A PATCH (fig. 52).--Tack in the new
piece, so that its edges over-lap the edges of the hole. The
back-stitching must be done on the article itself, as this renders it
easier to do the corners neatly. The hem is turned down on to the patch.
Make a little snip at the corners with your scissors to prevent
puckering. The back-stitching should form a right angle at each corner.
[Illustration: FIG. 52. BACK-STITCHING AND FELLING IN A PATCH.]
TOP-SEWING IN A PATCH (fig. 53).--To do this, the edges of the hole
and of the patch, must first be turned in, and either overcast or
hemmed, to prevent their fraying, after which, sew the two edges
together. The raw edges may also be turned in with herring-boning as in
fig. 39, putting the needle, only through one layer of stuff.
[Illustration: FIG. 53. TOP-SEWING IN A PATCH.]
DRAWING IN A PATCH (fig. 54).--Take a square piece of the original
stuff, 5 or 6 c/m. larger each way, than the hole it is to fill, draw
out threads on all the four sides, till the piece exactly matches the
hole, and tack it into its place. Thread a very fine needle with the two
ends of a thread of silk or Fil d'Alsace D.M.C No. 700, run it in at the
corner of the stuff, and draw it out, leaving a loop behind. Into this
loop, slip the first of the threads, which as it were, form a fringe to
the patch, and tighten the loop round it, and so on with each thread,
alternately taking up and leaving threads in the stuff, as in ordinary
darning.
[Illustration: FIG. 54. DRAWING IN A PATCH.]
To put a patch into a thin material, in this manner, you must darn in
the threads, a good long way, into the material, in order that the
double layer of threads may be less visible.
FOOTNOTES:
[A] See at the end of the concluding chapter, the table of numbers and
sizes and the list of colours of the D.M.C threads and cottons.
[Illustration: STRIPE OF CUT OPEN-WORK ON WHITE LINEN.]
Single and cut Open-work.
The above heading comprises every sort of needle-work, to which the
drawing out of threads is a preliminary. By sewing over the single
threads that remain, and drawing them together in different ways, an
infinite variety of patterns can be produced. Many pretty combinations
also, can be made of open-work, cross-stitch, and other kinds of
embroidery.
MATERIALS SUITABLE FOR OPEN-WORK.--For all the coarser stuffs, such as
Holbein-linen, Java and linen-canvas and the like, now in such favour
for the imitation of old needlework, it will be best to use: Fil à
pointer D.M.C, No. 30[A] and Cordonnet 6 fils D.M.C, Nos. 10 to 20,[A]
and for the finer stuffs, such as antique-linen and linen-gauze;
Cordonnet 6 fils D.M.C Nos. 50 to 150,[A] Fil d'Alsace D.M.C, Nos. 20 to
100, and Fil à dentelle D.M.C, Nos. 25 to 80.
Coloured patterns can also be executed in open-work, with Coton à broder
D.M.C Nos. 16 to 35, and Coton à repriser D.M.C, Nos. 25 to 50[A].
THE TWO DIFFERENT KINDS OF OPEN-WORK.--The one is called, single
open-work, the Italian Punto tirato, in which the first step is to draw
out one layer of threads; the other, cut open-work, the Italian Punto
tagliato, for which, both the warp, and the woof threads, have to be
drawn out.
SINGLE OPEN-WORK (PUNTO TIRATO).--This, in its simplest form, is the
ornamental latticed hem, in common use where something rather more
decorative than an ordinary hem (fig. 8) is required, and consists in
drawing out one layer of threads, either the warp or the woof.
SINGLE HEM-STITCH (fig. 55).--Draw out, according to the coarseness of
the stuff, two or four threads, below the edge of the turning, and tack
your hem down to the line thus drawn. Fasten your thread in to the left,
and work your hem from right to left, taking up three or four
cross-threads at a time, and inserting your needle, immediately above,
into the folded hem, three or four threads from the edge, and then
drawing it out.
[Illustration: FIG. 55. SINGLE HEM-STITCH.]
The same stitch is used for preventing the fringes, that serve as a
finish to so many articles of house-linen, from ravelling.
SECOND HEM-STITCH (fig. 56).--Prepare your hem as for fig. 55, and
work from left to right; with this difference, that after drawing two or
three cross-threads together, from right to left, you skip the same
number of perpendicular threads you took up below, and insert your
needle downwards from above, bringing it out at the bottom edge of the
hem.
[Illustration: FIG. 56. SECOND HEM-STITCH.]
These stitches, which can be used for the right side also, form a kind
of little tress, along the edge of the hem.
LADDER STITCH HEM (fig. 57). Complete the hem, as already directed in
fig. 55, then draw out three or five threads more, turn the work round,
and repeat the process, taking up the same clusters of threads which
you took up in the first row of stitches, thus forming little
perpendicular bars.
[Illustration: FIG. 57. LADDER STITCH HEM.]
DOUBLE HEM-STITCH (fig. 58). Begin as in fig. 55, forming your
clusters of an even number of threads; and then, in making your second
row of stitches, draw half the threads of one cluster, and half of the
next together, thereby making them slant, first one way and then the
other.
[Illustration: FIG. 58. DOUBLE HEM-STITCH.]
ANTIQUE HEM-STITCH (figs 59, 60, 61 and 62). In the old, elaborate,
linen needlework, we often meet two kinds of hem-stitching seldom found
in modern books on needle-work. Figs. 59 to 62 are magnified
representations of the same. At the necessary depth for forming a narrow
hem, a thread is drawn, in the case of very fine textures where the edge
is rolled, not laid; then fasten in the working thread at the left, and
work the stitches from left to right. Passing your needle, from right to
left, under three or four threads, draw the thread round the cluster and
carry your needle on, through as many threads of the upper layer of
stuff, as you took up below, so that the stitch may always emerge from
the middle of the cluster.
[Illustration: FIG. 59. ANTIQUE HEM-STITCH. WRONG SIDE.]
[Illustration: FIG. 60. ANTIQUE HEM-STITCH. RIGHT SIDE.]
ANTIQUE HEM-STITCH (figs. 61 and 62).--These show, the right and
wrong sides of the hem; here the rolled hem is prepared as above, but
the stitches are worked from right to left, and the thread is carried
round the little roll, so that, as shown in fig. 62, it is visible on
both sides of the hem. The needle does not enter the stuff, but is
carried back at once, from the outside, and put in again between two
clusters of threads.
[Illustration: FIG. 61.--ANTIQUE HEM-STITCH. WRONG SIDE.]
[Illustration: FIG. 62.--ANTIQUE HEM-STITCH. RIGHT SIDE.]
SLANTING HEM-STITCH (figs. 63 and 64).--Bring out your needle and
thread, two or three threads above the edge of the turning, between the
first and second of the three cross-threads that compose the cluster,
and then slip it under the cluster, from right to left. The loop must
lie in front of the needle. When you have drawn up the stitch, put the
needle in, one thread further on, and take up two threads. Fig. 64 shows
the stitch on the right side.
[Illustration: FIG. 63. SLANTING HEM-STITCH. WRONG SIDE.]
[Illustration: FIG. 64. SLANTING HEM-STITCH. RIGHT SIDE.]
DOUBLE-ROWED ORNAMENTAL SEAM (figs. 65, 66, 67).--Begin with any one
of the hems already described, then counting as many threads downwards,
as are clustered together in the first row, draw out a second thread,
and cluster the perpendicular threads in this second line together, as
shown in figs. 65 and 66. On the right side the stitch is straight (fig.
67). Coloured cottons should be used for all the above patterns of
hem-stitch, when they are to be introduced into coloured embroideries.
[Illustration: FIG. 65. DOUBLE-ROWED ORNAMENTAL SEAM. WRONG SIDE.]
[Illustration: FIG. 66. DOUBLE-ROWED ORNAMENTAL SEAM. WRONG SIDE.]
[Illustration: FIG. 67. DOUBLE-ROWED ORNAMENTAL SEAM. RIGHT SIDE.]
SINGLE THREE-ROWED OPEN-WORK (fig. 68).--This, and the following
patterns, are suitable for the headings of hems, and for connecting
stripes of embroidery, and are also often used instead of lace, and lace
insertion.
Fig. 68 will be found specially useful, in cases where the object is, to
produce a good deal of effect, at the cost of as little labour as
possible. Make six rows of hem-stitching, as in fig. 55; the first and
sixth rows to serve as a finish, above and below.
[Illustration: FIG. 68. SINGLE THREE-ROWED OPEN-WORK.]
The second and third, after drawing out six threads, the third and
fourth after drawing out eight. The clusters must all consist of an even
number of threads. The upper and the lower band of open-work is to be
copied from fig. 58, the centre one, from fig. 57. Divide the threads of
the perpendicular clusters in two; insert the needle, from left to
right, underneath half the second cluster, turn the needle's eye, by a
second movement, from left to right, and take up the second part of the
first cluster, drawing it under, and at the same time, in front of the
first half of the second cluster. Be careful not to draw your thread too
tightly.
OPEN-WORK WITH TWO THREADS DRAWN THROUGH (fig. 69).--One such wide
lane of open-work, between two finishing rows of stitches, may have two
threads drawn through it.
[Illustration: FIG. 69. OPEN-WORK WITH TWO THREADS DRAWN THROUGH.]
OPEN-WORK WITH THREE THREADS DRAWN THROUGH (fig. 70). Overcast both
edges with single stitches; draw the clusters together in the middle, as
in fig. 68; then above and below the middle thread, draw in first one
thread and then a second, straight above it, securing the latter with
back-stitches to enclose the clusters between two threads.
[Illustration: FIG. 70. OPEN-WORK WITH THREE THREADS DRAWN THROUGH.]
CLUSTERED OPEN-WORK (fig. 71).--Draw out from sixteen to eighteen
threads, between two hem-stitched edges. Fasten your thread in, 3 m/m.
above the seam-edge, and wind it three times round every two clusters,
passing the needle, the third time, under the two first rounds, to
fasten the thread. The thread, thus drawn through, must be left rather
slack. A second row of stitches, similar to the first, and at the same
distance from the bottom edge, completes this pattern. To give it
greater strength, you may if you like, work back over the first thread,
with a second, taking care to pass it under the knot, which was formed
by the first.
[Illustration: FIG. 71. CLUSTERED OPEN-WORK.]
DOUBLE-ROWED CLUSTER-OPEN-WORK (fig. 72).--A very good effect can be
obtained by making the above stitch in such a manner, as to form groups
of three clusters each, between hem-stitched bands of the stuff.
[Illustration: FIG. 72. DOUBLE-ROWED CLUSTER-OPEN-WORK.]
TURKISH CLUSTER OPEN-WORK (fig. 73).--After portioning off, and sewing
up the clusters on one side, draw out twelve or fourteen threads, and
make your connecting-stitch and hem, all in one, as follows: bring out
the thread before the cluster, and pass it round it, then from right to
left, over three horizontal and under four perpendicular threads, again
from left to right, over the four threads just passed over, and out at
the second cluster; laying it over this, you bring it out behind the
first cluster, wind it round the middle of them both, and pass it
through, between the over-casting stitches back to the hem; encircle the
second cluster with a loop-stitch, and carry your thread again over
three horizontal and four perpendicular threads, and upwards, slanting
underneath the stuff, out in front of the next cluster.
[Illustration: FIG. 73. TURKISH CLUSTER OPEN-WORK.]
OPEN-WORK WITH DARNING STITCH (fig. 74).--Draw out from eight to
twelve threads, according to the quality of the stuff. Insert your
needle and thread between two clusters, and pass it, as if you were
darning, backwards and forwards over them, until they are encased half
way down with stitches. In so doing, work with the eye of the needle
forward, and the point towards your thimble. To pass to the next
cluster, take one stitch back, under the one just darned, and bring your
thread underneath the threads of the stuff, to the second cluster.
[Illustration: FIG. 74. OPEN-WORK WITH DARNING STITCH.]
OPEN-WORK IN THREE COLOURS (fig. 75).--This pattern which is to be
done in the same way as fig. 74, requires the drawing out of, at least,
eighteen threads. Every cross-line of three clusters is to be worked in
one colour. The colours may all be different, or you may if you prefer,
take shades of the same colour.
[Illustration: FIG. 75. OPEN-WORK IN THREE COLOURS. COLOURS: Bleu-Indigo
311, 322, 334, Brun-Caroubier 354, 303, 357, or Rouge-Géranium 349, 351,
352.[A]]
OPEN-WORK INSERTION (figs. 76 and 77).--For both these, the edges are
to be overcast, and the darning stitches packed sufficiently closely
together, for the threads of the stuff to be entirely covered.
Fig. 76 requires the drawing out of eighteen threads, fig. 77, of
thirty. Both admit of several colours being used.
[Illustration: FIG. 76. OPEN-WORK INSERTION.]
[Illustration: FIG. 77. OPEN-WORK INSERTION.]
OPEN-WORK INSERTION (fig. 78).--After drawing out sixteen or eighteen
threads, bind both sides with stitches made over four horizontal and
four perpendicular threads, as follows; make one back-stitch over four
disengaged threads, then bring up your thread from right to left, over
four horizontal and under four perpendicular threads, back over the four
last threads, and draw it out beside the next cluster. The clusters, as
they now stand, are bound together in the middle, three by three, with
darning-stitches. The thread must be fastened in and cut off, after each
group is finished.
[Illustration: FIG. 78. OPEN-WORK INSERTION.]
OPEN-WORK INSERTION (fig. 79).--First bind the two edges with
stitches, in the ordinary way. At the last stitch introduce the thread
slanting, according to the dotted line, pass it under four horizontal
and three perpendicular threads of the stuff and draw it out; then over
three threads from right to left, and back under the same, from left to
right, and out again; over four horizontal threads, and, under and again
over, three perpendicular ones; for the next stitch, you again follow
the dotted slanting line.
[Illustration: FIG. 79. OPEN-WORK INSERTION.]
Then make the darning stitch over nine threads, or three clusters. At
half their length, you leave out three threads, first on the right, then
on the left, whilst in the other half, you, in a similar manner, take in
three; so that you have two darned and two undarned clusters, standing
opposite each other. Finally, you overcast the single clusters, and
connect every two with a lock-stitch, as shown in the accompanying
illustration.
OPEN-WORK INSERTION (fig. 80).--Draw out twenty threads, overcast both
edges with stitches, made over three threads. Then, make slanting
stitches, proceeding out from these, over three, six and nine threads
respectively, all three terminating in a perpendicular line, one below
the other.
[Illustration: FIG. 80. OPEN-WORK INSERTION.]
For the open-work, twist the thread five times, quite tightly round and
round one cluster, bring it to the edge, between the second and third
clusters, and connect these by means of six darning-stitches to and fro:
join the first and second clusters in the same way by twelve stitches,
and finish, by twisting the thread five times round the remaining length
of the first cluster. The second half of the open-work figure is
carried out in a similar manner over the third and fourth clusters.
OPEN-WORK INSERTION IN FOUR COLOURS (fig. 81).--Draw out, from
twenty-five to thirty threads. The outside figures are executed over six
clusters, of three threads each, in a dark and light shade alternately
of the same colour. Each of the middle figures combines three clusters
of the two figures above it, and may be executed, either in a different
colour altogether, or in a lighter shade of the one employed in the top
row. The little star in the centre should be worked in dark red, or
black.
[Illustration: FIG. 81. OPEN-WORK INSERTION IN FOUR COLOURS.
MATERIALS: Coton à broder D.M.C No. 20, or Cordonnet 6 fils D.M.C Nos.
15 to 30.[A]
COLOURS: Rouge-Turc 321, Bleu-Indigo 312, 334, Noir grand Teint 310.[A]]
OPEN-WORK INSERTIONS (figs. 82, 83, 84).--For each of these draw out
forty threads. Fig. 82 worked in white, and Rouge-Grenat clair 309,
comprises fourteen clusters, of four threads each. Begin at the top of
the big pyramid, so that the threads which you run in, can be more
closely crowded together.
[Illustration: FIG. 82. OPEN-WORK INSERTION.]
In fig. 83, the two rows of short clusters are worked in Gris-Tilleul
moyen, and, Gris-Tilleul clair, 392 and 330;[A] the pyramid of steps,
in Brun-Chamois moyen, 324;[A] the three inner clusters in Brim-Chamois
très clair, 418. One figure consists of fourteen clusters, of three
threads each.
[Illustration: FIG. 83. OPEN-WORK INSERTION.]
Fig. 84 also is to be worked in three colours; the light squares in
unbleached cotton, the middle figure in Bleu-Indigo très clair, 334, the
large squares on either side in Brun-Cuir clair 432. Each figure
contains eighteen clusters, of three threads each.
[Illustration: FIG. 84. OPEN-WORK INSERTION.]
OPEN-WORK INSERTION WITH SPIDERS (fig. 85).--The edges are to be
herring-boned, as described in fig. 39. In the middle, the so-called
spiders are made, over every group of four clusters. The thread that
runs out from the spider, passes over two clusters and under one, and
then three or four times, over and under the clusters, as in darning,
and so back, under the spider, at the place at which it was drawn in,
and then on, to the next four strands of thread.
[Illustration: FIG 85. OPEN-WORK INSERTION WITH SPIDERS.]
THREE-ROWED OPEN-WORK (fig. 86).--Draw out five threads for the narrow
stripe, and from fourteen to sixteen for the wide one. Each cluster
should consist of four threads. The narrow bands between, are to be
herring-boned on either side. The dotted line shows the course of the
thread, on the wrong side. Then unite each separate cluster in the
middle, with a back-stitch, as shown in the illustration, and finally,
join every group of four clusters together, with three stitches, and
make a spider in the middle of the open-work, at the point where the
threads intersect each other.
[Illustration: FIG 86. THREE-ROWED OPEN-WORK.]
OPEN-WORK INSERTION WITH RINGS (fig. 87).--Bind the edges on both
sides, with straight, two-sided, stitches. Take, for this, Coton à
broder D.M.C, No. 30, (embroidery cotton), using it double. Draw out,
from twenty-four to thirty threads. Wind your thread six or seven times
round the middle of each cluster of nine threads, and then make
darning-stitches, above and below, to a length of 3 m/m. When you have
completed two clusters, join them together, by four interlocked
stitches; wind your thread three times round the single thread, and sew
it over with close stitches.
[Illustration: FIG 87. OPEN-WORK INSERTION WITH RINGS.]
OPEN-WORK INSERTION WITH SPIDERS (fig. 88).--Draw out twenty-four
threads. Ornament the two edges with half-spiders. You begin these over
two threads, and go on taking in others, to the number of eight. The
whole spider in the middle, is made as above described.
[Illustration: FIG. 88. OPEN-WORK INSERTION WITH SPIDERS.]
OPEN-WORK INSERTION (figs. 89 and 90).--The beauty of this otherwise
simple pattern, lies in the peculiar knot, with which the edges of the
stuff are ornamented.
[Illustration: FIG. 89. OPEN-WORK INSERTION.]
Carry the working thread, as shown in fig. 90, from right to left, (see
the description of the right side) over and under four threads; then
bring the needle back, under the thread which lies slanting, form a loop
with the forefinger of the left hand, slip it on to the needle, and draw
it up close to the first stitch; pull the needle through the knot, and
proceed to the next stitch.
The illustration explains how the open-work in the middle should be
carried out.
[Illustration: FIG. 90. EXPLANATION OF THE STITCH FOR FIG. 89.]
OPEN-WORK WITH WINDING STITCH (fig. 91).--For this pattern, which is a
very laborious one to work, draw out twenty-eight threads. Bind the
edges with two-sided stitches, over two, three, four and five threads,
respectively. For the middle figures, you must reckon four threads for
the clusters, round which the working thread is tightly twisted, eight
for the darned clusters, ornamented with picots (see fig. 165), and
sixteen for the rectangular rosettes, in two colours.
Make a loose spider over the threads, as a background for the rosette.
Work the picots in a different colour from the cluster, and the
rosettes, likewise, in two colours. The connecting loops between the
figures should be made as you go along, the thread being always carried
back into the loop just made.
[Illustration: FIG. 91. OPEN-WORK WITH WINDING STITCH.]
CUTTING OUT THREADS AT THE CORNERS (figs. 92, 93, 94, 95). If you want
to carry a latticed-hem or a simple open-work pattern, round a corner,
you must cut and loosen the threads, on both sides, about one c/m. from
the edge of the hem, as seen in fig. 92. The loose threads can be pushed
into the turning, and the edge button-holed, as in fig. 93.
If however, on the other hand, the stitching be continued without
interruption, as indicated in the upper part of fig. 94, the loose
threads must be brought to the wrong side, and as represented in the
lower part of fig. 94, fastened down with a few stitches.
[Illustration: FIG. 92. THE CUTTING AND LOOSENING OF THE THREADS AT THE
CORNERS.]
[Illustration: FIG. 93. THE OVER CASTING OF THE DISENGAGED EDGE AT THE
CORNER, THE THREADS BEING TURNED IN WITHIN THE HEM.]
[Illustration: FIG. 94. BORDERING THE DISENGAGED EDGE WITH
HEM-STITCHING, THE THREADS BEING TURNED OVER]
[Illustration: FIG. 95. FILLING IN THE CORNER WITH A SPIDER, AND
CONTINUATION OF THE LATTICE-WORK THENCE.]
CUT OPEN-WORK (PUNTO TAGLIATO).--For cut open-work, threads have to be
drawn out both ways, the number of course to depend on the pattern.
Threads, left between others that have been cut out, serve as a
foundation on which a great variety of stitches can be worked. Stuffs,
equally coarse in the warp and woof, should be chosen for all cut
open-work, for then the empty spaces that remain, where threads have
been drawn out both ways, will be perfectly square.
DRAWING OUT THREADS BOTH WAYS (fig. 96).--The same number of threads
must be drawn out each way; most patterns require the same number of
threads to be left as are drawn out. In fig. 96, three threads have been
drawn out and three left.
[Illustration: FIG. 96. DRAWING OUT THREADS BOTH WAYS, WITHOUT REGARD TO
THE EDGES.]
CUTTING OUT THREADS (fig. 97).--We often meet with cut open-work
patterns, set in another kind of embroidery. In such cases, the threads
that are to be cut out, must be cut a few millimetres within the edge,
and then drawn out, so that there may be a frame of the stuff left
intact outside.
[Illustration: FIG. 97. CUTTING OUT THREADS, IN THE MIDDLE OF THE
STUFF.]
BUTTON-HOLING THE RAW EDGES (fig. 98).--In very fine linen textures,
the threads can simply be cut out, but in the case of coarser stuffs,
and when a pattern ends in steps as in figs. 103, 104, 105, the raw
edges must be button-holed as in fig. 98, or 99.
[Illustration: FIG. 98. BUTTON-HOLING THE RAW EDGES OF CUT OPEN-WORK.]
OVERCASTING THE RAW EDGES (fig. 99).--Cording the raw edges, is even
better than button-holing them. Count the number of threads carefully
that have to be cut out, run in a thread to mark the pattern, and then
only, cut the threads through, at least two threads within the line.
[Illustration: FIG. 99. OVERCASTING THE RAW EDGES OF CUT OPEN-WORK.]
OVERCASTING THE TRELLISED GROUND (fig. 100).--If you only have a small
surface to embroider, you can draw out all the threads at once. But in
the case of a large piece of work it is better to begin by removing the
threads in one direction only, and completing all the little bars, one
way first; after which you draw out the threads the other way and
embroider those you leave. In this way you will secure greater equality
and finish in your work.
[Illustration: FIG. 100.--OVERCASTING THE TRELLISED GROUND.]
GROUND FOR SQUARE, FIG. 105 (figs. 101 and 102).--Finish the first row
of bars along the edge completely, to begin with. In the second row,
overcast the bar, down to half its length, then carry your thread over
two empty spaces, see the letter _a_, come back to the bar, overcasting
the thread which you threw across first, and passing the needle under
the bars of the stuff. In the second rows that intersect the first,
marked by letter _b_, the threads meet in the middle of the empty space.
In fig. 102, finish the bars, overcast both ways first, and then fill in
the ground with interlaced threads, worked row by row, throwing the
thread from one square to the other as you go, and doubling it, as you
return. For the bars, see the chapters on net embroidery, and Irish
lace.
[Illustration: FIG. 101. LATTICE-GROUND FOR SQUARE IN FIG. 105, SHOWING
THE COURSE OF THE STITCHES.]
[Illustration: FIG. 102. LATTICE-GROUND FOR SQUARE IN FIG. 105.]
LATTICE-GROUND AND DAMASK STITCH FOR SQUARE, FIG. 105 (fig. 103).--Our
illustration shows a third kind of openwork ground with one corner in
damask stitch, of the square represented in fig. 105. The little bars
which intersect each square crossways, are made in two divisions, by
carrying the thread to the opposite bar and back. In the same way, the
second thread is carried over the first. The damask stitches are
described in the next chapter, in figs. 143 and 144.
[Illustration: FIG. 103. LATTICE-GROUND WITH A PORTION OF SQUARE, FIG.
105.]
LATTICE-GROUND AND DAMASK STITCHES FOR SQUARE, FIG. 105 (fig.
104).--Damask, or gobelin stitches, are given in figs. 152, 153, 154.
The ground of this part of the square (fig. 104) is adorned with narrow
bars, worked in darning stitch. From the centre of one bar, proceed
three bars made on three foundation-threads, and a fourth made on two,
on account of the passage to the next bar.
[Illustration: FIG. 104. LATTICE-GROUND AND DAMASK STITCH FOR SQUARE,
FIG. 105.]
QUARTER OF THE SQUARE IN SINGLE AND CUT OPEN-WORK, AND DAMASK-STITCH
(fig. 105).--Original size 48 c/m. square. This handsome square is
worked in unbleached cotton on a white ground; it may also be worked in
colours. A very good effect is produced by using Chiné d'or D.M.C[A]
red, blue, or green for the gobelin stitch, and a uniform pale tint for
the cut open-work.
Figs. 101, 102, 103, 104 illustrate in detail, one quarter of the
square, which is represented here one third of the original size. The
centre piece (fig. 104) is bordered by four stripes, two long and two
short; the former containing two lozenge-shaped open-work figures
separated and finished off by damask stitches; the latter, only one such
figure. For the insertion in single open-work, that recurs three times,
you will find a variety of designs in figs. 81, 82, 83, 84, 87, 88.
[Illustration: FIG. 105.--QUARTER OF THE SQUARE IN SINGLE AND CUT
OPEN-WORK, AND DAMASK STITCH.
Original size 48 c/m. square.
MATERIALS suitable for Holbein linen: Fil à pointer D.M.C No. 15 or 20,
and Coton à repriser D.M.C No. 25.[A]
For antique linen: Fil à dentelle D.M.C No. 25 or 30, or Cordonnet 6
fils D.M.C No. 50, 60, or 70, and Coton à repriser D.M.C No. 50 or, in
place of the latter, Coton à broder surfin D.M.C No. 190.[A]]
DRAWING IN THE PATTERN (fig. 106).--Darning in the threads, as you do
into a net foundation is a slower process and one that requires greater
skill than drawing them in. The illustration shows the proper order and
direction of stitches for Fig. 108. In this case likewise, the little
bars must be finished, before the actual pattern is filled in.
[Illustration: FIG. 106. DRAWING IN THE PATTERN. (Explanation of fig.
108)]
DARNING IN THE THREADS (fig. 107)--In old needle-work we often find
the pattern reserved, that is, left blank and outlined by the grounding.
As it is difficult, especially in executing minute, and delicate
figures, to withdraw the threads partially, without injuring the linen
foundation, they are withdrawn throughout, and new ones drawn in, to
form the pattern. To explain this more clearly, the original threads of
the material are represented in a lighter shade than the new ones that
are drawn in; the course of the stitches is indicated in a darker shade.
[Illustration: FIG 107. DARNING IN THE THREADS. (Explanation of fig.
109).]
BROAD INSERTION IN CUT OPEN-WORK, WITH THE PATTERN DRAWN IN (fig.
108).--This insertion, suitable according to the foundation it is worked
on, for the decoration either of curtains, table-covers, bed-linen or
underclothing, is made as shown in fig. 106. If intended for the
decoration of any article made of white linen, we recommend unbleached
materials for the lattice-work, and bleached for the pattern, to bring
it out in strong relief.
[Illustration: FIG. 108. BROAD INSERTION IN CUT OPEN-WORK, WITH PATTERN
DRAWN IN.]
INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED IN (fig. 109).--This
insertion can be introduced into any kind of linen material, and used
for ornamenting towels, aprons, bed-linen and table-linen. When it is
used to connect bands of cross-stitch embroidery, the open-work should
be of the same colour as the embroidery, and the pattern worked in white
or unbleached cotton, to correspond with the foundation. In fig. 109,
the pattern is half as large again as in the original.
[Illustration: FIG. 109. INSERTION IN CUT OPEN-WORK, WITH PATTERN DARNED
IN.
MATERIALS--For Holbein linen: Fil à pointer D.M.C No. 15 or 20,
Cordonnet 6 fils D.M.C No. 8, 10 or 15 for the bars.--Coton à tricoter
D.M.C No. 16 or Coton à repriser D.M.C No. 12 or 25 for darning or
drawing in the pattern.
For finer linens: Fil à dentelle D.M.C Nos. 25 to 30, or Cordonnet 6
fils D.M.C Nos. 25 to 40 for the bars and Coton à repriser D.M.C No. 50
for darning or drawing in the pattern.]
CUT OPEN-WORK PATTERN (figs. 110 and 111).--This pattern, more of the
nature of lace than any of the former, is well adapted for trimming, not
only household articles but also church furniture, altar-cloths and the
like, which are required to wash, as it can be worked in any width.
Fig. 110, a magnified representation of the work in process of
execution, shows alternately, ten threads withdrawn each way and six
left, with open spaces between. The arcs are worked over three
carefully laid threads, carried across from the middle of one bar to the
middle of the bar at right angles to it, the wheels on the other hand
are begun and finished at the same corner. Overcast the cut edges, and
hem-stitch the outside layer of stuff (figs. 61 and 62).
[Illustration: FIG. 110. CUT OPEN-WORK PATTERN. Fig. 111 in process of
execution.]
[Illustration: FIG. 111. CUT OPEN-WORK PATTERN. MATERIALS: Fil à pointer
D.M.C No. 20 or 30, Cordonnet 6 fils D.M.C Nos. 15 to 50 or Fil à
dentelle D.M.C Nos. 25 to 50.]
GREEK CUT OPEN-WORK PATTERN (fig. 112).--After the foregoing
explanations, no difficulty will be found in copying the beautiful Greek
cut open-work pattern, illustrated in fig. 112. Here, we have in the
original, 48 threads drawn out in the middle, both ways, from one
straight bar to another, (these bars being darned) with open spaces
between; and in the lower and narrower division, 21 threads drawn out
each way. The cut edges, from bar to bar, are hem-stitched on both
sides, leaving four threads of the stuff between.
The long bars, in the second figure, are button holed on both sides,
those with the picots, on one side only.
[Illustration: FIG. 112. GREEK CUT OPEN-WORK PATTERN. MATERIALS:
Cordonnet 6 fils D.M.C Nos. 25 to 50, Fil d'Alsace D.M.C Nos. 20 to 100
or Fil à dentelle D.M.C Nos. 25 to 50.]
FOOTNOTES:
[A] See, at the end of the concluding chapter, the table of numbers and
sizes and the list of colours of the D.M.C threads and cottons.
[Illustration: NET STRIPE, IN IMITATION OF BRUSSELS LACE.]
Net and damask stitches.
Many net embroidery patterns and damask stitches consist of a
combination of ordinary running and darning, others of chain, stem and
cross stitch.
NET EMBROIDERY.--All these kinds of stitches can be worked on the
coarse Greek net, as it is called, as well as on the finest quality of
real Brussels net.
Stripes of net, finished off with button-hole edging, and ornamented
with one or other of the following patterns, make very pretty washing
laces and the like; net laid upon Irish point and converted by
needlework into a lace ground, makes an excellent substitute for a
hand-made ground, which demands much labour and time.
MATERIALS SUITABLE FOR NET EMBROIDERY.--The choice of material must be
determined by the quality of the net and the effect to be produced. For
a coarse make of net and a very marked pattern, the lowest numbers of
D.M.C cottons, or the narrowest braids, such as Soutache D.M.C Nos. 1,
2, 3 should be used; if the net be fine and the pattern a delicate one,
then the higher numbers of the following are preferable: Coton à
tricoter D.M.C Nos. 8 to 20, Coton à repriser D.M.C Nos. 25 to 70, Coton
à broder D.M.C Nos. 16 to 50, Fil à dentelle D.M.C Nos. 25 to 50, Coton
à broder surfin D.M.C Nos. 100, 120, 150. The latter must be adjusted to
the required size before being used, that is to say as many strands of
it removed, as is necessary in order to reduce it to the proper
thickness.
TRACING WITH RUNNING STITCHES (fig. 113).--Have your pattern traced on
linen or paper; tack the net upon it, and copy it carefully on the net
with running stitches. As in darning, the stitches must run first above
and then beneath, alternating in each succeeding row. At the turn of the
lines, the stitches cross each other, as shown in the illustration.
[Illustration: FIG. 113. TRACING WITH RUNNING STITCHES.]
NET PATTERN (fig. 114).--Here too the pattern is traced with running
stitches, which are run in on both sides of each row of meshes. The
thread is carried first to the right, and then to the left, under every
alternate bar of the net and out again. Between the first and second
rows, one thread of the foundation must be left uncovered. In the next
row, the thread is carried back again, so that it encircles each mesh.
In the third row, the thread passes under the same bar of net as in the
second, the threads touching each other. The fourth row is a repetition
of the first.
[Illustration: FIG. 114. NET PATTERN.]
NET PATTERN (fig. 115).--This consists of two rows of stitches. In the
first, the single stitches run diagonally from left to right, over and
under a mesh; in the second row the triple stitches, also carried
diagonally across a mesh, lie from right to left.
[Illustration: FIG. 115. NET PATTERN.]
NET PATTERN (fig. 116).--Begin with a double row, as in fig. 114; this
is followed by a row of cross-stitch, touching the others, for which the
thread has to be carried, first under one of the straight bars of the
mesh and then diagonally, across it. A second, similar row of stitches
backwards, completes the crosses. This can be further varied by the
introduction of a row of triple stitches, after the double row, as in
fig. 115, and the repetition of the two first only.
[Illustration: FIG. 116. NET PATTERN.]
These rows can also be worked in two colours, or in white thread and
washing gold.
NET PATTERN (fig. 117).--Begin at the top, carrying the thread, first
under and then over two bars and a mesh, and then underneath as before.
In the second as in the first row, the threads must be drawn in, so that
4 threads always meet in one mesh, and two run parallel to each other
through the same mesh.
[Illustration: FIG. 117. NET PATTERN.]
NET PATTERN (fig. 118).--This pattern, which resembles fig. 117 in the
execution, is thickened by triple stitches. Above, where in the
preceding row three threads were laid, the thread should be single.
[Illustration: FIG. 118. NET PATTERN.]
Very pretty varieties are to be obtained by the introduction of several
colours. Take white, for instance, for the first row, and different
shades of the same colour for the second, third, fourth and fifth rows;
such as, Bleu-Lapis 345, 344, 343, 333, 342, ([A]) or Rouge-Cardinal
348, 305, 304, 347, 346, ([A]) or Rouge-Géranium, Brun-Caroubier or any
other colour that is absolutely fast.
NET PATTERN (fig. 119).--After one row of cross-stitch, such as was
described in fig. 116, add a second, carrying the thread under the bar
that lies between the first stitches, so that the two rows only cover
three threads of the net. The close bands of cross-stitch must be
divided from each other by one row of net bars.
[Illustration: FIG. 119. NET PATTERN.]
NET PATTERN (fig. 120).--Draw the thread twice backwards and forwards,
as in darning, through one row of meshes. In the next, make four
stitches over one mesh and two bars. After the fourth stitch, the thread
is carried forward under two bars to the next group. The meshes filled
in thus are divided from each other by two double rows of darning
stitches. Here you may introduce a variety in the colour, using either
white and unbleached, or unbleached and pale blue, or some other
combination of the kind.
[Illustration: FIG. 120. NET PATTERN.]
NET PATTERN (fig. 121).--Make three diagonal stitches over three bars
and two meshes, then returning to the mesh out of which the first
stitches come, make three more in the opposite direction. In the second
row, the stitches meet in the same mesh as those of the first.
[Illustration: FIG. 121. NET PATTERN.]
NET PATTERN (fig. 122).--Carry the thread upwards from below, over a
bar of the net, then pass it horizontally under another bar and carrying
it downwards, pass it under a diagonal bar and cover the other three. In
the second row, your loops must be turned the opposite way. When the
whole foundation is finished, run a thread over the whole surface and
overcast it. A good effect is produced by using white and unbleached
cottons, in alternate rows.
[Illustration: FIG. 122. NET PATTERN.]
NET PATTERN (fig. 123).--This pattern consists of one row of
overcasting, one of stitches like those described in fig. 114, and one
of cross-stitch, as in fig. 39, running diagonally across the stuff.
Besides the cottons already mentioned, washing gold thread (Or fin D.M.C
pour la broderie), may be used for the overcasting. Dead gold introduced
into simple needlework of this kind enlivens it extremely.
[Illustration: FIG. 123. NET PATTERN.]
NET PATTERN (fig. 124).--Three kinds of stitches are required for this
pattern. In the first row the stitch lies crossed underneath the net; in
the second, 3 stitches are made over one mesh, the first and the last of
which are carried across three meshes. In the third row, button-hole
stitches are carried from right to left over two diagonal bars, in such
a manner that the thread is drawn through the mesh facing the loops, and
the next stitch comes out under the loop of the preceding one.
[Illustration: FIG. 124. NET PATTERN.]
NET PATTERN (fig. 125).--Fill in every other diagonal row of meshes
with chain stitch, inserting the needle into the same mesh it came out
of, so that the thread lies in front of the needle, in a loop. The rows
of chain stitch may be made with two or three rows of meshes between
them. Even the diagonal lines by themselves, make a very pretty
foundation for other stitches.
[Illustration: FIG. 125. NET PATTERN.]
NET PATTERN (fig. 126).--The first row worked from left to right,
consists of three loop stitches upwards and three downwards, each over
one bar. In the second row, divided from the first by one row of
stitches, the inner loops must be turned towards each other; in the
third, the outer ones. Any of the stitches, already described, can be
introduced into this pattern to enliven it.
[Illustration: FIG. 126. NET PATTERN.]
NET INSERTIONS (figs. 127 and 128).--These two, as well as the
subsequent patterns, are most of them worked in darning stitch and
simple overcasting.
The scallops in fig. 127 are formed of darning stitches, over 4, 3, 2
and 1 mesh, respectively. In the intervening space, which is five meshes
wide, the stitch shown in fig. 118, may be introduced.
[Illustration: FIG. 127. NET INSERTION.]
In repeating the pattern, the stitches forming the scallops, must be
made to run in the opposite direction. Instead of the thread, simply
drawn through the middle, little stars like those described in fig. 134,
have a very pretty effect.
In fig. 128, the thread is first carried round one mesh and then on to
the next scallop. In the second scallop, which turns the opposite way,
the thread is carried once more round the last mesh after the pyramid is
completed, and then on, to the next figure.
[Illustration: FIG. 128. NET INSERTION.]
NET PATTERN (fig. 129).--This checked pattern is also worked in
darning stitch. Carry the thread, as in fig. 125, through every second
row of meshes. When the bottom rows are all finished, the upper ones are
worked across them in the same way. Here the stitches may, if preferred,
be distributed more sparingly. But if they are set wider apart, the
spaces between should be filled up in some way. Little dots, made of
Coton à repriser D.M.C, will answer the purpose best.
[Illustration: FIG. 129. NET PATTERN.]
NET INSERTIONS (figs. 130, 131, 132).--These three patterns are
specially suitable, for insertions, neck-tie lappets and the like, in
the place of crochet, pillow, and other kinds of lace. Both design and
stitch are clearly enough represented in the subjoined figure for
further explanation to be unnecessary. All three should be worked with
rather coarse cotton, and Soutache D.M.C[A] (braid) drawn in, produces
an excellent effect.
[Illustration: FIG. 130. NET INSERTION.]
[Illustration: FIG. 131. NET INSERTION.]
[Illustration: FIG. 132. NET INSERTION.]
NET PATTERN (fig. 133).--These delicate little figures can be worked
into a close pattern, or can be strewn singly over the surface. The
closer you set the stitches, the more clear and distinct the stars will
be. The thread must be drawn in to the centre mesh from without, so as
to be invisible if possible, and then back again to the outside when the
stitches are finished.
[Illustration: FIG. 133. NET PATTERN.]
NET PATTERN (fig. 134).--These flowerets have a very pretty effect,
set either singly, or in double or triple rows, and are very useful for
filling up gaps or supplementing rows.
[Illustration: FIG. 134. NET PATTERN.]
NET PATTERN (fig. 135).--These star-shaped figures, their longest
stitch covering three straight bars and two meshes, the shortest, three
diagonal bars and two meshes, may like the above flowerets, be ranged
closely together in rows, so that four stitches, two horizontal and two
vertical ones, meet in one mesh. Cotton of two colours should be used,
in order that the figures may be distinct from each other: white and
unbleached are the best, in cases where bright colours would be
unsuitable.
[Illustration: FIG. 135. NET PATTERN.]
NET INSERTION (fig. 136).--These diamonds make a very pretty grounding
either set separately, or in a continuous pattern. The design is slight,
nevertheless, when it is worked in coarse cotton, the effect is
exceedingly handsome, especially if the inside, in addition to the star
here given, be enriched with ordinary darning-stitches, worked in fine
gold thread, as we have already mentioned.
[Illustration: FIG. 136. NET INSERTION.]
NET TRACERY WITH BORDER (fig. 137).--In order to bring out the pattern
and the colours, use instead of cotton, Soutache D.M.C, or Lacets
surfins D.M.C. Both are to be had in all the colours, given in the list
of colours of the D.M.C threads and cottons. The little border can be
used in conjunction with any of the preceding patterns, but care must
be taken not to let it get twisted in the working. To prevent this,
slip a coarse needle under the last stitch, and draw the braid flat over
it.
[Illustration: FIG. 137. NET TRACERY WITH BRAIDS. MATERIALS: Soutache
D.M.C No. 2 in Bleu-Indigo 334 and Rouge-Turc 321.]
BROAD NET LACE TRACERY (fig. 138).--The pattern of this pretty lace
must first be transferred to stout paper, or oil-cloth. All the leaves
and stalks, and the buttonholing round the open centres of the flowers,
are worked in a pale green, the two bottom flowers in Turkey red, the
star-shaped one in blue, the calyx in which the stalks unite, in dark
red, and the little bells, in the lightest green.
[Illustration: FIG. 138. BROAD NET LACE TRACERY. MATERIALS: Coton à
broder D.M.C No. 30, 35 or 40.--COLOURS: Rouge-Turc 321, Rouge-Cardinal
346, Bleu-Indigo 322, Gris-Tilleul 393 and Vert-Pistache 369.]
NET DARNING.--We conclude with some directions for darning net, a
valuable art, by means of which many a curious piece of old needlework
is preserved. Coarse and fine net are all darned in the same way.
Laying the first thread (fig. 139).--Tack the net which is to be darned,
closely to the defective part, upon either oil-cloth or coloured paper
and cut the edges straight to the thread; Your thread must be of exactly
the same size, as that of which the net is made. It takes three rows of
stitches to imitate the net ground; in the first place, as shown in fig.
139, cross-threads must be laid from side to side, carried as in
darning, a little beyond the edges of the hole and so as to surround
each mesh with a slanting stitch.
[Illustration: FIG. 139. NET DARNING. LAYING THE FIRST THREAD.]
LAYING THE SECOND THREAD (fig. 140).--Secondly, beginning from one
corner, threads are laid diagonally across the first layer. The
cross-threads of the foundation are encircled by a stitch, made from
right to left, the needle is then carried under the next horizontal bar,
and the first layer of threads is overcast with similar stitches.
[Illustration: FIG. 140. NET DARNING. LAYING THE SECOND THREAD.]
LAYING THE THIRD THREAD (fig. 141).--Thirdly, threads are carried
across the second and first layers. They must start, far enough from the
edge, for the second layer of threads to be overcast at the same time,
so that there may be no loose threads left on the wrong side. In this
third journey, every diagonal thread of the foundation is to be
encircled with a stitch, taken upwards from below, the cut edges being
strengthened in the same way. Then, to form the little cross in the
fabric, the thread must be conducted by means of a second stitch, under
the single horizontal thread, outwards, to the next-diagonal thread.
[Illustration: FIG. 141. NET DARNING. LAYING THE THIRD THREAD.]
In places where the net is worn, it can be strengthened in the same
manner, the stitches being made the way of the stuff.
DAMASK STITCHES.--As a rule the pattern is simply outlined with stem
and cord stitch, and the inside spaces are left plain. In spite of the
time this simple tracing takes to do, the effect is rather poor and
scanty. If however, the inside of the leaves and flowers, be filled in
with damask stitch, the result is very handsome.
Not only can the following stitches, which are suitable for any linen
coarse or fine, be used for this kind of embroidery, but most of the net
and lace patterns too, and these combined with buttonholing and flat
stitch produce charming effects.
MATERIALS SUITABLE FOR DAMASK STITCHES.--All the threads and cottons
used for net work can also be used for damask stitches, according to
the material and the kind of work. We will enumerate them once more:
Coton à tricoter D.M.C Nos. 8 to 20, Coton à repriser D.M.C Nos. 25 to
70, Coton à broder D.M.C Nos. 16 to 50, Fil à dentelle D.M.C Nos. 25 to
50, Coton à broder surfin D.M.C Nos. 100, 120, 150.[A]
This kind of embroidery is generally done with a very coarse needle, to
press the threads of the stuff closely together and make the light
spaces between, which appear in many of the following illustrations.
FIRST PATTERN (fig. 142).--Carry the needle in a slanting direction
over three threads and bring it out, from right to left, under three
perpendicular ones, then again slanting, over three threads, from left
to right, and out again underneath three horizontal ones, downwards from
above. Thus the first stitch lies across, from right to left, the
second, lengthways. On the wrong side, the stitch forms a regular
succession of steps.
[Illustration: FIG 142. FIRST PATTERN]
SECOND PATTERN (fig. 143).--This is worked exactly in the same manner
as fig. 142, only that the second row of stitches touches the first, so
that two threads enter and issue from the same hole.
[Illustration: FIG 143. SECOND PATTERN]
THIRD PATTERN (fig. 144).--Though at first sight, this stitch is very
like the Holbein or stroke stitch, it is very different in the
execution. It is worked in two rows, to and fro; in the first, you make
all the vertical stitches side by side in the width of the stuff,
drawing your thread very tightly, in the second, coming back, you make
the horizontal stitches in a straight line, at right angles to the first
stitches. On the wrong side the stitches are crossed; they in thin
stuffs, show through, and quite alter the appearance of the right side.
[Illustration: FIG. 144. THIRD PATTERN.]
FOURTH, PATTERN (fig. 145).--In the first row, the thread is carried
slanting upwards from right to left, over two threads, then downwards
under two. Coming back, the stitches must be set the opposite way, so
that four threads meet in one hole.
[Illustration: FIG. 145. FOURTH PATTERN.]
FIFTH PATTERN (fig. 146).--This is worked like fig. 145, only that the
stitches must cover three threads each way. In the second row, you take
up one thread on the right and two on the left, to form your stitches.
[Illustration: FIG. 146. FIFTH PATTERN.]
SIXTH PATTERN (fig. 147).--Here, the stitches form a chess-board
pattern. You begin with a diagonal stitch over two threads and bring
your needle up again into the same line it started from. The second
stitch covers three threads, the third six, the fourth eight; the next
three decrease, successively in length, in the same proportion.
[Illustration: FIG. 147. SIXTH PATTERN.]
SEVENTH PATTERN (fig. 148).--Two kinds of cotton have to be used for
this pattern, one of them soft and flat, like Colon à repriser D.M.C[A]
(darning cotton) or Coton à tricoter D.M.C (knitting cotton)[A] for the
flat stitches, and the other strongly twisted, like Cordonnet 6 fils
D.M.C No. 8, 10, 12 or 15,[A] for the cross stitches.
[Illustration: FIG. 148. SEVENTH PATTERN.]
The five flat stitches cover three threads in width and six in height,
and lie from right to left and from left to right. In the second row,
which must be two threads distant from the first, the stitches must lie
in the contrary direction. In the lozenge-shaped space between, make
four cross stitches, over four threads in height and two in width.
EIGHTH PATTERN (figs. 149 and 150).--Make five stitches over 8
horizontal threads, miss 6 threads and make another 5 stitches. The
groups of long stitches above and beneath the first row, encroach over
two threads of the first group, so that a space of only four threads
remains between two groups. The stitch between these groups is generally
known as the rococo stitch.
[Illustration: FIG. 149. EIGHTH PATTERN.]
Bring out your needle between the third and fourth of these threads, and
insert it again above, drawing it out afterwards between the second and
third horizontal thread, and securing the first stitch with a back
stitch. Make the three remaining stitches, as explained in fig. 150.
[Illustration: FIG. 150. EXPLANATION OF THE ROCOCO STITCH IN FIG. 149.]
NINTH PATTERN (fig. 151).--This consists of straight bands of flat
stitches, covering three threads each way, with spaces 8 threads wide
between, ornamented with a small pattern in stroke stitch, (see chapter
on Tapestry and Linen embroidery).
[Illustration: FIG 151. NINTH PATTERN.]
DAMASK STITCH FOR FIGS. 103 AND 105 (fig. 152).--The stitches, here
represented on a large scale, form the border to the square in cut
open-work in fig. 105. The long diagonal stitches, on either side, can
be made to look fuller and more distinct, by using a soft, coarse
cotton.
[Illustration: FIG. 152. DAMASK STITCH FOR FIGS. 103 AND 105.]
TENTH AND ELEVENTH PATTERNS (figs. 153 and 154).--The former of these
is used for filling in the short stripe in fig. 105, the second for the
long inside one. Fig. 153 is clear enough to need no explanation; with
reference to fig. 154, it is however as well to point out that the
shortest stitch should cover 4 threads and the longest 12, the rest is
easily learnt from the illustration. This is a very suitable design for
the decoration of large surfaces and combines well with any running
diagonal pattern, when it can be made to form a large star which can be
worked as a separate figure.
[Illustration: FIG. 153. TENTH PATTERN. DAMASK STITCH FOR FIGS. 104 AND
105.]
[Illustration: FIG. 154. ELEVENTH PATTERN. DAMASK STITCH FOR FIG. 105.]
TWELFTH PATTERN (fig. 155).--In cases where this and the following
stitches are to be executed on a light, transparent stuff, it is best to
use a very strongly twisted thread, such as Fil d'Alsace D.M.C ([A]) or,
Fil à dentelle D.M.C ([A]) instead of a softer and looser material. A
stiff thread compresses the threads of the stuff better and the open
spaces, thus made in it, are rendered more visible.
[Illustration: FIG. 155. TWELFTH PATTERN.]
Count 6 threads vertically, put in the needle and draw it through from
right to left, underneath 3 diagonal threads. For the next stitch, carry
it upwards over 6 threads, and back under 3. The second row is worked
back over the first in the same way. Leave 6 threads between each row.
THIRTEENTH PATTERN (fig. 156).--Carry the thread, from right to left
over four vertical threads, and under the same number of horizontal
ones. The second row of stitches touches the first, so that the thread
it is worked with seems to be drawn through under the same threads of
the stuff, as the one the first row was worked with.
[Illustration: FIG. 156. THIRTEENTH PATTERN.]
FOURTEENTH PATTERN (fig. 157).--Here, the stitches, contrary to those
in fig. 147, are set vertically. The first stitch covers 2 threads, the
second 6, the third 10, the fourth 14, the fifth 18. The longest
stitches of two checks always meet in the same hole.
[Illustration: FIG. 157. FOURTEENTH PATTERN.]
FIFTEENTH PATTERN (fig. 158).--Cover the whole expanse with rows of
stitches, such as are described in fig. 155, with intervals of 12
threads between them.
[Illustration: FIG. 158. FIFTEENTH PATTERN.]
These rows are intersected by others, to which the thread is passed,
from between the sixth and seventh of the 12 threads between the first
rows. Where the stitches of the two rows meet, the working thread of the
second row must be drawn through, under that of the first.
SIXTEENTH PATTERN (fig. 159).--Between every two rows of cross-stitch,
leave an interval of 6 threads, counting those on each side of the rows.
Over these 6 threads work 2 rows, as shown in fig. 148, but so, that in
the second, the lower stitch of the first row and the upper one of the
second, cover the same threads.
[Illustration: FIG. 159. SIXTEENTH PATTERN.]
SEVENTEENTH PATTERN (fig. 160).--This consists of stripes, 4 stitches
wide, like those of fig. 155, with 3 threads between, which are overcast
in the ordinary manner.
[Illustration: FIG. 160. SEVENTEENTH PATTERN.]
EIGHTEENTH PATTERN (fig. 161).--Small squares of 7 stitches, inclined
alternately, to the right and left, and so formed, that the longest
stitch of one square is crossed by the first short stitch of the next,
so that a space only 6 threads wide and 4 long, remains uncovered. The
intervening stripes are filled with 3 rows of overcasting stitches,
covering 2 threads each way.
[Illustration: FIG. 161. EIGHTEENTH PATTERN.]
NINETEENTH PATTERN (fig. 162).--The steps formed by this pattern are
11 stitches high, and 11 wide, and each stitch covers 4 threads.
[Illustration: FIG. 162. NINETEENTH PATTERN.]
Eight threads intervene between each row of steps, which are covered at
the bend, by a square of stitches, from the last of which, the thread is
carried on at once, to the four single stitches.
TWENTIETH PATTERN (fig. 163).--The 4 squares set opposite to each
other, with 2 threads between, are edged all round by 3 rows of
overcasting.
[Illustration: FIG. 163. TWENTIETH PATTERN.]
TWENTY-FIRST PATTERN (fig. 164).--Begin by rows of stitches, like
those described in fig. 155, over 4 and 2 threads, with 4 threads
between, not counting those covered with cross-stitch. Between the two
rows of cross-stitch, join 6 threads together by a back-stitch, and
carry your thread over the two last of the 6, to the 2 first of the next
cluster. The narrow diagonal stripes are separated by 24 threads,
exclusive of those covered by the cross-stitches. These spaces are
filled in with squares, 10 threads wide and 10 long, formed by
back-stitches crossed on the wrong side.
[Illustration: FIG. 164. TWENTY-FIRST PATTERN.]
TWENTY-SECOND PATTERN (fig. 165).--In the closer stuffs, of a coarse
texture, the threads of which do not admit of being drawn together, as
you can those, of a loose thin stuff, where, by simply pulling your
thread a little tighter you get open spaces, you must begin by cutting
out every fourth or fifth thread. After which, you overcast all the
rows, first one way, and then the other, with stitches covering 4
threads, each way. On this foundation with strong, loosely-twisted
cotton, Coton à broder D.M.C or Coton à tricoter D.M.C No. 25, 30, 35,
or 40, make long stitches, as indicated in the illustration.
[Illustration: FIG. 165. TWENTY-SECOND PATTERN.]
TWENTY-THIRD PATTERN (fig. 166.)--From the point where the thread
comes out of the stuff, make 16 stitches, four times over, all coming
out of the same hole, over 8, 6, 4 and 6 threads, thus forming a star.
Leave an interval of four threads between the stars, and unite the
intervening threads by cross-stitches one way, and whip-stitches, the
other.
[Illustration: FIG. 166. TWENTY-THIRD PATTERN.]
TWENTY-FOURTH PATTERN (fig. 167).--Make a succession of diagonal
stitches, increasing in length, and advancing one thread at a time,
until the seventh stitch covers seven threads, and completes the
triangle. Then begin a second triangle on the nearest, adjacent thread.
[Illustration: FIG. 167. TWENTY-FOURTH PATTERN.]
TWENTY-FIFTH PATTERN (fig. 168).--Cover your whole surface with
squares of 16 stitches, as in fig. 147, and fill in the intervening
squares with 23 stitches, all radiating from one centre.
[Illustration: FIG. 168. TWENTY-FIFTH PATTERN.]
TWENTY-SIXTH PATTERN (fig. 169).--Diagonal trellised stripes, made as
indicated in fig. 165, and overcast, form the ground. Twelve threads are
to be left between the stripes, upon which, work six-cornered,
lozenge-shaped groups of stitches, set at right angles to each other, in
diagonal rows.
[Illustration: FIG 169. TWENTY-SIXTH PATTERN.]
TWENTY-SEVENTH PATTERN (fig. 170).--We conclude our chapter with a
circular design, which combines a variety of stitches, and introduces
our workers to two new patterns, as well as to an advantageous way of
hiding the junction of several kinds of stitches by semicircles of
button-hole stitching.
[Illustration: FIG. 170. TWENTY-SEVENTH PATTERN.]
FOOTNOTES:
[A] See at the end of the concluding chapter, the table of numbers and
sizes and the list of colours of the D.M.C threads and cottons.
[Illustration: STRIPE IN FLAT AND RAISED SATIN STITCH, AND MADEIRA
EMBROIDERY.]
White Embroidery.
We have retained the familiar term, white embroidery, for this kind of
needlework, for convenience sake, in spite of its inaccuracy, now that
coloured materials are quite as much used for it as white.
It is executed, either on a backing of oil-cloth, or in an embroidery
frame, called «tambour-frame». Only skilful workers can dispense with
these, for an untrained hand can hardly avoid puckering. If you work
without a foundation, the material must be held, quite smoothly over the
forefinger, so that the threads lie perfectly straight, otherwise, the
pattern is very apt to get pulled out of shape in the working. With your
three other fingers you hold the material fast, the thumb resting on the
work itself, beyond the outline of the pattern, which must be turned
towards the worker. It is always the outside line of a pattern that is
drawn in double lines, that should be turned towards the palm of the
hand.
TRACING PATTERNS.--Patterns are generally to be had ready traced, but
as it is often necessary to repeat, enlarge, or reduce them,
descriptions of several modes of doing so, will be found at the end of
the concluding chapter.
MATERIALS.--A loose, soft make of cotton, the looser the better, and
very little twisted, is the best material for embroidery. We recommend
for white embroidery in general, Coton à broder D.M.C Nos. 16 to 150;
for monograms on cambric, Coton à broder surfin D.M.C Nos. 100, 120,
150;[A] and for English or Madeira embroidery, Coton Madeira D.M.C Nos.
40, 50, 60;[A] for padding, or raising the embroidery, all the
different kinds of Coton à repriser D.M.C[A] can be used.
OUTLINING AND PADDING.--The outlining of a pattern is a very important
preliminary. A want of precision in the ultimate effect is often due,
merely to careless outlining. This part of the work should be done with
rather a coarser cotton than the embroidery itself. Fasten in the thread
by a few running stitches, never with a knot, a rule to be observed also
in embroidering, except in very rare cases. Finish off your thread by
drawing it through the tracing stitches, or through some part of the
pattern that is already finished. Fill in the spaces between the lines
with a padding of run threads, run loosely, and so that they lie thickly
and solidly in the centre, and shade off on both sides. The fullness,
and roundness of embroidery, depends on the firmness of this sub-stratum
of threads. The outlining and the padding of the different rounded and
pointed scallops, as well as of other figures that occur in white
embroidery, are illustrated in figs. 181, 182, 183, 184, 185, 187, 189,
190 and 191.
BLANKET, OR BUTTON-HOLE STITCH (fig. 171).--Work from left to right;
run in a foundation line, hold down the working thread below the run
line with the right thumb; insert the needle above and bring it out
below the run line but above the working thread; tighten the loop thus
formed, without drawing up the stuff, and continue in this manner,
setting your stitches closely and regularly, side by side.
[Illustration: FIG. 171. BLANKET, OR BUTTON-HOLE STITCH.]
STRAIGHT STEM STITCH (fig. 172).--Work from left to right. The needle
must always be inserted above the run thread, and brought out underneath
it. In the case of a very delicate pattern, take up only just as much
stuff as the run thread covers.
[Illustration: FIG. 172. STRAIGHT STEM STITCH.]
SLOPING STEM STITCH (fig. 173).--Work without a run thread; insert the
needle from right to left in a slanting direction, under 1 or 2
horizontal threads, and 5 or 6 perpendicular ones; so that each stitch
reaches halfway back to the last.
[Illustration: FIG. 173. SLOPING STEM STITCH.]
This kind of stem stitch is chiefly used for the fine upstrokes of
letters and numbers, and for linen embroidery.
BACK-STITCHING (fig. 174).--Back-stitching, that is small, even
stitches set closely together, is done from right to left, along a
straight line, and is chiefly used for filling in the centres of
letters, leaves and flowers.
[Illustration: FIG. 174. BACK-STITCHING.]
CROSSED BACK-STITCH (figs. 175 and 176).--Used, generally speaking,
only for very transparent materials; it forms a close seam of
cross-stitch, on the wrong side, and two straight rows of back-stitching
on the right. To work, insert the needle as if for an ordinary
back-stitch, pass it under the stuff, sloping it a little towards the
second outline of the pattern, and draw it out almost in front of the
first stitch. After making a back-stitch, pass the needle up again under
the stuff and bring it out at the spot where the next stitch is to be.
[Illustration: FIG. 175. CROSSED BACK-STITCH. RIGHT SIDE.]
[Illustration: FIG. 176. CROSSED BACK-STITCH. WRONG SIDE.]
Fig. 176 shows the interlacing of the stitches on the wrong side, and
the way in which this stitch, when it is used for filling in centres,
can be worked on the right side.
SIMPLE KNOT STITCH (fig. 177). This consists of two back-stitches,
side by side, covering the same threads; it is chiefly used for filling
in leaves, embroidered on very thin materials, or in conjunction with
flat stitch.
[Illustration: FIG. 177. SIMPLE KNOT STITCH.]
TWISTED KNOT STITCH (fig. 178). To work hold the working thread down
with the thumb close to the spot where you first brought it out, twist
it twice round the needle, turn the needle round from left to right,
following the direction indicated by the arrow, pass it through the
fabric at the place which is marked by a dot, and draw it out at the
place where the next stitch is to be.
[Illustration: FIG. 178. TWISTED KNOT STITCH.]
POST STITCH (fig. 179).--Something like knot stitch and much used for
patterns, composed of small flowers and leaves, where it often takes the
place of raised satin stitch. The illustration represents five leaves
finished, and the sixth in process of being worked.
[Illustration: FIG. 179. POST STITCH.]
To work, bring the needle up from the back and twist the thread round it
as many times as the length of the stitch requires, hold the left thumb
on the species of curl thus formed, and passing the needle and thread
through it, insert it at the end of the leaf where it first came out,
and draw it out at the right place for the next stitch.
BUTTON-HOLE BARS (fig. 180).--When a pattern is ornamented with
open-work bars, begin by tracing the outside parallel lines. Then
button-hole the whole lower line and the upper one, till you come to the
place where the first bar is to be; then you carry your thread across
and bring up the needle from below through one of the loops, as, shown
in the figure; lay three threads in this manner, inserting your needle
the third time one loop further on. Then cover the three threads thickly
with button-holing.
[Illustration: FIG. 180. BUTTON-HOLE BARS.]
DIFFERENT KINDS OF SCALLOPS (figs. 181, 182, 183).--The outlining,
padding and button-holing of these scallops is executed in the manner
already described. Be careful to adapt the length of the stitches to the
shape and size of the scallops. If they are pointed (figs. 182, 183),
the stitches will have to be set very closely together on the inner
line, and a little play allowed them on the outer, to come exactly to
the point, which should be very sharply defined.
[Illustration: FIG. 181. ROUND, BUTTON-HOLED SCALLOPS.]
[Illustration: FIG. 182. LARGE, POINTED, BUTTON-HOLED SCALLOPS.]
[Illustration: FIG. 183. SMALL, POINTED, BUTTON-HOLED SCALLOPS.]
ROSE SCALLOPS (figs. 184 and 185).--These are, large button-holed
scallops with indented edges, in the one case, rounded at the top and
sharply pointed at the join; in the other, pointed at the top, and
joined at the bottom by a straight bar of button-holing.
[Illustration: FIG. 184. ROUNDED ROSE SCALLOPS.]
[Illustration: FIG. 185. POINTED ROSE SCALLOPS.]
EYELET HOLES (figs. 186, 187, 188).--Outline the eyelet holes very
carefully first by running a thread round them, then cut out the
enclosed stuff with a sharp pair of finely pointed scissors, and edge
the hole with plain overcasting stitches, worked from left to right.
[Illustration: FIG. 186. OVERCAST EYELET HOLES.]
When you have a long row of eyelet holes to make, outline the upper and
lower halves alternately, first on one side and then on the other, using
two threads, and then overcast them in the same way. The double crossing
of the working threads between the eyelet holes makes them much
stronger, than if each hole were finished off separately, and the thread
passed underneath from one to the other.
[Illustration: FIG. 187. BUTTON-HOLED SHADED EYELET HOLES.]
[Illustration: FIG. 188. SHADED EYELET HOLES HALF OVERCAST, HALF
BUTTON-HOLED.]
The lower halves of shaded eyelet holes, (see figs. 187 and 188), are
worked with very short stitches, and the upper halves with long ones;
they may be edged entirely, either with button-holing or overcasting, or
half with one and half with the other.
SIX LEAVES IN RAISED SATIN STITCH (fig. 189).--Raised satin stitch is
chiefly used for working flowers, leaves, petals, dots, initials and
monograms. After tracing the outline of the design, fill in the centres
with a padding of long, close stitches for which you can again take
Coton à repriser D.M.C[A] and then, beginning always at the point of the
leaf, see letter A, cover it with flat, perfectly even stitches, worked
from right-to-left. B illustrates a leaf, divided through the middle by
a line of overcasting; C, one with a corded vein; D, a divided leaf
worked in sloping satin stitch; E, a leaf, with a corded vein and framed
in sloping satin stitch; F, a leaf worked half in satin stitch, half in
back-stitch and straight stem stitch.
[Illustration: FIG. 189. SIX LEAVES IN RAISED SATIN STITCH.]
Leaves and flowers of all descriptions, can be executed in any of these
stitches, and in different combinations of the same.
SIX WAYS OF MAKING DOTS (fig. 190).--Dots, when they are well made,
are exceedingly effective in white embroidery, particularly if they are
worked in a variety of stitches. Dot A is worked in raised satin stitch;
B, in raised satin stitch, framed in back stitch; C, in raised satin
stitch, framed in twisted knot stitch; D is composed of several post
stitches of different lengths, set in a frame of stem stitches; E is
worked in back-stitch, and F consists of a small eyelet hole, with a
corded setting, which forms the centre.
[Illustration: FIG. 190. SIX WAYS OF MAKING DOTS.]
VENETIAN EMBROIDERY (fig. 191).--Scallops, worked in very high relief,
called Venetian embroidery, are an imitation on stuff of Venetian lace.
Real Venetian point is entirely needle-made; in the embroidered
imitations of it, the stuff takes the place of the needle-made lace
foundation. To make it more like the original however, the ground is
seldom left plain, but is covered with fancy stitches, such as are
represented in the illustration, or with one or other of the damask
stitches in figs. 146 to 170. The button-hole bars may be made with or
without picots. A full description of the latter will be found in the
chapters on net embroidery, and Irish lace. The space to be buttonholed,
must be well padded, for thereon depends the roundness of the
embroidery. For this purpose take 6 or 8 threads of Coton à repriser
D.M.C No. 25,[A] and fasten them down on to the pattern with loose
stitches, laying on extra threads, and cutting them gradually away,
according to the width the line is to be. The stuff underneath the
bars should only be cut away when the embroidery is quite finished.
[Illustration: FIG. 191. VENETIAN EMBROIDERY.]
RENAISSANCE EMBROIDERY (figs. 192 and 193).--This is the term applied,
more especially in France, to embroidery patterns, which are worked
entirely in button-holing, and connected by button-hole bars without
picots, as shewn in the two accompanying figures. The outside edge in
fig. 193, is embellished with picots, described in the chapters just
referred to.
[Illustration: FIG. 192. RENAISSANCE EMBROIDERY.]
[Illustration: FIG. 193. RENAISSANCE EMBROIDERY.]
RICHELIEU EMBROIDERY (fig. 194).--The name given to embroidery of a
similar kind to the former, but in which the connecting bars, instead of
being left plain as they are in the Renaissance embroidery, are
ornamented with picots.
[Illustration: FIG. 194. RICHELIEU EMBROIDERY.]
MADEIRA WORK (figs. 195, 196, 197).--This kind of embroidery, which
consists chiefly of eyelet holes, and is distinguished for the
excellence of its workmanship used to be known as English, but is now
generally called Madeira work, from the island where it originated. The
scallops in figs. 195 and 197, are bordered with shaded eyelet holes,
worked half in button-hole stitch, half in overcasting; the finely
scalloped edge, in fig. 196, is entirely button-holed. In working eyelet
holes, the material must always be turned in, up to the inside line, and
completely worked in, underneath the in order that no loose threads may
be visible on the wrong side.
[Illustration: FIG. 195. MADEIRA WORK.]
[Illustration: FIG. 196. MADEIRA WORK. MATERIALS: Coton Madeira D.M.C
No. 40, 50 or 60. (Special cotton for Madeira work)[A]]
[Illustration: FIG. 197. MADEIRA-WORK. MATERIALS: Coton Madeira D.M.C
No. 40, 50 or 60. (Special cotton for Madeira-work).]
SWISS EMBROIDERY FRAME (fig. 198).--Letters, monograms, coronets and
the like, require extreme care in the working, and can only be really
well done in a frame. The round Swiss frame, or tambour frame, is the
one most commonly used. It consists of two wooden hoops, fitting loosely
into each other; the inner one, fastened to a support with a wooden
screw let into the lower part of it, with which to fasten the frame to
the table. The outside hoop is loose.
Place the fabric to be embroidered over the smaller hoop, the pattern in
the middle, and press the other down over it so that it is tightly
stretched and fixed between the two hoops.
A leathern strap with holes and a buckle, sometimes takes the place of
the second hoop.
[Illustration: FIG. 198. SWISS EMBROIDERY FRAME.]
ORDINARY EMBROIDERY FRAME (fig. 199).--Tambour frames can only be used
for embroidering pocket-handkerchiefs and other small articles; all
larger work has to be done in an ordinary frame. Sew a piece of strong
stuff into the frame, stretch it as tightly and evenly as possible, and
cut out a square in the middle to the size of the pattern. Then tack
your work in underneath, straight to the thread, dividing it out
carefully with pins first, to ensure its being set in perfectly evenly.
Roll or fold up the rest of the stuff over the edges of the frame,
and secure it with a few stitches or pins, to keep it out of the way of
your hand as you work.
[Illustration: FIG. 199. ORDINARY EMBROIDERY FRAME.]
ALPHABETS FOR MONOGRAMS (figs. 200 to 205).--On account of the
difficulty of devising a good monogram for marking under-linen, we
subjoin two alphabets, by the aid of which our workers will be able to
compose their own.
The letters are of a good medium size, which can be magnified or reduced
according to the worker's own taste.
For any such modifications, we would again draw our reader's attention
to the directions given in the concluding chapter. The three first
plates represent large wide letters, intended to contain or encompass
the more elongated ones, represented in the fourth and fifth plates,
figs. 203 and 204.
The interlacing of the letters requires to be carefully done, and our
workers should study the following specimens, so as to learn the
stitches also, which are most suitable for this branch of embroidery.
[Illustration: FIG. 200. ALPHABETS FOR MONOGRAMS. Outside letters A to
H.]
[Illustration: FIG. 201. ALPHABETS FOR MONOGRAMS. Outside letters J to
Q.]
[Illustration: FIG. 202. ALPHABETS FOR MONOGRAMS. Outside letters R to
Y.]
[Illustration: FIG. 203. ALPHABETS FOR MONOGRAMS. Inside letters A to
L.]
[Illustration: FIG. 204. ALPHABETS FOR MONOGRAMS. Inside letters M to
X.]
[Illustration: FIG. 205. ALPHABETS FOR MONOGRAMS. Last inside and
outside letters.]
MONOGRAM COMPOSED OF LETTERS A AND D (fig. 206).--Here, letter A is
worked in flat satin stitch, in Bleu-Indigo 312, and set in stem stitch,
worked in Rouge-Turc 321. D as a contrast to A, is embroidered in
transverse bars, the left part in pale blue and white, the right in pale
blue and dark blue. The little ornaments may be worked according to
fancy, either in white, or in one of the given colours.
[Illustration: FIG. 206. MONOGRAM COMPOSED OF LETTERS A AND D DRAWN FROM
THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton à broder D.M.C Nos. 100 to
150. COLOURS: Bleu-Indigo 334, Rouge-Turc 321 and white.[A]]
MONOGRAM COMPOSED OF LETTERS V AND S (fig. 207).--The flat satin
stitch in both letters is worked in white; the setting, is in red, in
short stem stitch, or if preferred, in knotted back stitch.
[Illustration: FIG. 207. MONOGRAM COMPOSED OF LETTERS V AND S DRAWN FROM
THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton à broder D.M.C No. 120.
COLOURS: White and Rouge-Cardinal 305.[A]]
MONOGRAM COMPOSED OF LETTERS R AND C (fig. 208).--These are worked in
black and grey, for mourning; the way C is divided, admits of a variety
in the stitch; for instance, the back-stitches, in the illustration, may
be replaced by very small eyelet holes.
[Illustration: FIG. 208. MONOGRAM COMPOSED OF LETTERS R AND C DRAWN FROM
THE ALPHABETS OF MONOGRAMS. MATERIALS: Fil à dentelle D.M.C No. 150.
COLOURS: Gris-Cendre 318 and Noir grand Teint 310.]
MONOGRAM COMPOSED OF LETTERS G AND E (fig. 209).--The flat satin
stitching and back-stitching in E, and the stem-stitched edges of G are
worked in white Coton à broder D.M.C; the inside of G in ivory white
Coton surfin D.M.C.
[Illustration: FIG. 209. MONOGRAM COMPOSED OF LETTERS G AND E DRAWN FROM
THE ALPHABETS OF MONOGRAMS. MATERIALS: Coton à broder D.M.C No. 120
white and Coton surfin D.M.C No. 120, unbleached.]
BORDER IN GOBELIN STITCH (fig. 210).--Gobelin embroidery is merely
raised satin stitch, worked directly upon the pattern, without any
foundation, or padding. The effectiveness of this kind of embroidery,
which appears so complicated and is really so easy, and the many ways in
which it can be utilised, soon brought it into favour. It can be worked
on the article itself, or on stripes, laid on afterwards, with a
hem-stitch bordering. The original of fig. 210 was in blue and red;
Bleu Indigo 312 for the grounding, Rouge-Turc 321, for the setting in
stem-stitch. The herring-boning along the edges of the pattern, top and
bottom, is also in red.
[Illustration: FIG. 210. BORDER IN GOBELIN STITCH. MATERIALS: Coton à
broder D.M.C No. 35 in two different colours such as: Bleu-Indigo 312
and Rouge-Cardinal 304, Rouge-Grenat 358 and 309 or, Gris-Tilleul 393
and Rouge-Cardinal 305.[A]]
Should a different selection of colours be made, it is important to
remember that in all cases a sharp contrast is desirable.
ALPHABET AND NUMERALS, LEFT BLANK, AND OUTLINED BY THE GROUNDING,
WORKED IN GOBELIN STITCH (figs. 211 to 215).
[Illustration: FIG. 211. ALPHABET LEFT BLANK AND OUTLINED BY THE
GROUNDING. Letters A to N.]
[Illustration: FIG. 212. ALPHABET LEFT BLANK AND OUTLINED BY THE
GROUNDING. Letters O to Z.]
[Illustration: FIG. 213. LETTER O, FROM THE ALPHABET GIVEN IN FIGS. 211
AND 212.]
[Illustration: FIG. 214. NUMERALS LEFT BLANK AND OUTLINED BY THE
GROUNDING.]
The border worked in Gobelin stitch, illustrated in fig. 210, suggested
to us the idea of an alphabet and numerals, to be executed in a similar
style, left blank, that is to say, and outlined by a grounding in
Gobelin stitch, which are better suited to embroideries of the kind than
those generally used. Our limited space prevents us from giving all the
letters in the diagonal position they are intended to occupy on the
article itself. O and W only, are represented in the right position. No
difficulty will be found in copying the other letters, in giving them
the proper direction.
[Illustration: FIG. 215. LETTER W, FROM THE ALPHABET GIVEN IN FIG. 211
AND 212.]
In order to economize room, J and H are represented in one square, but
they are easily distinguishable from each other.
Fig. 214 represents the numerals, executed in the same way. We should
like to draw our readers attention to a few other ways in which letters
and numerals may be outlined by the back-ground; for example, the solid
parts can be worked either in plain or twisted knot stitch (figs. 177
and 178); in very fine chain stitch; in old German knot or bead stitch
(fig. 873), or even in piqué embroidery (fig. 877).
BORDER OUTLINED BY GROUNDING, WORKED IN GOBELIN AND STEM STITCH (fig.
216). The grounding of this pattern is worked on stiff white linen, and
entirely in Rouge-Turc 321, and the outlining in Noir grand Teint 310.
The same pattern can equally well be worked on gauzes and other
transparent stuffs, but with Coton à repriser, instead of Coton à broder
D.M.C, for the solid parts. Two shades of Rouge-Grenat, one dark and one
very light, may be taken instead, or two of Jaune-Rouille, or of
Violet-Mauve, employing always the lighter shade for the grounding and
the darker for the setting.
[Illustration: FIG. 216. BORDER, OUTLINED BY THE GROUNDING WORKED IN
GOBELIN AND STEM STITCH. First part.]
[Illustration: FIG. 216. Second part. MATERIALS: Coton à broder D.M.C
No. 50.--COLOURS: Rouge-Turc 321 and Noir grand Teint 310.[A]]
Be careful, in the grounding, not to make the red stitches near the
edge, longer than they are represented in the illustration and to set
the black stem stitches as close as possible to the grounding.
The pattern, which could only be reproduced in the original size, had to
be divided in two, to fit the page. In copying it, join the A and B of
the first part to the A and B of the second; the same in fig. 217, each
time the pattern is repeated, the flowers are to droop from the + as
seen from the position of the buds in the first part, at the beginning
of the drawing.
FLOWER GARLAND IN DIFFERENT KINDS OF STITCHES (figs. 217 and
218).--Most of the stitches, described at the beginning of this chapter,
will be found in this graceful garland, in the execution of which a
considerable variety of colours can be introduced. The rose-buds may be
worked in two shades of Vert-Pistache and of Rouge-Grenat, in the
stitches described in figs. 173, 177, 189 A; the forget-me-nots, in two
or even three shades of Bleu-Indigo, in raised satin stitch and knotted
stitch; the slender green leaves in Vert-de-gris, or Gris-Tilleul, the
stamens in Jaune-Citron, and the stalks of the roses in Brun-Acajou.
[Illustration: FIG. 217. FLOWER-GARLAND IN DIFFERENT KINDS OF STITCHES.
First part.]
[Illustration: FIG. 217. Second part. MATERIALS: Coton à broder D.M.C
No. 40. COLOURS: Rouge-Grenat 326 and 335, Bleu-Indigo 312 and 334,
Vert-Pistache 319 and 320, Vert-de-gris 474 and 475, Brun-Acajou 301,
Jaune-citron 446.]
[Illustration: FIG. 218. SHOWING THE WORKING OF THE OUTSIDE STITCHES IN
FIG. 217.]
The border that completes this charming pattern, consists of four rows
of button holing, worked in four colours. The first row in our
illustration is worked in pale pink, followed by three shades of green,
the palest of which is used for the second row of stitches.
When these rows are worked upon a satine or cambric foundation, it is
advisable to begin by making a small drawing, in which the height of the
stitches and the distance between them is accurately marked out, then
prick the pattern through and pounce it upon the material beneath.
When they are worked on a material, the threads of which can be counted
no such precaution is necessary.
INSERTION IN GOBELIN AND STEM STITCH (fig. 219).--Owing to the
shortness of the stitches, this pattern is easier to work than the
foregoing ones. The little flowers are embroidered alternately in dark
and light red; the setting varies to correspond, the light red flower
being set in dark red, and vice versa. The interior of the leaves is in
light green and the setting, as well as the connecting bars, in dark
green.
[Illustration: FIG. 219. INSERTION IN GOBELIN AND STEM STITCH.
MATERIALS: Coton à broder D.M.C No. 35--COLOURS: Rouge-Cardinal 347 and
Rouge-Géranium 352 with Gris-Tilleul 392 and 331, or Bleu-Indigo 312 and
334 with Vert-Mousse 469 and 471, or Violet-Mauve 375 and 376 with
Jaune-Rouille 364 365.[A]]
STRIPES OF EMBROIDERY WITH LACE INSERTION BETWEEN (fig. 220).--We
conclude this chapter, by showing how stripes of embroidery can be used
alone, or in conjunction, either with bands of open-work, or lace,
crochet, or net insertion. Such combinations are useful for ornamenting
aprons, table-cloths, curtains etc., every description in short of
household linen and of children's garments. One great advantage,
moreover, which stripes of this kind, have over larger pieces of
embroidery is that they require neither frame nor pillow, nor wearisome
counting of stitches, but can be worked in the hand, at all times and
places.
[Illustration: FIG. 220. STRIPES OF EMBROIDERY WITH INSERTION BETWEEN.]
FOOTNOTES:
[A] See at the end of the concluding chapter, the table of numbers and
sizes and the list of colours of the D.M.C threads and cottons.
[Illustration: STRIPE OF GOLD EMBROIDERY IN GOLD THREAD, PURL, AND
FLATTENED GOLD WIRE.]
Flat stitch and Gold embroidery.
The terms, flat stitch and gold embroidery, suggest as a rule,
needle-work upon rich materials, such as velvet, brocade, plush and the
like.
Nevertheless, a great deal of beautiful embroidery is to be met with, in
silk and gold thread upon quite common stuffs; Persian and Moorish
embroidery for instance, both remarkable for their delicacy and
minuteness, and executed upon ordinary linen, or cotton fabrics.
As a fact, the material is quite a secondary matter; almost any will do
equally well as a foundation, for the stitches described in these pages.
Flat stitch, and some of the other stitches used in gold embroidery, can
be worked with any kind of thread, but best of all with the D.M.C
cottons.
FLAT STITCH EMBROIDERY.--Decorative designs, and conventional flowers,
are the most suitable for flat stitch embroidery; a faithful
representation of natural flowers should not be attempted, unless it be
so well executed, as to produce the effect of a painting and thus
possess real artistic merit.
ENCROACHING FLAT STITCH (fig. 221).--Small delicate flowers, leaves,
and arabesques, should in preference, be worked either in straight flat
stitch (figs. 189 and 190) or in encroaching flat stitch. The stitches
should all be of equal length, the length to be determined by the
quality of the thread; a fine thread necessitating short, and a coarse
one, long stitches. The stitches should run, one into the other, as
shown in the illustration. They are worked in rows, those of the second
row encroaching on those of the first, and fitting into one another.
[Illustration: FIG. 221. ENCROACHING SATIN STITCH.]
Work your flowers and leaves from the point, never from the calyx or
stalk. If they are to be shaded, begin by choosing the right shade for
the outside edge, varying the depth according to the light in which the
object is supposed to be placed. The stitches should always follow the
direction of the drawing.
ORIENTAL STITCH (figs. 222, 223, 224).--The three following stitches,
which we have grouped under one heading, are known also, under the name
of Renaissance or Arabic stitches. We have used the term Oriental,
because they are to be met with in almost all Oriental needlework and
probably derive their origin from Asia, whose inhabitants have, at all
times, been renowned for the beauty of their embroideries.
[Illustration: FIG. 222. ORIENTAL STITCH.]
[Illustration: FIG. 223. ORIENTAL STITCH.]
These kind of stitches are only suitable for large, bold designs. Draw
in the vertical threads first; in working with a soft, silky material,
to economise thread, and prevent the embroidery from becoming too heavy,
you can begin your second stitch close to where the first ended.
[Illustration: FIG. 224. ORIENTAL STITCH.]
But if the thread be one that is liable to twist, take it back
underneath the stuff and begin your next stitch in a line with the
first, so that all the stitches of the first layer, which form the
grounding, are carried from the top to the bottom. The same directions
apply to figs. 223, 224 and 226.
When you have laid your vertical threads, stretch threads horizontally
across, and fasten them down with isolated stitches, set six vertical
threads apart. The position of these fastening stitches on the
transverse threads must alternate in each row, as indicated in fig. 222.
For fig. 223, make a similar grounding to the one above described,
laying the horizontal threads a little closer together, and making the
fastening stitches over two threads.
In fig. 224, the second threads are carried diagonally across the
foundation-threads, and the fastening stitches are given a similar
direction.
For these stitches, use either one material only, a fleecy thread like
Coton à repriser D.M.C for instance, or else two, such as Coton à
repriser D.M.C for the grounding, and a material with a strong twist
like Cordonnet 6 fils D.M.C or Fil à pointer D.M.C for the stem stitch.
PLAITED STITCH (fig. 225).--When the vertical stitches are laid, a
kind of plait is formed in the following way. Pass the thread three
times, alternately under and over three foundation threads. To do this
very accurately, you must take the thread back, underneath, to its
starting-point; and consequently, always make your stitch from right to
left.
[Illustration: FIG. 225. PLAITED STITCH.]
If you have chosen a washing material, and D.M.C cottons to work with,
use one colour of cotton for the foundation, and Chiné d'or D.M.C No.
30, for the plaited stitch.
MOSAIC STITCH (fig. 226).--In old embroideries we often find this
stitch, employed as a substitute for plush or other costly stuffs,
appliquéd on to the foundation. It is executed in the same manner as the
four preceding stitches, but can only be done in thick twist, such as
Cordonnet 6 fils D.M.C or Ganse turque D.M.C.
[Illustration: FIG. 226. MOSAIC STITCH.]
Each stitch should be made separately, and must pass underneath the
foundation, so that the threads which form the pattern are not flat, as
they are in the preceding examples, but slightly rounded.
BORDER IN PERSIAN STITCH (fig. 227).--This stitch, of Persian origin,
resembles the one represented in fig. 175. Instead of bringing the
needle out, however, as indicated in fig. 176, take it back as you see
in the illustration, to the space between the outlines of the drawing,
and behind the thread that forms the next stitch. Before filling in the
pattern, outline it with short stem stitches, or a fine cord, laid on,
and secured with invisible stitches.
[Illustration: FIG. 227. BORDER IN PERSIAN STITCH. MATERIALS: Cordonnet
6 fils D.M.C No. 14, 15, 20 or 25. COLOURS: Noir grand Teint 310,
Vert-Mousse 469 and 471, Rouge-Cardinal 346, Jaune-vieil-Or 680,
Violet-Mauve 315 and 316.]
This graceful design which can be utilised in various ways is formed of
leaves of 7 lobes, worked alternately in dark and light green; of
flowers of 3 petals, worked in red and the centres in yellow, and of
small leaves in violet. The setting, throughout, is worked either in
black or in dark brown.
STRIPE WORKED IN FLAT STITCH (fig. 228).--This pattern, simple as it
is, will be found both useful and effective for the trimming of all
kinds of articles of dress. The bottom edge should be finished off with
rounded scallops or toothed vandykes worked in button-hole stitch. The
flowers in flat stitch, are worked alternately, in Rouge-Géranium 351
and 352, and the leaves alternately, in Vert-de-gris 474 and 475; the
centres of the flowers are worked in knot stitch, in Jaune-Rouille 308.
[Illustration: FIG. 228. STRIPE WORKED IN FLAT STITCH.
MATERIALS--According to the stuff: Fil à dentelle D.M.C, Cordonnet 6
fils D.M.C or Coton à repriser D.M.C[A]
COLOURS--For the flowers: Rouge-Géranium 351 and 352.--For the knot
stitch: Jaune-Rouille 308.--For the foliage: Vert-de-gris 474 and
475.[A]]
BOUQUET IN STRAIGHT AND ENCROACHING FLAT STITCH (fig. 229). As we have
already observed, it is by no means easy to arrange the colours in an
embroidery of this kind, so as to obtain a really artistic effect.
Whether the design be a conventional one or not, the great point is to
put in the lights and shadows at the right place. If you want to make a
faithful copy of a natural flower, take the flower itself, or a coloured
botanical drawing of it, and if possible, a good black and white drawing
of the same, match the colours in 6 or 7 shades, by the flower itself,
keeping them all rather paler in tone, and take the black and white
drawing as a guide for the lights and shadows. The colours for the
leaves and petals, which should always be worked from the outside,
should be chosen with a view to their blending well together. The
stamens and the centres of the flowers should be left to the last, but
the veins and ribs of the leaves, should always be put in before the
grounding.
[Illustration: FIG. 229. BOUQUET IN STRAIGHT AND ENCROACHING FLAT
STITCH. MATERIALS: Coton à repriser D.M.C No. 50. COLOURS--For the
forget-me-nots: Bleu-Indigo 312, 322 and 334.--For the other flowers:
Jaune-Rouille 365 and 366, Violet-Mauve 376, 316 and 377, Vert-Pistache
369.--For the foliage: Vert-de-Gris 474, Vert-Mousse 468, 469, 471 and
472.--For the stalks: Brun-Havane 455 and 457.[A]]
For embroideries of this kind, suitable materials must be selected; the
more delicate and minute the design, and the more varied the colouring,
the softer and finer should be the quality of the material employed.
Specially to be recommended, as adapted to every form of stitch and as
being each of them capable of being subdivided, are Filoselle,
Marseille, open Chinese silk and Coton à repriser D.M.C.[A].
FLOWERS EMBROIDERED IN THE CHINESE MANNER (fig. 230).--All Chinese
embroidery displays undoubted originality and wonderful skill and
judgment in the choice of material and colour. It excels particularly,
in the representation of figures, flowers, and animals, but differs from
European work in this, that instead of using flat stitch and making the
colours blend together as we do, the Chinese put them, side by side,
without intermediate tones, or they sometimes work the whole pattern in
knot stitch. The little knots, formed by this stitch are generally set
in gold thread.
[Illustration: FIG. 230. FLOWERS EMBROIDERED IN THE CHINESE MANNER.]
Often too, instead of combining a number of colours, as we do, the
Chinese fill in the whole leaf with long stitches and upon this
foundation, draw the veins in a different stitch and colour. Even the
flowers, they embroider in the same way, in very fine thread, filling
in the whole ground first, with stitches set very closely together and
marking in the seed vessels afterwards, by very diminutive knots, wide
apart.
CHINESE ENCROACHING FLAT STITCH (fig. 231).--Another easy kind of
embroidery, common in China, is done in encroaching flat stitch. The
branch represented in our drawing, taken from a large design, is
executed in three shades of yellow, resembling those of the
Jaune-Rouille series on the D.M.C colour card.[A]
[Illustration: FIG. 231. CHINESE ENCROACHING FLAT STITCH.
MATERIALS: Cordonnet 6 fils D.M.C Nos. 20 to 50 or Chiné d'or D.M.C.
COLOURS--For the cotton: Jaune-Rouille 363, 308, 366.--For Chiné d'or:
Red and gold, blue and gold, green and gold.[A]]
The stitches of the different rows encroach upon one another, as the
working detail shows, and the three shades alternate in regular
succession. Flowers, butterflies and birds are represented in Chinese
embroidery, executed in this manner. It is a style, that is adapted to
stuffs of all kinds, washing materials as well as others, and can be
worked in the hand and with any of the D.M.C threads and cottons.[A]
RAISED EMBROIDERY (figs. 232 and 233).--Raised embroidery worked in
colours, must be stuffed or padded first, like the white embroidery in
fig. 191. If you outline your design with a cord, secure it on the right
side with invisible stitches, untwisting the cord slightly as you insert
your needle and thread, that the stitch may be hidden between the
strands. Use Coton à repriser D.M.C No. 25, for the padding. These
cottons are to be had in all the colours, indicated in the D.M.C colour
card, and are the most suitable for the kind of work.
[Illustration: FIG. 232. RAISED EMBROIDERY. PREPARATORY WORK.]
[Illustration: FIG. 233. RAISED EMBROIDERY. WORK COMPLETED.]
Use Coton à broder D.M.C for the transverse stitches and over the smooth
surface which is thus formed, work close lines of satin stitch in silk
or cotton; the effect produced, will bear more resemblance to appliqué
work than to embroidery. The centres of the flowers are filled in with
knot stitches, which are either set directly on the stuff or on an
embroidered ground.
EMBROIDERY IN THE TURKISH STYLE (figs. 234 and 235).--This again is a
style of embroidery different from any we are accustomed to. The solid
raised parts are first padded with common coarse cotton and then worked
over with gold, silver, or silk thread.
Contrary to what is noticeable in the real Turkish embroidery, the
preparatory work here is very carefully done, with several threads of
Coton à repriser D.M.C used as one. A rope of five threads is laid down,
and carried from right to left and from left to right, across the width
of the pattern. After laying it across to the right, as explained in
fig. 234, bring the needle out a little beyond the space occupied by the
threads, insert it behind them and passing it under the stuff, draw it
out at the spot indicated by the arrow. The stitch that secures the
threads, should be sufficiently long to give them a little play, so that
they may lie perfectly parallel, side by side, over the whole width of
the pattern.
This kind of work can be done on wollen or cotton materials, and
generally speaking, with D.M.C cottons, and gold thread shot with colour
(Chiné d'or D.M.C.)
Very pretty effects can be obtained, by a combination of three shades of
Rouge-Cardinal 347, 346 and 304, with Chiné d'or gold and dark blue or
with Chiné d'or, gold and light blue.[A]
This kind of embroidery may be regarded as the transition from satin
stitch to gold embroidery.
[Illustration: FIG. 234. EMBROIDERY IN THE TURKISH STYLE. PREPARATORY
WORK.]
[Illustration: FIG. 235. EMBROIDERY IN THE TURKISH STYLE. WORK
COMPLETED.]
GOLD EMBROIDERY.--Up to the present time, dating from the end of the
eighteenth century, gold embroidery has been almost exclusively confined
to those who made it a profession; amateurs have seldom attempted what,
it was commonly supposed, required an apprenticeship of nine years to
attain any proficiency in.
But now, when it is the fashion to decorate every kind of fancy article,
whether of leather, plush, or velvet, with monograms and ingenious
devices of all descriptions, the art of gold embroidery has revived and
is being taken up and practised with success, even by those to whom
needlework is nothing more than an agreeable recreation.
We trust that the following directions and illustrations will enable our
readers to dispense with the five years training, which even now,
experts in the art consider necessary.
IMPLEMENTS AND MATERIALS.--The first and needful requisites for gold
embroidery, are a strong frame, a spindle, two pressers, one flat and
the other convex, a curved knife, a pricker or stiletto, and a tray, to
contain the materials.
EMBROIDERY FRAME (fig. 236).--The frame, represented here, is only
suitable for small pieces of embroidery, for larger ones, which have to
be done piece by piece, round bars on which to roll up the stuff, are
desirable, as sharp wooden edges are so apt to mark the stuff.
[Illustration: FIG. 236. EMBROIDERY FRAME FOR GOLD EMBROIDERY.]
Every gold embroidery, on whatever material it may be executed, requires
a stout foundation, which has to be sewn into the frame, in doing which,
hold the webbing loosely, almost in folds, and stretch the stuff very
tightly. Sew on a stout cord to the edges of the foundation, which are
nearest the stretchers, setting the stitches, 3 or 4 c/m. apart. Then
put the frame together and stretch the material laterally to its fullest
extent, by passing a piece of twine, in and out through the cord at the
edge and over the stretchers. Draw up the bracing until the foundation
is strained evenly and tightly. Upon this firm foundation lay the stuff
which you are going to embroider, and hem or herring-bone it down,
taking care to keep it perfectly even with the thread of the foundation
and, if possible, more tightly stretched to prevent it from being
wrinkled or puckered when you come to take it off the backing. For
directions how to transfer the pattern to your stuff, and prepare the
paste with which the embroidery has to be stiffened before it is taken
out of the frame, see the concluding chapter in the book.
THE SPINDLE (fig. 237).--The spindle to wind the gold thread upon,
should be 20 c/m. long and made of hard wood. Cover the round stalk and
part of the prongs with a double thread of Coton à broder D.M.C No. 16,
or pale yellow Cordonnet D.M.C No. 25, and terminate this covering with
a loop, to which you fasten the gold thread that you wind round the
stalk.
[Illustration: FIG. 237. THE SPINDLE.]
THE PRESSERS (figs. 238 and 239).--These, so called 'pressers', are
small rectangular boards with a handle in the middle. The convex one,
fig. 238, should be 15 c/m. long by 9 broad; the other, fig. 239, which
is quite flat, should be 32 c/m. by 20.
[Illustration: FIG. 238. CONVEX PRESSER, FOR PRESSING THE STUFF ON THE
WRONG SIDE.]
[Illustration: FIG. 239. FLAT PRESSER FOR LAYING ON THE PATTERN.]
Having cut out your pattern in cartridge paper, lay it down, on the
wrong side, upon a board thinly spread with embroidery paste. Let it get
thoroughly impregnated with the paste and then transfer it carefully to
its proper place on the stuff; press it closely down with the large
presser, and with the little convex one rub the stuff firmly, from
beneath, to make it adhere closely to the pasted pattern; small, pointed
leaves and flowers will be found to need sewing down besides, as you
will observe in fig. 242, where each point is secured by stitches. The
embroidery should not be begun until the paste is perfectly dry, and the
pattern adheres firmly to the stuff.
THE KNIFE (fig. 240).--Most gold embroideries require a foundation of
stout cartridge paper, and, in the case of very delicate designs, the
paper should further be covered with kid, pasted upon it.
[Illustration: FIG. 240. THE KNIFE. REDUCED SCALE.]
Transfer the design on to the paper or kid, in the manner described in
the concluding chapter, and cut it out with the knife. You can only make
very short incisions with this tool, which should be kept extremely
sharp and held, in cutting, with the point outwards, and the rounded
part towards you, as shown in the drawing.
TRAY TO CONTAIN THE MATERIALS (fig. 241).--Cut out as many divisions
in a thin board, or sheet of stout cardboard, as you will require
materials for your embroidery; these include not only gold thread of all
kinds, but likewise beads and spangles of all sorts and sizes as well as
bright and dead gold and silver purl, or bullion, as it is also called.
For the pieces of purl alone, which should be cut ready to hand, you
should have several divisions, in order that the different lengths may
be kept separate.
[Illustration: FIG. 241. TRAY TO CONTAIN THE MATERIALS.]
USE OF THE SPINDLE (fig. 242).--Gold embroidery thread should be wound
double upon the spindle. It is laid backwards and forwards and secured
with two stitches at each turn, as described in fig. 234. Small holes
where the stitches are to come, have first to be pierced in the material
with the pricker, from the right side, for the needle to pass through.
In soft stuffs, this is unnecessary, but in brocaded materials, and in
plush and leather, where every prick shows and would often spoil the
whole effect, it is indispensable.
[Illustration: FIG. 242. USE OF THE SPINDLE]
Gold thread which is stiff and difficult to work with, can be rendered
soft and pliable by putting it into the oven, or any other warm place,
for a short time.
EMBROIDERY WITH GOLD PURL (fig. 243).--Embroidery is the easiest kind
of gold embroidery; you have only to thread the little pieces of purl,
cut into the required lengths beforehand, like beads on your needle, and
fasten them down upon the foundation like the beads in bead-work. Smooth
and crimped gold purl, or silver and gold purl used together, look
exceedingly well, particularly where the pattern requires effects of
light and shade to be reproduced.
[Illustration: FIG. 243. EMBROIDERY WITH GOLD PURL.]
EMBROIDERY IN DIAMOND STITCH (fig. 244).--The diamond stitch is a
charming novelty in gold embroidery. Short lengths of purl, not more
than 1½ m/m. long, are threaded on the needle, and the needle is put
in and drawn out at the same hole. These stitches which resemble knot
stitches, form so many little glittering knots, turned alternately to
the right and left, and look like seed-diamonds in appearance, more
especially, when they are made in silver purl. The shorter the pieces
are, and the more closely you set the knots together, the handsomer and
richer the effect will be.
[Illustration: FIG. 244. DIAMOND STITCH.]
CHINESE GOLD EMBROIDERY (figs. 245 and 246).--We recommend the
imitation of Chinese gold embroidery to our readers as an easy and
grateful recreation. It consists simply in laying down a gold thread, on
a delicately outlined pattern and securing it by stitches. It can be
done on any material, washing or other, the costliest as well as the
most ordinary.
[Illustration: FIG. 245. CHINESE GOLD EMBROIDERY. First part.]
[Illustration: FIG. 245. Second part]
[Illustration: FIG. 246. CHINESE GOLD EMBROIDERY. First part.]
[Illustration: FIG. 246. Second part.]
For a washing material use, Or fin D.M.C pour la broderie, No. 20, 30 or
40,[A] which, as it washes perfectly, is well adapted for the embroidery
of wearing apparel, and household linen. Plain gold thread and gold
thread with a thread of coloured silk twisted round it, are very
effective used together.
Thus in fig. 245, the trees, foliage and flowers, are worked in plain
gold, the grasses, in gold shot with green, the butterflies in gold with
red, the two birds in gold with dark blue, and gold with light blue.
Two threads of gold should be laid down side by side and secured by
small catching stitches, set at regular intervals from one another, and
worked in Fil d'Alsace D.M.C No. 200,[A] of the same colour. Where the
design requires it, you may separate the gold threads, and work with one
alone.
The second specimen of Chinese embroidery, fig. 246, resembles the
first, as far as materials and execution are concerned, but the design
is different. The grotesque animals, flowers and shells it represents,
can be worked separately, or connected together so as to form a running
pattern.
STRIPE WORKED IN VARIOUS STITCHES (fig. 247).--All the designs
described thus far, are worked in the same way, but the stripe now
presented to our readers introduces them to several kinds of gold
thread, and a variety of stitches. The small, turned-back petals of the
flowers are worked in plain gold thread, and outlined with crimped; the
rest of the petals are worked in darning stitch, with plain gold thread.
The latticed leaves are edged with picots, worked with bright purl. The
other parts of the design are all worked with a double gold thread, the
stalks in dead gold, the leaves in crimped. The gold thread is secured
by overcasting stitches in gold-coloured thread, Jaune d'or 667, but it
looks very well if you use black or red thread for fastening the crimped
gold and dark or light green for the leaves and tendrils.
[Illustration: FIG. 247. STRIPE WORKED IN VARIOUS STITCHES.]
GOLD EMBROIDERY ON A FOUNDATION OF CORDS (fig. 248).--In the old
ecclesiastical embroideries, especially those representing the figures
of saints, we often find thick whip cords used as a foundation, instead
of cardboard, for the good reason that the stiff cardboard does not give
such soft and rounded contours as a cord foundation, which will readily
take every bend and turn that you give to it. In the following
illustrations, we have adhered strictly to the originals, as far as the
manner of working the surface is concerned, but have substituted for the
cord, which in their case has been used for the foundation, Cordonnet 6
fils D.M.C No. 1, which is better for padding than the grey whip cord,
as it can be had in white or yellow, according to whether it is intended
to serve as a foundation to silver or gold work.
[Illustration: FIG. 248. EMBROIDERY IN FLATTENED GOLD WIRE AND PURL.]
Lay down as many cords as are necessary to give the design the requisite
thickness, in many cases up to 8 or 10 m/m. in height, taking care to
lay them closely and solidly in the centre, and graduate them down at
the sides and ends. When you have finished the foundation, edge it with
a thick gold cord, such as Cordonnet d'or D.M.C No. 6 and then only
begin the actual embroidery, all the directions just given, applying
merely to the preparatory work.
Only four of the many stitches that are already in use and might be
devised are described here. For the pattern, represented in fig. 248,
flattened gold or silver wire is necessary, which should be cut into
pieces, long enough to be turned in at the ends so as to form a little
loop through which the thread that fastens them down is passed. Over
each length of gold or silver wire small lengths of purl are laid at
regular intervals, close enough just to leave room for the next stitch,
the pieces of one row, alternating in position with those of the
preceding one.
PLAITED STITCH IN GOLD PURL ON A CORD FOUNDATION (fig. 249).
--Distribute the stitches as in the previous figure, substituting purl,
for the flattened gold wire, and covering the purl with short lengths of
gold thread of the same kind. All these stitches may be worked in gold
and silver thread, mixed or in the one, or the other alone.
[Illustration: FIG. 249. PLAITED STITCH IN GOLD PURL ON A CORD
FOUNDATION.]
SCALE STITCH WORKED IN GOLD THREAD AND PURL ON A CORD FOUNDATION (fig.
250).--Begin by covering the whole padded surface with gold or silver
thread, then sew on short lengths of purl, long enough to cover six or
eight threads, 2 or 3 m/m. apart, as shown in the engraving. These
stitches in dead gold purl are then surrounded by shining or crimped
purl.
[Illustration: FIG. 250. SCALE STITCH IN GOLD THREAD AND PURL ON A CORD
FOUNDATION.]
You bring out the working thread to the left of the purl stitch, which
you take on your needle, put the needle in on the other side, draw it
out above the little stroke, and secure the crimped purl with an
invisible stitch.
CONVENTIONAL FLOWER WORKED ON A CORD FOUNDATION (fig. 251).--The half
finished flower, represented here, was copied from a handsome piece of
ecclesiastical embroidery enriched with ornament of this kind. The three
foregoing stitches and a fourth, are employed in its composition. The
finished portions on the left hand side, are executed in silver and gold
purl, whilst the egg-shaped heart of the flower is formed of transverse
threads, carried over the first padding, and secured by a stitch between
the two cords. In the subsequent row, the catching stitch is set between
the cords, over which the first gold threads were carried.
[Illustration: FIG. 251. CONVENTIONAL FLOWER WORKED ON A CORD
FOUNDATION. MATERIALS.--For padding: Cordonnet 6 fils D.M.C Nos. 1 to 5
or Fil à pointer D.M.C No. 10.--For sewing on the gold thread and purl:
Soie de coton D.M.C No. 50 or 70, Fil à dentelle D.M.C on reels Nos. 25
to 50.[A]]
The heavier the design is, the thicker your padding should be, and cords
a good deal thicker than those which are represented in the drawing
should be used, as the more light and shade you can introduce into
embroidery of this kind, the greater will be its beauty and value.
FOOTNOTES:
[A] See at the end of the concluding chapter, the table of numbers and
sizes and the list of colours of the D.M.C threads and cottons.
[Illustration: INSERTION IN CROSS STITCH, ALIKE ON BOTH SIDES, THE
PATTERN LEFT BLANK.]
Tapestry and Linen Embroidery.
Tapestry is one of the oldest kinds of needlework and one which has
always been popular every where.
There are two distinct sorts of canvas in use for tapestry, called
respectively, 'plain (single thread) canvas', and 'Penelope (double
thread) canvas'. The latter is generally preferred, because it is easier
to count the stitches upon it, but both make an equally good foundation
for the embroidery, as the following examples will show.
Besides canvas, other fabrics bearing a close resemblance to it, are
often used, especially Java linen, the close texture of which renders
grounding unnecessary.
Cloth, velvet or plush can also be overlaid with canvas, the threads of
which are pulled away after the pattern is finished. For work of this
kind, we however prefer a material with less dressing, such as a twisted
tammy, or Colbert linen, because the pulling out of the harsh rough
threads of the canvas is very apt to injure the material beneath.
Stitches, worked upon two stuffs, must be drawn very tight, or they will
look loose and untidy when the auxiliary fabric is taken away.
Tapestry can be done either in a frame, or in the hand; in the latter
case, the ends of the piece of canvas should be weighted with stones or
lead, to prevent its puckering.
The stitches, which ought completely to hide the canvas, should all lean
one way and the underneath ones always from left to right, as the
letters in writing.
MARKING OUT THE EMBROIDERY GROUND (fig. 252).--Before beginning a
piece of canvas work and tacking on the auxiliary fabric, count how many
stitches it will contain, and mark them out in tens, with a coloured
thread, as shown in fig. 252, along two sides at least, in the length
and breadth. Having ascertained the number of stitches both ways, divide
them in two, and starting each time from the middle stitch, trace two
lines, one horizontal, the other vertical, right across the canvas. The
point of intersection will be the centre. This sort of ground-plan will
be found most useful, and should not be pulled out until, at least, half
the work be finished. If moreover, you have corners to work, or a
pattern to reverse, in the angle of a piece of embroidery, trace a
diagonal line besides, from the corner to the centre.
[Illustration: FIG. 252. MARKING OUT THE EMBROIDERY GROUND.]
MATERIALS SUITABLE FOR TAPESTRY.--Hitherto, wool and silk, were the
materials chiefly used for canvas work; a very thick wool for carpets,
as being warmer and more durable. Silk is too delicate a fibre to resist
much wear and tear, and cannot therefore be recommended for articles
that are intended for constant use, and wool, though stronger, is
subject to the destructive agency of moths; whereas cotton, which is
cheaper than both, and quite as brilliant, is free from all these
disadvantages and is extremely easy to clean.
For most kinds of tapestry we can therefore with perfect confidence,
recommend the use of Coton à tricoter D.M.C Nos. 6 to 20, Cordonnet 6
fils D.M.C Nos. 3 to 15, and even Coton à repriser D.M.C No. 25.[A]
CROSS STITCH (fig. 253).--Cross stitch is the foundation of every
other stitch, and the one in most common use. It is also called
marking-stitch, being used for marking linen. It is worked in two lines.
In the first, the thread is carried diagonally from left to right across
a square of threads, and then, downwards, underneath the two horizontal
threads; in the second, the stitches are carried from the right-hand
lower corner of the square to the upper left-hand corner, so that the
four points of the two stitches form a perfect square.
[Illustration: FIG. 253. CROSS STITCH.]
HALF CROSS STITCH (fig. 254).--If the cotton is too coarse, or the
canvas too fine, to make the double stitch, carry the thread back along
the whole line and make the half-stitches across it, from left to
right; the same in the case of a piece of work, which you buy with
a part of the pattern ready-worked.
[Illustration: FIG. 254. HALF CROSS STITCH.]
GOBELIN STITCH ON PLAIN CANVAS (fig. 255).--This is worked over two
horizontal threads and one perpendicular. In a frame, you can work the
second row, from right to left, otherwise, you must turn the work round,
and bring out your needle behind the last-made stitch.
[Illustration: FIG. 255. GOBELIN STITCH.]
GOBELIN STITCH ON PENELOPE CANVAS (fig. 256).--For the same stitch on
Penelope canvas, you need rather a coarse needle, which will make its
way easily between the threads of the canvas.
[Illustration: FIG. 256. GOBELIN STITCH ON PENELOPE CANVAS.]
REPS STITCH (fig. 257).--Contrary to Gobelin stitch, this stitch which
is an imitation of reps, is worked in vertical lines, over two vertical
threads and one horizontal one.
[Illustration: FIG. 257. REPS STITCH.]
TENT STITCH (fig. 258).--This stitch is simply the first half of a
cross or marking stitch, worked over a single thread each way. The
illustration shows the working of a row, from right to left, the thread
being carried forward, underneath the vertical threads. Tent stitch is
used for the most part, in conjunction with cross stitch, for the more
delicate lines and the shaded parts of flowers and figures.
[Illustration: FIG. 258. TENT STITCH.]
WIDE GOBELIN STITCH (fig. 259).--This stitch covers two vertical and
two horizontal threads, and advances one thread at a time.
[Illustration: FIG. 259. WIDE GOBELIN STITCH.]
BROAD CROSS STITCH (fig. 260).--Worked over two vertical and four
horizontal threads, and very useful for filling in large surfaces as it
can be done twice as quickly as the ordinary cross stitch. It may be
varied by turning the crosses first one way and then the other.
[Illustration: FIG. 260. BROAD CROSS STITCH.]
DOUBLE STITCH (fig. 261).--Begin with a simple cross stitch over every
alternate intersection of the threads then make a second row of stitches
between those of the first, but in this case, over two and six threads,
so that they extend beyond the first each way. In the subsequent rows, a
square stitch should be opposed to a long one and a long stitch to a
square one.
[Illustration: FIG. 261. DOUBLE STITCH.]
RICE STITCH (fig. 262).--Fill in the whole ground first, with large
cross stitches, over four threads each way, then upon these, make the
so-called rice stitches. These cross the four points of the large cross
stitches, and meet in the space between, where they form another cross.
The large cross stitches should be worked in rather coarse cotton, the
rice stitches in one of a finer quality.
[Illustration: FIG. 262. RICE STITCH.]
DOUBLE STITCH, SET TWO WAYS (fig. 263).--This consists of diagonal and
upright cross stitches, alternately. Work from left to right, and carry
the thread over four vertical threads and downwards, under two
horizontal ones, then diagonally upwards, over four threads and
downwards under two, then again over four vertical threads, and so on.
Coming back, you cross the first threads, and pass the working thread
each time in a straight line, underneath the two threads of the canvas.
The stitches of the third and fourth rows are set, as the illustration
shows, the opposite way to those of the two first, the thread being laid
the contrary way. Gold thread is generally used for this second set of
stitches; Or fin D.M.C pour la broderie, or Chiné d'or D.M.C will be
found to be the most suitable for the purpose.[A]
[Illustration: FIG. 263. DOUBLE STITCH SET TWO WAYS.]
PLAIT STITCH (fig. 264).--It requires great attention to work this
stitch, to and fro; the easier way is to carry the thread back each
time, to the starting point.
[Illustration: FIG. 264. PLAIT STITCH.]
Carry the thread from left to right, over two horizontal threads, and
downwards under four perpendicular ones, then under two threads, from
right to left, as the figure indicates.
STEM STITCH (fig. 265).--Here, the stitches are worked in separate
rows, over four threads each way. The working thread passes first under
the two middle threads, from right to left, and then under the two upper
ones.
[Illustration: FIG. 265. STEM STITCH.]
LEAF STITCH (fig. 266).--Carry the thread diagonally over two double
threads each way, and back under one double thread, to the row whence
the stitch started. Make rows of back-stitches in a different colour
between the rows of long ones.
[Illustration: FIG. 266. LEAF STITCH.]
FISH-BONE STITCH (fig. 267).--The difference between this and the
preceding stitch is, that the working thread after passing over three
perpendicular and three horizontal threads, is secured by a back-stitch
over the last intersection of the canvas threads. These back-stitches
lean to the right or left, according to the direction of the long
stitches.
[Illustration: FIG. 267. FISH-BONE STITCH.]
DIAGONAL WEB STITCH (fig. 268).--Stretch diagonal threads across the
whole surface you are going to embroider, and secure them with rows of
overcasting stitches, set, if you are working on Penelope canvas,
between the double threads of the canvas. In the next rows the stitches
must be set the opposite way, which produces the effect of diagonal or
twilled cloth.
[Illustration: FIG. 268. DIAGONAL WEB STITCH.]
CASHMERE STITCH (fig. 269).--To imitate this texture in needlework
first make one stitch over one crossing of the canvas threads, and then
two stitches over two crossings.
[Illustration: FIG. 269. CASHMERE STITCH.]
FLORENTINE STITCH (fig. 270).--Florentine stitch is worked in slanting
lines, the thread being carried, diagonally first over one and then over
two double threads of the canvas.
[Illustration: FIG. 270. FLORENTINE STITCH.]
MOSAIC STITCH (fig. 271).--The first row consists of one short and one
long stitch, alternately; the second, of short stitches only, set
between the long stitches of the first row; the third row is a
repetition of the first, and so on.
[Illustration: FIG. 271. MOSAIC STITCH.]
KNOTTED STITCH (fig. 272).--Carry the working thread over two threads
in width and six in height, bring the needle back, four threads lower
down, in front of the double threads, and insert it behind the preceding
stitch, and over the middle threads, and then carry it down to the line
of the stitches. In the subsequent rows, the stitches extend over four
threads and encroach on two of the previous row, so that the stitches of
the second row lie between those of the first.
[Illustration: FIG. 272. KNOTTED STITCH.]
STAR, OR SMYRNA STITCH (fig. 273).--- Make a plain cross stitch over
four threads, each way, and then over that, another cross stitch,
standing upright. The same stitch can be made over six or seven threads;
if you work over more than four threads, it follows that you increase
the number of stitches accordingly.
[Illustration: FIG. 273. STAR, OR SMYRNA STITCH.]
ROCOCO STITCH (figs. 274, 275, 276).--After fastening in your thread,
lay it over four single or two double threads, as the case may be, and
carry the needle through to the left, under one double thread; then, as
fig. 274 shows, bring it back over the first stitch, put it in by the
side of it, and bring it out below, under half the horizontal threads
covered by the first stitch. Then make a stitch to the right, similar to
the one just made to the left.
[Illustration: FIG. 274. ROCOCO STITCH. FIRST STITCHES ON THE WRONG
SIDE.]
When you have finished one stitch, carry the needle under one thread, in
an oblique line, to the next stitch, see fig. 273. The whole pattern is
worked in diagonal lines.
[Illustration: FIG. 275. ROCOCO STITCH. STITCHES ON THE RIGHT SIDE.]
[Illustration: FIG. 276. ROCOCO STITCH. COMPLETED.]
PARISIAN STITCH (fig. 277).--This stitch, though it is generally
worked on silk canvas, can also be worked on the different cotton and
linen materials already referred to more than once in this Encyclopedia.
It makes a very good grounding in cases where the material is not
intended to be completely hidden. It consists of a long stitch over
three threads, and a short stitch over one thread, alternately.
[Illustration: FIG. 277. PARISIAN STITCH.]
GREEK STITCH (fig. 278).--This differs from the ordinary cross stitch,
in the oblique inclination given to the threads, and the manner in which
it is begun. Instead of taking up the two threads that follow the first
stitch, you bring your needle back from right to left, under the
vertical threads of the first stitch, carry it downwards, and then from
right to left, to a distance of four threads beyond the first stitch.
The next stitch is made like the first. The rows may be joined together,
either by the short or the long stitches, but you must follow one rule
throughout. This stitch is much used in Slavonic countries, for the
adornment of linen garments, and there we have observed that the short
stitches are generally made to encounter the long ones. A coarse
material that covers the ground well, such as, Coton à tricoter D.M.C
Nos. 6 to 12, is the best one to use for this stitch.
[Illustration: FIG. 278. GREEK STITCH.]
SCOTCH STITCH (fig. 279).--Squares, composed of slanting stitches,
made over one, three, five, three threads respectively, and then again
over one thread, and separated from each other by rows of Gobelin
stitches, constitute what is ordinarily known by the name of Scotch
stitch.
[Illustration: FIG. 279. SCOTCH STITCH.]
MOORISH STITCH (fig. 280).--For this stitch, instead of surrounding
squares of stitches, made in the way we have just described, with
Gobelin stitch, the squares are made to touch, rising like steps one
above the other, and bordered only at the sides by Gobelin stitch.
[Illustration: FIG. 280. MOORISH STITCH.]
ORIENTAL STITCH (fig. 281).--Here, you make four diagonal stitches
over one, two, three and four double threads respectively; which four
stitches form so many triangles, one above the other. The empty spaces
between are filled up with Gobelin stitches covering two threads.
[Illustration: FIG. 281. ORIENTAL STITCH.]
SHELL STITCH (fig. 282).--Carry your thread upwards over six
horizontal threads, then from right to left, under one vertical thread
and downwards over six horizontal ones. When you have made four vertical
stitches in this way, bring the needle out behind the third double
thread, counted lengthways, and between the third and fourth, counted
across, and fasten the four long stitches together with a back-stitch,
to the middle thread of the canvas. Draw a thread of a different colour
twice through these back-stitches, so as to form small knots like
shells, and then fill in the ground between the rows of long stitches,
with back-stitches.
[Illustration: FIG. 282. SHELL STITCH.]
JACQUARD STITCH (fig. 283).--If you have a large plain surface to
cover, you should choose a stitch that forms a pattern in itself.
Jacquard stitch and others which we shall describe later on, will be
found to produce the effect of brocaded stuff. To work Jacquard stitch,
make six stitches underneath one another, over two double threads, and
six by the side of one another, from left to right, over two double
threads. The second row consists of the same number of stitches,
similarly worked downwards and to the side, but over one double thread
only.
[Illustration: FIG. 283. JACQUARD STITCH.]
BYZANTINE STITCH (fig. 284).--Here, you make the same number of
stitches as in the preceding figure but with this difference, that the
two rows of stitches are made either over two, or four threads.
[Illustration: FIG. 284. BYZANTINE STITCH.]
MILANESE STITCH (fig. 285).--In the first row, the back-stitch is made
alternately, first over four diagonal crosses and then over one; in the
second row, over three and two; in the third, over two and three, in the
fourth, over one and four. The last long stitches should come under the
last short ones and the short ones, in the middle of the last long ones.
[Illustration: FIG. 285. MILANESE STITCH.]
PLUSH STITCH (fig. 286).--This stitch, also called Astrachan stitch,
by means of which a very good imitation of an Oriental rug can be
produced, consists of loops, each secured by a cross stitch; the best
way to ensure these loops being even and regular is to make them over a
narrow wooden ruler, or a piece of whalebone.
The effect can be varied by cutting the loops, which gives the surface
the appearance of velvet.
[Illustration: FIG. 286. PLUSH STITCH.]
The illustration represents the middle loops only, as cut, for the cut
and the uncut stitch can both be introduced into the same piece of
embroidery. For example, the borders in figs. 290, and 291, are worked
in open or cut plush stitch, whilst in the centres, the stitch is left
uncut. Two stitches of a similar kind, called Smyrna and Malta stitch,
suitable for making rugs or carpets, are described in the last chapter
but one in the book.
CHAIN STITCH (fig. 287).--Generally speaking, this stitch is only used
for the adornment of under-linen or small articles of fancy-work but it
can also be employed in copying cross stitch patterns. In old
collections we often meet with very interesting pieces of needlework,
which were used for hangings or screens, where the figure-subjects, are
executed in chain stitch. Patterns in many colours, gain immensely by
being worked in this stitch, the colours blend together better than in
any other, and even the shape of the stitch contributes to soften the
contrasts of colour.
Chain stitch cannot, like other stitches, be worked to and fro, nor can
all the stitches of one row be finished first, as is generally possible
in cross stitch work, each row must be begun separately, and always from
the same side, and a different needle should be used for each colour, as
the material has often to be changed.
[Illustration: FIG. 287. CHAIN STITCH.]
The stitch is worked as follows; after fastening in your thread, insert
the needle at the same hole it came out of, and bring it out two threads
lower down. Keep the loop, formed by the working thread, under the point
of the needle. The thread should not be drawn up tightly but left to
form a rather loose, round loop. For the next stitches, insert the
needle close to the thread that issues from the last loop.
PATTERN FOR BORDERS OR GROUNDING (fig. 288).--This simple but most
effective design, copied from one of the most beautiful of Oriental
carpets, can be executed in, either cross stitch, plush stitch, or chain
stitch. To make a wider border still, the diagonal lines that divide the
figures shaped like an S, have only to be prolonged, and the figures
repeated.
The colours have been chosen with the view of reproducing as nearly as
possible the subdued and faded tones, which time has imparted to the
original.
[Illustration: FIG. 288. PATTERN FOR BORDERS OR GROUNDINGS. MATERIALS:
Coton à broder D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15,
Fil à pointer D.M.C Nos. 10 to 30, or Coton à repriser D.M.C No. 25.
EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol])
Rouge-Cardinal 346, ([symbol]) Rouge-Cornouille 449, ([symbol])
Bleu-Indigo 311, and ([symbol]) Bleu-Indigo 322, ([symbol]) Gris-Cendre
414, ([symbol]) Bronze doré 585 and ([symbol]) Vert-Mousse 470.[A]]
PATTERN FOR GROUNDING (fig. 289).--Diagonal lines, intersected by
balls, serve here as a setting for quaintly shaped flowers and leaves.
The outlines are all worked in cross stitch, and the solid parts, in
either tent stitch or Gobelin stitch.
[Illustration: FIG. 289. PATTERN FOR GROUNDING. MATERIALS: Coton à
tricoter D.M.C Nos. 6 to 16, Cordonnet 6 fils D.M.C Nos. 5 to 15 or
Coton à broder D.M.C No. 16.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE
COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Jaune d'Ocre 676,
([symbol]) Violet-Mauve 315, ([symbol]) Rouge-Géranium 349, ([symbol])
Rouge-Aurore 360, ([symbol]) Bleu-Indigo 312, ([symbol]) Bleu pâle 668,
([symbol]) Rouge-Cornouille 449, ([symbol]) Vert-de-gris 474, ([symbol])
Vert-de-gris 475, ([symbol]) Grounding.[A]]
PART OF A DESIGN, SUITABLE FOR CARPETS (figs. 290 and 291). Our space
will not admit of our reproducing more than a quarter of this design.
Colours of the softest shades should be selected for it. A black line
divides the pattern into four quarters. The upper quarter on the right,
and the lower one, on the left, should be worked in blue, and the upper
one on the left, copied from fig. 290.
[Illustration: FIG. 290. PART OF A DESIGN SUITABLE FOR CARPETS.
MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C
Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Coton à repriser
D.M.C No. 12.
EXPLANATION OF THE SIGNS PREFIXED TO THE COLOURS: ([symbol]) Noir grand
Teint 310, Rouge-Grenat 358, ([symbol]) Rouge-Cornouille 450, ([symbol])
Bleu-Indigo 311 and ([symbol]) Bleu-Indigo 322, ([symbol]) Vert
métallique 465, ([symbol]) Gris-Noisette 424.]
The narrow border, in red, blue and green, is to be repeated after the
broad band, which is represented in fig. 291, has been added to the
grounding. A very good effect is obtained, if in the broad border, fig.
291, you vary the background of the different subjects.
[Illustration: FIG. 291. OUTER BORDER OF THE DESIGN FOR CARPETS FIG.
290. MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter
D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 15, or Coton à
repriser D.M.C No. 12.[A] EXPLANATION OF THE SIGNS PREFIXED TO THE
COLOURS: ([symbol]) Noir grand Teint 310, ([symbol]) Rouge-Grenat 358,
([symbol]) Bleu-Indigo 311, ([symbol]) Vert métallique 465, ([symbol])
Jaune-vieil-Or 679, ([symbol]) Gris-Noisette 424, ([symbol])
Rouge-Cornouille 450.[A]]
LINEN EMBROIDERY.--The stitches used in linen embroidery are very
similar to those used in canvas work. The ordinary cross stitch, as
represented in fig. 253, is the one most commonly used, but it is not so
effective as the two-sided stitches, which in the beautiful old
needlework of the 15th, 16th and 17th centuries, have always excited our
wonder and admiration.
STUFFS SUITABLE FOR LINEN EMBROIDERY.--Most embroidery of this kind,
and more especially the Italian, is done on very fine linen. Such fine
work however, requires more time and patience than people, in these
days, are as a rule disposed to bestow on work intended merely for
pleasure and recreation. To meet the requirements of the day, therefore,
in addition to the finer kinds of linen, a great variety of textures,
are now manufactured, the threads of which, being thick and round, can
be easily counted. The cross stitches that are worked on Cuba, Ceylon or
Batavia linen, are large and coarse, those on linen-canvas, Russian
linen, twisted tammy, and Rhodes linen, small and fine.
Linen fabrics are either white, unbleached or cream-coloured. All three
are used for embroidery, but the coloured cottons show up best on the
cream ground; on the white, they look hard and crude, and on the
unbleached, dull and faded.
MATERIALS SUITABLE FOR LINEN EMBROIDERY--As most linen embroidery is
executed on articles that are subjected to frequent washing, the D.M.C
cottons, which are to be had in every shade and colour, are the best for
the purpose. For coarse stuffs, coarse cotton should be used, such as
knitting cotton, Coton à tricoter D.M.C Nos. 6, 8, 10, 12 and 14,[A]
which will be found a very good substitute for wool; or six-cord crochet
cotton (Cordonnet 6 fils D.M.C) Nos. 3, 4, 5, 10 and 15,[A] which gives
quite as full and brilliant a stitch, as silk-twist. Finer cottons
should be used for the finer stuffs, such as embroidery cotton (Coton à
broder D.M.C) Nos. 6 to 200,[A] and lace thread (Fil à dentelle D.M.C)
Nos. 30 to 150.[A] In many cases, even darning cotton (Coton à repriser
D.M.C) can be used, as like Algerian silk, it can be split or taken
double, to suit the stuff.
PLAIN CROSS STITCH ON AUXILIARY CANVAS (fig. 292).--Plain cross
stitch, commonly called marking stitch, has already been described in
fig. 253. But it may be well to observe, that when an auxiliary material
is used, it should be most carefully tacked upon the stuff following the
thread of the same, and a sufficient margin left to allow of the drawing
out of the canvas threads, when the work is finished.
[Illustration: FIG. 292. PLAIN CROSS STITCH ON AUXILIARY CANVAS.]
TWO-SIDED CROSS STITCH, WORKED IN FOUR ROWS OF STITCHES (figs. 293,
294, 295).--Straight lines of cross stitch, alike on both sides, can be
worked in two journeys to and fro. Working from left to right, begin by
fastening in your thread, never with a knot, but by two or three little
running stitches, which are hidden afterwards by your first cross
stitch. Directing your needle to the right, pass it diagonally over a
double cross of the warp and woof of the canvas, and so on to the end of
the line.
Having reached the last stitch, draw out your thread in the middle of
it, make an auxiliary diagonal stitch downwards to the right, bring the
needle up in the middle of the last stitch, take it thence, upwards to
the left, across two threads, and begin the return journey, from right
to left, crossing and thus completing the first row of stitches. In the
auxiliary stitch with which you begin the backward journey, the thread
lies double on both sides. Fig. 295 shows how to pass down to the next
row.
[Illustration: FIG. 293. FIRST HALF OF THE FIRST JOURNEY AND AUXILIARY
STITCH FOR RETURNING.]
[Illustration: FIG. 294. ONE JOURNEY AND FIRST HALF OF THE SECOND
FINISHED, AND AUXILIARY STITCH LEADING TO THE SECOND RETURN.]
[Illustration: FIG. 295. THE TWO JOURNEYS TO AND FRO, COMPLETING ONE ROW
OF CROSS STITCH, BOTH SIDES ALIKE.]
TWO-SIDED MARKING STITCH (figs. 296 and 297). The above mode of
working two-sided cross stitch cannot be applied to letters, or patterns
in broken lines, which both consist chiefly of isolated stitches. Figs.
296 and 297 explain the course of the stitches in embroidery of this
kind.
The working detail A, Fig. 296, indicates the spot for the thread to
enter the stuff, and the position of the needle for the first and second
stitches; B, the first two stitches completed, with an auxiliary stitch
to the right, the thread drawn out on the right, and the position of the
needle for the fifth stitch that completes the cross; G shows the
completion of the stitch begun at B and the position of the needle for a
second stitch to the right; D, one cross stitch completed and another
begun, immediately beneath A. In fig. 297, E shows how to work stitches
to the left; F, an auxiliary stitch to reach an isolated cross stitch on
the right, G, auxiliary stitches between two isolated cross stitches,
and H, a second and last auxiliary stitch to complete the cross.
It requires both practice and care to do this two-sided marking stitch,
so as not to disfigure the stuff by superfluous stitches.
[Illustration: A B C D FIG. 296. TWO-SIDED MARKING STITCH. DIFFERENT
POSITIONS OF THE NEEDLE.]
[Illustration: E F G H FIG. 297. TWO-SIDED MARKING STITCH. DIFFERENT
POSITIONS OF THE NEEDLE.]
CROSS STITCH FORMING A SQUARE AT THE BACK (figs. 298 and 299).--Many
of the alphabets we so admire in old samplers are worked in cross
stitch, that forms a square at the back. Each stitch has to be finished
off before another is begun; if you carefully examine figs. 298 and 299,
which show severally the right and the wrong sides of the stitch, you
will find no difficulty in mastering it. Letter A, fig. 296, shows the
entrance of the thread, the position of the needle for half the cross
stitch on the right side, and the second side of the square at the back,
as shown in fig. 299, A. Letter B, fig. 298, shows the cross stitch
finished, and the position of the needle for the third side of the
square on the wrong side, indicated by the same letter in fig. 299. C,
in both figures, indicates a stitch which is double on the right side,
and on the wrong side forms the fourth side of the square, whilst letter
D, explains how to continue the stitches.
[Illustration: A B C D FIG. 298. RIGHT SIDE OF THE CROSS STITCH, FORMING
A SQUARE AT THE BACK.]
[Illustration: E F G H FIG. 299. SQUARE STITCH FORMING THE BACK OF THE
CROSS STITCH.]
TWO-SIDED ITALIAN STITCH (figs. 300, 301, 302, 303).--Two-sided
Italian stitch consists of cross stitches, alike on both sides, divided
from each other by horizontal and vertical stitches. The upper and lower
stitches should all slope one way, as in plain cross stitch.
Italian stitch is worked in one journey, to and fro. Fig. 300 shows how
to fasten in the thread, and place the needle for the first stitch, from
right to left; fig. 301, the position of the needle from left to right,
to form the cross at the back, and the vertical stitch to the left, on
the right side; fig. 302, the position of the needle, for a two-sided
horizontal stitch at the bottom of the cross, where upon you proceed as
in fig. 300. Fig. 303 explains the return of the thread, which completes
the double crosses and the lines between.
The horizontal lines, not made on the first journey, are added on the
way back. In conclusion, pass the needle back, horizontally, from left
to right, to make the final stitch over the cross, and then make the
stitch between, as shown in fig. 303. On a thin stuff, this stitch
produces an extremely pretty effect, resembling lattice-work, provided
the thread be tightly drawn in the working.
[Illustration: FIG. 300. TWO-SIDED ITALIAN STITCH. INTRODUCTION OF THE
THREAD AND POSITION OF THE NEEDLE FOR THE FIRST STITCH.]
[Illustration: FIG. 301. TWO-SIDED ITALIAN STITCH. POSITION OF THE
NEEDLE FOR THE 2ND AND 3RD STITCHES.]
[Illustration: FIG. 302. TWO-SIDED ITALIAN STITCH. POSITION OF THE
NEEDLE FOR THE 4TH AND 5TH STITCHES.]
[Illustration: FIG. 303. TWO-SIDED ITALIAN STITCH. RETURN JOURNEY, WHICH
COMPLETES THE CROSS STITCH.]
MONTENEGRIN CROSS STITCH (figs. 304, 305, 306).--The Slavonic tribes
of the southern districts of E. Europe, especially the Montenegrins,
have a great partiality for this stitch, which has been rarely noticed,
hitherto, in books on needlework. The right side shows cross stitches
with a double thread underneath, and divided by vertical stitches; the
wrong side, regular cross stitches, also divided by vertical stitches.
Coarse cotton should be used for this stitch; it produces a richer
effect and not only covers the stuff better, but also the underneath
stitch which in the Slavonic work, is entirely hidden by the cross
stitches.
Begin, as letter A indicates, with a long, slanting stitch, across 4 and
8 threads, then, bringing your needle back from right to left, under
four threads, draw it out, carry it over the first long stitch, and
insert it again from left to right, under the first four threads of the
canvas. These four stitches finished, proceed to the fifth and sixth,
which as B shows, cross the first four, then repeat the first stitch.
The threads that form the stitches on the wrong side, should always be
opposed to each other, that is, one cross should lean to the right, the
other to the left, as shown in fig. 305. This variation in the
inclination of the stitches, which is regarded as a fault in plain cross
stitch, is indispensable here, and produces a charming effect on the
wrong side.
[Illustration: A B FIG. 304. MONTENEGRIN CROSS STITCH. 1ST, 2ND, 3RD,
4TH AND 5TH STITCH AND TRANSVERSAL STITCH]
[Illustration: A B FIG. 305. MONTENEGRIN CROSS STITCH. POSITION OF THE
STITCHES ON THE WRONG SIDE.]
[Illustration: FIG. 306. MONTENEGRIN CROSS STITCH. A ROW OF STITCHES
FINISHED.]
PLAITED ALGERIAN STITCH (fig. 307).--The distinguishing feature of
this stitch is, that it only advances one thread at a time. It should be
begun on an uneven number of threads, and like the Montenegrin stitch,
should be worked with coarse cotton. The rows may touch, either at the
top or at the bottom of the stitch, so long as you keep to one plan
throughout.
[Illustration: FIG. 307. PLAITED ALGERIAN STITCH.]
TWO-SIDED SPANISH PLAITED STITCH (figs. 308 and 309).--This stitch has
the advantage of being, not only very effective, but also very quickly
executed. It is worked in two rows, forwards and backwards. All cross
stitch patterns can be worked in Spanish stitch. The gaps, which are
occasioned by the long stitches, have to be filled in with short ones.
In itself, the stitch consists of slanting stitches, three threads a
part, alike on both sides, and advances three threads at a time, as
shown in figs. 308 and 309.
[Illustration: FIG. 308. TWO-SIDED PLAITED SPANISH STITCH.]
[Illustration: FIG. 309. TWO-SIDED PLAITED SPANISH STITCH.]
TWO-SIDED LINE STITCH (figs. 310 and 311).--Square stitch, Holbein
stitch, line, or stroke stitch, as it is sometimes called, and setting
stitch, are all worked on one principle. Though all these two-sided
stitches are related to each other, and by no means difficult of
execution, those new to the work will find a little practice necessary,
to make the stitches follow in their proper order. Fig. 310 explains how
the needle has to pass, alternately, step by step, over and under the
threads of the stuff, and fig. 311, how the threads, left blank the
first time, are covered on the way back. The great difficulty is how to
place your first row of stitches so as to ensure an unbroken course
back. It is as well before setting out, to ascertain clearly the most
direct course back, so that you may not come to a stand-still, or be
obliged to make unnecessary stitches on the wrong side. If you have to
pass obliquely across the stuff, as in patterns figs. 326, 327, 328,
329, 331 and 333, proceed in the same way as though you were covering
the straight threads of a fabric.
[Illustration: FIG. 310. TWO-SIDED LINE STITCH. FORWARD ROW.]
[Illustration: FIG. 311. TWO-SIDED LINE STITCH. BACKWARD ROW.]
TWO-SIDED INSERTION (figs. 312, 313, 314, 315, 316, 317, 318).--We
conclude this series of stitches with a description of a pretty,
two-sided insertion, suitable for joining stripes of work of different
widths together. In pieces of old needlework, we often find handsome,
coloured patterns, joined together by a piece of lace or some quite
different kind of work. The insertion represented in fig. 317, is a very
good substitute for either. Fig. 312 explains the first stitch and the
course of the second, from left to right, under 3 vertical and 3
horizontal threads; the 3rd stitch to the left, over 6 vertical threads,
and the beginning of the 4th stitch. Fig. 313 shows the 4th stitch
completed, and the direction the 5th and 6th stitches have to take;
fig. 314, the 6th completed, and the position of the needle for the 7th
and 8th; fig. 315, the 9th lower, horizontal stitch, over 6 vertical
threads, the 10th backward stitch, and the position of the needle for
the 11th and last stitch. Fig. 317 represents a whole series of
stitches, and fig. 318, the back of the work, which though quite a
different pattern, will combine very well with any two-sided embroidery.
[Illustration: FIG. 312. TWO-SIDED INSERTION. FIRST DETAIL.]
[Illustration: FIG. 313. TWO-SIDED INSERTION. SECOND DETAIL.]
[Illustration: FIG. 314. TWO-SIDED INSERTION. THIRD DETAIL.]
[Illustration: FIG. 315. TWO-SIDED INSERTION. FOURTH DETAIL.]
[Illustration: FIG. 316. TWO-SIDED INSERTION. FIFTH DETAIL.]
These insertions can be worked on any stuff, but the stitches, must be
done, both ways, on a number of threads, divisible by 3. Thus, the first
stitch may cover 6, 9, or 12 threads, but never 8, 10, 12 or 14.
[Transcriber's note: 12, here, appears to be an error in the original.]
[Illustration: FIG. 317. TWO-SIDED INSERTION. ROW OF STITCHES FINISHED.]
[Illustration: FIG. 318. TWO-SIDED INSERTION, SHOWING THE BACK OF FIG.
317.]
GOTHIC BORDERS IN GOBELIN AND CROSS STITCH (figs. 319 and 320).--We
are indebted for both these pretty patterns, which are quite Gothic in
their character, to a visit we paid to the national museum at Munich,
where we discovered them amongst a heap of other old valuables, lying
un-heeded in a remote corner. Their simple graceful outlines render them
peculiarly suitable for the decoration of table-cloths, counterpanes,
curtains, etc. All embroideries of this kind should be finished off with
a deep fringe, made in the stuff itself, or knotted on to it or may be
trimmed with a heavy thread lace, of a wide width, corresponding with
the work in character.
The design may be worked either in one shade, as in fig. 319, or in two,
as in fig. 320, where all the outside stitches are worked in the darker
shade of the given colours.
[Illustration: FIG. 319. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton
à tricoter D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. 16 to 35, or
Cordonnet 6 fils D.M.C Nos. 3 to 15.[A] COLOURS: Rouge-Turc 321, or two
shades of Bleu-Indigo, 311 and 334, or two shades of Rouge-Grenat, 358
and 359 or two shades of Brun-Acajou, 300 and 402.[A]]
[Illustration: FIG. 320. GOTHIC BORDER IN CROSS STITCH. MATERIALS: Coton
à tricoter D.M.C Nos. 16 to 35. COLOURS: Bleu-Indigo 311 and 344, or
Rouge-Cardinal 346 and Rouge-Géranium 335, or Gris-Tilleul 391 and
331.[A]]
POWDERING AND BORDER. ALBANIAN SUBJECTS (figs. 321 and 322).--The
arrangement of colours for these charming patterns, of Albanian origin,
should be as follows; the dark-coloured crosses, red, the lighter ones,
alternately blue and green, the lightest, yellow.
[Illustration: FIG. 321. POWDERING. ALBANIAN SUBJECT. MATERIALS: Coton à
tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or
Coton à repriser D.M.C No. 12, 25 or 50.[A]
COLOURS: Rouge-Cardinal 347, Bleu-Indigo 322, Vert métallique 465,
Jaune-Orange 444, Gris-Brun 409.[A]]
In fig. 321, most of the stitches in every other diagonal row, are
worked in red, the others in green or blue; in the intermediate rows the
flowers are worked alternately, in green and red, or blue and red, and
throughout, the centre of each figure should consist of 4 stitches in
yellow.
[Illustration: FIG. 322. ALBANIAN SUBJECT. MATERIALS: Coton à tricoter
D.M.C Nos. 6 to 12, Coton à broder D.M.C Nos. 16 to 35 or Cordonnet 6
fils D.M.C Nos. 3 to 25.[A] COLOURS: Rouge-Cardinal 347, Bleu-Indigo
312, Jaune-Orange 444, Vert métallique 465, Gris-Brun 409.[A]]
In fig. 321, which serves as a border to the above, only the stalks of
the 4 conventional pinks, which, with the cross in their middle, form a
square, are in brown.
These squares are separated from the bottom border by an insertion, in
Gobelin stitch, worked over 6 threads, in red, blue, green and yellow,
from 20 to 25 stitches of each. This band is edged on both sides with a
row of stem stitches, worked in yellow over 4 threads. The Holbein
stitches that border the band, can be made in whichever colour the
worker prefers, or else in red and gold thread.
BORDERS IN STROKE STITCH (figs. 323, 324, 325).--These three patterns
will give our readers an opportunity of perfecting themselves in
two-sided, square stitch (see figs. 310 and 311), also called stroke, or
line stitch, according as it is worked, in oblique, or straight rows.
[Illustration: FIG. 323. BORDER IN STROKE STITCH. MATERIALS: Coton à
marquer D.M.C Nos. 5 to 200.[A] COLOURS: Rouge-Turc 321 or Bleu-Indigo
312.[A]]
[Illustration: FIG. 324. BORDER IN STROKE STITCH. MATERIALS: Coton à
repriser D.M.C No. 50.[A] COLOURS: Vert-Pistache 319, or Vert-Mousse
470.[A]]
[Illustration: FIG. 325. INSERTION IN STROKE STITCH. MATERIALS: Coton à
broder D.M.C Nos. 16 to 60.[A] COLOURS: Rouge-Turc 321, or Rouge-Grenat
309, or Bleu-Indigo 311.[A]]
We again recommend our readers, to begin by ascertaining the course the
stitches should take, in order to avoid all unnecessary stitches and be
sure of finding their way back according to the prescribed rule.
CORNERS IN STROKE STITCH (figs. 326 and 327).--These pretty little
patterns are suitable for the decoration of ladies' and children's
collars, fine pocket-handkerchiefs and finger napkins, and can be worked
in one or two colours, as preferred. If two colours be used, the darker
should be taken for the interior, the lighter for the narrow outside
edge.
[Illustration: FIG. 326. & FIG. 327. CORNERS IN LINE STITCH. MATERIALS:
Coton à broder D.M.C Nos 35 to 200 or Fil à dentelle D.M.C Nos. 25 to
70.[A] COLOURS: Bleu-Indigo, or Rouge-Cardinal, or Brun-Caroubier, or
Violet-Lie-de-vin.[A]]
STRIPE IN STROKE STITCH (fig. 328).--This is copied from a piece of
Italian work, though from a resemblance in the different subjects to the
rose, thistle and shamrock, if might have been supposed to be of English
origin. The original work was executed in a most brilliant purple red
which time has toned down to the colour of Jaune-Rouille 308, or
Brun-Cuir 432, one or other of which we recommend, as being the only
colours with which any thing approaching the refined distinguished look
of the old embroidery, can be given to the new.
[Illustration: FIG. 328. STRIPE IN STROKE STITCH. MATERIALS: Cordonnet 6
fils D.M.C Nos. 15 to 50, Coton à broder D.M.C Nos. 16 to 35, or Coton à
repriser D.M.C No. 12, 25 or 50.[A] COLOURS: Jaune-Rouille 308, or
Jaune-vieil-Or 680.[A]]
GROUNDING IN DIAGONAL LINES (fig. 329).--This pattern can be worked,
in any of the previous stitches, or in back-stitch. It is only suitable
for large surfaces, on account of the diagonal lines, and should be
worked, all in one colour. It can be varied by adding sprays to the
upper sides of the slanting stalks, like those on the lower sides,
turned either the same way, or upwards. Skilled workers will readily
contrive the middles for themselves, by combining the different subjects
and putting them together in various positions, either diagonally or at
right angles to each other, with the help of the Penelope mirror.[2]
[Illustration: FIG. 329. GROUNDING IN DIAGONAL LINES. MATERIALS: Coton à
tricoter D.M.C Nos. 6 to 16, or Coton à broder D.M.C Nos. 16 to 100.
COLOURS: Bleu-Indigo 322, or Rouge-Cardinal 347.]
POWDERING IN CROSS, STROKE AND STAR STITCH (fig. 330).--This charming
combination of cross, stroke and star stitches, can be made use of
wherever embroidery is available as a means of decoration.
The cross stitches, in which the solid parts of the pattern are worked,
should be in one colour only, the stroke and star stitches, in Chiné
d'or D.M.C.[A]
[Illustration: FIG. 330. POWDERING IN CROSS, STROKE AND STAR STITCH.
MATERIALS: Coton à repriser D.M.C No. 50 and Chiné d'or D.M.C.[A]
COLOURS--For the Cotton: Rouge-Grenat 326.--For the Chiné: Bleu-Indigo
and gold.[A]]
BORDER IN GREEK STITCH (fig. 331).--All the darker lines here, should
be worked in black, colour 473, the leaves in the form of steps,
alternately in light and dark red up to the stalks, the line of
demarcation being indicated by the different direction of the stitches,
so that two light leaves, and two dark leaves, should always face each
other.
[Illustration: FIG. 331. BORDER IN GREEK STITCH. MATERIALS: Coton à
broder D.M.C Nos. 16 to 25, or Coton à repriser D.M.C Nos. 12 to 50.
COLOURS: Rouge-Géranium 349 and 351, Jaune-Rouille 364, Bleu de France
341, Bleu pâle 668, Noir-Vert 473, Or fin D.M.C pour la broderie No. 30
and Chiné d'or D.M.C No. 30.]
In the original, the cross bars that unite the leaves, are in yellow,
whilst the detached figures that separate them, are worked, those that
come between the light red leaves, in pale blue, and those between the
dark red ones, in gold thread. The exterior part of the figure is filled
in with the different colours, indicated above; with the exception of
the small squares in Gobelin stitch, which should all be worked in plain
gold, or Chiné d'or D.M.C, green and gold. The SS in the narrow outside
border, should be worked in two shades of blue; the outside stitches in
colour 341 and the solid parts in colour 668. The little figures with
the transverse bars that unite the SS, should be set in black, and
filled in, alternately, in light and dark red, and in yellow.
GROUNDING (fig. 332).--This grounding was copied from a beautiful old
cushion-cover and will be found particularly useful in the confection of
small embroidered articles, because the pattern will always form a
centre point in itself. A light, brilliant red, such as either of the
two colours indicated beneath the figure, will best reproduce the tone
of the original.
[Illustration: FIG. 332. GROUNDING. MATERIALS: Coton à tricoter D.M.C
Nos. 6 to 10, or Coton à broder D.M.C Nos. 16 to 100.[A] COLOURS:
Rouge-Cardinal 804, or Rouge-Cornouille 450.[A]]
In making the little stars that connect the different squares, the mode
we recommended for working stroke stitch should be adopted, that is,
beginning, by bringing the needle out in the middle, making 7 stitches,
and at the eighth, carrying the needle back under the first, to the spot
whence you started. The stitches will then be alike on both sides.
WALLACHIAN BORDER (fig. 333).--A piece of Wallachian needlework,
executed on rough linen, and uncommon, both in colour and design,
suggested the charming embroidery, here represented. In place of the
somewhat violent colours, which indicate an undeveloped taste, we have
substituted softer and more refined ones. All the stroke stitches of the
middle stripe and of the two border stripes, top and bottom, as well as
the darker portions of the small dice, subdivided into eight, in the
bottom border, and of the small diagonal squares in the top border,
worked in Gobelin stitch, are in red, colour 346. The setting of upright
stroke stitches round the large centre figures, as well as the straight
lines that divide these same figures into four, are worked in yellow,
colour 680.
[Illustration: FIG. 333. WALLACHIAN BORDER. GOBELIN STITCH, STROKE
STITCH AND SPANISH HALF-STITCH. MATERIALS.--For Rhodes linen No. 1:
Cordonnet 6 fils D.M.C No. 15, and Or fin D.M.C pour la broderie No.
30.--For other stuffs: Coton à tricoter D.M.C Nos. 6 to 16, or Coton à
repriser D.M.C No. 12, 25 or 50 and Or fin D.M.C.[A]
COLOURS: Rouge-Cardinal 346, Rouge-Géranium 326, Vert-Pistache 319 and
Jaune-vieil-Or 680.[A]]
The squares and the half-squares are worked in colour 326, green 319,
and gold thread; colour 326 is indicated in the illustration by the
darkest shade, green 319, by the medium shade, and the gold thread by
the lightest shade.
The stitches in the right bottom quarter and top left one, incline
upwards from left to right, in the two other quarters they incline the
contrary way. The Spanish half-stitch as shown in fig. 309, can only be
done over 4 and 2 threads and worked one way, not to and fro.
The general effect is very much heightened by the introduction of one or
two rows of stitches, worked in gold thread, into the straight lines on
either side of the stripes; all the light parts of the design moreover,
should be worked in gold thread.
BORDERS IN SEVERAL SHADES OF ONE COLOUR (figs. 334 and 335). In some
beautifully embroidered Chinese hangings, that latterly came under our
notice, the principal subject was the figure of a mandarin, in a very
richly decorated dress. The pretty pattern, given in fig. 334, was
copied from the collar and cuffs of this dress. We should advise working
it in several shades of pink or red, or in a single one of the colours
indicated above.
[Illustration: FIG. 334. BORDER IN SEVERAL SHADES OF ONE COLOUR.
MATERIALS: Coton à tricoter D.M.C Nos. 12 to 20, Coton à broder D.M.C
Nos.. 16 to 35 or Coton à repriser No. 12, 25 or 50. COLOURS: Three
shades of either Bleu-Indigo, Rouge-Grenat, or Violet-Mauve etc. etc.]
[Illustration: FIG. 335. BORDER IN SEVERAL SHADES OF ONE COLOUR.]
The border of these hangings furnished us with pattern 335, which will
be found to look best, worked in three very distinct shades of blue.
The grotesque heads of animals, and the flowers and branches which break
the running pattern, and are a Chinese speciality, distinguish this
design from the more conventional patterns of the present day.
We recommend these two pretty patterns, to our readers notice, as
likewise adaptable by transposition, to centres, or by repetition, to
broad stripes. With very little trouble they can be converted, into a
variety of subjects, such as it is often difficult to find ready made,
and exactly suited to the purpose in hand.
BORDER IN GREEK STITCH WITH A FOOTING, COMPOSED OF BRANCHES (fig.
336).--This design can be worked in Greek, Slavonic, Montenegrin, or
plaited Algerian stitch. Our illustration worked in Greek stitch, shows
how one stitch encroaches upon another, and how the thread is carried
from one isolated stitch, to another.
[Illustration: FIG. 336. BORDER IN GREEK STITCH WITH A FOOTING, COMPOSED
OF BRANCHES.]
It will be found to be an improvement if the stitches are so made as to
follow the direction of the lines. The central subject may be repeated
two or three times, according to the width of border required. The
edging is the same throughout. The use of the 'Penelope mirror' for
repeating patterns is described in the concluding chapter of the book.
TABLE-COVER IN GOBELIN AND STROKE STITCH (figs. 337, 338, 339,
340).--This tasteful little table-cover provides excellent practice in
working two sided, square stitch. The square represented in fig. 339,
forms the middle of the cloth. The Gobelin stitches, set very closely,
unite and form a star in the centre of the principal subject. They begin
in the corners, in red and continue in green, violet and blue,
successively; the little branches in stroke stitch, on each side of the
Gobelin stitches, correspond with them in colour, and the small figures,
that form the border of the square, may be worked, indiscriminately, in
any of the colours used for the Gobelin stitches of the centre. Four
branches run inwards from the corners of the square, and four more
advance to meet, and pass them, from the inner angles of the wide
border. Four figures, copied from the outside border, fig. 339, and
worked in yellow, and the little star, fig. 337, besides the little
subjects, borrowed from the outside border, fig. 338, are strewn lightly
over the foundation, interspersed between the branches. In fig. 340,
nevertheless, which represents the whole table-cover, the edge is formed
of the small subjects contained in the wide border and not of the
little stars. The Gobelin stitches in the centre of fig. 337, are in
dark green, the star stitches and the stroke stitches on the outside in
red. The wide border consists of stars, every other row of which, is
worked in red; the intermediate rows, successively, in blue, green, and
yellow. The corners are composed of four detached stars, framed by a row
of stroke stitches, one red and one blue, alternately. This line skirts
both sides of the border, and forms the base to the quaint figures, that
terminate the design and which can be worked in all the colours used for
the inside.
[Illustration: FIG. 337. SMALL DETACHED SUBJECT OF FIG. 340.]
[Illustration: FIG. 338. OUTER BORDER OF FIG. 340.]
[Illustration: FIG. 339. MIDDLE OF FIG. 340.]
The original of our illustration, which is on fine Rhodes linen, in
Coton à broder D.M.C No. 25, is only a small table-cover; for a larger
one, if you wish strictly to adhere to the pattern, Java or Ceylon linen
will be the best material to select, with Coton à tricoter D.M.C No. 12,
for the stroke stitches and Coton à repriser No. 25 for the Gobelin
stitches.
[Illustration: FIG. 340. TABLE-COVER IN GOBELIN AND STROKE STITCH.
MATERIALS.--According to the stuff: Coton à tricoter D.M.C Nos. 6 to 16,
Coton à broder D.M.C Nos. 16 to 35, Coton à repriser D.M.C Nos. 12, 25,
50, Fil à pointer D.M.C Nos. 10 to 30, or Cordonnet 6 fils D.M.C Nos. 3
to 20.[A] COLOURS: Rouge-Cornouille 450, Vert-Pistache 319,
Violet-Lie-de-vin 372, Jaune-Rouille 364, Bleu-Indigo 322.[A]]
FOOTNOTES:
[A] See at the end of the concluding chapter, the table of numbers and
sizes and the list of colours of the D.M.C threads and cottons.
[Illustration: INSERTION--PLAIN STITCHES AND OVERS]
Knitting.
Knitting is one of the earliest forms of needlework, and one, which has
been carried to the highest perfection. It would be difficult to invent
new stitches or patterns and, we shall therefore confine ourselves to
describing the stitches in general use, and reproducing those of the old
patterns we consider the most useful, that our readers may make their
own selection.
In former days, knitting served mainly for the manufacture of stockings,
and even now, in spite of machines, handknit stockings, and numberless
other useful and ornamental articles, such as shawls, counterpanes,
cradle-coverings, gloves, laces etc. are in great request.
Besides its practical use, knitting is an easy and pleasant pastime that
can be taken up at odd minutes and even carried on, whilst talking, or
reading.
Knitting consists of loops, or stitches, as they are generally called,
formed by means of a thread and two needles.
In round knitting, four, or five needles are necessary for the better
handling of the work.
Through the loops formed in knitting, being connected together in
unbroken continuity, a very elastic fabric is produced, which is
specially suitable for making warm, and closely-fitting
wearing-apparel.
MATERIALS.--Threads with a slight twist, such as Coton à tricoter
D.M.C, are the best. With regard to the thickness of the needles,
whether they be of steel, wood, or bone, your choice must be determined
by the quality of the thread used.
The accompanying table is intended to help inexperienced knitters to
match their needles and thread, we advisedly say, help, as it is
impossible exactly to determine the numbers that will correspond,
because every hand knits differently, and a loose knitter has to use
finer needles than a tight knitter.
Other materials are enumerated here, besides, what is properly speaking,
called knitting-cotton, as for caps, lace edgings, insertions and so
forth, finer kinds of thread and threads with a stronger twist which
show up the pattern better, should be used.
[Illustration: TABLE OF THE APPROXIMATE RELATION OF THE D.M.C THREADS
AND COTTONS TO THE NUMBERS OF THE KNITTING NEEDLES[A].]
POSITION OF THE HANDS IN KNITTING (fig. 341.)--Lay the thread over the
fifth finger of the right hand, and twist it round it, then carry it
over the forefinger, which should be kept close to the work, the work
being held between the third finger and the thumb. The left hand remains
more or less inactive, having merely, by a slight movement of the
forefinger to pass the loops, in succession, on to the needle in the
right hand, which forms the stitches. This position of the hands, which
is the one usually adopted in England and France, is the one represented
in our illustration. The Germans on the contrary, lay the thread over
the left hand, and can move the hands much more quickly, in consequence.
There are some ways of casting on, which can only be done in the German
fashion.
To prevent the irregularity in stitches, the needles should never be
allowed to protrude more than 1 or 1½ c/m, from the work. All
exaggerated movement of the arms, which renders knitting a very tiring
occupation, should be avoided.
[Illustration: FIG. 341. POSITION OF THE HANDS IN KNITTING.]
CASTING ON.--Casting, or, setting on, as it is sometimes called, is
the formation of the first row of stitches which are to constitute the
foundation of the work.
There are four methods of casting on: (1) crossed casting on, done in
four different ways; (2) knitting on; (3) slipping on, also done in two
ways; (4) casting on with picots.
(1) CROSSED CASTING ON WITH A SINGLE THREAD (fig. 342). Lay the thread
over your fingers as though you were beginning a chain of plain
stitches, fig. 403, leaving a long end, sufficient to make the number of
stitches required, lying within the palm of the hand. Put the needle in
from below, into the loop on the thumb, and pass it from right to left
under that part of the thread which lies between the forefinger and the
thumb. Then bring the thread through the loop on the thumb, draw the
thumb out, and lay the loop on the needle. In making the next stitches,
lay the thread over the thumb, so that the end lies outside. Put in the
needle under the front thread and complete the stitch as before. This
method of casting on is generally done over two needles, one of them
being drawn out before the knitting-off is begun, to ensure a loose
edge.
[Illustration: FIG. 342. CROSSED CASTING ON WITH A SINGLE THREAD.]
CROSSED CASTING ON WITH A THREEFOLD THREAD.--This method is similar to
the last, only that the thread is taken threefold and is drawn by the
needle through the loop, which is formed at the bend of the thread. Then
you pass the single thread over the left hand, and the triple one over
the thumb, as shown in fig. 342, and make the same stitches, as above.
The threefold thread makes a broad chain at the bottom of the loops.
DOUBLE CROSSED CASTING ON (fig. 343).--This can be done either with a
single or a threefold thread. In our drawing it is done with the latter.
The first stitch is made as we have already described, only that you
have to keep the loop on your thumb, put the needle into it a second
time, lay hold of the thread behind, cast on a second stitch, and then
only, withdraw your thumb. In this manner two loops are made at once,
close together.
[Illustration: FIG. 343. DOUBLE CROSSED CASTING ON.]
CROSSED CASTING ON, FORMING A CHAIN (fig. 344.)--Begin by making one
such stitch, as we have described in fig. 341; for the second and
following stitches, bring the end of the thread to the inside of the
palm of the hand, so that it lies between the thumb and the forefinger.
[Illustration: FIG. 344. CROSSED CASTING ON, FORMING A CHAIN.]
(2) KNITTING ON STITCHES (fig. 345).--Begin with a plain crossed
stitch; then take the thread and the needle in the left hand, a second
needle in the right, and catch it into the stitch on the left needle,
lay the thread under the right needle and draw it through in a loop,
through the loop on the left needle. Then transfer it as a fresh stitch
to the left needle; catch the needle into this second stitch, and draw
the thread through it, to form the third, and so on.
This method of casting on is used for articles, that are to have a
double edge, (see figs, 355, 356), because stitches, made in this way,
are easier to pick up than the tighter ones; but it should not be used,
where it will form the actual edge, as the loops are always too open.
[Illustration: FIG. 345. KNITTING ON STITCHES.]
(3) CASTING ON WITH SLIP LOOPS (fig. 346).--Begin by casting on one
loop in the ordinary way, next, lay the thread, as in German knitting,
over the left hand, twisting it once only round the forefinger, then put
the needle in, upwards from below, under the thread that lies on the
outside of the forefinger; draw out the finger from the loop, put the
loop on the needle to the right, take the thread on the forefinger
again, and so on.
[Illustration: FIG. 346. CASTING ON WITH SLIP LOOPS.]
CASTING ON WITH DOUBLE SLIP LOOPS (fig. 347).--Begin by casting on a
stitch in the ordinary way, then lay the thread over the forefinger, the
reverse way, so that it crosses between, not outside the hand and the
body of the knitter. Pass the needle upwards from below, under the
inside thread, and slip this thread as a loop on to the needle. Continue
to cast on, inserting the needle under the front and back threads
alternately. This method is specially suitable for open patterns, where
you have to increase several times, in succession.
[Illustration: FIG. 347. CASTING ON WITH DOUBLE SLIP LOOPS.]
(4) CASTING ON WITH PICOTS (fig. 348).--Cast on two stitches in the
ordinary way and turn the work. Lay the thread over the needle, put the
needle into the first stitch, from right to left, and slip it on to the
right needle, knit off the second stitch plain, and draw the slipped one
over it.
[Illustration: FIG. 348. CASTING ON WITH PICOTS.]
Cast on as many stitches as you want in this manner and then pick up the
picots thus formed, with an auxiliary needle, and knit them off like
ordinary stitches.
This method of casting on may be varied thus in the following manner:
having cast on the stitches as in fig. 348, throw the thread over the
needle and knit two stitches together.
PLAIN STITCH (fig. 349).--This is the easiest stitch and the first
which a knitter has to learn. It is executed as follows: Put the
right-hand needle in, upwards from below, under the front part of the
first stitch on the left-hand needle, lay the thread from right to left
under the needle, draw it through the loop, and drop the loop off the
left needle.
[Illustration: FIG. 349. PLAIN STITCH.]
Plain knitting is employed wherever a perfectly smooth, even surface is
required. It looks quite differently on the wrong side from what it does
on the right where it presents the appearance of vertical rows of
plaiting.
BACK, OR SEAM-STITCH (fig. 350).--You may intentionally knit the wrong
side of plain knitting. This is called purling and is done, in the
following way: lay the thread over the left needle, and put the right
one, downwards from above, behind the thread, into the loop on the left
needle, lay the thread upwards from below, over the right needle, draw
it through the loop, and drop the loop off the left needle. This stitch
is used in knitting patterns, and for marking horizontal lines in
smooth surfaces, such as the seam of a stocking, for instance.
[Illustration: FIG. 350. BACK OR SEAM-STITCH.]
PLAIN STITCH TAKEN FROM BEHIND (fig. 351).--Put the needle in from
right to left, under the back part of the stitch; leave the thread
behind the needle, then pass it from right to left over the needle and
draw it through the stitch.
[Illustration: FIG. 351. PLAIN STITCH TAKEN FROM BEHIND.]
BACK, OR SEAM-STITCH TAKEN FROM BEHIND (fig. 352).--Put the needle
into the second part of the stitch, upwards from below, and knit it as a
back or seam-stitch.
[Illustration: FIG. 352. BACK OR SEAM-STITCH TAKEN FROM BEHIND.]
In plain stitch, taken from behind, the two threads of the loop are
crossed, instead of lying side by side, as they do in plain knitting.
Back-stitch taken from behind, is only used for certain open-work
patterns.
OVERS (fig. 353).--These form holes in plain knitting, and are used
for open-work patterns and for increasing.
[Illustration: FIG. 353. OVERS.]
To make an over, lay the thread over the needle, and in the next row,
knit this loop like any other stitch.
Each over adds one to the existing number of stitches. In cases,
therefore, where the number is to remain the same, you have to make as
many intakes as overs. Overs can only be used in conjunction with other
stitches.
KNOT STITCH (fig. 354).--This forms a raised spot in plain knitting
and is executed as follows: knit 1, and leave it on the left-hand
needle; put the stitch you have made with the right needle back on the
left, and knit it off. Make 4 or 5 similar stitches, all issuing from
the same stitch on the left needle, so that you have 4 or 5 loops on the
right needle; then drop the stitch off the left needle, and pull the 4
first loops over the last one.
[Illustration: FIG. 354. KNOT STITCH.]
CABLE OR CHAIN STITCH.--Chain stitches are used for strengthening and
equalizing the edges of articles that are made in stripes. They can be
made in two ways; either, you knit off all the stitches on one needle,
turn the work, put the needle into the first stitch, as if you were
going to knit it from the back, and take it off the left needle without
knitting it, the thread to lie behind the needle; or, you knit off all
the stitches on one needle, turn the work, and knit off the first
stitch.
THE NAMES OF THE STITCHES.--Out of the stitches that have been already
described, other stitches are formed, which, as they are frequently
alluded to in knitting directions, we shall here enumerate, explaining
all the terms, usually employed in such directions.
OVER, OR INCREASE.--Explained in fig. 353. Throwing the thread once
over the right needle.
DOUBLE OVER, OR TWO INCREASES.--Throwing the thread twice over the
needle.
PLAIN INTAKE.--Knitting two stitches together plain. This is done when
the intake is to lie from left to right.
PURLED INTAKE.--Purling two stitches together. This is done to make
the stitches, that are knitted together, visible; or in the case of a
piece of work composed of stripes, on the wrong side, when the intake is
to lean to the right, on the right side.
PLAIN DECREASE, TAKEN FROM BEHIND.--Knitting off two stitches
together, plain from behind. This is done when the intake is to lie to
the left.
PURLED DECREASE, TAKEN FROM BEHIND.--Purling two stitches together,
from behind. This is done when, in articles composed of stripes, the
decrease has to be made on the wrong side, and is to lie to the left on
the right side.
PULLING OVER.--Slipping a stitch from the left needle to the right
without knitting it, knitting the next plain, and pulling the slipped
stitch over the knitted one. In this manner two or three stitches can be
pulled over the knitted one.
CASTING OFF.--To prevent the stitches from unravelling they are
finished off in the following manner. Knit off two plain, pull the first
over the second and drop it, so that only one remains on the needle.
Knit the next stitch, and pull the one behind over it, and so on. This
chain of stitches, must neither be too tight, nor too loose, but just as
elastic as the rest of the work.
MATERIALS FOR STOCKINGS.--Stockings can be made of silk, wool or
cotton, entirely according to fancy, but for coloured stockings, we
cannot too highly recommend the D.M.C knitting cottons, as more
durable, in all respects, than either silk or wool. They are
manufactured in 360 different shades, whereas, wool and silk are only to
be had in a very limited assortment of colours. For hand-knit stockings,
Nos. 25, 30, 35[A] are the best, for machine-knit, Nos. 40 and 50.
STOCKING KNITTING.--A stocking consists of five parts: (1) the top,
(2) the knee, (3) the leg, (4) the heel, (5) the foot.
(1). The top may be either ribbed, or knitted in an openwork stitch of
same kind or with a double-toothed edge, fig. 356.
(2) and (3). The knee, and the leg down to the heel, are generally plain
knitted; it is only children's stockings that are fancy knitted.
(4). The heel, is worked as straight knitting backwards and forwards; by
knitting first one row plain and then turning back and knitting it purl.
It is shaped to the foot by the intakes at the top.
(5). The foot is knitted plain, with intakes from the heel onwards, to
get rid of the superfluous stitches. Then knit a plain piece, without a
seam-stitch, till you begin to decrease for the toe, which can be worked
in several different ways.
To ensure the right proportions between the several parts of a stocking,
the following directions should be attended to. An ornamental top must
never be taken into account, in measuring the length of the leg. When
the top part is finished, you make the seam, at the beginning of the
first needle of the round, of one, or two purled stitches, or sometimes,
a narrow pattern of purled stitches. This marks the middle of the
stocking. For ordinary-sized stockings, knit plain from the top-band,
till the knitted piece, forms a square.
For stockings that are to cover the knee, knit half as much again, that
is one and a half times the width of the stocking. This brings you to
the calf of the leg. Pull the third stitch after the seam, over the
second, and knit together the two last but one before the seam. There
should be 12 rounds between each of the first 3 or 4 intakes, and after
that 8, until this part is one and a half times the width of the knee
in length, and a quarter narrower.
For the ankle, knit a plain piece, half the width of the knee in length,
without intakes.
For the heel, count the stitches on the four needles, exclusive of the
seam, and put two stitches more than the quarter of the whole number on
to the needles, to the right and left of the seam.
For a heel to fit well, it should be as long as it is wide. In order
that they should wear better, the heel and the toe are often knitted
with double thread. Coton à feutrer D.M.C[A] is made expressly for that
purpose, and should be wound round the thread of which the whole
stocking is made. For the instep, the part between the heel and toe, you
must go on decreasing from the heel, until you have 2 stitches less on
each needle, than you had at the ankle. Then knit the plain part of the
foot, which should be as wide as the ankle, after which proceed to
decrease for the toe, which should be a quarter the length of the whole
foot. In spite of this careful subdivision, it is always well to count
the stitches, to ensure perfect regularity. The number of stitches cast
on, at the outset, for the same-sized stockings, must depend upon the
size of the wool or cotton; we can only give the numbers approximately.
Our calculation is based on the use of 5 needles; the given number has
therefore to be cast on four times.
______________________________________________________________________________
Coton à tricoter D.M.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
______________________________________________________________________________
25 32 36
30 34 38
35 36 42
40 40 46
50 42 50
______________________________________________________________________________
SCALLOPED EDGE (figs. 355 and 356).--This is the simplest and
strongest edge you can have for a stocking, and is called the
cat's-teeth edge.
[Illustration: FIG. 355. SCALLOPED STOCKING EDGE. EDGE OPEN.]
[Illustration: FIG. 356. SCALLOPED STOCKING EDGE. EDGE FOLDED TOGETHER.]
Having cast on the stitches, knit 6 to 10 rounds plain, according to the
size of the cotton, then one round of alternate intakes and overs. Knit
as many plain rounds as before, and with a sixth needle take up as many
of the cast on stitches, as you have stitches on one of the upper
needles. Turn this needle inwards, and place it against the outside
needle and knit off both needles together. See that you knit the
corresponding stitches off together, otherwise the scallops that form
the edge will be crooked.
COMMON HEEL (fig. 357).--This is the simplest form of heel, and can be
knitted either with or without an outside seam. Divide the stitches into
four, and put two more on each of the heel needles than on the others,
then make, according to the size of the cotton, from 15 to 20 seams;
knit off all the stitches on the right needle and a third of those on
the left. Supposing that you have 24 stitches, knit off 8, then slip 1,
knit 1, and pull the slipped stitch over, knit 2 plain, turn the work,
slip the first, and purl the next 8 stitches of the second needle; purl
the 9th and 10th together, purl 2, turn the work to the right side, and
slip the first stitch on to the right needle. By means of these
successive intakes after the 8 stitches, the knitting forms a plait on
both sides of the heel.
[Illustration: FIG. 357. COMMON HEEL.]
In all heels that are made after this pattern, the intakes must begin on
the right side and the last one must be made on the wrong, so that once
the heel is finished and the work turned, you can go on knitting plain.
When you have finished the stitches of the two heel needles up to the
outside seams, take up the stitches on the sides of the heel with a
spare needle and knit them on to the left heel needle, then knit the
stitches reserved for the instep, take up the stitches on the right side
of the heel again and knit them on to the fourth needle.
In the next round, knit all the stitches of the first needle plain,
excepting the 4 last; knit the first and second of these together and
the two last plain. Knit the two first stitches of the fourth needle
plain, slip the third, knit the fourth and pull the slipped stitch over.
HEEL IN STEPS (fig. 358).--After dividing the stitches, make from 12
to 14 seams. Then knit as many stitches of the first needle as you have
seams at the side; turn the work, and begin the needle with the seam you
made first. Knit off as many stitches from the second needle as from the
first. Make the same number of seams, as for the first part of the
heel. When the seams are finished, take up the chain stitches, on both
sides, make a decrease by knitting the last stitch of the small part and
the first of the large, together; knit two; turn the work; slip the
first stitch, knit to the second side, and decrease as in the first
part.
[Illustration: FIG. 358. HEEL IN STEPS.]
When you have decreased all the stitches up to the last, take up the
slipped stitches of the first part, and begin the intakes for the instep
in the ordinary way.
There is not more work in this pattern of heel than in any other; it
fits closely and consequently wears well.
PLAIN HEEL (figs. 359 and 360).--Those who are not fond of purling
will appreciate this and the following pattern for a plain heel.
[Illustration: FIG. 359. PLAIN HEEL.]
[Illustration: FIG. 360. HEEL KNITTED ON THE RIGHT SIDE.]
Knit off the stitches of the first needle after the seam; then on to two
spare needles, cast on, 8 more stitches than you had on one needle after
dividing the stitches; put the stitches of the third and fourth needles
together and knit the first round plain.
2nd round--knit together the 1st and 2nd, and the 9th and 10th of the
first auxiliary needle; and the 10th and 9th and 2nd and 1st of the
second.
3rd round--plain.
4th round--knit together the 1st and 2nd and the 7th and 8th of the
first needle.
5th round--plain.
6th round--knit together the 1st and 2nd and the 5th and 6th of the
first auxiliary needle; and the 6th and 7th and the last but one and the
last, of the second.
7th, 10th, 11th, 13th, 14th, 16th, 17th, 19th, 20th rounds all plain.
8th round--knit together the 1st and 2nd, and the 3rd and 4th of the
first auxiliary needle, and the 4th and 3rd, and the last stitch but one
and the last, of the second.
9th round--After the two last intakes, purl together the 4th and 3rd
stitches before the end of the 1st and 3rd needle, and the 3rd and 4th
at the beginning of the 2nd and 4th needles.
12th, 15th, and 18th rounds--Decrease, the same as in the 9th round.
21st round--knit 2 plain, at the beginning of the 1st and 3rd needles;
knit the next 2 together; knit together the 4th and 3rd, before the end
of the 2nd and 4th needles; knit the last stitches plain; go on
decreasing in this way until the purled stitches meet. After the plain
round over the intakes, add four plain rounds, divide the stitches that
remain for the sole, on two needles and cast off on the wrong side.
Now take up the auxiliary stitches, and in the first 3 plain rounds,
knit together the last and the first of the 1st and 2nd needles, and the
last and the first of the 3rd and 4th.
With the rest of the extra stitches make purled intakes, knitting two
plain rounds after each round with an intake.
For the other kind of plain heel also (fig. 360), auxiliary stitches are
required. Supposing that you have 20 stitches on each needle, you must
cast on 28 stitches on to each auxiliary needle; knit together the 4th
and 3rd stitches at the end of the 1st and 3rd needles, and the 3rd and
4th of the 2nd and 3rd needles, so that you may have 4 plain stitches
between both intakes. Go on decreasing, knitting 2 plain rounds after
each round with an intake, until you have 6 stitches left on each
needle. Then knit together the first and last stitches of each needle,
one plain round over it, and finish with a chain on the wrong side of
the heel. Then take up the auxiliary stitches and knit the instep.
ITALIAN STOCKING (fig. 361).--The heel, sole and toe of a stocking
always wear out before the instep. The Italians and Greeks economise
time and material and facilitate the renewal of those parts that wear
out, by knitting the upper part of the foot in two pieces. After
knitting the heel in on or other of the above ways, work the foot as
straight knitting with the two upper needles only, until you have the
necessary length. Then knit the underneath part separately, in the same
way. You must keep a chain along all edges and a narrow seam of one or
two stitches. In the sole, which you make after finishing the upper
part, you intakes must come directly after and before the seam. When you
have got the same number of rounds in each piece, join them together and
begin the toe.
[Illustration: FIG. 361. ITALIAN STOCKING.]
Sew up the slits left open on either side, with a needle and thread
taking care to fit the corresponding stitches together.
In this manner, when one part wears out, you have only to unpick these
side-seams and re-sole or re-heel the stocking as the case may be.
TOE (fig. 362).--To begin as before, with the simplest and most
ordinary way of making this part of the stocking, divide the stitches
equally on to the 4 needles; knit together the 4th and 3rd stitches
before the end of the 1st and 3rd needles, knit the 2 last and 2 first
stitches of the 2nd and 4th needles plain, and make an intake by
slipping the 3rd stitch, knitting the 4th, and pulling the slipped
stitch over. Begin by knitting 2 plain rounds after each of the first 4
rounds with an intake, and afterwards only one. When you have only 4
stitches left on each needle, collect them on two, and knit them
together, two and two, on the wrong side of the stocking.
[Illustration: FIG. 362. TOE.]
TOE (fig. 363).--Here, before beginning to decrease, divide the
stitches by 8, 10, or 12. Supposing that they have been divided by 10,
knit 8 plain; knit the 9th and 10th together, 8 plain, knit two
together, and so on, the whole way round. Then knit as many plain rounds
as there are plain stitches between 2 intakes. In the next rounds with
intakes, you will have one stitch less between each intake, in the
second therefore, there should be 7 plain stitches between each intake,
and you knit 7 plain rounds; and so on to the 7th round, when 2 stitches
will remain, followed by 2 plain rounds; when there are only 4 stitches
left on the needles, turn them in to the wrong side of the stocking,
and finish off with a chain.
[Illustration: FIG. 363. TOE.]
TOE (fig. 364).--Begin the intakes with the two first stitches of each
needle, by the slip and pull over process, knit one plain round after
each round with an intake. In the following rounds, make the intake in
the 2nd round with the 3rd and 4th stitches, in the 3rd, with the 5th
and 6th stitches, in the 4th, with the 7th and 8th stitches, so that
when finished the intakes form a kind of spiral. Finish off in the
ordinary way.
[Illustration: FIG. 364. TOE.]
TOE (fig. 365).--We will describe one other kind of toe, quite as
shapely and easy to make as the others.
[Illustration: FIG. 365. TOE.]
1st round--purl the first 2 stitches on each needle together.
2nd and 3rd, 5th and 6th, 8th and 9th, 11th and 12th, 14th and 15th,
17th and 18th rounds--plain.
4th round--1 plain, 1 intake with the 2nd and 3rd stitches, and with the
last 2 on each needle.
7th round--knit the 2 first plain, make 1 intake with the 3rd and 4th
stitches, and 1 with the 2 last.
In each of the next rounds with intakes, knit 1 plain stitch more.
When the two seams meet, pull the last stitch on each needle over the
first of the next; knit the stitches between the intakes plain. Continue
to decrease in this manner until the last stitches are reached.
MENDING KNITTING.--Knitted articles are repaired by reconstructing
the web with a needle and thread. When the stitches are not actually
broken, they can be strengthened by new ones made over them, by means of
a needle and thread.
MATERIALS FOR DARNING STOCKINGS.--The thread used for darning a
stocking should be a little finer than that of which it is made. Coton à
repriser D.M.C[A] is the best, for as it consists of several strands it
can be subdivided as occasion requires.
STRENGTHENING THE STITCHES (figs. 366 and 367).--This can be done in
two ways. In fig. 366, the thread is brought out between two horizontal
bars, passed upwards over a perpendicular bar, put in by the side of the
same and brought out between the next horizontal bars.
Work the second row of stitches backwards; take up two threads on the
left, pass downwards to the right, over one thread, take up the thread
you passed over, and so on.
[Illustration: FIG. 366. STRENGTHENING THE LOOPS. FIRST WAY.]
[Illustration: FIG. 367. STRENGTHENING THE LOOPS. SECOND WAY.]
The other way, fig. 367, is, when you have brought out your needle, to
carry it over one thread to the right and upwards over two, take up the
next two threads on the left, pass downwards over two horizontal
threads, and over one thread to the right, and put in the needle where
it first came out; then working from right to left, take up two threads,
pass over one to the right, and downwards over two horizontal ones, and
so on. In the next row, hold your work, the finished part uppermost,
carry the needle downwards over one horizontal thread, bring it out
between two threads that lie separately and take it downwards again over
two horizontal threads, pick up two threads, working from right to left,
pass upwards over two threads and over one to the right, take up two to
the left, and so on.
REPAIRING PLAIN KNITTING (fig. 368).--When a broken piece of stocking
web requires to be replaced by new, draw the new and the old pieces
together with a needle and thread, using the same thread the stocking is
made of.
[Illustration: FIG. 368. REPAIRING PLAIN KNITTING.]
For this purpose, you must clear the loops, by ravelling them out top
and bottom, and slip them on to knitting needles. The loops that are to
be connected must lie exactly opposite to each other. Enter your
threaded needle upwards from below through the first disengaged upper
loop, and slip it off the knitting needle, then enter the needle,
downwards from above through the first lower loop, and upwards from
below through the next, and draw out just enough thread to make the new
loop the same size as the old ones. Then enter the needle, downwards
from above, through the same upper loop you took up before, taking up
also the one next to it, and passing your needle through it from
underneath; draw out the thread to form the new loop and descend again
to the next, and so on.
REPAIRING PURLED KNITTING (fig. 369).--To repair ribbed surfaces
consisting of alternate rows of plain and purl, proceed as follows: hold
the article so that the row of purled stitches is exactly opposite the
upper part. Enter your needle upwards from below, through the first
loop of the upper part; join the two lower loops together as in fig.
368; carry the needle upwards again, and enter it upwards from below
through the first loop of the upper part and downwards from above,
through the loop next it. Join the lower loops again, as in plain
knitting.
[Illustration: FIG. 369. REPAIRING PURLED KNITTING.]
DISENGAGING THE LOOPS FOR DARNING (fig. 370).--Where the threads are
broken, new loops have to be made, and the broken ones ravelled out and
cut, so that the horizontal loops may stand out clear and distinct. Cut
the threads on the vertical sides so that the loops form an edge and the
hole is square, clear two or four loops in the corners of the hole, fold
them in and fasten them off at the back by a stitch or two. The darns we
are next going to describe should be made upon a ball to prevent drawing
the threads too tightly.
[Illustration: FIG. 370. DISENGAGING THE LOOPS FOR DARNING.]
DARNING ON THREADS STRETCHED HORIZONTALLY (figs. 371 and 372).--Carry
a horizontal thread across on the wrong side, in the place of each
broken thread, securing it in the sound part of the stocking, about two
threads from the edge of the hole. When you have made this foundation,
put the needle in on the right side near the stitch that is nearest to
the sound part on the left, fig. 371.
[Illustration: FIG. 371. DARNING ON THREADS STRETCHED HORIZONTALLY.
POSITION OF THE HORIZONTAL THREADS.]
[Illustration: FIG. 372. DARNING ON THREADS STRETCHED HORIZONTALLY. HOW
TO COVER THE HORIZONTAL THREADS.]
Then descending, pick up the nearest horizontal thread from below, so
that the working thread lies to the right of the needle, and cover all
the horizontal threads you have laid in this manner.
When you have taken up the last thread, pass the needle downwards from
above, through the nearest loop, and bring it back through the one at
which you entered it.
To make, in reascending, the second half of the loop, you must lay your
thread to the right of the needle, fig. 372.
When you have reached the last thread, enter the needle at the loop,
opposite the one it came out of.
DARNING ON THREADS STRETCHED OBLIQUELY ACROSS (figs. 373 and 374).--As
the illustration shows, you have to pick up all the cleared loops,
besides two or three on either side of the empty space. The number and
length of the threads which you carry across, must correspond with those
of the threads you have to replace.
[Illustration: FIG. 373. DARNING ON THREADS STRETCHED OBLIQUELY ACROSS.
POSITION OF THE THREADS.]
[Illustration: FIG. 374. DARNING ON THREADS STRETCHED OBLIQUELY ACROSS.
HOW TO COVER THE OBLIQUE THREADS.]
Fasten in, from the right side, a rather finer thread than the one the
original web is made of, and make a few stitches over the existing ones,
in the row you are about to complete.
Enter the needle upwards from below, through the first disengaged loop,
pass it under two threads issuing from one loop, and then bring it back
again into the same loop between the two slanting threads, drawing it
out again upwards from below, through the next loop, and so on. The new
loop must be just equal to the old ones in size. Make in the same manner
as at the beginning, two or three stitches at the end of the row, within
the edge of the hole. Work back in a similar way, with this difference
only, that you turn your work round.
PIQUÉ PATTERN (fig. 375).--The following patterns are suitable for
making counterpanes, petticoats, vests and other articles of clothing.
Select a suitable number of Coton à tricoter D.M.C. Cast on a number of
stitches divisible by 7, and begin by 6 rows of 5 plain stitches and 1
purled, taken from behind.
[Illustration: FIG. 375. PIQUÉ PATTERN. MATERIALS: Coton à tricoter
D.M.C Nos. 6 to 30.]
7th row--purl from behind the 3rd of the 5 plain, and knit 5 plain more
and so on.
PIQUÉ PATTERN (fig. 376).--Cast on a number of stitches divisible by
14.
[Illustration: FIG. 376. PIQUÉ PATTERN. MATERIALS: Coton à tricoter
D.M.C Nos. 6 to 30, or Coton pour crochet 4 fils D.M.C Nos. 4 to 20.[A]]
1st and 2nd row--* purl 7, knit 1, purl 1, knit 1, purl 1, knit 1, purl
1, knit 1; repeat from *.
3rd and 4th row--* knit 7, purl 1, knit 1, purl 1, knit 1, purl 1, knit
1, purl 1; repeat from *.
Repeat the whole from the 1st row.
PIQUÉ PATTERN (fig. 377).--Cast on a number of stitches divisible by
4.
[Illustration: FIG. 377. PIQUÉ PATTERN. MATERIALS: The same as for fig.
371.]
The 8 first rows--knit 2, purl 2.
9th and 10th row--knit 2 over the 2 purled, purl 2 over the 2 knitted of
the 8th row.
11th and 12th rows--the same as the first 8 rows.
13th and 14th row--the same as the 9th and 10th row.
15th to the 23rd--the same as the first 8 rows.
STRIPES FOR COUNTERPANES (fig. 378).--This pattern is to be worked in
stripes, of two colours; we may here take occasion to mention that in
choosing two colours, one dark and one light, for a piece of work, the
dark cotton should always be one or two numbers finer than the light,
because the dark dyes thicken the cotton more than the light ones do.
The blue, red and dark brown dyes sink into the cotton more and cause
it to swell, whereas the lighter dyes do not affect its thickness.
[Illustration: FIG. 378. STRIPES FOR COUNTERPANES. MATERIALS: Coton à
tricoter D.M.C No. 6, 8, 10 or 12. COLOURS: Rouge-Turc 321 and
Gris-Tilleul 391.[A]]
Hence it comes, that for the stripes, here described, we were obliged to
take No. 8 of the red cotton and No. 6 of the green, in order that the
same number of stitches should make the same length of stripe.
Cast on 28 stitches:
1st needle--slip 1, knit 2, over, knit 1, knit 1 from behind, purl 1
from behind, knit 1 from behind, purl 2, knit 5, purl 2, knit 1 from
behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
1 from behind, purl 1 from behind, knit 1 from behind, purl 1 from
behind, knit 1, over, knit 3, 1 chain stitch.
2nd needle--wrong side: slip 1, purl 2, purl 2 together, purl 1 from
behind, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
1 from behind, knit 1 from behind, purl 1 from behind, knit 2, purl 5,
knit 2, purl 1 from behind, knit 1 from behind, knit 2 together, purl 2,
1 chain stitch.
3rd needle--right side: slip 1, knit 2, over, knit 1, knit 1 from
behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
1 from behind, purl 2, knit 5, purl 2, knit 1 from behind, purl 1 from
behind, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
1 from behind, knit 1, over, knit 2, 1 chain stitch.
4th needle--wrong side: slip 1, purl 2, purl 2 together, purl 1 from
behind, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
1 from behind, knit 2, purl 5, knit 2, purl 1 from behind, knit 1 from
behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
1 from behind, purl 2 together, purl 2, 1 chain stitch.
5th needle--on the right side: slip 1, knit 2, over, knit 1, knit 1 from
behind, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
1 from behind, purl 1 from behind, knit 1 from behind, purl 2, knit 5,
purl 2, knit 1 from behind, purl 1 from behind, knit 1 from behind, purl
1 from behind, knit 1, over, knit 2, 1 chain stitch.
6th needle--on the wrong side: slip 1, purl 2, purl 2 together, purl 1
from behind, knit 1 from behind, purl 1 from behind, knit 2, purl 5,
knit 2, purl 1 from behind, knit 1 from behind, purl 1 from behind, knit
1 from behind, purl 1 from behind, knit 1 from behind, purl 1 from
behind, knit 1 from behind, purl 2 together, purl 2, 1 chain stitch.
7th needle like the 5th, 8th needle like the 4th, 9th needle like the
3rd, 10th needle like the 2nd, 11th needle like the 1st. Five plain
stitches form a zig-zag in the middle of the stripe.
Join the stripes with crochet stitches; of which several kinds are
described in the next chapter.
KNITTED SQUARE (fig. 379).--Cast on 2 stitches on to each of the 4
needles. Repeat always 3 times after the asterisk.
[Illustration: FIG. 379. KNITTED SQUARE. MATERIALS: Coton à tricoter
D.M.C No. 8 or Fil à pointer D.M.C No. 20.]
1st row--over, knit 1, over, knit 1 *.
2nd row--knit 1, over, knit 1, over, knit 2 *.
3rd row--knit 1, purl 1, over, knit 1, over, purl 2, knit 2 *.
4th row--knit 1, purl 2, over, knit 1, over, purl 2, knit 2 *.
5th row--knit 1, purl 3, over, knit 1, over, purl 3, knit 2 *.
6th row--knit 1, purl 4, over, knit 1, over, purl 4, knit 2 *.
7th row--knit 1, purl 5, over, knit 1, over, purl 5, knit 2 *.
8th row--knit 1, purl 4, knit 2, over, knit 2, over, knit 1, purl 4,
knit 2 *.
9th row--knit 1, purl 3, knit 4, over, knit 1, over, knit 4, purl 3,
knit 2 *.
10th row--knit 1, purl 2, knit 6, over, knit 1, over, knit 6, purl 2,
knit 2 *.
11th row--knit 1, purl 1, knit 8, over, knit 1, over, knit 8, purl 1,
knit 2 *.
12th row--knit 1, purl 2, knit 5, cross 2 stitches (that is, first knit
off the second stitch plain and then the first), knit 1, over, knit 1,
over, knit 1, cross 2, knit 5, purl 2, knit 2 *.
13th row--knit 1, purl 3, knit 8, purl 1, over, knit 1, over, purl 1,
knit 8, purl 3, knit 2 *.
14th row--knit 1, purl 4, knit 4, cross 2, knit 1, purl 2, over, knit 1,
over, purl 2, knit 1, cross 2, knit 4, purl 4, knit 2 *.
15th row--knit 1, purl 5, knit 6, purl 3, over, knit 1, over, purl 3,
knit 6, purl 5, knit 2 *.
16th row--knit 1, purl 4, knit 3, cross 2, knit 1, purl 4, over, knit 1,
over, purl 4, knit 1, cross 2, knit 3, purl 4, knit 2 *.
17th row--knit 1, purl 3, knit 7, purl 5, over, knit 1, over, purl 5,
knit 7, purl 3, knit 2 *.
18th row--knit 1, purl 2, knit 5, cross 2, knit 1, purl 4, knit 2, over,
knit 1, over, knit 2, purl 4, knit 1, cross 2, knit 5, purl 2, knit 2 *.
19th row--knit 1, purl 1, knit 9, purl 3, knit 4, over, knit 1, over,
knit 4, purl 3, knit 9, purl 1, knit 2 *.
20th row--knit 1, purl 2, knit 5, cross 2, knit 1, purl 2, knit 6, over,
knit 1, over, knit 6, purl 2, knit 1, cross 2, knit 5, purl 2, knit 2 *.
21st row--knit 1, purl 3, knit 7, purl 1, knit 8, over, knit 1, over,
knit 8, purl 1, knit 7, purl 3, knit 2 *.
22nd row--knit 1, purl 4, knit 3, cross 2, knit 1, purl 2, knit 6, cross
2, knit 1, purl 2, knit 5, cross 2, knit 1, over, knit 1, cross 2, knit
5, purl 2, knit 1, cross 2, knit 3, purl 4, knit 2 *.
23rd row--knit 1, purl 5, knit 3, purl 3, knit 7, purl 1, over, knit 1,
over, purl 1, knit 7, purl 3, knit 5, purl 5, knit 2 *.
24th row--knit 1, purl 4, knit 3, cross 2, knit 1, purl 4, knit 3, cross
2, knit 1, purl 2, over, knit 1, over, purl 2, knit 1, cross 2, knit 3,
purl 4, knit 1, cross 2, knit 3, purl 4, knit 2 *.
25th row--knit 1, purl 3, knit 8, purl 5, knit 5, purl 3, over, knit 1,
over, purl 3, knit 5, purl 5, knit 5, purl 3, knit 2 *.
26th row--knit 1, purl 2, knit 5, cross 2, knit 1, purl 4, knit 3, cross
2, knit 1, purl 4, over, knit 1, over, purl 4, knit 1, cross 2, knit 3,
purl 4, knit 1, cross 2, knit 5, purl 2, knit 2 *.
27th round--knit 1, purl 1, knit 9, purl 3, knit 7, purl 5, over, knit
1, over, purl 5, knit 7, purl 3, knit 9, purl 1, knit 2 *.
Finish the square with several rows of purl and a chain.
PLAIN PATENT KNITTING, OR BRIOCHE PATTERN (fig. 380).--This easy and
extremely elastic stitch is used for all sorts of articles of clothing,
and is worked in two rows.
[Illustration: FIG. 380. PLAIN PATENT KNITTING, OR BRIOCHE PATTERN.]
Cast on a number of stitches that divides by 3, with 4 extra for the
edge.
1st row--slip 1, knit 1, * over, put the needle into the next stitch, as
if to purl it, slip the stitch from the left needle to the right, knit
1, repeat from *, and finish with 2 plain.
2nd row--begin with 1 chain, knit 1, knit the slipped stitch and the
over together, over, slip the single stitch that remains, from the left
needle to the right. When the knitting is round, you purl and knit the
intake alternately.
DOUBLE PATENT KNITTING (fig. 381).--Begin on the wrong side.
[Illustration: FIG. 381. DOUBLE PATENT KNITTING.]
1st row--like the 1st row of fig. 380.
2nd row--knit all the stitches, pass the over by putting the needle into
it from right to left.
3rd row--like the second row of fig. 380. Now, it is only the second and
third row that should alternate.
Patent knitting has a charming effect, done in two colours, by working
them alternately backwards and forwards.
PLAITED STITCH (fig. 382).--This kind of stitch is worked in stripes,
which, for scarves, counterpanes, etc., are generally joined together
with stripes of plain knitting. For counterpanes, the lower numbers of
D.M.C cottons are most suitable, for smaller articles the higher
numbers. Plaited stitch is formed by crossing the stitches, that is, by
knitting the second stitch on the left needle to begin with, and then
the first stitch.
[Illustration: FIG. 382. PLAITED STITCH.
MATERIALS: Coton à tricoter D.M.C Nos. 8 to 20, or Cordonnet 6 fils
D.M.C Nos. 10 to 30.]
If you cross two or more stitches in a few successive rows without
slipping them, the stitches will be seen by degrees, to form a plait, as
shown in fig. 382.
1st row--purl 4, cast on 3 stitches on to an auxiliary needle, and leave
it hanging on the inside of the work; knit 3 and then knit the 3
stitches on the extra needle, purl 4.
Then follow 5 rows, in which you purl all the purled stitches and knit
all the plain ones. After which 5 rows you repeat from the beginning.
TURKISH STITCH (fig. 383).--1st row--slip 1, knit 1, over, knit 2
together, over, knit 2 together, and so on to the 2 last stitches, which
you knit plain.
[Illustration: FIG. 383. TURKISH STITCH.]
2nd row--slip the 1st, knit the 2nd and the 3rd plain, the latter having
been formed by the last over on the 1st needle; 1 over, 1 intake with
the stitch and the over, 1 over, 1 intake and so on.
TURKISH STITCH WITH BEADS (fig. 384).--String the beads on the thread
before you begin to knit. When you only use one kind of bead, thread a
needle with your knitting cotton and run it through the thread on which
the beads are strung.
When you use several kinds, you must count and thread them on in the
required order. Beaded knitting is little in request now, excepting for
tobacco pouches and purses; for which you should use Cordonnet 6 fils
D.M.C Nos. 35, in any colour, and small beads.
[Illustration: FIG. 384. TURKISH STITCH WITH BEADS.]
For close beaded knitting, plain stitch is the best. Run the beads down
singly at each stitch. The beads will fall on the reverse side of the
work so that in knitting with beads, remember that the reverse side will
be the right side.
To work fig. 384, which represents the same stitch as fig. 383, you run
down 2 or sometimes 3 beads before knitting each stitch.
KNITTING PATTERN WITH TWO KINDS OF COTTON (fig. 385).--A variety of
pretty things, such as open-work stockings, shawls, curtains etc. can be
made in this pattern, worked with two sizes of thread. To give it its
full effect it ought to be knitted with coarse needles, Nos. 10, 11, or
12.
[Illustration: FIG. 385. KNITTING PATTERN WITH TWO KINDS OF COTTON.
MATERIALS: Fil à pointer D.M.C No. 20 or 30, and Cordonnet 6 fils D.M.C
No. 60 or 80, écru.[A]]
Cast on a number of stitches that divides by 8. Take the coarse thread
to begin with.
1st and 2nd row--purl.
3rd row--purl 5, 2 overs, purl 5.
4th row--with the fine thread: over, knit 2 together, slip the next
stitch of the previous row, drop the double over, slip the next stitch,
1 over, knit 2 together.
5th row--over, knit 2 together, over, knit 2 together, and so on.
6th row--like the last. See that the 2 slipped stitches, in the coarse
thread, always come on the right side of the work.
7th row--with the coarse thread: purl 4, purl the 2 slipped stitches of
the 3rd row together, then repeat from the 1st row.
See that in the 3rd row the 2 overs come between the stitches formed by
the 2 stitches that were formed by the 1st over, and the 2 stitches of
the 6th row, that were knitted together.
KNITTING PATTERN WITH TWO KINDS OF THREAD (fig. 386).--Cast on a
number of stitches that divides by 4.
[Illustration: FIG. 386. KNITTING PATTERN WITH TWO KINDS OF THREAD.
MATERIALS: Fil à pointer D.M.C Nos. 25 to 30 and Cordonnet 6 fils D.M.C
No. 60 or 80.]
1st row--with coarse thread: purl.
2nd row--plain.
3rd row--with fine thread: over, 1 intake, knit 2.
4th row--plain.
5th row--knit 1, over, 1 intake, knit 1.
6th row--plain.
7th row--knit 2, over, 1 intake.
8th row--plain.
9th and 10th row--with the coarse thread: purl.
11th row--plain.
12th row--with the fine thread: over, knit 2 together.
13th row--plain.
14th row--purl. Then repeat from the 1st row.
KNITTING PATTERN WITH DROPPED STITCHES (fig. 387).--Cast on a number
of stitches that divides by 9.
[Illustration: FIG. 387. KNITTING PATTERN WITH DROPPED STITCHES.
MATERIALS: Coton à tricoter D.M.C Nos. 16 to 30, Coton pour crochet
D.M.C Nos. 6 to 30, or Fil à pointer D.M.C Nos. 10 to 30.]
1st row--over, slip 3, knit 1, 2 overs, knit 3, 2 overs, knit 1.
2nd row--knit 3, slip the next, drop the 2 overs, knit 4, turn the work,
purl 4, turn the work, knit 4, drop the 2 overs, slip the next stitch.
3rd row--over, slip 2, knit 1, pull slipped stitches over, drop the
first of the 4 stitches, knit first the stitch that follows the second
double over, then the 4 others plain, and lastly, take up the dropped
stitch and knit it plain on the right side of the work.
4th row--knit plain.
5th row--over, slip 3, over, knit 6.
6th row--knit plain, and repeat from the 1st row.
KNITTING PATTERN (fig. 388).--This pattern may be worked with any one
of the D.M.C cottons recommended for fig. 387, but in the case of
anything that is not wearing apparel, Fil à pointer D.M.C will be found
more suitable. Cast on a number of stitches that divides by 18.
[Illustration: FIG. 388. KNITTING PATTERN.]
1st row--over, knit 2 together, over, knit 2 together, over, knit 2
together, over, knit 4, knit 2 together, over, slip 2, knit 1, pull
slipped stitches over, over, knit 3.
Each row marked by an even number is to be knitted plain throughout.
3rd row--knit 1, over, knit 2 together, over, knit 2 together, over,
knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 2,
knit 2 together, over, knit 3, over, slip 1, knit 1, pull slipped stitch
over, knit 1.
5th row--knit 2, over, knit 2 together, over, knit 2 together, over,
knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 2
together, over, knit 5, over, knit 2 together.
7th row--knit 3, over, knit 2 together, over, knit 2 together, over,
knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 1,
over, slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together,
over, knit 2.
9th row--knit 4, over, knit 2 together, over, knit 2 together, over,
knit 2 together, over, slip 1, knit 1, pull slipped stitch over, knit 1,
over, slip 2, knit 1, pull slipped stitches over, over, knit 2.
11th row--knit 5, over, knit 2 together, over, knit 2 together, over,
knit 2 together, over, knit 2 together, over, slip 1, knit 1, pull
slipped stitch over, knit 6.
13th row--knit 7, over, knit 2 together, over, purl 2 together, over,
slip 1, knit 1, pull slipped stitch over, knit 5.
Repeat from the beginning.
KNITTING PATTERN (fig. 389).--Cast on a number of stitches that
divides by 9.
1st row--2 overs, slip 1, knit 1, pull slipped stitch over, knit 5, knit
2 together.
2nd row--2 overs, slip the first over on to the right needle, knit the
second over, slip 1, knit 1, pull slipped stitch over, knit 3, knit 2
together.
3rd row--2 overs, slip the overs of the two first rows on to the right
needle, slip 1, knit 1, pull slipped stitch over, knit 1, knit 2
together.
4th row--drop the overs of the 3 first rows and knit 8 double stitches,
that is, knit 1 stitch on the over, slip it on to the left needle and
knit it again.
These 8 stitches finished, make 2 overs, and slip 3, knit 1, pull
slipped stitches over. Repeat from the beginning.
Each time you repeat the 4th row, make double stitches on 4 overs, that
is, on 4 threads.
[Illustration: FIG. 389. KNITTING PATTERN.
MATERIALS: Cordonnet 6 fils D.M.C, or Fil à pointer D.M.C]
KNITTING PATTERN (fig. 390).--This pattern is suitable for children's
braces. For Coton à repriser D.M.C Nos. 6 to 20, which is the best for
the purpose, you will require fine bone needles.
Cast on a number of stitches that divides by 4.
1st row--over, slip 1, knit 1, pull slipped stitch over, knit 2.
2nd row--knit 1, over, slip 1, knit 1, pull slipped stitch over, knit 1.
3rd row--knit 2, over, slip 1, knit 1, pull slipped stitch over.
4th row--slip 1, knit 1, pull slipped stitch over, knit 2, over.
5th row--knit 2 together, over, knit 2.
6th row--knit 1, knit 2 together, over, knit 1.
7th row--knit 2 together, over, knit 2.
8th row--knit 2, knit 2 together, over.
Repeat from the beginning.
[Illustration: FIG. 390. KNITTING PATTERN. MATERIALS: Coton à repriser
D.M.C Nos. 5 to 20.]
KNITTING PATTERN (fig. 391).--The patterns shown in figs. 391 and 392,
are more particularly useful for comforters, shawls, hoods and the like.
The needles, which may be either of bone or steel must match the cotton
in size; steel needles are the best for any thing finer than No. 16, of
D.M.C Coton à tricoter.
[Illustration: FIG. 391. KNITTING PATTERN.]
Cast on a number of stitches that divides by 3.
1st row--over, slip 1 stitch on to the right needle, knit the 2 next
stitches, and draw the first stitch over them.
2nd row and 4th row--knit plain.
3rd row--like the first, but note, that the stitch that was the third in
the first row, will be the first here.
Repeat from the beginning.
KNITTING PATTERN (fig. 392).--Cast on a number of stitches that
divides by 3.
[Illustration: FIG. 392. KNITTING PATTERN.]
1st row--over, knit the 2 first together, draw the 3rd stitch through
the stitch formed by the intake and knit it off plain, then knit the
stitch that was pulled over it.
2nd and 4th row--knit plain.
3rd row--like the first; the third stitch here is the same that was
drawn through the third stitch in the first row.
KNITTING PATTERN (fig. 393).--Cast on a number of stitches that
divides by 14.
[Illustration: FIG. 393. KNITTING PATTERN.]
1st row--over, knit 1, over, knit 2, purl 3, knit 3 together, purl 3,
knit 2.
2nd row--knit 5, purl 7, knit 2.
3rd row--over, knit 3, over, knit 2, purl 2, knit 3 together, purl 2,
knit 2.
4th row--knit 7, purl 5, knit 2.
5th row--over, knit 5, over, knit 2, purl 1, knit 3 together, purl 1,
knit 2.
6th row--knit 9, purl 3, knit 2.
7th row--over, knit 7, over, knit 2, knit 3 together, knit 2.
8th row--knit 11, purl 1, knit 1.
Repeat from the beginning but in the reverse order, that is, purling the
knitted stitches and knitting the purled.
KNITTED LACE (fig. 394).--Knitted lace looks best, made of a smooth,
silky thread which shows up the pattern better than any other material.
As a knitted edging makes a very pretty finish to almost any kind of
knitted article, we give a selection of some of the easiest and most
effective patterns that we consider suitable for the purpose.
[Illustration: FIG. 394. KNITTED LACE.
MATERIALS: Cordonnet 6 fils D.M.C Nos. 25 to 60, Fil à dentelle D.M.C
Nos. 25 to 70.[A]]
Cast on 8 stitches.
1st needle--1 chain, knit 2, over, knit 2 together, knit 2, 2 overs,
knit 2.
2nd needle--knit 3, purl 1, knit 4, over, knit 2 together, 1 chain.
3rd needle--1 chain, knit 2, over, knit 2 together, knit 6.
4th needle--2 chain, knit 5, over, knit 2 together, 1 chain.
Repeat from the first needle.
KNITTED LACE (fig. 395).--Cast on 10 stitches.
1st needle--knit 2 together, 2 overs, knit 2 together, 2 overs, knit 3,
over, knit 2 together, 1 chain.
2nd needle--1 chain, knit 2, knit 2 together, knit 2, purl 1, knit 2,
purl 1, knit 1.
3rd needle--knit 2 together, 2 overs, knit 2 together, 2 overs, knit 4,
over, knit 2 together, 1 chain.
4th needle--1 chain, knit 2, knit 2 together, knit 3, purl 1, knit 2,
purl 1, knit 1.
5th needle--knit 2 together, 2 overs, knit 2 together, 2 overs, knit 5,
over, knit 2 together, 1 chain.
6th needle--1 chain, knit 2, knit 2 together, knit 4, purl 1, knit 2,
purl 1, knit 1.
7th needle--knit 10, over, knit 2 together, 1 chain.
8th needle--1 chain, knit 2, knit 2 together, knit 8.
9th needle--4 chain, 2 overs, knit 2 together, 2 overs, knit 3, over,
knit 2 together, 1 chain.
Repeat from the second needle.
KNITTED LACE (fig. 396).--Cast on 13 stitches.
[Illustration: FIG. 395. KNITTED LACE.
MATERIALS: Coton à tricoter D.M.C Nos. 25 to 50, Fil à pointer D.M.C
Nos. 10 to 30, Cordonnet 6 fils D.M.C Nos. 10 to 30.[A]]
1st needle--1 chain, purl 1, purl 2 together, over, knit 8, 1 chain.
2nd needle--1 chain, knit 8, over, knit 2, knit 1 from behind, 1 chain.
3rd needle--1 chain, purl 2, over, purl 2 together, over, knit 8, 1
chain.
4th needle--1 chain, knit 8, over, knit 2 together, over, knit 2, knit 1
from behind, 1 chain.
5th needle--1 chain, purl 2, over, purl 2 together, over, purl 2
together, over, knit 8, 1 chain.
6th needle--1 chain, knit 8, over, knit 2 together, over, knit 2
together, over, knit 2, knit 1 from behind, 1 chain.
7th needle--1 chain, purl 2, over, purl 2 together, over, purl 2
together, over, purl 2 together, over, knit 8, 1 chain.
8th needle--1 chain, knit 8, over, knit 2 together, over, knit 2
together, over, knit 2 together, over, knit 2, knit 1 from behind, 1
chain.
9th needle--1 chain, purl 2, over, purl 2 together, over, purl 2
together, over, purl 2 together, over, purl 2 together, over, knit 8, 1
chain.
10th needle--8 chain, knit 10, knit 1 from behind, 1 chain.
Repeat from the first needle.
[Illustration: FIG. 396. KNITTED LACE.
MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos.
20 to 80, or Fil à dentelle D.M.C Nos. 25 to 60.[A]]
KNITTED LACE (fig. 397).--Cast on 11 stitches.
[Illustration: FIG. 397. KNITTED LACE.
MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos.
25 to 70, Fil à dentelle D.M.C Nos. 25 to 80.[A]]
1st needle--1 chain, knit 1 from behind, over, knit 1, over, slip 1,
knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
stitch over, over, slip 1, knit 1, pull slipped stitch over, knit 1, 1
chain.
The 2nd, 4th, 6th, 8th, 10th, 12th, 14th, and 16th needle, purled.
3rd needle--1 chain, knit 1 from behind, over, knit 3, over, slip 1,
knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
stitch over, over, slip 1, knit 1, pull slipped stitch over, 1 chain.
5th needle--1 chain, knit 1 from behind, over, knit 5, over, slip 1,
knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
stitch over, knit 1, 1 chain.
7th needle--1 chain, knit 1 from behind, over, knit 7, over, slip 1,
knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
stitch over, 1 chain.
9th needle--1 chain, slip 1, knit 1, pull slipped stitch over, over,
slip 1, knit 1, pull slipped stitch over, knit 3, knit 2 together, over,
knit 2 together, over, knit 2, 1 chain.
11th needle--1 chain, slip 1, knit 1, pull slipped stitch over, over,
slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over,
knit 2 together, over, knit 2 together, over, knit 1, 1 chain.
13th needle--1 chain, slip 1, knit 1, pull slipped stitch over, over,
knit 3 together, over, knit 2 together, over, knit 2 together, over,
knit 2, 1 chain.
15th needle--1 chain, slip 1, knit 1, pull slipped stitch over, knit 1,
knit 2 together, over, knit 2 together, over, knit 1, 1 chain.
Repeat from the first needle.
ROSE FOR KNITTING (fig. 398).--Repeat all the directions, 8 ending
with the sign *, 7 times.
Cast on 8 stitches, on to 4 needles, two on each; close the ring.
2nd round--8 times: over, knit 1.
The 3rd, 5th, 7th, 9th, 11th, 13th, 15th, 17th, 19th, 21st, 23rd, and
25th round, knit plain.
4th round--over, knit 3, over, knit 1 from behind *.
6th round--over, knit 4, over, knit 1 from behind *.
8th round--over, knit 7, over, knit 1 from behind *.
10th round--over, slip 1, knit 1, pull slipped stitch over, knit 2
together, over, knit 1 *.
12th round--over, knit 2 together, over, knit 3 *.
14th round--over, knit 1 from behind, over, knit 5 *.
16th round--over, knit 1 from behind, over, knit 7 *.
18th round--over, knit 1 from behind, over, knit 9 *.
20th round--over, knit 1 from behind, over, knit 11 *.
22nd round--over, knit 1 from behind, over, knit 13 *.
24th round--over, knit 1 from behind, over, knit 15 *.
26th round--over, knit 3, over, knit 5, knit 2 together, purl 1, slip 1,
knit 1, pull slipped stitch over, knit 5 *.
[Illustration: FIG. 398. ROSE FOR KNITTING.
MATERIALS: Fil d'Alsace D.M.C in balls, No. 60 or 70, Fil à dentelle
D.M.C No. 40, 50 or 60.[A]]
27th round--knit 11, purl 1, knit 6 *.
28th round--over, knit 5, over, knit 4, knit 2 together, purl 1, slip 1,
knit 1, pull slipped stitch over, knit 4 *.
29th round--knit 12, purl 1, knit 5 *.
30th round--over, knit 1, over, slip 1, knit 1, pull slipped stitch
over, knit 1, knit 2 together, over, knit 1, over, knit 3, knit 2
together, purl 1, slip 1, knit 1, pull slipped stitch over, knit 3 *.
31st round--knit 13, purl 1, knit 4 *.
32nd round--over, knit 3, over, slip 2, knit 1, pull slipped stitches
over, over, knit 3, over, knit 2, knit 2 together, purl 1, slip 1, knit
1, pull slipped stitch over, knit 2 *.
33rd round--knit 14, purl 1, knit 3.
34th round--over, knit 11, over, knit 1, knit 2 together, purl 1, slip
1, knit 1, pull slipped stitch over, knit 1 *.
35th round--knit 15, purl 1, knit 2.
36th round--over, knit 1, over, slip 1, knit 1, pull slipped stitch
over, knit 1, knit 2 together, over, knit 1, over, slip 1, knit 1, pull
slipped stitch over, knit 1, knit 2 together, over, knit 1, over, knit 2
together, purl 1, slip 1, knit 1, pull slipped stitch over *.
37th round--knit 16, purl 1, knit 1.
38th round--over, knit 3, over, slip 2, knit 1, pull slipped stitches
over, over, knit 3, over, slip 2, knit 1, pull slipped stitches over,
over, knit 3, over, knit 2, over, slip 2, knit 1, pull slipped stitches
over *.
39th, 41st and 43rd round--knit plain.
40th round--over, knit 4, knit 2 together, over, knit 5, over, slip 1,
knit 1, pull slipped stitch over, knit 4, over, knit 1.
42nd round--knit 1, over, slip 1, knit 1, pull slipped stitch over, knit
1, knit 2 together, over, knit 1, over, slip 1, knit 1, pull slipped
stitch over, knit 1, knit 2 together, over, knit 1, over, slip 1, knit
1, pull slipped stitch over, knit 1, knit 2 together, over, knit 2 *.
44th round--knit 2, over, slip 2, knit 1, pull slipped stitches over,
over, knit 3, over, slip 2, knit 1, pull slipped stitches over, over,
knit 3, over, slip 2, knit 1, pull slipped stitches over, over, knit 3
*.
Finish with three purled rounds.
KNITTED EDGING (fig. 399).--Cast on 43 stitches.
1st needle, make a chain of 2 stitches, over, knit 1 from behind, over,
knit 1 from behind, over, knit 1, over, slip 1, knit 1, pull slipped
stitch over, knit 1, knit 2 together, over, knit 1, over, slip 1, knit
1, pull slipped stitch over, knit 1, knit 2 together, over, knit 1, knit
1 from behind, purl 1, knit 1 from behind, over, knit 1, knit 2
together, purl 1, slip 1, knit 1, pull slipped stitch over, knit 1, purl
1, knit 1, knit 2 together, knit 1 from behind, slip 1, knit 1, pull
slipped stitch over, knit 1, over, knit 1 from behind, purl 1, knit 1
from behind, over, knit 2 together, knit 1, 1 chain.
[Illustration: FIG. 399. KNITTED EDGING.
MATERIALS: Fil d'Alsace D.M.C Nos. 40 to 70 or Fil à dentelle D.M.C Nos.
25 to 50, or Cordonnet 6 fils D.M.C Nos. 25 to 60.[A]]
2nd needle--1 chain, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
from behind, purl 3, knit 1, purl 2, knit 1, purl 2, knit 1, purl 3,
purl 1 from behind, knit 1, purl 1 from behind, purl 14, purl 1 from
behind, purl 4.
3rd needle--slip 2 stitches over for a chain, over, knit 1 from behind,
over, knit 1 from behind, over, knit 3, over, slip 2, knit 1, pull
slipped stitches over, over, knit 3, over, slip 2, knit 1, pull slipped
stitches over, over, knit 2 together, over, knit 1 from behind, purl 1,
knit 1 from behind, over, knit 1, over knit 2 together, purl 1, slip 1,
knit 1, pull slipped stitch over, purl 1, knit 2 together, purl 1, slip
1, knit 1, pull slipped stitch over, over, knit 1, over, knit 1 from
behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
chain.
4th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
from behind, purl 4, knit 1, purl 1, knit 1, purl 1, knit 1, purl 4,
purl 1 from behind, knit 1, purl 1 from behind, purl 15, purl 1 from
behind, purl 4.
5th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
over, knit 1 from behind, over, knit 2, over, slip 1, knit 1, pull
slipped stitch over, knit 2 together, over, knit 2, over, slip 1, knit
1, pull slipped stitch over, knit 2 together, over, knit 2 together,
over, knit 1, knit 1 from behind, purl 1, knit 1 from behind, over, knit
3, over, slip 2, knit 1, pull slipped stitches over, purl 1, slip 2,
knit 1, pull slipped stitches over, over, knit 3, over, knit 1 from
behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
chain.
6th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
from behind, purl 6, knit 1, purl 6, purl 1 from behind, knit 1, purl 1
from behind, purl 16, purl 1 from behind, purl 4.
7th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
over, knit 1 from behind, over, knit 1, over, slip 1, knit 1, pull
slipped stitch over, knit 1, knit 2 together, over, knit 1, over, slip
1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over, knit
2 together, over, knit 2 together, over, knit 1 from behind, purl 1,
knit 1 from behind, over, knit 5, over, slip 2, knit 1, pull slipped
stitches over, over, knit 5, over, knit 1 from behind, purl 1, knit 1
from behind, over, knit 2 together, knit 1, 1 chain.
8th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
from behind, purl 15, purl 1 from behind, knit 1, purl 1 from behind,
purl 17, purl 1 from behind, purl 4.
9th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
over, knit 1 from behind, over, knit 3, over, slip 2, knit 1, pull
slipped stitches over, over, knit 3, over, slip 2, knit 1, pull slipped
stitches over, over, knit 2 together, over, knit 2 together, over, knit
1, knit 1 from behind, purl 1, knit 1 from behind, over, knit 1, knit 2
together, purl 1, slip 1, knit 1, pull slipped stitch over, knit 1, purl
1, knit 1, knit 2 together, purl 1, slip 1, knit 1, pull slipped stitch
over, knit 1, over, knit 1 from behind, purl 1, knit 1 from behind,
over, knit 2 together, knit 1, 1 chain.
10th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
from behind, purl 3, knit 1, purl 2, knit 1, purl 2, knit 1, purl 3,
purl 1 from behind, knit 1, purl 1 from behind, purl 18, purl 1 from
behind, purl 4.
11th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
over, knit 1 from behind, over, knit 2, over, slip 1, knit 1, pull
slipped stitch over, knit 2 together, over, knit 2, over, slip 1, knit
1, pull slipped stitch over, knit 2 together, over, knit 2 together,
over, knit 2 together, over, knit 2 together, over, knit 1 from behind,
purl 1, knit 1 from behind, over, knit 1, over, knit 2 together, purl 1,
slip 1, knit 1, pull slipped stitch over, purl 1, knit 2 together, purl
1, slip 1, knit 1, pull slipped stitch over, over, knit 1, over, knit 1
from behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1,
1 chain.
12th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
from behind, purl 4, knit 1, purl 1, knit 1, purl 1, knit 1, purl 4,
purl 1 from behind, knit 1, purl 1 from behind, purl 19, purl 1 from
behind, purl 4.
13th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
pull slipped stitch over, knit 1, knit 2 together, over, knit 1, over,
slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over,
knit 1, over, slip 1, knit 1, pull slipped stitch over, over, slip 1,
knit 1, pull slipped stitch over, over, slip 1, knit 1, pull slipped
stitch over, knit 1 from behind, purl 1, knit 1, from behind, over, knit
3, over, slip 2, knit 1, pull slipped stitches over, purl 1, slip 2,
knit 1, pull slipped stitches over, over, knit 3, over, knit 1 from
behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
chain.
14th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
from behind, purl 6, knit 1, purl 6, purl 1 from behind, knit 1, purl 1
from behind, purl 18, purl 1 from behind, purl 4.
15th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
over, slip 1, knit 1, pull slipped stitch over, over, slip 2, knit 1,
pull slipped stitches over, over, knit 3, over, slip 2, knit 1, pull
slipped stitches over, over, knit 3, over, slip 1, knit 1, pull slipped
stitch over, over, slip 1, knit 1, pull slipped stitch over, over, knit
2 together, purl 1, knit 1 from behind, over knit 5, over, slip 2, knit
1, pull slipped stitches over, over, knit 1 from behind, over, knit 2
together, knit 1, 1 chain.
16th needle--like the 8th.
17th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
pull slipped stitch over, knit 2 together, over, knit 2, over, slip 1,
knit 1, pull slipped stitch over, knit 2 together, over, knit 2, over,
slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1, pull
slipped stitch over, knit 1 from behind, purl 1, knit 1 from behind,
over, knit 1, knit 2 together, purl 1, slip 1, knit 1, pull slipped
stitch over, knit 1, purl 1, knit 1, knit 2 together, purl 1, slip 1,
knit 1, pull slipped stitch over, knit 1, over, knit 1 from behind, purl
1, knit 1 from behind, over, knit 2 together, knit 1, 1 chain.
18th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 1, purl 1
from behind, purl 3, knit 1, purl 2, knit 1, purl 2, knit 1, purl 3,
purl 1 from behind, knit 1, purl 1 from behind, purl 16, purl 1 from
behind, purl 4.
19th needle--slip 2 stitches over for a chain, over, knit 1 from behind,
over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
pull slipped stitch over, knit 1, knit 2 together, over, knit 1, over,
slip 1, knit 1, pull slipped stitch over, knit 1, knit 2 together, over,
knit 1, over, slip 1, knit 1, pull slipped stitch over, over, knit 2
together, purl 1, knit 1 from behind, over, knit 1, over, purl 1, slip
1, knit 1, pull slipped stitch over, purl 1, knit 2 together, purl 1,
slip 1, knit 1, pull slipped stitch over, over, knit 1, over, knit 1
from behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1,
1 chain.
20th needle--like the 4th.
21st needle--slip 2 stitches over for a chain, over, knit 1 from behind,
over, slip 1, knit 1, pull slipped stitch over, over, slip 2, knit 1,
pull slipped stitches over, over, knit 3, over, slip 2, knit 1, pull
slipped stitches over, over, knit 3, over, slip 1, knit 1, pull slipped
stitch over, knit 1 from behind, purl 1, knit 1 from behind, over, knit
3, over, slip 2, knit 1, pull slipped stitches over, purl 1, slip 2,
knit 1, pull slipped stitches over, over, knit 3, over, knit 1 from
behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
chain.
22nd needle--slip 1; knit 2, purl 1, purl 1 from behind, knit 1, purl 1
from behind, purl 6, knit 1, purl 6, purl 1 from behind, knit 1, purl 1
from behind, purl 14, purl 1 from behind, purl 4.
23rd needle--slip 2 stitches over for a chain, over, knit 1 from behind,
over, slip 1, knit 1, pull slipped stitch over, over, slip 1, knit 1,
pull slipped stitch over, knit 2 together, over, knit 2, over, slip 1,
knit 1, pull slipped stitch over, knit 2 together, over, knit 2, over,
knit 2 together, purl 1, knit 1 from behind, over, knit 5, over, slip 2,
knit 1, pull slipped stitches over, over, knit 5, over, knit 1 from
behind, purl 1, knit 1 from behind, over, knit 2 together, knit 1, 1
chain.
24th needle--slip 1, knit 2, purl 1, purl 1 from behind, knit 4, purl 1
from behind, purl 15, purl 1 from behind, knit 1, purl 1 from behind,
purl 13, purl 1 from behind, purl 4.
Repeat from the first needle.
FOOTNOTES:
[A] See at the end of the concluding chapter, the table of numbers and
sizes and the list of colours of the D.M.C threads and cottons.
[Illustration: CROCHET LACE.--CLOSE LEAVES AND BARS WITH PICOTS]
Crochet Work.
Crochet work, so called from the hook, French _croche_ or _croc_, with
which it is done, is not only one of the easiest but in comparison with
the cost and labour, one of the most effective kinds of fancy-work. It
is also one of the most useful, as it can be applied to the domestic
requirements of every-day life, to wearing apparel, house-linen and
upholstery; and we are sure that the patterns contained in this chapter,
which have in addition to their other merits that of novelty, will meet
with a favorable reception.
Hooks, or needles, as they are generally called, made of wood, bone or
tortoise-shell are used for all the heavier kinds of crochet work in
thick wool or cotton, and steel ones for the finer kinds. The Tunisian
crochet is done with a long straight hook, which is made all in one
piece. The points should be well polished inside and not too sharp, the
backs slightly curved, and the handles, whether of bone, steel or wood,
so light as not to tire the hand. Those represented here, we consider
the best, as regards shape. As it is most essential that the needle
should be suited to the cotton in size, we subjoin a comparative table
of the numbers of the D.M.C threads and cottons and of the different
needles.
[Illustration: FIG. 400. CROCHET NEEDLE WITH WOODEN HANDLE.]
[Illustration: FIG. 401. CROCHET NEEDLE WITH STEEL HANDLE.]
[Illustration: FIG. 402. ENGLISH CROCHET NEEDLE WITH WOODEN HANDLE.]
TABLE OF THE APPROXIMATE RELATION OF THE D.M.C THREADS AND COTTONS TO
THE NUMBERS OF THE CROCHET NEEDLES.
-----------------------------------------------------------------------------+
Numbers of the | | | | | | | | |
crochet needles | 9 | 10 | 11 | 12 | 13 | 14 | 16 | 18 |
-------------------+--------+--------+-----+------+------+-----+-----+-------|
Numbers of the | | | | | | | | |
cottons | No. | No. | No. | No. | No. | No. | No. | No. |
-------------------+--------+--------+-----+------+------+-----+-----+-------+
Coton pour crochet | --- | 6 | 8-10| 12-14| 16-20|24-40| --- | --- |
Coton à tricoter | 6 | 8 |10-12| 14-16| 18-25|25-40| 50 | --- |
Fil à pointer | 10 | 15 |20-30| --- | --- | --- | --- | --- |
Cordonnet 6 fils | 1-1½ | 2-2½ | 3-4 | 10-15| 20-30|40-60|70-90|100-150|
Fil d'Alsace | --- | --- | --- | --- | 30 |36-50|60-90|100-150|
Fil à dentelle | --- | --- | --- | --- | 25 |30-50|60-90|100-150|
-----------------------------------------------------------------------------+
EXPLANATION OF THE SIGNS *.--In crochet, as in knitting, you
frequently have to repeat the same series of stitches. Such repetitions
will be indicated, by the signs *, **, ***, etc., as the case may be.
CROCHET STITCHES.--In point of fact, there is only one, because all
crochet work consists of loops made by means of the hook or needle, and
connected together by being drawn the one through the other.
Crochet work may however, be divided into two kinds, German crochet, and
Victoria or Tunisian crochet; the latter is known also under the name of
_tricot-crochet._
In German crochet there are eight different kinds of stitches: (1) chain
stitch, (2) single stitch, (3) plain stitch, (4) treble stitch, (5)
knot stitch, (6) bullion stitch, (7) cluster or scale stitch, (8) double
stitch.
The rows are worked, according to the kind of stitch, either to and fro,
or all from one end. In the former case, the work has to be turned at
the end of each row, and the subsequent row begun with 1, 2 or 3 chain
stitches to prevent the contraction of the outside edge.
When the rows are all worked one way, the thread must be fastened on
afresh each time, which is done by putting the needle into the first
chain stitch of the preceding row, drawing the thread through it so as
to form a loop, and making one or more chain stitches according to the
height required.
At the end of each row, cut the thread and draw the end through the last
loop; in this manner all crochet work is finished off. Some crochet
workers make a few extra chain stitches with the ends of the thread at
the beginning and end of each row, or fasten them off with a few
stitches on the wrong side.
They can also, when the occasion requires, be formed into a fringe or
tassels as a finish to the work.
POSITION OF THE HANDS AND EXPLANATION OF (1) CHAIN STITCH (fig.
403).--Take the thread in the left hand between the finger and thumb,
hold the needle between the thumb and first finger of the right hand,
letting it rest on the second finger, in the same manner in which you
hold your pen, and put it into the loop, which you hold between the
finger and thumb of the left hand. Take up the thread, lying on your
finger, with the needle and make your first stitch as you do in
knitting, tightening the loop just enough to leave an easy passage
through it for the needle. The end of the thread must be held by the
thumb and forefinger. The next stitches are made by taking up the thread
with the needle and drawing it through the loop. The throwing of the
thread round the needle by a jerk of the wrist is called an 'over'.
[Illustration: FIG. 403. POSITION OF THE HANDS AND EXPLANATION OF CHAIN
STITCH.]
(2) SINGLE STITCH (fig. 404).--Put the needle in from the right side
of the work, into the uppermost loop of the preceding row, take up the
thread on the needle and draw it through both loops.
[Illustration: FIG. 404. SINGLE STITCH.]
(3) PLAIN STITCH (fig. 405).--Put the needle through, as in fig. 404,
from the right side to the wrong, under the upper side, either of a
chain, or of a stitch of the preceding row, draw the thread through it
in a loop, turn the thread round the needle and draw it through both
loops on the needle. By making the rows of plain stitches follow each
other in different ways, a great variety of stitches can be produced, as
the illustrations and written instructions here given will show.
[Illustration: FIG. 405. PLAIN STITCH.]
ROSE STITCH (fig. 406).--This consists of rows of plain stitches,
worked backwards and forwards. Insert the needle from the right side,
under both the horizontal loops of the preceding row.
[Illustration: FIG. 406. ROSE STITCH.]
RUSSIAN STITCH (fig. 407).--This is worked like the foregoing, only
that all the rows have to be begun from the same end, and the thread has
to be cut off at the end of each row.
[Illustration: FIG 407. RUSSIAN STITCH.]
RIBBED STITCH (fig. 408).--Worked backwards and forwards, the hook
being passed through the back part only of the stitches of the preceding
row.
[Illustration: FIG 408. RIBBED STITCH.]
CHAIN STITCH.--Worked like fig. 408, but on one side only.
PIQUÉ STITCH.--This stitch also is only worked on one side. Put the
needle in under one of the vertical threads of a stitch and complete the
plain stitch. This is a stitch that looks very well on the wrong side;
the bars of the loop lie quite close together, which makes it
particularly suitable for unlined articles of clothing. It requires a
large-sized needle to do this stitch well, especially if the material be
a heavy one.
SLANTING STITCH (fig. 409).--Worked entirely on the right side. Take
up the back thread of a stitch in the preceding row, take hold of the
crochet thread without turning it round the needle and draw it through
in a loop, and then finish the stitch like a plain stitch.
[Illustration: FIG. 409. SLANTING STITCH.]
CROSSED STITCH.--The name which is given to the preceding stitch when
both the threads of the stitches in the row before, are taken up
together, instead of the back one only.
RUSSIAN CROSSED STITCH (fig. 410).--To work this stitch which runs in
slanting lines, put the needle in between the vertical threads of the
stitches and underneath the two horizontal ones.
[Illustration: FIG 410. RUSSIAN CROSSED STITCH.]
COUNTERPANE STITCH (fig. 411).--Counterpanes can be made in a less
close stitch than those just described.
[Illustration: FIG. 411. COUNTERPANE STITCH.]
To produce a soft and elastic fabric turn the thread round the needle
and insert it under both the horizontal threads of a loop, take up the
thread without turning it round the needle, draw it through in a loop,
make an over, and draw the thread through all the three loops, that you
have on the needle.
KNOTTED STITCH (fig. 412).--This stitch likewise is composed of plain
stitches, which, however differ in a slight degree from those we have
described hitherto.
[Illustration: FIG. 412. KNOTTED STITCH.]
Make an over, put the needle through the two horizontal threads of the
stitch below, make another over and draw it back through the two loops
and the first over, make another over, and draw the thread through the
last two loops.
LOOP STITCH (fig. 413).--Worked as follows: when you have put the
needle into the loop of a stitch below, carry the thread, downwards from
above, round a stripe of cardboard or a flat wooden ruler, then finish
the stitch in the usual way. These long loops, each about 2 c/m. in
length, can also be made over the forefinger and held fast by the thumb
as you work, but it is more difficult to make them regular in this way.
Each row of long stitches is followed by a row of plain stitches. The
side, where the long loops lie, becomes the right side. If you wish this
stitch to be very thick and handsome, wind the thread three times round
the ruler, or finger, and secure it with a plain stitch; in this case,
you should make one plain stitch between every two clusters. A loose,
fleecy thread is generally used for this stitch, and for washing
articles more especially, we recommend Coton à repriser D.M.C.
[Illustration: FIG. 413. LOOP STITCH.]
PLAIN STITCHES FOR A CHAIN (fig. 414).--Begin with two chain stitches,
put the needle in between the two threads of the first chain stitch,
turn the thread round the needle and draw it through in a loop, turn it
round again and draw it through the two loops; then, put the needle into
the left part of the stitch that was just made, turn the thread round
the needle, draw it through the two loops and so on, to the end.
[Illustration: FIG. 414. PLAIN STITCHES FOR A CHAIN.]
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
purpose.
(4) TREBLES.--Trebles are little columns, or bars made of loops or
stitches. They can be worked, like all other crochet, either to and fro,
or all one way. There are different kinds of trebles; half or short
trebles, trebles, double trebles, called also 'long stitch', and
quadruple and quintuple trebles, called 'extra long stitch', connected
trebles and crossed trebles.
HALF TREBLES (fig. 415).--Turn the cotton round the needle from
behind, put the needle in between the trebles of the preceding row, or
into one edge of a chain stitch; make an over, bring the needle forward
again with the thread, make another over and draw the needle through all
three loops.
[Illustration: FIG. 415. HALF TREBLES]
TREBLES (figs. 416 and 417).--Begin, as for the half treble, by
turning the thread round the needle, and putting it in under one edge of
the stitch beneath, then take up the thread on the needle and bring it
through two of the loops, take it up again, and draw it through the two
remaining loops.
[Illustration: FIG. 416. TREBLES MADE DIRECTLY ABOVE ONE ANOTHER.]
[Illustration: FIG. 417. TREBLES SET BETWEEN THOSE OF THE PRECEDING
ROW.]
In fig. 417, we have trebles made in the same manner as fig. 416, only
that instead of putting the needle under one edge of the stitch beneath,
you put it under both, and between the trebles of the last row.
[Illustration: FIG. 418. DOUBLE TREBLES OR 'LONG STITCH'.]
DOUBLE TREBLES OR 'LONG STITCH' (fig. 418).--Turn the thread twice
round the needle, put it into a stitch of the work and bring the thread
through in a loop, then take up the thread on the needle and bring it
through two of the loops, three times in succession.
[Illustration: FIG. 419. TRIPLE AND QUADRUPLE TREBLES OR 'EXTRA LONG
STITCH'.]
TRIPLE AND QUADRUPLE TREBLES OR 'EXTRA LONG STITCH' (fig. 419).--For a
triple treble, twist the cotton three times round the needle, for a
quadruple one, four times, then form the treble in the usual way by
bringing the needle through two of the loops at a time. To make a series
of trebles, of gradually increasing length, bring the needle, at every
other treble, through the last three loops, so that before making a
triple treble you will have to make columns, respectively, 1 treble, 1½
treble, 2 trebles and 2½ trebles long. Columns like these, of different
lengths, are often required in crochet work, for leaves and scalloped
edgings.
CONNECTED TREBLES (fig. 420).--Trebles, connected together, can be
worked to and fro, and take the place of plain stitches. Begin with a
chain, then make a treble of the required height, form as many loops as
you made overs for the treble, take up the upper thread of the stitch
nearest the treble, turn the thread round the needle, bring it back to
the right side and draw the needle through the trebles, two at a time.
[Illustration: FIG. 420. CONNECTED TREBLES.]
CROSSED TREBLES (figs. 421 and 422).--Trebles of this sort produce an
open stitch, which is often used for the footing of lace, or for an
insertion. Make a foundation of chain, or other stitches, and proceed as
follows: 3 chain, miss 2 stitches of the row beneath, make 1 treble in
the third stitch, 5 chain, 1 over, put the needle in between the loops
of the connected trebles and finish with a treble. Then make a double
over, put the needle into the next loop of the preceding row, make
another over, draw the needle through the loops, make another over and
join the two next loops. This leaves 3 loops on the needle. Make an
over, put the needle into the third stitch of the row beneath, make an
over, and bring the needle back to the right side.
[Illustration: FIG 421. CROSSED TREBLES.]
[Illustration: FIG. 422. CROSSED TREBLES, SET BETWEEN THOSE OF THE
PRECEDING ROW.]
Join the 5 loops on the needle together, 2 and 2, make 2 chain, 1 over,
put the needle into the upper parts of the connected trebles and finish
with a treble, and so on.
These trebles also can be lengthened if necessary, but in that case, the
width of the crossed treble must correspond with the height. Generally
speaking you make the trebles over the same number of stitches as you
made overs on the needle, which should always be an even number.
TREBLES FOR A CHAIN.--A quicker way of making a wide footing for a
crochet lace is to make the trebles in the following manner.
Make 4 chain stitches, 2 overs, put the needle into the first of the 4
chain, 1 over, draw the thread through the stitch *, 1 over, draw the
thread through the next 2 loops and repeat twice from * = ** 2 overs,
put the needle into the left bottom part of the treble, close the treble
as before and repeat from **.
(5) KNOT STITCH (fig. 423).--This stitch which is composed of several
loops forming a tuft, can only be worked from one side, consequently all
one way. It looks best in a coarse material to show the interlacing of
the threads.
Enter the needle through the two loops of the stitches of the bottom
row, turn the thread round the needle, but away from you towards the
back; bring it forward to the right side, put the needle again through
one of the bottom stitches, make another over like the first and draw
the needle through all the bars at once.
[Illustration: FIG. 423. KNOT STITCH.]
(6) BULLION STITCH (figs. 424 and 425).--For bullion stitch, select a
needle, a little thicker towards the handle, and finer than you would
use for any other crochet stitch.
[Illustration: FIG. 424. BULLION STITCH.]
[Illustration: FIG. 425. BULLION STITCH.]
Begin by making a chain of very loose stitches, then wind the thread
several times, very evenly, round the needle. Insert the needle into a
loop of the chain, make a single over, and draw it with the last over
upon it, through all the other overs.
Trebles in bullion stitch, fig. 425, are worked in just the same manner,
only that you have to turn the thread, at least 10 or 12 times round the
needle and draw it through all the overs at once. To facilitate the
passage of the needle, keep the overs in their place with the thumb and
forefinger of the left hand.
Bullion stitch can only be worked with wool or a very fleecy thread,
such as Coton à repriser D.M.C,[A] but trebles in bullion stitch can be
worked in any of the D.M.C threads and cottons.
(7) CLUSTER STITCH (fig. 426).--Generally used as an insertion between
rows of plain crochet.
[Illustration: FIG. 426. CLUSTER STITCH.]
Put the needle under one stitch of the preceding row, make an over, draw
the thread through in a loop, make another over, put the needle in again
under the same stitch, bring it back, make a third over, and pass a
third time under the same stitch; bring the needle back, make a fourth
over and pass the needle through all the loops that are upon it.
Then, after making a chain stitch, begin the same stitch over again,
placing it in the second stitch of the lower row.
Cluster stitch may also be finished off by retaining the two last loops
on the needle, making an over, and ending with a plain stitch.
(8) DOUBLE STITCH (fig. 427).--A rather coarse thread, such as Coton à
tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 10, or Fil
à pointer D.M.C Nos. 10 to 30[A] is better for this stitch than a loose
fleecy thread which is apt to render it indistinct. Take up a loop right
and left of a stitch of the preceding row, so that counting the loop of
the last stitch, you have 3 loops on the needle, make an over and draw
it through the 3 loops. Then take up a loop again by the side of the one
you made on the left, and which now lies on the right. Take 2 loops in
the next stitch, make an over and draw it through all the loops.
[Illustration: FIG. 427. DOUBLE STITCH.]
RAISED STITCH (fig. 428).--All the stitches that come under this heading
require a foundation of a few plain rows for the raised trebles. In fig.
428, you will observe that the fourth stitch in the fourth row is a
double treble, connected with a loop of the fourth stitch of the first
row.
[Illustration: FIG. 428. RAISED STITCH.]
Miss the stitch of the preceding row, which is hidden under the treble,
make 3 plain stitches, 1 double treble, and so on.
Having finished this row, turn the work and make a plain row. In the
next row begin with 4 plain stitches, then make 1 double treble between
the 3 stitches that are between the first trebles, 3 plain stitches, 2
double trebles and so on.
In the 8th row of plain stitches, the trebles must be placed in the same
order as in the 4th.
RAISED STITCH WITH CROSSED TREBLES (fig. 429).--Begin, as in fig. 428,
by 3 rows of plain stitches. The 4th row begins with 2 plain stitches
followed by: * 1 double treble joined to the upper part of the 1st
stitch of the 1st row; keep the 2 last loops of this treble on the
needle; make a double over for the next treble, pass the needle through
the fourth stitch of the first row, make an over, turn the thread round
the needle, bring it back, finish the treble all but the last 3 loops,
which you crochet together. Miss the stitch behind the treble, make 3
plain stitches and repeat from *.
[Illustration: FIG. 429. RAISED STITCH, WITH CROSSED TREBLES.]
Then turn the work, make one plain row, and turn the work back to the
right side.
The second row of trebles begins with a plain stitch. The way in which
the trebles are to be crossed is shewn in the illustration.
RAISED STITCH WITH DOTS (fig. 430).--After making 3 plain rows, begin
the 4th with 3 plain stitches, and proceed as follows: * 6 trebles into
the 4th plain stitch of the preceding row, leaving the last loop of each
treble on the needle, so that altogether you have 7 loops upon it; then
you turn the thread once round the needle and draw it through the loops;
miss the stitch that is underneath the dot, make 3 plain stitches and
repeat from *.
[Illustration: FIG. 430. RAISED STITCH WITH DOTS.]
Then make 3 rows of plain stitches; in the 4th row, the 1st dot is made
in the 4th stitch, so that the dots stand out in relief.
RAISED DOTS WITH TREBLES (fig. 431).--Turn the work after making 3
rows of plain stitches, make 3 stitches more in the 4th stitch of the
1st row, * 6 trebles, drop the last stitch of the 6th treble, put the
needle into the stitch between the last plain stitch and the 1st treble,
take the dropped loop of the last treble and draw it through the one on
the needle; miss the stitch under the dot, make 5 plain stitches and
repeat from *.
[Illustration: FIG. 431. RAISED DOTS WITH TREBLES.]
RAISED DOTS IN SLANTING LINES (fig. 432).--On the rows of stitches
that have been previously prepared, make, for the 4th stitch of the 4th
row, a cluster stitch, as in fig. 426, with 1 quadruple over and then 4
plain stitches, 1 cluster stitch and so on. The next row is plain; in
the second you have to make 1 plain stitch more, and fasten the cluster
stitches into the loops to the left of the second of the 3 covered rows.
In this way you have to make each raised stitch, one stitch, in advance
and to the left of the last, so that they run in slanting lines over the
surface.
[Illustration: FIG. 432. RAISED DOTS IN SLANTING LINES.]
CLOSE SHELL STITCH (fig. 433).--This pretty stitch which can only be
worked in rows, all one way, is more especially suitable for children's
jackets and petticoats; it is easy, and has the merit of being quickly
done. On a foundation of chain, or other stitches, make: 2 chain, 7
trebles on the 4th stitch, * 1 chain, 7 trebles on the 5th stitch of the
last row and repeat from *.
[Illustration: FIG. 433. CLOSE SHELL STITCH.]
2nd row--** 7 trebles on the chain stitch of the last row which
connects 7 bars, 1 plain stitch on the 4th of the 7 trebles of the first
row and repeat from **.
PICOTS.--The edges of most crochet work are ornamented with picots, or
small points of different shapes, called severally close picots, chain
picots and lace picots.
Close picots may be subdivided into, large and small, pointed, and
rounded, picots with rounded leaves and picots with pointed leaves.
SMALL ROUNDED PICOTS.--These may either be made separately and then
sewn on, or made at once, on to a crochet border. In the first case,
begin with 3 chain, then coming back, make 1 plain stitch on the second
and on the first chain stitch. In the second case make: 1 chain, take
the needle out of the stitch and put it in from the right side, under
both edges of the last stitch, take up the dropped stitch, bring it to
the right side, * 3 chain; then returning: 1 plain stitch on each chain,
draw the needle out, put it in from the right side into the second
stitch of the row beneath, take up the loop, bring it back to the right
side, and repeat from *.
LARGE ROUNDED PICOTS.--5 chain, miss 3, 1 treble on the 2nd and 1
treble on the 1st chain stitch.
When you want to attach these picots at once to an existing piece of
work, drop the last loop and bring it back again with the needle from
the wrong side to the right and miss 2 stitches, instead of one, as in
the case of the small picots.
POINTED PICOTS.--Cast on 6 chain, then returning, and missing the 6th
stitch: 1 single stitch, 1 plain stitch, 1 half treble, 1 treble, 1
double treble.
PICOTS WITH ROUNDED LEAVES.--* 4 chain, and 3 trebles on the first
stitch, and 1 single on the same stitch on which the trebles were, **,
or 6 chain and repeat from * to **.
When these picots serve as a finish to a straight edge, make 2 single
stitches in the preceding row instead of 2 chain.
PICOTS WITH POINTED LEAVES.--6 chain, on the first chain stitch: 3
double trebles, of which you retain the two last loops on the hook, 1
over, draw the thread through the 4 loops, 5 chain, 1 single on the
stitch on which the trebles are.
CHAIN PICOTS.--For the small chain picots, make: 5 chain and 1 plain
stitch on the first of these 5 stitches. For the large ones: 5 chain and
1 treble on the first stitch.
PICOTS IN BULLION STITCH (figs. 424 and 425).--5 chain, 1 treble in
bullion stitch drawn up into a ring, and joined to the 5th chain stitch.
[Illustration: FIG. 434. DROOPING PICOTS.]
DROOPING PICOTS (fig. 434).--5 chain, drop the loop, put the needle
into the first of the 5 chain, take up the dropped loop, and draw it
through the stitch.
[Illustration: FIG. 435. EMPTY LACE PICOTS, WORKED IN CROCHET.]
[Illustration: FIG. 436. LACE PICOTS ATTACHED TO A ROW OF STITCHES MADE
BEFORE HAND.]
LACE PICOTS (figs. 435 and 436).--Fig. 435 represents picots formed of
chain stitches, as follows: 2 chain, put the needle into the first, 1
over, bring the thread back to the front, 2 chain: * put the needle into
the two loops, and at the same time, into the second loop and the first
chain, draw the thread through in a loop, make 2 chain and repeat from
*.
In order to make the picots more even and regular, it is advisable to
form them over a coarse knitting needle or mesh.
Fig. 436 represents picots attached by plain stitches to the edge of a
finished piece of work; this is done as follows: 1 plain stitch, draw
out the loop to the proper length for a picot, and slip it on a mesh:
put the needle into the horizontal parts of the last stitches, turn the
thread round the needle, draw it through in a loop, and make 1 plain
stitch on the next stitch and so on.
[Illustration: FIG. 437. OPEN-WORK CROCHET MADE AFTER A TAPESTRY
PATTERN.]
[Illustration: FIG. 438. PLAIN CROCHET MADE AFTER A TAPESTRY PATTERN.]
METHOD FOR COPYING TAPESTRY PATTERNS IN CROCHET WORK (figs. 437 and
438).--Printed cross stitch and embroidery patterns can very well be
copied in crochet work especially when they are in two colours only, or
rather, are drawn in one colour, on a plain ground.
The way in which such patterns are copied in crochet is by means of
chain stitches and trebles, which, rising one above the other in rows,
form little squares. For each square marked on the pattern, you must
count, in the grounding, 1 treble and 2 chain stitches; in the solid
parts, 3 trebles.
The squares formed by the chain stitches should always begin and end
with a treble.
When, therefore, a solid square comes between empty or foundation
squares, count 4 trebles for the solid square, because the last treble
of the last empty square touches the third treble of the solid one.
Thus for 2 solid squares, side by side, count 7 trebles, and for 3
squares, 10. Embroidery patterns worked in several colours can be
reproduced in crochet either by trebles and rows worked one way only,
cutting off the thread at the end of each row, or by plain stitches,
worked in rows to and fro.
When only three colours are used, pass two threads under the stitches;
when more than two, leave those which are not in use, at the back of the
work and only bring them to the front as they are wanted. The thread,
you lay aside, takes at the back the place of the one in use. Of course,
the threads not in use can only can be disposed of in this way when the
work has a wrong side, otherwise they must be passed underneath the
stitches. The colours should alternate in the order the pattern
prescribes; moreover, the last stitch before you take another colour
cannot be finished with the same thread, you must pass the new thread
through the last loop and draw it up with that.
[Illustration: FIG. 439. CROCHET WITH SOUTACHE OR LACET (BRAID).]
[Illustration: FIG. 440. CROCHET WITH SOUTACHE OR LACET (BRAID).
MATERIALS: Coton à tricoter D.M.C Nos. 6 to 12 or Cordonnet 6 fil D.M.C
Nos. 3 to 10. Soutache D.M.C No. 2 or 3 or Lacets superfins D.M.C Nos. 2
to 5. COLOURS: The cotton, white or écru. The Soutache or Lacet:
Rouge-Cardinal 347, or Rouge-Grenat 326, or Bleu-Indigo 312.[A]]
CROCHET WITH SOUTACHE OR LACET (BRAID) (figs. 439 and 440).--These are
two patterns of crochet, worked with the ordinary crochet cottons and
with Soutache or Lacet D.M.C, a material which has not been used for
crochet work before.
Both patterns are worked entirely with trebles; in fig. 439, the red
braid passes over and under 2 trebles; in fig. 440, it is brought, it
will be observed, from the wrong side to the right after every 2
trebles, and passed between them, in such a manner as to form a slanting
stitch between the rows of stitches.
CROCHET SQUARE (fig. 441).--Begin with 4 chain stitches, and work 1
single on the 1st chain, to make a round. Work, 1 chain and 2 plain on
the next chain, 3 plain on each of the next 3 chain, 1 plain on the
stitch on which the two first plain are worked.
Slip the next stitch, that is, put the needle in between the horizontal
bars of the 1st plain stitch of the previous row, and draw the thread
out without making a stitch.
Then make 1 chain and 2 plain on the slipped stitch.
After which, you make 3 plain on the second of the 3 plain that form the
corner, and 1 plain on all the other stitches of the last row. The
beginning and end of each row, are worked as described above.
Fig. 441 represents a square, worked in consecutive rows. In making a
crochet square, the rows may end in the middle of a side.
[Illustration: FIG. 441. CROCHET SQUARE.]
When you use a stitch that has to be worked to and fro, you turn your
work at the end of every row and work back along the stitches you have
just made.
[Illustration: FIG. 442. CROCHET HEXAGON.]
CROCHET HEXAGON (fig. 442).--Make a foundation chain of 6 stitches,
join the round; 12 plain on the 6 chain; finish the row as indicated for
the previous figure == turn the work == * 1 plain, 3 plain on the second
plain of the last row; repeat 5 times from *. Finish the row with 1
single == turn the work == 2 plain, 3 plain on the second of the first 3
plain; 3 plain and so on. These hexagons can be made of any size.
COLOURED STAR WORKED INTO A LIGHT GROUND (fig. 443).--Begin with 3
chain, join the ring = 2 plain on each of the 3 chain; then for the
foundation, 1 plain with the dark thread, and 1 with the light on each
of the 6 plain.
In each subsequent row, make one dark stitch more, increasing regularly,
that is, making 2 stitches on the last light stitch that comes before
the dark ones.
Proceed in this manner until you have 6 or 8 dark stitches, in all and
then begin to decrease in every row by one, until there is at last only
one dark stitch remaining.
These stars are used in the making of purses, cap-crowns and mats for
lamps, etc.
[Illustration: FIG. 423. COLOURED STAR WORKED INTO A LIGHT GROUND.]
TUNISIAN CROCHET.--Tunisian crochet is also called crochet-knitting
because, you have to cast on all the first row of stitches, as in
knitting.
MATERIALS--Every kind of cotton, as well as wool and silk, can be used
for Tunisian crochet: the stitches look equally well in all these
materials, but for things that require frequent washing or cleaning, a
good washing material should be selected, such as Coton à tricoter D.M.C
and Cordonnet 6 fils D.M.C[A], both strong and suitable in all ways.
As we have already said, Tunisian crochet requires to be done with a
long straight needle, with a knob at one end and it can only be worked
on the right side.
[Illustration: FIG. 444. PLAIN TUNISIAN CROCHET.]
PLAIN TUNISIAN CROCHET (fig. 444).--After making a foundation chain of
the required length, begin the first, or loop row as it is called. Put
the needle into the 2nd chain stitch, draw a loop through and so on,
until you have taken up all the chain stitches on the needle. After
having made the last stitch of the loop row, make 1 chain stitch and
then pass to the second row that completes the stitch. Turn the thread
round the needle, draw it through two loops, turn the thread round
again, and again draw it through two loops, and so on to the end.
[Illustration: FIG. 445. STRAIGHT PLAITED TUNISIAN STITCH.]
STRAIGHT PLAITED TUNISIAN STITCH (fig. 445).--Worked thus: miss the
first loop in the 1st row, take up the second, and come back to the
first, so that the 2 loops are crossed. Work the second row in the same
manner as the second row of the preceding figure.
[Illustration: FIG. 446. SLANTING PLAITED TUNISIAN STITCH.]
DIAGONAL PLAITED TUNISIAN STITCH (fig. 446).--Worked like the
preceding, taking up first the second loop and then the first: the
second row also, in the same way as before. In the third row, take up
the first stitch, and draw the third through the second, so as to
produce diagonal lines across the surface of the work.
OPEN TUNISIAN STITCH.--This is an easy kind of Tunisian crochet. The
first row is worked as in fig. 444. In the row of plain stitches, you
alternately join 2 and 3, or 3 and 4 loops of the preceding row
together, and replace them by as many chain stitches.
DECREASING AND INCREASING IN TUNISIAN CROCHET (fig. 447). Our
illustration shows how to decrease on both sides and by that means form
scallops.
[Illustration: FIG. 447. DECREASING IN TUNISIAN CROCHET.]
You miss a stitch alternately on the right and left. On the right you
crochet the first two stitches together, and at the end of the row, the
last two, and so on, to the end. You increase in the same order, first
on the right and then on the left.
HAIRPIN CROCHET (figs. 448, 449, 450).--So called because it is worked
on a kind of large steel hairpin or fork with two or more prongs. Wooden
and nickel varieties of this implement, which are patented by Mme
Besson, of Paris, are also used.
Very pretty laces, fringes, gimp headings and the like can be made in
this kind of crochet work. It is often used in combination with ordinary
crochet and plain and scalloped braids and gimps, or as a heading for
fringes made of tufts and pendant balls. There are a great many stitches
which can be worked in hairpin-crochet. We shall only describe those
here that will best teach our readers how the work is done.
MATERIALS.--For washing laces, Cordonnet 6 fils D.M.C is the best; for
furniture fringes, the lower numbers of Coton à tricoter D.M.C, and for
producing the appearance of filoselle, the lower numbers of Coton à
repriser D.M.C are to be taken.
[Illustration: FIG. 448. STEEL HAIRPIN FOR CROCHET.]
[Illustration: FIG. 449. WOODEN FORK FOR CROCHET.]
[Illustration: FIG. 450. FORK WITH SEVERAL PRONGS FOR CROCHET.]
STITCHES.--Begin by a chain stitch, made with an ordinary crochet
needle, take the needle out of the loop, and insert the left prong of
the fork upwards from below, holding the fork between the thumb and
finger of the left hand. The thread should always be in front. Then put
the thread over the right prong and the needle into the loop on the left
prong, take up the thread, draw it through the loop, put the thread over
the needle and draw it through the loop that is on the needle, twist the
loop round the left prong, turn the needle round to the right (the
thread will now be wound round the right prong); put the needle into the
loop on the left prong, throw the thread over the needle, draw it
through, tighten the loops and so on.
These stitches may be doubled, or you may make several trebles on each
loop, or arrange the plain stitches in different ways.
[Illustration: FIG. 451. HAIRPIN INSERTION.
MATERIALS: Fil à pointer D.M.C No. 20 or 30, or Cordonnet 6 fils D.M.C
Nos. 4 to 15, white or écru.[A]]
HAIRPIN INSERTION (fig. 451).--Begin by making stripes with the fork,
covering each thread with two plain stitches. Then join the stripes
together by the loops, drawing the left loop over the right one and the
right one over the left. When you come to the end of the stripes fasten
off the last loops by a few stitches. To strengthen the edges, join two
loops together by 1 plain, 2 chain, 1 plain and so on.
[Illustration: FIG. 452. HAIRPIN LACE
MATERIALS--For the hairpin work: Fil à pointer D.M.C Nos. 20 to 30, or
Cordonnet 6 fils D.M.C Nos. 3 to 10, white or écru. For the edge. Coton
à tricoter D.M.C Nos. 16 to 30.
COLOURS: Rouge-Cardinal 347, or Jaune-Rouille 364, or Brun-Marron
406.[A]]
HAIRPIN LACE (fig. 452).--When, by making two half trebles in each
loop, you have got the necessary length of hairpin crochet, join the
loops two and two, by means of a coloured thread which makes a good
contrast with the thread of which the hairpin crochet is made. Work 1
plain stitch joining 2 loops on the right, 2 chain, 1 plain joining the
2 loops on the left; then 2 chain and come back to the right, and so on,
until you have taken up all the loops. This forms the zig-zag in the
middle.
1st row--join 3 loops by: 1 plain, 5 chain.
2nd row--on the 5 chain stitches: 1 plain, 1 half-treble, 3 trebles, 1
picot, made with 5 chain (for the chain picots, see p. 237), 1
half-treble, 1 plain. The footing of this lace is made like the one in
fig. 451.
[Illustration: FIG. 453. HAIRPIN FRINGE WITH TASSELS.]
HAIRPIN FRINGES (figs. 453, 454, 455, 456).--Fig. 453 is made with a
fork composed of one branch and 3 or 4 rulers, round which the thread is
wound in succession, so as to form loops of different lengths. You may
use for this, either a single very coarse thread, or else several fine
ones, used together as one.
The heading of the fringe is plain, and heavy tassels are fastened into
the loops. The tassels are made as follows: take a thick skein of the
same thread the fringe is made of, pass it through the loop, leaving
just the length required for the tassel, at one end, thread a needle
with the same thread and twist it round the skein, the right distance
from the top to form the head of the tassel and then cut the ends even,
at the bottom. As the loops are of different lengths, the tassels will
hang in steps and the fuller and heavier they are, the handsomer the
fringe will be.
[Illustration: FIG. 454. HAIRPIN FRINGE WITH TASSELS.
MATERIALS: Coton à tricoter D.M.C Nos. 6 to 16.[A]
COLOURS: Écru and Jaune-Rouille 363, 368, or Gris-Tilleul 331 and
Rouge-Cornouille 449 and 450, or three other shades.[A]]
Fig. 454 represents another pattern of fringe, the first part of which
is made with the same fork as the preceding one. Instead however of
winding the thread round the several prongs in succession, you pass it
alternately round the two first and the fourth, thus making loops of two
lengths only. Tassels of a length, suited to the purpose the fringe is
intended for, depend from these loops and may be varied in the second
row by balls made to issue from the middle, or by long meshes, which are
made over the whole width of the fork and affixed to the loops.
Figs. 455 and 456 represent two pretty patterns of fringes made of écru
cotton with a strong twist. These are very suitable for washing
articles, as the cotton balls wash perfectly.
[Illustration: FIG. 455. HAIRPIN FRINGE WITH ONE LINE OF BALLS.]
[Illustration: FIG. 456. HAIRPIN FRINGE WITH TWO LINES OF BALLS, ONE
ABOVE THE OTHER.
MATERIALS--For the crochet-work: Cordonnet 6 fils D.M.C Nos. 3 to 10, or
Fil à pointer D.M.C Nos. 10 to 30. For the balls: Coton à repriser D.M.C
Nos. 8 to 16.]
The loops in fig. 455 are all of one length and a ball hangs from every
third. In the last chapter but one, a minute description is given of the
way in which these balls are made. The heading of the loops is formed by
a row of chain stitches, varying in number from four to six, according
to the size of the cotton. The edge is ornamented with little picots.
The fringe, in fig. 456, consists of three long and three short loops
alternately, which causes, the balls that are made to depend from them,
to form two parallel lines.
If you join the loops of the heading together, three and three, you will
have to make enough chain stitches to cover the space that is to be
filled.
The picots are made with 6 chain stitches, you put the needle back into
the fifth stitch after closing the picot, make 1 chain, 2 plain, in the
preceding row, 1 picot and so on.
FRINGE MADE WITH LACET OR BRAID (fig. 457).--This is an easy fringe to
make and a very effective trimming for table-cloths, curtains etc.,
which are embroidered on coarse stuffs.
Begin with a foundation chain, in coarse écru twist, the light stitch
in the middle of the heading of the fringe being also made of the same
material.
In the next row, you use the twist and the braid together, as
follows--with the twist = 1 chain stitch, put the needle into the first
stitch of the foundation chain, take up the braid, draw it through, turn
the twist round the needle, draw it through the braid and the chain
stitch. To make the braid loops longer, they may be made over a wooden
ruler. To the two rows of braid stitches, represented in the pattern,
you may add as many other rows as you please. On the fringed side make:
4 plain, 3 chain, draw out one very long loop and fasten into it a
cluster of lengths of braid from 10 to 12 c/m. long, and draw the loop
tightly round it to secure the tassel; 3 plain on the chain stitches.
Repeat from *.
[Illustration: FIG. 457. FRINGE MADE WITH LACET OR SOUTACHE (BRAID).
MATERIALS: Lacet D.M.C No. 4 or Soutache D.M.C NO. 2½ in red. Cordonnet
6 fils D.M.C Nos. 3 to 10. Fil à pointer D.M.C Nos. 10 to 30, écru.[A]]
[Illustration: FIG. 458. LACE MADE ON POINT LACE BRAID.
MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 50, or Cordonnet 6 fils D.M.C
No. 80, white[A] and Point Lace braid.]
LACE MADE ON POINT LACE BRAID (fig. 458).--For the rounds: 1 plain on
the braid, 10 chain, then coming back, 1 single on the 4th chain.
In this first round you make: 1 chain, 1 half-treble, 12 trebles *, 1
half-treble, 1 chain, 1 single on the 4th chain; 3 chain, 1 single on
the braid, far enough from the 1st chain for the rounds not to overlap
each other. Then 10 chain, 1 single on the 4th chain, 1 single, 1
half-treble, 4 trebles, join to the first round between the 8th and 9th
trebles, 8 trebles and repeat from *. For the footing: 1 treble, 1
chain, miss a few threads of the edge of the braid, 1 treble.
[Illustration: FIG. 459. CROCHET GUIPURE LACE.
MATERIALS: Fil d'Alsace D.M.C Nos. 70 to 90. Cordonnet 6 fils D.M.C Nos.
80 to 120, or Fil à dentelle D.M.C Nos. 40 to 70.]
CROCHET GUIPURE LACE (fig. 459).--This charming little lace makes a
very good substitute for real guipure. It can be made on a row of
trebles, just as well as on point lace braid, or on a mignardise, after
you have raised the picots of it by single and chain stitches.
6 plain *, 9 chain, leave an interval equalling in length 6 bars of the
point lace braid used in our pattern; in the braid: 6 plain stitches,
very close together, 8 chain, 1 single on the 7th of the 9 chain, 10
chain, 1 single on the 3d of the 9 chain, 8 chain, 1 plain close to the
first of the first 6 plain.
1st scallop--7 plain, 5 chain, join to the 4th chain; on the 5th chain:
6 plain; on the 8th chain: 3 plain.
2nd scallop--on the 10 chain: 7 plain, 5 chain, join to the 4th chain =
on the 5 chain: 6 plain = on the 10 chain, 5 plain, 5 chain, join to the
4th chain, 6 plain, 5 chain, join to the 4th chain, 6 chain, 1 plain on
the 10th chain.
3rd scallop--like the first, then repeat from *.
[Illustration: FIG. 460. LACE MADE ON POINT LACE BRAID.
MATERIALS: The same as for 458.]
LACE MADE ON POINT LACE BRAID (fig. 460).--On the braid, work a row of
trebles, 1 or 2 chain stitches apart, according to the size of the braid
and on this row of trebles, make two other rows as follows:
1st row--5 chain, 1 treble on the treble of the preceding row, 5 chain,
1 treble, on the same stitch to which the first treble is joined, 5
chain, miss 3 trebles, 1 treble on the 4th treble of the row beneath.
2nd row--1 plain on the 3rd of the 5 first chain, 3 plain, 1 treble on
the 3rd of the chain stitches between the two trebles of the first row
that come close together; 3 chain, 1 treble on the same stitch, 3
chain, 1 treble on the same stitch, 3 chain, 1 treble on the 3rd of the
next 5 chain.
[Illustration: FIG. 461. CROCHET LACE.
MATERIALS: Lacet superfin D.M.C No. 14 and Fil d'Alsace D.M.C Nos. 30 to
70.[A]]
CROCHET LACE (fig. 461).--1st row--3 plain close together, in the
braid; * 13 chain, join to the 1st plain. On each of the first 6 chain;
1 plain; = on the 7th chain: 3 plain, then on the other chain stitches:
6 plain. In the braid: 7 plain and repeat from *.
2nd row--* miss 2 plain of the first row, 5 plain to reach the 2nd
stitch added in the first row, 4 plain on the 2nd added stitch, 4 plain
on the next stitches. Repeat from *.
For an insertion, drop the thread after the 2nd of the 4 stitches that
are to be made at the point, then put the needle into the stitch of the
finished stripe, take up the thread again, draw it through the stitch
and proceed to the second side of the scallop.
[Illustration: FIG. 462. CROCHET LACE WITH MIGNARDISE.
MATERIALS--According to the mignardise used. Fil d'Alsace D.M.C Nos. 30
to 70, or Fil à dentelle D.M.C Nos. 25 to 70.[A]]
CROCHET LACE WITH MIGNARDISE (fig. 462).--This and all the patterns
that follow, up to fig. 473, make very useful trimmings for all kinds of
underclothing. Begin by raising the picots on both sides of the
mignardise by: 1 plain stitch and 1 chain.
The rows of crochet work between, consist of: 1 treble on 1 chain, 4
chain, miss 2 picots of the mignardise, 1 treble between the 3rd and 4th
picot.
Work the edge in two rows.
1st row--1 treble between 2 picots, 3 chain, miss 2 picots, 1 treble.
2nd row--1 treble on 3 chain, 3 chain, 1 treble, 3 chain, 3 trebles, 7
chain, turn back and join to the 1st of the 3 trebles, 2 chain, join
them to the 2nd treble, 2 trebles on the 7 chain; keep the last loops of
the last treble on the needle and join them to those of the next treble.
[Illustration: FIG. 463. LACE WITH TWO ROWS OF LEAVES.
MATERIALS: Fil d'Alsace D.M.C Nos. 20 to 100, Cordonnet 6 fils D.M.C
Nos. 25 to 80 or Fil à dentelle D.M.C Nos. 25 to 100.]
LACE WITH TWO ROWS OF LEAVES (fig. 463).--This is one of the
pleasantest crochet patterns to work that we know. The leaves are made
separately and fastened into a foundation with thread, at least two
numbers finer than that of which the leaves are made.
Leaf with 5 petals: 8 chain, make a ring = 2 plain on the ring = 1st
petal * 11 chain, miss 3 chain, 1 half-treble on the 8th chain, 1 chain,
miss the 7th chain, 1 treble on the 6th chain, 1 chain, 1 treble on the
4th chain, 1 chain, 1 treble on the 3rd chain, 2 chain, 2 plain on the
ring.
2nd petal: 15 chain, miss 3 chain, 1 half-treble *, 1 chain, miss 1
chain, 1 treble *. Repeat 4 times from * to *; add: 1 chain, 2 trebles
on the ring.
3rd petal: 21 chain, miss 3 chain, 1 half-treble *, 1 chain, miss 1, 1
treble *. Repeat 7 times from * to *; add: 1 chain, miss 1, 2 trebles in
the ring.
The 4th petal to be worked like the 3rd; the 5th like the 1st.
When the 5 petals are finished, make 2 plain stitches on the ring; then
on the chain stitches of the 1st petal: 2 plain, 7 trebles, 2 trebles on
the 10th stitch; then descending again: 7 trebles, 2 plain and 3 single
on the 3 plain stitches of the ring.
On the 2nd petal work: 3 plain, 10 trebles, 2 trebles on the 14th chain,
10 trebles, 3 plain, 2 single, on the 2 trebles on the ring.
3rd petal: 2 single, 3 plain, 14 trebles, 2 trebles on the 20th chain,
14 trebles, 3 plain, a single.
The 4th petal is worked like the 2nd; the 5th like the 1st, to be
followed by 1 single on the 1st of the 3 chain stitches of the ring.
For the stalk: 14 chain; miss 1, 9 plain on the 9 chain; 6 chain, miss
1, 5 plain on the 5 chain, 4 plain on the chain stitches that are still
disengaged, 2 single on the ring and then fasten the thread off with a
few stitches.
When you have enough leaves, join them together by a row of picots,
working from left to right as follows: * take the second petal on the
right side of a leaf, put the thread into the 12th stitch; make 2 plain,
1 picot, 1 plain on the stitch on which the picot was made = in all the
leaves, the 3rd plain before the picot and the first after, meet in the
same stitch beneath = 2 plain, 1 picot, 3 plain, 2 chain = on the 8th
stitch of the 3rd petal: 1 plain, 2 plain more on the next stitches **,
1 picot, 3 plain. Repeat 6 times from ** and finish with 2 chain.
On the 7th stitch of the 4th petal: 1 plain, 2 plain on the next
stitches ***, 1 picot, 3 plain. Repeat 4 times from ***.
On the 5th stitch of the 5th petal: 1 plain, and on the 4 next, 4 plain
****. Repeat from * to ** round each leaf, then instead of a picot, make
4 chain, join between the 1st and 2nd picot, 4 chain, close the picot.
From this point the preceding series of stitches takes the place of the
picot that immediately follows the sign **; proceed to ****.
Foundation for the footing of the lace, with a single row of
leaves.--When all the leaves are joined together, take the finer number
of cotton and fasten your thread to the last stitch of the small stalk;
then make: * 2 chain, 1 plain on the 9th stitch of the 5th petal; 6
chain, miss 2, 1 plain on the 3rd stitch; 6 chain, 1 plain on the 3rd
stitch, 1 chain, 1 plain on the 5th stitch of the 4th petal; 6 chain, 1
plain on the 3rd chain; 2 chain, 1 plain on the 4th stitch (counting
from the bottom) of the 5th petal of the next leaf; 3 chain, 1 single on
the last stitch of the long stalk; 3 chain, join to the 3rd chain
stitch, 3 chain, draw the thread again in coming back through the 3rd of
the second set of 6 chain stitches in the 1st petal; 1 single; turning
back and from left to right: 1 single on the plain stitch between the
chain stitches, 6 chain, 1 plain on the 2nd of the last 3 chain, 6
chain, 1 plain on the stalk, 6 chain, 1 plain on the 3rd stitch of the
stalk; 6 chain, 1 plain on the 4th stitch of the stalk; 7 chain, 1 plain
at the top of the little stalk, then repeat from *. The network in the
next rows, which may be of any width, is composed of: 6 chain stitches
and, 1 plain on the loop of the last row.
For the last row but one of the network, make: 4 chain, 1 plain over
each loop, and complete the lace by a row of plain stitches.
To make the leaves stand out from the foundation, use two shades of
thread, white and écru, white and Jaune-Rouille 365, or white and
Gris-Cendre 415.
The following is the way to join two rows of leaves together, that have
previously been edged with picots.
Fasten the thread on to the little stalk, * 3 chain, 1 plain on the 8th
stitch of the leaf, 2 chain, join to the middle picot of the 3rd petal
of the top leaf; 2 chain, 3 plain on the 5th petal of the bottom row, 1
picot, 3 plain.
For the 2nd petal of the bottom leaf: 3 plain, 1 picot, 3 plain.
For the 5th petal of the next leaf below: 3 plain, 4 chain, 1 single on
the long stalk, 5 chain, 1 plain on the 2nd picot of the 1st petal of
the preceding leaf, 5 chain, 1 single on the 2nd picot of the 4th petal
of the top leaf, 4 chain, 1 plain on the 4th single of the stalk, 3
chain, 1 single on the 7th picot of the 3rd petal of the top leaf, 3
chain, miss 1 stitch of the stalk, 1 plain on the stalk, 3 chain, 1
plain on the 6th picot of the top leaf, 3 chain, 1 plain on the little
stalk. Repeat from *.
Three and even four rows of leaves may be joined together in this manner
and make a very handsome lace, particularly suitable for church linen.
INSERTION WITH WAVED BRAID (fig. 464).--1 plain stitch at the point of
the braid, 7 chain, 1 single on the 2nd chain. On the next chain
stitches: 1 half-treble, 1 treble, 1 double treble, 1 triple treble, 1
plain on the next point of the braid.
Repeat the same stitches on the second side, only that after the 6th
chain stitch, you draw the thread through the 7th of the 1st finished
row.
Little wheels, set between the crochet pyramids, and described in the
chapters on filet-guipure and Irish lace, complete the insertion.
[Illustration: FIG. 464. INSERTION WITH WAVED BRAID.
MATERIALS.--According to the size of the braid: Fil d'Alsace D.M.C Nos.
20 to 70, or Cordonnet 6 fils D.M.C Nos. 40 to 70.[A]]
CROCHET LACE, MADE WITH LEAF BRAID (fig. 465).--Introduce the thread
into one of the leaves of the braid and working from right to left, make
for the outer border: * 1 plain, 2 chain, 1 picot in bullion stitch,
with 5 twists of the thread, 2 chain, 1 treble near the end of the leaf.
Leave the last 2 loops of the treble on the needle **.
Take 2 leaves of the braid, fold them one upon the other: 1 treble near
the stalk of these folded leaves, tighten the loops of the 2 trebles;
chain ***, 1 picot, 2 chain, 1 plain, 2 chain. Repeat 5 times from ***.
Proceed with 1 picot, 2 chain,--there will be 7 picots round the folded
leaves--1 treble on the folded leaves and repeat from ** to *, therefore
the inverse way, and begin again from *.
For the footing of the lace, 4 rows are required.
1st row--* 1 double treble close to the stalk of the leaf, 5 chain, 1
treble, at the third of the leaf, 1 double treble at the 2nd third of
the leaf, 5 chain, 2 double trebles, one on the right leaf, one on the
left, draw the last loops of the 2 trebles up together and repeat from
*.
2nd row--On each of the little loops formed by the 5 chain of the last
row: 1 plain, 3 chain, 1 picot in bullion stitch, 7 chain, 1 picot, 3
chain; 1 plain on the next loop and so on.
3rd row--1 plain on the 4th of the 7 chain, 5 chain, 1 plain and so on.
4th row--1 plain on each loop of the last row.
[Illustration: FIG. 465. CROCHET LACE MADE WITH LEAF BRAID. MATERIALS:
Fil d'Alsace D.M.C Nos. 50 to 100 or Fil à dentelle D.M.C Nos. 50 to
80.[A]]
CROCHET LACE MADE WITH LEAF BRAID (fig. 466).--Begin with the outside
edge:
1st row:--At the end of a leaf: 1 treble, 6 chain, 1 picot in bullion
stitch, 6 chain, 1 treble = at the beginning of a 2nd leaf: 6 chain, 1
picot, 6 chain, 1 treble at the end of the leaf = 7 chain, 1 picot, 7
chain, 1 treble on the 3rd leaf = 6 chain, 1 picot, 6 chain, 1 treble at
the end of the 3rd leaf = 6 chain, 1 treble, 6 chain, 1 treble on the
4th leaf = 1 double treble joined to the 4th and 1st leaf of the next
scallop = 1 treble at the end of the 1st leaf, join and draw the last
loops of these 3 trebles together.
2nd row--over each treble and picot: * 1 plain, 3 chain, 1 picot, 7
chain, 1 picot, 3 chain, 1 plain = repeat 6 times from *.
At the indent and before the last picot: 2 chain, 1 picot, 2 chain = 1
plain before the 1st picot of the next scallop.
3rd row--1 treble, 8 chain, repeat 6 times. In the indent join the 4th
of the 7 chain stitches right and left together by 1 treble.
4th row--15 single on each loop of 8 chain.
Inside junction.--Begin at the edge of the first leaf, fasten on the
thread and make 10 chain and, 1 double treble at the end of the leaf, 1
triple treble, and draw up both together, 5 chain, 2 triple trebles on
the leaves to the right and left = 5 chain, 2 triple trebles, one at the
end and the other at the beginning of the 3rd and 4th leaf = 2 chain, 1
picot in bullion stitch, 2 chain, 1 plain on the last stitch of the
first trebles, 10 chain, 1 plain on the last stitch of the last trebles;
5 chain, 1 triple treble at the end of the 4th leaf.
[Illustration: FIG. 466. CROCHET LACE MADE WITH LEAF BRAID. MATERIALS:
Cordonnet 6 fils D.M.C Nos. 40 to 80 or Fil à dentelle Nos. 50 to
80.[A]]
Going back to the beginning: 5 chain, 1 single on the 10 chain above the
picot = 5 chain, 1 single on the 5th of the first 10 chain = 12 chain, 1
plain on the loop of the last triple treble, 7 chain, 1 picot in bullion
stitch, 6 chain = 1 plain on the stalk between the 2 leaves; 6 chain, 1
picot, 7 chain, 1 triple treble on the leaf, 5 chain, repeat from *.
2nd row--5 chain, 1 treble on the lower loops. Distribute the chain
stitches equally.
3rd row--1 plain in the braid that forms the footing of the lace, 2
chain, 1 plain on the last chain stitches, 2 chain, 1 plain in the
braid, continuing in this manner to join the crochet work and the braid
together.
IRISH LACE (fig. 467).--Begin with the semicircles in the middle of
the pattern, which arch over two scallops, and cast on 117 chain. Then
lay a double or threefold thread of Cordonnet 6 fils D.M.C No. 2, over
the chain stitches, and make one plain stitch on each; then cut the
padding thread short off.
[Illustration: FIG. 467. IRISH LACE. MATERIALS: Cordonnet 6 fils D.M.C
Nos. 25 to 100, Fil à pointer D.M.C No. 30 or Fil d'Alsace D.M.C Nos. 30
to 100.[A]]
On the other side of the chain make 2 plain, * 2 chain, 1 picot, 7
chain, 1 picot, 2 chain, miss 7; 1 plain on each of the 2 next stitches
**.
Repeat 11 times from * to **; the 11th time making only 6 chain.
2nd and 3rd row--On the upper side, over a double thread of twist: 1
plain on each stitch of the last row; cut off the padding thread = 2
chain, 1 picot, 7 chain, 1 picot, 2 chain, 1 plain on the 4th of the 7
chain stitches after the first picot of the preceding row = 3 chain, 1
picot, 3 chain, 1 plain on the 4th of the next 7 chain stitches **.
Repeat 11 times from * to ** and then make: 2 chain, 1 picot, 7 chain, 1
picot, 2 chain, 1 plain.
On the upper side and without a padding thread: 3 plain, 1 picot, * 5
plain, 1 picot, **. Repeat 20 times from * to **. Continue with: 3
plain, 10 chain, 1 picot, 2 chain, 2 plain on the 4th of the first 7
chain of the 2nd row on the inside of the semicircle = 2 chain, 1 picot,
7 chain, 1 picot, 2 chain, 1 plain on the plain stitch of the previous
row = 1 plain on the 1st of the 3 chain = 2 chain, 1 picot, 7 chain, 1
picot, 2 chain, 2 plain as before, = 2 chain, 1 picot, 7 chain, 1 picot,
2 plain = 2 chain, 1 picot, 9 chain, 1 plain, return and make on the 9
chain: 7 plain, 2 chain, 1 picot, 2 chain, 2 plain = make 4 more
scallops like the previous one = 2 chain, 1 picot, 9 chain, 1 plain =
return and make on the 9 chain: 7 plain, 2 chain, 1 picot, 2 chain, 2
plain = make 2 more scallops, and then a 3rd joined to the scallop that
terminates the semicircle on the right by the 2 plain stitches = 2
chain, 1 picot, 7 chain, 1 picot, 2 chain, 2 plain on the point of the
crescent = 22 scallops consisting of: 2 chain, 1 picot, 7 chain, 1
picot, 2 chain, 2 plain.
9 plain on the scallop that terminates the semicircle on the left, 7
chain, 2 plain on the next scallop, 2 chain, 1 picot, 2 chain, 2 plain
on the next scallop = make 2 bars more of the same kind = 7 chain, 2
plain = 3 bars like the previous ones = 7 chain, 2 plain = 3 bars as
before = 2 plain, 7 chain, 7 plain on the next scallop = 1 bar
consisting of 3 chain, 1 picot, 3 chain, 2 plain over all the scallops
of the preceding row (24 scallops in all).
4th row--3 chain *, 8 trebles on the 7 chain that follow the 7 plain =
turn the work = 1 single on the last treble, 3 chain, 1 treble on the
7th and 1 on the 6th of the 8 trebles, 2 chain, 1 treble on the 5th and
1 on the 4th of the 8 trebles, 2 chain, 1 treble on the 3rd and 1 on the
2nd of the 8 trebles, 3 chain, 1 single on the 1st of the 8 trebles =
turn the work = ** on the 3 chain: 1 plain, 1 half-treble, 1 treble, 1
half-treble, 1 plain = 1 plain between the 2 trebles below = on the 2
chain, 1 plain, 1 half-treble, 1 treble, 1 half-treble, 1 plain *** = 1
plain between the 2 trebles beneath, repeat from *** to **, therefore
the reverse way.
Go on with 2 scallops consisting of 2 chain, 1 picot, 7 chain, 1 picot,
2 chain, 2 plain = after the 2nd scallop: 2 chain, 1 picot, 5 chain = 8
trebles on the 7 chain over the 7 plain and finish the little flowers
consisting of 4 scallops each, like the first from * to *** and from ***
to ** = 2 plain to get back to the scallop = 1 chain, 1 picot, 2 chain,
2 plain, 3 chain, 1 picot, 7 chain, 1 picot, 2 chain, 2 plain, 3 chain,
1 picot, 3 chain, and make a 3rd flower of 4 scallops like the 2 others
= 2 single to come back to the scallop, 2 chain, 1 picot, 2 chain, 2
plain = 2 more scallops like the previous ones, then make the 4th flower
of 4 scallops, which must come before the 7 plain stitches of the
previous row = 20 scallops consisting of: 2 chain, 1 picot, 7 chain, 1
picot, 2 chain, 2 plain = the last scallop is to be joined to the 1st
scallop of the 1st flower, under the left point of the semicircle = 3
single along the small scallop, 3 trebles, 2 chain, 1 picot, 2 chain, 2
plain on the point of the scallop = 3 bars like the previous ones to be
joined to the 2 next scallops = 3 similar bars between the small
scallops = 1 single on the scallop between the 2 flowers and 1 single on
the 2nd set of chain stitches in the scallop that precedes the 3rd
flower = 1 single on the point of the 1st scallop of the 3rd flower =
continue the little bars along the 2nd side until past the 4th flower =
after the 4th flower make 2 bars consisting of 2 chain, 1 picot, 2
chain, 2 plain = 3 chain, 1 picot, 3 chain, 2 plain on the next scallop
**** 7 chain, 2 plain on the next scallop, 3 chain, 1 picot, 3 chain, 2
plain on the next scallop, 3 chain, 1 picot, 3 chain, 2 plain on the
next scallop, 3 chain, 1 picot, 3 chain, 2 plain on the next scallop
***** repeat five times from **** to *****. At the 2nd repetition make 1
bar with 1 picot more, so that you have 4 bars instead of 3. At the 5th
repetition you decrease by 1 bar, so that you have 2 instead of 3.
1 plain on the point of the scallop of the flower, 3 chain, 1 picot, 7
chain, 1 picot, 3 chain, 3 plain, one of which is made on the 2nd plain
of the previous row, and the 2nd on the bar of chain stitches = 3
plain, 1 picot, 7 chain, 1 picot, 3 chain, 2 plain = 2 more similar
scallops = then 3 chain, 1 picot, 9 chain, 1 plain on the 2nd plain of
the previous row = join and on the 9 chain make 7 plain = 3 chain, 1
picot, 3 chain, 2 plain.
Over the 1st little flower inside the semicircles, make 1 scallop like
the previous ones = then 3 chain, 1 picot, 7 chain, 2 plain on the 3rd
point of the first flower = 2 chain, 2 plain on the 2nd point of the
second flower = 6 plain on the scallop and joined to the 3rd point of
the first flower = 3 chain, 1 picot, 3 chain = 2 plain = 1 scallop like
the previous ones, 2 plain on the 4th point of the small flower, 3
chain, 1 picot, 9 chain, 1 plain = 7 plain over the 9 chain = 3 chain, 1
picot, 3 chain, 2 plain.
Make 7 scallops of: 3 chain, 1 picot, 7 chain, 1 picot, 3 chain, 2
plain, after the 7th scallop make 1 chain only, which must come just
before the 7th chain to the left without a picot and above the point of
the semicircle.
Over the 7 chain make a flower like the first with 4 scallops = then 3
scallops, 3 chain, 1 picot, 7 chain, 1 picot, 3 chain, 2 plain. Make one
more flower with 4 scallops, 3 scallops like the previous ones = a third
flower with 4 scallops, 2 chain, 2 plain, one of them above the point of
the row beneath, 12 chain, 1 plain over the next scallop = turn the work
and coming back over the row just made, make: 7 plain on the first 7 of
the 12 chain, 1 plain on the point of the scallop, 4 chain, 1 picot, 4
chain, 1 plain on the next scallop, carry on the bars over the flowers
and scallops, making 1 plain on the scallops of the flower and 2 plain
on the other scallops, up to the 5 plain stitches between the 2 flowers
underneath the semicircle.
After the plain stitch that joins the last bar, turn the work and make
23 scallops consisting of: 4 chain, 1 picot, 7 chain, 1 picot, 4 chain,
2 plain.
Cut off the thread and fasten it on above the semicircle and at the
plain stitch which precedes the 7 chain without picot and make the
second side like the first = having reached the middle, close to the 5
plain, turn the work = make the half round of bars and fasten off at
the 4th scallop of the flower above the semicircle.
Fasten on at the point under the flowers where the work was turned and
on the wrong side, and from right to left, work: 21 scallops consisting
of 4 chain, 1 picot, 7 chain, 1 picot, 4 chain, 2 plain = then add: 4
chain, 1 picot, 10 chain, 1 plain above the point of the scallop of the
small flower = turn the work: 7 plain over the 10 chain.
22 bars of 3 chain, 1 picot, 3 chain, 2 plain = after the 22nd bar, 10
chain = come back and join to the picot of the 21st bar = 2 chain, 8
trebles over the 10 chain and complete the flower as before. After the
4th scallop of the flower: 2 chain, 1 single, quite close to the 8
trebles, 3 chain, 2 plain on the next bar, 3 chain, 1 picot, join to the
2nd stitch of the 4th scallop of the flower, 3 chain, carry on the bars
the same distance as on the first side.
Footing of the lace--On the chain stitches that follow the 3rd plain
stitch and above the last little figure: 1 triple treble, 6 chain, join
to the middle plain stitch = miss 1 scallop, 1 treble, 6 chain = miss 1
scallop, 1 double treble, 6 chain, = miss 1 scallop, 1 triple treble, 6
chain, = miss 1 scallop of the figure on the left, 1 double treble, 6
chain = miss 1 scallop, 1 treble, 6 chain = miss 1 scallop, 1 double
treble, 6 chain = miss 1 scallop, 1 treble, 6 chain = miss 1 scallop, 1
treble, 6 chain = miss 1 scallop, 1 double treble, 6 chain, 1 triple
treble, 6 chain, 1 quadruple treble on the next plain stitch. Repeat the
whole, reversed, and finish off the footing with a row of plain
stitches.
Edge of the lace.--Fasten on, where the semicircles join: 1 double
treble on the first 3 chain stitches of the empty scallop, 5 chain, 1
double treble on the next disengaged chain stitches of the half scallop;
continue the same on all the chain scallops and distribute the trebles
so that there may be in all, 13 times 5 chain stitches.
Add 2 triple trebles, the last loops of them, connected by a plain
stitch; the 1st triple treble on the 3 last chain stitches of the last
scallop, the 2nd on the plain stitch, that follows the 1st scallop of
the middle figure = 4 chain, 1 treble on the plain stitch of the 2nd
point. Repeat the same, reversed.
2nd row--On the first 5 chain of the last row: 5 plain = on the next 5
chain: 5 plain = on the 3 chain, leave a space: 5 plain, 12 chain, come
back and join to the 8th chain stitch by a single stitch = on the
scallop: 4 plain, 1 picot, 3 plain, 1 picot, 4 plain = and so on, until
you have 8 points altogether.
The plain stitches must be distributed as follows:
For the 2nd point: in the 4th space 4 plain, in the 5th space 3 plain =
for the 3rd point: in the 5th space, 2 plain, in the 6th space, 5 plain
= for the 4th point: in the 6th space 1 plain, in the 7th space 6 plain
= for the 5th point: in the 8th space 4 plain, in the 9th space 3 plain
= for the 6th point: in the 9th space 3 plain, in the 10th space 4 plain
= for the 7th point: in the 11th space 7 plain = for the 8th point: in
the 12th space 7 plain = 5 plain in each of the 2 remaining spaces.
CROCHET LACE (fig. 468).--This is always an effective pattern, in any
number of thread. It is not new, however, and is probably already known
to many of our readers as a pillow lace. Those who are not fond of
making pillow lace, will be glad to learn how to reproduce it in
crochet, as it makes a pretty trimming, both for wearing apparel and
furniture. For furniture, it should be made in unbleached cotton, for
articles of dress, in any of the of the finer numbers, referred to
above.
For the separate squares, cast on 10 chain stitches, and close the ring.
1st row--* 5 chain, 1 plain on the ring. Repeat 3 times from *.
2nd row--1 chain, 1 plain on the first 5 chain: * 5 chain, 1 plain = on
the first 5 chain of the 1st row: 2 chain, 1 plain on the second 5 chain
of the 1st row. Repeat 3 times from *.
3rd row--1 plain on the first 5 of the 2nd row: * 5 chain, 1 plain, 2
chain, 1 plain, 2 chain, 1 plain. Repeat 3 times from *.
In the 4th and following rows, go on increasing, as in the 3rd row,
until, on all 4 sides, you have 11 plain stitches between every 5 chain.
12th row--1 plain, 5 chain, 1 plain, * 1 picot made of 4 chain, 1 plain
between the 1st and the 2nd plain of the last row, 2 chain, 1 plain
between the next 2 plain. Repeat 3 times from *, and fasten off.
Crochet the squares together, as you finish them. After the 12th and
last plain stitch, make: 2 chain, drop the loop, put the hook into the
3rd of the 5 chain stitches that form one corner of the square, draw the
dropped loop through, 2 chain, close the picot, finish the square.
[Illustration: FIG. 468. CROCHET LACE. MATERIALS.--For trimming curtains
and coarse linen table covers: Fil à pointer D.M.C No. 25 or 30, or
Cordonnet 6 fils D.M.C Nos. 10 to 25 écru. For articles of dress: Fil
d'Alsace D.M.C Nos. 30 to 70, Cordonnet 6 fils D.M.C Nos. 25 to 70, or
Fil à dentelle D.M.C Nos. 25 to 70 écru.[A]]
For the star that connects the squares--10 chain, close the ring; * 4
chain, 1 picot, 4 chain, 1 over, join the 2 picots right and left of the
squares that are to be joined together, by 1 treble; 4 chain, 1 picot, 3
chain, drop the loop, put the needle into the first of the first 4 chain
stitches, draw the thread through, 2 plain on the ring, 8 chain, 1
treble on the 3rd picot and 1 treble on the 4th picot of the square =
coming back: 1 plain on each of the 8 chain; 2 plain on the ring, and
repeat 3 times from *.
For the half-star, that fills the space under the footing of the lace:
10 chain, close the ring = 9 chain, 1 treble on the 1st picot of the
square; 4 chain, 1 picot, 3 chain; draw the thread through the 1st of
the 9 chain = 2 plain, 8 chain, join the 3rd and 4th picots of the
square by 1 treble bar on each picot = 8 single stitches on the 8 chain,
2 plain on the ring; 4 chain, 1 picot, 4 chain = on the 1st and last
picot of the 2 opposite squares: 1 treble, 4 chain, 1 picot, 3 chain,
drop the loop, draw it through the 1st of the 4 chain stitches = 2
plain, 8 chain, join 2 picots by 2 trebles = 8 single, 2 plain on the
ring, 4 chain, 1 picot, 4 chain, 1 treble on the last picot = 8 chain,
draw the thread through the 1st of the 4 chain.
The footing is made as follows--* 1 plain on the 5 upper chain stitches
of the square; 17 chain up to the ring, 3 plain, 17 chain and repeat
from *. A row of plain stitches completes the footing.
Outer edge--* 2 treble on the 1st picot, 4 chain, and repeat 5 times
from *.
On the 5 chain stitches, in the corner, make: 1 treble = 4 chain, 1
treble on the 5 chain and finish the second side of the square like the
first. Omit the chain stitches, between the 1st and last trebles of the
squares.
The next and last row consists of: 2 plain, 1 picot, 2 plain every 4
chain. On the last 4 chain, at the point where 2 scallops join, make 4
plain stitches, without picots.
LACE WITH STARS (fig. 469).--Begin with the stars, make a chain of 18
stitches, close the ring, mount it on a mould, wind a soft thread, such
as Coton à repriser D.M.C No 60, seven or eight times round it, and make
30 plain stitches upon it, joining the last to the first by a single
stitch.
Then: * 13 chain, and returning, miss the 1st chain = on the 12 chain: 1
single, 2 plain, 2 half-trebles, 2 trebles, 2 double trebles, 1 double
treble and a half, 2 triple trebles; keep the two last loops of the last
treble but one, on the needle, and join them, to those of the last
treble. Repeat 5 times from *.
2nd row--1 plain, on the upper stitch that was missed in the 1st row; *
17 chain, 1 plain on the next point. Repeat 5 times from *.
3rd row--* 6 plain, 3 chain, miss 2 stitches of the lower row. Repeat
from *.
[Illustration: FIG. 469. LACE WITH STARS. MATERIALS: Fil d'Alsace D.M.C
Nos. 30 to 70, Fil à pointer D.M.C No. 25 or 30, Coton pour crochet
D.M.C Nos. 8 to 12.[A]]
4th row--All round the last row, on each of the bottom stitches 1 plain;
after every 6 stitches, 1 picot. This will give you 19 picots in all,
separated from each other by 6 stitches.
Inner connection--Fasten on the thread at the 5th treble, counting from
the ring: 1 single, 8 chain. Draw out the thread, from the back, through
the 9th of the 17 chain round the star = 8 chain * join with 1 chain to
the 5th treble, passing the thread through to the back = work on the
wrong side: 3 chain, bring the thread back between the 5th treble to the
right side, and repeat 5 times from *. In joining the stars, place them
so that 9 picots are turned to the edge, and 8 to the footing. The 10th
and the 19th picots serve to join the stars.
1st row--2 trebles between the 19th and the 9th of the * 9 picots, 7
chain, 1 treble; repeat 9 times from *.
After the 10th treble, make no more chain stitches, but 1 treble
immediately between the 19th and the 1st picot of the next row.
2nd row--On the 7 first chain stitches of the last row: 3 plain, 4
half-trebles, 3 trebles, 1 picot, 3 trebles, 1 picot, and so on, until
in the semicircle over the picots, you have 7 times 7 chain stitches and
16 picots = on the ninth set of 7 chain: 3 trebles, 4 half trebles, 3
plain.
The scallops are joined by smaller ones, formed of: 3 plain, 4 half
trebles, 3 trebles, 1 picot, 2 trebles, 7 chain, drop the loop, put the
needle into the same treble of the last scallop; draw the loop through
and make on the 7 chain: 1 plain, 1 half-treble, 5 trebles, 1 picot, 5
trebles, 1 half-treble, 1 plain; continue the large scallop, as
described above.
The footing is composed of rings and trebles.--Begin with a ring, like
those in the middle of the stars, worked as follows: 18 chain, with 28
plain upon them = miss 1 plain stitch of the ring, 3 plain, 10 chain =
miss 1 plain, 3 plain, 10 chain = miss 1 plain, 3 plain, 5 chain, 1
single on the 7th picot of the 1st star, 5 chain = miss 1 plain, 3
plain, 5 chain, 1 single on the 8th picot, 5 chain = miss 1 plain, 3
plain, 5 chain, 1 single on the 2nd picot, 5 chain, finish off.
Straight edge--Worked from right to left = 1 chain * turn the thread 7
times round the needle, join to the plain stitch between the 7th and 6th
picot, complete the long treble, 7 chain, join 1 treble, consisting of
six overs to the 1st treble; 1 quintuple treble between the 6th and the
5th picot; 7 chain, 1 quadruple treble joined to the previous treble =
in all, 10 trebles, the 1st made with 7 overs, the 2nd with 6, the 3rd
with 5, the 4th with 4, the 5th and 6th with 3, the 7th with 4, the 8th
with 5, the 9th with 6, the 10th with 7; and between every 2 trebles, 7
chain.
The 3 long trebles of the ring are taken up with 1 plain and 7 chain
between.
GUIPURE LACE (fig. 470).--We advise our readers to work this charming
pattern, in unbleached Fil à dentelle D.M.C No 50, because it imitates
the appearance of old lace better than any other material.
Lozenge-shaped figures in the centre--5 chain, close the ring.
[Illustration: FIG. 470. GUIPURE LACE. MATERIALS: Fil d'Alsace D.M.C
Nos. 30 to 100, Cordonnet 6 fils D.M.C Nos. 25 to 100, or Fil à dentelle
D.M.C Nos. 25 to 100.[A]]
1st row--5 chain, 1 picot, 2 chain, 1 treble on the ring = 5 chain, 1
treble on the ring = 2 chain, 1 picot, 2 chain, 1 treble on the ring = 5
chain on the 3rd of the first 5 chain.
2nd row--12 chain, * 1 treble on the 1st treble of the 1st row = 4
chain, 1 treble on the 3rd of the next 5 chain = 5 chain, 1 treble on
the same stitch as the last treble = 4 chain, ** 1 treble on the 2nd
treble of the 1st row, 9 chain. Repeat from * to **; join the last 4
chain, to the 3rd of the first 12 chain, by a single stitch.
3rd row--1 chain, 4 plain, 3 plain on the 5th of the 9 chain of the last
row = 12 plain, 5 plain on the 3rd of the 5 chain, between the 2
trebles, 12 plain, 3 plain on the 5th of the lower 9 chain = 12 plain, 5
plain on the 3rd of the 5 chain, 7 plain; finish the row with a single
stitch.
4th row--3 chain, 1 treble on each of the next 5 plain; 3 trebles on the
6th plain; 1 treble on each of the next 15 plain, 5 trebles on the 16th
stitch; 15 trebles on the 2nd side; and again 3 trebles on the 16th
stitch; 15 trebles on the 3rd side; 5 trebles on the 16th stitch, 9
trebles and join to the 3rd of the 3 chain.
5th row--1 chain, 6 plain, 3 plain on the 7th stitch beneath, * 18
plain, 3 plain on the 19th stitch. Repeat twice from *.
6th row--1 chain, 1 picot, 2 plain, 1 picot, 2 plain, 1 picot = towards
the point: 3 plain, 1 picot = on the 2nd side of the square: 3 plain, 1
picot, and 5 times 2 plain, 1 picot = towards the point: 4 plain, 1
picot.
On the 3rd side as on the 2nd, only reversed, first 4 plain, and at the
point 3 plain; on the 4th side as on the 2nd; on the 1st side must still
be added 3 plain, 1 picot, 2 plain, 1 picot, 2 plain, 1 picot, 2 plain;
draw the thread through the loop and fasten off.
The oblong squares, that connect the lozenges, take 7 rows of plain
stitches. Make a chain of 14 = turn the work = 13 plain; add 5 rows of
the same number of stitches. On the short side, and at the edge of the
square: 1 picot, 3 plain, * 9 chain, miss 1 chain = returning: 1 plain
on the 8th chain = on the next 7 chain: 1 half treble, 3 trebles, 1 half
treble, 2 plain on the last chain stitches = on the 2nd half of the
short side: 3 plain, 1 picot = on the long side: 3 plain **, 1 picot, 3
plain ***. Repeat the whole twice from * to ***, and then once from * to
** only.
The row of bars, that encircles the small leaves, begins with 2 single
stitches on the first picot, then add: **** 3 chain, 1 picot, 3 chain, 1
treble on the 9th chain of the small leaf; on the short side: 1 chain, 1
picot, 1 chain, 1 triple treble on the 9th chain of the leaf; drop the
thread, bring it out from the back, by the side of the picot that forms
the corner on the long side of the lozenge = 1 chain, 1 picot, 1 chain,
1 treble on the small leaf = 3 chain, 1 picot, 3 chain, 1 treble on the
picot, forming the corner of the oblong square = 3 chain, 1 picot, 3
chain, 1 treble on the leaf on the long side of the square = 3 chain, 1
treble on the same stitch as the 1st treble is on = 3 chain, 1 treble on
the same stitch as the 2 first trebles are on; 3 chain, 1 picot, 3
chain, 1 treble on the picot at the corner. Repeat once from ****.
Upper and lower edge--6 chain, 1 sextuple treble on the 2nd picot of the
lozenge = 6 chain, 1 triple treble on the 4th picot of the lozenge.
Coming back over the 2 trebles of 6 chain, work in 3 journeys to and
fro, 13 plain stitches.
After the 2nd row of plain stitches, 1 quintuple treble on the 6th
treble of the lozenge, and then 4 rows of plain stitches.
After the 6th row, pass at once to the leaves above the lozenge: *****
15 chain, 1 plain on the picot that forms the point of the lozenge =
turn the work to the wrong side = on the chain stitches work: ****** 3
plain, 1 half treble, 4 trebles, 1 half treble, 3 plain = turn the work
to the right side = returning and starting from the point of the leaf: 1
chain and 1 plain on each of the lower stitches.
For the 2nd leaf: 12 chain = turn the work and repeat, as for the former
leaf, from ***** to ******.
This leaf, being finished like the first, with this difference that it
ends at the upper point, you pass to the 2nd little square: 6 chain, 1
sextuple treble on the picot next to the leaves; 3 chain, 1 triple
treble on the 3rd picot, counted from the leaves = 6 chain, 1 sextuple
treble on the 5th picot of the lozenge; keep the 2 last loops of the
treble on the needle, 1 sextuple treble on the picot between every 3
chain of the small square with leaves; draw up the 2 last loops together
with those already on the needle = 6 chain, 1 triple treble on the picot
on the long side of the small square = 3 rows of 13 plain each.
With the last stitch of each of these rows, take 1 of the chain stitches
between the long trebles.
After the 3rd row: 1 sextuple treble on the first treble on the small
leaf of the small middle square = 3 rows of plain stitches to finish the
square, and repeat from *****.
The upper row is similar to this but should be worked from right to
left.
Scalloped edge.--In the right corner of the 1st oblong figure of the
outside corner: 1 double treble, 2 chain, 1 double treble on the 4th
plain stitch = 2 chain, 1 double treble on the stitch that forms the
corner stitch of the square = 2 chain, 1 plain at the extremity of the
first long leaf, 9 chain = 1 quadruple treble on the stitch between the
2 leaves = 2 chain, 1 quadruple treble on the same stitch and on the
1st treble = 2 chain, 1 quadruple treble on the same stitch = 9 chain, 1
plain on the last stitch of the 2nd long leaf = turn the work: 1 chain,
1 plain on each of the chain stitches, and on each treble, 27 plain
stitches in all = turn the work: 1 chain, 1 plain, 2 chain, 1 plain on
the 2nd plain; repeat the last 12 times. Take in 1 stitch on each side
in every row, turn the work after each row, and at the end of the last
fasten off. Fasten on at the foot of the scallop, not at the point, and
work plain stitches all round it; 20 plain to the upper point, 40 in
all.
The open-work edge of the scallops consists entirely of double
trebles.--After the 40 plain stitches of the edge: 2 chain, 1 treble on
the 1st plain stitch of the small square = turn the work: * 2 chain, 1
treble on the 2nd of the plain stitches, forming the edge of the scallop
**; repeat 7 times from * to ** = *** 2 chain, 1 treble on the next
plain stitch = 2 chain, 1 treble on the next plain = repeat 4 times from
***; and then 7 times from * to ** = 2 chain, 1 plain on the 4th treble
of the square; 2 chain, 1 plain on the 3rd treble.
Work on, on the right side = **** 2 chain and 1 treble on the preceding
treble as far as the 8th treble; after the 8th: ***** 10 chain, back to
the 7th, and returning, join to the 7th treble = on the 10 chain: 16
plain, after the 16th draw the loop through the upper loop of the 8th
treble = ****** 2 chain, 1 treble, 2 chain, 1 treble, 10 chain, return,
and fasten the chain stitches to the last treble but one = 6 plain, 1
picot, 2 plain, 1 picot, 6 plain and join as before ******* = Repeat
once from ***** to *******, then twice, from ***** to ******, then from
**** to *****, as on the first side, only 1 treble less = then 1 treble
on the 4th plain stitch of the small square, 2 chain, 1 treble on the
7th plain stitch of the square, 2 chain, 1 treble on the 10th plain
stitch, 1 treble on the outside stitch, at the corner of the square, 2
chain, 1 plain on the last stitch of the leaf; 9 chain and so on, as
above described.
Having reached the second scallop, on the 2nd row of trebles, at the
sign ***, work: 2 chain, 1 treble to the left on the scallop just
finished, keeping the last loops of the treble on the needle, 1 double
treble to the right of the scallop and join it to the 2nd treble; draw
the 4 loops together = 2 chain, 1 treble to the left, 1 quadruple treble
to the right = 11 chain, drop the loop, bring it to the right side
through the 4th treble of the right scallop = on these 11 chain
stitches: 1 single, 1 plain, 1 half treble, 2 trebles, 1 half treble, 1
plain, 1 single = 1 double treble on the open-work edge, then 2 chain, 1
treble, 2 chain, 1 treble, 12 chain; join to the 6th treble of the right
scallop = working back: 4 plain, 1 picot, 4 plain, 1 picot, 4 plain, 1
picot, 4 plain, join to the treble, thrice 2 chain, 1 treble. Go back to
***** and repeat twice to *******.
The footing of the lace is worked in 5 rows from right to left.
1st row--1 single, * 1 double treble on the 6th plain stitch of the
square = 1 chain, 1 double treble on the 2nd plain stitch of the square
= 3 chain, 1 picot downwards, 3 chain, 1 plain on the stitch at the
extremity of the long leaf = 3 chain, 1 picot downwards, 3 chain, 2
quadruple trebles between the two leaves = 3 chain, 1 picot downwards, 3
chain, 1 plain on the last stitch of the 2nd leaf, 3 chain; repeat from
*.
2nd row--1 plain on each stitch of the previous row.
3rd row--count 2 stitches before and above the 2 trebles on the squares
and make: * 1 treble, miss 1 stitch, 1 treble, miss 1 stitch, 1 treble,
miss 1 stitch, 1 treble = turn the work: 1 plain on each of the 4
trebles = turn the work, come back and make 4 plain on the first 4 = 5
chain, miss 2 stitches of the 2nd row, 1 treble on the 3rd plain, and
continue from *.
4th row--1 treble on each of the 4 plain, 1 chain between each treble, 2
chain and so on.
5th row--1 plain stitch on each of the stitches of the 4th row.
CROCHET RETICELLA LACE (fig. 471).--This pattern, copied in crochet
from an old piece of Reticella lace, only looks well, worked in very
fine cotton, as indicated in our illustration, namely, in unbleached Fil
à dentelle D.M.C No 150. To make it resemble the original more closely,
the method adopted in Venetian point, of making all the stitches over a
padding thread, has, in the case of the outside edge, been followed
here.
At the end of each row of plain stitches, draw out a sufficiently long
loop to lay it back over the stitches just made, and to work the next
row of stitches over this double foundation. These loops must be long
enough, not to pucker or tighten the scallops.
For the inner squares = 4 chain, close the ring.
1st row--8 chain, 1 treble, 3 chain, 1 double treble, 3 chain, 1 treble,
3 chain, 1 double treble, 3 chain, 1 treble, 3 chain, 1 double treble, 3
chain, 1 treble, 3 chain, 1 single stitch on the 5th of the 8 chain.
2nd row--* 1 chain, 5 plain on the first 3 chain, 5 plain on the next 3
chain. On these 10 plain stitches, working to and fro, 9 rows of plain
stitches, decreasing by 1 in each row; after the last stitch, come back
along the side of the little triangle, and make 1 single stitch in every
row, 1 plain on the treble of the 1st row **; repeat 3 times from * to
**.
[Illustration: FIG. 471. CROCHET RETICELLA LACE. MATERIALS: Fil d'Alsace
D.M.C Nos. 30 to 100, or Fil à dentelle D.M.C Nos. 25 to 150.]
These small triangles must be worked over 1 single treble and between 2
double trebles.
When the 4th triangle is finished, make directly, starting from the last
stitch at the point, and along the side: 3 plain, 1 picot, 3 plain, 1
picot, 3 plain; 1 single stitch on the treble; all the triangles must be
edged, in this same manner on both sides; on the stitch that forms the
point: 3 plain stitches.
3rd row--* 17 chain, drop the loop = bring it to the front, through the
plain stitch that lies between 2 triangles; returning, make 10 single
stitches backwards on the 10 chain. You make stitches like this,
backwards, in all the trebles that follow, that is, the loop is dropped
after each stitch, and brought forward from the wrong side to the right
= 13 chain, join to the 5th single, counting upwards from below = 7
single on the chain stitches; 13 chain, join to the other trebles; 6
chain, 1 single on the stitch at the point of the triangle **; repeat 3
times from * to **. = The chain stitches for the trebles, must be drawn
up very tight.
4th row--1 plain on each of the stitches of the preceding row, 3 plain
on the corner stitch. On each side there must be 29 plain stitches, not
counting the corner ones.
5th row = 6 chain, miss 2 stitches of the row beneath, * 1 double
treble, 2 chain; repeat 3 times from * = 2 chain, 1 double treble, 2
chain, 1 double treble on the same stitch as the 1st treble = 2 chain, 1
double treble on the same stitch as the 1st treble = 2 chain, 1 double
treble on the same stitch as the two first trebles = 10 times to the
next corner: 2 chain, 1 double treble, 3 double trebles, each of them
with 2 chain stitches at the corner; repeat the same on each of the 4
sides.
6th row--1 plain on each of the stitches of the last row, 3 plain on the
corner stitch = cut off the thread. Join the next squares together at
once by the last corner stitch.
Lower edge--You begin by making the large scallop at the point of the
square, and pass the double thread over the 3rd treble that comes before
the 3 trebles at the point of the square and make: 1 plain stitch on
each stitch of the square, up to the 3rd treble on the opposite side;
then draw out a long loop which you carry back to the beginning. In the
2nd row increase by 2 stitches, right and left of the middle stitches,
for the rounding of the scallop, and decrease by 1 on each side. Make 10
rows in all, and in each row, decrease by 4 stitches and increase by 2.
Fasten off after the 10th row.
The two little scallops, right and left of the big one, are worked in 5
rows, over 5 trebles and 4 intervals of chain stitches, taking off 2
stitches in every row. For the small triangle between, worked in 4 rows,
you must increase on both sides by 2 stitches.
When all the scallops are finished, edge them with 3 plain stitches, 1
picot and 3 plain and work in all the ends of thread from the preceding
rows at the same time.
For the footing and the small triangles, that fill up the spaces between
the squares: 22 chain, miss 1, 10 rows of plain stitches, worked to and
fro, decreasing by 1 in every row.
When the triangle is finished, make on one side, 1 single in every row;
then, on the 11 remaining chain stitches, a second triangle, like the
first, which you then join to the plain stitches, above the 5th treble;
then returning along the side of the triangle, add 3 plain, 1 picot, 3
plain, 1 picot, 3 plain; 1 single on each of the 22 chain stitches.
Edge the next side of the 2nd triangle like the first, join the corner
stitch to the 5th treble; edge the two inner sides 3 times with 3 plain
stitches and 2 picots.
Then from right to left on the plain stitches: 6 plain, 15 chain, join
them to the middle of the 2 triangles = 1 single on each chain, 5 plain
on the square; 11 chain, 1 single on the 9th of the first 15 chain; 1
single stitch on each of the chain stitches; 1 plain on each stitch of
the square, to the point where the squares join, 8 chain, 1 single on
the 6th of the 11 chain, 1 single on each of the 8 chain.
On the 2nd side: 7 plain, 5 chain, 1 single on the 6th of the 11 chain,
1 single on each of the 5 chain, 5 plain, 9 chain, 1 single on the 9th
of the 15 chain, 1 single on each of the 9 chain, 6 plain on the square;
fasten off.
Fasten on, at the 2nd of the 3 corner stitches = 17 chain, 1 plain on
the corner stitch of the triangle; 8 chain, 1 plain on the next corner
stitch, 17 chain, and so on.
A row of plain stitches, or trebles, completes the lace.
LACE WITH CORNER, FORMED BY INCREASING ON THE OUTSIDE (fig. 472).--1st
row--On a row of chain stitches or trebles, work alternately: 1 chain, 1
treble = on the corner: 1 chain, 1 treble, 2 chain, so that the last 3
trebles come on one stitch.
2nd row--1 plain on each stitch of the 1st row, 3 plain on the 2nd of
the 3 corner trebles.
3rd row--Counting from the 2nd of the 3 corner stitches, and towards the
left, make 1 plain on the 53rd, 52nd, 51st and 50th plain stitches; 8
chain, miss 1 chain, 1 plain on each of the 7 chain stitches = on the
other side of the 8 chain, also 1 plain on each stitch, 3 plain on the
8th chain, 1 plain on each of the first 7 plain.
[Illustration: FIG. 472. LACE WITH CORNER, FORMED BY INCREASING ON THE
OUTSIDE.
MATERIALS: Fil d'Alsace D.M.C No. 30, Fil à pointer D.M.C Nos. 20 to 30,
Cordonnet 6 fils D.M.C Nos. 15 to 30, or Fil à dentelle D.M.C Nos. 25 to
50.[A]]
On the next 11 stitches of the 2nd row: 1 plain = 4 chain, miss 4, 1
triple treble on the 5th of the 2nd row, 4 chain, 1 triple treble on the
same stitch, 4 chain, 1 triple treble on the same stitch, 4 chain, miss
4, 1 single on the 5th = turn the work = on each treble of 4 chain: 7
plain; 28 in all; 1 single on the 10th of the 11 plain = turn the work =
miss the 28th plain, and on the 27 others make: 3 plain, 1 picot, 3
plain = 11 chain, miss the 11th, 10 plain on the others = on the 2nd
side of the chain: 4 plain, 10 chain, join them to the 6th of the first
11 plain of this row = on the 10 chain: 5 plain, 3 chain, join them to
the 5th plain of the 1st leaf, made in this row = on the 3 chain: 3
plain = on those of the 10 remaining chain stitches: 6 plain = along the
leaf: 3 plain, 1 picot, 3 plain = on the stitch at the point of the
leaf: 3 plain = then down the 2nd side: 3 plain, 1 picot, 7 plain = over
the next of the 28 plain: 3 plain, 1 picot, 4 plain = * 11 chain, miss
the 11th, 10 plain = on the second side of the chain: 4 plain, 6 chain,
join them to the 4th of the last 7 plain of the 2nd leaf = on the 6
chain: 9 plain. Continue on the 3rd leaf of this row: 3 plain, 1 picot,
3 plain and 3 plain on the stitch at the point of the leaf = on each of
the next 3 stitches: 1 plain, then 1 picot, 7 plain = on the 28
stitches: 4 plain, 1 picot, 3 plain **. Repeat from * to **, and here
follow: 3 plain, 1 picot, 3 plain.
On the 2nd row: *** 5 plain, 10 chain, join them to the 4th of the last
7 plain of the 3rd leaf; 11 plain over the 10 chain = on the 2nd row: 5
plain, 8 chain, miss 1 chain, 1 plain on each chain = on the second
side: 4 plain, 3 chain, join them to the 6th of the last 11 plain = 3
plain on the leaf, 3 plain on the stitch at the point, 7 plain, and
repeat from *.
On the 2nd row and for the corner: 9 plain, **** 4 chain, 1 triple
treble on the 2nd of the 3 corner stitches and repeat 4 times from ****
= 4 chain, miss 4 of the preceding row, 1 plain on the 5th = turn the
work, on each bar of 4 chain, 6 plain, 36 in all, join the last to the
8th of the 9 plain = going back over the 36 plain: 3 plain, 1 picot, 3
plain, 11 chain, miss the 11th, 1 plain on each of the 10 chain = on the
2nd side of the chain: 4 plain, 10 chain, join them to the 4th of the 9
plain = over the 10 chain: 5 plain, 3 chain, join them to the 4th plain
of the last leaf, 3 plain = on the remainder of the 10 chain: 6 plain.
Proceeding along the leaf: 3 plain, 1 picot, 3 plain, 3 plain on the
stitch at the point, 3 plain, 1 picot, 7 plain *****. Again on the 36
plain, make: 3 plain, 1 picot, 3 plain, 11 chain, miss the 11th, 10
plain = on the 2nd side of the chain: 4 plain, 6 chain, join them to the
4th of the last 7 plain of the last leaf, 9 plain over the chain
stitches = on the leaf: 3 plain, 1 picot, 3 plain, 3 plain on the stitch
at the point, 3 plain, 1 picot, 7 plain ******. Repeat 3 times from
***** to ****** and add 3 plain, 1 picot, 3 plain. Continue along the
2nd row: 4 plain, 10 chain and on these 11 plain = 4 plain, 8 chain,
returning, miss the 8th, 7 plain on the others = on the 2nd side of the
chain: 4 plain, 3 chain, join them to the 6th of the last 11 plain = on
the 3 chain: 3 plain = on the leaf: 3 plain, 3 plain on the stitch at
the point of the leaf, 7 plain.
4th row--1 plain on the 1st leaf of the 3rd row: * 7 chain, 1 plain on
the 2nd leaf = 7 chain, 1 triple treble on the 5th of the 9 plain
between 2 leaves = 7 chain, 1 plain on the 3rd leaf = 7 chain, 1 triple
treble, 7 chain, 1 plain on the 4th leaf = 7 chain, 1 plain on the 5th
leaf; 5 chain, 1 plain on the 1st leaf of the corner scallop. Repeat
from *, with this difference, that, in the corner scallop you must have
4 triple trebles.
5th row--on the first 7 chain of the 4th row: 7 plain, * on the next
chain stitches: 12 plain = turn the work, and crochet to and fro,
decreasing by 1 stitch in each row, until you have only 2 stitches left
= along the leaf: 10 plain and repeat 3 times from * = 7 plain on the
next 7 chain, 6 plain on the 5 chain, 7 plain on the 7 chain.
The corner scallop has 7 points = the 12 first stitches must be divided
as follows: * 1st point: 12 plain in the first interval = 2nd point: 10
plain in the 2nd interval and 2 plain in the 3rd interval = 3rd point: 7
plain in the 3rd interval and 5 plain in the 4th **. Repeat once from **
to *.
6th row--* 1 plain in the 1st leaf, 5 chain, 1 crossed quadruple treble,
the branches of which are joined by 5 chain; repeat twice from * = 1
plain, 4 chain, 1 plain in the 1st leaf of the next scallop = 5 chain, 1
crossed quadruple treble, the branches of which are joined by 5 chain
and joined to the 6th stitch of the 2 next points = 5 chain and so on.
7th row--6 plain on the first 5 chain of the 6th row, 6 plain on the
next chain = 8 chain; carry the chain back to the right, and join it on,
between the 6th and 7th plain = 4 plain on the 8 chain, then 8 chain,
take it back, and join to the 1st plain = 12 plain on the 8 chain =
continue on the small scallop: 3 plain, 1 picot, 8 plain = on the other
5 chain: 6 plain = 8 chain, join them again to the 4th of the 8 plain on
the scallop = on the last 8 chain: 3 plain, 1 picot, 8 plain = on the 2
next bars of 5 chain: 12 plain = 8 chain, join them to the 7th of the
last 12 plain = on the 8 chain: 5 plain = 8 chain, join them to the 1st
of the last 12 plain = on the 8 chain: 5 plain, 3 chain, join them to
the 4th plain of the 3rd finished scallop = over the 3 chain: 2 plain, 1
picot, 2 plain = on the next scallop: 3 plain, 1 picot, 3 plain = in the
half finished scallop: 6 plain = 8 chain, take it back and join it to
the 1st of the last 6 plain = on the 8 chain: 5 plain, 1 picot, 3 plain,
1 picot, 5 plain to finish the scallop below: 5 plain = on the 6th row:
6 plain, 8 chain, join them to the first of the last 5 plain of the last
scallop = on the 8 chain: 3 plain, 1 picot, 8 plain.
The little scallops must be carried on round the corner point, as they
were on the 3rd, 4th and 5th trebles of the other points.
LACE WITH CORNER, FORMED BY DECREASING ON THE INSIDE (fig. 473).--For
the stars--8 chain, close the ring; 3 chain, 15 trebles in the ring;
close = 3 chain, miss 1 treble of the last row, 1 treble, 5 chain, 1
treble on the upper part of the last treble = alternate 7 times: 1
chain, 1 crossed treble divided by 2 chain, lastly 1 chain, close the
ring, fasten off.
Make 11 stars, and join them together as follows, counting the third
from the left, in the engraving, as the first.--When you have joined the
1st star to the 2nd by the 6th and 7th cross trebles, join the next
stars so that when the 3rd is fastened on, there should be 2 crossed
trebles on the inside and outside of the 2nd star. The 3rd star will
have: 1 crossed treble on the outside, 3 on the inside = the 4th: 2
crossed trebles inside, 2 outside = the 5th, the 6th, and the 7th: 1
inside, 3 outside = the 8th: 2 on the inside and outside = the 9th: 3
inside, 1 outside = the 10th: 2 outside, 2 inside = the 11th: 3 outside,
1 inside. For the next scallops, repeat from the 2nd to the 5th star.
2nd row--* over the 2 chain stitches of the 3rd crossed treble of the
11th star: 1 treble, 3 chain = over the 1st chain stitch between the 3rd
and 4th crossed trebles: 1 treble, 3 chain = over the next 2 chain
stitches: 1 double treble, 3 chain = 3 overs, in the next space: 1
double treble and 1 double treble in the 1st space of the 10th star;
connect the two trebles together, 3 chain, 1 double treble, 3 chain, 1
treble, 3 chain, 1 treble, 3 chain, 1 connected treble as before, 3
chain ** 1 plain over the 2 chain stitches of the last crossed treble of
the 9th star. Repeat from ** to *, therefore backwards.
[Illustration: FIG. 473. LACE WITH CORNERS FORMED BY DECREASING ON THE
INSIDE.
MATERIALS: Fil d'Alsace D.M.C Nos. 30 to 70, Fil à pointer D.M.C No. 20
or 30, Coton pour crochet D.M.C Nos. 10 to 18, or Cordonnet 6 fils D.M.C
Nos. 4 to 60.[A]
COLOURS: White, Écru naturel or any other colour of the 450 shades of
the D.M.C colour card.]
Each of the next trebles comes, either over 2 chain stitches of the
crossed treble, or over the chain stitch between the crossed trebles ***
3 chain, 1 treble, 3 chain, 1 double treble, 3 chain, 1 triple connected
treble, 3 chain, 1 double treble, 3 chain, 1 treble, 3 chain **** 1
single; repeat, in the reverse order, therefore, from **** to ***.
When the outside row is finished, make a similar row on the inside of
the stars; at the corner 3 trebles are to be made 3 times over each of
the middle stars.
3rd row--1 treble above and below, on each stitch of the second row.
4th row--consists entirely of crossed trebles = * miss on the upper
edge: 3 times 1 treble, and 5 times 2 trebles = on the next trebles of
the preceding row: 1 double treble, miss 2 stitches, 1 double treble,
miss 2 stitches, 1 double treble = draw up the last loops of the 3
trebles together = repeat the same thing backwards = here follow: 8
crossed trebles separated each by 1 treble of the preceding row **; the
8th and the 9th crossed trebles are together in the corner treble of the
preceding row. Repeat from ** to * = here follows 1 row with 1 treble on
every stitch below.
The row on the side of the footing is worked as above described = at the
corner, and after having made the 3rd connected treble, * miss 5 times 2
stitches, 6 times 1 stitch, 3 times 2 stitches, 3 times 3 stitches, ** 3
triple trebles connected together above, miss 3 stitches underneath;
repeat from ** to *, followed on both sides by a row of trebles.
In the corner of the inside row of trebles connect the loops of 5 pairs
of trebles, in the centre connect the loops of 3 trebles, and again the
loops of 5 pairs of trebles.
For the 1st star of the footing: 8 chain, close the ring; 3 chain in the
ring, 15 trebles, close = 3 chain, miss 1 treble, 1 treble, * 3 chain, 1
treble on the stitch of the 1st treble, miss 1, 1 treble in the 2nd
stitch, draw the loops of the 2 trebles together **. Repeat 6 times from
* to **; add 3 chain and close = 5 chain, join them to the 15th treble
of the last row; 5 chain, 1 plain on the first chain stitches between 2
trebles; 4 chain, join them to the 7th treble; 4 chain, 1 plain on the
next chain stitches, 3 chain, join to the treble over the 3 connected
triple trebles, 3 chain, 1 plain on the next chain stitches, 4 chain,
join them to the 8th treble, 5 chain, 1 plain on the 5th treble, cut off
the thread.
The corner star is made like the one just described, and is joined on,
as follows: 3 chain, join them to the 17th treble on the left of the
last row (counting from the triple treble) = 3 chain, 1 plain on the
first chain stitches between 2 trebles = 3 chain, miss 4 trebles, join
them to the 5th = 3 chain, 1 plain on the 2nd set of chain stitches
between = 6 chain, miss 5 trebles, join them to the 6th = 3 chain, 1
plain on the 3rd of the 6 last chain = 3 chain, join them to the corner
stitch, 3 chain, 1 plain on the last 3 chain = towards the right: 3
chain, join to the 5th treble = 3 chain, 1 plain on the preceding, 3
chain, 1 plain on the 3rd set of stitches between, 3 chain, miss 4
trebles, join to the 5th treble = 3 chain, 1 plain on the 4th set of
stitches between, 3 chain, miss 4 stitches and join = 3 chain, 1 plain
on the 5th double treble, fasten off.
On the 3 first trebles of the preceding row of the inside edge, counting
from the outermost stitches which are to be seen to the right in the
illustration, 1 plain, 3 chain, miss 4 trebles, 1 treble = 3 chain, miss
3 trebles, 1 double treble, 3 chain, 3 overs, pass the needle over the
double treble, crochet off one over = miss 3 stitches, 1 double treble,
crochet off the 2 remaining loops = 3 chain, 4 overs, crochet off 2
loops, 1 double treble over the chain treble of the star, crochet off
the remaining loops = 3 chain, 3 overs over the treble made on the 5
chain, crochet off 2 loops = 1 treble on the 5th set of stitches
between, crochet off the remaining loops = 3 chain, 1 treble on the 6th
set of stitches between = 3 chain, 1 treble on the 7th set of stitches
between = 3 chain, 3 overs, 1 treble on the 8th set of stitches between;
crochet off 1 over, 1 double treble on the 5 first chain stitches of the
star, crochet off the remaining loops = 3 chain, 3 overs, 1 treble over
the 2nd double treble, 1 double treble, miss 2 trebles of the preceding
row, complete the treble = 3 chain, 3 overs, crochet off 1 over, joining
it to the last double treble; crochet off the overs = 1 treble on the
5th treble of the preceding row, crochet off the loops = 3 chain, 1
treble on the 4th treble = 3 chain, miss 4 stitches = on each of the 6
following trebles: 1 plain = 3 chain, miss 3 trebles, 1 treble, 3 chain,
miss 3 trebles, 1 double treble; 3 chain, 3 overs, over the double
treble crochet off 1 loop, 1 double treble on the 4th treble after the
plain stitches, crochet off the last overs = 3 chain, 3 overs, over the
last double treble crochet off 1 loop, 1 double treble on the 5th
intervening space of the corner star, crochet off the loops = 3 chain, 1
plain on the 7th double treble of the star = 3 chain, 1 double treble on
the 8th intervening space = 3 chain, 3 overs, over the last double
treble crochet off 2 loops, 1 double treble on the 3rd treble of the
preceding row, complete the treble = 3 chain, 3 overs, over the double
treble crochet off 2 loops, 1 treble on the 4th treble, complete the
treble = 3 chain, 1 treble on the 4th treble, 3 chain, miss 3, 3 plain.
One row of trebles to finish with; draw the 5 corner trebles together
and add: 1 row of crossed trebles and 1 row of plain trebles, each time
drawing the 5 corner loops together into one.
1st row of the outside border--1 plain on every one of the 7 next
trebles of the row beneath, 5 chain; turn back, join them to the 7th
plain and so on.
2nd row--1 plain on the 4th of the 7 plain, 9 trebles on the 5 chain.
3rd row--1 plain on each of the first 2 trebles of the 2nd row, 1 picot,
2 plain, 1 picot, miss 1 stitch, 2 plain, 1 picot, 2 plain and so on.
[Illustration: FIG. 474. SQUARE WITH COLOURED TUFTS.
MATERIALS: Coton pour crochet D.M.C Nos. 6 to 10, or Coton à tricoter
D.M.C Nos. 6 to 12.[A]
COLOURS. White and Rouge-Turc 321, or écru and Bleu-Indigo 321,
Rouge-Géranium 353 and Brun-Caroubier 356, Bleu d'Azur 3325 and
Brun-Rouille 3312, Vert-Bouteille 494 and Bleu-Prunelle 489.[A]]
SQUARE WITH COLOURED TUFTS (fig. 474).--The following are different
counterpane patterns which should be worked in coarse cotton; our
engraving represents a single square, worked in two colours, in raised
crochet. By joining a number of such squares together, 4 or 6 colours
can be introduced into one covering with very good effect.
Cast on 13 chain and close the ring.
1st row--1 plain on the 1st of the 13 chain, 5 chain, 1 plain on the 4th
chain, 5 chain, 1 plain on the 7th chain, 5 chain, 1 plain on the 10th
chain, 5 chain, 1 plain on the 13th chain.
2nd row--1 plain on the 1st plain of the 1st row * 1 plain on the 1st of
the 5 chain; 5 chain, 1 plain on the 5th chain. Repeat 3 times from *.
3rd row--5 plain on the 5 chain, 5 chain, 5 plain and so on.
4th and 5th rows--continue to increase, as in the 3rd row.
6th row--after the 3rd plain, 1 tuft in the contrasting colour (see fig.
431).
The contrasting colour is to be introduced into the work at the first
tuft, and cut off when the last is finished.
The ends of the coloured threads must be worked in under the stitches of
the next row. The square may be of any size; it is bordered by small
picot scallops by means of which the different squares are joined
together.
[Illustration: FIG. 475. STRIPES FOR COUNTERPANES.
MATERIALS: Coton pour crochet D.M.C Nos. 6 to 8, or Coton à tricoter
D.M.C Nos. 6 to 12 and Lacets surfins D.M.C No. 4, or Soutache D.M.C No.
2½.[A]
COLOURS: Gris-Lin 716 and Rouge-Bordeaux 497, Gris-Tilleul 393 and
Bleu-Faience 484 or Brun-Caroubier 356 and Jaune-Rouille 308 etc.[A]]
STRIPES FOR COUNTERPANES (fig. 475).--We recommend the use of Soutache
D.M.C or Lacets superfins D.M.C (braids) for the coloured stitches, in
the place of cotton. The dark stitches standing, so to speak, on another
ground of stitches the pattern will look brighter, if it be worked in a
flat material that will spread out more than cotton does.
The stripe, worked in its entire length and always on the right side,
must be begun by a chain of stitches of the length the stripe is to be.
1st row--1 plain stitch on each chain stitch.
2nd row--1 plain stitch with white or unbleached cotton, on each second
stitch of the preceding row; 1 long plain stitch with the coloured
cotton or the braid, in each second loop of the chain stitch.
When red and white cotton are used, only one thread must be drawn
through the 1st loop, and the other through the two last loops.
3rd, 5th, 7th, 9th, 11th rows--plain stitches of the colour of the
grounding = 4th row--between every 5 coloured stitches 3 white = 6th
row--between every 4 red, 5 white = 8th row--between every 3 red, 7
white = 10th row--between every 2 red, 9 white = 12th row--between the
single red stitches, 11 white plain.
In the second half of the pattern the red stitches must increase in the
same proportion as that in which they decreased before.
PATTERN OF A COUNTERPANE IN TUNISIAN CROCHET (fig. 476). This pattern,
on a reduced scale, of a counterpane in Tunisian crochet, though it is
worked here in several colours, can be done all in one. The numbers of
the stitches, as they are here given, refer of course to the pattern
represented in our figure; if worked on a larger scale, the number of
stitches would have to be increased every way in the proper proportion.
For the inner square, which is worked in a light material, make 20 chain
stitches, on which you make 17 rows of plaited Tunisian crochet, fig.
445, then fasten off.
[Illustration: FIG. 476. PATTERN OF A COUNTERPANE IN TUNISIAN CROCHET.
MATERIALS: Coton pour crochet D.M.C Nos. 6 to 8, or Coton à tricoter
D.M.C Nos. 6 to 12.[A]
COLOURS: Gris-Amadou 385 and Rouge-Cardinal 346, Vert-Bouteille 492 and
Violet-Mauve 316, or Bleu-Gentiane 479 and Gris-Écru 706.]
For the first coloured border, which immediately surrounds the centre
square, take a coloured thread and make 2 chain stitches and upon these
the common Tunisian stitch, fig. 444. Increase to the right in every row
by one stitch, to the number of 6 = then put the needle into the first
stitch on one side of the square, turn the thread round and draw it
through. Here you must be careful to observe, in the first instance,
that the second part which is now to be joined to the square, should
always remain on the left side of the square and secondly, that the
thread with which you join the two parts together, should lie to the
left and be drawn through, from the wrong side to the right. Having now
got 7 Tunisian stitches on the needle, make 18 double rows, and join
the last stitch of each row to a stitch of the square.
When these rows are finished, you proceed to decrease on the right till
you have only 2 stitches left; and then again to increase as at the
beginning of the stripe. At each increase, after each double row you
must pass the thread through the corresponding stitch opposite of the
same row. When you have again got 7 stitches on the needle, join them as
before to the square. Work round the 4 sides of the square in this
manner and when you come to the last decrease, join the stitches to
those of the first increase, and fasten off. The next stripes are to be
worked in the same way; they may be made either wider or narrower,
plain, or ornamented with a cross stitch pattern which you work upon
them.
[Illustration: FIG. 477. PATTERN OF COUNTERPANE WORKED IN STRIPES.
MATERIALS: Coton pour crochet D.M.C Nos. 6 to 12, Coton à tricoter D.M.C
Nos. 6 to 14, or Cordonnet 6 fils D.M.C No. 15.[A]]
PATTERN OF COUNTERPANE WORKED IN STRIPES (fig. 477).--This is intended
for a child's coverlet and is worked in pale blue, Bleu-Indigo 334, and
white; the stripes and the lace border, in white, the setting, partly in
white, partly in blue.
For the first stripe, make a foundation chain of 26 stitches; then
counting back, draw the needle through the 6th and 7th chain stitches,
drawing up all the three loops together = 2 chain, then put the needle
again through 2 chain stitches, draw up the 3 loops together = 2 chain
and so on.
Coming back, make the loop of the first stitch and that of the second on
the chain stitches of the preceding row = begin every row with 3 chain,
which form picots along the edge of the stripe; when the stripes are
finished, take a blue thread and make 1 plain stitch on each picot and 3
chain.
This blue row is followed by a white one, worked in cluster stitch, fig.
426, with 2 chain stitches between every 2 clusters.
Then follows another blue row of one plain stitch on each chain stitch
of the previous row. The second blue row consists entirely of plain
stitches worked along the long sides of the stripes, which are joined
together afterwards, but not along the short sides until the counterpane
is finished; then the stitches should border all the 4 sides. The second
stripe, which should be of the same width as the first, is worked in
Tunisian crochet; for the edge make one row of plain stitches in blue,
one of cluster stitches in white, and then again a row of plain in blue.
Join the stripes together on the wrong side with plain stitches, taking
up one loop on the right and one on the left, alternately.
When you have joined the stripes, make the outer border, which consists
of 7 straight rows and a scalloped lace edging.
1st row--in blue: 3 chain and 1 plain on each picot, 1 plain, and so on,
down the long sides of the stripes = along the short sides, the side of
the chain stitches or that of the previous row: 1 plain, 3 chain, miss
2, 1 plain.
2nd row--in white or unbleached: 1 cluster stitch, fig. 426, on each
picot formed by the 3 chain stitches of the 1st row; on the corner
picots, you must make 3 cluster stitches.
3rd, 4th, 5th rows--in blue: similar to the first. Increase at the
corners by making: 1 plain, 3 chain, 1 plain on the same stitch.
6th row--in white or unbleached: similar to the 2nd row.
7th row--in blue: 1 treble on each of the stitches of the previous row.
Lace edging.--The scallops extend over 22 stitches of the previous row
and on that account it is better to make the corners first, to count the
stitches both ways so as to distribute the stitches that are left over,
between the scallops.
Corner scallop.--Fasten on the thread to the left of the second of the
stitches that were added to make the turn, make 6 chain, 1 single on the
4th treble to the right = 1 single on the next treble = turn the work =
* 2 chain, 1 treble on the 6th chain, repeat 7 times from *, in all
therefore 8 trebles = after the 8th treble: 2 chain, miss 1 treble, 1
single on the 2 next trebles = turn the work = 2 chain, 1 cluster stitch
between each treble, in all 9 cluster stitches, then 2 chain, miss 2
trebles, 1 single stitch on the next 2 trebles = turn the work = 2
chain, 1 cluster stitch over the 1st, 2nd, 3rd and 4th pairs of chain
stitches in the preceding row, and 2 cluster stitches and 2 chain over
the 5th, 6th and 7th chain stitches; over the other chain stitches
again: 1 cluster stitch; then 2 chain, miss 2 trebles, join to the 3rd
treble = fasten off.
For the scallops on the right side, divide the stitches between the
corner scallops into equal portions. Supposing that they are divisible
by 22, count 9 stitches to the right, fasten on the thread at the 9th; *
7 chain, miss 2 trebles of the row beneath, 1 plain on the 3rd, 1 single
stitch on the next = turn the work = 2 chain, 1 treble on the 7 chain,
repeat 5 times from * and finish with 2 chain, 1 single on the 2nd lower
treble, 1 single on the next treble = turn the work = 2 chain and 1
cluster stitch between each treble of the preceding row, 2 cluster
stitches between the 3rd and 2nd trebles = after the 8th stitch: 2
chain, miss 1 treble, 1 single on each of the 2 next stitches = repeat 3
times over 2 chain stitches of the previous row: 2 chain, 1 cluster
stitch = on the 4th, 5th and 6th chain stitches: 2 cluster and 2 chain;
on the 3 last chain the same stitches as on the 3 first = then 1 single
over each of the next 18 and repeat from *.
The final row consists of open picots, formed of 5 chain stitches and 1
plain, between each cluster stitch; after the last of these stitches and
in the indent of the scallops on the straight line, only 2 chain
stitches and 1 plain on the 3rd stitch.
[Illustration: FIG. 478. PATTERN IN SQUARES FOR COUNTERPANES.
MATERIALS: Coton à tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C
Nos. 1 to 5, or Coton pour crochet D.M.C Nos. 6 to 12.
COLOURS: Gris-Coutil 323 and Brun-Caroubier 303 or Bleu-cendré 448 and
Rouge-Cornouille 449, Vert-Mousse 470 and Bleu d'Azur 3325.[A]]
PATTERN IN SQUARES FOR COUNTERPANES (fig. 478).--This pattern may be
worked in the same stitch as the previous one, either in Tunisian
crochet or in any other of the stitches already described.
Make a foundation chain of 18 stitches on which you work 10 rows to and
fro in the dark colour. The 11th and following rows up to the 21st are
worked in the light colour, then take up the dark colour again. Each
stripe should be 3 squares long.
The 2nd stripe is begun in the light colour, and the stitches, made at
the beginning of each row, are joined to those of the first stripe, as
the stitches of the 3rd are to those of the 2nd and so on.
When you have made sufficient big squares, each consisting of 9 small
ones, border them with seven rows of plain stitches, worked to and fro.
The 4 squares that form the corners are only to be bordered in this
manner on two sides; the squares along the straight edges, on 3 sides,
and only those that are intended for the centre of the counterpane, on
all 4 sides. The separate parts are then either sewn or crocheted
together on the wrong side. The dark squares are ornamented with small
stars worked in the light colour, the light ones with scallops in the
dark colour.
For the small stars--4 chain, close the ring; 2 plain on each stitch of
the chain; 8 plain in all = after the 8th stitch: 8 chain, 1 plain on
the 1st plain of the 8 plain stitches. Repeat the 8 chain 7 times and
fasten off, then sew the star on in the centre of the dark square,
taking care to spread out the little points formed of chain stitches at
regular distances from each other. The scallops are worked from left to
right; fasten the thread on at the point where 4 squares touch, then
make a chain of 18 stitches and secure it at the opposite point. On the
chain stitches: 6 plain, 1 picot, 7 plain, 1 picot, 7 plain, 1 picot, 6
plain = fasten off.
Repeat the same scallop over the second half of the square; when you
come to the 2nd picot of the first scallop join the two picots. When
both scallops are completed, fasten them on to the foundation by a few
stitches on the wrong side.
The outside border of the counterpane is made separately, and is worked
inwards from without and from left to right.
1st row--begin with the dark colour and make * 10 chain stitches, drop
the loop, put the needle into the 1st of the 10 chain, take up the loop
and draw it through the stitch; 2 chain and on the 10 stitches: 6
trebles quite close together. Repeat from * and go on repeating the
sequence until the lace is long enough to trim the counterpane
handsomely.
2nd row--in the light colour and similar to the 1st = only that in
joining the chain stitches together, you make the single stitch on the
chain stitches of the 1st row.
3rd row--in the dark colour and similar to the 2nd.
4th, 5th and 6th rows--in the light colour and from right to left: 7
chain, 2 plain on each loop of chain stitches of the previous row.
7th row--in the light colour and from left to right: * 2 plain on the
treble of the lace, 11 chain, 2 plain on the next loop of chain stitches
= these 2 stitches are made on the wrong side of the work = drop the
loop, turn the work to the right, 3 plain on the last 3 chain, 8 chain
**, and repeat always from * to **.
One row of plain made on each chain stitch and a 2nd row of trebles on
the plain stitches completes the lace edging, which is afterwards sewn
on to the counterpane.
COUNTERPANE WITH FRINGED BORDER (fig. 479).--This pattern requires
three colours; we suggest the following as making a very effective
combination: Rouge-Turc 321, Bleu-Indigo 311 and white.
The stripes, one red, the other blue, may be worked in any stitch. They
are edged with 8 plain stitches of 3 different lengths worked in red. *
The first stitch passes only under the loops of the stitches; the 2nd
over 2 stitches; the 3rd over 1, the 4th inwards, over 3. Repeat from *.
These stitches must be worked parallel to each other along the two edges
that are to be joined together.
The stripes are fastened together on the wrong side by single or plain
stitches.
The outside edge consists of 15 rows: 1st row--in red: 1 row of plain
stitches on the right side of the work.
2nd row--in red, and on the wrong side of the work: plain stitches.
3rd and 4th rows--in red, and on the right side of the work: plain
stitches.
5th row--in dark blue and on the right side: 1 treble, 1 chain, miss 1
plain of the row beneath, 1 treble and so on.
6th row--in white, and similar to the 5th.
7th row--in blue, and similar to the 5th.
8th row--in red: 1 plain on each stitch of the preceding row.
[Illustration: FIG. 479. COUNTERPANE WITH FRINGED BORDER. MATERIALS:
Coton pour crochet D.M.C Nos. 6 to 10, or Coton à tricoter D.M.C Nos. 6
to 14. COLOURS: White, Gris-Tilleul 331 and Rouge-Cornouille 449.[A]]
9th row--in red and on the wrong side: 1 plain on each stitch of the
preceding row.
10th and 11th rows--in red: and both on the right side, 2 rows of plain
stitches.
12th row--in white: 5 chain, miss 3, 1 plain on the 4th stitch.
13th row--in dark blue and similar to the 12th.
14th row--in white: * 1 plain on the 5th stitch of the blue row; 10
chain, drop the loop, lay the chain stitches from left to right, put the
needle into the 3rd chain stitch, counting from the beginning, take up
the loop and draw it through the 3rd chain stitch, 2 chain and repeat
from *.
15th row--in white: 1 plain on the picot formed by the chain stitches; 5
chain, 1 plain.
Into this last row you draw clusters of lengths of red cotton to form
the fringe, and knot them together with blue, or if you prefer it, you
may finish off the coverlet with a hairpin fringe.
COUNTERPANE COMPOSED OF SQUARES AND OLIVE SHAPED FIGURES (fig.
480).--There are many who shrink from undertaking a large piece of work
because it becomes inconvenient to handle and carry about. The
counterpane here represented has the advantage of being made up of a
number of quite little pieces, which are worked separately and joined
together afterwards.
Two colours, which can be clearly distinguished from each other in the
engraving, should be chosen from among the various combinations
suggested; one of them should be very light, say, cream or white for the
olive shaped figures and squares, and the other of some soft shade only
darker, for the connecting rows and the knotted fringe, described in the
chapter on Macramé.
The olive shaped figures begin with 9 chain stitches, on which you make
8 plain stitches and on the 9th: 3 plain for the corner.
On the second side of the chain: 8 plain and 3 besides on the corner
stitch, and so on for 3 rows; in the last row there should be 28
stitches.
These 3 rows are to be considered as one only.
2nd row--3 chain, 1 treble on the plain stitch that follows * 1 chain, 1
treble and repeat 11 times from *; 1 chain, 3 trebles with 1 chain
between them on the corner stitch, ** 1 chain, 1 treble, repeat 12 times
from **.
On the last stitch at the corner, again 3 trebles with 1 chain; close
the round with 1 single stitch.
3rd row--1 chain, 1 single on the chain stitch that follows the 1st
treble of the last row; 3 chain, 1 double treble between the lower
trebles, 1 chain and so on, until you have 35 trebles, counting the two
sets of 3 trebles at the corner.
4th row--here you can change the colour: 1 plain on each of the stitches
of the last row; 3 plain at the corners.
5th row--similar to the 4th.
[Illustration: FIG. 480. COUNTERPANE COMPOSED OF SQUARES AND OLIVE
SHAPED FIGURES. MATERIALS: Coton pour crochet D.M.C Nos. 6 to 10, or
Coton à tricoter D.M.C Nos. 6 to 10. COLOURS: White and Rouge-Turc 321,
or Écru and Rouge-Cerise 3318, Gris-Coutil 323 and Bleu-Gentiane
478.[A]]
6th row--2 plain, 1 cluster of 2 double trebles on the same stitch of
the 4th row as the 5th stitch of the last row is on; miss 1 plain.
Continue in this manner along the whole row, taking care that the 9th
and 22nd cluster come just at the corner.
7th and 8th rows--these two last rows should be worked in the same
colour as the inside of the figure.
Be careful always to make the increase at the point; a 9th row in the
dark colour may further be added, to connect the figures, by passing the
thread from the wrong side to the right, between the 13 last stitches of
two of the points of the figures. The space between these olive shaped
figures is filled by a pointed square of chain stitches.
In the 1st and following rows you miss 5 stitches at the point where the
figures meet, and continue to decrease in this manner until the space is
filled up. The fringe is made in the dark colour, either directly on to
the plain crochet, or after a few rows of open-work.
SQUARES FOR CHAIR-BACKS (fig. 481).--This is a design for cut-work,
out of an old collection by Sibmacher, which we have adapted to crochet.
It will be found most effective, worked in any of the given materials;
we have worked it with admirable result, both in Cordonnet 6 fils D.M.C
No. 15 and Fil à dentelle D.M.C No. 150.
1st row--4 chain, close the ring.
2nd row--1 chain, 2 plain on each chain, 8 in all; draw the loop of the
last stitch through the 1st chain.
3rd row--6 chain, 1 treble *, 3 chain, 1 treble, repeat 6 times from *.
In all, with the 3 chain, 8 trebles.
4th row--4 plain, over each treble of 3 chain.
5th row--6 chain, 1 plain on the 2nd of the plain stitches beneath, * 3
chain, 1 treble, over the treble beneath, 3 chain, 1 plain on the 2nd
stitch of the row beneath. Repeat 6 times from *, then add 3 chain, 1
plain on the 3rd of the 6 chain.
6th row--7 chain, 1 plain over the treble of the last row; repeat the
same series 7 times.
7th row--3 chain, 1 treble over the treble beneath; 1 treble on each
chain stitch, 2 trebles on each plain stitch of the row beneath; in all,
72 trebles, including the 3 chain.
8th row--* 8 chain, 1 plain between the 2 trebles that were added,
therefore between the 8th and the 9th = turn the work = make 12 plain
on the wrong side = turn the work back to the right side = take up 1
loop of each of the 12 stitches for the Tunisian stitch that is made on
10 rows, and decreasing by one stitch in each row, alternately on the
right and left = draw up the 3 last loops together and make, descending
on the right side: 1 single stitch on each row of the pyramid you have
just made, finish with 1 plain on the stitch that follows the 8 chain.
Repeat 7 times from *.
[Illustration: FIG. 481. SQUARES FOR CHAIR-BACKS. MATERIALS: Fil
d'Alsace D.M.C Nos. 30 to 100, Cordonnet 6 fils D.M.C Nos. 20 to 50, or
Fil à dentelle D.M.C Nos. 25 to 70 in white or écru.[A]]
9th row--all along the pyramid: 3 plain, 1 picot, 3 plain, 1 picot, 3
plain, 1 picot, 2 plain, 2 plain at the point. Repeat the same number
of stitches on the 2nd side, and down the sides of all the pyramids =
after the 9th row, fasten off.
10th row--fasten on the thread at a stitch at the point of a pyramid, *
7 chain, 5 overs, join the loop to the 2nd picot on the side of the
pyramid where you are working, draw the needle back through 2 overs,
make 2 overs more, and put the needle into the middle picot opposite and
draw the needle twice through 2 loops, thirdly through 3 and each time
after that, through 2 loops = 6 chain, 1 double treble, join to the 3rd
over, 7 chain, 1 plain = on the next pyramid 7 chain, 1 septuple treble,
join it to the next middle picot = draw the needle thrice through 2
loops, 1 triple treble to join to the middle picot opposite, draw the
needle back through the loops, and at the 4th over, through 3 loops, and
each time after that, through 2 loops, 7 chain, 1 quadruple treble, join
it to the 4th over, 7 chain, 1 triple treble, 7 chain, 1 plain on the
next pyramid. Repeat 3 times from *.
11th row--1 chain, 1 plain on each of the stitches of the previous row
and 2 plain on those forming the corner; fasten off.
12th row--1 single on the first plain, 5 chain, 1 treble on the 3rd
plain, 2 chain, 1 treble on the 3rd plain and so on to the corner and
until you have 14 trebles = on the corner stitch: 2 chain and 1 treble
more; then proceed as you did on the first side. There should be 18
trebles and 19 times 2 chain between the corner trebles; all four sides
should be alike.
13th row--1 plain on each stitch of the last row, not counting the 3
which are to be made at the corner.
14th row--14 single over the preceding stitches *, 1 chain, 24 plain;
miss 4 plain of the last row, not counting the 2 increased stitches
which must be left empty = after the 24th stitch turn the work, miss 2,
21 plain, passing the needle under the 2 loops of the row beneath = turn
the work = 1 chain, 20 plain = turn the work = 19 plain = continue to
decrease in the same proportion, until you have 3 stitches left and
fasten off. In all the intakes miss the last stitch but one, coming
back, and the 1st going, and always begin on the right side with 1
chain.
For the second half of these triangular figures which are worked from
right to left, fasten on the thread to the 5th stitch after the increase
and make 24 plain = 7 plain should remain between the two triangular
figures formed of plain stitches = turn the work = 21 plain, miss the 2
last stitches, 1 plain on the stitch the thread is fastened to = turn
the work = miss 1 stitch, 19 plain, 5 overs, put the needle through the
4th of the 7 stitches between, bring it back twice, each time through 2
loops, make 2 overs more, put the needle through the last stitch of the
3rd row opposite, bring it back twice through 2 loops, then once through
3 loops and twice through 2 loops = turn the work = 18 plain and so on,
until you have made 10 transverse trebles = fasten off, then repeat the
same series of rows on the other sides.
15th row--do not cut off the thread on the 4th side but work backwards:
3 single over the chain, 5 chain * 1 treble on the stitch whence the 5
chain proceeded, 2 chain, 1 treble on the last plain of the first half
of the close parts of the pattern; 2 chain, 1 treble in the middle of
the first part of the 10th transverse treble; 2 chain, 1 treble on the
second half of the preceding treble, 2 chain, 1 treble on the 1st plain
of the second half of the close parts; 2 chain, 1 treble on the 3rd and
last upper stitch of the close part; 2 chain, 1 treble on the same
stitch as the last treble. Then along the edge, 10 trebles, joined by 2
chain, one of which trebles should always be on a row of plain stitches
= after the 10th treble: 3 chain, 1 plain on the 5th plain of the 13th
row, 3 chain, again 11 trebles connected by 2 chain = after the 11
trebles: 2 chain ** and repeat 3 times from * to **.
16th row--on every 2 chain stitches: 3 plain.
17th row--7 chain, 1 plain on the 6th plain of the last row; repeat 7
times = for the 9th and 10th scallops only: * 5 chain. The plain stitch
that follows the 9th scallop should come exactly over the corner stitch
of the 13th row = after the 10th scallop: 1 plain; then 13 scallops with
7 chain, 1 plain on the 6th 5 stitch of the row beneath. Repeat twice
from * = after the 4th scallop 2 smaller scallops, and up to the end of
the row, 5 scallops more of 7 chain each.
18th row--make 7 plain over 7 chain, 5 chain, drop the treble, bring the
needle back with the loop through the 3rd plain = on the 5 chain: 3
plain, 1 picot, 3 plain = on the 7 remaining stitches: 2 plain--on the
9th scallop of 5 chain, only: 5 plain = on the 10th scallop of 5 chain,
only: 3 plain = then 7 chain, bring them back and join them to the 3rd
plain of the 9th scallop and finish the picot.
When these squares are made use of in any number and have to be joined
together, you must join 13 picots and leave the 14th free. The four
empty picots in the centre are connected by a small star.
CROCHET STAR (fig. 482).--This is one of the most graceful and
delicate crochet patterns we know. For the purpose of reproduction here,
we have had it worked in all the different sizes of D.M.C cotton but it
looks best in a fine material; in Fil à dentelle No. 150, it can bear
comparison with the finest needle-made lace.
1st row--6 chain, close the ring.
2nd row--9 chain, 1 double treble, * 4 chain, 1 double treble; repeat 6
times from * = after the 7th treble: 4 chain, 1 single on the 5th of the
9 chain.
3rd row--1 chain, 4 plain, * 1 picot, 4 plain; repeat 7 times from * =
carry the thread to the last stitch through the 1st plain.
4th row--12 chain, 1 treble on the stitch over the treble beneath, * 9
chain, 1 treble; repeat 6 times from * = after the 7th treble and the 9
chain: 1 single on the 3rd of the 12 chain.
5th row--3 chain, 1 treble on each stitch of the row beneath; including
the 3 chain, 80 trebles in the whole circumference = after the last
treble: 1 single on the 3 chain.
6th row--11 chain, 1 quadruple treble on the 2nd treble of the last row;
4 chain, 1 quadruple treble on the 3rd treble and so on, in all 32
trebles including the 7 chain.
7th row--1 chain, 5 plain on 4 chain.
8th row--3 plain on the 3 first chain, * 16 chain, miss 1, ** 1 single,
1 plain, 1 half treble, 2 trebles, 1 treble 1½ long, 2 double trebles, 1
triple treble, 1 treble 3½ trebles long, 1 quadruple-treble ***, 3
chain, miss 4 plain of the 7th row, 5 plain, 16 chain, join them,
counting upwards from below, to the 5th treble of the first pyramid = on
7 chain: 3 plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 3 plain;
join the last loop of the last plain and the loop of the 7th chain; 8
chain. Repeat from ** to *** = on the middle of the last quadruple
treble: 1 double treble towards the bottom, finish the treble, 3 chain,
miss 4, 5 plain ****. Repeat 7 times from * to ****.
[Illustration: FIG. 482. CROCHET STAR. MATERIALS: Fil d'Alsace D.M.C No.
30, Cordonnet 6 fils D.M.C Nos. 25 to 80, or Fil à dentelle D.M.C Nos.
25 to 150.[A]]
Coming back to the 1st point make along it: 8 single stitches, then 7
chain, join them to the 5th treble of the 16th point = over the chain: 3
plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 3 plain and finish
with 9 single to carry the thread to the top of the point.
9th row--1 chain, 1 plain, * 15 chain, 1 plain at the top of the point
and repeat 15 times from *.
10th row--3 chain; 1 treble on each stitch of the 9th row; 256 trebles
in all, including the 3 chain.
11th row--The star is bordered by small and large scallops, surmounted
by points similar to those inside.
You begin by the small scallop and make on the 10th row: 5 single, * 8
chain, bring them back and join them to the 1st of the 5 single; 1
plain, 8 chain, miss 4 trebles, join them to the 5th; 14 plain on the 8
chain, 6 plain on the first 8 chain = turn the work = 5 chain, 1 treble
on the plain stitch between two scallops; 5 chain, 1 plain on the 7th
plain of the 1st scallop; 2 plain in the 5th chain, 2 chain, 1 picot, 10
chain, miss 1, and make on the following ones: 1 single, 1 plain, 1 half
treble, 2 trebles, 1 treble 1½ treble long, 1 picot, 2 chain, 2 plain on
the 5 chain; 8 plain on the 8 chain.
To pass to the large scallop make: 16 single, 8 chain, bring them back,
1 plain on the 5th single, 8 chain, bring them back again to the 5th =
turn the work = on the second set of 8 chain: 6 plain, 1 picot, 9 plain
= on the first 8: 6 plain, then 8 chain, bring them back and join them
to the 4th plain behind the picot of the finished scallop = on the 8
chain: 5 plain, 1 picot, 5 plain, 1 picot, 5 plain = on the remaining
chain below: 3 plain, 1 picot, 6 plain; add 4 single on the trebles and
pass to the outer scallop = 18 chain, 1 plain on the 3rd of the 5 plain
of the small upper scallop; 18 chain, 1 plain on the 4th of the 16
single = turn the work = 25 plain on the last chain stitches, and 25 on
the first; 1 single on the 3rd single = turn the work = 1 plain on each
of the preceding 50 plain stitches; join the last to the under row with
a single stitch = turn the work = 10 plain, 1 picot, 3 plain, 1 picot, 3
plain, 1 picot, 4 plain, 2 chain, 1 picot, 10 chain, miss 1, 1 single, 1
plain, 1 half treble, 2 trebles, 1 treble 1½ treble long, 1 double
treble, 1 treble 2½ trebles long, 1 triple treble, 1 picot, 2 chain and
join them to the 6th plain stitch, counting from the middle.
Then 4 plain, 1 picot, 3 plain, 1 picot, 3 plain, 1 picot, 10 plain, 11
single on the trebles. Repeat 7 times from *.
STAR WITH LITTLE SQUARES (fig. 483).--Begin with 4 chain stitches,
close the ring.
1st row--5 chain, * 1 treble, 2 chain. Repeat 6 times from *, to number
altogether 8 trebles including the 5 chain; 1 single on the 3rd chain.
2nd row--6 chain, * 1 triple treble on the 1st chain stitch, 2 chain.
Repeat 23 times from * and join to the 4th chain.
[Illustration: FIG. 483. STAR WITH LITTLE SQUARES. MATERIALS: The same
as for fig. 482.]
3rd row--6 chain, * 1 double treble on the treble beneath, 3 chain.
Repeat from * through the row; join to the 4th chain.
4th row--1 plain on the treble = on the 3 chain: 5 plain, 1 plain on the
treble; work 5 times to and fro over these stitches, put the needle
through the 2 threads of the last stitch = after the 5th row: 10 chain,
then 5 plain on the 3 next chain.
In turning the work and going from the 2nd to the 3rd, from the 4th to
the 5th row, carry the thread behind the chain stitches, so that they
may blend with the plain stitches; make in all 12 little squares with 11
spaces between; after the 12th, square: 5 chain, 1 single on the 5th row
of the first square.
5th row--on each of the 6 plain of the 1st square: 1 single = on the
7th: 1 plain = 7 plain on the 5 chain = 1 plain on the 1st stitch of the
2nd square = 6 rows of plain, 14 chain, 1 plain on the 5th stitch of the
next square = then make 6 rows of plain and wind the thread round the
chain stitches.
6th row--1 single on every stitch of the last square, 1 plain on the
last stitch above the 7 chain = on the 7 chain: 9 plain, 1 plain on the
1st stitch of the next square below = 9 rows to and fro.
7th row--after the 12th square: 9 chain, 1 single on the 1st plain, * 14
chain, 1 plain on the last plain = on the 9 chain: ** 1 chain, 1 plain,
1 treble 1½ treble long, 2 double trebles 2½ trebles long ***, 5 triple
trebles ****. Repeat from *** to **, then proceed from * to ****.
8th row--19 plain over the 14 chain, 1 single on each treble; stop them
at the 12th square and at the 3rd triple treble.
9th row--12 chain, 1 plain on the 10th of the 19 plain; 12 chain, 1
plain on the triple treble, and proceed in the same way throughout the
whole length of the row.
10th row--on the first 12 chain stitches: * 5 plain, 1 picot, 12 plain =
on the second 12 chain: 7 plain, 10 chain, bring them back to the 5th of
the 12 plain of the first scallop = on the 10 chain: 4 plain, 1 picot, 4
plain, 1 picot, 4 plain, 1 picot, 4 plain, = on the 12 chain: 5 plain, 1
picot, 7 plain. Repeat 12 times from *.
CROCHET COLLAR (fig. 484).--We have avoided as far as possible
describing articles in this book that are subject to the changes of
fashion, the present collar composed of squares, stars, lozenge-shaped
figures and a lace edge, is of a shape that will never be out of date.
Fine and delicate work like this can only be executed in a very fine
material, and we recommend unbleached thread as being more effective
than white. The soft tone and the gloss of unbleached thread give the
work an antique look, unobtainable in a white material. Fil à dentelle
D.M.C No. 120 is the best for the purpose.
[Illustration: FIG. 484. CROCHET COLLAR. MATERIALS: Fil d'Alsace D.M.C
No. 100, Cordonnet 6 fils D.M.C No. 120 or Fil à dentelle D.M.C No. 120,
écru.]
Begin with the straight-edged figures, and then make the connecting
pieces between. The four squares with half stars at both ends of the
collar and on the right and left of the centre square, have their four
sides all alike, whereas the 3 figures within the scalloped edge are
rather narrower on the outer than on the inner side where they join to
the foundation.
Inner squares: 1st row--4 chain, close the ring; 5 chain, * 1 treble on
the ring, 2 chain; repeat 6 times from * and fasten the thread to the
3rd chain stitch.
2nd row--1 chain, 3 plain over 2 chain; 1 plain over each treble.
3rd row--8 chain, * 1 treble on each treble of the 1st row, 6 chain.
Repeat 6 times from * = 8 trebles in all, including the first chain
stitches.
4th row--* 10 chain; returning over the chain stitches: 1 plain, 1 half
treble, 4 trebles, 1 half treble, 1 plain, join to the 1st chain stitch
= on the 6 chain of the 3rd row: ** 1 plain, 1 half treble, 1 treble, 3
double trebles, 1 treble, 1 half treble, 1 plain ***. Repeat once more
from ** to ***, then 3 times from * to *** = along the first leaf to the
10th stitch: 10 single.
5th row--starting from the point: * 7 chain, 1 triple treble on the 5th
stitch of the small scallop of the 4th row: 7 chain, 1 triple treble on
the next scallop, 7 chain, 1 plain on the 10th stitch of the 2nd leaf.
Repeat 3 times from *.
6th row--1 chain, * 3 plain on the stitch that forms the point of the
leaf; 1 plain on each chain stitch and each treble of the last row = 16
stitches in all, up to the 2nd treble = turn the work = coming back: 1
chain, 1 double treble on the 4th plain, 1 chain, 1 double treble, 1
chain, 1 double treble, 1 chain, 1 double treble, 1 chain, 1 double
treble, 1 chain, miss 3 plain, join to the 4th plain = turn the work =
make on each chain stitch, 2 plain and on each treble 1 plain and 1
picot over the 1st, 2nd, 4th and 5th treble; 8 plain **. Repeat 3 times
from * to **.
7th row--1 chain, 1 plain on the 2nd of the 3 stitches at the point, * 9
chain, 1 double treble between the two first picots of the semicircle
formed in the last row; 8 chain, 1 triple treble on the 3rd treble of
the semicircle, 8 chain, 1 double treble between the 3rd and 4th picots
of the semicircle, 9 chain, 1 plain on the stitch at the corner.
8th row--19 single on the chain stitches of the 7th row, 1 chain, 3
plain on the corner stitch, 24 plain on the chain stitches and trebles
= turn the work = coming back: 2 chain, 1 double treble on the 20th
plain; on the same stitch add: 2 double trebles with 2 chain; finish
with: 2 chain, join them to the 5th plain = turn the work = on the chain
stitches: 1 plain, 1 picot, 1 plain, 1 plain on the treble. Repeat this
series 4 times = add: 4 plain on the chain stitches of the 7th row =
turn the work = 5 chain, 1 double treble on the 1st treble of the small
semicircle; then again 3 times, 3 chain, and twice 1 double treble on
each of the trebles beneath = after the last 5 chain: join to the 4th
plain.
The points in this row are made with: * 1 plain on the chain stitches, 8
chain, miss 1 stitch = coming back: 1 single, 1 plain, 1 half treble, 1
treble 1½ treble long, 3 double trebles, 1 plain on the 5 chain
stitches. The 2nd point must be placed one half of it, before, and the
other half behind the picot; make altogether 7 points = after the 7th: 8
plain on the chain stitches of the 7th row = then work backwards,
without however turning the work: 7 chain, 1 chain on the stitch at the
top of the point and repeat 7 times from * = after the 8th set of 7
chain stitches: 1 chain; 1 plain on the 9th plain, bringing the thread
forwards from the right side to the wrong = 2 chain; take the thread
back to the 3rd plain from the wrong side to the right = 1 treble on
each chain stitch, 1 picot above each point, add 4 trebles and 14 chain,
join them to the 4th treble that comes after the 1st picot.
On the 14 chain: 5 plain, 1 picot, 4 plain, 1 picot, 4 plain, 1 picot, 5
plain, 4 trebles to the next picot, 1 picot, 4 trebles; 14 plain, join
them to the treble nearest the 1st scallop and so on = make 7 scallops
in all; after the 7th add 2 trebles on the 2 chain stitches = after the
2nd treble make 2 plain, followed by the 3 stitches at the corner = in
the next scallop, you fasten by 1 single, the 1st picot of the 1st
scallop to the 3rd picot of the last scallop. When you have finished the
four sides of the figure above-described, fasten off your thread.
The edging of these squares should be begun on the narrower of the inner
sides and at the 3rd little scallop: * 1 plain on the middle picot of
the 3rd little scallop, 7 chain, 1 double treble on the 1st picot of the
4th scallop; 7 chain, 1 triple treble on the 2nd picot of the same
scallop, 6 chain, 1 double treble on the 3rd picot of the same scallop,
6 chain, 1 plain on the middle picot of the 5th scallop; 10 chain, 1
treble on the middle picot of the 6th scallop, 11 chain **, 1 quadruple
treble on the middle picot of the 7th and 1 quadruple treble on the
middle picot of the 1st scallop following and draw the last loops of the
2 trebles up together. Repeat once from * to **. Carry the trebles all
round the figure on the picots just referred to.
For the second half of the edging which becomes a little wider: *** 10
chain, 1 treble on the 6th scallop, 11 chain, 2 quadruple trebles, the
last loops of which you join to the middle picots of the 7th and 1st
scallop; 11 chain, 1 treble in the next scallop; 10 chain, 1 treble in
the 3rd scallop; 7 chain, 1 treble 2½ long, 8 chain, 1 treble 3½ long, 8
chain; 1 double treble, 8 chain, 1 plain, 12 chain, 1 treble, 14 chain,
**** 2 quadruple trebles, the last loops of which are joined together.
Repeat from **** to ***, that is the reverse way = finally add 1 more
whole row of plain and 3 plain stitches at the corners = on the wider
side you should have 99 stitches, not counting the increases at the
corner.
To make the same figure, forming a part of the large outside scallops,
repeat the same rows you have in the inner square up to the 7th row, the
first half of which you make exactly the same as before. In the second
half of the row of chain there should be 1 chain stitch less in each
intervening space than there were in the first half.
8th row--make the first half of this row like the 8th row of the inner
square = over the 2nd half, one quarter of which is 4 chain stitches
narrower, the little wheels are made like the others with 7 picots. The
number of chain stitches and the trebles of the setting are also the
same, but instead of 7 points you have to make 5 and over these, 5 small
scallops instead of 7.
The setting, towards the top is made exactly in the same manner as the
wide part of the upper square, that is, as from the 3rd scallop of the
first semicircle to the 5th scallop of the 2nd. From this point, the
series of stitches changes, so as to form a rounded edge: * 7 chain, 1
plain on the 6th scallop; 15 chain, 2 triple trebles joined by the last
loops to the 7th and 1st scallop; 14 chain, 1 plain on the 2nd of the 5
scallops; 15 chain, 1 plain on the 3rd scallop; 15 chain, 1 plain on the
4th scallop, 15 chain **, 2 triple trebles joined by the last loops in
the 5th and 1st scallop. Repeat once again from ** to * = add 1 row of
plain on each stitch of the preceding row; 3 plain on the two top corner
stitches. You will thus have 3 figures with a rounded edge on one side.
The second kind of square consists of 8 leaves inside and is begun in
the same way by 6 chain formed into a ring.
1st row--5 chain, 1 treble, 2 chain, * 1 treble, 2 chain. Repeat 6 times
from * and join to the 3rd of the 5 chain.
2nd row--1 chain, 3 plain over 2 chain, 1 plain on each treble.
3rd row--9 chain, * miss 1 stitch = coming back: 1 single, 1 plain, 1
half treble, 1 treble, 1 double treble, 1 triple treble, 1 treble over
the treble of the 2nd row; 7 chain. Repeat 7 times from * = after the
8th point: 7 single along the 1st.
4th row--* 1 plain on the stitch you missed at the point, 5 chain, 1
triple treble on the treble of the 3rd row, 5 chain. Repeat 7 times from
*.
5th row--3 chain, 1 treble on each stitch of the 4th row; join to the
3rd of the 3 chain.
6th row--10 chain, 1 plain on the treble over the triple treble of the
4th row: 10 chain, 1 plain on the treble above the little point.
7th row--15 plain on the 10 chain = on the 3rd scallop only: * 7 plain,
10 chain, come back to the second scallop, bring the thread back from
the wrong side to the right between the 7th and 8th plain stitches, 15
plain on the 3rd scallop, 8 plain on the next scallop, 15 plain and
repeat 6 times from *.
When the 16th scallop is finished, pass to the point of the 1st scallop
by means of 7 single, then add the 10 chain to pass to the 8th scallop
above; when that is finished, fasten off, and fasten on again to one of
the 8 scallops.
8th row--* 21 chain, miss 1 stitch, 1 plain, 1 half treble, 1 treble, 1
treble 1½ treble long, 1 double treble, 1 treble 2½ trebles long, 1
triple treble, 1 treble 3½ trebles long, 1 quadruple treble, 1 treble 4½
trebles long, 1 quintuple treble. After passing through the 3rd loop,
make 1 quadruple treble, between the 2 plain scallops; then finish the
quintuple treble, 7 chain, 1 plain on the 2nd scallop and repeat 7 times
from *.
9th row--* 7 plain on the 7 chain; 1 plain on each stitch of the
pyramid, 3 plain on the stitch at the point; 4 plain on the 7 chain on
the opposite side = turn the work = ** 1 chain, miss 1 plain, 1 treble
on the 2nd stitch = after the 5th treble, leave out no more stitches
between the trebles ***; place the 8th, 9th and 10th trebles on the 2nd
of the increased stitches. Repeat on the opposite side from *** to **
and join to the 4th of the plain stitches = make 17 trebles in all, then
one plain over each chain, 1 plain on each treble and 1 picot after
every 3rd plain = after the 4th and up to the 8th picot, leave only 2
plain between: 11 picots in all = in conclusion: 3 plain more on the 7
chain and repeat the whole 7 times from *.
The little wheel at the top of the square is begun with 10 chain for the
ring = 16 plain on the ring, 4 chain, * 1 treble, 1 chain = repeat 14
times from *; 16 trebles in all, including the chain stitches = then on
each treble and each chain stitch: 1 plain; after 4 plain: 1 picot;
connect the wheel first on the right.
The 2nd picot is to be fastened to the 9th picot of the large scallop =
proceed with: 3 times 4 plain with 1 picot = after the 3rd plain, fasten
the picot to the 3rd picot of the next large scallop and complete the
small wheel. The left wheel is made and inserted in the same manner as
the right one. The wheels at the bottom of the square require for the
foundation ring: 14 chain, on which you make 21 plain = on these: 4
chain, * 1 treble, 1 chain = repeat 19 times from *; 21 trebles in all,
including the chain stitches = 3 plain, 1 picot, 3 plain, 1 picot, 3
plain, 1 picot, 3 plain, 4 chain, join to the 8th picot of the 2nd
scallop; 4 chain, finish the picot, 3 plain, 1 picot, 3 plain, 8 chain,
join to the 10th picot of the scallop, 8 chain, complete the picot; 3
plain, 1 picot, 3 plain, 8 chain, join to the 2nd picot of the 3rd
scallop, 8 chain, close the picot, 3 chain, 1 picot, 3 plain, 4 chain,
join to the 4th picot of the 3rd scallop; 4 chain, complete the picot,
3 plain, 1 picot and so on, until you have 14 picots round the wheel.
Repeat the same wheel to the left between the 4th and 5th scallop.
The edging of this second kind of square is also slightly different;
fasten the thread to the 6th picot of the 1st scallop before the small
wheel, then working from right to left, count: * 10 chain, 1 treble on
the 2nd empty picot of the small wheel; 8 chain, 1 triple treble on the
4th picot of the wheel = upwards: 9 chain, 1 double treble on the 6th
picot of the wheel; 9 chain, 1 plain on the 6th picot of the 8th
scallop, 12 chain, 1 plain on the 7th picot of the scallop, 11 chain **,
1 quadruple treble on the 9th picot of the 8th scallop and on the 3rd
picot of the 7th; draw the last loops of the two trebles up together.
Repeat once more from ** to *, then: 1 plain on the 6th picot of the 6th
scallop; *** 12 chain, 1 sextuple treble on the 9th picot of the 6th
scallop, retain 2 loops of the treble on the needle, make 4 more overs,
join the treble to the 3rd picot of the 5th scallop; finish the bars, 12
chain, 1 plain in the 6th picot of the next scallop = 12 chain, 1 double
treble on the 2nd picot of the 7 empty picots of the bottom wheel; 9
chain, 1 quadruple treble on the 4th picot; 12 chain, 1 double treble on
the 6th picot, 14 chain, 1 plain on the 6th picot of the 4th scallop, 14
chain ***, 1 septuple treble, in the 9th and 3rd picots of the 4th and
3rd scallops ****. For the preceding treble, you pass first through 4
loops only, then make 4 more overs for the other half of the treble, and
finish the last loops one by one. Repeat from **** to ***. One row of
plain stitches completes the square.
After having made the square similar to that of the upper one, you have
merely to add the large wheels at the top.
The setting of chain stitches and trebles is begun at the first scallop
between 2 wheels = 1 plain on the 6th picot of the 1st scallop; 14
chain, 2 quintuple trebles, of which the last loops only are joined
together, on the 9th and 3rd picot of the 1st and 2nd scallop, = 14
chain, 1 plain on the 6th picot of the next scallop; * 14 chain, 1
treble on the 2nd empty picot of the wheel; 10 chain, 1 quadruple treble
on the 4th picot, 10 chain, 1 treble on the 6th picot; 14 chain, 1 plain
on the 6th picot of the 3rd scallop; 14 chain, 2 sextuple trebles on
the 10th and 2nd picot of the 3rd and 4th scallop; 15 chain, 1 plain on
the 6th picot of the 4th scallop; 16 chain, 2 sextuple trebles on the
10th and 2nd picot of the 4th and 5th scallop; 16 chain, 1 plain on the
6th picot of the 5th scallop; 15 chain ** 3 septuple trebles on the 10th
and 2nd picot of the 5th and 6th scallop. Repeat from ** to *; and make
4 figures with rounded edges. When all the figures are finished, join
them together by trebles of a suitable length.
Introduce the thread at the corner stitch on the widest side of the 2nd
8 pointed star and make: 1 plain, 6 chain, miss 3 stitches, 1 plain on
the 3 next stitches, 4 chain, miss 2, 1 plain on the next 3 plain
stitches.
Make 11 loops in this manner, each consisting of 4 chain and 3 plain,
then 2 loops of 3 chain and 2 plain = then miss as many stitches of the
square at the edge of the collar as were left empty in the second
square; 2 plain and draw the loop each time through the 2 last stitches
of the opposite square = 1 chain, 1 single on the 2nd chain stitch of
the opposite side; 1 chain, 3 plain on the edge of the first square, 1
chain, 1 single, 1 chain, miss 3 stitches, 3 plain, 5 chain, bring the
loop from the wrong side to the right = on the chain stitches: 4 plain,
2 chain, miss 3, 3 plain.
From this point onwards, fasten all the bars of chain stitches to the
loops produced by the same stitches in the 2nd square. Thus, the 1st bar
consisting of 5 chain, the 2nd will consist of 7 chain on which make 7
plain, and then add 2 more chain. Nowhere must the two first chain
stitches be uncovered.
The 3rd bar must consist of 9 chain, 9 plain and 2 chain = the 4th of 11
chain, 5 plain, 1 picot, 5 plain, 2 chain = the 5th of 13 chain, 4
plain, 1 picot, 4 plain, 1 picot, 4 plain, 2 chain = the 6th of 16
chain, 6 plain, 1 picot, 6 plain, 1 picot, 6 plain, 2 chain = the 7th of
18 chain, 5 plain, 1 picot, 4 plain, 1 picot, 4 plain, 1 picot, 5 plain,
2 chain = the 8th of 21 chain, 5 plain, 1 picot, 5 plain, 1 picot, 5
plain, 1 picot, 5 plain, 2 chain = the 9th of 24 chain, 5 plain, 1
picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 2
chain = the 10th of 26 chain, 6 plain, 1 picot, 5 plain, 1 picot, 5
plain, 1 picot, 5 plain, 1 picot, 6 plain, 2 chain = the 11th and last
of 28 chain, 32 plain, 2 chain, fasten off.
As the square with the semicircles in it, has more plain stitches in the
edge than the one with the eight-pointed star in it, the stitches must
be divided so that you miss 3 from time to time, instead of two. When
the 7 top figures are finished, join the 7 bottom ones to them, each
separately, by a row of plain stitches, made on the wrong side of the
work. Below the first square with the semicircles, comes the
eight-pointed star, below the next eight-pointed star, the square with
the semicircles, and so on.
A narrow edging forms the outside border, the foundation of which is a
row of plain stitches running all along the squares. At the middle of
the square you decrease by 2 stitches, and at the point where two
squares meet, by 3. When you reach the left side and the end of the row,
make 3 plain on the corner stitch, then: * 5 plain, 1 picot, 5 plain, 14
chain, join them to the first of the 5 first plain (drop the thread at
each scallop and bring it forward from the wrong side to the right) = on
the 14 chain: 5 plain, 1 picot, 11 plain, 1 picot, 5 plain = along the
square: 5 plain, 1 picot, 5 plain, then 14 chain, join them to the first
plain = over the 14 chain: 5 plain, 1 picot, 5 plain, 14 chain, join
them in turning back between the 5th and 6th of the 10 plain of the 1st
scallop; 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain;
on the half-finished scallop: 5 plain, 1 picot, 5 plain ** = on the
plain stitches of the edge: 4 plain, 1 picot, 4 plain, 12 chain, come
back, join to the 1st of the 4 plain = on the 12 chain: 4 plain, 1
picot, 4 plain, 1 picot, 4 plain, 1 picot, 4 plain *** = repeat on the
same figure once from * to *** and once from * to **.
This makes 77 stitches, the number there ought to be on the wide side of
the straight-edged figures.
The scallops vary a little on the rounded sides. There, you should have
110 stitches, counting from the corner to the treble that marks the
middle at the bottom. The single scallops, between the triple scallops
of the border, are also all made over 8 stitches; the first triple
scallop is made over 20 stitches, the 2nd, 3rd and 4th triple scallop
over 16 stitches.
Make no single scallop after the 4th triple one; which is immediately
succeeded by the 5th triple scallop, over 16 stitches.
Altogether, round each star, there are 9 triple and 8 single scallops.
After the 8th single one, make 3 plain stitches on the 2 chain stitches
of the connecting bar.
On the 32 plain stitches of the last bar: 8 plain, 1 picot, 4 plain, 12
chain, bring them back and join to the 5th of the 8 plain = on the 12
chain: 5 plain, 2 chain, draw the loop through the picot in the middle
of the last single scallop, 2 chain, close the picot, 8 plain, 1 picot,
5 plain = in the bar: 4 plain, 1 picot, 4 plain, 12 chain, bring them
back and fasten them to the 1st plain = 5 plain, 1 picot, 4 plain, 12
chain, join them to the 4th plain of the 1st scallop; 5 plain, 1 picot,
8 plain, 1 picot, 5 plain = in the half-finished scallop: 4 plain, 1
picot, 4 plain = in the bar: 4 plain, 1 picot, 4 plain = 12 chain, bring
them back and fasten them to the 1st plain. 4 plain, 1 picot, 4 plain,
12 chain, join them close to the scallop above = 5 plain, 1 picot, 4
plain, 12 chain, bring them back and join them to the 4th plain of the
2nd scallop; 5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5
plain = in each of the 2 half-finished scallops: 4 plain, 1 picot, 5
plain = finish with 4 plain, 3 plain on the 2 chain and repeat from *
round all the rounded parts.
The lozenges that fill the empty spaces between the large figures are
made in 7 rows, on a ring formed of 4 chain.
1st row--5 chain, 1 treble on the ring, 2 chain, 8 trebles in all,
including the bar of chain stitches.
2nd row--3 plain over 2 chain, 1 plain over each treble.
3rd row--7 chain, 1 treble over the treble beneath, 5 chain, 1 treble; 8
trebles in all.
4th row--* 1 plain, 1 half treble, 1 treble, 1 double treble, 1 treble
2½ trebles long; ** repeat the reverse way to * = 1 plain on the
treble, 7 chain, miss 1 stitch, 1 plain, 1 treble, 1 double treble, 1
treble, 1 plain. Repeat twice from * to **, followed by: 9 chain, miss
1, 1 single, 1 plain, 1 half treble, 2 trebles, 1 half treble, 1 plain,
1 single ***. Repeat once from * to ***, then again from * to **, and
add 5 single all along the scallop.
5th row--9 chain * 1 plain on the top stitch of the small leaf, 7 chain,
1 treble on the middle stitch of the scallop, 7 chain, 1 treble on the
next scallop = 9 chain, 1 plain on the leaf, 9 chain, 1 treble on the
scallop, 7 chain, 1 treble on the next scallop, 7 chain and repeat once
from *.
6th row--1 plain on each stitch of the row before, 3 plain on the
points.
7th row--on each side of the lozenge 3 little scallops on 8 chain, with
3 picots and 1 picot below the scallops and between every 4 plain; the
scallops at the points extend over 4 stitches only, so that the picot
below is left out.
These lozenges are fastened on two sides to the middle picot of the
triple scallop; then, starting from the 3rd scallop of the lozenge you
make, 8 chain, join them to the middle picot of the 1st triple scallop;
coming back over the 8 chain: 5 plain, 1 picot, 5 plain and finish the
scallop. The next scallop, at the point of the lozenge, is fastened by a
picot of 6 chain, to the middle picot of the 6th scallop underneath the
connecting bar. Repeat the same on the 2nd side and make 6 lozenges in
all.
The lace that finishes off the collar at the neck must be made to stand
up, and is begun by a row of trebles on the plain stitches.
From the corner as far as the 2nd treble of the 4th scallop, make triple
trebles, from the 4th scallop to the 6th chain stitch after the 5th
scallop, make double trebles, from this point to the 2nd scallop of the
next semicircle, only single trebles, then again double trebles and
finish with triple trebles as at the beginning. Decrease by 2 or 3
stitches in each square.
When this row of trebles is finished, fasten off, and fasten on again on
the right and on the base of the 1st treble which you border with 4
chain, then follow: * 15 plain on the row of trebles, put the needle in
under the 2 loops of the trebles = turn the work = 2 chain, 1 double
treble, miss 4 plain, 1 double treble on the 5th stitch, 2 chain, 1
double treble, 2 chain, 1 double treble, 2 chain, miss 4 plain = turn
the work = bring the loop to the front; ** 1 plain, 1 picot, 1 plain, 1
plain on the treble; repeat 3 times again from ** and add 4 plain on
the trebles = turn the work = 6 chain, 1 double treble over the treble
beneath; again 3 times 6 chain stitches and 1 double treble; join the
4th set of 6 chain to the 4th plain = bring the thread back to the
front: 1 plain on the 6 chain = 8 chain, miss 1, and make on the others:
1 plain, 1 half treble, 2 trebles, 1 treble 1½ treble long, 2 double
trebles, 1 plain stitch on the 6 chain. The next point comes above a
treble; you make 7 points in all. After the 7th: 5 plain, then 7 chain,
1 plain on each point between the points and join.
Join the 8th set of 7 chain on to the 4th plain of the first treble =
then add: 2 chain, draw the loop from the wrong side to the right
through the 1st plain stitch; 8 trebles, 1 picot, 4 trebles, 12 chain,
bring them back over the picot, join it between the 4th and 5th trebles;
5 plain, 1 picot, 5 plain, 1 picot, 5 plain, 1 picot, 5 plain.
Over each point: 1 picot and over the picot 1 scallop, like the one made
in the square. On the 7th point only 1 picot = after the last treble on
the last chain: 2 chain; then go on with the plain stitches until you
have 27 and repeat from *.
In the semicircles that follow you leave out the first and last little
scallops, the first and the last scallop must be joined together by the
first and the last picot; in the last semicircle, make 6 little
scallops, the same as you did in the first.
CROCHET CHAIR-BACK (fig. 485).--The close leaves in plain stitch of
the large centre star, the 4 corner figures forming a cross and the
diagonal figures, all have to be made separately and sewn on afterwards
in their proper place. To join the separate parts neatly together, draw
a square the size of the work on a piece of thick paper or waxcloth,
divide it into 8 parts by means of straight and diagonal lines, sew the
separate pieces of crochet upon it, face downwards, in their proper
places and make the trebles on the wrong side of the work.
Begin by the centre star and make: 12 chain, close the ring.
1st row--23 plain on the 12 chain.
2nd row--9 chain, 1 double treble on the 2nd plain, 4 chain, 1 treble
and so on until you have 12 trebles, including the 5 chain.
3rd row--1 plain on each chain stitch and each treble; 60 plain in all.
4th row--3 plain, 1 picot, altogether 20 picots in the row, then fasten
off.
[Illustration: FIG. 485. CROCHET CHAIR-BACK. MATERIALS: Fil à dentelle
D.M.C No. 50 for the close figures and No. 120 for the connecting
bars.[A]]
The leaves round the ring have 3 petals, 1 large and 2 small; you begin
by the large one, and make the small ones afterwards. The petals should
be begun from the point and not from the bottom as is generally done--30
chain; coming back: 4 single, 4 plain, 5 half trebles, 8 trebles, 4 half
trebles, 4 plain stitches, 3 plain on the 1st chain = on the second side
of the chain make the same number of stitches but in the reverse order.
Small petal on the left--21 chain, miss 1, 5 plain, 3 half trebles, 5
trebles, 3 half trebles, 3 plain, 3 plain on the top. Repeat the same
series of stitches in the reverse order on the second side = at the 10th
stitch of the large petal and counting upwards from below, draw the
thread through the 10th stitch of the small petal, and do the same
through the 9 next stitches = for this purpose drop the loop each time
and draw it back through the opposite stitch, from the wrong side to the
right. After making the same petal on the right, fasten off; fasten on
again at the outer edge and edge the 3 petals with 1 plain on each
stitch and 3 plain on the stitch at the point; make 4 leaves with 3
petals each.
Between the pointed leaves, which are afterwards placed on the diagonal
line of the square, come some very long leaves which are rounded towards
the top--29 chain, miss 1, 5 plain, 2 chain, 1 treble on the 3rd of the
chain stitches; carry on the trebles until you have, on coming to the
last chain, 7 trebles = turn the work and make 1 plain on each stitch of
the row = turn the work = 1 plain on every stitch all round = turn the
work = * 9 plain, 4 half trebles, 3 trebles, 2 double trebles, join the
last loops of the 2 last trebles together; set the 20th and 21st double
treble on the same stitch = the 20th treble 2½ trebles long; the 21st a
triple treble = on the next plain stitch; 1 treble 3½ trebles long and 1
quadruple treble = again on the next stitch: 2 trebles, the first of
them 4½ trebles long, the 2nd a quintuple one = on the 3rd plain: 2
quintuple trebles, 4 chain, 1 plain on the plain stitch of the 2nd row
and next to the last quintuple treble, 1 half treble, 1 treble, 2 double
trebles on one stitch, 2 triple trebles on one stitch **, 1 quadruple
treble on the 2 next stitches. Repeat from ** to *, therefore in the
reverse order.
To make the large star which is the first of the figures placed on the
diagonal line, make: 4 chain, close the ring.
1st row--10 chain,* 1 double treble on the 4 chain, 5 chain. Repeat 4
times from *, 6 trebles in all.
2nd row--over 5 chain: 1 half treble, 1 treble, 1 treble 1½ treble long,
1 double treble, 1 treble 2½ trebles long **, 1 triple treble. Repeat
once from ** to * and 5 times from * to **.
3rd row--1 plain on each stitch of the 2nd row.
4th row--3 plain, 1 picot, 2 plain, * 2 chain, 1 picot, 5 chain, miss 1
= coming back: 4 plain, 1 picot, 2 plain = on the plain stitches of the
3rd row: 2 plain, 1 picot, 3 plain. Repeat from *, with this difference
that the trebles that are placed over the half trebles of the 2nd row
must begin with 3 chain. Make, altogether, 12 long bars, 6 of them
beginning with 2 chain and 6 with 3; these bars remain empty; after the
12th you fasten off.
5th row--fasten on the thread to the top stitch of a treble, 11 chain, 1
plain. Repeat this series 11 times.
6th and 7th row--1 plain on each stitch of the 5th row, then 1 plain on
each stitch of the 6th row.
8th row--over 9 bars and 8 spaces: 3 plain, 1 picot, 3 plain and so on.
Add nothing further to the 2 rows of plain stitches of the 10th, 11th
and 12th picots.
For the second star of the corner figure 4 chain, close.
1st row--8 chain, 1 treble, * 5 chain, 1 treble. Repeat 3 times from *;
5 trebles in all, including the chain stitches.
2nd row--* 1 chain, 1 half treble, 1 treble, 1 treble 1½ treble long, 1
double treble, 1 triple treble **. Repeat from ** to *, and the whole
series 4 times.
3rd row--* 1 chain, 3 plain, 1 picot, 2 plain, 2 chain, 1 picot, 4 chain
= coming back, 4 plain on the 4 chain, 1 picot, 2 chain = on the
stitches of the 2nd row: 2 plain, 1 picot, 2 plain, 3 chain, 1 picot, 5
chain, miss 1, 4 plain = coming back: 1 picot, 3 plain. Repeat 4 times
from *, fasten off.
4th row--fasten on at the point of one of the bars and make from one bar
to the other: 9 chain, 1 plain on each bar.
5th row--1 plain on each stitch of the last row.
6th row--1 plain on each stitch of the last row and join the 4 last
stitches to the 4 that are under the 11th treble of the 1st star, taking
care to put the trebles one above the other.
The 3rd star also begins with 4 chain formed into a ring.
1st row--8 chain, 1 treble, 5 chain, 1 treble, 5 chain, 1 treble, 5
chain, join them to the 4th of the 8 chain.
2nd row--2 chain, * 1 half treble, 1 treble, 1 treble, 1½ treble long, 1
double treble **. Repeat from ** to * and then, 3 times from * to **.
3rd row--1 plain on each stitch of the 2nd row.
4th row--1 chain, 2 plain, * 1 picot, 3 chain, 1 picot, 5 chain. Repeat
3 times from *; after the 8th picot: 3 chain.
5th row--15 chain, 1 triple treble on the 5th and on the 2nd plain
stitch between 2 picots, 9 chain, 1 triple treble and so on. Altogether,
including the chain stitches, 8 trebles and 8 times 9 chain; join to the
7th chain.
6th and 7th row--1 plain on each stitch of the previous row; join the 4
last stitches again to the 4th stitch of the 2nd star and fasten off.
The open work border is made from the 1st large star, beginning near the
9th treble at the point where the picots leave off. After fastening on
the thread: 5 chain, miss 2 plain, 1 plain on the 3rd = at the point
where the circles meet, miss 3 or 4 stitches on each side and carry the
treble over the indent of the scallop.
After finishing the picots of chain stitches on the two sides and as far
as the 3rd treble of the large star, fasten off; fasten on again on the
right of the large star: 4 chain, 1 plain on the 3rd chain; put the
needle only through the 2 upper loops of the chain stitch; in the
indent, connect 3 picots by 1 chain stitch; 2 chain and 1 plain between
the next plain stitches. Fasten off. The 2 next rows both begin on the
right and consist of plain stitches only; in the indent of the rings
join 3 stitches of the preceding row together by 1 plain.
The 5 leaves over the circles--Begin with the middle and largest one--25
chain, miss 1, 3 plain, 2 chain, miss 2, 1 treble, 2 chain and so on, 7
trebles in all = turn the work = 1 plain on each stitch, passing under
only 1 loop of the stitches = on the stitch you missed: 3 plain; on the
second side: 1 plain on each stitch = turn the work = do as in the last
row = turn the work = do as in the 2 last rows, excepting as regards the
5 last stitches which you leave untouched = turn the work = 15 plain, *
1 chain = turn the work = 12 plain = turn the work = 12 plain on the 12
plain and on all those you missed **. Fasten off the thread. On the 2nd
side of the leaf: draw the thread through the 6th stitch, counting
upwards from below and on the side that is not indented, 15 plain and
repeat from * to ** = then make: 1 row of plain, putting the needle
through both the loops of the lower stitches = at the points of the
leaves: 3 plain, in the indents of the leaves miss 1 stitch.
First leaf on the right of the large leaf--25 chain, miss 1, 3 plain, 1
chain, 1 treble on the 3rd chain; 7 trebles in all = turn the work = 1
plain on each stitch, 18 stitches altogether, to the corner stitch; 3
plain on the corner stitch. The 2nd side is worked like the 1st.
Add 3 more rows of plain stitches and increase 3 plain on the stitch at
the point = in the 3rd row leave the 5 last stitches empty = turn the
work = 11 plain, 1 chain = turn the work = 11 plain and 5 plain on the 5
stitches that were passed over; fasten off.
On the opposite side fasten on the thread on the wrong side at the 8th
stitch counting from the point: 12 plain, 1 chain = turn the work = 12
plain = turn the work = make plain stitches up to the end of the leaf
and border it, like the large leaf, with plain stitches = join the 8
first stitches to the corresponding ones in the large leaf = make 4
leaves all alike.
2nd leaf on the left--19 chain, miss 1, 3 plain, 2 chain, 1 treble on
the 2nd chain; 7 trebles in all = turn the work = 1 plain on each of the
preceding stitches, 3 plain on the stitch at the point = turn the work =
1 row of plain stitches = turn the work = 1 row of plain = turn the work
= 1 row of plain, excepting on the last 7 stitches = turn the work = 14
plain, 1 chain = 3 more rows to and fro with 11 plain; fasten off, and
fasten on again on the 2nd side at the 6th stitch counting from below: 2
rows of 11 plain and 1 row to the end of the leaf = then encircle this
leaf, like the others with plain stitches, join the 8 last stitches to
the last 8 of the large leaf = make 4 leaves all alike.
3rd leaf on the right--18 chain, miss 1, 2 plain, 1 chain, 1 treble on
the 3rd chain, 5 trebles in all = turn the work = 4 rows of plain
worked to and fro; on the stitch at the point: 3 plain = after the 4th
row: 4 trebles, 8 plain, 1 chain, 4 plain, 1 chain, 4 plain, 1 chain,
then plain stitches to the end = fasten off. On the second side, fasten
on to the 6th stitch counting downwards from the top: 9 plain = coming
back: 3 plain, 1 chain, 7 plain = coming back: 7 plain, 1 chain = then
to the end of the leaf, 1 plain on each stitch.
3rd leaf on the left--14 chain, miss 1, 2 plain, 2 chain, 1 treble, 2
chain, 1 treble, 2 chain, 1 treble, 2 chain, 1 treble; 4 rows of plain
all round, 3 plain on the stitch at the point, and 3 plain on the added
stitch. After the 4th row: 14 plain = turn the work = 10 plain = turn
the work = 3 single, 7 plain = coming back: 7 plain = coming back again:
7 plain; after the last plain, 1 single on each plain up to the top =
fasten off.
On the second side of the leaf: 9 plain = turn the work = 5 plain = turn
the work = 5 plain, 1 single on each of the remaining stitches = turn
the work = surround the whole leaf with plain stitches; 3 plain on each
stitch at the point; join the 8 last stitches to the 8 last of the 2nd
leaf.
Branch on the right and 1st leaf--28 chain, miss 1, 4 plain, 1 chain, 1
treble on the 3rd chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1
treble 1½ treble long on the 3rd chain, 1 chain, 1 treble 1½ treble long
on the 3rd chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1 half
treble on the 3rd chain, 1 chain, miss 2 stitches, 5 plain = on the
second side of the chain: * 1 plain on each stitch, 3 plain on the 2nd
of the missed stitches. Repeat 3 times from *. After the 4th row of
plain: 6 chain = turn the work = 1 row of plain on both sides and plain
stitches on the 6 chain; fasten off the thread. Counting back the last
stitches, fasten on the thread at the 18th stitch, make one more row of
plain, fasten off.
2nd leaf of the branch--22 chain, miss 1, 3 plain, 1 chain, 1 half
treble on the 3rd chain, 1 chain, 1 treble on the 3rd chain, 1 chain, 1
treble on the 3rd chain, 1 chain, 1 half treble on the 3rd chain, 1
chain, 1 plain on the 3rd chain, 1 plain on each of the remaining
stitches; 4 rows of plain, to and fro, in each of the stitches of the
last row. The rows touch, and therefore encircle the leaf.
3rd leaf--16 chain, miss 1, 2 plain, 1 chain, 1 treble on the 3rd chain,
1 chain, 1 treble on the 3rd chain, 1 chain, 1 treble on the 3rd chain,
1 plain on each of the remaining stitches, 4 rows of plain, to and fro
round the leaf; 3 plain on the stitch at the top of the leaf and 3 on
the one at the bottom.
When these 3 leaves are finished, join them together on the wrong side
so that the end of the 2nd leaf is parallel with the last treble of the
1st leaf, and the end of the 3rd leaf parallel with the 1st of the last
plain stitches of the 2nd leaf. Having sewn these 3 leaves together,
carry on the plain stitches with the thread of the 3rd little leaf over
the two others. Fasten off the thread, join it on again at the 10th
plain stitch of the 3rd little leaf, counting the stitches downwards
from the top = 40 chain, 1 single on the 34th chain = on the ring: 10
plain, 1 plain each chain and 1 plain on each stitch of the leaves =
then, make 3 more rows of plain and 2 plain on every second stitch of
the 10 stitches in the ring.
Having reached the chain stitches, fasten on the thread, turn the work
and continue the other rows. When the rows of plain stitches are
finished, draw a thread through the chain stitches and pull them gently
together.
Branch on the left and 1st leaf--22 chain, miss 1, 3 plain, 2 chain, 1
treble on the 2nd chain, 2 chain, 1 treble 1½ treble long, 2 chain, miss
1, 1 treble, 1½ treble long, 2 chain, miss 1, 1 treble, 2 chain, miss 1,
1 treble, 2 chain, miss 1, 1 plain on each of the remaining stitches.
The remainder the same as for the right leaf.
2nd leaf--16 chain, miss 1, 2 plain, 2 chain, 1 treble, 2 chain, miss 1,
1 treble, 2 chain, miss 1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain,
miss 1, 1 plain on each of the remaining stitches. The rest the same as
for the right leaf.
3rd leaf--12 chain, miss 1, 2 plain, 2 chain, miss 1, 1 treble, 2 chain,
miss 1, 1 treble, 2 chain, miss 1, 1 treble, 2 chain, miss 1, 1 plain on
each of the remaining stitches. The remainder, as well as the little
ring, the same as for the right leaf. Make altogether 4 leaves for the
right side and 4 for the left.
Calyx of the small flowers.--11 chain = turn the work = 1 plain on the
first 5 chain, 3 plain on the 6th chain, 1 plain on the 5 other chain =
turn the work = * 2 chain, 1 treble on the 1st plain, 1 chain, 1 treble,
1 chain, 1 treble, 1 chain, ** 3 trebles on the second of the 3 plain,
on the 6th chain, repeat once from ** to * = turn the work = 1 plain on
each of the preceding stitches, 3 single on the added stitch = turn the
work = 1 single on the first 2 plain; plain stitches as far as the
middle stitch; 13 chain, miss 1, 1 plain on each chain stitch, 6 plain,
2 single. Fasten off. Make 8 calices in all.
Small flowers of three different sizes--Make altogether, 24 large, 12 of
medium size, and 16 small.
For the large flowers--18 chain, close the ring, 24 plain on the 18
chain; 1 plain on every stitch of the preceding row and 1 picot after
every second plain stitch. Join the first and the last picots of 2 large
flowers to the calyx, the 2nd and the 3rd picots of one large flower to
the 10th and 11th picots of the other. Join the 1st and 11th picots of
the 3rd flower to the 8th picot of the first and to the 5th of the
second flower.
For the medium-sized flowers--14 chain, close the ring = 20 plain on the
ring, then a second row of plain with 1 picot after every second plain
stitch.
These flowers connect the centre figure with the corner one.
For the small flowers--10 chain, close the ring = 16 plain on the ring,
then a second row of plain stitches with a picot after every second
stitch. Sew the medium-sized flowers and the small ones to the big ones
with overcasting stitches.
As regards the bars of chain stitches that complete the pattern they can
easily be copied from the illustration.
FOOTNOTES:
[A] See at the end of the concluding chapter, the table of numbers and
sizes and the list of colours of the D.M.C threads and cottons.
[Illustration: TATTED INSERTION.--DOUBLE KNOTS, SINGLE PICOTS AND
JOSEPHINE PICOTS.]
Tatting.
On account of a similarity in their construction, a chapter on tatting
seems to form a natural sequence to the one on crochet and is in some
ways a preparation for that on macramé which succeeds it.
The English name of tatting is said to be derived from «tatters» and to
denote the frail disconnected character of the fabric. By the Italians
it was formerly called «occhi», whilst in the East it still bears the
name of «makouk», from the shuttle used in making it.
In the eighteenth century, when tatting was in great vogue, much larger
shuttles than our present ones were used, because of the voluminous
materials they had to carry, silk cord being one.
SHUTTLES.--The tatting shuttle consists of two oval blades of either
bone, ivory, mother of pearl or tortoise-shell, pointed at both ends,
and joined together in the middle. A good shuttle contributes materially
to the rapid and perfect execution of the |
